It took me two viewings but I'm now more than convinced that Silver Linings Playbook is one of the very best films of the year and one that almost anybody can appreciate. When creating a "disease dramadey" a director has to walk a very thin tightrope. If it is too funny, then it can be seen as being offensive to those with the disease. If it is too dramatic, then it can be perceived as ringing false or being melodramatic. David O. Russell manages to walk this tightrope with ease, however, and the audience is better off for it. Silver Linings Playbook is a very funny, but also appropriately dramatic film that deals with mental disorders realistically and also showcases some of the best performances of the year.
Having read the book of which the film is based, I was a bit apprehensive while walking into the theater. Russell is a talented director, no doubt, but the source material is heavily cliched and could easily translate terribly to film. For the most part, the film is faithful (with the exception of a much different, and considerably better, ending) yet the cliches, which are certainly present, don't even come close to the levels of annoyance they reached in the novel. Silver Linings Playbook is an example of how great direction, a talented cast and true emotional connectivity can better a film.
Let's be honest- we all know how the film will end. I won't explicitly spoil anything, but by looking at the poster or watching the trailers I highly doubt potential audience members will be scratching their heads and debating about the film's possible outcomes. That's not a bad thing though. In fact, Russell goes out of his way to show that the "will they/won't they" relationship between Cooper and Lawrence (who have enough chemistry to light up the screen, by the way) is not the main plot of the film. This is a movie about personal struggles with the obstacles in life, and as significant as the bond between these two characters is the main focus of the story is really on Cooper and his struggles to overcome his illness and find a silver lining amongst the troubles in his life. Likewise, Lawrence's Tiffany isn't looking for a man so much as she is trying to find somebody that understands what she goes through with her mental illness.
That's not to discredit the romance, however, which I truly found myself invested in. That's entirely a testament to Cooper and Lawrence, who sell the film (and their characters) perfectly. Finding some comedy behind their illnesses but never exploiting or forgetting the dramatic side to it, both actors are worthy of Oscar nominations. Cooper, who I previously only knew as "that douchebag from The Hangover", is simply incredible here, and is perfectly complimented by Lawrence, who, despite being only twenty two years old, has managed to prove again and again how talented she is. Both actors know how to handle their dramatic moments well without going over the top, and have fantastic comedic timing. Cooper goes for a more subtle, quiet performance but Lawrence is like a firecracker, exuding attitude and making quite an impression from the moment she walks on screen. Just look at her scene with De Niro- who's also terrific, by the way. The sequence in which Tiffany and Pat Sr. fight about the superstitious forces controlling the outcome of Philadelphia Eagles' games (which play a major part in the story) remains my favorite moment of any films this year. The way Lawrence, who is a beloved but still young member of this industry, and a veteran like De Niro go toe-to-toe in a realistic but charming faction showcase just how much talent is involved with this film, both on screen and off.
Playbook is also one of the few films I've seen this year that have actually managed to connect with me on an emotional level. This year has been one of technical achievements (Cloud Atlas, The Master and Argo, for example) but very few movies that have made me fall in love with it's characters and smile the whole way through. And that's because O. Russell manages to make everything feel so real and doesn't go for big emotional speeches or shockingly dramatic twists. Any important procolomations that must be made are done so in as few words as possible. Take, for example, De Niro's tearful talk with Cooper about his own shortcomings as a father. In a lesser director's hand, the depressing music would be blaring through the speakers and De Niro would be crying hysterically. Instead, the moment is quick, quiet, and natural. De Niro's teary eyes feel well earned. Then there is the sexual tension between Cooper and Lawrence. I was reminded of classic film couples, like Lemon and MacLaine from The Apartment, whenever they shared the screen, yet they spoke with a decidedly modern (and, occasionally, foul mouthed) tongue.
I'm not sure what it was about this film that it took me two times to realize just how much I loved it. But, I implore you, please seek it out and support it. This is one of the best films I've seen this year, and one that definitely needs support from all corners as Oscar season sneaks upon us. Cooper, De Niro and especially Lawrence give fantastic performances and, I promise, by the twenty minute mark you'll be so invested in the film you won't care about the cliches. Instead, you'll sit back, smile, and prepare to be swept off your feet by this charming little film.
OVERALL GRADE: A+
Monday, December 3, 2012
My next batch of Oscar predictions...
Will be arriving on Thursday, December 13th. I decided it'd be better off to wait till after the GG nominations are announced as it would probably be more accurate.
