While the story in The Company Men is not literally “ripped from the headlines,” the film deals with a current and important problem. Although the film is not without flaws, the subject matter is compelling, the performances are strong and the film really resonated with me.

“It’s a business, not a charity,” states James Salinger (Craig T. Nelson), head honcho of GTX Corporation. Salinger wants to rationalize the company’s massive layoffs to his longtime friend and second in command Gene (Tommy Lee Jones), but Gene is burdened with a conscience, and wants to protect his division. After 12 years of hard word, Bobby Walker (Ben Affleck) is fired during the first wave of layoffs. Bobby’s supportive wife Maggie (Rosemarie DeWitt) tries to help, but Bobby still must face mounting financial pressures, loss of self esteem and a tight job market in a post banking crisis economy. Longtime employee and Viet Nam veteran Phil (Chris Cooper) is having an even harder time finding a job, after he is fired in the next wave. The film follows the career struggles of Gene, Bobby and Phil as they redefine both their goals and their self images.

Respected television producer/ director/ writer John Wells (ER, The West Wing, Third Watch) penned and directs this earnest and timely film. What I like best about The Company Men is how authentic the specific details of the men’s unemployment feel. The perky and condescending outplacement counselor, the painful job interviews and the embarrassment felt by those without a job are rendered with sensitivity. In fact, anyone who has experienced unemployment or has watched loved ones struggle with unemployment, may have a visceral reaction to some of the scenes in this film. I was especially moved by the reaction of Bobby’s coworkers to his firing. Their worry for their own jobs is so great that they are unable to offer Bobby any support. Director Wells does a nice job of showing the effects of unemployment on these characters without a lot of exposition. Instead, we see them in their new and smaller houses and in their new circumstances. I enjoyed seeing Gene’s struggles with his younger girlfriend Sally (Maria Bello), whose job is to do the actual firing in the company, without a lot of dialogue explaining every detail.

Chris Cooper gives an especially good performance as Phil, the aging employee who has given his life to the company. Cooper is heartbreaking as he swallows his pride to beg former contacts for a job. Tommy Lee Jones is stellar as always as the craggy and compassionate Gene. I think I was supposed to be rooting for Bobby, but Tommy Lee Jones kept me wanting to know more about Gene. Ben Affleck makes a very believable corporate guy and does a nice job of not going over the top in his scenes. Rosemarie DeWitt, so wonderful in Rachel Getting Married, is radiant and charismatic here as Maggie. She deserves more leading roles.

My one quibble with the film is that although GTX does lay off some women, we do not really get see the effects of unemployment on them. But the title is The Company Men. It is not a great film, but it is a good one. And in today’s economic climate, it is a film worth seeing.

The Company Men. Directed by John Wells. Ben Affleck (Bobby Walker), Tommy Lee Jones (Gene McClary), Chris Cooper (Phil Woodward), Maria Bello (Sally Wilcox), Craig T. Nelson (James Salinger), Rosemarie DeWitt (Maggie Walker), Eamonn Walker (Danny) and Kevin Costner (Jack Dolan).  The Weinstein Company, 2010.

Gail sees a movie appears every Wednesday.

Mega producer Ivan Reitman has been producing and directing comedies for over 30 years. He directs and produces a standard romantic comedy here, and that is not such a bad thing. No Strings Attached is amusing, even if it is predicable. But Natalie Portman and a remarkable cast of supporting actors give this unremarkable comedy added laughs and energy.

Medical student Emma (Natalie Portman) is too busy for commitment, and a little bit afraid. When she reconnects with childhood acquaintance Adam (Ashton Kutcher), she proposes a sex only relationship. Adam agrees, but he wants more from Emma. But Adam has to contend with his womanizing superstar father Alvin (Kevin Kline) and his job on a television show. As Emma prepares for her sister Katie’s (Olivia Thirlby) wedding, she must decide if Adam is worthy of a commitment.

No Strings Attached is filled with steamy scenes of Emma and Adam having athletic sex in a variety of places. But more interesting than their burgeoning relationship is the relationship each has with friends and family. Emma lives with lively friends and fellow medical students Patrice (Greta Gerwig) and Shira (Mindy Kaling) and has a close relationship with sister Katie. I loved the scenes in Emma’s apartment as she banters with her wisecracking roommates. I enjoyed watching Adam contend with his childish father and intense co-worker Lucy (Lake Bell), as well as friends Wallace (Ludacris) and Eli (Jake M. Johnson). For me, the best scenes in the film featured these appealing characters, played with great energy and humor by an unusually strong supporting cast.

