Frances Ha Review

Frances Ha

3.5 stars out of 4

By Brett Takeshita

Every year, small under-the-radar indies come out that surprise Hollywood. These films, which are not expected to generate big bucks at the box office, end up being successful and finding an audience. Frances Ha is such a movie. In its past few weeks of limited release, it has had one of the highest per-theater grosses at the box office. It's doing extremely well with both critics and audiences, and for good reason. Frances Ha is one of the most charming, joyous, and real films of the year.

Frances Ha tells the story of -- you guessed it -- Frances (Greta Gerwig), a 27 year old dancer living in New York. She's trying to navigate her way through life and pursue her dreams, even though the odds are against her. She can't seem to find a permanent place to live, so the film follows her as she moves from apartment to apartment. (The film is broken up into segments, with each segment beginning with the address of her home at the moment). Frances dreams of becoming a successful dancer, but she has difficulties booking gigs with her company. Frances has a best friend named Sophie (Mickey Sumner). They tell each other everything and hangout constantly because they love each other. But sadly, they go their separate ways once Sophie gets more serious with her boyfriend. Thus, Frances faces a series of obstacles that attempt to knock her down. However, Frances won't be beat. She's an optimist, and she's willing to go the distance to find true happiness.

Based off of my summary, you might think that Frances Ha is a cliched mess. In fact, you are partially correct. This film doesn't really bring much knew to the table, story-wise. It also has a messy structure since it deals with a mishmash of particular moments instead of a coherent whole. Frances Ha might sound like "White Girl Problems" the movie, which is kind of true. It's drawing comparisons to HBO's Girls, even though it's much tamer than the raunchy television series. However, don't let these notions and perceptions steer you away from this film. To miss out on Frances Ha would be sinful.

Director Noah Baumbach is known for making "dramedies" that are truthful and inciteful. Frances Ha is both of these things, but it's lighter and funnier than some of Baumbach's other films. He co-wrote this film with lead actress Greta Gerwig, and their script is outstanding. It's witty, funny, and lovely, and just like real life, it is also sad and painful. Instead of being too cutesy like some expect it to be, Frances Ha has just the right amount of darkness (which might actually make you cringe) to make it realistic. Baumbach directs this film with excellence. He knows when to make the film feel natural and real, and he also knows when to make it seem fairy-tale-like. He chose to shoot the film in beautiful black-and-white, which gives it an extra flair that's fun and refreshing. However, the most astonishing thing about Baumbach's direction is his tonal mastery. He strikes the right note each time. The comedy is genuinely funny, and the drama can sting. A lesser director might have made this film into a jumbled mess -- both structurally and tonally -- but Baumbach proves that he's a director who is here to stay.

Frances Ha solidifies Greta Gerwig as a star. She has to carry the film because she is in every scene of the movie, and here, she is absolutely phenomenal. Her comedic timing is impeccable and her likability is through the roof. Even when Frances does some things that are abhorrent, we as an audience always feel the need to cheer her on. We can't help but identify with this complex character. We genuinely want her to succeed, and this is largely due to Gerwig's fantastic performance. Gerwig lives and breathes this character, and we always feel that Frances is a real person. It's astonishing. We also get very fine performances from Sumner and the rest of the supporting cast, which includes talented newcomers such as Michael Esper, Adam Driver, and Michael Zegen. The supporting cast brings its "A-game" to each scene, and each of the actors has such wonderful chemistry with Gerwig and the others. Most importantly, these actors' interactions with Gerwig make the film feel so real and charming.

Frances Ha is a small film that deserves to be sought out in theaters. It's a lovely and warm film that put a smile on my face throughout its entirety. Its infectious joy is wonderful. I imagine that this film will strike a chord with many young adults due to its relatable characters and world. And as a partial side note, the "Ha" of the title is not explained until the very last shot, but once it is, you will be surprised by its tremendous power. (Some even admit to getting a litle choked up by the ending). It's the perfect ending that will surely resonate with audiences. Frances Ha is a gift of a film that I won't soon forget. Three and a half stars out of four. 