Monday, November 19, 2012
Skyfall- A Fun Ride From Start to Finish
Confession: I've never seen a James Bond film. Does that make me a bad film geek?
I'm not sure, but having seen Skyfall I suppose my days of being a 007 virgin are done with, and I don't think I could have selected a better film to take it away from me. Skyfall is a great action film that will keep audiences, Bond fan or not, on the edge of their seat. This is a pure adrenaline ride filled with all the action, beautiful women and witty one liners (I've heard) a 007 film deserves.
Comparisons to The Dark Knight are certainly warranted when talking about Skyfall as this film certainly seems intent on living out the typical character arc that 'dark and edgy heroes' must undergo these days. In fact, certain scenes felt like they were lifted out of Nolan's genre defining Batman film. That's not a criticism so much as it is an observation. While I was constantly aware of how similar the two films were, it never bothered me, simply because the film has some very distinct differences. Daniel Craig, and James Bond himself, are very different people than Christian Bale and Batman, making this feel like a familiar ride in a very different vehicle. The plot may be moody and dark, but the tone director Sam Mendes and Craig strike is a lot more lighthearted than you may think. There are a ton of one liners, charming banter, and outright fun displayed on screen where it doesn't feel like a complete rip off. Add in a screenplay that may be riddled with plot holes but can at least acknowledge the fact that Bond is aging (it's his 50th birthday, to be precise), and you have yourself a film that's not copying Nolan's trilogy but, instead, feels inspired by it.
Then there's the action. I've been very picky (read: angry) about the action films this year and their inability to entertain me in the slightest, with the exception of The Avengers. Skyfall is, by far, the best action film since Joss Whedon's superhero epic, and features some of the most exhilarating scenes of the year. Special mention must be made of the film's opening sequence, which literally throws audiences into the action. Making the action even better is the stunning cinematography from Roger Deakins. This film is absolutely phenomenal to look at and is worth picking up on Bluray solely to see the film in HD.
I also don't think you can even begin to review Skyfall without making mention of Javier Bardem's thrilling villain, Silva. Bardem is terrifying, entertaining and oddly charismatic as this psychopath of a character, and watching him interact with Bond (or, any character really) is a thrill. Bardem is so good it feels like almost all of his actions are improvised on the spot, as he is completely in character. The rest of the cast is strong (what do you expect with legends like Judi Dench and Ralph Fiennes?) but nobody comes close to Bardem's level in this film.
Skyfall has nothing profound to say, other than that the Bond franchise will truly never die, but it'd be nice to have a fun diversion to the sometimes weighty Oscar fare will be exposed to as the year goes on. This is a truly entertaining film which, I think will leave many satisfied. So, if you find yourself looking for a good time at the movies later this year, check out Skyfall, Bond fan or not.
OVERALL GRADE: A-
I'm not sure, but having seen Skyfall I suppose my days of being a 007 virgin are done with, and I don't think I could have selected a better film to take it away from me. Skyfall is a great action film that will keep audiences, Bond fan or not, on the edge of their seat. This is a pure adrenaline ride filled with all the action, beautiful women and witty one liners (I've heard) a 007 film deserves.
Comparisons to The Dark Knight are certainly warranted when talking about Skyfall as this film certainly seems intent on living out the typical character arc that 'dark and edgy heroes' must undergo these days. In fact, certain scenes felt like they were lifted out of Nolan's genre defining Batman film. That's not a criticism so much as it is an observation. While I was constantly aware of how similar the two films were, it never bothered me, simply because the film has some very distinct differences. Daniel Craig, and James Bond himself, are very different people than Christian Bale and Batman, making this feel like a familiar ride in a very different vehicle. The plot may be moody and dark, but the tone director Sam Mendes and Craig strike is a lot more lighthearted than you may think. There are a ton of one liners, charming banter, and outright fun displayed on screen where it doesn't feel like a complete rip off. Add in a screenplay that may be riddled with plot holes but can at least acknowledge the fact that Bond is aging (it's his 50th birthday, to be precise), and you have yourself a film that's not copying Nolan's trilogy but, instead, feels inspired by it.
Then there's the action. I've been very picky (read: angry) about the action films this year and their inability to entertain me in the slightest, with the exception of The Avengers. Skyfall is, by far, the best action film since Joss Whedon's superhero epic, and features some of the most exhilarating scenes of the year. Special mention must be made of the film's opening sequence, which literally throws audiences into the action. Making the action even better is the stunning cinematography from Roger Deakins. This film is absolutely phenomenal to look at and is worth picking up on Bluray solely to see the film in HD.
