by Steve Habrat
After spending time with the boxer Micky Ward and his dysfunctional clan in The Fighter, writer-director David O. Russell decides to lighten up a bit and tickle our funny bones with the romantic comedy-drama Silver Linings Playbook. Based on the novel of the same name by Matthew Quick, Silver Linings Playbook retains some of the grittiness and raw family drama that made up The Fighter, which turns this sappy exercise of love lost and love found into something very heartwarming and special. With his real-world tone set in the first few moments of the film, Russell then focuses on creating characters that are all a bit nutty, which instantly allows the viewer to fall in love with them. Russell even managed to make me really like Bradley Cooper, an actor that I have always felt was highly overrated and never as charismatic as he has been made out. With the character he takes here, Cooper makes a strong case for himself and actually manages to lure me over to “Team Cooper” if only for a little while (I hear there is another Hangover movie coming out this summer so my feelings may change once I see that one). Yet Silver Linings Playbook ultimately belongs to Jennifer Lawrence, the young but aggressive widow who befriends Cooper’s bipolar Patrick and attempts to keep his feet on the ground. It is the relationship between them that is the mushy core of Silver Linings Playbook and the part that you just won’t be able to shake off.
After catching his beloved wife Nikki (Played by Brea Bee) having an affair, Pat Solitano (Played by Bradley Cooper) suffers a violent melt down and is sent to a mental health facility for severe bipolar disorder. After eight months of treatment, Pat is released to his doting mother, Dolores (Played by Jacki Weaver), and his Philadelphia Eagles obsessed father Pat Sr. (Played by Robert DeNiro). With a new positive outlook on life, Pat spends his days refusing to take his medication, reading, exercising, and thinking up ways to win Nikki back, even though she has moved away and has a restraining order against him. Convinced he is on the right track, Pat reconnects with his friend Ronnie (Played by John Ortiz) and his overbearing wife, Veronica (Played by Julia Stiles). One evening, Pat attends a dinner at Ronnie’s house where he ends up meeting Tiffany, a beautiful young widow and recovering sex addict who he forms a quirky relationship with. As the two bond, Pat tries to convince Tiffany to help him communicate with Nikki but Tiffany will only help him if he enters a dance competition with her. Pat reluctantly agrees but he soon finds himself being pulled away from Tiffany by his football obsessed family. To make things worse, Pat begins to fear that he may not be able to win Nikki back.
While Silver Linings Playbook has some heavy moments that rival those found in The Fighter, Russell manages to milk some chuckles even from the most severe situations. The flashback scene where Pat catches Nikki having an affair is cleverly shot from Pat’s POV with a dreamy haze clouding the frame. It is a tense moment that throws a moment of hilarity our way just before Pat unleashes on the guy Nikki is having an affair with. Another scene finds Pat desperately searching for his wedding video. He bursts into his parent’s room in a panic and forces his mother out of bed to aid him in his search (this is just one moment where he bursts in on his poor parents in the middle of the night). As tensions rise and tempers flare, Pat suffers a breakdown that finds fists and slaps flying and the neighbors congregating outside the Solitano home in disbelief. It is a confrontation that should have us nervously shifting in our seats but there is something vaguely hilarious and absurd about it, especially when Patrick accidentally hits his mother. When we aren’t chuckling at the blow ups, we will be getting a kick out of a tour of Ronnie’s home, where Patrick and Tiffany continuously make one inappropriate statement after another (one involving iPod docks and Metallica is especially hilarious). Then there is awkward first date between Tiffany and Patrick on Halloween night, one that starts harmless enough but then spirals horribly out of control as tables are knocked over and the police respond to an argument outside of a movie theater as kids in Halloween costumes close in on poor Patrick. It is almost as if Russell is inviting us to observe the silver lining to these situations, to look past the seriousness and just laugh at our own insanity.