The Great Gatsby Review

The Great Gatsby

3.5 stars out of 4

By Brett Takeshita

It seems that Baz Luhrmann's adaptation of the beloved The Great Gatsby is one of the most polarizing films of the year. Some die-hard fans of the book are proclaiming it a disservice to F. Scott Fitzgerald's masterpiece. Those who are new to the world of Gatsby are either beguiled or repulsed by this film. As a fan of the book, I happily declare Baz Luhrmann's The Great Gatsby as a wonderful film that, while faithful to the book, is extraordinarily original and completely stands on its own. 

For those who haven't read the novel, The Great Gatsby is told from the perspective of Nick (Tobey Maguire), a sympathetic Wall Street worker experiencing the highs and lows of the "Roaring Twenties." Nick lives on the wealthier side of Long Island, and he is entranced by his mysterious neighbor, Jay Gatsby (Leonardo DiCaprio). Gatsby is the man who throws lavish parties at his vast mansion every weekend, and his parties attract people from every part of New York. Nick then forms an interesting relationship with Gatsby and attempts to understand this charming, little-known man who has all of Long Island talking. Also in the mix is Nick's cousin, Daisy (Carey Mulligan), and her husband, Tom (Joel Edgerton). The charming and beautiful Daisy is a complete foil to the harsh and intense Tom, who is having an affair with a married woman named Myrtle (Isla Fisher). By observing and interacting with all of these fascinating people, Nick finds himself in the middle of a complex world constructed by chaos, beauty, madness, love, revenge, hardship, and power.

Baz Luhrmann's eccentric style is a turnoff for some, but I was absolutely in love with his approach to The Great Gatsby. At first, I was a little taken aback by the speed at which he approached the film. Gatsby moves like lightning, and the editing for simple sequences is almost exhausting. The shots last for the briefest of seconds, and Luhrmann always seems to move at a dizzying pace. However, after time, I began to fall in love with this fast pace and quick approach. His glitzy visuals and frenetic camerawork accentuate Fitzgerald's glamorous, exciting portrait of the "Roaring Twenties." Not only does Luhrmann's approach pay tribute to Fitzgerald's work, but it also makes the 142-minute runtime fly by. You will not be bored by this film.

In addition to Luhrmann's deft hand at pacing, Luhrmann also has a knack for breathtaking visuals. The way that he and cinematographer Simon Duggan shot the film is nothing short of remarkable. They light the actors in the most beautiful way, so that all of the actors simply glow on camera. They have a twinkle in their eyes and a sheen to their faces that brings forth so much warmth. Also, Gatsby's party sequences are simply magnificent to behold, all because of the dazzling visuals. Contributing to the outstanding look on screen is Catherine Martin's gorgeous production design and costumes. I'm sure that her name will be announced come Oscar season.

Speaking of Oscars, I hope that the Academy will consider Leonardo DiCaprio for "Best Actor." He is the perfect Gatsby. Not only is he charming and likable, but he also shows a vulnerability that is supposedly unseen in all other film adaptations of the novel. DiCaprio has some standout, goosebump-inducing scenes that prove why he is one of the finest actors of his generation. The rest of the cast is astonishing as well. Carey Mulligan is luminous and lovely in each scene. While some complain that her performance is too light and ethereal, I found it to be spot-on with its intricacy. Tobey Maguire is great in a role that could have been forgettable. Maguire brings forth just the right amount of naivete and boyishness. He acts in a way that I think most people of the time would act if they found themselves in similar situations. Supporting work from Edgerton, Fisher, and Elizabeth Debicki is all strong as well. This is an incredible ensemble cast.

Last but not least, we must discuss Jay-Z's controversial soundtrack to the film. He has assembled a wide range of artists (Beyonce, Fergie, Lana Del Rey, the xx, Florence + The Machine) from a wide variety of genres (hip hop, R&B, dubstep, alternative). This could have been a hot mess. However, I find it to be a satisfying, coherent whole that is unified by its 1920s influences. It's one of the most accomplished film soundtracks of the year, and it works as a standalone work separate from the film. I was never distracted by the dubstep and electropop songs in conjunction with the party scenes. In fact, I was lulled into its enchanting spell. Even Jay-Z's complex hip hop tracks mix wonderfully with the retro imagery. I'm not praising this soundtrack simply because I am a big fan of Jay-Z and the other artists on the soundtrack. I am praising it because it works masterfully. Expect this album to be a frontrunner in the soundtrack category at next year's Grammy Awards.

