Then She Found Me (2007) [R] ***

April (Helen Hunt) is almost forty, and a primary school teacher. She would love to have a child, but so far she and her husband Ben (Matthew Broderick) haven't been successful in getting her pregnant. Her elderly mother suggests adoption, but April, who was an adopted child herself, wants her own baby. Then Ben confesses to her, like an immature juvenile, that this isn't the life he wanted; he exits, moving back in with his mother. A day later April's mother passes away, and only days after that, Frank (Colin Firth), a single parent of two young children, one of whom is a student of April's, confesses his attraction to her. And if that weren't enough, April receives a message from her birth mother Bernice (Bette Midler), that she wants a relationship with April. April and Frank's relationship begins to blossom, and then Ben reappears in her life.

None of these people are ideal; they're not people we would choose to know. They're all damaged in some way, carrying emotional baggage, telling lies, betraying a trust, pretending to be something that they are not. But, like all of us, they're desperately searching for the human connection that gives meaning to their lives - that makes living worthwhile. And for April, Frank and Bernice the story does have a warm, comforting, life-affirming ending. Hunt, Firth and Midler shine in their roles, and while there's little memorable dialog, the characters are very real. If you like low-key, conversation-laden, character-driven, comedy-dramas, films like As Good as It Gets, Smart People or The Upside of Anger, you will probably enjoy this film. 

Labels: comedy, drama, romance
Internet Movie Database
Metacritic 56/100
RottenTomatoes Averages (critics=55, viewers=62)
Blu-ray

Flawless (2007) [PG-13] ****

It’s 1960, and American businesswoman and Oxford graduate Laura Quinn (Demi Moore) has worked for the London Diamond Corporation (LON DI) for a decade. Just when she thought her brilliance and hard work would be recognized, and she would be the first woman promoted to managing director, she’s once again passed over. She also discovers that her employment contract will not be renewed, and worse, she’s not employable anywhere in the banking industry due to a conflict of interest clause in her contract. Although angry and frustrated, Laura is outraged when she’s approached by Mr. Hobbs (Michael Caine), night janitor at LON DI, with a plan to steal a small quantity of diamonds to secure his comfortable retirement, and her independence. However, the plan seems simple and foolproof, so she agrees to be his partner, and obtain the vault codes. Of course, Hobbs has not shared with Laura his true (and very complicated) motive for the theft. And so, the following morning, when Laura believes that Hobbs has successfully pulled off the diamond theft, the vault is opened and it is discovered that the entire two tons of diamond inventory is missing.

While a story about two heartless and reviled institutions (diamond brokering and insurance underwriting) getting their comeuppance from two very different and apparent powerless individuals, would seem to be a winner, sadly Flawless is flawed. There are no thrills, anxiety or tension around the execution of the plan, and virtually the entire film takes place inside the LON DI offices. There are endless meetings of old men in black suits. In addition, the film is deceiving as well as boring; the theft of the large, blue-white, flawless South African Star diamond depicted on the movie posters and DVD covers is an accidental afterthought of the main theft. If you expect a heist-action-thriller with the entertainment value of Ocean’s Eleven or The Italian Job you will be very disappointed. On the other hand, if you enjoyed The Bank Job or Inside Man, you may be satisfied with Flawless. 

Labels: crime, drama, thriller
IMDb 67/100
MetaScore (critics=57, viewers=71)
RottenTomatoes Averages (critics=57, viewers=66)
Blu-ray

The Last Letter from Your Lover (2021) [TV-MA] ****

A film review by Rachel Labonte for ScreenRant.com on July 22, 2021.

When it comes to romance, Netflix has cemented itself as a home for romantic comedies. Less frequent for the service are romantic dramas, though it appears the streamer is starting to rectify this with The Last Letter from Your Lover. Based on the novel by Jojo Moyes (Me Before You), The Last Letter from Your Lover takes on two well-known tropes* within the romance genre and ties them together in a neat little bow. The result is a sweetly earnest movie that is bound to tug at some heartstrings. The Last Letter from Your Lover is a charming look at two love stories, and while it's hardly anything new, the film holds plenty of warmth.

