Inherent Vice review

It's only after the smoke clears and the euphoria wears off that we can look around at it all and ask "What just happened?" Cinema, pure and not-so-simple. That, my friend, is what has just happened. With Inherent Vice, Paul Thomas Anderson has deconstructed the gumshoe detective film genre and created one of the best novel adaptations of the past ten years. When I first saw the trailer for the movie, it looked quite a lot like a return to the hyper-energetic fast moving Anderson of the 90's. The man behind Boogie Nights and Magnolia. That couldn't be further from the truth. Inherent Vice is Anderson at his most constrained and wistful. He completely abandons elaborate and exuberant camera moves for slow dollying in on characters and very relaxed tracking shots, perfectly fitting the film's tone. This is the kind of movie I'd imagine an elderly man sitting on his front stoop in a rocking chair telling as he watches his fragile life slip from his fingers. It plays as a fondly looked back upon memory, with a hint of regret. It is very fitting Neil Young's song "Journey Through the Past" accompanies the soundtrack. The film takes place on the verge of change. An era of hippies and long-haired relaxation specialists being pushed to the fringes of society. The violent advent of Charles Manson certainly hasn't helped anything. Larry "Doc" Sportello (played by Joaquin Phoenix) is a good-natured P.I. holding on to the past with the help of plenty of marijuana and late night pizza. He's just a guy who wants to stay cool and do the right thing. Like a bowling ball dropped through a window, Doc is plunged headfirst into a complicated case involving a supposed dead saxophone player, a mysterious organization that might be a boat called the Golden Fang, and many other loose strands that require a very clear head to keep in place. The plot isn't as hard to follow as some may have said, but it doesn't matter. The convoluted case isn't what's important in this movie. Like it's spiritual predecessor The Big Lebowski, Inherent Vice is a movie about characters, tone, and setting. The many complications of the plot are also due to Anderson lampooning the noir genre, which is notorious for its numerous complicated plot strands. Just look at some famous examples like The Maltese Falcon or North By Northwest. They are all over the place, and that is part of their genius! Anderson understands this perfectly, and uses all of it to his advantage. The novel Inherent Vice is a personal favorite of mine and its writer, the famed Thomas Pynchon, is also a writer I admire very much. PT Anderson is also a fan of Pynchon. His film here is not just hero worship. He is taking his knowledge and love of film and applying it to his love of the work of Thomas Pynchon to create a perfect Pynchonion vibe filtered through the pot haze of early 1970's California. It's nothing short of beautiful. One thing Anderson added in that was not in the novel is voice over narration from one of the secondary characters, Sortilege (Joanna Newsom). In adding this, Anderson was able to capture Pynchon's wonderful use of language and apply his own personal literary touch. All of it works to near perfection. This was shot on 35mm, and it looks stunning on the big screen. There has been a shift toward shooting on digital recently, and this film is proof that film is a medium that still has its place. The whole thing looks gorgeous, mainly because of the celluloid it was shot on. It certainly helped that Robert Elswit, a long-time cinematographer for Anderson, was working here. He is one of the best (the best?) cinematographer working in Hollywood today and deserves some recognition for his work here. Holding it all together are the wonderful ensemble of actors working here. Joaquin Phoenix, channeling his inner Dude, does some great work (as expected) here. He truly embodies his character and never hits a wrong note. Josh Brolin plays a macho cop and opposite side to Phoenix's detective. Brolin has always been good. But this here may be his best work. He is funny, yet subtle, and delivers some of the movie's best lines. Joanna Newsom is great, Katherine Waterson is great, Benicio del Toro is great, Reese Witherspoon is great. Really, everyone is great. Overall, it's a masterpiece. A pot-fueled, funny, wistful, journey through post-60's California. While it might not be There Will Be Blood, Inherent Vice is more or less the best new film I've seen in 2014.

