"Whip It" Review

Every once in a while, a film will start off terribly and gradually get better over the course of its running time. This is especially true of "Whip It," actress Drew Barrymore's directorial debut. After the film's first thirty minutes, I was more than ready to deliver a disappointing pan. But, as the film continued, I became won over by the film's charm.

The film follows Bliss Cavendar (Ellen Page), a bored teenager, as she attempts to fight the rather humdrum environment of her small Texan town. While shopping with her mother (Marcia Gay Harden), Bliss picks up a flyer for a womens' roller derby tournament. After attending the tournament, one of the players encourages Bliss to try out for the team. Bliss, worried about her parents' reaction, at first hesitates, but eventually decides to pursue her interests. After a difficult day of try outs, Bliss finds out that she made the team, which is rather crudely named "The Hurl Scouts."

As mentioned earlier, the first thirty minutes of "Whip It" fall completely flat. The jokes are unfunny, the characters uninteresting, and the storytelling rather limp. But, somewhere in the film's midpoint, it changes. As the film becomes more about the roller derby, an extra layer of fun is added to the film. And as the film's tone solidifies into an interesting mix of comedy and drama, the film really starts to work.

The film owes a lot to its lead star, Ellen Page. Page slips into her part with ease and effortlessly captures the rebellious nature of a teenager who feels limited by her mundane surroundings. Thus, her performance feels remarkably honest, and one could even argue it is better than her Oscar-nominated performance in 2007's "Juno." Kristen Wiig and Drew Barrymore prove to be both endearing (the former) and hysterical (the latter) in their supporting roles.

Although the film does run a bit too long, and one subplot involving a love interest feels extraneous, the film ends up being a success despite its early missteps. Like the film's lead character, "Whip It" stumbles a few times before achieving its goal.

B

"The Informant!" Review

“The Informant,” a comic thriller directed by Steven Soderbergh, follows Mark Whitacre (Matt Damon), a high-ranking employee at a food production corporation. When Whitacre realizes that the corporation is involved in price fixing scams, he becomes a whistle blower for the FBI in hopes of putting the corrupt businessmen behind bars. But, is that really his motive? Whitacre is either bipolar, schizophrenic or just a chronic liar. The more he says, the less one can make sense of his situation. At some points, he seems like a dimwitted buffoon, at other times a neurotic genius. Needless to say, watching it all play out makes for a fun, if imperfect, film experience.

“The Informant,” which is based on a true story, succeeds for two main reasons, its lead actor and its directorial panache. Damon, who is quickly joining the likes of George Clooney and Brad Pitt as one of the most iconic movie stars of the new millennium, has the character of Mark Whitacre down to a tee. He manages to capture the character’s unpredictable behavior, as well as his more self-righteous qualities. Melanie Lynskey also puts forth a solid performance as Mark’s wife Ginger Whitacre. While the duo’s actions are certainly dubious, their relationship remains solid and one could even describe their marriage as a strong one.

Also aiding the film is its direction. Soderbergh, whose previous credits include “Traffic” and “Ocean’s Eleven,” takes an interesting risk by presenting the film as a comedy. While the film does not reach the wackiness of a Coen Brothers’ picture, it does boast some pretty odd artistic choices. The film is shot like a 70s action movie with funky title cards and contains a fantastic retro score by Marvin Hamlisch. While some may be bothered by these obscure choices, they really do complement the film’s odd sense of humor.

Unfortunately, “The Informant!” falls apart in its third act. As the plot thickens, twists are thrown right and left and the film begins to lose some of its witty charm. It also devolves into a lot of legal mumbo jumbo, which proves annoying and, at times, just boring. While the film’s ending is rather disappointing, it still succeeds due to its unique visual style and wonderful lead performance. Despite its flaws, “The Informant!” illustrates how easily people, even large corporations and the federal government, can be manipulated in to believing just about anything. While crooks may utter “Trust Me,” as the film’s final music cue ironically suggests, do not believe them. Anyone can be a crook, even that smiling face behind the desk or that cheerful voice over the phone. The only people one can really trust are the artists – oh, and the critics too. (wink, wink)

B

Your thoughts? Race to the comments!

More Bullet Point Reviews

Here are a few bullet point reviews. One on a recent theater release ("Extract") and two others on films now available on DVD ("Adventureland" and "State of Play").

