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Entries in Marisa Tomei (2)

Friday
Mar182011

The Lincoln Lawyer

Throughout the years, Matthew McConaughey has made a name for himself, though the name isn't one he should be proud of. He has become “the romantic comedy guy,” starring in such films as Failure to Launch, Ghosts of Girlfriends Past, Fool’s Gold and How to Lose a Guy in 10 Days, all of which, for all intents and purposes, are awful (yes, even the last one). He has become the laughing stock of critics around the country, to the point where my colleagues and I, before each of his movies, make a bet as to how many times he will take his shirt off. But if he keeps doing movies like The Lincoln Lawyer, he may turn that around. It’s his first legal thriller since 1996’s A Time to Kill, which, coincidentally, is the last time he made a good movie and while this isn’t quite as good as that film, it’s definitely worth seeing.

McConaughey plays Mick Haller, a smooth talking lawyer who seemingly always finds a way to win. He’s generally disliked among the law community for representing scumbags who probably shouldn’t be on the street, but he doesn’t care as long as he gets paid. His next client, wealthy playboy Louis Roulet, played by Ryan Phillippe, who personally asked for his assistance, is now under investigation for attempted murder and the brutal beating of a prostitute. However, he claims he was set up and that she’s only after a chunk of his change. Along with his investigator, Frank, played by William H. Macy, Mick begins to put his case together and discovers that somebody isn’t telling the truth.

As is to be expected, The Lincoln Lawyer, for much of its runtime, speaks in legal mumbo jumbo. It’s a language I don’t fully understand, but the film never bogs itself down in it and manages to be easily understandable even to those without law degrees. It uses those words because it has to due to the nature of the story and, even though the direct meaning of some of them flew over my head, the context of the sentence defined them for me. Not once was I lost watching the movie. Conversely, I was intrigued until the very end. Once you’ve invested yourself in this story, it’s impossible not to be.

Unfortunately, the path to that end is a bit bumpy. While not excessive, The Lincoln Lawyer is plagued with awkward cuts and a number of dramatic miscues. From a random post sex explosion of anger from his ex-wife and colleague to an abrupt and sudden cut where Mick goes from pinning a character against a wall to sitting at a bar with a drink, the movie repeatedly makes questionable decisions.

This is most evident in the back half of the picture when the actual trial takes place. While I’m no lawyer and can’t speak from experience, the court proceedings seem uncouth and exaggerated for dramatic effect, full of sustained stares and long, exhaustive monologues from characters at the stand. Although much of it is intentional, these scenes become comedic, a stark contrast to the preceding hour that highlighted murder, alcoholism and more. In a courtroom drama, you expect the courtroom scenes to be the most gripping parts of the movie, but because of these problems, they are instead the most inauthentic.

Nevertheless, The Lincoln Lawyer is a solid movie and it’s carried by a powerhouse performance from Matthew McConaughey. He hasn’t put this much vigor and passion into a role in quite some time and he has proven himself as more than the joke many have made him out to be.

The Lincoln Lawyer receives 3.5/5

Friday
Jun252010

Cyrus

Film is ever changing. There’s no doubt about that. If it’s not Avatar leading the 3D movement, it’s something else shaping how we make and view movies. Cyrus is the latest example of what some would call a “mumblecore” film, a relatively new genre that employs a low budget, no name actors and improvised scripts. Other examples include Baghead and last year’s overrated Humpday, both of which, coincidentally, the director of this film was involved in. Starring in the latter and directing the former, Mark Duplass has once again stepped behind the camera with his brother Jay Duplass and churned out another awkward, misguided, unfunny movie.

John C. Reilly plays John, a lonely, desperate man who has been divorced from his wife Jamie, played by Catherine Keener, for seven years. Despite this, they remain friends and she acts as his confidante. One night, she pressures him into heading out to a party with her where he meets a host of women, none of whom seem very interested. That is until he meets Molly, played by Marisa Tomei. He instantly falls for her, but soon finds out that she has a 21 year old son still living with her. His name is Cyrus, played by Jonah Hill, and although he acts courteous, John suspects Cyrus may not want him in their home.

The pairing of John C. Reilly and Marisa Tomei is the most unbelievable hookup since Katherine Heigl and Seth Rogen in Knocked Up, and I say that not only because their physical appearances are on two different plains, but because I can’t see any woman finding a shred of affection for Reilly’s character. They first bump into each other as he’s urinating in the bushes outside, stumbling over his words in a drunken stupor and instead of taking interest in her, he rushes inside when he hears his favorite song playing and makes an idiot of himself. Next thing you know, they’re in bed together post-sex. Nothing about the set-up came close to resembling any type of reality because if women were attracted to drunken men acting like morons, I’d have prospects lining up around the block.

So it’s a stretch. I suppose that’s ok. The bulk of the movie is spent with Cyrus and as long as that worked, it would be easy to look past the weak opening. But it doesn’t. The reason is that the titular character is handled so haphazardly you never truly get a feel for what he’s thinking. He clearly resents John for infiltrating his household and threatening to tear his mother away from him and he uses humiliation tactics to prove his point, but there’s an odd sexual tension bubbling underneath. Is he upset because he’s losing his mother or because he can’t, as he puts it, love her the way John can?

It’s worrisome to say the least, but his quirks don’t end there. At times, Cyrus is voyeuristic and watches John and his mother as they walk through the door and make their way to the couch about to partake in some sexual activity. At others, he seems to have homicidal tendencies, appearing behind John at night with a knife and a cold blank stare. There’s something unsettling about Cyrus, deliberate or not, that keeps this movie from leaving the ground.

But then out of nowhere it reverses tones and concludes on an upbeat, happy-go-lucky sequence where the previous tension and hatred dissolves faster than an antacid in water, which didn't fit the sometimes dark and uncomfortable hour and 20 minutes preceding it.

Cyrus simply isn’t very good narratively, but it fails from a technical standpoint as well. It's shot like an amateur home video, full of camera zooms and intentional poor framing, which worked against its intended purpose. Instead of drawing me in through what the directors hoped was a more realistic documentary-esque feel, it became a distraction and pushed me away.

That those are only the beginning of my criticisms shows how hackneyed this poor excuse for a film is. Although categorized by some as “mumblecore,” I would argue it contradicts too many of that genre’s defining features to be considered such. But you can call it what you want. Cyrus is a mess either way.

Cyrus receives 1.5/5