The Immigrant review

We all came here on boats, whether they be real or metaphorical. All of us, at one time or another, have known desperation. Defeat. Hunger. Pain. They are universal human emotions everyone can relate to on some level. Some have just experienced them on higher levels. We have all had family members leave us, but how many of us were there as they were taken, violently, away? James Gray's newest film, The Immigrant, understands hopeless desperation like few other motion pictures. It tells the story of Ewa Cybulska (Marion Cottilard), an poor woman from Poland who immigrates to America with her sister. Upon arrival, Ewa's sister is stripped away from her for tuberculosis treatment. A shadowy manipulative man named Bruno picks Ewa out from the crowd. He promises help for her and her sister. The spider has caught the fly. He is a pimp, and Ewa is his next prospect. Thus begins the epic dirge that is The Immigrant. A melancholy meditation on the American dream and everything that comes with it. Gray has learned from the great filmmakers of his past. Hints of early Coppola and Elia Kazan, even Scorsese are visible here. It is easy to tell how committed he is to make a solemn and sobering film that one of the names mentioned would have made in their prime. It seems like he is trying to make The Great American Film. Something to be looked back upon in wonder. It's his stoic commitment to that that is his downfall. The film sometimes comes across as stuffy and dreadfully solemn. Luckily, it recovers quickly. There are enough moments of gorgeous imagery and terrific performances to get past the shakier parts. But when it all works, it really works. Gray uses close-ups the way David Lean used wide landscape shots of the desert in Lawrence of Arabia. Cotillard's face fills the screen and her utter weariness becomes more than apparent. Things that some less talented filmmakers would have communicated in lengthy monologues or numerous and complicated scenes Gray instead communicates in a single shot of a character's face. Joaquin Phoenix's character is possibly the most complex in the entire film ranging from wicked to remorseful and even pitiful. All of this is made known in a few simple close-ups. This all made possible by the massively talented actors working in the film. Gray loves the foggy wide shots of Ellis Island, but where he really flourishes are in the smaller and more emotional scenes. The always great Jeremy Renner gives a wonderfully understated performance and adds multitudes to these scenes. The Immigrant is a film of bold and sobering ideas. Showing the painful trek someone goes through to find a better life. Prostitution and lies are simply a price to pay for freedom. Freedom, barely visible through insomnia-puffed eyes, that seems so close yet remains always out of reach. That fiery knot in the pit of the stomach that urges to push onward. It does not always pay off. The boats sometimes have holes. Behind the facade, lies the true meaning of the American Dream. It is not pretty. America is truly a place of opportunity. The ways in which we achieve that opportunity may not be as simple and easy as one would initially think. The Immigrant, like The Godfather Part II and many of its predecessors, understands this, for better or for worse. Not it is only up to us to understand it. The flag is in tatters yet, it still rises. It still rises. 

The Master or The Young Man and the Sea: A Deconstruction of Paul Thomas Anderson's Exquisite Masterwork

Freddie Quell is a bird of the vast, grey, and infinite sky. He drifts through life like dust motes in a shaft of afternoon light. Women, jobs, alcohol, and people in general try to pin him down. To label him, diagnose him, explain him. Put him in the cold dank prison cell we all call a purpose. Many think they have the answers to Freddie, they know what's wrong with him. Whether it be doctors, therapists, or Philip Seymour Hoffman's charismatic cult leader Lancaster Dodd. Many try, but they all fail. Quell is a character like that of some elusive and far away indecipherable message. One can try and understand him, to grasp him and fit him into a peg in society, but they will fail. When Paul Thomas Anderson's The Master was released in 2012, a common criticism was that Joaquin Phoenix's character Freddie Quell did not change, evolve, or develop. He started out a confused and mumbling drunk and then stayed that way throughout the entire movie. What critics failed to realize was that Quell wasn't supposed to change. To have him develop would be completely disregarding everything the film has worked to establish. In fact, in launching this very complaint at the movie critics themselves are falling prey to the exact mistake almost every character in the film made: they tried to put Freddie under an umbrella. This is an impossible feat. He is a man so broken by the war, by life. Left with nothing to do but float drunkenly through the bottomless abyss of this here world we are all prisoner to. Freddie is the unchanging sea. Try as we might, we simply cannot chart his waters. No Captain Cook could ever penetrate through the exterior of him. Philip Seymour Hoffman's last monologue sums it all up perfectly: "Free winds and no tyranny for you, Freddie, sailor of the seas. You pay no rent, free to go where you please. Then go, go to that landless latitude and good luck. If you figure a way to live without serving a master, any master, then let the rest of us know, will you? For you'd be the first in the history of the world." Freddie is a seaman, a directionless drifter who is bound by no chains, subjugated by no master. The film opens with a beautiful shot that repeats throughout the film. The flowing vibrant blue ocean. It is breathtaking simple. It is Freddie Quell himself. At another point in the beginning of the movie, Freddie lies down next to a woman he has crafted out of sand on the beach. In what I believe is the very last shot of the film, he once again lies down next to this mysterious sand mistress in an almost identical shot. He has not changed. Held down by no bride, he chooses to lie with the alluring beauty of the sea. I've often hear people complain about this movie in that it is too confusing and has little to say. Hogwash, says I. Anderson awes us and entrances us with his visuals and complex story about cults and religion. Yet, at heart The Master is truly about one man and his quest for ultimate freedom. A man so detached and broken off from the regularity of society he can only drift among the eternal waves of the Pacific. The film takes a look at the effects of war on a single man, but doesn't do it in the same formulaic way we have all seen before.  In many ways, Freddie's inherent wanderlust has made him a better person than most of the characters in the film. He, at least, is outright with his flaws of drunkenness and laziness. He does not hide behind any veneer, nor does he make himself slave to his intricacies and downsides. Everyone else in the film chains themselves to their persona's and auras of perfection they think they have. Amy Adams character looks down on Freddie as a boozer and possible criminal, but is too cold and uppity to see her own problems. Hoffman's Lancaster Dodd is so trapped in his hubris and power trip he simple cannot realize that he shouldn't try to change Freddie, but that it's really himself that needs changing. The Master in this film is not Dodd, but Quell. A man who in having no master, has become the master himself. Master of living life the way he sees fit. Like an eagle flapping its wings, Freddie glides along the winds of pure freedom and easy living. He is a man out of place in time, for there is no real time for Freddie. He lives outside the boundaries of linear time. His time is an ocean, and he is commander of the ship sailing on its waves. The Master is a beautiful, somewhat misunderstood, masterpiece from the Kubrick of today. An austere and wondrous tone poem that looks at humanity for what we are. "So we beat on, boats against the current, borne back ceaselessly into the past." I believe F.Scott Fitzgerald unintentionally sums up the film best.

