Listen Up Philip (**)

LISTEN UP PHILIP
Written and Directed by Alex Ross Perry

**

It's been speculated that writers hate clichés, and that's true in spirit but is often incorrect in practice. Listen Up Philip documents one young writer's journey, hurtling toward the self-fulfilling prophecy of loneliness and bitterness. The film's lead is played by Jason Schwartzman, further sharpening the edges of his Angry Little Man routine into a monstrous character named Philip Lewis Friedman. The character of Philip could be a stand-in for a few different contemporary authors, but Listen Up Philip has little interest in slandering curmudgeons and more fun with seeing the role of the artist in the wild. Writers tend to be miserable people for a variety of reasons, the very nature of their craft causing them to keep those they should care about most at arm's length. But the character of Philip, at least as played by Schwartzman, isn't unhappy as a result of his literary success - he's unhappy because he's convinced himself that that is how literary successes are supposed to behave. The latest film from Alex Ross Perry is a handheld parade of egos so interested in romanticizing the asshole-ism involved in white, East Coast, male artistry that it's attempts at charm seem distasteful at best and downright uninteresting at worst.

Birdman or (The Unexpected Virtue of Ignorance) (***)

BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE)
Directed by Alejandro G. Iñarritú

***

There are four credited screenwriters for the script of Birdman which makes a whole lot of sense once you've seen the actual movie. It flies (bad pun, sorry) in a lot of different directions, it's incredibly self-conscious about itself and doesn't seem to care a whole lot about being too convoluted to follow. It's director is the infamous Mexican filmmaker Alejandro Gonzalez Iñarritú (though he shortens it in the credits to 'Alejandro G. Iñarritú', no doubt relieving those who have trouble with Hispanic pronunciation) who has said that his goal for this film was trying to visualize the neurosis and crisis of ego of the artist - the actor, specifically. Iñarritú is known for his multi-cultural ensembles delving into various forms of miserablism. He's never seen a metaphor he couldn't pound into the ground, especially if it stands for socioeconomic issues. But Babel and 21 Grams are both strong films, built around great performances from a lot of actors, too many to name. Any faults to be found with Iñarritú are usually taste related. Which is why Birdman is so fascinating. It's an incredible departure from his previous work, a piece so meta-textual and satirical, taking place in such a fabricated reality. It's a baffling film in many ways, but certainly worth observing.

Fury (**1/2)

FURY
Written and Directed by David Ayer

**1/2

David Ayer makes Man Movies with a capital M. His films are a bit more cerebral than, say, the Expendables franchise, but in the end both selection of films are reaching toward the same core audience and have the same spiritual conscience. He wrote the screenplay for the first Fast and the Furious movie and Training Day, so we should know what we're getting into with all his films at this point. His best film, End of Watch, was a brilliant, cinema-verite style document of brotherhood between two LAPD officers (played wonderfully by Jake Gyllenhaal and Michael Peña) facing great danger together in South Central. That film managed to find sympathy for police officers in a social climate that makes that incredibly difficult. Ayer taps into bromance in the most masculine way possible. It's homoeroticism for the homophobes, finding an almost philosophical wonder within male companionship. In Fury, Ayer takes these male relationships and places them into World War II, focussing on a tank crew that rides through Germany in the waning months of the war. The tank is striking, even amongst all the rest of them, with a cannon that sticks out like a giant erection and the word "FURY" written in white paint on the side of it. It is the home of the men that Ayer introduces to us here.

Whiplash (***1/2)

WHIPLASH
Written and Directed by Damien Chazelle

***1/2

Whiplash was this year's Sundance darling, winning hyperbolic praise from nearly all who managed to see it and leaving Park City, Utah with the film festival's two biggest prizes: the Grand Jury Prize and the Audience Award. That was in January, and Sundance hits have a way of fizzling out when it comes time to the actual release. For every Precious and sex, lies and videotape, there are dozens of prize winners from Sundance that you've never heard of. But Whiplash felt different; the praise was so effusive, it felt like a surer thing. As it stands, Whiplash probably isn't what many moviegoers would expect it to be. From first-time feature director, Damien Chazelle, the film is made with a stunning clarity of vision and filled with characters so fully realized. Its tale of a music student trying to make a name for himself in concert jazz is brutal, filled with the blood, sweat and tears (literally) that separates the good from the truly great. Whiplash is a film about aspiring to be immortal, about being so good that no one will ever forget you. It's about that one thing that a legend has that no one else does, and its about the methods that artists use to locate that one thing and bring it to fruition.