Then there are the spot on performances from Cooper and Lawrence, both that do crazy very, very well. I’ve never found Cooper to be particularly funny but I must say he really delivers the laughs here. He is pathetic in his constant state of delusion and stubbornness, insisting that he doesn’t need to take his medication because he thinks it makes him foggy and bloated. You can’t help but feel sorry for him as he insists that he will get back together with Nikki and everything will work out. When his extreme personality mixes with Tiffany’s, Silver Linings Playbook really soars. Tiffany is just as erratic as Cooper’s sporty Patrick, but she hides behind tangled mess of dark hair and thick eye make-up. It is certainly the most mature role that Lawrence has taken yet, one that dips into pure teary-eyed emotion and shies away from the chilly, closed-off intensity she brought to Winter’s Bone and The Hunger Games. On the outside, she is strong and firm, but the more she opens up, the easier it is for her to break. Meanwhile, DeNiro gives one of his strongest and emotionally charged performances in years as Pat’s father. A scene where he begs to spend more time with his son is heart wrenching and, yes, hilarious. Weaver is in top form as Pat’s fussy mother, who really enjoys making snacks for her boys as they huddle around the television. Chris Tucker is also present in a small role as Danny, a fellow patient from the mental heath facility who keeps trying to break out.
At two hours, I feared that Silver Linings Playbook would begin to loose steam in its second half but thankfully it doesn’t. The second half of the film focuses heavily on a bet made by Pat’s father and a fellow buddy with a bad gambling problem. Naturally, the bet centers on the Eagles and the big dance competition that Tiffany and Patrick are participating in. When we finally get to the big dance competition, the big moment seems all too brief and, dare I say, rushed. Either way, the dance routine is wonderfully handled and ends up being a bit of bubbly fun. As far as the family drama is concerned, Russell once again proves that he really knows how to handle this type of material and make the emotions relatable. Maybe it is the lack of polish that really allows these scenes and characters to come to life. Overall, Silver Linings Playbook is a pragmatic reminder that we are all bit crazy, some just a more than others. It is a touching, funny, sweet, and irresistible love story that really has us rooting for the emotionally shattered Patrick and Tiffany. It is a comforting reminder that every moment is another chance for us to heal, we just have to watch for the signs.
by Steve Habrat
If there is one thing in this world that makes absolutely no sense to me, it is when Hollywood decides to remake a classic horror film and do a shot-by-shot redo of the film. We saw it happen with Gus Van Sant’s color remake of Psycho and we all know how THAT one turned out (if you can believe it, one of my film professors though it was brilliant…). In 2006, Hollywood got the bright idea to revisit director Richard Donner’s 1976 demonic thriller The Omen, one of the best horror films to emerge from the heyday of gritty, blood-under-the-nails horror. The film may have been one of the countless imitators made in the wake of such demonic horror films like Rosemary’s Baby and The Exorcist but The Omen remains one of the titans of this subgenre because of its lingering post-Watergate chill and its bleak inverted-crucifix conclusion that practically leaves your heart pounding out of your chest. Basically, the original is a must for die-hard fans of horror. I can’t say the same about the absolutely pointless and flat post 9/11 update. Made to be released on 6/6/06 (I’m being serious), The Omen 2006 attempts to use horrific current events (9/11, Space Shuttle Columbia disaster, 2004 Indian Ocean Tsunami) as its gloomy backdrop but then does little else new or exciting with the story. If you’ve seen the original, you’ve seen this one. Absolutely nothing has been changed.