Opening in 1965, The Last Letter from Your Lover finds society wife Jennifer Stirling (Shailene Woodley) struggling to recall what her life was like before a devastating car accident stole her memories. Her husband (Joe Alwyn) is distant, leading Jennifer to lead her own investigation. The discovery of a passionate note from a writer who signs it simply B pulls her back to the summer when she met Anthony O'Hare (Callum Turner), the charming journalist who was assigned to cover her husband, but fell for her instead. In the present day, fellow journalist Ellie (Felicity Jones) is attempting to pull her own life together when she finds the last of Anthony's letters to Jennifer. She then sets off on her own journey with archives worker Rory (Nabhaan Rizwan) to learn exactly what happened between the star-crossed lovers. [Labonte's rating: 3 stars out of 5 = 60%]

*trope - a movie trope is a literary device for telling a story that communicates something figurative or metaphorical. A trope can be as simple as a common object. In this film one trope is the collection of love letters that Ellie finds, a second trope is the auto accident that leaves Jennifer without some memories that are important to the story, and a third trope is that there are two love stories running in parallel separated by fifty years.

Labels: drama, romance
IMDb 67/100
MetaScore (critics=57, viewers=54)
RottenTomatoes Averages (critics=56, viewers=74)
Netflix

 

The Old Man & the Gun (2018) [PG13] ****

A film review by James Berardinelli for reelviews.net on Oct. 10, 2018.

When Robert Redford announced his retirement from acting in August 2018, it appeared that The Old Man & the Gun would be his swansong and, at least in terms of tone and content, it’s hard to imagine a better way for the veteran actor to bow out. The movie – the story of a lifelong bank robber who can’t fight the compulsion to keep going – is replete with call-backs to screen legend’s career and seems like the perfect way for the Sundance Kid to ride off into the sunset. Then Redford had to spoil it by rescinding his retirement announcement.

Writer/director David Lowery used David Grann’s 2003 New Yorker article as the basis for his screenplay. This allows Lowery to borrow from William Goldman’s Butch Cassidy and the Sundance Kid, where the preface reads: Not that it matters, but most of what follows is true. Lowery maintains a flippant, lighthearted tone throughout and, although the movie is about a bank robbery and features several scenes of the man at work, there’s little in the way of excitement or the usual heist tropes. Only a perfunctory scene or two is devoted to planning and the criminals never use their weapons (although they are shot at on a couple of occasions). The Old Man owns a gun but he doesn’t fire it. We’re not even sure it’s loaded.

Redford plays career crook Forrest Tucker, a 74-year old who lives for two things: robbing banks and escaping from the prisons where he’s placed after committing the crimes. The movie transpires in 1981, although there’s something about the easy-going atmosphere and rural Texas setting that recalls an earlier era. Two years before, Tucker escaped from San Quentin, and now (while on the lam) he has reunited with pals Teddy (Danny Glover) and Waller (Tom Waits) to do a few jobs. After a string of successes, the Over-the-Hill Gang gains some notoriety, which makes cop John Hunt (Casey Affleck) all the more determined to bring them down. While dodging the police and planning more robberies, Tucker finds the time to romance a widow, ranch owner Jewel (Sissy Spacek), who is swept away by his charm, even though she mistakes his honesty for evasion and doesn’t believe a word about who he claims to be.

The Old Man & the Gun’s problems relate to a lack of balance. The movie is fine when it focuses on Redford – at least until the anti-climactic final act when it loses energy and momentum – but dead-in-the-water where the other actors/characters are concerned. This would be okay if Redford was in nearly every scene but Lowery tries to develop Hunt as a counterpoint to Tucker and beefing up his story requires screen time. Affleck’s dour, laconic portrayal isn’t right for the role and nearly every scene with Hunt (except the one in the restaurant bathroom) made me wish the director would cut to someone else. Contrary to popular opinion, it’s possible to miscast an Oscar-winning actor. Aside from the aforementioned bathroom scene, there’s no payoff with Hunt and he ends up seeming like a loose end that’s never effectively tied off. The Old Man & the Gun is also guilty of wasting the combined talent of Sissy Spacek, Danny Glover, and Tom Waits. Hell, Lowery doesn’t even give Danny I’m too old for this shit Glover a chance to speak his signature line despite multiple opportunities.

The movie climaxes around the 70-minute mark. Unfortunately, there are still 20 minutes left for a rambling epilogue. One of the problems with a based-on-reality story can be finding the appropriate ending and that’s something Lowery has trouble with. In real life, Tucker died in prison in 2005 but, since that wasn’t how the writer/director wanted his movie to conclude, he stumbles around finding an alternative. The breezy pacing of the first hour crumbles toward the end, making The Old Man & the Gun seem like 2/3 of a good movie and 1/3 something less.

