jOBS

jOBS – Dir. Joshua Michael Stern (2013)

Here's to the crazy ones…because the people who are crazy enough to think they can change the world, are the ones who do.

In some small way, Steve Jobs has touched the lives of just about everyone on this planet. Even if you've never owned an Apple product, you've probably, at the very least, taken a call from someone on an iPhone or seen someone walking down the street with those recognizable white earbuds. I must admit to drinking the Apple Kool-Aid as I own an iPod Classic, an iPhone 5S, an iPad2, an iPad Air, and a MacBook Pro.

Billions around the world mourned when Jobs died of complications caused by pancreatic cancer in 2011. Of course, the Hollywood studios were itching to tell his story, part of which was previously depicted in the made-for-TV movie Pirates of Silicon Valley with Noah Wylie as Jobs and Anthony Michael Hall as Bill Gates. Still in development is a script by Aaron Sorkin, which will focus on three pivotal moments in the Jobs' life. Meanwhile, the first to hit the screens is Open Road Films' Jobs, based on a screenplay by newcomer Matt Whiteley with the handsome Ashton Kutcher in the title role.

The film begins in 2001 with Steve Jobs introducing the first-ever iPod at an Apple Town Hall. The story shifts back to 1974 where Jobs has dropped out of Reed College in Portland because he was unable to afford tuition. A kindly professor (James Woods in a throwaway cameo) allows him to audit classes, but Jobs doesn't have a clear cut idea of where his life is headed. After dropping LSD and going on a sojourn to India, Jobs gets a gig working at Atari where he helped to build Breakout, a video game inspired by Pong. Jobs also infuriated colleagues with his overbearing demeanor and poor hygiene (he never wore shoes). While working on the project, Jobs turned to his friend Steve Wozniak (Josh Gad) and was amazed at his pal's new invention, a motherboard that could interface with a television monitor. Wozniak saw it as a cool gadget, Jobs saw the future.

Together, they formed Apple Computer and worked out of the garage of Jobs' parents (John Getz & Lesley Ann Warren). Angel investor Mike Markkula (Dermot Mulroney) was instrumental in providing the startup money the company needed to create the Apple II. At the forefront of the blossoming home computer market, Apple was quickly becoming a superpower and made a lot of people millions when it went public in 1980. Unfortunately, the company's success was also instrumental in Jobs' downfall. The fiercely independent Jobs now had to answer to shareholders and board members. Soon, Jobs finds himself ousted from the company he created. Don't worry, he finds his way back. No spoiler alert necessary.

Jobs never attempts to canonize its subject nor does it try to tear him down. The biopic never strays far from the middle of the road when depicting Jobs' life. He was a bold thinker and created a market for technology people didn't even know they needed. At the same time, he was temperamental and ruthless. Jobs denied stock options for friends like Daniel Kottke (Lukas Haas), who started right there with him in his parents' garage. He even screwed his best pal Wozniak out of a couple thousand dollars. Perhaps, the worst moment comes when Jobs callously dumps his girlfriend after learning she is pregnant. He continued to deny the baby was his for years. Sometime after leaving Apple, Jobs is shown living in a beautiful mansion with a wife, a son, and that very same daughter he ignored. His change of heart is never shown or explained.

That sums up the major problem with Jobs, the film never shows any desire to dig deeper. The sun always shines brightly while director Joshua Michael Stern is content with shooting a young Steve Jobs spinning in a wheat field and glossing over chunks of the story through montages. The soundtrack is littered with gentle pop classics by Cat Stevens and Joe Walsh, which sets the tone for the safe route Jobs takes. Those seeking an edgier alternative will have to wait for Sorkin's version.

Though Kutcher bears a resemblance to the real Steve Jobs and captures the man's physicality, he doesn't have the acting chops to believably deliver the movie's more intense moments. At least, Kutcher has a stacked supporting cast to play off of with character actors such as James Woods, Kevin Dunn, Dermot Mulroney, Ron Eldard, J.K. Simmons as board member Arthur Rock, and Matthew Modine as John Sculley, former CEO of Apple and Pepsi-Cola. Undoubtedly, the best performance belongs to Josh Gad's Steve Wozniak, portrayed as a kind-hearted teddy bear uncomfortable the cutthroat corporate world.