Baz Luhrmann's The Great Gatsby is definitely a love-it-or-hate-it film, and I fell on the side of love. I was "wowed" by the visuals and the direction. I was genuinely touched by the performances and the story. (Some are complaining that they don't "feel" anything when they see this film, but I respectfully disagree). I was pleased that Luhrmann seems to deeply admire and appreciate his source material. Overall, The Great Gatsby is a magical and enchanting experience that is surely one of the finest films that I have seen thus far in 2013. Three and a half stars out of four. 

Pain & Gain Review

Pain & Gain

1.5 stars out of 4

By Brett Takeshita

Ladies and gentlemen, I present to you a contender for one of the worst films of 2013: Pain & Gain. It's such a shame because I was hopeful that this would be a slick and fun thrill ride. It has an interesting premise -- which is also based on a true story -- and it boasts an excellent cast. How could such a promising flick go so wrong?

Pain & Gain tells the story of Daniel (Mark Wahlberg), a bodybuilder and personal trainer who finds that he lives an unfulfilling life. Sure, it's comfortable, but there's nothing more to it. After hearing a speech from a motivational speaker (Ken Jeong), Daniel decides that he wants to become a "do-er" and pursue the American dream of wealth and happiness. He gathers up his two friends -- the wisecracking Adrian (Anthony Mackie) and the churchgoing Paul (Dwayne Johnson) -- so that they can kidnap the arrogant Victor (Tony Shalhoub) and unlawfully obtain boatloads of cash. However, this mischievous scheme goes terribly wrong and soon becomes all too complicated. Eventually, a smart detective, Ed (Ed Harris), is hired to chase after these three hooligans, as they attempt to cover up their tracks and get away with their crimes.

I'm not gonna sugarcoat this: Pain & Gain is a mess. I still can't tell what it's trying to be. Is it trying to be a smart movie about incredibly stupid people? If this is what director Michael Bay was attempting to create, then he fails because Pain & Gain just comes across as being ridiculously dumb. And don't think that I'm being too stuck-up about this film, because I can appreciate a dumb action-comedy just like any other moviegoer. It's just that this one is unsuccessful. The script is packed with tons of lazy jokes amidst all of the violence and insanity, but I rarely laughed. The humor did not work for me. And unfortunately, some of the humor involving women and religion just comes across as ugly and distasteful.

The problem with Pain & Gain is the writing in conjunction with Bay's direction. Aside from the terrible jokes, the script is attempting to do too many things. Not only is it about the American dream, but it's also about life in the gym, dirty crimes, awkward relationships, drug addiction, and unashamed hedonism, amongst other things. As you might be able to tell, the script is unfocused, and unfortunately, Bay seems lost. I do not dislike Michael Bay like many other cinephiles. However, here, he just has no control over his film. He doesn't know how to strike the correct balance between thrilling action and wacky comedy. He doesn't understand pacing, for the pacing in this film is insanely erratic. At times, it's super fast and wildly off the charts. Then, it slows down -- especially in the middle -- and drags to the point at which it becomes boring. This film is too long, and then, after a period of time, you end up not caring about most of the characters.

The problem with the cast sorta resides within the problems with the script. The characters in this film are such idiots that the actors don't get to do much with their characters. For example, Dwayne "The Rock" Johnson's religious character is supposed to bring a lot of humor with his innocent, boyish personality, which greatly contrasts with Johnson's rugged exterior. However, the character is simply so stupid that Johnson can't really sell the humor. He tries hard to be funny and do what he can, but he falls flat. The same goes for Anthony Mackie. He's supposed to be another one of the comedic characters who tells rapid-fire jokes and lets loose, but we don't care about the character at all. 

