Fresh off of his turn as Batman in Dawn of Justice, Ben Affleck plays a different type of stoic mastermind in The Accountant.  An action and suspense-filled thriller focused on an antisocial math savant who freelances for dangerous criminal organizations, The Accountant, despite a few disjointed subplots and loose ends, will keep you at the edge of your seat.

The central plot of the film begins when “The Accountant”, a man named Christian Wolf, takes on a robotics company as a client, but soon gets entangled in their web of secrets and millions of dollars of stolen money.  Through this job, Wolff meets charming young accountant Dana Cummings, played by Anna Kendrick, who adds a strange but cute pseudo-romantic element to a film full of grimness and hard edges.  A multiplicity of subplots, of which many remain disconnected, implausible, or unfulfilled is the major challenge and pitfall faced by the film; after the action-packed climax, many loose ends remain or come to underwhelming conclusions.

The most compelling element of the film is the character development of the protagonist.  Much of the film is spent exploring the roots of Christian’s personal troubles through flashbacks, revealing his struggle with Asperger’s from an early age, his abandonment by his mother, and the physical and psychological manipulation by his father, a military psychologist who fails to be empathetic or accommodating to his son’s tantrums and sensitivity. Wolff’s childhood experiences with his father and his brother make for some of the film’s most emotionally jarring moments.  Particularly disturbing is a scene where Christian’s father encourages a martial arts instructor to continue dealing blows to a young Christian and his brother as they bleed and struggle to fight back, all for the sake of testing their human limits and identifying their weaknesses. Christian’s past sheds light on his current character and habits in the film.  He is focused and determined, and keeps his life very routine and controlled, although devoid of emotion.  However, he inflicts pain upon himself when he feels frustrated or out of control.The Accountant’s treatment of serious issues such as disability and psychological abuse is thought provoking, albeit neither thorough nor conclusive.

Besides character development, cinematography is another strength of The Accountant.  Complex play with shadows, mirrors, and angles adds to the twisted nature of the story.  The suspenseful soundtrack as well as some intense diegetic sound also make for a stimulating and engrossing cinematic experience.  

The 2 hours and 8 minutes of The Accountant go by quickly. It’s easy to pick apart afterwards for plot discrepancies or for unfulfilled or implausible storylines, but in the moment, the film grabs your attention, touches upon serious and thought provoking issues, and provides insight into a fascinatingly complex protagonist.

See this film and others at Bow Tie Criterion Cinemas New Haven, 86 Temple St. Call (203) 498-2500 or visit www.BowTieCinemas.com for advance tickets.

Born to Be Blue begins with a hallucination: Chet Baker lying on the floor of a prison cell staring at a tarantula that’s crawling out of his trumpet. This foreshadows the hazy, smoke-filled fusion of fact and fantasy that characterizes the jazz trumpet legend’s unconventional biopic. The result is mesmerizing, sombre, and definitely worth the watch.

The film is set during the “Methodone Years,” a period of Baker’s life that fell between two phases of intense heroine addiction, and during which he rebuilt his jazz career after his career was derailed by his addiction. In the film, Baker (Ethan Hawke) falls in love with a woman named Jane (Carmen Ejogo), an actress who he meets while filming a biopic about his own life. This movie within a movie, which is presented in black and white, adds to the ambiguity between fact and fiction. It also offers glimpses of Baker’s past glory days, as well as hints at the seeds of his troubles: his rivalries with other musicians, his infidelity, his first time using heroin.

At first, this back and forth between past and present, black and white and color, makes Born to Be Blue a bit hard to follow: the chronology is unclear, and there are pieces missing. The initial sense of confusion adds to the intrigue and tone of the story. In the end, director Robert Budreau successfully ties the different time sequences together, giving the viewer a more complete story of Baker and his story.

The film is dark and full of disillusionment, but its compelling depiction of Chet’s struggle draws the sympathy of the audience. One scene in particular was difficult to watch: after a run-in with his dealer in which Chet has all of his teeth knocked out, he refuses to give up playing his trumpet. He sits in a bathtub, mouth full of blood, clearly in pain, and blows on his trumpet. Blood sprays out of the other side of the horn onto his white shirt. Jane later finds him passed out on the floor with a heroin needle in his arm, trumpet in his hand, clothes soaked in blood. It is a tragic image, and the first moment when the viewer truly realizes the intensity of Baker’s dependence on his instrument.