I am not sure whether to credit mainstream director Ivan Reitman or executive producer Natalie Portman for gathering such a quirky and appealing group of indie actors here, but I am very grateful. They made this film something more than just another hum drum romantic comedy. Indie actress Gerwig, so wonderful in last year’s Greenberg, delivers another terrifically funny and understated performance here. The Office’s Mindy Kaling is charming and adorable. Lake Bell is hilarious as the nervous and intense Lucy, and I found myself rooting for her as she flirts with Adam.  I love Olivia Thirlby in everything, and one of my favorite scenes is when Katie attempts to console Emma as they talk on the phone. “How much money do you have?” Katie asks. When she hears that Emma has less than ten dollars, Katie somberly instructs Emma on what to order from Dunkin Donuts. I was completely charmed by all of these actresses.  As for the men, Kevin Kline is hilarious as usual as Adam’s father Alvin, and he somehow makes this despicable character likable. Jake M. Johnson, whose performance I enjoyed in Paperheart, is funny and appealing as Eli, Adam’s roommate.

I am not an Ashton Kutcher fan, and he gives a performance very similar to the one he gave in the Valentine’s Day. In both films he plays a big goofy guy. It is nice to see Portman in a comedy after her dark performance in Black Swan. She is funny and radiant here and I was invested in all of her scenes, even the ones with Kutcher. She has great chemistry with everyone here, and she made me care about Emma.

Was I thinking about the film for days or even minutes after it was over? No, but it was fun and diverting while I watched it.

No Strings Attached. Directed by Ivan Reitman. Natalie Portman (Emma), Ashton Kutcher (Adam), Kevin Kline (Alvin), Cary Elwes (Dr. Metzner), Greta Gerwig (Patrice), Olivia Thirlby (Katie), Ludacris (Wallace), Jake M. Johnson(Eli),Mindy Kaling(Shira)and Lake Bell (Lucy).  Paramount Pictures, 2011.

Gail sees a movie appears every Wednesday.

It’s not that Country Strong is a terrible film. It is just not a very good film. The talents of Gwyneth Paltrow are wasted in this derivative and formulaic film in the milieu of country music. The music is pleasant enough, the story is momentarily diverting and the performances are pretty good. But in the category of films about music, Country Strong is not even close to as much fun as Burlesque or as good as Crazy Heart.

Country superstar Kelly Canter(Gwyneth Paltrow) is starting her first tour since leaving rehab, but her battle with alcoholism continues. Husband/manager James (Tim McGraw) is pushing her hard, but their marriage is in trouble. Along on the tour is Kelly’s friend, singer/songwriter Beau (Garrett Hedlund) and pageant queen and singer Chiles Stanton, who wants to be star. The obligatory concert scenes are peppered throughout the film, as well as the usual romantic entanglements. As expected, Kelly, the seasoned performer and Chiles, the young upstart compete for fame and men.  Will Kelly give one more big concert or will Chiles become a star?

Writer/director Shana Feste directs without an ounce of subtlety here, although her predictable script does not help her. Most of the film has a music video look to it, with some overwrought scenes in between the musical numbers. Kelly melts down during a performance, falls off the wagon and fights with her husband. Chiles argues/flirts with Beau, overcomes her fears and charms the press. In between, there is lots of country music. It is interesting that real country crooner Tim McGraw is the only one of the four leads whose character does not sing in the film.  The strongest scenes in Country Strong are the smaller scenes between the four main characters, but there are not enough of them to really develop these characters in a meaningful way. Credit the four leads for injecting life and enthusiasm into this film.

Gwyneth Paltrow gives a believable performance as country star Kelly, especially in the concert scenes. Her ever present charm helps to sell the music scenes, and the slight county accent she affects is convincing, but not over the top. I always enjoy watching Paltrow and she does a good job of making the out of control Kelly a sympathetic character. Beautiful Leighton Meester (fans of television’s Gossip Girl will recognize her as the conniving Blair) imbues Chiles with a complexity and vulnerability, and she makes the film more interesting. She also does a good job with the more humorous scenes. When preparing to go onstage, Chiles ask Beau how she looks. Wanting to insult her Beau replies, “Like a country Barbie.”  “Thanks,” Chiles replies sincerely.  When Chiles says that “I am not what I seem,” Meester shows us this in her performance. I enjoyed all of her scenes, especially the scenes with Paltrow, and wish the film had further developed these characters. Garrett Hedlund is likeable enough as Beau, and Tim McGraw is especially good as James. McGraw keeps us guessing as to the character’s intentions, suggesting he is something more than a bad husband. Paltrow, Meester and Hedlund obviously worked hard on their singing and all three of them do a nice job .But they are not singers, and this is a bit of a weakness in this film. Characters in the film keep talking about their great performances, but the actors cannot really deliver musically the way Cher or Christine Aguilera did in Burlesque.

