AMERICAN SNIPER is a pretty good movie. I wouldn’t rank it too high in the pantheon of Clint Eastwood directorial works, and it’s definitely not one of the all time great war movies, or even the best movie about the Iraq war. It has some overlap with THE HURT LOCKER without being as effective, in my opinion, either as a thriller or as a character study. And obviously we gotta deduct points for it not being a story about a very old sniper played by Clint. But it’s a very good performance by Bradley Cooper (THE MIDNIGHT MEAT TRAIN), it looks into an interesting world (that of the Navy SEAL sniper), it has several tense battle sequences, and it speaks about the experiences of soldiers with some of the quiet simplicity and understatedness I appreciate in an Eastwood picture. That last part is causing a problem.
In many ways it feels different from the rest of Clint’s filmography, but it returns him to one of his favorite themes: the man who has lived a life of violence having a hard time doing something else. Instead of an old outlaw it’s “most lethal sniper in U.S. military history” Chris Kyle (played by Cooper with some extra muscle, facial scruff and Texan drawl), who goes through four tours of duty in Iraq, more than his share, but every time he tries to live a peaceful life with his family he starts itching to be back in combat. It also reminds me a little bit of Clint’s movie J. EDGAR, another biopic of an extreme character that refuses to condemn him. It just presents him, tries to give him a fair shake, shows him as a human, for better or worse.
With most of Clint’s directing-not-acting movies these days (JERSEY BOYS, HEREAFTER, CHANGELING, LETTERS FROM IWO JIMA, etc.) it’s the same routine: a bunch of people say they suck, I see them and like them, but don’t really know many people who bothered to see them, and the world moves on. Even when he does what seems like a crowd-pleasing awards-bait type movie, like INVICTUS, the academies and what not don’t give much of a shit, and Clint doesn’t care that they don’t. Why would he? Who needs another trophy when you wake up every morning and you’re still Clint fucking Eastwood?
But AMERICAN SNIPER is different. It was nominated for 6 Oscars including best picture, and when it went into wide release last weekend it immediately became a smash hit, the biggest opening of Clint’s career. Also, it’s one of those movies that not only sells tickets, but that people apparently like. It has an A+ Cinemascore and an 89% audience rating on Rotten Tomatoes. (His previous three movies as director rated 65%, 45% and 38%). (read the rest of this shit…)
Peter “Star Lord” Quill (Chris Pratt, 
David O. Russell’s latest is a fictionalized take on a true 1970s incident when the FBI worked with conmen to entrap politicians to take bribes from a fake Sheik. The movie opens in the thick of it, right before a big attempted sting, with a long, quiet, unbroken take of Irving Rosenfeld (Christian Bale) gluing on his toupee and carefully combing his remnants of real hair over it. It’s pretty representative of the movie: silly almost to the point of Will Ferrell cartoonishness, but you have to stare at it and contemplate it long enough that it’s on the verge of becoming more sad than funny.
From the trailers, THE PLACE BEYOND THE PINES, from director Derek Cianfrance (BLUE VALENTINE), seemed weirdly similar to DRIVE. Instead of a movie stunt driver who’s also a getaway driver, Ryan Gosling plays a carnival motorcycle stunt driver who becomes a bank robber. Instead of having a weird relationship with a married woman and her son he has a weird relationship with an ex-fling (Eva Mendes) who he’s just found out has his son (but lives with a boyfriend who doesn’t want him coming around). I’d heard that it wasn’t really what it looks like, that it “turns into something different,” that it’s “epic.” All these things are true, and I’m glad I didn’t know the specifics of it. But I gotta talk about those specifics if I’m gonna review it, so be warned. 
Here’s how I know marketing failed HIT & RUN: I was one of its test subjects. Some time last year I was at the multiplex picking up tickets for later in the day. In the lobby sometimes they have these survey people showing trailers on little monitors and asking focus group type questions. I always wondered what that was about, and I had some time to kill, so when they asked me to do it I said yes.
In the beginning of LIMITLESS, Bradley Cooper is actually pretty limited. He somehow has a contract to write a sci-fi novel, but it’s overdue and he hasn’t even started. He doesn’t seem to know how to clean his apartment or brush his hair. His ex-girlfriend (Abbey Cornish from SUCKER PUNCH) is still supporting him, but bristles at his attempts to rekindle their love. He also has an ex-wife who won’t even talk to him. At least he doesn’t have the drug problems he had back when he lost her.
THE SILVER LININGS PLAYBOOK is a quirky dramedy-romance about people with mental problems, based on a novel I guess. That’s not my usual beat, but I like this writer-director, David O. Russell (THE FIGHTER, THREE KINGS) and there’s a small part for Chris Tucker, his first non-RUSH HOUR since RUSH HOUR, believe it or not. That’s 14 years! I like Chris Tucker, so like these characters with their mental illnesses, you’re just gonna have to deal with it.
More like THE C+/B- TEAM if you ask me! Nah, I’m sure somebody beat me to that one, and they probly graded lower. THE A-TEAM is semi-enjoyable but not nearly as good as I wish it was and truly believe it could’ve been even if it’s an adaptation of a stupid ’80s TV show where everybody fires guns and nobody ever gets their head blown off. Directed by Joe Carnahan in a toned down version of his SMOKIN’ ACES hyperactive style, using a script he took over from an individual responsible for THURSDAY, SWORDFISH, HITMAN and WOLVERINE, it’s a movie that only partially earns its swagger. I kind of went back and forth on my feelings about these characters constantly laughing as they pull off ridiculous digitized feats in jets and choppers. It’s kind of relatable and endearing, kind of frat boy and smarmy. It’s the only action movie I can think of where after multiple action beats the characters yell “THAT WAS AWESOME!” 