It's ironic that someone who was considered so daring and innovative could have inspired such a bland, innocuous biopic. What a shame that the filmmakers didn't follow Steve Jobs' lead and take a few risks.

Rating: ** (*****)

Contraband

Contraband - Dir. Baltasar Kormákur (2012)

Stupid 9/11 comments aside, I like Mark Wahlberg. As evidenced by this turns in The Happening and The Lovely Bones, he's not a nuanced thespian capable of heavy drama. But, he is an underrated comedic performer and a convincing big screen tough guy. Much like Vin Diesel or Jason Statham, Walhberg could be a more prolific action star if he found better roles. Instead, he's content for run-of-the-mill pictures like Shooter, Max Payne, and now Contraband.

Contraband is a loose remake of a 2008 Icelandic crime thriller called Reykjavik-Rotterdam whose star, Baltasar Kormákur is the director of the Hollywood version. Wahlberg plays Chris Farraday, a former smuggler who has gone legit and works as an installer of home security systems in New Orleans. Kate Beckinsale is his wife, also named Kate, and they have two sons together.

Kate's dumbass kid brother, Andy (Caleb Landry Jones), is still involved in the smuggling business. Now, he owes $700,000 to a violent gangster named Tim Briggs (Giovanni Ribisi) after tossing a shipment of cocaine into the water during a surprise customs search. Chris is forced to intervene when Briggs not only threatens Andy, but his whole family. Chris assembles a small crew on board a cargo ship in order to smuggle $15 million in counterfeit bills from Panama to pay off the debt.

Contraband is formulaic through and through. This is your basic "one last job" movie where the protagonist must pull off a big heist for a massive payday. Murphy's Law always seems to rear its ugly head and no plan ever comes off without a hitch. In Wahlberg's case, he has to deal with a crooked captain (J.K. Simmons) and a psycho crime lord (Diego Luna) who ropes him into an armored car robbery.

There's not much here to differentiate Contraband from the numerous pictures just like it. I do like that the hero is a smuggler rather than an overused profession like a bank robber or hitman. The bulk of the film is set on the cargo ship, which is another unique setting. Yet, Contraband doesn't delve deeper into either element. It's not interested in the intricacies of the smuggling trade, just generic shaky cam action sequences.

J.K Simmons is pretty much the best thing in the movie, bringing much welcomed humor to the role of the uptight captain. Giovanni Ribisi goes way over the top as a tatted up scumbag with a nasally voice. Ben Foster co-stars as Chris's best friend, Sebastian, who has also gone legit and is a recovering alcoholic. Foster is intense as usual, but with an understated quietness. There is a twist to his character that anyone can see coming a mile away. Finally, there's poor Kate Beckinsale. If you want to see her kicking ass, watch Underworld: Awakening. If you want to see Beckinsale in the thankless role of damsel in distress, see Contraband.

Contraband isn't a terrible movie, but it is indicative of the generic flotsam dumped by the studios during the uneventful early part of the year.

Rating: ** (*****)

Red Riding Hood

Red Riding Hood - Dir. Catherine Hardwicke (2011)

Twilight is officially now a verb and I don't mean, "I ate some bad Mexican food and had to take a major Twilight." Hollywood execs sit around the boardroom looking at tried and true stories, then ask themselves how can we Twilight it? That means taking a classic like Beauty and the Beast and turning it into a love story about mopey teenagers (Beastly). Red Riding Hood may be the best (worst?) example of turning a well-known story and giving it the Twilight treatment. Warner Brothers even hired director Catherine Hardwicke, who works off a script by David Johnson (Orphan and the upcoming Clash of the Titans sequel).