For those who are not familiar with The Omen, I’ll provide a brief plot synopsis. After American diplomat Robert Thorn (Played by Leiv Schreiber) is told that his newborn son died shortly after birth, the distraught Robert grapples with how to break the news to his wife, Katherine (Played by Julia Stiles). The hospital’s priest suggests that Robert adopt another newborn child whose mother died during childbirth and has no other living family member. To spare Katherine the pain, Robert accepts this offer and the Thorn’s raise the child, Damien, as their own. Five years pass and Robert is made Deputy Ambassador to the Court of St. James and the Thorns begin a new, lavish life in London. Everything is great for the Thorns but soon a serious of bizarre events begin to surround Damien (Played by Seamus Davey-Fitzpatrick). After a horrific suicide at Damien’s fifth birthday party, Robert is approached by Father Brennan (Played by Peter Postlewaite), who claims to have information on Damien’s birthmother. As the events grow more and more disturbing, Robert is forced to humor Father Brennan and he begins searching for more information on the boy. He gets help from a spooked photographer named Keith Jennings (Played by David Thewlis), who may be marked for death. Meanwhile, a mysterious new nanny named Mrs. Baylock (Played by Mia Farrow) has come to the Thorn household and begun watching over Damien, protecting him at any cost.
Directed by John Moore, The Omen 2006 is shot like a gothic music video and frantically edited together to imitate a strobe light. It’s incredibly stylish and symbolically obvious (the color red surrounds Damien everywhere he goes) to the point where all you can do is roll your eyes. The death scenes are overly grisly and amped up to outdo the chilling sudden demises found in the original film. The sets look like leftovers from David Fincher’s Seven and when an ominous mood fails Moore, he just clouds up the sky and allows a little thunder and lightning to make things creepy or simply dims the light in places where he shouldn’t. He also falls back on shaky camera shots in the hopes that it makes the scene just a tad more interesting. Outside of exploiting real life disasters as the rise of the antichrist, Moore and screenwriter David Seltzer inject a series of bizarre hallucinations and nightmares suffered by Katherine. They are composed of blinding reds and whites as demons in ceremonial robes stalk Katherine in baroque bathrooms and red clad Damien waves a noose around. These scenes are brought to us in rapid fire flashes that are accompanied by loud bangs on the soundtrack, which Moore assumes automatically makes them scary. To the jittery horror viewer, this may all be extremely terrifying but to those of us who are seasoned veterans, it’s all very cheap and lazy.
If the movie itself isn’t dull enough, the acting doesn’t really do much to spice things up. Schreiber and Stiles are grossly miscast in their roles and look laughable compared to the original’s Gregory Peck and Lee Remick. Schreiber looks stuffy and uncomfortable trying to prevent the rise of the antichrist while Stiles seems too young and bored as she sulks after their demon seed. Davey-Fitzpatrick could rank as one of the worst child actors to hit the screen in quite some time. He fails to really shake us up like he should. Moore instructs him to glare at everyone like they refused to buy him a toy he so desperately wanted. Things really get laughable at the end when Moore asks him to turn from distant child into thrashing demon. He looks like he is throwing a phony temper tantrum and it is downright awful. Postlewaite works his ass off as the perpetually terrified Father Brennan but there is just too little of him to really save this junk heap. Thewlis is likable enough as Jennings, a photographer who captures some sinister photographs. He makes up for the stiff and out-of-place Schreiber but the two just don’t have the chemistry that they should. Rounding out the main players is Farrow, who seems to be having a devilishly good time as Mrs. Baylock. She gives the film the suspense and unease that it so desperately wants.
As if the lack of any surprises and lukewarm performances wasn’t enough, The Omen is littered with glaring screw-ups in the script. Near the climax of the film, Robert receives news that someone very close to him has mysteriously died and upon learning that news, Robert tells Keith that he wants Damien dead. In the next scene, Robert goes to see a mysterious priest who instructs him on how to kill the child. As the priest explains the ritual, the distraught ambassador becomes sick to his stomach and claims that he cannot kill a child. Perhaps he forgot his previous statement? There are plenty more “What the hell?” moments like this to be found throughout the film so make sure you are prepared. As someone who admires the original film and appreciates its slow build-up, I say skip this utterly pointless remake and seek out the original. Somehow, it is more realistic and it’s all the more chilling due to its gritty presentation. If you are determined to see the modern interpretation, well, I suppose if you are in the market for a nap, this one will help put you to sleep.
The Omen 2006 is available on Blu-ray and DVD.