“Whatever the Fuck it Takes”

Win-Win directed and written by Thomas McCarthy

                   

It took me an unusually long time to concoct an appropriate review for Thomas McCarthy’s latest feature film Win Win. It’s not that I didn’t like it, but the review of every draft came out sounding unnecessarily caustic. As far as specifics go, Win Win is far from a “bad film”, but it seems to traverse along so uncaringly in its resolve to be an indie drama that it’s easy to accuse it of apathy. For, inasmuch as the film succeeds (because despite its issues it has significant interest in its characters) there’s a thin line between being comfortable in your idiosyncrasies and being lethargic about your issues and I’m often unsure where McCarthy sits.

 Mike Flaherty is a typical lawyer, with the typical money problems living a typical humdrum life. Excuse my overuse of the word typical. Giamati’s characterisations invites you to believe in the normalcy of his character who’s not a good or bad guy, he’s just a nice man with a nice family who ends up making a potentially dubious decision of being the ward to one ofhis clients to receive a $1500 monthly pay check. It’s his questionable liaisons with the septuagenarian Leo Poplar played by Burt Young (a.k.a. Paulie Pennino) which leads us to the crux of the story. For reasons unknown – benevolence we shall assume, Flaherty is also the assistant coach of a high school’s wrestling team. A team that’s absolutely abysmal. Poplar’s grandson Kyle (the child of a daughter from whom he’s estranged) randomly shows up one night and ends up living with Flaherty and thus the movie begins moving along, at times seemingly unsure of what it wants to tell us.

                   

As I said, the film depends on the actors and Giamati and Ryan make for an excellent couple. Both actors have natural cadences that work in this type of film and Ryan in particular is priceless as the wife with a heart of gold. The chemistry between the two surprises me a bit at first, but the naturalness with which they approach their marriage and the issues in their family is handled nicely making it easy for them to play their characters easily and without unnecessary histrionics. Jeffrey Tambor and Bobby Cannavale, as friends of Flaherty, make for nice additions even if the former is underused and the latter’s character’s motivations are sometimes difficult to discern.

              

One of the more interesting things about Win Win is youngster Alex Shaffer who plays the troubled teen in question. This is Shaffer’s first film role and he was cast for his wrestling, but there’s a budding thespian underneath the bleached hair. He’s responsible for a significant amount of humour early in the film as his initiation monotonous disposition makes for immediate humour opposite Giamati and especially Ryan. But’s it not really smooth sailing. The film’s tone becomes more problematic when Kyle’s mother played effectively by Melanie Lynskey turns up. It turns the film form a simple pseudo-family drama to a potential awkward familial tug-of-war and even if Lynskey is lovely to watch (yet another good thirty something actor in need of better roles). As such, the film’s third acts ends up seeming especially perfunctory and rushed especially when placed next to the almost lethargic first two acts.

        

In the end, Win Win manages to cross the finish line with relative ease because the actors are invested in the machinations of the characters they play. Random scenes like one at a café with Giamati, Cavannale, Ryan and Clare Foley (playing the Flaherty’s young daughter) work because the relationship that the actors seem to have forged is particularly natural which is the best thing for a film like this which depends on establishing that stupor that comes after living in a life that’s become well-worn and even trite. It’s sort a calling card for McCarthy who’s made his films, thus far, focusing on tepid lives interrupted by outside forces. Win Win has its issues, but it’s amiable enough.

B-

Forgotten Characters 2:10

Due to a post to boost my memory compliments of Marshall my mind turned to this film recently. There’s so much about this film that’s forgotten, some of them understandable, like this performance. It wasn’t a poor one, by any means, but in an already long film it didn’t take up much time…hence its forgotten status.