However, we do get a couple of really fine performances that save the film from being a total train wreck. It's great that Mark Wahlberg was cast as the lead in this film because he is pretty outstanding. Here, he really fleshes out his character, and even though Daniel is inherently unlikable, we still actually care somewhat about the character, due to the great depth that Wahlberg brings to the screen. Tony Shalhoub and Ed Harris deliver some very nice performances. Shalhoub is brilliantly disgusting and awful, and Harris brings some great gravity to an otherwise shallow film. The biggest standout in the film is Rebel Wilson as Robin, Adrian's nurse and eventual girlfriend. It seems like she improvised her lines, and she absolutely nails each scene. She's the only actor in the film capable of delivering some true laughs. I would have rather watched a whole movie about Rebel Wilson's character than Pain & Gain as it stands.

I usually love "American dream" films, violent action thrillers, and dumb gross-out comedies. Pain & Gain is the synthesis of these three types of films, so it would seem that I would have loved this film. However, I highly disliked it. It's frustrating and baffling in its incoherence and stupidity. It's pretty close to being a pile of garbage, if it weren't for some strong performances. Some critics are praising this movie and hailing it as one of Michael Bay's best films. However, I strongly disagree. This is not funny or exciting or all that interesting. It's just plain stupid. Out of all of the films that I've seen thus far in 2013, I am sad to report that Pain & Gain is the worst. One and a half stars out of four.

The Kings of Summer Review

The Kings of Summer

3 stars out of 4

By Brett Takeshita

Recently, we've been getting multiple teen-centered, indie, coming-of-age films that have impressed. The critically-acclaimed The Perks of Being a Wallflower and Moonrise Kingdom are two prime examples. And now in 2013, we have the wonderful The Kings of Summer. It's a charming, quirky, warmhearted film that will thoroughly please audiences.

The main plot of The Kings of Summer may sound familiar to you. Joe (Nick Robinson) is a high schooler who seeks a life of freedom. He's tired of his overbearing father (Nick Offerman) constantly surveilling his life. Then, one day, he decides that enough is enough. Joe leaves home and sets off for the woods with his best friend, Patrick (Gabriel Basso), and a strange kid named Biaggio (Moises Arias). They build a home and teach themselves how to survive in the wild. However, is the life free from overbearing parents and home responsibilities really as great as it seems? This is one of the questions that the teens struggle with as they shape their own lives, and discover the truths about each other and themselves.

If you like sweet, funny coming-of-age films, then The Kings of Summer is for you. While it isn't completely original or surprising, it's executed in a way that is always engaging and sometimes quite lovely. Director Jordan Vogt-Roberts is deft at making this film fun and intimate. He has a great understanding of the characters, and thus, he knows how to direct his actors very well. He also understands tone. He is able to shift from wild comedy to quiet drama with ease. Even when the script by Chris Galletta -- which is, for the most part, very nicely done -- sometimes goes off the rails and into random directions, Vogt-Roberts never loses control over the essence of the picture. He has a clear grasp of what this film is: complex and likable teenage kids attempting to discover who they are and what life they want to live.

The Kings of Summer is blessed with an extraordinary cast featuring many bright newcomers. Nick Robinson is phenomenal. He is funny and charming and oh so relatable. We truly understand Joe and want him to achieve success in the woods. Robinson makes this deep character totally compelling. Basso is also outstanding as the serious and tough Patrick. He brings some heft to his character and to the film. And Moises Arias is a riot. He elicits the biggest laughs in the film. Biaggio is such a bizarre and wildly unpredictable character, and Arias completely goes for each scene without an ounce of hesitation. The chemistry between these three boys is so natural and so lovely. I completely bought their  friendship because they live and breathe these characters with such conviction. It's an absolute joy to watch. And lastly, the supporting cast is excellent: Nick Offerman, Megan Mullally, Marc Evan Jackson, Mary Lynn Rajskub, and Alison Brie. Each one of these actors shines with their comedic talent. They deliver laughs and heart.

I want to give a shout-out to Ross Riege for his incredible cinematography. The sequences in this film are breathtakingly beautiful. He gets some of the most gorgeous shots of nature, whether they be little bugs or green pastures, that are stunning. I also loved the scenes in which the boys run around and do wild things such as slice various objects with their swords. The scenes are shot in a hyperrealistic slow-motion, and they are so cool to behold. To sum all of this up neatly, the cinematography of The Kings of Summer is amongst the finest of the year.