While the performances are strong, and the film contains some nice moments, Country Strong is  forgettable. It would be pleasant enough to watch on cable, but the film is not anything we have not seen before.

Country Strong. Directed by Shana Feste. Gwyneth Paltrow(Kelly Canter), Tim McGraw ( James Canter), Garrett Hedlund (Beau Hutton) and Leighton Meester (Chiles Stanton). Screen Gems, 2010.

Gail sees a movie appears every Wednesday.

“I am in a post graduate delirium,” says Aura (Lena Dunham) the main character in Tiny Furniture.  That may be true, but this small film is more than an indie post graduate comedy. Tiny Furniture contains memorable characters, a good cast and a fresh new voice. It made me laugh and it also moved me.

After graduating college in Ohio, Aura (Dunham), returns home to New York to live with her artist mother Siri (Laurie Simmons) and overachieving seventeen year old sister Nadine (Grace Dunham). Aura reconnects with old friend Charlotte (Jemima Kirke) as she attempts romance with the wrong men and struggles to find her place in the world as an adult. Does it make things more interesting to know that writer/director/ star Dunham graduated from college in Ohio and that her real mother and sister play Aura’s mother and sister? Yes, but that is only part of the appeal. Perhaps there is something to that adage about writing what you know.

Dunham creates characters who are likable (Siri, Charlotte and Aura) and characters who are unlikable (Jed and Keith), but all of the characters are recognizable; at times they seem uncomfortably real. It is obvious that Aura lived a somewhat privileged life, but this has not done much for her self-esteem. Aura wants to be a filmmaker, but her mother’s success as an artist feeds her insecurity. Aura may be smart, naive and vulnerable, but she is never annoying. I wonder why she is attracted to a pompous loser like Jed (Alex Karpovsky), but on some level I understand it. Jed has achieved some YouTube notoriety as The Nietzschean Cowboy (the shots of him pontificating while on a rocking horse are hilarious) and is described as “a little bit famous in an internet kind of way.” His claims of meetings with people at Comedy Central are obviously false or exaggerated, but Aura is feeling so down on herself that she allows him to use her for room and board. Chef Keith (David Call) seems like a better choice, but he talks in clichés and wants her to get him drugs. Aura is sharp enough to notice these shortcomings, but too insecure to challenge these guys. I enjoyed the scenes of Aura’s changing relationships with old friend Charlotte and college friend Frankie (Merritt Wever), but what resonates the most for me is Aura’s journey. She wonders what kind of adult she should be and is afraid to leave the safety of her family. In one of the more revelatory scenes, she argues with her mother after her mother objects to her inconsiderate behavior. “Do you like living here?” Siri asks. “I love living here,” Aura admits. Throughout the film Dunham’s dialogue is sharp and incisive, but never mean.

Dunham the actress is extremely appealing. By Hollywood standards, she may not be model perfect, but she has a vulnerability and sweetness that I found moving. Her deadpan delivery of the film’s funnier lines made them even funnier. When asked if she smokes, Aura replies, “I could.” Laurie Simmons reminds me of Allison Janney, Grace Dunham is just right as Aura‘s know it all little sister and the three have great chemistry together. They are a believable family, perhaps because they are a real family. Jemima Kirke is delightful as the affected and flighty Charlotte, who is a good foil for the more down to earth Aura.  I loved their scenes together. Alex Karpovsky is perfect as the annoying Jed, delivering Jed’s cringe-worthy dialogue with the required arrogance.

The title of the film refers to Siri’s work photographing miniature objects. They are present in many scenes, and at one point Aura touches them with a certain amount of wistfulness. At times Aura seems to feel that she is living a miniature adult life. But Dunham straddles the line between reality and fiction like a seasoned pro. She is close to her subjects, but maintains the right amount of distance to make a good film, a film that won at the South by Southwest Music and Media Conference and Festival. Tiny Furniture reportedly was made for the tiny sum of $25,000, a rare occurrence in an age of ridiculously expensive films. This small low budget film will stay with me for a long time.

Tiny Furniture. Directed by Lena Dunham. Lena Dunham (Aura), Laurie Simmons (Siri), Grace Dunham (Nadine), Jemima Kirke (Charlotte), Alex Karpovsky (Jed), David Call (Keith) and Merritt Wever (Frankie).  IFC Films, 2010.

Gail sees a movie appears every Wednesday.

Kevin Spacey dominates in a film that cannot decide if it is comedy or “ripped from the headlines” drama, or both. Either way, the story of disgraced lobbyist Jack Abramoff is fascinating.

