Irrational Man (2015)

I was joking with a friend over the weekend that people won't realize when Woody Allen has passed on until we go more than a year or two without a new film. He just keeps going and going, like the Energizer Bunny of film. Allen seems to be on a streak similar to the San Francisco Giants though. He's only good every other year (or so). Unfortunately, Irrational Man keeps up that trend.

It's not that Irrational Man is bad in any significant way, it's just so meh. This is especially unfortunate since it wastes a pretty good performance from Joaquin Phoenix, who totally carries the movie. Emma Stone is also very charming, but outside of their two performances, there's just not much there.

The plot actually goes in a different direction that isn't spoiled by the trailers, so I appreciated that. Once that direction was revealed, I was extremely excited to see how it played out. It's probably the only joy I got out of the film. Only that it takes forever to actually get there. Irrational Man doesn't seem to be in any hurry to get on with it. At least it seems that way, since it's so slowly paced. At just 95 minutes, it felt at least 30 minutes longer. It doesn't help that it's not particularly funny or romantic.

That's really all I have to say about it. Irrational Man is very middle of the road as far as Woody Allen films go. Not his worst, but far from his best. Maybe if another director had been behind this I wouldn't have expected so much. Save it for rental, and even then I'd only recommend this to Woody Allen fans, or people that need to see all of his movies.

2.5 (out of 5) Death Stars

Blue Jasmine (2013)

I've often said that a simple story can work when done well.  Plots don't get much simpler than Blue Jasmine, the latest from Woody Allen.  After her life falls apart, Jasmine (Cate Blanchett) moves in with her adopted sister in San Francisco while she tries to pull it back together.  It's not really any more complex than that.  Blue Jasmine is character study at best.

Don't get me wrong, the story's not quite that thin.  Through various flashbacks, we learn that Jasmine was married to a wealthy businessman, Hal (Alec Baldwin), in New York.  Unfortunately, his shady business deals caught up with him and they lost everything.  He was also having a series of affairs, and you see there was a part of Jasmine that was willingly ignorant about these things.  Why rock the boat, right?  Isn't there a saying about bliss and ignorance?  They taste good cold or on toast or something like that?  With her world crashing down around her, Jasmine has a nervous breakdown.  Now she's prone to talking to herself, or anyone that will listen to her prattle on about how great her life was/is.  On various medications and never without a vodka martini, there are moments where she looks truly disheveled.

Also through these flashbacks you see that Jasmine doesn't have much of a relationship with her sister, Ginger (Sally Hawkins), and her ex-husband (Andrew Dice Clay) is quick to point out that Jasmine wanted nothing to do with her when she had everything.  If you're going to do flashbacks, this is how you do it.  You're never confused about what part of Jasmine's life you're watching or where they are.  The various establishing shots, changes in lighting, subtle dialog queues, and even Jasmine's appearance make this clear without every being explicitly told.  No "six months ago" needs to be displayed on the screen.

Jasmine tries getting a job and going back to school, but her adjustment has been anything but smooth.  She doesn't get along with Ginger's new fiance, Chili (Bobby Cannavale), either, and her moving in has caused a strain on her sister's relationship.  Things finally start to look up when Jasmine meets Dwight (Peter Sarsgaard), a wealthy diplomat who has his sights set on political office.  Even Ginger takes on a lover (Louis C.K.) as Jasmine pushes her to to do better than someone like Chili.

In a lot of ways Blue Jasmine reminded me of Young Adult.  Both feature an unlikeable sociopath as its main character.  They're full of crap, medicated and completely self absorbed in their own fantasy world.  Hell, "Jasmine" isn't even her original name, but changed it because she liked the way it sounded.  What are you, some kind of diva?  Despite that you don't have much of a reason to like Jasmine, and she doesn't show much in the way of growth, you still find a sliver of sympathy for them.  Bad things happen to her, some deserved and some undeserved.  Whether or not you think Jasmine was a willing accomplice, or could have done something about some of these events, it's still a lot for one person to deal with in a short period of time.  When things start to improve for Jasmine, I actually wanted it all to work out for her even though I couldn't condone her methods.

Also like Young Adult, it's carried by a great performance that keeps you interested in the journey.  Watching a film about a broken person isn't always a picnic, but when it features such a strong lead performance, you can't help but find it interesting.  Cate Blanchett was simply amazing!  She's so believable as a drunk that it wouldn't surprise me to learn that she drank or medicated herself while filming.  It's hard to fake that even if you have experience with it.  I still thought she managed to have a sexy quality about her, but that might just be cause I have a thing for Blanchett.  While this is one of Woody Allens strongest films in years, I don't know if it works as well without Blanchett.  I've heard a lot of Oscar buzz already around her performance, and I wouldn't be surprised at all see her win it this year.

It's not completely a one-woman show though.  The supporting performances are very good, too.  Perhaps the biggest surprise is Andrew Dice Clay, who's been showing lately that there's more to him than just his comedy act.  Alec Baldwin is as solid as he always is.  Another standout was Bobby Cannavale, who continues to be one of my favorite, lesser known actors.  I also felt sympathy for Ginger due to Sally Hawkins performance.  Peter Sarsgaard is good in his small role, along with Louis C.K., who plays slightly against type.