"Extract"

• Starts off funny, but quickly become repetitive. Jokes are run into the ground and others are just too broad. In particular, a drug sequence in the film's second act is dead on arrival. This sequence not only stalls the film's narrative but also crushes the comedic rhythm.
• Jason Bateman is great in the lead role. He really embodies the every man. Unfortunately, his relationship with his wife, played by Kirsten Wiig, makes no sense. This is problematic because their relationship is the crux of the film.
• Both Kirsten Wiig and Mila Kunis's characters feel underwritten. Their characters just feel like plot conveniences.
• J.K. Simmons needs a new agent. He keeps getting type cast in the same roles. That being said, this is one of his better performances in the recent years.
• Ben Affleck and Gene Simmons are shockingly good in their parts. They truly create the film's most memorable characters.
• The film's satire is uneven. It teeters between broad comedy, sharp digs and mean-spirited critiques too often for it to be truly successful. At the end, one is not entirely certain what director Mike Judge is trying to say.
• C+

"Adventureland"

• intimate coming of age story
• solid, if not spectacular, performances
• able to create a distinctive atmosphere that most films lack
• interesting, but not particularly engaging
• seems like it is trying to be introspective, but I did not feel compelled to think too much about it afterwards
• B

"State of Play"

• thriller injected with moral complications
• interesting study on the decline of newspapers and the rise of Internet blogging
• solid performance from Russell Crowe; middling performance from Ben Affleck
• Jason Bateman delivers a wonderfully realized supporting performance as a slimy corporate publicist.
• Rachel McAdams and Helen Mirren fare well in underwritten, and at times fairly annoying, supporting roles
• narrative is marred by a twist ending that feels convoluted and unnecessary
• manages to succeed thematically, despite its narrative pratfalls
• B+

Wow! I've been watching too many Jason Bateman and Ben Affleck films.

Be sure to leave your opinion in the comments below.

"Duplicity" Review

I reviewed "Duplicity" before I started the blog, but I still want to share my review. For me, "Duplicity" is the number two film of the year thus far. And it worked just as well, if not better, on a second viewing. Unfortunately, the film tanked at the box office and not many people got a chance to see it. It's out on DVD now and is well-worth your time. I had to slightly alter my review due to both changes in opinion and stylistic choices I made in my review at the time. It's funny. I wrote this review six months ago, and I thought it was my best. And after reading it over, I am appalled by some of my stylistic decisions. Anyway, here's my original review of "Duplicity" (with a few slight alterations).


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About midway through Tony Gilroy’s spy thriller, “Duplicity,” corporate spy Claire Stenwick says to Ray Koval, her lover and rival, “Admit it, you don’t trust me either.” This clever quip underlines the film’s main topic, trust – particularly in relationships. And directors-screenwriter Gilroy successfully conveys this idea in a fun, stylish, clever thriller.

In Duplicity , Stenwick (Julia Roberts) and Koval (Clive Owen), two ex-government intelligence agents, team up to take down two pharmaceutical companies vying for a revolutionary new product. With Stenwick on one side and Koval on the other, the plan seems flawless, but much double-crossing and finger-pointing ensues as the con becomes more involved and the stakes higher.

While the film’s plot is complex and twisty, one never gets frustrated because the film does not take itself too seriously. And when the answers do come, they are clever and add to the film’s atmosphere. Much credit should go to Gilroy, who balances the complexity and the light humor of the film almost flawlessly. One scene near the film’s ending upsets this balance, but Gilroy is able to compensate for this small error with a pitch-perfect final scene.

Part of what makes the film so fun is the undeniable chemistry between Roberts and Owens. While Owens can be a tad dull at times, he is almost always charming. And Julia Roberts proves she still has the chops to carry a movie. She shines in both her comedic and dramatic scenes. Paul Giamatti and Tom Wilkinson also shine with delightful performances as the two sleaze bags in charge of the rival corporations. The opening credit sequence featuring the two rivals attacking each other in slow-motion is a joy to watch and adds even more flair to an already stylish film.

One sticking point that many will have with the film is that it is too talky. While the film does feel verbose, it is still energized and engaging. One sequence – with almost no violence – in which one corporation is attempting to steal the other’s secret, is more suspenseful than most modern action movies. While many filmmakers think that suspense is created by constant action, the minds behind “ Duplicity” realize that suspense comes from the stakes of the characters, rather than how many bullets are being fired at them. Accenting the film’s suspenseful, twisty plot is James Newton Howard’s upbeat, jazzy score. Also of note is Robert Elswit’s cinematography which displays the beauty of the film’s various locales. All of these elements combine to make a fun, fluid, and truthful film experience.

A-