St. Vincent (***)

ST. VINCENT
Written and Directed by Theodore Melfi

***

We've seen this movie before. A rascal curmudgeon finds humanity in the form of a small child. Paper Moon may be the definitive example. Bad Santa gave that movie a holiday twist. But it's been done, over and over. And yet, it's never been done with Bill Murray, and for St. Vincent, that seems to make all the difference. The film is the feature debut from Theodore Melfi, who also wrote the script. The film has a soft touch, sharp dialogue and knowledge of when to play for laughs and when to ask the audience to take it seriously. For a screenplay that can be a bit of a minefield with tone, Melfi shows an impressive alacrity to handle it. But more than anything, the film has Bill Murray, one of the more consistently wonderful screen presences that we have in the movies today. Murray's transition from legendary funnyman to accomplished film actor began with Rushmore in 1998 and was cemented with his Oscar-nominated performance in 2003's Lost in Translation. The man doesn't have range, but he can hold an audience in the palm of his hand. He is, at the age of 64, a movie star, but what makes that possible is his uncanny ability to pick the exact roles that work for him.

Men, Women & Children (*1/2)

MEN, WOMEN & CHILDREN
Directed by Jason Reitman

*1/2

I remember being in college when Jason Reitman's film Up in the Air was about to be released in the Fall of 2009, and Reitman made a stop at my campus to talk with all of us dopey film students. I don't remember too much about that talk he gave us, it was mostly empty stories and non-answers. But I always remembered when he spoke about what inspired him to make Up in the Air. He went on a monologue about modern technology, and pulled out his cell phone as a personal Exhibit A of what's wrong with society. All of these things that we have - cell phones, Facebook, chat rooms, role-playing games - that are meant to bring us together, are actually pulling us apart, he felt. The reason I remembered this particular speech was because when I finally got around to seeing Up in the Air, that didn't seem to be the movie's thesis at all. Perhaps Reitman wasn't deliberate enough in his wanted mesaage. That's the only explanation I can think of for Men, Women & Children being his latest film. If people didn't understand how awful social technology was in 2009, they definitely are getting the hint now, as Reitman presents a film that's so self-righteous, the message is blinding.

Gone Girl (***)

GONE GIRL
Directed by David Fincher

***

Nobody does the major Hollywood thriller better than David Fincher. Perhaps Christopher Nolan comes close, but Fincher is less sentimental, his films are more sleek and unforgiving. There's a distaste for humanity in a lot of Fincher's best work, and he's able to translate that feeling to an audience without us realizing that it might be us - those watching - who Fincher really has the distaste for. His latest film is the adaptation of the best-selling novel Gone Girl. The book was a whirlwind success by Gillian Flynn, who has adapted the screenplay herself. The plot is labyrinthine, circling in on itself, purposefully suffocating. It creates all sorts of tension, wielding characters with all sorts of ulterior motives, specializing in highlighting the grey area of these people within the black and white world of mystery and suspense. The film enjoys the imbalance in which it keeps its audience, with Fincher and Flynn always one step ahead - well, at least if you're one of the few people, like me, who hasn't actually read the book. It's a pure Fincher vehicle, but Flynn puts her own stamp on this as well.

