This is getting increasingly rare these days, this film lives up to all of its hype. It is a great film.

Darren Aronofsky (Pi) directed this tragic story about a washed-up wrestler named Randy 'The Ram' Robinson (Mickey Rourke). Robinson is a slow-witted lummox who is at the end of his career. Once a national All-Star Wrestling star back in the 80's, Robinson has descended into wrestling small venues of a couple hundred people while sleeping in his van because he can't make rent. Robinson attempts to cobble together a normal life out of the spent remains of the past few decades but finds living outside of the lights and rink troublesome at best. Aronofsky covers the action with a very natural light and very little intrusion. The key to the film is that the slow disintegration of Robinson seems like we are witnessing reality unfold. The combination of Rourke's brilliant performance and the organic development of the scenes makes this is a riveting film.

This is a character oriented piece so the lead must carry his load. Mickey Rourke's performance is as good as you have heard. He deserved the Oscar for Best Performance for his work in this film. In my world, the Oscar shouldn't be distributed every year, but something that is earned. It should only go to an actor who dominates a role - who becomes the only person who could perform it. Anthony Hopkins as Hannibal Lector or Tom Hanks as Forrest Gump are two examples. Rourke's Robinson is on par with these performances.

The biggest surprise from the film is Marisa Tomei in the role of aging stripper Cassidy. Cassidy, like Robinson, makes a living by her body but that body is becoming too old. Robinson's body is breaking down, her's has to compete with girls fifteen, perhaps twenty years, younger. The parallels between the two aren't lost on Aronofsky and he plays the two off one another perfectly. Tomei has made a good living portraying ditzes and sluts. Usually, these roles don't give her much to work with and she tends to fall into the background (What Women Want is a good example of this.) She has started take on meatier roles such as the distraught Gina in Before the Devil Knows You're Dead. With this film she provides a strong performance that makes up for whatever mistakes and/or poor judgment that awarded her a Best Supporting Actress win for My Cousin Vinny.

The film delivers and couldn't have been made better. It is nearly flawless, in my estimation, and I sincerely recommend it. The way the film is shot, the brutal wrestling matches, Robinson's painfully slow descent, all of it is done to perfection and is worth seeing.






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Labels: Darren Aronofsky, film, Marisa Tomei, Mickey Rourke, movie review

A good comfort movie about Nick, a womanizing ad executive who, following a freak accident, mysteriously gains the ability to hear women’s secret thoughts. A very simple premise expertly executed. The script by the writing team of Josh Goldsmith and Cathy Yuspa (13 Going on 30) is sharp and lean. The duo have a talent for infusing silly concept movies with charm and wit. Combined with the inspired casting of Mel Gibson in the lead opposite Helen Hunt as Nick’s professional nemesis/new boss Darcy the dialog and situational comedy provide some good payoffs. This is not a perfect film however, the inclusion of a side-love interest played by Marisa Tomei distracts from the main drive of the story and consumes too much time on screen without giving much back.

Taken as a whole, this is worth seeing. It’s a fun movie and plays the gender battles for laughs but isn’t without it thoughtful moments. To put it simply, if you enjoyed 13 Going on 30 then you will most likely enjoy this film. Note, since the main character is a womanizer and sexual activity is a key component of his life, sexuality is often at the forefront of the story. Viewers sensitive to sexual language and nudity may want to employ some caution.


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Labels: Helen Hunt, Marisa Tomei, Mel Gibson, movie review

Screenwriters: Robert D. Siegel (The Onion Movie)
Director: Darren Aronofsky (Pi)
Actors: Mickey Rourke (Sin City), Marisa Tomei (Before the Devil Knows You're Dead), Evan Rachel Wood (Across the Universe) and Mark Margolis (Gone Baby Gone)

Labels: Darren Aronofsky, film, Marisa Tomei, Mickey Rourke, movie trailer

This is so well done that I still recommend this movie despite the fact that you see Philip Seymour Hoffman's bubble-gum butt. Right there in the opening scene, flabby Phil completely naked having sex with an equally naked Marisa Tomei. The "ewww" factor is off the scales. The thing is that not only is this scene disturbing to the core, it is also completely unneeded. There is no reason it needed to be shot the way it was. The same concepts could have been projected without having to show Phil's stretch marks.

Director Sidney Lumet (Network, Dog Day Afternoon, The Verdict, Fail-Safe) masterfully commands this film about a pair of brothers who have their lives ruined after they fatally screw up robbing their parent's jewelry store. He gives us an intimate film with little intrusion, just pure character and performance. Lumet dips into a distracting editing sequence to indicate flashbacks and time shifts. These jolts break in and unfortunately remind us we're watching fiction. Other than this awkward choice, Lumet is dead-on with his delivery and provides one of the most engrossing movies of his career.

I am pressed to think of any recent film that manages such a collection of strong performances. Ethan Hawke, who I've never considered to be a strong talent shows his skills in his role as Hank Hanson, a nervous loser who owes money all over the place and doesn't have the means to make it up legally. Hawke has lost his boyish looks and his face is getting ragged with age. He looks perfect for this role, thin, pale and tired. His performance is a sympathetic one but he doesn't make Hank an endearing man. He's just a pathetic lost cause. Hawke nails the man's desperation and fear. Hank is a man-boy who obviously has spent his life trembling in the shadow of his overbearing brother Andy (Philip Seymour Hoffman). Hoffman brings yet another memorable performance to the screen as the alpha dog Andy but in their scenes, it is Hawke who surprisingly shines as Hank melts under the pressure from his big brother. Albert Finney likewise gives a heart aching turn as Charles, the father of Andy and Hank, and the victim of their awful crime. As Charles slowly pieces together the plot against him, the tension builds. Finney is understated and so real in this role. Hawke, Finney and Hoffman mix together perfectly and Lumet does the right thing, he steps back and let's the three do their work.

This is the debut screenplay by playwright Kelly Masterson. This may be the most impressive screenwriting debut in years. Forget about Diablo Cody, she writes cute stuff and is easy to serve to the press. Masterson is the real deal. Someone who can pen characters with this much verisimilitude is someone to watch and watch closely. There is a scene between Charles and Andy where the two men, father and son, get to the core of their relationship. It is a small scene and it is low key, but Masterson packs it with an stunning amount of emotion without falling into dramatics.

This is not a film for everyone. It is one of the best crime dramas I've ever seen but it is loaded with low behavior. Those who are wary of violence, cursing, scenes with drug use, nudity and frank sexuality will find plenty to avoid here. Lumet and company pull no punches and everything is laid out to be seen. If you're sensitive to questionable content, this is just not your film. If you are okay with seeing some rough stuff, and you enjoy literate films this is one you should put to the top of your list.


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Labels: Albert Finney, Ethan Hawke, film, Marisa Tomei, movie review, Philip Seymour Hoffman, Sidney Lumet