The film follows Abramoff (Kevin Spacey) through his successes as a Republican Washington lobbyist, the scandal involving the Indian casinos, his final venture and his arrest and eventual incarceration. Norman Snider’s screenplay shows Abramoff as a religious Jewish man (in the midst of his collapsing career he plans to open a Jewish day school and a kosher restaurant) who loves his family. He seems to charm people wherever he goes, has private meetings with then President Bush and attends interfaith prayer meetings with powerful members of Congress. Together with his partner Michael Scanlon (Barry Pepper), Abramoff exorbitantly overbills clients like Bernie Sprague (Graham Greene) for lobbying services on behalf of Indian casinos. The film shows Abramoff and Scanlon on elaborate junkets, sometimes trading donations and gifts for votes. Eventually, the two men invest in a casino boat with Adam Kidan (Jon Lovitz). The venture leads to involvement with unsavory characters that are connected to a murder. According to the film, Abramoff felt no remorse for any of his actions; instead he felt they were justified.

Director George Hickenlooper gives the film a light and jaunty feel, which at times seems unsuited to the material. This may also be to blame for some of the uneven performances here.  I have no objection to the laughs, but Casino Jack stops short of a serious and thorough examination of Abramoff’s motives and the real repercussions for all involved with him. We see a lot of his wife Pam (Kelly Preston) and children, but do not really see the effect of the scandal on them. The fantasy sequence in the courtroom seems heavy handed and out of place.

Kevin Spacey gives a terrific, if somewhat larger than life, performance as the morally challenged Abramoff. Spacey’s charisma is appropriate for the role, and we can see why people were so willing to give Abramoff money. Spacey clearly shows the self righteousness that must have fueled Abramoff’s actions. The film shows Abramoff as a movie fan who likes to quote his favorite films, which Spacey does with energy and enthusiasm. “Washington is Hollywood with ugly faces,” Abramoff declares with certainty. Spacey manages to make the hypocrisy of Abramoff’s strong religious convictions and moral lapses somewhat understandable. Barry Pepper plays Michael Scanlon without an ounce of charm. He is so unlikable that he is practically a cartoon. Perhaps director George Hickenlooper felt that this would make Abramoff more likable, but it detracted from the film.  Jon Lovitz is very funny as Adam Kidan, but some more serious details about the man and his situation might have better served the film. The two best supporting performances in Casino Jack belong to Graham Greene and Rachelle Lefevre. Greene plays Bernie Sprague with dignity and holds his own in his scenes with Spacey. Rachelle Lefevre is lovely and dynamic as Scanlon’s wronged girlfriend Emily Miller.

Casino Jack ends with Abramoff in jail. In real life, Abramoff was released from jail in June and was put on home confinement. He worked at a kosher pizza shop for 6 months and is now on probation. I wish the film had taken a more serious look at this complex person.  Casino Jack moves at a fast pace and is easy to watch, but it left me wanting to know more about the real Abramoff.

Casino Jack. Directed by George Hickenlooper. Kevin Spacey (Jack Abramoff), Graham Greene (Bernie Sprague), Barry Pepper (Michael Scanlon), Rachelle Lefevre (Emily Miller), Jon Lovitz (Adam Kidan) and Kelly Preston (Pam Abramoff).  ATO Pictures, 2010.

Gail sees a movie appears every Wednesday.

Before the 2010 wrap party ends, Gail needs to reflect on the 50 plus movies she has seen this year. Think of this list as a party favor.

Movies That Lived Up To Their Hype

These films were actually worth that ever increasing ticket price.

Harry Potter and the Deathly Hallows: Part 1. It is one of my favorite films in the series. The kids are growing up.

The Social Network. This film is nearly perfect. Excellent writing, directing, acting and a compelling true story.

Avatar. Ok, it was released in the waning days of 2009, but I didn’t see it until 2010. I watched it again on HBO recently and I am glad I saw it in 3D/Imax.  I loved seeing this film in the theater.

Little Gems

These excellent films were not hyped, but deserve a big audience.

Jack Goes Boating. Great characters, great cast and a moving and funny story. Score one for Philip Seymour Hoffman and his Labyrinth Theater Company.

Joan Rivers: A Piece of Work. I am still thinking about this film. Even if you are not a Rivers fan, see it.

City Island. This delightful film is a must see. It is funny and moving.

An Education. Smart, interesting and based on a true story. It also has a great cast.

Much Ado About Almost Nothing

This list is much longer than I would like.  I do not understand the loud buzz surrounding these films.

Black Swan. Yes, this highly stylized thriller looks cool and has some great performances. But why the fuss?

True Grit. I like the Coen brothers too, but this western is not all that special.

Alice in Wonderland. It is too childish for adults and too adult for children. What a waste of a good cast and 3D effects. Perhaps it is time to help Tim Burton down from his pedestal?

