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Steve Carrell

Vice – Humble Servant to Power

January 4, 2019 by Darrel Manson Leave a Comment

John Nance Garner (one of FDR’s Vice Presidents) observed that the Vice Presidency “is not worth a bucket of warm spit.” But that was different when Dick Cheney became Vice President. Cheney seemed to many to be the real power during George W. Bush’s presidency (at least the early years). Adam McKay’s Vice is a wide-ranging, sometimes satirical, sometimes cynical, sometimes funny, sometimes deadly serious, sometimes factual, sometimes imagined biopic of Cheney. It is by no means free of prejudice (many might call it ‘liberal spin’), but even with that understanding, it raises important questions for us to consider about how power is used by some.

The story follows Cheney (Christian Bale, in a superb performance) and his wife Lynne (Amy Adams, also great here) from his “ne’er-do-well” or “dirtbag” days after flunking out of Yale to being perhaps the most powerful man in the world. The terms “power” and “opportunity” come up frequently in the first part of the film.  It should be noted that if we think of Cheney as the power behind the throne, this film portrays Lynne as the power behind the power. As a woman, she knew that the road to power was not open to her at that time. Instead, she formed Dick into the one through whom she would access power.

Christian Bale (left) stars as Dick Cheney and Amy Adams (right) stars as Lynne Cheney in Adam McKay’s VICE, an Annapurna Pictures release. Credit : Matt Kennedy / Annapurna Pictures.2018 © Annapurna Pictures, LLC. All Rights Reserved.

As Cheney progresses up the ladder of success, there are many of those moments that he sees as a key opportunity to enhance his power, beginning with interning with then Congressman Donald Rumsfeld (Steve Carrell), who becomes a mentor. It moves through his own congressional career and into his time in the White House and Defense Department, before heading to the private sector before he found his way to become George W. Bush’s (Sam Rockwell) Vice President. It also shows how Cheney took the opportunity (there that is again) to fill the Bush White House with his people.

Christian Bale (left) as Dick Cheney and Steve Carell (right) as Donald Rumsfeld in Adam McKay’s VICE, an Annapurna Pictures release. Credit : Annapurna Pictures 2018 © Annapurna Pictures, LLC. All Rights Reserved.

McKay has put together a film that constantly surprises us. While much of the film follows the basic plot, there are some twists in the way that the story is told. For example, in one scene the Cheneys have an iambic pentameter pillow-talk discussion of the possibilities of power that would have made Shakespeare jealous. And there are times when a narrator (Jesse Plemons) breaks the fourth wall to speak directly to the audience to add some commentary or teach us about certain concepts such as Unitary Executive Theory. (The narrator’s relationship to the story is kept secret until near the end.) At one point, McKay creates a happy ending and starts rolling credits, but the film is only half done at that point. Through all this there are edited in some scenes of fly fishing (Cheney is an avid fisherman), which seem to symbolize the way he would lure people into a situation and then reel in the power. (And be sure to check out the flies that accompany the credits at the film’s end.)

So what kind of picture does this paint of Cheney (and others in the story)? Is it a political hatchet job? My thought is that for the most part the film portrays Cheney as a generally sympathetic person. He is a good family man. When his daughter comes out as gay, his response is to affirm his love for her. And before accepting to run for Veep, he makes it clear that he won’t run against LGBT rights. (Although later, when his other daughter is running for Congress, that position is set aside in the struggle to win.)

Jesse Plemons as Kurt in Adam McKay’s VICE, an Annapurna Pictures release. Credit : Annapurna Pictures 2018 © Annapurna Pictures, LLC. All Rights Reserved.

But even though he is treated sympathetically, we also see him as willing to do what is needed to achieve more power. Early on, he makes the statement that he would be a “humble servant to power”. We never see any evidence that he serves anyone or anything other than that. (The story of the temptation of Jesus may be applicable here.)

Christian Bale as Dick Cheney in Adam McKay’s VICE, an Annapurna Pictures release. Credit : Annapurna Pictures 2018 © Annapurna Pictures, LLC. All Rights Reserved.

And when we consider some of the policies that Cheney advanced, we may find that the film serves as a shibboleth that defines orthodoxy of either the right or the left, giving insight into our own understanding of what we want from our leaders. Do we want a strong leader who will never apologize for what they have done? Do we support the kinds of things done in the aftermath of 9/11? We continue to be divided on such issues. I suspect that some who watch this film will have a very different take on it than I did. I think that is especially true when we consider the final scene, as Cheney is doing a TV interview and himself breaks the fourth wall to turn to us and deliver a final aside.