Amanda Seyfried is Valerie, who lives in the village of Daggerhorn, nestled deep in the forests of some nebulous European countryside. Valerie is arranged by her mother, Suzette (Virginia Madsen), to be married to Henry (Max Irons), the clean cut son of a wealthy blacksmith. However, she is in love with the mussy haired Peter (Shiloh Fernandez), a humble woodcutter. Evidently, in ye olden days blacksmiths made more money than lumberjacks. The villagers make regular sacrifices to appease the werewolf who stalks the night during a full moon. The fragile peace is broken when the wolf murders Valerie's older sister. The townsfolk go on the hunt, but are sadly lacking in pitchforks and torches. As the werewolf claims more victims, the desperate people call upon noted werewolf hunter, Father Solomon (Gary Oldman), a religious fanatic with silver fingernails.

Though she's mostly known for directing the first Twilight film, Hardwicke made her debut with Thirteen, a critically praised coming-of-age tale about a teenage girl played by a young Evan Rachel Wood. Red Riding Hood is like some absurdist combination of the two. The set design is one of the main problems. Daggerhorn is a place that could only exist on a soundstage, but isn't stylish enough for you to buy into it.

The themes of Red Riding Hood are about as subtle as the spine-chilling howl of a wolf at the moon. Valerie is clad in the flowing crimson robe that has become a trademark of the titular character. Not exactly the wisest choice if one wants to remain inconspicuous, but it represents the character's sexual awakening. When the heroine pops her cherry, she does so by literally rolling in the hay with the brooding bad boy. Hardwicke shoots the love scene like a 1980's perfume commercial caught in a dream-like haze. There's also an odd pagan luau (set to Fever Ray) that just might rival the orgy rave from The Matrix Revolutions in terms of perplexing debauchery. Aside from the soap opera love triangle, Hardwicke hammers home themes of religious and government oppression through the character of Father Solomon. He fosters suspicion and distrust amongst the villagers and tortures innocent people. Didn't we already get a better version of this in The Crucible? And do we really need allusions to Guantanamo and the Patriot Act in a teen romance picture?

Hardwicke has cast some decent young actors to play the leads, but their performances are bland due to thinly drawn characterizations and leaden dialogue. The rest of the ensemble is filled by recognizable talents, who aren't exactly utilized to their fullest potential. Virginia Madsen and the great Julie Christie (as the Grandmother) are wasted while sci-fi fans will wonder what the heck are Battlestar Galactica's Michael Hogan and Stargate SG-1's Michael Shanks doing in this. Without a doubt, Gary Oldman is the best thing in the movie. He's menacing, but restrained. This is the sort of role begging for maniacal lunacy ala The Professional.

It's cheesy as cheesy gets, but Red Riding Hood can't even be appreciated as a campy cult film. This Big Bad Wolf has given us a big bad movie.

Rating: * (*****)

Inception

Inception - Dir. Christopher Nolan (2010)


”You mustn’t be afraid to dream a little bigger, darling.”

Christopher Nolan certainly wasn’t afraid to dream big. Originally pitched to Warner Brothers back in 2002, Nolan spent almost eight years developing the intricate $200 million action-thriller, Inception. Nolan applies the blockbuster approach of The Dark Knight with the mindfuck methodology of earlier films like Memento to this high concept take on the heist movie.

Leonardo DiCaprio stars as Dom Cobb, a world-class thief who has taken corporate espionage to a new plane of existence. He doesn’t break into bank vaults, he breaks into dreams. Known as “Extraction,” Cobb hooks his slumbering victims to a Matrix in a suitcase in order to steal their deepest secrets or sacred ideas. Cobb and his right-hand man, Arthur (Joseph Gordon-Levitt), have failed their latest extraction on wealthy businessman Saito (Ken Watanabe). However, Saito is impressed enough that he hires them for the impossible task of “Inception,” where an idea is planted into someone else’s mind.

The mark is Robert Fischer (Cillian Murphy), who will inherit an energy conglomerate from his dying father (Pete Postlewaite). Saito wants the son to break up his company thereby preventing a near-monopoly that would squeeze out Saito’s own corporation.