Inception. Ok, it is exciting and fun, but instantly forgettable. No, it is not the deep life changing film some claim.

Stone. This film literally buzzed with insect sounds that made me want to hit something. Robert De Niro turning in his usual good performance does not automatically make a good film.

Guilty Pleasures

These films might not be for everyone and they may not even be good, but I really enjoyed them.

Burlesque. This film was so much fun. How can you not like Cher and Stanley Tucci?

Nine. I know. I am the only one who liked it.

Eat. Pray. Love. It had its faults, but it appealed to me.

Sex and the City 2. I will follow these women anywhere, even to Abu Dhabi.

Documentaries Can Be Fun

In this category is a great one, a good one and an uneven one, but all three are worthwhile.

Joan Rivers: A Piece of Work. Great.

Waiting for Superman. Good.

Babies. Uneven.

Worth Catching On Cable or DVD.

These small, good films came and went quietly, and that is a too bad

Hereafter. It may not be Eastwood’s best, but this is a good film worth watching.

Cairo Time. The pace is a little slow, but Patricia Clarkson and Alexander Siddig shine in this subtle film about affairs of the heart.

The Kids Are All Right. This may be the biggest film in the small category, but this film is funny and moving, and full of likeable characters and excellent actors.

Cyrus. I really enjoyed this sweet quirky comedy.

Greenberg. Noah Baumbach’s witty comedy grated on some, but I found it funny, compelling and moving.

Solitary Man. Michael Douglas is just terrific in a film that really worked for me.

May I Have A Clothespin For My Nose?

That these comedies are not funny is the least of their faults.

Dinner for Schmucks. Let’s just call it Movie for Schmucks. Enough said.

Grown Ups. Wouldn’t it be hilarious to get four guys who used to be on Saturday Night Live and let them be hilarious in a film? Uh, no.

Date Night. Wouldn’t it be hilarious to put Tina Fey and Steve Carell in a movie together and let them be hilarious? Uh, no.

You Again. This film is so bad that I could not bear to review it. Even worse, it should be charged with the crime of wasting female talent. The ridiculously talented Kristin Chenoweth, Betty White, Kristen Bell, Jamie Lee Curtis and Sigourney Weaver bravely squeeze what laughs they can out of this horrendous hemorrhoid.

Is Anyone Else Sick Of Steve Carell, But Not Jonah Hill?

Steve Carell had the bad taste to appear in both Dinner for Schmucks and Date Night, and makes a convincing case for Carell being overexposed and not that funny,

Jonah Hill is charming and funny in two better comedies, Cyrus and Get Him to the Greek.

Sucker for Romance

This sucker for romance laments the dearth of good rom coms in 2010. Still, I found a favorite romantic moment to keep me warm during the cold winter months of 2011.

Letters to Juliet. This chick flick is ok, but seventy somethings Vanessa Redgrave and Franco Nero are thrilling in supporting roles here. The real life lovers had an off and on romance for years and finally married. They met in the 1967 film of the musical Camelot, where they played star crossed lovers Guenevere and Lancelot. To see them kiss again in a film is a special thrill. If ever I would leave you indeed.

Overall, 2010 was a bit of a cinematic disappointment. Let’s hope for better in 2011. Happy New Year to all of you film lovers.  May the worst film you see in 2011 be better than the best film you saw in 2010.

Gail sees a movie appears every Wednesday.

I have an ambivalent relationship with the Coen brothers. I love some of their early films and last year’s A Serious  Man was one of my favorite films of the year. But while there is much to admire about True Grit, it left me a little cold.

Although she is only fourteen, Mattie Ross (Hailee Steinfeld) is determined to avenge the murder of her father. She leaves her mother and younger siblings and convinces grizzled marshal Rooster Cogburn (Jeff Bridges) to take the job of capturing Tom Chaney (Josh Brolin), the man who murdered her father. Texas marshal LaBoeuf (Matt Damon) is after Chaney for other crimes, and insists on joining the party. Although both men try to leave Mattie behind, she insists on going with them. The search for Chaney consumes most of the film, as the three trek through streams and mountains toward Indian Territories. There is much danger along the way, and a final confrontation with the nasty Chaney. Is a fourteen year old girl any match for these guys?

The Coen brothers told their actors that this film was not a remake of the 1969 True Grit starring John Wayne, but instead was a faithful reinterpretation of the Charles Portis novel. It is unclear if the film is supposed to be an homage or a comment on the genre, but either way, your level of enjoyment of this film may be predicated on your feelings about Westerns. All of the characters eschew contractions, and use a kind of stylized highly formal speech. At times the effect is humorous. After Cogburn insists Mattie climb a tree and cut down a corpse in case the deceased is someone he knows, he looks at the dead man and says somberly, “I do not know this man.”  The film contains some exciting sequences, especially the shoot out and scenes of Mattie and a snake, but the film moves at a slow pace. The relationship between the characters and the lead actors are the strongest features of True Grit.

