American Hustle (2013)

Dir: David O. Russell

Starring: Christian Bale, Amy Adams, Jeremy Renner, Bradley Cooper, Jennifer Lawrence

Plot: A loose adaptation of the Abscam sting operation carried out in the 1970’s in which a couple of con-artists are paired up with an FBI agent to bring down corrupted political figures.

“The truth and nothing but the truth”:  “American Hustle” was one of the movies I anticipated the most in 2013. Maybe it was about the premise or my wish to see any sort of follow-up to last year’s “Argo” (2012) that inflated my expectations for the new movie by David O. Russell. Whatever reasons may be I was happily surprised with what I saw in the screen. In a nutshell this is the best movie Martin Scorsese never made.

David O. Russell reunited with four of the stars of his previous two movies (which brought him two Academy Awards for Best Director): Christian Bale and Amy Adams from “The Fighter” (2010) and Jennifer Lawrence and Bradley Cooper from “Silver Linings Playbook” (2012) to tell a story loosely based on the Abscam operation that took place in the US during the late 70’s and early 80’s.

Irvin Rosenfeld (Bale) plays a con-artist that teams up with Sydney Prosser (Adams) to set in motion a scam: concede fictitious loans to highly desperate “customers”, while reaping a generous $ 5.000 fee for them. The chemistry between the two is noticeable in every scene they share and is perhaps one of the main highlights of the movie. No other character is able to expose Irvin’s vulnerability like Sydney.

In order to avoid getting arrested the two of them cut a deal with FBI agent Richie DiMaso (Cooper) that ties them to the sting operation that aims at bringing down Mayor Carmine Politio (Renner) and other politicians. This is to DiMaso’s way of setting the record straight for America after Watergate and Vietnam. In fact, the references to the disappointment of the characters with the environment they were confronted with made me fear that the movie would turn to an Alan J. Pakula paranoia product. Luckily it didn’t.

Last but not least, shaking things up is Rosalyn Rosenfeld (Lawrence), Irvin’s loose cannon, wild card of a wife who delivers the best supporting performance I’ve seen this year. Unlike Katniss Everdeen, Tiffany or Ree, Jennifer Lawrence appears to play herself for the first time. Based on her interviews and her speeches on each of the times she won for last year’s “Silver Linings Playbook”, Rosalyn is Lawrence if she completely eliminated her “filter”.  

Like his two previous movies, “American Hustle” focuses on its characters and their interaction are the only true reminder of the plot. And what an excellent job the actors pull off: It’s hard to believe that the man who once was Patrick Bateman and Batman is now sporting a highly complex comb over and a beer belly that could make Homer Simpson jealous. Perhaps the most convincing aspect is the fact that in a way or another all the actors appear to shadow or display traits of actual 1970’s actors at the height of their fame, especially on the female side of the cast: Something in Amy Adams eyes made me think of Jane Fonda, the way Jennifer Lawrence owns every scene in which she appears reminisced of Faye Dunaway.

The actors fully commit to deliver the 70’s vibe and groove, from the clothes to the whole self-therapy and indulgence of what became known as “The Me Decade”.

A worthy highlight is the soundtrack: the cutaway to Tom Jones’s “Delilah” sing-a-long, the “Live and Let Die” sequence enriched by a “duet” between Jennifer Lawrence and Paul McCartney, America’s hit “Horse with no name” which reminded me of “Breaking Bad” and, of course, the Bee Gees-must have scene that gives the movie a true disco feel are some of the examples on how well the chosen set list works.

Keep an eye out for Robert DeNiro’s cameo. A true tribute to some of the actor’s previous excellence. You know…before “The Adventures of Rocky and Bullwinke” (2000) and “Showtime” (2002). Also, allow yourself to fully appreciate the ironic cast of Louis C.K. as an FBI chief. I never thought it could work, but the fact is that it does.

Driven by plot-twists, a full 1970’s experience, a fun and entertaining plot and the redeeming features that almost deliver what can be considered a happy ending, David O. Russell once again delivers the goods and makes me want to give his early work a second chance. I strongly advise you to watch it in the big screen, because never before has the director brought us such a loud (in a good way) movie.

“Money-Shot”: Any of the music sequences has my vote. Pick yours.

Bottom-Line: 9/10.