So Cobb assembles his team consisting of Arthur; Yusuf (Dileep Rao), a chemist who is an expert at sedatives; Eames (Tom Hardy), a forger who impersonates others inside the dream; and newcomer Ariadne (Ellen Page), an architect charged with crafting the world of the dream. Nolan gets a little playful in naming her after the character from Greek mythology who led Theseus out of the labyrinth of the Minotaur.

Sharing dreams with Cobb, Ariadne discovers the dangers that have leaked out of his subconscious. Cobb is a wanted fugitive who has left behind his children by fleeing the States. His troubles stem from the death of his wife Mal (Marion Cotillard). She lives on in his mind, but twisted by his own guilt, she attempts to kill Cobb and his team at every turn.

The second act of Inception follows the formula of other con game movies like The Sting or Ocean’s Eleven. The team plan and practice their scheme. The third act involves creating a multi-layered dream world to ensnare their target. These dream worlds aren’t as surreal as the ones seen in Eternal Sunshine of the Spotless Mind. It’s less Charlie Kaufman and more Michael Mann with a dash of M.C. Escher. The movie isn’t nearly as confusing as one would expect. Nolan helpfully provides more than enough exposition to keep everything clear. Therein lays the film’s biggest weakness.

The majority of the dialogue is entirely functional in that characters are simply explaining things to each other. As the eager newcomer, Ariadne serves as a stand-in for the audience. She’s there to be introduced into Cobb’s world so that we are as well. It feels a bit insulting for Nolan to hold everyone’s hand at each step. We don’t really get to know any of the characters beyond the genre archetypes of fresh-faced rookie or nerdy tech guy. One of the film’s best scenes is a quickie involving Arthur stealing a kiss from Ariadne. It’s a rare moment in which the characters are allowed to simply be themselves.

The strengths of Inception lie in its original concept and spectacular visuals. Nolan is like the cerebral Michael Bay. He’s a master at creating widescreen spectacle, yet there is substance to the style. There are some amazing images to be found here, from a crumbling cityscape to a Parisian boulevard that is literally folded in half. Nolan still struggles with crafting coherent action sequences. A car chase through the rainy streets of downtown L.A. isn’t nearly as thrilling as the chase from The Dark Knight and a James Bond-esque battle at a snowy fortress is disorienting. On the other hand, a gravity defying fist fight in a hotel hallway is well done. Nolan and long-time editor, Lee Smith, deftly intercut the various dream layers during the climax. Neither are Nicholas Roeg, but they get the job done.

The ensemble cast is excellent all around with Tom Hardy and Joseph Gordon-Levitt providing a pair of great supporting performances. Ignoring G.I. Joe, Gordon-Levitt is easily at the top of the heap when it comes to young actors working today. Watch him in this along with Brick and The Lookout, if you don’t believe me. For the second time in a row, DiCaprio plays a tortured widower. He’s the glue that holds the film together, playing well with the other actors. The exceedingly gorgeous Marion Cotillard is pitch perfect as the film’s femme fatale. If DiCaprio is the Batman of Inception, then Cotillard is his Catwoman. You know, I wouldn’t mind seeing Cotillard in black leather leotards and cracking a bullwhip. Either by coincidence or design, Nolan throws in a nod to her Oscar-winning turn in La Vie en Rose by utilizing Edith Piaf’s “Non, Je Ne Regrette Rien” at a key moment.

After suffering through the inane schlock of last year (Transformers: ROTF), it’s refreshing to see that 2010 has brought us films like Green Zone and Inception, action dramas with a brain. Inception does get bogged down with exposition, but it’s saved by a great cast and stunning visuals. Even with a runtime of 148 minutes, it moves at a brisk pace. It is definitely the shortest 2 and a half hour movie I’ve ever seen.

Rating: *** ½

Brick

Brick - Dir. Rian Johnson (2005)


Writer/director Rian Johnson had a crazy idea for his first feature. He loved the film noir genre and wanted to do one of his own. But, the elements of the genre are easily recognizable thanks to the stark lighting, dark subject matter, trenchcoats, and sultry women. Just about everything has been done with the noir, so Johnson decides to place his film in a high school setting with teenagers as the characters. It sounds like a silly premise for a parody (Bugsy Malone, anyone?), except Johnson plays it straight and manages to dust off an old staple of cinema and give it a fresh coat of paint.