I also don't think you can even begin to review Skyfall without making mention of Javier Bardem's thrilling villain, Silva. Bardem is terrifying, entertaining and oddly charismatic as this psychopath of a character, and watching him interact with Bond (or, any character really) is a thrill. Bardem is so good it feels like almost all of his actions are improvised on the spot, as he is completely in character. The rest of the cast is strong (what do you expect with legends like Judi Dench and Ralph Fiennes?) but nobody comes close to Bardem's level in this film.
Skyfall has nothing profound to say, other than that the Bond franchise will truly never die, but it'd be nice to have a fun diversion to the sometimes weighty Oscar fare will be exposed to as the year goes on. This is a truly entertaining film which, I think will leave many satisfied. So, if you find yourself looking for a good time at the movies later this year, check out Skyfall, Bond fan or not.
OVERALL GRADE: A-
Flight- Doesn't Add Up to the Sum of It's Parts
The trailer for Flight sells the first twenty minutes of the film. The rest of the movie? That would require a different trailer entirely. This is more Leaving Las Vegas than whatever sort of film the marketing team put together, and that's not a bad thing. But while Leaving Las Vegas was an unflinching, extremely dark film about alcoholics and drug addicts, Flight tries to have it's cake and eat it too. Mind you, I'm not comparing the two films, just saying that Flight tries hard at being an edgy drama, somewhat succeeds, and then tries to tack on an overly emotional finale. The result is a stunningly well acted, but overly preachy, drama that's worth seeking out but isn't as great as the sum of its parts.
You can't talk about Flight, however, without first addressing the actual flying scene. Believe the hype: this is one of the most intense scenes of the year, with stunning direction from Robert Zemeckis. It's the sort of scene that I'd love to see deconstructed at some point in the future, so we can figure out how exactly he managed to direct it the way he did. It's an astonishing sequence to behold, and really sets you up for an intense film. Unfortunately, the rest of the film never regains the same momentum.
Now, that's not a bad thing. The rest of the film is entertaining and I certainly was never bored. But, there is no denying that the rest of the film feels significantly different than that sequence. In fact, it feels like a bit of a different film. This is a story about two addicts, pilot Whip (Washington) and photographer Nicole (Kelly Reilly, who is not even featured in the trailers or commercials), and how they deal with their troubling pasts and questionable future. This is where the film starts to come apart at the seams. I'll try to avoid spoilers, but Whip's road to redemption is, obviously, a bumpy one. His troubles along the way are necessary for good drama, yes, but I wouldn't have minded a few less pitfalls along the way. It feels a bit redundant when halfway through the film Whip decides to stop drinking as we know he's going to have to take a drink, for the sake of the plot, at a later time. I also find his relationship with Nicole to be a bit questionable. Their is certainly sexual tension between them and, (minor spoiler) they sleep together shortly after meeting, but are they romantic? Or are they just friends? It's never completely addressed, and due to that we never get a real sense of the stakes at hand. Why is it that Nicole wants Whip to sober up so badly near the end of the film?
The film also has an uneven mixture of "edginess" and hopefulness. What I loved (and, in a way, hated) about Leaving Las Vegas is the way it repeatedly punched the viewers in the gut with the turns in the plot, refusing to sell out at any point and provide an unrealistic happy ending. Flight attempts to provide the same edginess, but never reaches that same point. Sure, we see a surprising amount of nudity, lots of drug use, and some pretty dark scenes depicting Whip's alcoholism, but it's never nearly as dark as we are lead to believe. Then, at the end, the film tries to become optimistic and hopeful, which completely negates the dark tone of the first half. It's uneven and more than a bit clumsy.
Yet, there is a lot to praise about this film. Namely, Denzel Washington. One of the few movie stars we have left in America, Denzel turns in what is most likely his strongest performance as Whip. It's a role that, I feel, deserves an Oscar nomination and all the praise he's been receiving. It's hard to play a drunk- you can be too over-the-top, unintentionally funny, or just not drunk enough. Washington does it all perfectly, making us root for Whip but also feel pity and get angry whenever he takes another drink. Washington is also surrounded by a stellar supporting cast, all of whom give in wonderful performances. John Goodman, Don Chedale, and Tamara Tunie are all fantastic, while relative newcomer Kelly Reily really left me impressed with just how talented she was.