The Kings of Summer does not reinvent the coming-of-age drama or the indie comedy. Rather, it pays tribute to familiar films that came before it, and it goes about itself in a wonderful way. It's a film that I imagine will resonant with many teenagers and young adults. This might be the best comedy thus far in 2013. Three stars out of four.

In the House Review / Dans La Maison Review

In the House (Dans La Maison)

2.5 stars out of 4

By Brett Takeshita

Looking for a foreign art house film that rivals Inception as the biggest mind-bender in recent memory? Then, In the House is for you. It's an intriguing comedic thriller that will keep you guessing from beginning to end. Is it perfect? Definitely not. But is it fascinating and well made? You bet.

In the House tells the story of Germain (Fabrice Luchini), a high school literature teacher who is fed up with the lack of effort from his students. He reads essays to his artist wife, Jeanne (Kristin Scott Thomas), and the couple scoffs at the ridiculous things that the students write. However, there is one student who is an exception. That is the talented and precocious Claude (Ernst Umhauer). Germain strikes up an interesting relationship with Claude. He is in awe of Claude's gifts as a writer, and he gives Claude pointers on how to become the best writer possible. Claude then gives Germain multiple essays regarding his life in the new home that he insinuated himself into. In the home is a seemingly normal family: Claude's awkward classmate and his business-oriented father and gorgeous mother. Germain is fascinated by these stories surrounding Claude and the family until they take turns for the weird. Something seems off, and the lines between fact and fiction are blurred. What results? Chaos.

Director-writer Francois Ozon has made a film that is unlike many others. It's a weird yet beautiful film that somehow manages to get under your skin. While In the House is not scary, there is something a little bit eerie about it. There is a relentless aura of mystery that pervades the picture, thus adding to the complexity of the film as a whole. And strangely, the film is sorta sexy as well. There are some steamy, erotic moments -- without being visually explicit -- that are well done. Everything is hard to describe. However, what is most surprising is that the film has a good sense of humor, mostly thanks to the crazy Jeanne. There are many witty -- and sometimes dirty -- jokes and one-liners that will have you in stitches. In the House is a mish-mash of genres. It's not quite a thriller, not quite a mystery, and not quite a comedy. It's a drama with elements of everything in it. The fact that Ozon is able to balance all of these genres in a successful fashion is commendable. In the hands of the wrong director, In the House could have been a jarring film lacking a sense of order. However, Ozon is a talented director who has mastery over his complex film.

The cast here is outstanding. Fabrice Luchini is an incredible talent, capable of being funny and intense all at once. He brings some gravitas to the film and is a remarkable presence. Luchini makes it so that Germain is a likable and understandable character. Kristin Scott Thomas is a joy to watch. She has great comedic timing, and she is also entirely believable. She digs deep down and brings so much life to Jeanne. Last but not least, the young Ernst Umhauer nails it and delivers a knockout performance. He is charming and sympathetic, but also slightly creepy and sinister throughout. Claude is the most complex character in the film, and Umhauer is absolutely sensational in portraying him.

It's a shame that In the House unravels and becomes a little too chaotic by the end, because the first two-thirds of the film truly deliver. The set-up is instantaneously intriguing, and it hooks you from the start. The mystery continues to build so that you will never know where it's going. Then, it leads to a somewhat unsatisfying conclusion. I found that many of my questions were not answered, and some of the events at the end come out of nowhere. At times, the blurring of fact and fiction was a little frustrating. I wish that there were more definitive answers or a few more clues as to what is real and what is not. Don't get me wrong, I appreciate ambiguity, and I like it when films expect intelligent audiences to do a little thinking of their own. I don't like it when things are clearly spelled out. However, In the House is a little too vague. Perhaps some more clarity would have made for a more effective film.

Overall, In the House is an original art film that stuns with its beauty and ambition. Go in with an open mind, and you'll be pleasantly surprised. Avoid the trailer, which gives away way too many plot twists and sorta detracts from the film. Just go in knowing that this is a film that expects you to think and expects you to reflect. It's funny and thrilling and mysterious, all at once. It's a film that is meant to be appreciated like fine literature. Two and a half stars out of four. 

