250W: Foxcatcher

Short reviews for clear and concise verdicts on a broad range of films...

Foxcatcher (Dir.Bennett Miller/2015)

No music and little dialogue introduce brothers Mark (Tatum) and Dave (Ruffalo) Schultz. The dance of wrestlers, grabbing and holding each other in pin-downs and body-throws, prove their intimate knowledge of each other’s physicality. A combination of Bennett Miller’s considered direction and the actor’s commitment ensure that their relationship is deeply personal and wholly authentic. Foxcatcher is rooted in the world of wrestling, whereby the support of John Du Pont (Steve Carrell) gave security to athletes determined to be the best. But there is unease amongst the Foxcatcher ranch boys. Tension is clear between the hulking-Mark against family-man Dave. The isolation of the misty Pennsylvania-estate could be plucked from a 19^th-century painting. Then ‘coach’ Du Pont arrives - holding a gun. He gazes down his nose and eyes his Olympians. Is it admiration or attraction? It’s uncomfortable – and Miller doesn’t let you off the hook for a second. Du Pont’s “training” as his mother looks on is disturbing, but revealing about this duplicitous man. Alluding to the Du Pont fox-catching family history, we wonder if ‘Eagle’ Du Pont is the mounted rider, belittling the “low-sport” foxes. Or is he the fox, as enormous sportsmen bullishly carry their masculine dominance around his property? A slow-build thriller, Foxcatcher is a stubborn film, whereby no narration or sharp-cut will take you out of the knowing glances and awkward acceptance of this questionable lucky-break. The disturbingly calm atmosphere may be an acquired taste but electrifying performances force you to appreciate the perfection of Foxcatcher.

Rating: 8/10

The Way Way Back (Nat Faxon/Jim Rash, 2013 )

The opening moments of The Way Way Back highlight an age-old rating system that every teenager has entertained in their mind – or they have at least discussed it in a playground: What would you rate yourself? Duncan (Liam James) struggles to answer, venturing a ‘6’ while his Mum’s boyfriend Trent (Steve Carrell) ignores his answer and claims that Duncan is a ‘3’. This disconnect and conflict in values between Trent and Duncan provides the backbone to the film as Duncan desperately escapes the clutches of the family and finds solace in the Water Wizz – a water park owned (or at least managed) by Owen (Sam Rockwell). Owen and Duncan strike up an unlikely friendship and Owen becomes a temporary father-figure to coach Duncan in life – ensuring that Duncan acts “like a man” by ogling the bottoms of girls and understands sarcasm.

Likeable, twee and inevitably a “favourite film” for those who relate to the nervous, awkward teenager, The Way Way Back plays it safe and seems to show a formula that clearly “works” for the indie film including a large cast that recalls Little Miss Sunshine (Toni Collette and Steve Carrell appear in both) and the use of the summer as a time for change for shy, reserved boys – recalling Adventureland and Youth in Revolt.

The personal, yet “we’ve-heard-it-all-before” sentiment, that resolves the many situations may be illuminating and important to Duncan but they fail to address the complexities of others. Trent’s image-obsessed daughter Steph (Zoe Levin) is merely a character to be mocked as she appears to be an extension of Trent himself – in one moment, Steph shouts at Duncan about where he has been and how he has “ruined everything”; it would be nice to see Steph’s own worries and how she too – like Duncan – is often left to her own devices to find entertainment. This could be asked of many characters, but even Trent is clearly “bad” while Duncan’s Mum, Pam, is “good” – is it possible that Trent may be trying to change through Pam’s influence? Could Pam be a problem herself? In the Water Wizz world, there is no grey area – it’s all black and white. Or blue and yellow. But maybe that’s too complicated, eh, buddy?

The mantra of The Way Way Back is “Don’t Settle”. Sam Rockwell’s lovable, but useless manager, ‘Owen’ offers this advice to coming-of-age Duncan (Liam James) as our teenager vents his frustrations about his Mum’s boyfriend and his worries about the future. Ironically, The Way Way Back seems to have “settled” for direct storytelling and well-known themes. It becomes flat and specific in the ideas it wants to address – without trying to keep a little ambiguity about the challenges adults face. But the comedy is well-written while Jim Rash (a co-writer) and Maya Rudolph as the Water Wizz “family”, alongside a perfectly-pitched performance from Sam Rockwell, do make you consider why we work so hard at all – maybe we should just pack in our jobs and all work at theme parks? The Way Way Back manages to tell a tale of teenage troubles, and how they can be overcome, but when teenagers reflect on their own life, I doubt they will see a truth and instead see the complexities – something The Way Way Back misses out.

