57th LFF Review: The Spectacular Now

Director: James Ponsoldt

Writers: Scott Neustadter, Michael H. Weber

Starring: Miles Teller, Shailene Woodley, Brie Larson, Masam Holden, Kyle Chandler, Jennifer Jason Leigh

Synopsis: Following a break-up with his girlfriend Sutter (Teller) decides to seek a different path with different company. During this quater-life crisis he meets Aimee (Woodley), a sweet girl who wants nothing but to share the “spectacular now” with him. The only problem is Sutter has a drinking problem and sees himself slowly destroying Aimee’s innocence.

Very recently a British rom-com placed a great deal of emphasis on living in the moment; Richard Curtis’ About Time was full of zest and emotion in its championing of the present. Across the pond James Ponsoldt’s The Spectacular Now aims at promoting the same ideals, though – arguably – with more heartbreak and drama. The film may be categorised as a coming of age teen romantic comedy/drama but it’s wildly different to films under the same label. For one, its protagonist is a largely unlikeable figure to follow throughout and, secondly, most will find more upset than laughs in its 95 minute runtime.

Its aim to unsettle the audience faintly works throughout. The main character is a teenage alcoholic, leading along an innocent girl still with his mind on his ex. Meandering at points, the film does not always hit hard or powerfully – it’s ultimate flaw. It does, however, lead up to an affecting final 30 minutes where writing, acting and directing is exceedingly noteworthy.

Director James Ponsoldt has continually touched upon the subject of alcoholism (Smashed and Off the Black), unquestionably aware of the drama and turmoil that comes with it. Working through the ages in relation to alcoholism (Nick Nolte, Aaron Paul, coming to Miles Teller), now viewing it in conjunction with teenagers, has sharpened his portrayal of it all. Nothing in the film feels clichéd – nor do characters appear like caricatures – so you’re left with a convincingly biting story.

Ponsoldt brings a wealth of knowledge to the film yet it is his actors that bring it to life. Both Teller and Woodley’s performances are tremendously naturalistic. It’s Teller’s film and he reminds us of his talent with subtle changes between drunk and sober (eventually obscuring that distinction). His break-out role in Rabbit Hole showed him stealing scenes from Nicole Kidman and Aaron Eckhart, moving on to projects where that was sadly absent. In The Spectacular Now he regains the title of an exciting new talent. His ability to make you empathise with his character whilst simultaneously seeing him as heinous is brilliant.

Woodley – an immediate star after The Descendants – favourably adds to her award-worthy CV with her quiet and charming turn here. Supplying jollity against the melancholy of Teller’s storyline, Woodley gives the film its heart. Without her the film would, in all probability, fail. Woodley’s Aimee gradually starts to shape the film and even with dubious narrative U-turns she keeps it believable. Had Aimee’s character had more within the script it could have bettered the film; its heavy focus on Sutter eclipses the potential significance of Aimee’s narrative.

Whether the general public will see the film’s deeper messages remains to be seen. For those understanding of the “now” motif’s complexity, Aimee and Sutter’s story is heart-rending. Whilst Aimee looks toward the future, Sutter is stuck in the moment. He chooses the comfortable and familiar over possibility and the unknown. If the film often lags in sections its message about “this point in time”, and the delusions that underpin that, stays with you long after. Sutter’s confusion about what’s best and Aimee’s susceptibility to someone like Sutter is tragic. Furthermore, the constant reminder of Sutter’s addiction is always moving. How Ponsoldt shows this (like Sutter avoiding sources of water – whether they be waterfalls or drinking fountains – completely ignoring the notion of sobriety and purity) is inspired.

Although not always gripping, The Spectacular Now contains great acting and direction. Teller and Woodley continue on their road to awards glory, with Ponsoldt hopefully joining them with nominations and/or wins.

***

Also posted on LiveForFilms

LFF: Argo Review

Director: Ben Affleck

Writer: Chris Terrio, Joshuah Bearman (original article)

Starring: Ben Affleck, Bryan Cranston, Alan Arkin, John Goodman, Victor Garber, Tate Donovan, Clea DuVall, Shoot McNairy, Rory Cochrane, Kyle Chandler

Plot: After the American coup d’état of the Iranian government in 1968, Iranian civilians revolt and hold several American embassy workers hostage. 6 escape and hold up, secretly, in the Canadian embassy. As their sanctuary becomes compromised it’s up to the CIA and one agent’s hare-brained scheme to get them out.

In some circles it’s known as the “McTiernan run” – three consecutive films wildly popular, highly regarded and sudden classics. Based on John McTiernan’s trio of grade-A films – Predator in 1987, Die Hard in 1988 and The Hunt for Red October in 1990 – the film-critic category is something to be favoured for those understanding the reference. Ben Affleck has just been added to the group, scoring a hattrick with Gone Baby Gone, The Town and new-release, Argo. Affleck always suffered some criticism with parts in Pearl Harbour and Jersey Girl though his move into directing has left him invulnerable to any further attacks. The man has clearly found his better calling and whilst he still acts (and decently, for that matter), his skill in the business is quite clearly calling the shots.

Affleck didn’t exactly need to mature with new project choices as Gone Baby Gone and The Town were equally profound and tough movies to make, yet he has not backed down in spotlighting his knack for storytelling. Behind and in front of the camera, Affleck is a commanding presence though never in an egotistical manner. In fact, Argo seems him as the lead but a quiet and restrained one at that. The main pull for the film are Bryan Cranston, Alan Arkin, John Goodman, and Scoot McNairy who superbly support Affleck’s efforts as the protagonist. Most of the elements fit together wonderfully and if any criticism is to be made its the middle part of the film has less input from the characters of Cranston, Arkin and Goodman than what would be desired. As Affleck’s Dave travels off to Iran, all three are left behind in the States to manage the mission from home turf. When we see a more balanced set of storylines (cutting back and forth between Dave abroad and the CIA and Hollywood personnel) the film seems gloriously energised but the occasional departure of this formula does drain the film of some drama.

Slight flaws can be excused for the sheer satisfaction you get from watching Argo. The plot almost seems overtly ridiculous but you must remind yourself of the “based on a true story” subtitle at the very beginning. Few alterations have been made to this extraordinary story and all the way through you sit there in stupefaction at the bravado of the plan. Even as you may know how the story ends –  with it being a semi-autobiographical representation – the tension never wanes one bit.

As a film and a movie – to study and enjoy – it can please on all levels. Aesthetically, it’s gorgeous; with Affleck referencing the classic 70s political thrillers (i.e. All The President’s Men and The China Syndrome) and enhancing that idea by shooting on regular film and magnifying it widescreen in age of digital presentation. Soundtrack would be up to par with the visuals were it not for some non-diegetic tracks getting cut short (The Dire Straits’ “Sultans of Swing” being one example) and a score that has little to add to the already-fantastic sound of the snappy dialogue. More often than not, every part of Argo is polished, demonstrating Affleck’s natural gift for crafting a film.

Argo is a pure triumph in every way; expertly written, directed and acted. Unexpectedly hilarious at points, making it not only intriguing and compelling, put amusing too (“It’s the best bad idea we have” is one example in a flurry of laugh-out-loud lines). All recognition must go towards Affleck who compiled a top- troupe of cast and crew without making it a display in blowing one’s own trumpet. Affleck knows what works and the finale of the film greatly advertises that notion. Cinematography and editing is tremendous throughout but by the end it’s in a whole different league – awards-worthy directorial technique. You leave Argo astonished by what you have seen and completely in awe of the cast and crew’s proficient contribution to filmmaking.

*****

By Piers McCarthy. Also posted on LiveForFilms