Jeff Bridges turns in another strong performance as tough guy Rooster Cogburn. He uses the slurry speech he used in Crazy Heart, and although he is sometimes difficult to understand, he balances Rooster’s toughness with loads of charisma.  Bridges does an especially good job of suggesting a father/daughter bond between Rooster and Maddie, and it is their relationship that drives the film. Newcomer Hailee Steinfeld  is just marvelous as Mattie Ross and really anchors the film. She is appealing and earnest, and spunky without being too cute. Steinfeld speaks Maddie’s fast paced, hyper literate dialogue with ease. Her youth adds a real ick factor to the pseudo-romantic energy between Mattie and LaBouf. It is a little unsettling when LaBouf watches fourteen year old Mattie sleep and confesses he was thinking of “stealing a kiss,” and the spanking he administers to her is downright creepy. That is about as far into dark territory as the Coen brothers go here, and credit goes to Matt Damon for keeping his character likable.  His somewhat restrained performance as the boastful but capable marshal is just right, and he has excellent chemistry with co-stars Bridges and  Steinfeld. Josh Brolin is engaging as killer Tom Chaney, and his eventual confrontation with Mattie, Rooster and LaBoeuf is not disappointing.

While I liked parts of the film, I missed the twists and humor often present in the Coen brothers’ films. I am not a big fan of Westerns, but this appears to be a good one. However, I found that I appreciated  and admired True Grit more than I enjoyed it.

True Grit. Directed by Ethan Coen and Joel Coen.  Jeff Bridges (Rooster Cogburn), Hailee Steinfeld (Mattie Ross), Matt Damon (LaBoeuf), Josh Brolin (Tom Chaney), Dakin Matthews (Col. Stonehill) and Elizabeth Marvel (40-Year-Old Mattie). Paramount Pictures, 2010.

Gail sees a movie appears every Wednesday.

Perhaps my expectations were too high.  Black Swan is getting excellent reviews and I have been hearing positive buzz for months. I do not see it as the masterpiece some are claiming it is, but the film has an excellent cast and is a fine psychological thriller.

Nina Sayers (Natalie Portman) is a dedicated ballerina, struggling to get bigger parts in her New York ballet company. She lives in a small apartment with her controlling mother Erica (Barbara Hershey), a former dancer.  Company director Tomas (Vincent Cassel) is considering giving Nina the lead in his new production of Swan Lake. But he is not sure she has the passion and sensuality needed to play the Black Swan, or to be his lover. Beth (Winona Ryder), the former star of the ballet and Tomas’ former lover, is not happy about being replaced.  And a backstage rivalry/flirtation with the vivacious Lily (Mila Kunis) could be dangerous. Is the role changing Nina, or is she losing her mind? Like the audience, Nina is not sure if she can distinguish fantasy from reality.

Director Darren Aronofsky envisions the ballet as a raw and gritty place. In many ways, the film looks and feels similar to Aronofsky’s excellent The Wrestler. Nina rides in dirty New York subways, walks in graffiti covered tunnels and rehearses in a dank looking space where the lights are frequently turned off prematurely. Nina appears to be lonely, isolated and completely consumed with her career. There are scenes of Nina vomiting and perhaps cutting herself.  Aronofsky does an excellent job of making ordinary moments seen tense and creepy and the film is at its best in these scenes. I had a visceral reaction to the scenes of Erica cutting Nina’s fingernails and Nina pulling back the bloody skin on her own finger. Many of Nina’s scenes have a surreal quality, and provide the kind of psychological scares that I enjoy. The film is not gory,  but there is just enough blood to provide a jolt. Aronofsky does an equally strong job with the dance sequences; their intensity and beauty seem dark and evil in this film.

What needs improvement here is the screenplay by Mark Heyman, Andres Heinz and John J. McLaughlin.  Although the familiar themes of striving to be perfect, the performer being driven mad by a role, the cut throat competition and the older director preying on the younger girl are present here, the dialogue could be fresher and sharper. Some on the lines are laughable and detract from the film’s tension. “This role is destroying you,” exclaims Erica to Nina. “I want to see passion,” thunders Tomas at Nina. Rewrites, anyone? What makes the film a good one is the direction by Aronofsky and the superb work of the cast.

