I just gotta get a strategy, you know?

Silver Linings Playbook

(2012)

I’ve liked all of David O Russell’s previous films, but about 30 minutes in I was unsure whether I’d go the distance if this one was going to be nothing but two hours of Bradley Cooper going through a bi-polar meltdown.

Fortunately, the introduction of the also troubled (and utterly gorgeous) Jennifer Lawrence turns things around, and if the film ultimately ekes out a path towards a very safe, traditional place (all you need is love to remedy your condition!) that’s far preferable to what might have ended up more Requiem for a Dream in pursuing a line of mental torment and aberration. And Russell seems quite unapologetic in turning towards the Sun; so much so that he evens sets the closing act at Christmas.

The director’s more oddball comic predilections are present and correct (see also Flirting with Disaster and I Heart Huckabees) but reined in by a “real world” setting he discovered with The Fighter. He populates it with obsessives (De Niro as Cooper’s OCD father) and likable loonies (Chris Tucker as a hair-obsessed fellow mental patient of Cooper) and mostly walks the line between comedy and drama with expert judgement. A few scenes feel artificial (Lawrence’s reeling off of football stats that turns the tables on De Niro, a fight at a football game) but he nails the spinny psychotic episodes and tunnel vision headspaces of his protagonists. I should probably feel he copped out with an easy resolution, except that it becomes absolutely the conclusion you want as the viewer and the hard work of the early stages of the film goes a considerable way to making it emotionally (if not realistically) earned.

There’s not a whole lot to say about the leads that isn’t superlatives. Cooper conveys his character’s obsessive desire to reclaim a lost love so convincingly that he’s deeply uncomfortable to watch. But it’s Lawrence who is most affecting in a less obviously showy and initially more reactive part. That she’s 15 years younger than Cooper only becomes relevant when he notes there’s an age gap. De Niro’s received a few plaudits for this, but while he’s solid honestly he didn’t really wow me. Jackie Weaver is outstanding as the long-suffering wife and mother.

There’s maybe a sense that Russell’s gone consciously more mainstream and less edgy with his last two films, but I suspect the same ethos is at work that gave us Three Kings; he’s always sought to make pictures with popular appeal, just not ones that come out machine-processed.

Oh, and every time Cooper’s mantra of “Excelsior” I flashbacked to George Costanza’s “Serenity now!”

*****

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She writes Twilight fan fiction.

Vampire Academy (2014)
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I can only presume there’s a never-ending pile of Young Adult fiction poised for big screen failure, all of it comprising multi-novel storylines just begging for a moment in the Sun. Every time an adaptation crashes and burns (and the odds are that they will) another one rises, hydra-like, hoping…

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Split (2016)
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Shyamalan has seized on a horror staple – nubile teenage girls in peril, prey to a psychotic antagonist – and, no doubt with the best intentions, attempted to warp it. But, in so doing, he has dragged in themes and threads from other, more meritable fare, with the consequence that, in the end, the conflicting positions rather subvert his attempts at subversion…

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Django Unchained (2012)
(MINOR SPOILERS) Since the painful misstep of Grindhouse/Death Proof, Quentin Tarantino has regained the higher ground like never before. Pulp Fiction, his previous commercial and critical peak, has been at very least equalled by the back-to-back hits of Inglourious Basterds and Django Unchained. Having been underwhelmed by his post Pulp Fiction efforts (albeit, I admired his technical advances as a director in Kill Bill), I was pleasantly surprised by Inglourious Basterds. It was no work of genius (so not Pulp Fiction) by any means, but there was a gleeful irreverence in its treatment of history and even to the nominal heroic status of its titular protagonists. Tonally, it was a good fit for the director’s “cool” aesthetic. As a purveyor of postmodern pastiche, where the surface level is the subtext, in some ways he was operating at his zenith. Django Unchained is a retreat from that position, the director caught in the tug between his all-important aesthetic pr…

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John Wick: Chapter 2 (2017)
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The result is a giddily hilarious, edge-of-the-seat thrill ride (don’t believe The New York Times review: it is not “altogether more solemn” I can only guess Jeannette Catsoulis didn’t revisit the original in the interven…

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Spider-Man: Into the Spider-Verse (2018)
(SPOILERS) Ironically, given the source material, think I probably fell into the category of many who weren't overly disposed to give this big screen Spider-Man a go on the grounds that it was an animation. After all, if it wasn’t "good enough" for live-action, why should I give it my time? Not even Phil Lord and Christopher Miller's pedigree wholly persuaded me; they'd had their stumble of late, although admittedly in that live-action arena. As such, it was only the near-unanimous critics' approval that swayed me, suggesting I'd have been missing out. They – not always the most reliable arbiters of such populist fare, which made the vote of confidence all the more notable – were right. Spider-Man: Into the Spider-Verse is not only a first-rate Spider-Man movie, it's a fresh, playful and (perhaps) surprisingly heartfelt origins story.

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The Killing of a Sacred Deer (2017)
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Ghostbusters (2016)
(SPOILERS) Paul Feig is a better director than Ivan Reitman, or at very least he’s savvy enough to gather technicians around him who make his films look good, but that hasn’t helped make his Ghostbusters remake (or reboot) a better movie than the original, and that’s even with the original not even being that great a movie in the first place.

Along which lines, I’d lay no claims to the 1984 movie being some kind of auteurist gem, but it does make some capital from the polarising forces of Aykroyd’s ultra-geekiness on the subject of spooks and Murray’s “I’m just here for the asides” irreverence. In contrast, Feig’s picture is all about treating the subject as he does any other genre, be it cop, or spy, or romcom. There’s no great affection, merely a reliably professional approach, one minded to ensure that a generous quota of gags (on-topic not required) can be pumped out via abundant improv sessions.

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Now In Full Color, with a Happier Ending

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