As to the idea that this is a liberal political hatchet job, the film itself addresses that in a coda (another reason to stay for the credits) that explicitly makes that charge. Here too I think there is a bit of a chance for each viewer to think of their own reaction to the film and to the political situation it speaks to.

Filed Under: Film, Reviews Tagged With: Adam McKay, Amy Adams, Christian Bale, comedy, Dick Cheney, drama, Jesse Plemons, politics, Sam Rockwell, satire, Steve Carrell

And The Winner Is…or Should Be (Oscar Spotlight)

February 22, 2016 by Jacob Sahms Leave a Comment

revenant2The Oscar races this year are absolutely clear cut… in my mind. Having seen fourteen of the nominated films (out of approximately sixteen films in the major categories), these are my favorites to win.

At Best Actor, the portrayal of screenwriter and Communist Dalton Trumbo by Bryan Cranston put him in rare air, not that of the illicit drugs he manufactured as Breaking Bad’s Walter White. I was immensely moved by Cranston’s depiction of this flawed-yet-heroic man, and the way Jay Roach framed all of the movable parts around Cranston. Sadly, he’ll be runner up to Michael Fassbender, whose turn as Steve Jobs delivers something that Noah Wyle and Ashton Kutcher couldn’t: a performance that gets to the soul of the man. (Film I missed: The Danish Girl -my apologies to Eddie Redmayne.) Here’s a mad genius who lacks the emotional power to connect with others – until those who care about him the most challenge him spiritually.

stevejobs2I’ll openly admit that I’ve only seen a few of the five films in the Best Actress category but I have a hard time believing anyone could surpass Brie Larson’s portrayal of the kidnapped and raped young woman who raises her son in a garden shed in Room. While another year might produce more wins, this will be Room’s lone trophy. It’s harrowing and powerful, both in captivity and in the world outside, but all of it is made human by the quiet power of Larson’s delivery.

room1While this is a “makeup call” (a term ripped from other contact sports), I’ll predict that the Academy awards a lifetime achievement award to Sylvester Stallone for his Best Supporting Actor turn in Creed. Simply put, there are too few scenes in The Big Short, The Revenant, Spotlight, or Bridge of Spies for the other nominees to salt away a win. It’s Stallone by default, even if Michael B. Jordan deserves much of the credit for making Stallone look good (and recovering from the insufferable Fantastic Four).

Consider this your commercial break before we reach my big two awards for the year – consider it burying the lede.

creed-movieBest Original Screenplay: Straight Outta Compton delivers the time, the music, and the mythos of NWA. Were these guys prophets? Exploiters? Exploited? This complex story spins a tale that entertains, reminisces, and challenges us to think about how we define our worldview.

Adapted Screenplay: Michael Lewis’ The Big Short over Emma Donaghue’s Room robs the latter of a double win. Three times nominated, this one has to finally pull off the win. Greed sucks the life out of you in the long run – and proves there are no victimless crimes. It’s not the best film I saw this year, but it serves as a morality tale for all of us to consider in our day-to-day spending and relationships.

Cinematography: Director Alexandro Inarritu can do amazing things with film (think last year’s Birdman). This year, The Revenant dukes it out with The Hateful Eight (only win: Best Original Score). Both films are beautiful in their brutality, with the elements and humanity playing against each other for spellbinding cinematic moments.

straightouttaAnd now… Best Director goes to … Mad Max: Fury Road’s George Miller. Having established a dystopian world decades ago, he returns to the world that Hardy said was in Miller’s head and delivered it in a sprawling, dialogue-short film that visually does everything. No stone was left out of place, and every moment mattered to the overall picture. [Unfortunately, Inarritu will probably win… There, I said it.]

So, does that make Mad Max: Fury Road my Best Picture? Not exactly. While it (and Creed) was my favorite film of the year, it doesn’t qualify as the most important film of 2015. [It also came too early in the year, and surprised everyone with its depth.] A story about working within society to change it (versus running from the world we live in and hitting a restart) makes for a powerful testament of humanity in the midst of an apocalypse. It should be a challenge to us all – global warming, AIDs, violence, racism, whatever – be the change you want to be.

Mad Max Fury Road MainIs it The Revenant? No. Leonardo DiCaprio’s ability to grunt, Inarritu’s ability to shoot enigmatic scenes, and the makeup crew’s ability to generate the ferocious aftermath of a bear mauling do not make a complete picture. If you push me, I’ll admit this film looked cool but I thought the storytelling was shallow. (It’s why I preferred Mad Max: Fury Road.)

bridge3How about Bridge of Spies? Nope. While Tom Hanks delivers a tour de force performance, the film is almost entirely on his shoulders. Yes, it speaks to the way we are divided and guarded in society today, but it’s not enough to just have a strong lead. The film itself was good but not great; without Hanks, it’s a dud.