I also enjoyed the way faith was incorporated into the film. Sure, some will say that the film was too preachy. And, in a way, it was. The filmmakers are not exactly subtle about the religious theme in the film. Yet, I totally bought it. Growing up in a very religious home, I sat through many "Christian" films which, frankly, are terrible. Although I now identify as agnostic, it still makes me upset to see the idea of God and religion being saved for such crappy films. Flight may not be subtle about the idea of a "higher power" but I at least respect the fact that they treat religion in a realistic and fairly dark way, and don't just rely on it as a cheesy plot device.
Flight features one of the best performances of the year but it's not one of the best films of the year. I wholly recommend it as a performance piece for Washington and I definitely think it will play differently to each audience member, but it just didn't completely appeal to me. With a tighter script and the decision to either become more dark or less dark, this could have been great. In the end, it's just good.
OVERALL GRADE: B
You can't talk about Flight, however, without first addressing the actual flying scene. Believe the hype: this is one of the most intense scenes of the year, with stunning direction from Robert Zemeckis. It's the sort of scene that I'd love to see deconstructed at some point in the future, so we can figure out how exactly he managed to direct it the way he did. It's an astonishing sequence to behold, and really sets you up for an intense film. Unfortunately, the rest of the film never regains the same momentum.
Now, that's not a bad thing. The rest of the film is entertaining and I certainly was never bored. But, there is no denying that the rest of the film feels significantly different than that sequence. In fact, it feels like a bit of a different film. This is a story about two addicts, pilot Whip (Washington) and photographer Nicole (Kelly Reilly, who is not even featured in the trailers or commercials), and how they deal with their troubling pasts and questionable future. This is where the film starts to come apart at the seams. I'll try to avoid spoilers, but Whip's road to redemption is, obviously, a bumpy one. His troubles along the way are necessary for good drama, yes, but I wouldn't have minded a few less pitfalls along the way. It feels a bit redundant when halfway through the film Whip decides to stop drinking as we know he's going to have to take a drink, for the sake of the plot, at a later time. I also find his relationship with Nicole to be a bit questionable. Their is certainly sexual tension between them and, (minor spoiler) they sleep together shortly after meeting, but are they romantic? Or are they just friends? It's never completely addressed, and due to that we never get a real sense of the stakes at hand. Why is it that Nicole wants Whip to sober up so badly near the end of the film?
The film also has an uneven mixture of "edginess" and hopefulness. What I loved (and, in a way, hated) about Leaving Las Vegas is the way it repeatedly punched the viewers in the gut with the turns in the plot, refusing to sell out at any point and provide an unrealistic happy ending. Flight attempts to provide the same edginess, but never reaches that same point. Sure, we see a surprising amount of nudity, lots of drug use, and some pretty dark scenes depicting Whip's alcoholism, but it's never nearly as dark as we are lead to believe. Then, at the end, the film tries to become optimistic and hopeful, which completely negates the dark tone of the first half. It's uneven and more than a bit clumsy.
Yet, there is a lot to praise about this film. Namely, Denzel Washington. One of the few movie stars we have left in America, Denzel turns in what is most likely his strongest performance as Whip. It's a role that, I feel, deserves an Oscar nomination and all the praise he's been receiving. It's hard to play a drunk- you can be too over-the-top, unintentionally funny, or just not drunk enough. Washington does it all perfectly, making us root for Whip but also feel pity and get angry whenever he takes another drink. Washington is also surrounded by a stellar supporting cast, all of whom give in wonderful performances. John Goodman, Don Chedale, and Tamara Tunie are all fantastic, while relative newcomer Kelly Reily really left me impressed with just how talented she was.
I also enjoyed the way faith was incorporated into the film. Sure, some will say that the film was too preachy. And, in a way, it was. The filmmakers are not exactly subtle about the religious theme in the film. Yet, I totally bought it. Growing up in a very religious home, I sat through many "Christian" films which, frankly, are terrible. Although I now identify as agnostic, it still makes me upset to see the idea of God and religion being saved for such crappy films. Flight may not be subtle about the idea of a "higher power" but I at least respect the fact that they treat religion in a realistic and fairly dark way, and don't just rely on it as a cheesy plot device.