However, along with the struggle, there are moments of beauty that make the film worth the watch. Some of the happiest moments occur when Jane and Chet are living out of Jane’s van, parked by the ocean: they share an undeniable chemistry We also witness the uphill climb as Baker recovers and relearns his trumpet technique, practicing whenever and wherever he can. Baker’s raw, emotional music also adds some bittersweet flavor to the movie.

Although Born to Be Blue doesn’t focus on accurately portraying every detail of Baker’s life, it successfully captures the essence of a complex man, thanks to Ethan Hawke’s incredible performance. In the beginning, his self-absorption and lack of self-control are abundantly clear. It may be difficult to condone Baker’s character, but it’s also difficult not to feel sorry for him.  Chet’s greatest moments of happiness come when he has both drugs and music: he says that the notes he plays become “wider and longer” when he is high, When he has neither, he believes he has nothing. His two loves in life are heroin and his trumpet, but they are also the dual causes of his downfall.

Even if you aren’t a fan of biopics, Born to Be Blue’s excellent acting and unconventional approach to the life of Chet Baker makes it worth the watch. Although you may not get the satisfaction of a happy ending, at least you will get a glimpse into the life of a man who is to this day shrouded in the alluring shadow of tragedy.

See this film and others at Bow Tie Criterion Cinemas New Haven, 86 Temple St. Call (203) 498-2500 or visit www.BowTieCinemas.com for advance tickets.

“Sublimement faux!” (sublimely false) is the phrase a critic uses to describe the voice of Baroness Marguerite Dumont, the titular character of Marguerite with a passion for singing and a desire to share her talent with the world. The issue is that she has no talent, but no one in her life has the guts to tell her. Although the Baroness can’t carry a tune for her life, this film hits all the right notes. Marguerite will at once fascinate you, disturb you, and move you.

Veteran actress Catherine Frot rightfully won a Cesar Award for her performance as Marguerite, to which she brings a complexity of character that expertly elicits the viewer’s sympathy. As absurd as her story may seem, Frot’s Marguerite is always human. The singing baroness’ loneliness can be seen in her eyes. In flashes of honesty and lucidity, it becomes clear that the baroness does to some degree know that she’s being taken advantage of by the people around her. Still, she remains generous and trusting. Marguerite is not completely delusional, but she enters deeper and deeper into her delusion and passion for music as her husband continues to disregard her.

Marguerite feels just as much like a tragedy as it does a comedy. Every laugh it earns is wrought with pity. In fact, it seems that everything and everyone in the film has a certain duality, which plays into its themes of artifice and deception. Madelbos (Dennis Mpunga), Madame Dumont’s butler, is the film’s most interesting character; he serves as an enabler of Marguerite’s fantasies, protecting her from the reality of her voice. He also caters to her vanity by taking dramatic photos of her in old opera costumes, adding another aesthetic layer to the film. The pictures are stunning, but the viewers get a glimpse of a dark obsession which follows his desire to photograph her until her death.

These photographs are only a small portion of what is the most visually striking film I’ve seen so far this year. From the decadence of Dumont’s estate in shades of white, to the gray dust and cigarette smoke of the Parisian streets, to the bright and gaudy ornamentation of the show business, director Xavier Giannoli transports viewers to a post-WWI Paris that is at once hypnotic, toxic, and beautiful. Skillful and extravagant cinematography accentuates the surrealness, artifice, and carefully manicured aesthetic of Marguerite’s life. Especially entrancing are the film’s montages and stunning shots, which are crafted with rich symbolism.

Despite the film’s lengthy two-hour runtime, I felt completely absorbed in the world of Marguerite. It is a film both visually beautiful and emotionally poignant in ways that took me by surprise; and trust me, the ending will blow your mind!

See this film and others at Bow Tie Criterion Cinemas New Haven, 86 Temple St. Call (203) 498-2500 or visit www.BowTieCinemas.com for advance tickets.

On a surface level, Whiskey Tango Foxtrot is an entertaining film. There is action, there is partying, and there are a lot of funny jokes. However, in terms of themes, plotline, and approach, it is unfulfilling and disjointed, at times leaving the viewer wondering, well, “WTF?”

Whiskey Tango Foxtrot follows the story of Kim Baker (Tina Fey), a middle-aged cable news producer who has grown tired of her banal assignments, her houseplants, and her “mildly depressive boyfriend.” Suddenly, a way out appears: as one of the only unmarried, childless people in her office, she is granted the opportunity to travel to Afghanistan as a reporter, since all the strong reporters were covering Iraq. She jumps into what is meant to be a three-month long assignment, but ends up staying there for over three years. She meets and befriends attractive young female reporter Tanya Vanderpoel (Margot Robbie), who introduces her to the rock’n’roll lifestyle (shockingly) followed by Western journalists behind closed doors in Kabul.