I applaud the intense physical preparation Natalie Portman had to do to play this role.  The gaunt Portman is believable as a ballet dancer, and she has an extra layer of vulnerability here. Her voice is soft and shaky as she tries to stand up to Tomas’ criticism and advances. But Portman’s love scenes with Tomas and Lily are raw and sensual. Portman makes Nina’s gradual transformation into the Black Swan and her possible descent into madness believable and thrilling. The beautiful Mila Kunis adds charm, humor and sensuality to the film. She deserves more starring roles. I love her scenes with Portman and wanted more of them. Is Lily just a party girl or a conniving backstabber? Kunis gives a performance that suggests both and still makes Lily likable. Barbara Hershey gives an especially good performance as Erica, Nina’s mother. She scared me as she tried to control Nina; she makes the scene where Erica pressures Nina to eat a piece of cake downright chilling. Hershey makes Erica seem both the loving mother and the evil mother. Vincent Cassel, so good in 2007’s Eastern Promises, is both charismatic and menacing here as the predatory Tomas. Winona Ryder does a fine job as the spurned Beth.

Black Swan scared me, in a good way. It is visually stunning. But the limits of the script prevent the audience from forging a strong connection with the central character. The film lacks the poignancy and depth of The Wrestler. I would have like to join Nina on a more complex emotional journey, but I will settle for the creepy thrills.  Black Swan may not be as great a film as some are saying, but it is good one.

Black Swan. Directed by Darren Aronofsky. Natalie Portman (Nina Sayers/The Swan Queen), Mila Kunis (Lily/The Black Swan), Vincent Cassel (Tomas Leroy/The Gentleman), Winona Ryder (Beth Macintyre/The Dying Swan) and Barbara Hershey (Erica Sayers/The Queen). Twentieth Century Fox Film Corporation, 2010.

Gail sees a movie appears every Wednesday.

Perhaps the reason  Love and Other Drugs seems like three different movies is that the film credits three screenwriters (Charles Randolph, Edward Zwick  and Marshall Herskovitz ) for the screenplay based on the book Hard Sell: The Evolution of a Viagra Salesman by Jamie Reidy.  This may be the reason why Love and Other Drugs seems much less than the sum of its parts. But the film has a few laughs, a few tears and very attractive naked people.

It is the 90’s and Pfizer pharmaceutical rep Jamie (Jake Gyllenhaal) is on the fast track to success. His womanizing ways help him charm nurses and medical staff as he tries to push Zoloft and then Viagra. Jamie brings flowers, hides drugs from other companies and engages in a fist fight with a competing rep. He avoids serious relationships until he meets the spirited Maggie (Anne Hathaway) who also seems interested in sex without commitment. But Jamie is falling in love with Maggie and she is in the early stages of Parkinson’s disease.

My favorite scenes in the film are of Jamie and partner Bruce Winston (Oliver Platt) driving to hospitals and chasing doctors with Pfizer swag and drug samples. The characters never even discuss the ethical issues raised by their behavior, the drug companies or doctors like Stan Knight (Hank Azaria) who practically ask for bribes. This part of the film is funny, fast paced and relevant, and reminds of me of last year’s excellent Up In The Air. But then the film abruptly changes, and seems to be about a beautiful young woman’s struggle with a debilitating disease. Some of the better scenes in this section show Maggie finding solace at a gathering of others suffering from Parkinson’s and Maggie on a bus with senior citizens going to Canada to buy less expensive prescription drugs. Interesting ideas present themselves here, but they are addressed in a perfunctory manner, almost as if this were a made-for-television Lifetime movie. Sandwiched in between the disease and the drugs are comedy and sex. The comedy scenes involve Jamie’s stereotypical, overweight and slovenly brother Josh (Josh Gad).  The sex scenes are a bit more explicit than one might expect, and show Jamie having sex with various women, including the lovely Maggie.

Anne Hathaway gives the film’s best performance (she can add this to a list of fine performances that include Rachel Getting Married, Brokeback Mountain and The Devil Wears Prada) as the wonderfully complex Maggie. She is sexy and beautiful in those explicit love scenes, and makes Maggie seem dazzling and full of life. Hathaway also gives Maggie strength and dignity, despite the mawkishness of some of the film’s dialogue. Hathaway’s most moving scene occurs after Maggie attends the Parkinson’s group meeting and tells Jamie how hopeful she feels. We see the heartbreaking vulnerability beneath the defensive façade.  Jake Gyllenhaal hits only three notes here; rakish charm, sincerity and horny, but that could be the fault of the script and heavy handed direction by Edward Zwick. Both Hank Azaria (the doctor with questionable ethics) and Oliver Platt (Jamie’s drug rep partner) give nuanced performances that had me wanting to know more about their characters. Josh Gad lacks charm and subtlety as Jamie’s brother, a role that seems to be written for Jonah Hill or a pre-weight loss Seth Rogen.

Love and Other Drugs should have been a better film. In trying to be three films, it fails to be even one good film.