Flight features one of the best performances of the year but it's not one of the best films of the year. I wholly recommend it as a performance piece for Washington and I definitely think it will play differently to each audience member, but it just didn't completely appeal to me. With a tighter script and the decision to either become more dark or less dark, this could have been great. In the end, it's just good.
OVERALL GRADE: B
Sunday, November 18, 2012
Magic Mike- By Far, The Biggest Surprise of 2012
As a straight male in the prime of his youth, watching a film in which Channing Tatum, Alex Pettyfr and other attractive 20-30something men prance around in thongs while women scream in ecstasy just doesn't sound like a good time. But Showgirls this is not. And if any award must be handed out for this film, I feel like it simply has to be Most Misleading Advertising Campaign to whoever marketed this blockbuster hit. This film is not some plotless comedy that serves as a vehicle for People's Sexiest Man of 2012 to strip off his clothes. This is an intelligent, well directed and extremely entertaining movie that I'd be willing to bet...wait for it...guys would enjoy more than women.
In a weird way, Magic Mike is the story of what it means to be a man in today's society. Are we supposed to be brimming with masculinity and obsessed with trying to dominate the women in our lives? Are we supposed to be financially successful? How long can we live a life of "fun" before we have to get serious? These are the questions that Magic Mike subtly poses throughout the film. But, the film is certainly more interested in keeping the audience entertained, which brings me to the stripping scenes. Now, granted, I'm not attracted to Channing Tatum (or any in the men of this movie) but I just cannot imagine how anybody would be turned on by the stripping scenes. With a single exception, the scenes are so over the top and cheesy that, in my opinion, it removes any sort of eroticism from the film. That's not a flaw- this was obviously Steven Soderbergh's intention- but it's just an observation I had. To be frank, if you are uncomfortable with watching this film because of the stripping scenes, I just have to assume that you're uncomfortable with your sexuality. Because, honestly, there is nothing remotely sexual about this film. And, if you are really worried about seeing (gasp!) a few male asses and a silhouetted penis, don't worry, Olivia Munn takes off her top within the first three minutes of the film.
Back to the "fun" aspect of the film, this movie, while occasionally serious at times and posing some interesting questions, is primarily a comedy. And a hilarious one at that. The film is genuinely amusing throughout and features a surprising compelling storyline, one that feels like a 2012 update of All About Eve set in the world of male stripping. The stripping scenes are so over the top you can't help but laugh (and wonder how the hell these men aren't being arrested for sexual harassment) and the non-dance scenes are just as amusing. Even the 'serious' moments in the film aren't all that serious. Magic Mike kept me constantly absorbed in the movie.
I also marveled at how realistic the film felt. In a more, shall we say, theatrical interpretation of this plot, we'd be forced to sit through dramatic speeches, over-the-top professions of love and wacky hijinks. Soderbergh, however, treats the film as if it's a documentary. Even the music in the film, which was one of the highlghts for me, comes from stereos being played in the film. This is a very natural movie, one that avoids the cliches of this genre and feels oddly refreshing.
The cast also sells the naturalism. The biggest shock in the film: how well Channing Tatum can act. Now, I never hated Channing Tatum but there was no denying he was a bit...wooden. I guess it just took a brilliant director to get a great performance out of him though! Maybe it's because the story is inspired by his own life, but Tatum delivers a performance in which he feels completely comfortable. Radiating charisma, likability and a genuine sweetness, I wish the Academy would seriously consider him as a Best Actor candidate. In supporting roles, Alex Pettyfr and (especially) Matthew McConaughey impress, despite the fact that I despised them in most other films I've seen them in.
By far the film's biggest problem is actress Cody Horn. Now, Ms. Horn has potential as an actress and I think, with the right material, will give a strong performance at some point. But, Magic Mike just isn't that film. Horn comes off as awkward, emotionless and, frankly, a little boring. Tatum and his fellow actors all give understated performances, and I suppose that's what Ms. Horn is going for, but she instead comes off as robotic. Take, for example, a scene where she enters the strip club and watches a man dance on the stage. The camera consistently cuts back and forth to the performance and her face. But what is she feeling? Angry? Upset? Disturbed? Indifferent? We can't tell from her face, and that is quiet distracting.
I also wish we got to learn more about the supporting strippers in the film. Other than Tatum's Mike, Petyfrr's The Kid, and McConaughey's Dallas, we learn very little about the men in the movie. While, yes, they aren't important to the film's overall narrative arc, it'd be nice to see them do a bit more on screen. They, in the end, feel like colorful supporting characters that never really do much. Especially since many of them are played by relatively popular and talented actors.