The Boxtrolls (**1/2)

THE BOXTROLLS
Directed by Graham Annable &Anthony Stacchi

**1/2

The work from Laika Studios - the only major animation studio focusing exclusively on stop-motion animation - is unique in a very charming way. They have not given in to the cheaper, less labor-intensive, more popular trend of CGI animation. This makes their films stand out. The images being recorded are real as opposed to the wonder of digital recreation that comes from Pixar and the other major animated film studios. Whether one is better than the other is up to each individual person's discretion. After the wonderful Coraline and 2012's Paranorman (which I did not see), their latest film is The Boxtrolls. Like their previous films, The Boxtrolls shares the love of the grotesque and the absurd, an obvious Tim Burton-inspired string of images that can be beautiful and horrifying at the same time. The film itself possesses an allegorical screenplay (written by Irena Brignull and Adam Pava) based on a Alan Snow children's book called Here Be Monsters!, that does its best to stay low-brow for the children and metaphorical for the adults. What we get is a film equal to some of Tim Burton's more uneven work, a movie with a central conflict between its story, its audience and its choice of images.

Art and Craft (***1/2)

ART AND CRAFT
Directed by Sam Cullman, Jennifer Grausman & Mark Becker

***1/2

The new documentary Art and Craft delves deeper into the subjectivity of art appreciation than any other film I've seen in a good long while. What makes art, in all its forms, so fascinating to the human race are the relationships that we develop with a painting, or a rock n' roll song, or a movie. We connect to these pieces, the bonds forming are often stronger than most marriages; how we feel about art usually says a lot about how we feel about ourselves. Art and Craft, in simpler terms, is also a story of two men who love art, and showcase that love in completely different ways. Through these men, Art and Craft showcases the tenuous connections that we make to inanimate objects, our obsessions with things created by strangers. It also is a bitingly funny glimpse of a true eccentric, a uniquely fascinating man who brings new meaning to the term "art appreciation". The documentary has a terrific "stranger than fiction" feel to it, brought to life by the people in front of the camera. Frantically told and balanced in a disciplined way, Art and Craft is amongst the best documentaries of the year.

This Is Where I Leave You (*1/2)

THIS IS WHERE I LEAVE YOU
Directed by Shawn Levy

*1/2

They say authors shouldn't adapt their own novels. The connection to the story is too strong, and the author will feel too loyal towards things that work very well in one medium, and not very much in another. In the case of Jonathan Tropper's script of This is How I Leave You - based on his own novel of the same name - one would hope that it isn't exactly representative. I haven't read the novel, but I would hope that it has more nuance and charm than the film it eventually became or else I'd have a much lower opinion of the book-reading public that would make something like that a best-seller. It's the story of the Altmans, a family comprising of four adult children suffering through various but equal levels of distress, as well as a spotlight-hogging, pseudo-psychological mother with an addiction for breast augmentation, and a dead patriarch. It's rich soil for drama, but director Shawn Levy (known for the Night at the Museum films and last year's The Internship) chooses instead to brush the films with several strokes of broad comedy and takes a talented cast of actors and directs them all as if they're each starring in a completely different movie. It's the first R-rated film that Levy's ever directed, but it doesn't seem like he yet knows the difference between a film for adults and a flaccid movie with the word 'fuck' in it. It's an adult movie that the whole family can enjoy!

The Skeleton Twins (***)

THE SKELETON TWINS
Directed by Craig Johnson

***

There's a measure of unhappiness that's displayed in The Skeleton Twins that's hard to pull off in most movies. The kind of depression that comes with everyday life, that's easy to dismiss when watching from the outside. Midway through the film, a character played by Bill Hader recites to his sister - played by Kristen Wiig - of his long-held belief that all of the social classes of high school become inverted in adulthood. The bullying jocks will end up never leaving home, settling for mediocrity in a podunk town, while the freaks and geeks of the same school will end up becoming the true success stories. It's a myth that we all like to tell ourselves to make up for our adolescent fear of not being popular, or not fitting in. In a monologue of heartbreaking frankness, Hader explains that not only is this theory not full-proof, but quite often the opposite is true: the ones with the least ambition are able to find the easiest path to happiness. Craig Johnson's latest film is an excellent dissection about realizing that there's a difference between being unique and being special, that ideals can only take you so far and that everybody in some form or other is living with a bit of disappointment with how their life has turned out. After all this, if I also told you that this movie is also a successful comedy, you probably wouldn't believe me.