Despite this intriguing set-up, the tone of the film is unclear, making its intentions difficult to discern. It is marketed as a comedy, and casting Tina Fey in the lead role certainly sets an expectation for laughs.  While Whiskey Tango Foxtrot does serve up some timid, weak satire, fully investing in the satirical aspect would have done the film a lot of good, creating a purpose for any cultural or political insensitivities in the script. Choosing instead to play it safe, the film remains largely apolitical. Awkwardly stuck between comedy and war drama, Whiskey Tango Foxtrot lacks the satirical punch of the former and the political insight of the latter.

Whiskey Tango Foxtrot sends out a well-intentioned feminist message, but its results here are about as lukewarm as its satire. Baker exhibits agency and drive as she makes an unexpected career decision and puts herself in an environment not traditionally seen as female friendly, demonstrates  a positive example of women empowering women in her competitive yet supportive relationship with Kim, the only other female journalist on site. Tanya exhibits impressive agency and candidness in her sexual exploits. However, the film’s interpretation of feminism ends up coming across as narrow and Western-centric, pitting the “liberated Western woman” against “restrictive Islamic values,” and thereby reinforcing stereotypical American views of Islam and Afghanistan.

The film’s Western perspective is driven home by the fact that the two primary Afghan characters in the film are played by American actors. Ultimately, however, It is obvious that the film doesn’t intend to be about Afghanistan—it is about the personal development of an American journalist. To Kim Baker, the conflict in Afghanistan is primarily a backdrop to her self-discovery, career advancement, and search for excitement. She is easily able to extricate herself from the situation and return to the “real world,” while to most Afghans the unrest that served as fodder for Baker’s stories is their reality. There is also a stark, tense contrast between the everyday reality of the locals and the excess of the lifestyle held by westerners in their separate sheltered reality, which the film fittingly terms the “Kabubble.”

Granted, it would be nearly impossible, especially for an American filmmaker, to accurately represent the complex relationship between Afghanistan, the West, and the media in what is predominantly a comedy. And with a healthy dose of playful self-awareness, Whiskey Tango Foxtrot does manage to poke fun at the cluelessness of Americans in their gross misconceptions of culture and of the impact of their actions on the lives and safety of others. Still, the misrepresentation of a conflict so recent and so easily misunderstood is discomforting.

The most successful and direct critique in the film is pointed towards media executives who refuse to show many of Baker’s stories because they claim that Americans do not care about the war in Afghanistan. Baker herself also exhibits some selfishness in her ambition to capture the most exciting stories, putting others in harm’s way in the process.  At times it’s not clear whether she truly cares about the situation in Afghanistan or she is merely a spectator exploiting it for the sake of journalism.

Despite any shortcomings, the film is relatively successful as a story of self-discovery, largely due to Tina Fey’s varied and dynamic performance. Fey is funny as expected, but also adeptly shows glimpses of vulnerability, making her character very personable. Furthermore, there is a very clear difference between the clueless Kim Baker who falls victim to a scam on her first day in Afghanistan and the adrenaline-seeking, hardened reporter who leaves at the end. That being said, the disjointed nature of the film makes it unclear when and how exactly the change happened.  And, disappointingly, Whiskey Tango Foxtrot spends more time on Baker’s sexual and romantic life than on her development as a reporter—although I must admit Scottish photographer Iain MacKelpie, played by Martin Freeman, makes for a fantastic love interest.

Is Whiskey Tango Foxtrot worth your time and money? The magnitude and gravity of the issues that come up in Whiskey Tango Foxtrot without a thorough enough examination make it impossible for the film to satisfy everybody. Your best bet is to avoid asking too many questions and acknowledge that it is a story based on one woman’s experiences as a journalist in Afghanistan, and that limitations are inevitable.  After that, all there is left to do is laugh at the jokes and appreciate the wonder that is Tina Fey; for many people, that is more than enough.

See this film and others at Bow Tie Criterion Cinemas New Haven, 86 Temple St. Call (203) 498-2500 or visit www.BowTieCinemas.com for advance tickets.

The Lady in the Van begins with a confession: the film is “a (mostly) true story.” This opening line effectively apologizes for the film’s subjectivity while also making room for a touch of the fantastical. It’s all a bit meta—the movie, written by Alan Bennett, is based on his play of the same name about Bennett’s experience writing a play on his real life encounters with Mary Shepard (Maggie Smith), an old woman who lived in a van in his driveway for 15 years. In terms of overall quality and details, the film is a success, but the pacing often lagged, leaving me with a mixed impression.