Despicable Me 2 (Pierre Coffin; Chris Renaud, 2013)

"That's right, baby! Gru's back in the game with cool cars... gadgets... and weapons!"

Introduction

Whether you enjoy Despicable Me or not, it is clear from the outset that this is a heavily manufactured product. Small, silly-voiced creatures for Lemming-like comedic effect; a villain clutz at the centre of a story with imitatable foreign-accent and finally, to top it off, three "leedle" girls - including a wide-eyed cute one that proved you had a heart of stone if you didn't think she was adorable. Despite these animated film cliches, Despicable Me was touching in the depiction of adpoted children teaching a Father how to be a better role model. A role model that, in turn, impacted on the "minions" themselves. Released in 2010, Despicable Me capitalised on the "new" 3D trend and included multiple exciting 3D features including a rollercoaster ride and a playful end-credits sequence as the minions attempted to reach further and further into the audience. Could Despicable Me 2 use 3D in such an interesting way? More key to the original films success, we wonder if Gru (Steve Carrell), now "good", could retain his "superbad - superdad" charm?

A Happy Family?

To re-establish our favourite characters we see how Gru has set up a perfect family home for his girls - they continue to sleep in old nuclear bombs - but Gru has begun to organise parties for them, much to the delight of the parents as women try and set Gru up with single women. But things change dramatically when Lucy (Kristin Wiig) appears and, though a secret agent for AVL (Anti-Villain League), she knows of Gru's past achievements and kidnaps him to assist in catching a new villain. He has created a serum that turns cute bunnies - or cute minions - into crazed, dangerous killing machines. We join Gru and Lucy as they investigate the many quirky characters of a shopping mall (where the serum was last detected...) - and watch as they begin to work out who is the real super villain. Is it the Mexican Restaurant owner? Is it the Asian hair dresser? Who knows...

The real heart of the story though is now on Gru - the three girls are merely accomplices and assistants to his new role as AVL Super Spy - and his growing relationship with Lucy. The minions are in a slightly improved role as the final act reveals the super villain kidnapping the yellow creatures and transforming them into crazed-purple animals. But, personally, I felt the that the family established at the end of Despicable Me was more than successful

Interesting Parrallel

Considering Despicable Me 2 is released the same summer as Monsters University, it is interesting to reflect on the story behind Monsters Inc: Two (assumed fearful) male monsters, we find out, are brilliant parents to an adorable girl. The successful celebration of non-traditional families is clear-cut as both Mike and Sully become ideal parents despite their same gender and incorrect judgement (from us) that they are dangerous. Despciable Me 2 argues that, actually, children need a Mother - and parents need a partner - to successfully create a family. Agnes (Elsie Kate Fisher) pleads with Gru as she questions, in mock-frustration, why he has no partner. Gru awkwardly and uncomfortably manages to join forces with Lucy to give the children what they want - a Mother. Heaven forbid he is a strange, single parent - imagine if he was gay! Not in this sugar-coated, incredibly-popular kid-friendly film. Imagine the children of non-traditional families leaving the cinema - why can't I have two parents?

Furthermore, we notice that, unlike Despicable Me - whereby the foreign-accented character is outed as a loveable rogue - Despicable Me 2 assumes that (outside of the lead characters) foreigners are not to be trusted. Thematically, DM2 rewinds the clocks to a different time.

Spies and Comedy

But the film remains enjoyable and playful to the point that it seems to know all to well what we want from a fun, colourful, funky film. A nostalgic nod to All 4 One's 'I Swear' acknowledges the slightly-too-old-for-kids-film audience that clearly adore the film whilst the duck-and-dodge dynamic of investigative secret spying weaves into the film an energy that harks back to The Incredibles.

Despicable Me 2 hasn't lost the plot and understands a little of what we liked about the original, with one lovely flashback to Gru's childhood - something we all enjoyed in the first film. But if you are hoping that it pulls on the heart strings as much as DM did, unfortunately it fails to deliver. Despicable Me 2 is enjoyable and kids will be as quote-happy as they were the first time round, but it fails to break any ground in telling a story that hasn't been told many times before. As unexpected as it may have been, Despicable Me felt fresh and new opposed to Despicable Me 2 that feels expected and recycled.

Origially written/published for Flickering Myth on 28th June 2013