Love and Other Drugs. Directed by Edward Zwick. Jake Gyllenhaal (Jamie Randall), Anne Hathaway (Maggie Murdock), Oliver Platt (Bruce Winston), Hank Azaria (Dr. Stan Knight), Josh Gad (Josh Randall) and Gabriel Macht (Trey Hannigan). Twentieth Century Fox Film Corporation, 2010.

Gail sees a movie appears every Wednesday.

Is  Burlesque a “good” movie? No, but I do not think it is trying to be that. Did I love it? Yes. It has a predictably stupid plot, but it looks gorgeous. The performance numbers are big, bright and dazzling and for the most part, the cast is terrific. I sat like a mindless zombie for 100 minutes, eyes glued to the screen, and it felt great.

Waitress Ali (Christina Aguilera) leaves her crappy waitressing job and small town to search for stardom in L.A.  After failing to find a job as a singer, Ali wanders into the Club Burlesque, which advertises “the best view on the Strip.”  Although the film is set in the present, Club Burlesque seems to belong to another time. The club’s bevy of beauties lip synch and strut their stuff to acrobatic and intricately choreographed production numbers. A modern day Gypsy Rose Lee would be comfortable in this place. Of course, when Ali asks ticket taker Alexis (Alan Cumming) if Burlesque is a strip club, he replies, “Wash your mouth out with Jagermeister.” Burlesque is run by Tess (Cher) who occasionally graces the crowds with her own numbers, eschewing the lip synching. But Tess is struggling to keep the club from bankruptcy, while refusing offers to sell it to mogul Marcus (Eric Dane). She is helped by gay stage manager and friend Sean (Stanley Tucci). Meanwhile, Ali lands a job as a waitress at the club, but longs to be on the stage. We know it is only a matter of time until she shows everyone her talent, and challenges lead dancer and lead bitch Nikki (a brunette Kristen Bell). Ali also befriends bartender Jack (Cam Gigandet) and a romance seems likely.

The big star of this film is the spectacle of all those beautifully lit musical numbers, but the performers also acquit themselves well. Cher’s big presence is just right for this kind of film and the role of Tess. Whatever opinion one may have of Cher, it is clear that she is not phoning it in. She brings all of her energy and charisma to her two big musical numbers in the film, and I wish there were more of them. Cher has chemistry with all the actors sharing scenes with her, and she manages to make both her musical and non-musical scenes equally interesting.  My favorite non-musical scene in the film occurs when Tess helps Ali put on her makeup backstage. Cher manages to imbue the scene with just the right hint of emotion; she maintains Tess’s tough façade and keeps the scene from being maudlin. This makes it all the more moving. Star Christina Aguilera uses her big voice and good looks to dazzle in the musical scenes; when after hearing her sing Tess says, “You never told me you can sing like that,” we understand her reaction. The only small criticism I have of Aguilera’s performance is that she is not quite as compelling in the non-musical scenes. This may be due to her inexperience, but she has more than enough charm to keep things moving.

I would watch Stanley Tucci in anything, and he is wonderful here as Tess’s loyal friend Sean.  Tucci suggests Sean’s homosexuality with dignity and subtlety. His scenes with Tess are some of the film’s best, and Cher and Tucci are convincing as old friends who care deeply for each other. In fact, their relationship is more interesting than the central love story between Ali and bartender Jack (the only mildly interesting Cam Gigandet), and this is due to the actors. In the small parts department, Kristin Bell makes a fine backstage bitch, although she does not have that much to do. Alan Cumming does everything one could ask with his small part of Alexis; he is campy and hilarious in his too infrequent appearances on screen. The snippet we see of his performance onstage at the club had me laughing and wishing the filmmakers had shown the entire scene. I would have liked to see more of Cumming in this part that seems perfect for him.

This is not a film that requires much thinking.  It is not for everyone. If like me, you were one of the four people that loved last years’ Nine, you might also enjoy Burlesque. On the way out of my preview screening, a fellow film blogger in need of a quote asked me what I thought of the film.  I told her that I did not think it was good movie, but that it was lots of fun. I would love to go to a club like Burlesque. When Ali first sees the girls dancing at the club, she says, “I want to be up there. I want to do that.” I understand completely, but I am happy just to watch it all unfold, in the dark, from my seat in the theater. Sometimes a little escapism is a good thing.

Burlesque. Directed by Steve Antin. Cher (Tess), Christina Aguilera (Ali), Eric Dane (Marcus), Cam Gigandet (Jack), Julianne Hough (Georgia), Alan Cumming (Alexis), Peter Gallagher (Vince), Kristen Bell (Nikki) and Stanley Tucci (Sean). Screen Gems, 2010.

Gail sees a movie appears every Wednesday.