Movie Review ~ Inherent Vice

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The Facts:

Synopsis: In 1970, drug-fueled Los Angeles detective Larry “Doc” Sportello investigates the disappearance of a former girlfriend.

Stars: Joaquin Phoenix,Reese Witherspoon, Benicio Del Toro, Josh Brolin, Jena Malone, Owen Wilson, Martin Short, Katherine Waterston, Joanna Newson, Maya Rudolph

Director: Paul Thomas Anderson

Rated: R

Running Length: 148 minutes

Trailer Review: Here

TMMM Score: (1/10)

Review: Looking back at the experience (and what an “experience” it was) of my recent screening of Inherent Vice I’m reminded of that one time I was in an airplane for 10+ hours traveling from Greece to Minnesota.  At certain points of the turbulent flight I thought I wasn’t going to make it and mentally said my good-byes to everyone I loved while a single tear fell down my face.  Then the plane landed, I was able to exit the airliner, and I went about my life.

Inherent Vice isn’t 10 hours long (but it sure feels like it) but unlike my trip to Greece, you won’t leave a showing of director Paul Thomas Anderson’s adaption of Thomas Pynchon’s 2009 novel with a miniature replica of the Acropolis for your troubles.

Pynchon’s loopy novels have long been thought to be unadaptable for cinematic endeavors and Anderson’s screenplay proves why over and over again.  It’s an obtuse, awkward, non-engaging film with so many layers it could be described as an onion dipped in PCP…which doesn’t necessarily signify a bad film, mind you.  No, the worst offense of Inherent Vice is that it’s shockingly, maddeningly boring.

Set in the Manson crazed days of 1970’s Los Angeles, the film follows schlumpy PI ‘Doc’ Sportello (Joaquin Phoenix, HerParenthood) through a case that hits close to home but opens up a Pandora’s Box of trouble.  Asked by former flame Shasta (Robot & Frank’s Katherine Waterston, the victim of a humiliating sex scene late in the proceedings) to take a look into the shady intentions of the wife of her current lover (Eric Roberts, Lovelace), Sportello dives headfirst into a plot involving murder, kidnapping, extortion, drugs, and sex.

Now, sounds like fun, right?  Perhaps…but my friends, it’ all in the execution and though Anderson knows how to produce a film with multiple storylines (Boogie Nights, Magnolia) things are rocky from the get-go.  Though I was initially intrigued by a pre-credit noir-ish sequence that finds Shasta visiting a sleepy Sportello and asking for his help the film lost me before fifteen minutes were up.  Even with the occasional foray into explicit hilarity such as Sportello’s visit to a massage parlor that boasts a menu of services that I can’t reprint here the majority of the film is a rough slough.

Reteaming with The Master star Phoenix, Anderson should have stuck with the original choice for the role….Robert Downey, Jr.  Though Downey was deemed “too old” for the part, Phoenix looks gruesomely ancient thanks to unkempt sideburns, permanently greasy hair, and unshaven scruff.  While Phoenix has a field day with the role, lounging through several drug induced sequences and slurring his words like was the Meryl Streep of lazy r’s, he’s only pleasing himself (and Anderson) as the haphazardly effective private eye.

The film’s labyrinthine plot may be interesting in hindsight but it’s so dense and unconcerned with our interest that I wondered if this shouldn’t have been a home movie for Anderson and Phoenix to watch huddled together with a bowl of popcorn on Oscar night.  Pynchon’s novel is chock full of wacky names and comic turns but onscreen it feels too goofy for its own good.  Josh Brolin (Oldboy), Reese Witherspoon (Mud), Owen Wilson (The Internship), and Benicio Del Toro (Savages) all show up as part of the caper at hand with only Brolin and Witherspoon in on whatever joke Anderson was attempting to convey.  Also of note is Joanna Newsom’s earthy performance as an acquaintance of Sportello, though I started to question if she was a figment of his imagination or not.

Let’s put a pin in showering Anderson with love simply because he started out so strongly.  I feel like it’s almost a sin for a cinephile to deride Anderson’s work but viewing a film like Magnolia side-by-side with Inherent Vice reveals a filmmaker that has given in to self-indulgence and forgotten that films are made for audiences (even discerning ones, though nearly a dozen at my screening didn’t stay for the whole picture).  It doesn’t have to be a simple, easy to digest, pallid work…but it does have to have a pulse.