           

Amy Ryan in Changeling

 As Carol Dxter

            

We meet Carol a good way in Changeling. Jolie’s Christine has been cast into a mental institution via the Police Force. Amy grabs my attention from the inception, without being too obvious. Her first words are sage, “You should eat. Eating is normal. You got to do everything you can to look normal.” Both Christine and the audience are startled by the composure coming from someone in a place like this. As she gives Christine the “inside scoop” on their situation it’s a good moment for the film, and Clint knows that. I liked Changeling quite much, but even I’ll admit it could get oppressive at times with all the information, but Clint holds back here and Ryan (along with Jolie) work well. Even in the nondescript moments like Ryan’s line reading of, “I work nights.” Jolie’s Christine is nonplussed, and then she enunciates “I work nights.” It’s some slight irony that coming from the stage (and being known for her loud – but excellent – performance in Gone Baby Gone) Amy has such a knack for subtlety. Eastwood knows she’s a gem and she gets those poignant lines, “If we’re insane, nobody has to listen to us. I mean, who are you going to believe, some crazy woman trying to destroy the force of the, or a police officer? ”

             

We don’t have any time to see the relationship grown between the two; perhaps it’s just their commonality that fosters that tenuous bond. Like her brave – but misguided – punch to the doctor to “save” Christine. It’s an iffy moment, story wise, but it works precisely because Amy Ryan is able to convey that this woman is at the end of the rope. There’s nowhere left to go. Her confession in the hospital room is slight but effective, “I lost…two babies…to back alley doctors…no choice…Never had the chance…to fight for them. You do. Don’t stop.” It’s moment like these that define a character that could have turned into little more than vignette. Her final moment is wordless, a newly rejuvenated Christine returns to get all the Code Twelve patients out. The silent exchange between Jolie and Ryan is a quiet tender moment and just with her eyes Amy says so much. As the saying goes, there are no small roles only small actors and Amy Ryan is definitely not a small actor – her work in Changeling is special.

                   
Do you remember Carol Dexter of “f**k-you-and-the-horse-you-rode-in-on” fame? Or did you forget Changeling and all that comes with it?

Green Zone

Matt Damon has a knack for being unassuming. It’s a talent that has been put to good use in The Talented Mr. Ripley and Ocean’s Eleven. I’m never certain if Matt Damon, the actor, is just as unassuming or if he’s just that good of an actor. In Green Zone he plays Captain Miller, an American soldier intent on finding answers in Iraq circa 2003. Damon’s Captain is cool but not pushy. As he marches through the film I am aware that I’m watching Matt Damon, but I’m also willing to believe that I’m watching the actions of a real soldier. Paradoxical? Naturally. Maybe I started this review on the wrong foot, for Green Zone is a film that depends on factors that are not all Matt Damon.

I remember someone referring to Green Zone as a film from the “shaky cam” genre (a la The Hurt Locker or A Mighty Heart). The thing is, though, as accurate a definition as that would be, it marginalises the film. Green Zone, is not a film for the unfocused. Helgeland’s script is uninterested in spelling anything out to the audience and if you don’t know the story he doesn’t condescend to spoon feed it to you. It’s not that the narrative is particularly difficult to follow; but if you’re not willing to pay keen attention you could easily miss some important details. Then, there’s the fact that it all occurs amidst an overwhelmingly authentic sound design. If The Hurt Locker could have swept the sound categories (undeservedly, I might add) Green Zone should be a shoo-in for a nod, but of course that’s not likely.

Admittedly, the film is anchored by Damon’s performance, even though I’m well aware that the term anchored may be an overstatement. Damon’s performance is good, effective even. But Greengrass is not interested in turning this into the story of a David against the Goliath’s of the world (even if the poster suggests otherwise). Damon is obviously the lead of the film, but the supporting cast are important. Greg Kinnear avoids the stock characterisation his role could have implied, and in the process he creates a moderately impressive villain. Brendan Gleeson is similarly good and Eastern actor Khallid Abdalla lends the right amount of pathos to his conflicted character. I will admit, the purported presence of the lovely Amy Ryan was a major reason I was interested in seeing this film. As it turns out (I should have expected) her role is not big, but like her short turns in Before the Devil Knows You’re Dead and Changeling she carves a realistic being with just a few scenes to her name.

The unfortunate reality is, though, owing to the almost journalistic nature of Green Zone it has a tendency to come as decidedly ephemeral. As well intentioned as it is, there is a certain lack of profundity that pervades. As good an effort as it is I don’t think I’d be moved to see it again. But I think it’s worthy of being seen at least once…provided you go with your brain. 

          

B