This is a much darker installment from Woody Allen's when compared to the lighter tones of something like Midnight in Paris or To Rome with Love.  That's not to say there aren't laughs to be had in Blue Jasmine, but don't go in expecting a laugh riot.  Much of the humor comes from uncomfortable situations or sometimes outright laughing at the characters, but I didn't think it was necessarily mean spirited.

Blue Jasmine is another great entry in Woody Allen's catalog.  While light on story, it's an interesting character study about a totally dysfunctional person, but still watchable because of a fantastic performance from Cate Blanchett.  I hope she has her dresses picked out, cause she's gonna be pretty busy at all the award shows.

4 (out of 5) Death Stars

To Rome with Love (2012) - Movie Review

Has it always been a theme in Woody Allen films that regardless of whether or not a character is in a relationship, they'll sleep with pretty much anyone they are currently in the room with?  I've noticed this in some of his recent films and it's been bugging me.  Not everyone sleeps around.  Some people still believe in things like monogamy or being faithful.  Anyway...

Spoilers ahead...

To Rome with Love is the latest Woody Allen joint.  Rather than a central story, you get several short stories told in a very choppy style.  At the beginning, it's natural to assume that all these stories will come together at the end, and you'll get some kind of satisfying payoff, but neither happen.  They are completely independent of one another, so the storytelling is very disjointed.  It doesn't help that some are in English and some are subtitled, so you're constantly having to switch how you're viewing the movie.  Also, the stories are of varying levels of quality, so some you have no interest in.  Just when you get invested in one story, it switches to another you don't care about.

One vignette features Roberto Benigni, a man who wakes up one morning and is suddenly famous.  Nobody knows what for, but he is followed everywhere by the media, reporting on every detail of his life.  This could have been a funny commentary about the nature of celebrity, but it's really not fleshed out.  It's played more for a gag than anything.

Penélope Cruz is featured in another as a prostitute, Anna, that meets up with Antonio (Alessandro Tiberi).  It appears to be a case of mistaken identity, as Anna is really intended for someone else, but Antonio goes along with it anyway.  Their entire plot could have been removed, as you don't really care about his character at all.  The resolution to their story is one of the things that bugged me the most with regards to sleeping around.  Antonio finally sleeps with Anna, and then you recall that he's married.  Meanwhile, his wife, Milly (Alessandra Mastronardi), had a short story involving her sleeping with some celebrity, but interrupted in their hotel room by a robber.  However, she ends up just sleeping with the robber.  What the hell!?  Maybe because of all the jumping around with the stories, or maybe this was when I stepped out to use the bathroom, but I don't remember that they established that Antonio and Milly were married, so this was a surprise to me.  Either way, I though their whole story was very clumsy and hard to believe.  I will say that for the short time she had in the movie, Alessandra Mastronardi just lights up the screen.

One of the longer stories is of Jack (Jesse Eisenberg) being met on the street by John (Alec Baldwin).  In one of the more fantastical elements of the film, you realize that John is not actually there and appears to be the older version of Jack visiting his younger self.  As first, you think John just may be a figment of Jack's imagination, as he appears randomly and has conversations that nobody seems to notice, but then other characters interact with John.  So it's very unclear as to what John is.  It's also unclear if he's trying to prevent Jack from making the same mistake or just revisiting a part of his life.  Another thing that took me out story was that if John was, in fact, interacting with the younger version of himself, why didn't they cast an actor that looked the part or acted in any way like him?  It didn't fit at all.

Also, once again, we have a story about cheating.  Jack's in a stable, happy relationship with Sally (Greta Gerwig), but is tempted by a visiting friend, Monica (Ellen Page).  I thought Ellen Page was totally miscast here.  She's supposed to be this sexually open woman that Jack is just drawn to, and her character is described explicitly as being sexy, but that was the last thing I thought of when watching her performance.  While you can be sexy without being a bombshell, Page still looks like a child, and no point did I find her seductive in any way.

Woody Allen seems to have saved the best story for himself.  Allen plays Jerry, a retired music producer that travels to Rome with his wife (Judy Davis) to meet the family of Michelangelo (Flavio Parenti), the man his daughter (Alison Pill) plans on marrying.  He finds that Michelangelo's father (played by real life opera singer, Fabio Armiliato), has an amazing singing voice, but can only sing when in the shower.  This leads to Jerry pushing Michelangelo's father to pursue singing and looks for creative ways to get him on stage.  This story ended up being the most interesting and the only one that felt complete.

After last year's Midnight in Paris, I think many might have heightened expectations going into To Rome with Love, but this doesn't have the same charm or humor of Paris.  Rome has too many undeveloped stories, characters and ideas.  Many of the jokes felt stale.  Despite that Paris is essentially a fantasy movie, its characters and situations felt more realistic than Rome's.

I know it sounds like I hated To Rome with Love, but I actually didn't.  It's the very definition of a mixed bag.  Some of it works, some of it didn't.  It's a bit of a mess, but a watchable one.  It suffers from a lack of focus and too many undeveloped stories.  Rome is a disappointing follow up to Midnight in Paris, but that's a tough act to follow, even for Woody Allen.  Save it for rental.

2.5 (out of 5) Death Stars