If there’s a reason to see the movie, it’s Redford, whose charismatic, mature presence argues that age has done nothing to diminish his ability to command the screen. Once a movie star, always a movie star. If he never acts in another movie, there will be something appropriate about ending a career with this film. But, if he makes something else, The Old Man & the Gun will become just another minor title on an impressive filmography. [Berardinelli’s rating: 2.5 stars out of 4 = 62%]

Labels: biography, comedy, crime, Robert Redford, thriller
IMDb 67/100
MetaScore (critics=80, viewers=67)
RottenTomatoes Averages (critics=76, viewers=70)
Blu-ray
Berardinelli’s online review

The Starter Wife (2007-TV miniseries) [UR] ****

After twelve years of helping her husband Kenny (Peter Jacobson) climb the film studio corporate ladder to become president, Molly Kagan (Debra Messing) gets dumped for a young starlet named Shoshanna (Trilby Glover). At first, Molly is devastated. Some of her friends abandon her, she loses her club membership, and she's ignored at exclusive restaurants. Fortunately, her good friend Joan (Judy Davis) invites her to house-sit her beach-front Malibu Colony home for the summer. Joan is an alcoholic, and when her husband sends her to a spa in Ojai, Molly helps her escape. Molly and Cricket (Miranda Otto) are very close, but Cricket's film director husband Jorge (Aden Young) needs Kenny to greenlight his project and he forces Cricket to cut Molly off. Then Cricket catches Jorge with their Russian nanny. Molly's gay decorator friend Rodney (Chris Diamantopoulos) is flat broke and has commitment issues. Lavender (Anika Noni Rose), the colony's security guard, is being evicted from her apartment, along with her grandmother and dog. Lou Manahan (Joe Mantegna) the studio CEO is bored with his life and contemplates dropping out - or worse. And homeless drifter Sam (Stephen Moyer) saves Molly from drowning when her kayak overturns, and then asks her if her life was worth saving.

The Starter Wife would have been a good 100-minute film, but there are too many non-essential sub-plots and supporting characters. Messing has romantic opportunities with both Mantegna and Moyer, but there's no chemistry; Mantegna is much too old for her, and Moyer is too squinty-eyed and weasel-like. Debra Messing is a decent comic actress, but she isn't strong enough to open a film. She needs to be paired with a strong male lead, as she was with Dermot Mulroney in The Wedding Date. For a far better satire on the film industry, I highly recommend David Mamet's State and Main. 

Labels: comedy, drama, filmmaking, romance

Internet Movie Database

Metacritic 72/100

RottenTomatoes Averages (critics=NA, viewers=72)

Interview (2007) [R] ****

Pierre Peders (Steve Buscemi) is a former war correspondent and political reporter who has faked so many sources and stories that his editor no longer trusts his news reports, and has assigned him to write celebrity puff-pieces. Katya (Sienna Miller) is a twenty-something starlet who's agreed to meet Pierre for an interview. Although they meet in a New York City restaurant, most of the interview takes place in Katya's nearby loft.

This independent film feels like a two-person stage play that was authored by David Mamet or Harold Pinter. Both Pierre and Katya are trying to interview the other one; each is trying to be the cat in a cat-and-mouse game. Anything short of physical violence is permissible, including alcohol, drugs, psychological intimidation and seduction. Neither one can trust the other to tell the truth. Pierre is desperate to find something newsworthy to write about, to prove to his editor, and to himself, that he's not a failure - and Katya senses this. Katya is desperate to prove to her viewers, and to herself, that she's a talented actress, and not just a vapid starlet who only gets roles in TV soap operas and horror films - and Pierre senses this.

To make a two-character story like this one succeed requires a great screenplay and two excellent actors, and Interview has these elements. If you enjoy intimate, small-cast, character-driven films like My Dinner with Andre or Two Girls and a Guy, then you will probably enjoy Interview. 

Label: drama   
Internet Movie Database    
Metacritic 64/100    
RottenTomatoes Averages (critics=60, viewers=64)

Oppenheimer (2023) [R] *****

A film review by James Berardinelli for ReelViews.net on July 19, 2023.

With Oppenheimer, writer/director Christopher Nolan steps away from the action/adventure core that has been his bread-and-butter and opts instead to channel his inner David Lean. Despite being overlong and unevenly paced, Oppenheimer contains moments of greatness and features one of the most compelling lead performances (by Cillian Murphy) in recent memory. Unfortunately, some of Nolan’s less admirable tendencies remain in evidence. Some of the artsy visuals (including black-and-white sequences and intercutting with kaleidoscopic images) feel more self-indulgent than organic. The incessant musical score becomes intrusive, especially during the first half. Sound mixing issues once again cause dialogue to be drowned out upon occasion.