I really can't stress enough how much I recommend this film. I went in with relatively low expectations and came out completely surprised. As of right now, it certainly places in my Top 10 of the year and can see it making the final cut. It's a well directed, extremely entertaining film that's not nearly as brainless as the trailers would lead you to believe. Check it out.
OVERALL GRADE: A
In a weird way, Magic Mike is the story of what it means to be a man in today's society. Are we supposed to be brimming with masculinity and obsessed with trying to dominate the women in our lives? Are we supposed to be financially successful? How long can we live a life of "fun" before we have to get serious? These are the questions that Magic Mike subtly poses throughout the film. But, the film is certainly more interested in keeping the audience entertained, which brings me to the stripping scenes. Now, granted, I'm not attracted to Channing Tatum (or any in the men of this movie) but I just cannot imagine how anybody would be turned on by the stripping scenes. With a single exception, the scenes are so over the top and cheesy that, in my opinion, it removes any sort of eroticism from the film. That's not a flaw- this was obviously Steven Soderbergh's intention- but it's just an observation I had. To be frank, if you are uncomfortable with watching this film because of the stripping scenes, I just have to assume that you're uncomfortable with your sexuality. Because, honestly, there is nothing remotely sexual about this film. And, if you are really worried about seeing (gasp!) a few male asses and a silhouetted penis, don't worry, Olivia Munn takes off her top within the first three minutes of the film.
Back to the "fun" aspect of the film, this movie, while occasionally serious at times and posing some interesting questions, is primarily a comedy. And a hilarious one at that. The film is genuinely amusing throughout and features a surprising compelling storyline, one that feels like a 2012 update of All About Eve set in the world of male stripping. The stripping scenes are so over the top you can't help but laugh (and wonder how the hell these men aren't being arrested for sexual harassment) and the non-dance scenes are just as amusing. Even the 'serious' moments in the film aren't all that serious. Magic Mike kept me constantly absorbed in the movie.
I also marveled at how realistic the film felt. In a more, shall we say, theatrical interpretation of this plot, we'd be forced to sit through dramatic speeches, over-the-top professions of love and wacky hijinks. Soderbergh, however, treats the film as if it's a documentary. Even the music in the film, which was one of the highlghts for me, comes from stereos being played in the film. This is a very natural movie, one that avoids the cliches of this genre and feels oddly refreshing.
The cast also sells the naturalism. The biggest shock in the film: how well Channing Tatum can act. Now, I never hated Channing Tatum but there was no denying he was a bit...wooden. I guess it just took a brilliant director to get a great performance out of him though! Maybe it's because the story is inspired by his own life, but Tatum delivers a performance in which he feels completely comfortable. Radiating charisma, likability and a genuine sweetness, I wish the Academy would seriously consider him as a Best Actor candidate. In supporting roles, Alex Pettyfr and (especially) Matthew McConaughey impress, despite the fact that I despised them in most other films I've seen them in.
By far the film's biggest problem is actress Cody Horn. Now, Ms. Horn has potential as an actress and I think, with the right material, will give a strong performance at some point. But, Magic Mike just isn't that film. Horn comes off as awkward, emotionless and, frankly, a little boring. Tatum and his fellow actors all give understated performances, and I suppose that's what Ms. Horn is going for, but she instead comes off as robotic. Take, for example, a scene where she enters the strip club and watches a man dance on the stage. The camera consistently cuts back and forth to the performance and her face. But what is she feeling? Angry? Upset? Disturbed? Indifferent? We can't tell from her face, and that is quiet distracting.
I also wish we got to learn more about the supporting strippers in the film. Other than Tatum's Mike, Petyfrr's The Kid, and McConaughey's Dallas, we learn very little about the men in the movie. While, yes, they aren't important to the film's overall narrative arc, it'd be nice to see them do a bit more on screen. They, in the end, feel like colorful supporting characters that never really do much. Especially since many of them are played by relatively popular and talented actors.
I really can't stress enough how much I recommend this film. I went in with relatively low expectations and came out completely surprised. As of right now, it certainly places in my Top 10 of the year and can see it making the final cut. It's a well directed, extremely entertaining film that's not nearly as brainless as the trailers would lead you to believe. Check it out.
OVERALL GRADE: A
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