Disconnect Review

Disconnect

3.5 stars out of 4

By Brett Takeshita

I must first start off by saying that I am very much a fan of these ambitious films with interweaving, connected stories. (Think Crash and Babel). However, I understand that many people have a problem with these types of films. That's completely understandable and completely reasonable. However, I urge everyone to check out Disconnect. It'd be a shame to miss out on one of the best movies so far this year.

Disconnect consists of three stories that all deal with the dangers and consequences of our technology-obsessed society. The first story focuses upon Ben (Jonah Bobo), a high schooler who is misunderstood. Even his father (Jason Bateman) seems more invested in his smartphone than his music-loving son. Ben begins chatting with a nice girl named Jessica over Facebook. Little does he know that this is a prank constructed by his classmate, Colin (Jason Dixon). The second story focuses upon Derek (Alexander Skarsgard) and Cindy (Paula Patton). They are a couple mourning the recent loss of their young son. Cindy turns to online chat rooms to help ease the pain. Derek avoids talk of their son altogether. Then, Derek -- while away on a business trip -- notices that his credit card won't work. Turns out that Derek and Cindy's identity has been stolen, and they must track down the person responsible. The final story focuses upon Nina (Andrea Riseborough), an ambitious news anchor who is sick of telling the same boring stories each and every day. Then, one day, she decides to reach out to an underage chat room/sex site worker named Kyle (Max Thieriot), who does dirty deeds over his webcam for a big salary. After talking and forming a relationship with him, Nina wants to tell Kyle's compelling story on television, even though she knows how dangerous and controversial it is.

Over the course of two hours, Disconnect intercuts these three stories until they all connect and collide by the film's conclusion. It's an ambitious picture that is nothing short of riveting. This is the first non-documentary film from director Henry Alex Rubin, and I am happy to report that he does an incredible job with this film. He tells the story in a very naturalistic sort of way, so that it never strays from realism, even when the drama does begin to escalate. Rubin has a knack for tension. Disconnect will have you holding your breath the whole time, and trust me, that is a good thing. It's rare to see movies that will keep you emotionally invested while on the edge of your seat the whole time. Disconnect is masterful filmmaking.

The acting ensemble here is phenomenal. Johan Bobo and Jason Dixon will absolutely break your heart with their highly affective performances. It's amazing to see such incredible talent from such young actors, and I look forward to seeing more of them in the future. It's great to see Jason Bateman in his first solely dramatic role. This film proves that he is a fine actor who can do way more than comedy. Paula Patton is absolutely lovely in every moment of this film, and she has true understanding of her character. Alexander Skarsgard gives an incredible performance that is against type. Usually, he's the sexy, charismatic, brooding gentleman. However, here, he is the damaged, worn-out father. He gives a quiet performance that is so emotionally resonant and so deeply moving. Andrea Riseborough is fantastic playing this difficult, complex woman. Riseborough understands stakes and truly commits to her character. Lastly, Max Thieriot is sensational. Here is another talented young actor who delivers a powerful, heartbreaking performance. Perhaps Kyle is the best character in the entire film -- a damaged yet inherently likable young kid -- and maybe that's why Thieriot gives one of the finest performances in the film. Ultimately, if you see Disconnect for only one reason, it should be for the performances. All of these actors are sensational, and they deliver on every level, even when the script sometimes doesn't hold up. This is one of the finest acting ensembles of the year.

Disconnect is a stunning, mesmerizing film. Similar to the recent The Place Beyond the Pines, it's ambitious and powerful. In fact, with Disconnect, I was so shaken by the ending that it was all I could think about for the next few days. Not only did I become attached to the characters in the film, but I thought about the characters and the stories, and I connected them to my life. In other words, Disconnect actually made me reflect upon our current moment in history. It made me realize that technology is both a blessing and a curse. It made me contemplate on the present and the future. Just think back to the last time that a movie made you do that. I'm sure you're having a hard time coming up with one. I know I did. Therefore, go seek out Disconnect. It's a "small" indie movie that's in limited release right now, but you cannot miss it. Let the crisp direction and powerful themes haunt you. Let the cool imagery and gorgeous score enter your brain. Let the fantastic performances and thought provoking stories "wow" you. Disconnect is an incredible motion picture that is close to perfection. Three and a half stars out of four.