Over the nearly 80 years since Oppenheimer became a household name, the media has written, re-written, and scrubbed his reputation to suit the wants and needs of various military and political agendas. Initially a hero when his role as the father of the atomic bomb became known, his sterling image was tarnished by Cold War rumors of ties to the Soviet Union. He lived under an uncertain cloud for the better part of a decade until his receipt of the Enrico Fermi Award in 1963 brought him full circle. Nolan’s film addresses this period of Oppenheimer’s life, shifting backward and forward in time as suits the narrative trajectory.

Oppenheimer hones in on three primary periods and fills in the blanks with various flashbacks and flash-forwards. The jigsaw puzzle structure enables the movie to keep from becoming trapped in the linear chronology regurgitation that hamstrings many bio-pics. Arguably, however, it limits identification with Oppenheimer. A framing device is established during the 1954 Atomic Energy Commission hearing that revoked Oppenheimer’s security clearance. A majority of the movie’s running time focuses on the establishment of the Manhattan Project and the events leading up to the Trinity test in July 1945. The third element of Oppenheimer (the one presented in black-and-white) takes place during the 1959 Senate confirmation hearings for Lewis Strauss (Robert Downey Jr.), the one-time director of the AEC who was largely responsible for Oppenheimer’s fall from grace.

Certain relationships – in particular, the ones between Oppenheimer and his wife, Kitty (Emily Blunt), and his long-time mistress, Jean Tatlock (Florence Pugh) – are underwritten and would have benefitted from additional development. Likewise, many of the scientists involved with the Manhattan Project may seem largely interchangeable to those unfamiliar with their famous names.

Oppenheimer’s crowning sequence is the 20-minute lead-up to the atomic bomb test code-named Trinity. This is Nolan at his best, building suspense (at the time, there were concerns about a near zero chance that an uncontrolled chain reaction could destroy the world) up to the moment then delivering the climax in a historically accurate but unconventional fashion.

Interwoven with the development of the title character’s life story is the moral quagmire that has dogged science since time immemorial but has become more immediate in recent decades: how to decouple the discoveries of science with the ways in which they are appropriated by non-scientists. Oppenheimer’s views evolve over the course of the film. Initially a theorist, he is seduced by the possibilities of the discovery and testing. When forced to confront the implications of a post-atomic world (complete with waking-nightmare images of the human toll), he comes to understand the warnings of Albert Einstein (Tom Conti) and Niels Bohr (Kenneth Branagh).

Cillian Murphy’s amazing work will immediately cement him as an Oscar front-runner. His unsmiling, haunted interpretation of the tortured physicist is Shakespearean. When he utters the famous quote (I am become Death, the destroyer of worlds), it is with the horror of recognition. Unlike many psychologically conflicted characters, Oppenheimer is never made more palatable in order to increase viewer affinity. He is cold and his under-realized relationships with the two women in his life offer little in the way of warmth. Even when presented naked, there is no vulnerability – only unapproachability.

Nolan is such a revered director that he can cast pretty much anyone he wants, even if the role is small. To that end, luminaries such as Matt Damon, Emily Blunt, Florence Pugh, and Kenneth Branagh all make supporting contributions (for Damon and Branagh, these are return engagements). Robert Downey Jr., hidden underneath convincing aging makeup, provides the closest thing that Oppenheimer offers to a villain. Aside from Murphy, who is in about 90% of the scenes, Downey Jr. and Damon have the most screen time. Cameos are provided by a pair of Oscar winners: Casey Affleck (as the creepy Boris Pash) and Gary Oldman (as Harry Truman).

With Oppenheimer, Nolan has turned back the clock to movies like Gandhi, Patton, and Lawrence of Arabia – motion picture spectacles that tell the story of a well-known (and often controversial) historical icon without worrying too much about running time. But a key difference can’t be discounted: the importance of an intermission. All those earlier films had one and it proved to be critical in maintaining audience attentiveness (not to mention managing bladder capacity). It’s possible to keep an audience in thrall for three hours with an action-oriented film but action is not in Oppenheimer’s DNA. The lack of an intermission is a disservice to viewers and the movie.

Oppenheimer is an indication that Nolan refuses to be pigeonholed as a director. While there’s something to be admired about that, this isn’t a home run. Still, many of the flaws are more than compensated for by the flashes of brilliance and the strength of the central character’s presentation. This is not peak Nolan – it pales in comparison with the likes of The Dark Knight and Interstellar – but it is one of the most intriguing high-budget films of 2023. [Berardinelli’s rating: 3 stars out of 4]

Labels: biography, drama, Emily Blunt, history, Matt Damon
IMDb 84/100 
MetaScore (critics=89, viewers=87) 
RottenTomatoes Averages (critics=86, viewers=90) 
Blu-ray 
Berardinelli’s review (3 stars out of 4)