But of course, this is just my opinion, I could be wrong…

Only God Forgives (2013)

Dir: Nicolas Winding Refn

Starring: Ryan Gosling, Vithaya Pansringarn, Kristin Scott Thomas

Plot: Set in Bangkok, American expatriate and drug-smuggler Julian is pressured by his mother to avenge the death of his brother which leads him on a journey that forces him to face his inner deamons.

“The truth and nothing but the truth”:  In 2011, I was caught up by surprise with "Drive". The slick and stylish movie that combined the best of Michael Mann with what seemed to be a terrific update and improvement on "The Driver" (1978). The movie worked in every level and prompted me to name it "Best Movie of 2011". As such, the expectations for a new Refn-Gosling collaboration were sky high.

So here I am, writing the review of "Only God Forgives", 4 days after seeing it...after everything has sunken in...after having a clear opinion about it. 

With a storyline that's more complicated to follow than the family tree of the kid from the dueling banjos scene in "Deliverance" (1972), Refn delivers a movie that displays a constant tense Oedipal environment with an outline of implied incest that makes the viewer uncomfortable from the beginning. While this sets the tone of the whole movie, the director successfully combines them with the other key values and themes approached in the movie, such as the perception of justice, masculine vs. feminine roles, revenge and religion. The conflicting interpretations of all of the aforementioned aspects by both Julian (Gosling) and Chang (Pansringarn) set the tone for the action.

Heavy on the symbolism and relying more on image than on actual dialogue, the movie successfully conveys it's message through it's excellent cinematography storytelling method that somewhat reassembles what has been seen in most of David Lynch's movies and the claustrophobic atmosphere seen in "The Shinning" (1980). This is complemented with the equally tense soundtrack by Cliff Martinez.

Based on this premise, I do believe that the movie sets the tone for multiple intrepretations. I, for one, perceive the scenes that occur within the dark and red rooms (excluding the pub) to actually reflect Julian's subconscious, where he deals with his very own insecurities, his unresolved issues with several women and the inner eagerness for justice.  

Still, it's around Julian's character where half of the problems I found with this movie lie. First, I do not perceive Ryan Gosling as an adequate choice for the role of Julian, having preferred to see Joseph Gordon-Levitt interpret 

the lead role. Gosling simply doesn't cut it here and most of the sequences where an idle state is required from the character, he simply keeps doing what he did before. The second problem is in the treatment of the character of Julian itself. While the relationship with his mother Crystal (Scott-Thomas, in a terrific performance which is clearly one of the high points of the movie) is very well developed, there's a large absence of the development of the character itself. No space, nor room for that, with only hints and subtle traces of what Julian really is.

(SPOILERS AHEAD!) The second issue I have with this movie is the conclusion and the catharsis vehicle presented in the screen and this is intertwined with Chang's character. The character is a God-like figure, seeking justice and revenge (according to his own interpretation). A bushido-like entity that uses a blade to restore equilibria. While one can easily understand the importance of the character, the ending of the movie proves to be unsatisfying since there are indications that his vision and interpretation of justice and right are the correct ones and that he's above judgement. 

After watching the movie and while discussing it, a comparison was drawn by a friend of mine, between Anton  (Javier Bardem) from "No Country for Old Men" (2007) and Chang. I truly agree that the both are driven by similar principles and I even believe that if a similar fate had been applied to Chang, the movie would have been more satisfying.

Moreover, even as not opposing to the excessive use of Thai, it would have been helpful to have some subtitles on the karaoke sequences as I do believe the lyrics may include some clues as towards what motivates the character. Again, my interpretation of those sequences is of a religious figure, a superior entity that is addressing its followers and promoting not only allegiance but enlightening the way of its actions. (END OF SPOILERS!)

                             "You have proved to be a real human being...and a real hero"

In conclusion and focusing on the criticism the movie has been subjected to, I do not feel that the violence is extreme or hardcore but well included in the story, leading to the conclusion that violence only draws more violence. The pace of the movie is in my opinion borderline adequate, but not one of the negative downsides in which the viewer should dwell.

“Money-Shot”: (SPOILERS AHEAD!)  Despite not being consistent with my review, the torture and execution of Byron by Chang remains one the best sequences in the movie. (END OF SPOILERS!)

Bottom-Line: 7/10. As long as you're not expecting "Drive II" or a Ryan Gosling movie and keep an open mind towards what you'll be seeing, it's an enjoyable ride that requires you to think and a second viewing to fully understand and absorb what happened on those 90 minutes.

But of course, this is just my opinion, I could be wrong…