Brendan (Joseph Gordon-Levitt) is the classic loner. He keeps everyone at a distance and eats his lunch behind the Port-A-Johns so that no one will bother him. Brendan's aloof manner belies the love he still carries for his ex-girlfriend, Emily (Emilie de Ravin of Lost fame), who has since fallen in with the wrong crowd. Out of the blue, Brendan gets a call from a distraught and frightened Emily asking for help and babbling about a "brick." They meet, but Emily just tells Brendan to stay away. Two days later, he finds her dead, face down in front of a sewer tunnel.

Brendan takes it upon himself to navigate the various cliques at his school with help from his right-hand man, The Brain (Matt O'Leary), who provides him with info and whatever else might be needed. Brendan's journey brings him on a collision course with an assortment of colorful characters. There's the popular power couple of Brad Bramish (Brian J. White), the football jock, and Laura (Nora Zehetner), the femme fatale. Brad is a total lunkhead, but Laura has her fingers on everyone's pulse and she's anxious to help Brendan. Not so eager to help are Dode (Noah Segen), a stoner who hangs out by the dumpsters near a coffee shop, and Kara (Meagan Good), a snobbish member of the Drama Club.

Digging deeper, Brendan uncovers the identity of The Pin (Lukas Haas), short for "kingpin", a young man responsible for the city's drug trade. Brendan has to step gingerly in his dealings with the crime boss, thanks to The Pin's main muscle, the brutish Tug (Noah Fleiss). If that wasn't bad enough, Brendan has Trueman (Richard Roundtree), the school's assistant vice-principal, breathing down his neck.

Fans of 3rd Rock From the Sun will be surprised at how different Joseph Gordon-Levitt looks and acts in this film. He's a much darker character and brings a lot of strength and maturity to the role. Watching Brendan in action makes you wonder if Sam Spade or Mike Hammer were ever in this thick during their school days. Gordon-Levitt definitely continues to pave the road originally started by actors like Robert Mitchum and Humphrey Bogart. He'll take a few shots to get a good one in and he's got the hard-boiled dialogue down to a tee. Brendan backs off a gang of potheads by warning them, "Throw one at me if you want, hash head. I've got all five senses and I slept last night that puts me six up on the lot of you."

And I hope I don't spoil too much when I say that Zehetner reminds me a lot of Mary Astor in The Maltese Falcon. She gives off the same vibe as the seemingly trustworthy woman latching onto the hero. Both Astor and Zehetner brought serious sexiness to their roles, done in a restrained manner, unlike the more overtly revved-up femme fatales like Rita Hayworth or Lana Turner.

Long-time followers of film noir will get all the influences and references being dropped during Brick. Johnson was a huge fan of the Coen Brothers' Miller's Crossing, which introduced him to the works of Dashiell Hammett since it was based on Hammett's novels, The Glass Key and Red Harvest. You can easily see touches of both of those quintessential detective yarns when Brendan attempts to play the opposing sides against one another.

The high school setting also gives us two surreal moments that would probably never come out of the pens of Hammett, Mickey Spillane, or James M. Cain. A blindfolded Brendan is taken to The Pin's home where he's beaten by Tug and locked in the basement. In the next scene, he's brought up to the kitchen where The Pin's mom fixes him juice and cereal. Later, Brendan comes to at Tug's place where he meets the tough guy's mob, a gaggle of white-trash goons in white t-shirts and blue jeans. It adds a bizarre sensibility to the film, along with a pinch of humor.

Brick isn't billed as "A Film by Rian Johnson", but as "A Detective Movie by Rian Johnson", which it most definitely is. Certainly, you might have to take a leap of faith in order to digest parts of the film. We never see the inside of a classroom once throughout the film. Not to mention, I doubt any high school student would ever in a million years say the word, "yegg." Yet, the story is incredibly rich and just so much fun that I was more than willing to put myself in their hands and just let them take me along for the ride.

Rating: *** 1/2