The Silver Bullet ~ Inherent Vice

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Synopsis: In Los Angeles in 1970, drug-fueled detective Larry “Doc” Sportello investigates the disappearance of a former girlfriend.

Release Date:  January 9, 2015

Thoughts: I didn’t like The Master. There, I said it and I’m not sorry I did. I thought it was bloated and too cuckoo for words. Not that it wasn’t a handsomely made film featuring great performances (however un-Oscar nomination worthy a few of them were…) and there’s little doubt that director Paul Thomas Anderson knows exactly what he’s doing behind the camera. Learning a lot from his mentor Robert Altman, Anderson may have his greatest tribute yet to the late master filmmaker with Inherent Vice, a 70s set detective story where Anderson can really go to town with his tripped out inclinations. Reuniting with Joaquin Phoenix (Her), looking to turn in another in a long line of loopy roles, Anderson’s newest project looks fun, fresh, and less meditative (read: snooze inducing) than his last picture.

Movie Review ~ The Wind Rises (Kaze tachinu)

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The Facts
:

Synopsis: A look at the life of Jiro Horikoshi, the man who designed Japanese fighter planes during World War II.

Stars: Joseph Gordon-Levitt, Emily Blunt, John Krasinski, Martin Short, Stanley Tucci, Mandy Patinkin, William H. Macy, Werner Herzog, Mae Whitman, Jennifer Grey, Darren Criss, Elijah Wood, Ronan Farrow

Director: Hayao Miyazaki

Rated: PG-13

Running Length: 126 minutes

TMMM Score: (7/10)

Review: After all these years of going to the movies it took The Wind Rises to finally get me to ask myself the question…can you truly appreciate a movie and not wholly like it?  If so, then legendary Oscar winning animator (and driving force behind Japan’s animation juggernaut Studio Ghibli) Hayao Miyazaki has wrapped up his storied career with a highly respectable and deeply personal tale that’s free of the whimsy of fantasia found in his early work and one that’s more grounded in historical reality.

Though the film is a highly fictionalized work, its central character Jiro Horikoshi was no figment of Miyazaki’s imagination.  Known today for creating the Zero fighter plane, Horikoshi served as chief engineer of many of Japans fighter planes during World War II.  Miyazaki takes the idea of the character of Horikoshi and his life’s work and fashions a biographical tale that has its share of moments that soar into the heavens but more often than not feels too earth bound.

A story that could have (and should have?  and will?) be told as a live-action film, it falls victim to the Miyazaki style of animation favors featureless characters that unfortunately all start to blend together after a while.  Even the animals have odd human-like faces that are more than a tad off-putting for a picture that seems to resist going for a mythical element as is found in Miyazaki’s Spirited Away or My Neighbor Totoro

Yet even though Miyazaki is going for something more naturalistic, he finds ways to let his imagination run wild such as in the sequences of Horikoshi’s dreams that find him commiserating with Carponi, an Italian aeronautical architect who conjured up some awe-inspiring designs for the future of travel.  Accompanied by a soundtrack made up of human voices that stand in for an orchestra or sound effects, these passages may be cool to the touch but are warm in spirit.

Between earthquakes, sickness, the threat of war, and a love affair with a girl from his past, Horikoshi’s story is revealed in metered bits that somehow manage not to feel choppy or overly episodic.  As with most of Miyazaki’s work, the film runs over two hours and this one feels like it…so I could have done with the film clocking in twenty minutes shorter.  Even so, the value of seeing the final work of Japan’s master makes it worth the extra time in your seat.

Nominated for Best Animated Film at the 2014 Oscars, several theaters will be showing The Wind Rises in its original subtitled version or in a dubbed edition for those that are averse to hearing a film in its native tongue.  I saw the film with the voices of Joseph Gordon-Levitt (Don Jon), Emily Blunt (The Five Year Engagement), John Krasinski (Promised Land, Big Miracle), Martin Short (Frankenweenie), Stanley Tucci (The Hunger Games: Catching Fire), and Darren Criss (Girl Most Likely), though none of the Hollywood voices add much to the mix.

A work to be respected, I’m still not sure if I truly liked the film.  It’s slow and a bit of a slog to get through.  Still, like walking through a museum of fine art, I came out of the screening appreciative to have taken the journey.