The One I Love (**)

THE ONE I LOVE
Directed by Charlie McDowell

**

Outside of their breakout hit from 2005, The Puffy Chair, the Duplass brothers' films have always felt like high concepts searching for a meaning. The plots and scripts are tight and the performances are inspired, but the substance behind it all is fleeting and unremarkable. For The One I Love, the Duplass brothers, Jay and Mark, are only listed as producers. The director is first-timer Charlie McDowell who, with one film, shows that he already has a profoundly more astute cinematic eye and attention to visual detail that the Mumblecore legends never really had. The script, written by Justin Lader, defies reality in ways that the Duplasses have never dared to do - a stab at Charlie Kaufman that's just unique enough to not feel completely derivative. And yet, the film still feels like the air has been let out. For all its zaniness, what is The One I Love actually getting at? The film's main conceit has been held so tightly under wraps, and all reviews have followed the filmmaker's wishes of keeping the main twist a secret. It's an interesting marketing ploy that inspires curiosity but also requires cooperation from others, and surprisingly The One I Love has gotten that cooperation. But with all this budding interest, can the film hold itself up under the scrutiny?

Love is Strange (***1/2)

LOVE IS STRANGE
Directed by Ira Sachs

***1/2

Love is Strange is such an understated piece of filmmaking that some may not realize just how powerful it is. The story's protagonists are two upper-middle-aged gay men who've just gotten married, but it is not trying to be progressive or break the mold on serious social issues. It's a very measured document of love, marriage, family and getting older, that has glimmers of social tensions in the background because, well, those kinds of things are always playing back-up to the main spectacle that is the drama of our current lives. It's two stars are Alfred Molina and John Lithgow - both veteran performers known well for their training, their work on the stage and their reliable supporting work in films. Neither have ever had any real chance to carry a movie as its star, and even now with this film, they share that burden together. In a way, that lends heavily toward Love is Strange's balanced, generous ensemble which they lead without an ounce of competition or showmanship. It's a wonderful experience, crafted by director Ira Sachs into one of the most genuine movie experiences of the year.

Life After Beth (*1/2)

LIFE AFTER BETH
Written and Directed by Jeff Baena

*1/2

Life After Beth is another in a string of projects headed by Aubrey Plaza in an effort to streamline the comedienne's transition from television's hit show Parks and Recreation to film stardom. Plaza is beautiful and legitimately funny, and appears to have more talent in a more variety of ways then most actresses working in major films. But she's yet to show she can really carry a film. To be fair, I don't mean to argue that she can't do it, she just hasn't been able to do it yet, and it should be said that none of the material she's been given has really been anything that really gives her much of a fair shot. Films like Safety Not Guaranteed and The To-Do List are lightweight fare, sure, but both films kind of left her on an island, to find character beyond what's on the page. About Alex gave Plaza the most adult, actor-ly role she's ever had, but it felt too much like she was playing against her own comedic persona - she was trying to branch away from the act that people like to see her perform. Life After Beth is the best lead role she's ever received - it allows her to explore her own deadpan, zombiefied delivery while playing an actual zombie. It's a brilliant piece of casting. And yet, none of the other decisions made by the first-time director Jeff Baena seem as inspired as that one.

About Alex (**)

ABOUT ALEX

Written and Directed by Jesse Zwick

**

I'm not sure who was asking for a Big Chill for millennials, but we just got it. It's an interesting thing to watch a film like About Alex which is so sentimental and obsessed with nostalgia that it's both nostalgic about the 80's - it's film and music culture - while also being nostalgic about it's present young adult generation, an aimless group of people who are starting families later in life and complaining about student loans earlier than ever. We're bitter about the misdeeds of our parents' generation, we're angry that college is impossibly expensive and we're fucking furious that we bounced right into the worst job market since The Great Depression. Or at least, that's what filmmaker Jesse Zwick seems to want us to think. About Alex collects a serviceable cast filled with actors that are known mostly for television and gives them a plot that's probably more suitable for a television pilot, giving us only snippets of character while following through on a very film student-y script that never really disappoints but surely never really excites. It's ideas are noble enough and it has a cast that at least seems excited to plow through them, but the film really only touches the surface of the darker issues that it really wants to tackle.