Left to right: Steve Carell plays Mark Baum and Ryan Gosling plays Jared Vennett in The Big Short from Paramount Pictures and Regency Enterprises

Does The Big Short…? An ensemble cast with solid performances couldn’t save a primarily financial film (here’s looking at you, Margin Call and Moneyball). Brooklyn? Didn’t see it. (Gulp). Room? Too claustrophobic.

And suddenly, we’re down to two.

martian-gallery3-gallery-imageWith the look on Matt Damon’s face as he accepted his award at the Golden Globes, I can tell there were fewer people laughing at the “comedy” that was The Martian. With the ridiculous categorization of the film, The Martian was condemned to be remembered not for Andy Weir’s story but the ridiculous politicization of the awards. And this isn’t even the best film where a dedicated group of brave people willingly sacrifice their lives to bring Matt Damon home or the best film where someone is castaway without human companionship…

spotlight3So, Spotlight it is. While Birdman and The Artist (2015 and 2012, respectively) proved that the Academy sometimes falls in love with the visuals, the track record of 12 Years a Slave, Argo, The King’s Speech, and The Hurt Locker show a trend toward based-on-a-true-story moments that highlight something about our society. With Spotlight, there’s an effort to show the power of the press (ding!), expose a hidden darkness (ding! ding!), and confront a powerful force in the world, the Catholic church (ding! ding! ding!)

Let’s hear the counter arguments. I know Chris Utley will be sharpening his knives… This should be fun.

Filed Under: Editorial, Featured, Film, Oscar Spotlight Tagged With: Alejandro G. Iñárritu, Bridge of Spies, Brie Larsen, Brooklyn, Bryan Cranston, Charlize Theron, Christian Bale, Creed, Eddie Redmayne, Emma Donaghue, Mad Max: Fury Road, Mark Ruffalo, Michael Fassbender, Michael Keaton, Michael Lewis, Room, Ryan Gosling, Spotlight, Steve Carrell, Steve Jobs, The Big Short, The Danish Girl, The Martian, The Revenant, Tom Hanks, Tom Hardy, Trumbo, Walter White

Minions – Follow The Leader

December 8, 2015 by Jacob Sahms Leave a Comment

minions

The widespread critical and commercial success of Despicable Me I & II guaranteed that the little yellow beings would get their own film. While the character of Gru (Steve Carrell) was their leader/master/boss in the original pair of films, the prequel, Minions, promised to fill us in on how Kevin, Stuart, and Bob ended up working in the lab and wreaking mischief everywhere.

While the beginning of the film provides a sort of ‘evolutionary tale’ of these single-celled organisms (complete with a T-Rex, Napoleon, and other bad guys) and their misadventures, the film’s narrative finds the Minions hitchhiking with the serial killing family, the Nelsons (Michael Keaton and Alison Janney). But when they fall in with Scarlett Overkill (Sandra Bullock), they discover a whole new level of evil to follow, and their exploits continue.

If you enjoyed the first two films, you’ll enjoy seeing more of these likable deviants, but I’m not sure it’s quite as funny, mostly because of the absence of Carrell for most of the film. Bullock tries hard, and so does Jon Hamm as Scarlett’s husband, Herb. But while the Minions make for colorful additions, and stars of mini-movies like the ones included here in the 3D/Blu-ray/DVD/Digital Combo Pack, there isn’t enough story here to nail down a feature film. [Other exclusives include the Story of the Minions and an Interactive World Map.]

Still, there’s something to be said for the way that the Minions struggle to find a leader and then follow him/her. Realistically, we can be like that, too, can’t we? Whether it’s a spiritual leader or a world leader, we change our tunes, opinions, and ideas like the way the weather changes, blown about by the wind. Our ideas about what is true, what is right, and what is worthwhile can be bullied about by whoever we’ve heard from last, which is even more troubling in a world of constant news and opinion via social media, news, and public opinion. What does it mean to figure out what’s right? Will we know when we find it, or will we continue to wander hopelessly because we don’t even know what we’re looking for?

After several false starts, Minions figures out who or what it is, and locks in, just in time for the Despicable Me we know and love.

Filed Under: DVD, Film, Reviews Tagged With: Despicable Me, Minions, Sandra Bullock, Steve Carrell

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