Tag Archives: Gwyneth Paltrow

Seven (1995, David Fincher)

Seven is a gorgeous film. It’s often a really stupid film, but it’s a gorgeous film. Even when it’s being stupid, it’s usually gorgeous. Director Fincher has a beautiful precision to his composition; he works great with photographer Darius Khondji, editor Richard Francis-Bruce and composer Howard Shore (about half the time with Shore). Seven is a visually harrowing experience. Shame the narrative breaks down halfway through when Andrew Kevin Walker’s already problematic script shifts leading man duties to Brad Pitt (from Morgan Freeman). It’s not just Pitt’s inability to lead the film, it also gets really dumb once they use the secret FBI database to find their bad guy. Fincher spends a lot of time setting up the authenticity of his hellish American city. When Seven starts flushing that verisimilitude down the proverbial toilet, well… it splatters on everyone, most unfortunately Freeman.

Freeman’s great in the film. He can’t do much in the scenes where he inexplicably plays sidekick to Pitt, who’s really bad at this particular role. While Pitt doesn’t have any chemistry with wife Gwyneth Paltrow, she doesn’t have any chemistry with anyone. Sure, her part is horrifically thin, but she’s still not good. Her scenes bonding with Freeman are painful. It’s good production designer Arthur Max went out of his way to include frequent interesting signage in the backgrounds because otherwise Paltrow’s big monologue wouldn’t be as tolerable. Even Freeman can’t make that scene work.

There’s some decent acting from R. Lee Ermey. It’s strange how well Fincher and editor Francis-Bruce do with some performances and how badly they do with others. Especially since the second half is just a star vehicle for the completely underwhelming Pitt. But there’s also this interrogation sequence (a very, very stupid one as far as cop movie logic goes, but Seven laughs at reasonable cop movie logic time and again) where Pitt’s interrogating Michael Massee and Freeman’s interrogating Leland Orser. Orser’s awful, but clearly going for what Fincher and Walker want. Massee’s great in his few moments, the editing on his side. Sure, Massee’s acting opposite Pitt, but the editing lets him have his scene, it doesn’t give it to Pitt.

Later on in the film, when Pitt’s having his big intellectual showdown with Kevin Spacey (who does wonders with a terribly written part), Fincher and Francis-Bruce let Pitt have the scene. They really should. One feels bad for Spacey, acting opposite such a vacuum. Pitt’s far better in the first half of the film, whining about being Freeman’s subordinate; he lets his hair do a lot of the acting in those scenes. His frosted blond tips give the better performance.

It’s a beautifully directed film. Fincher’s excellent at whatever the film needs–Freeman sulking around because he’s a lonely old cop and it’s what lonely old cops do, Pitt doing a chase sequence, even John C. McGinley’s glorified cameo as the SWAT commander has some good procedural sequences–but he doesn’t actually have a real vision for it. He takes a little here, takes a little there. It ends with an inexplicable nod to film noir and Casablanca. It’s dumb. Because Walker’s script, in addition to often being bad, is often dumb. It needed a good rewrite and far better performances in Pitt and Paltrow’s roles.

Oh, and the nameless American city bit? That choice was stupid too.

1.5/4★½

CREDITS

Directed by David Fincher; written by Andrew Kevin Walker; director of photography, Darius Khondji; edited by Richard Francis-Bruce; music by Howard Shore; production designer, Arthur Max; produced by Arnold Kopelson and Phyllis Carlyle; released by New Line Cinema.

Starring Brad Pitt (Mills), Morgan Freeman (Somerset), Gwyneth Paltrow (Tracy), Kevin Spacey (John), R. Lee Ermey (Police Captain), John C. McGinley (California), Richard Schiff (Mark Swarr) and Richard Roundtree (District Attorney Martin Talbot).


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Iron Man 3 (2013, Shane Black)

Iron Man 3 feels a lot like the end of the series, which isn’t a bad thing–Robert Downey Jr. does the hero’s journey thing quite well–but director Black handles it oddly. After spending the entire movie pairing Downey with buddies, whether love interest Gwyneth Paltrow, sidekicks Don Cheadle and Jon Favreau, his computer and even an adorable little kid, Downey finishes the movie by himself.

But he’s just learned he can’t get by without a little help from his friends.

Anyway, it’s a stumble after an incredibly entertaining couple hours. Even when the film’s being serious–and sometimes even frightening (the villains are quite good)–it’s always a lot of fun. Downey and Paltrow are wonderful together, as usual, and Black never lets it get too somber. The end credits are self-congratulatory in the best way (if playing into the series finale thing a little much).

Cheadle doesn’t have a lot to do–Iron Man 3 could be a lot longer; more movie would plug most of its plot holes (besides Downey going from experienced marksman to novice in twenty minutes)–but he’s good. Ditto for Rebecca Hall as an ex-girlfriend. She and Paltrow get nowhere near enough time together.

The big surprises are Ben Kingsley as the supervillain and Guy Pearce as a business rival. Kingsley’s excellent, but Pearce’s spellbinding. He walks off with the movie. He alone makes it worth seeing.

The only real bad spot is Brian Tyler’s crappy score.

Otherwise, it rocks.

2.5/4★★½

CREDITS

Directed by Shane Black; screenplay by Drew Pearce and Black, based on the Marvel Comics character created by Stan Lee, Larry Lieber, Don Heck and Jack Kirby; director of photography, John Toll; edited by Peter S. Elliot and Jeffrey Ford; music by Brian Tyler; production designer, Bill Brzeski; produced by Kevin Feige; released by Walt Disney Studios.