Her review

Spike Jonze is awesome.
The guy has done some great stuff. Being John Malkovich is genius and one of my favorite movies. Adaptation was really good also. Where the Wild Things Are, while not as good as his past directorial efforts, was beautiful and pretty good. None of them compare to Her. I have to admit, as good as it looked originally, I was quite skeptical. All the critics were praising it so much and it was winning so many awards. This made me skeptical because I thought that the amount it was being hyped, the film could never live up to. I was dead wrong. It lived up to it, and then some. Her is about Theodore Twombly. (Joaquin Phoenix) He's going through a tough divorce. Theodore is lonely, so he buys an artificially intelligent operating system (with the voice of Scarlett Johansson) named Samantha. Slowly, Theodore falls in love with Samantha, and Samantha falls in love with Theodore. Thus begins the beautifully strange movie that is Her. Honestly, if you haven't seen the movie yet, just stop reading and go see it now. I wouldn't want to ruin anything. Her is great for a number of reasons. It shows the relationship between Theodore and Samantha, not as this strange weird thing, but as an understandable and real relationship. You almost begin to understand why this is happening. The whole human/operating system relationship is surprisingly easily to understand and relate to. Spike Jonze did a fantastic job with that. And Scarlett Johansson did a great job too. I can imagine it's hard to communicate all the emotion and feeling she did with just her voice. That worked really well. The whole new take on the modern relationship was very clever and well done, but it's not the only thing that makes this film so great. Spike Jonze does a great job of seeing where we might be in only a few years. Sure some of the technology is more advanced, but it's not too far away from where we are now. It's kind of awesome and kind of scary that stuff like this could happen in our lifetime. Jonze makes this near-future seem real and comparable to our society now. At one point, Theodore is sitting on the steps leading up from the subway. This is one of the first times in the film when he isn't completely absorbed by Samantha and his phone or computer. He watches as people come up the steps. Every person is talking to their operating system or looking at their phone. It's a sad moment, but if you think about it, it's just a reflection of today. Spike Jonze covers that beautifully, without hitting you over the head with it. He also manages to cover and explain all the questions problems with artificial intelligence. Jonze brings up a lot of other points about consciousnesses and being. Some great films before it like Moon and Blade Runner have dealt with similar issues, but not to the extent the Her has. It's astounding the level of creativity and emotion Spike Jonze put into this film. As cheesy as it sounds, Her made me laugh, cry, smile, and question life. It's some movie. Her is about the relationship between a man and his operating system, but it's also about so much more. I'm having trouble putting my feelings and what I think about this movie into words because the movie is just so good. Her is, without a doubt, the best film of the year. The writing and directing is fantastic, the themes are so well dealt with, and the acting is great. Joaquin Phoenix is obviously a great actor. He's been terrific in stuff like The Master and Gladiator. Her is one of his better performances. He portrays Theodore perfectly, not making him a sad-sack loser, but still showing that he is a lonely and hurt man. Phoenix carries a decent chunk of the film on his back, but he does it expertly. Amy Adams is great too, as Theodore's friend Amy. Amy Adams is having a great year. First she was in the big budget Man of Steel. Then gave a great performance in American Hustle. Now she shows off her talent again in Her. She's getting a lot of recognition for American Hustle, but I'm surprised she got none for Her. I don't know what else to say, just go see the film and you'll understand what makes Her such a masterpiece. I hope Spike Jonze does more solo stuff because this was brilliant. I give Her 5 out of 5. It is truly the best film of the year. Happy Viewing and Happy New Year! You can always stay up to date by following me on Twitter @WhitsMovies and liking me on Facebook at Facebook.com/WhitsMovies.