Despite its title, the film is lacking in narrative drive, which can make for a restless viewing experience. However, skillful character development makes up for the simplicity of the plot.  The film is a slow-simmering mystery: we gradually gain insights into the past of Mary Shepard, the Lady in the Van.  Only at the end of the film do her strange behaviors begin to make sense. Veteran actress Maggie Smith has mastered the rude but endearing old-lady persona, so it comes as no surprise that she executes the role of Mary Shepard seamlessly. The character of Alan Bennett adds another layer of complexity to the film. The uncomfortable self-reflection of the writer on his role in shaping the telling of a story and portrayal of Shepard, is manifest throughout The Lady in the Van. In addition to the moral dilemma of the writer, The Lady in the Van also subtly addresses deeper societal issues such as homelessness, treatment of the elderly, and social obligation.  These issues are left unresolved, as they are defined in relation to the development of the characters, but their treatment is effectively thought-provoking.

As actors, Maggie Smith and Alex Jennings play very well off of one another.  From early on, it is clear that the two characters have a special, unspoken connection.  Although a majority of their interactions throughout the film consist of argumentative banter, which quickly becomes tiresome, occasional moments of tenderness—in one scene, for instance, Ms. Shepard laughs with glee as Mr. Bennett pushes her down a hill in a wheelchair—leave the viewer feeling warm and happy.

For all its strengths, The Lady in the Van is not a film for escapists.  If you seek to be swept away by a suspenseful and heart-pounding storyline, you won’t be satisfied with this movie. Since the film relies so heavily on small details in the skillful acting and subtle character development, if you don’t fully invest yourself from the beginning, the 104 minutes can feel like a drag. However, if you let yourself appreciate the film’s nuances and peculiarities, you will leave The Lady in the Van feeling charmed.

See this film and others at Bow Tie Criterion Cinemas New Haven, 86 Temple St. Call (203) 498-2500 or visit www.BowTieCinemas.com for advance tickets.

I had no idea what I was getting myself into when I went to see Deadpool in theatres last week.  I hadn’t even seen the trailer.  I just knew that it was a superhero movie, and that my college master’s office was paying for the tickets.

When I saw the bold “R” rating on the corner of my ticket, I began to suspect that it wasn’t going to be your typical Marvel-comic-inspired action movie.  As a matter of fact, calling Deadpool a superhero movie would be highly inaccurate, for Deadpool himself constantly mocks and refuses to buy into the superhero concept.  This spirit comes through immediately with the opening credits, which (instead of listing the cast and crew) blatantly introduce the “hot chick,” “British villain,” “comic relief,” and every other stereotypical superhero movie persona in an ironic, self-aware way. This brand of humor that permeates the film is not only successful but also very strategic, as it provides a safety net for any bad jokes and clichés, which can be taken as deliberately corny. Free of the confines of a PG-13 rating, Deadpool (played by the highly likeable Ryan Reynolds) really runs with the concept of anti-hero, and one with a racy sense of humor. He seamlessly delivers a breathtaking array of crude jokes and vulgar language, falls in love with a beautiful prostitute, and has no qualms about publicizing his sexual appetite.  

Although the action scenes are impressive, and Deadpool’s origin story (as a former special agent-turned-mercenary who gets cancer then acquires healing powers after naively volunteering to be a lab rat for an attractive-yet-evil doctor with a British accent) was successfully delivered, the movie had the greatest impact as a love story and a comedy.

Reynolds’s Deadpool and Morena Baccarin’s Vanessa make for a couple whose love and chemistry transcend the griminess of the setting and the pathetic misery of their situations (there’s a running joke between them about who has had the most screwed up life).  Their relationship adds a requisite sentimental aspect to the film, but the characters’ dark humor prevents their moments together from becoming too cheesy.  

Setting itself even more apart from most other “superhero” movies, Deadpool puts humor first.  This movie turns even the goriest of moments into the setup for a joke. Furthermore, a large portion of the jokes are delivered straight to the camera: the fourth wall is thrown out the window, an irreverence which is joked about, then joked about again.  This surprising dynamic can be slightly uncomfortable at first, but it ends up adding an exciting energy to the characterizations, reminding viewers that there’s something more complex to these familiar genre types.

While Deadpool has a solid plot, the movie is more about flaunting its subversive qualities, deliberately meddling with expectations about superhero movies. With gasps and laughs being served a mile a minute, Deadpool is a movie aggressive enough to shake you out of the stupor of midterm season.