Starring Robert Downey Jr. (Tony Stark), Gwyneth Paltrow (Pepper Potts), Don Cheadle (Colonel James Rhodes), Guy Pearce (Aldrich Killian), Rebecca Hall (Maya Hansen), Jon Favreau (Happy Hogan), James Badge Dale (Savin), William Sadler (President Ellis), Ty Simpkins (Harley Keener), Miguel Ferrer (Vice President Rodriguez) and Ben Kingsley (The Mandarin).


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The Avengers (2012, Joss Whedon)

For some inexplicable reason, partway through The Avengers, director Whedon and his cinematographer, Seamus McGarvey, decide to switch over to really bad DV. The entire movie might be DV, but the middle section is painfully obvious. With Tom Hiddleston’s British machinations, it feels like the biggest, strangest (and possibly worst) “Masterpiece Theatre” ever.

While Whedon’s responsible for a lot of the film’s problems–the lousy first act, the utter absence of character development, some of the least ambitious direction in motion picture history–some of the problems came with the project. Sam Jackson isn’t just ludicrous, he’s bad. Scarlett Johansson as a Russian? And a super spy? It’s absurd.

But Whedon doesn’t give his better actors much to do either. Both Chris Evans and Robert Downey Jr. meander for the first half, though Evans is a little better (Downey recovers in the second half). Mark Ruffalo does better. Chris Hemsworth barely makes an impression; his appearance feels contractually obligated more than anyone else’s.

The movie does come together eventually though and Whedon does come up with some really funny scenes. He starts the movie incompetently small and then brings in the spectacle. The spectacle works, regardless of his direction, it’s just too bad The Avengers isn’t a cohesive work.

Hiddleston’s pretty good as the only non-CG villain and Clark Gregg does great supporting work. Jeremy Renner’s minuscule presence is inconsequential; Cobie Smulders is terrible.

Alan Silvestri’s score is dreadful.

But, as I said, The Avengers spectacle does entertain. Eventually.

1/4

CREDITS

Directed by Joss Whedon; screenplay by Whedon, based on a story by Zak Penn and Whedon and comic books by Stan Lee and Jack Kirby; director of photography, Seamus McGarvey; edited by Jeffrey Ford and Lisa Lassek; music by Alan Silvestri; production designer, James Chinlund; produced by Kevin Feige; released by Walt Disney Studios.

Starring Robert Downey Jr. (Tony Stark / Iron Man), Chris Evans (Steve Rogers / Captain America), Chris Hemsworth (Thor), Mark Ruffalo (Bruce Banner / The Hulk), Scarlett Johansson (Natasha Romanoff / Black Widow), Jeremy Renner (Clint Barton / Hawkeye), Tom Hiddleston (Loki), Clark Gregg (Agent Phil Coulson), Cobie Smulders (Agent Maria Hill), Stellan Skarsgård (Selvig), Samuel L. Jackson (Nick Fury) and Gwyneth Paltrow (Pepper Potts).


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Iron Man 2 (2010, Jon Favreau)

Even with its problems, Iron Man 2 is leagues better than the original.

There’s some awkward plotting to catch the viewer up with the characters and it all makes for a wonderfully boring superhero movie.

That open’s a showcase for Downey’s acting abilities, given he’s on a slow burn as everything around him explodes–for the first half, there’s not much Iron Man, but lots of villain stuff with Mickey Rourke and Sam Rockwell, plus the introduction of Scarlett Johansson and “return” of Don Cheadle.

And when it does finally catch fire–even with the more ludicrous plot elements–it’s fantastic. It’s a shame it ends when it does, since it introduces so much great material for the actors to work with.

As far as actors… Downey’s great, Rourke’s great… Rockwell’s a little toned down–he’s been a lot more dynamic in other stuff–and, finally, someone realized Downey and Gwyneth Paltrow do a great Nick and Nora together and let them.

Unfortunately, there are other actors. Cheadle’s okay. It’s never believable he and Downey are friends though (it wasn’t in the first one with Terrence Howard, so no biggie). Johansson’s infinitely bland, which is better than her normal awful (regardless of her acting, her fight scene has some great choreography). Samuel L. Jackson is a joke, one the filmmakers don’t seem to be in on.

It’s a lot of fun and it’s got some actual content, which really surprised me.

It’s a shame about John Debney’s laughable score though.

2.5/4★★½

CREDITS

Directed by Jon Favreau; screenplay by Justin Theroux, based on the Marvel Comics character created by Stan Lee, Larry Lieber, Don Heck and Jack Kirby; director of photography, Matthew Libatique; edited by Richard Pearson and Dan Lebental; music by John Debney; production designer, J. Michael Riva; produced by Kevin Feige; released by Paramount Pictures.

Starring Robert Downey Jr. (Tony Stark), Gwyneth Paltrow (Pepper Potts), Mickey Rourke (Ivan Vanko), Don Cheadle (Rhodey), Scarlett Johansson (Natalie), Sam Rockwell (Justin Hammer), Samuel L. Jackson (Nick Fury), Clark Gregg (Agent Coulson), Garry Shandling (Senator Stern), Jon Favreau (Happy) and John Slattery (Howard Stark).


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