There are no good guys in A Most Wanted Man. There are decent people, yes, but they're caught up in a maze of moral ambiguities that can compromise their ethics. It's a dreary but well acted critique concerning a global military campaign in a post 9/11 world. The saga is highlighted by a plethora of memorable characters beautifully rendered with studious care as layered personalities. Like a chess game you never know what one person's next move will be. The sympathetic becomes insensitive, the heartless becomes merciful. Everything comes to head when the rival spies of Germany, England and America converge in a climax that literally involves a man initialing papers at a desk. Of course the issue being addressed is deeper than that, but like most John le Carré stories, the narrative remains emotionally cold and the milieu is bleak. It succeeds despite an overworked set up that somewhat wanes in the middle. For a movie that runs over two hours, not a whole lot happens to be quite honest. At times it's an indictment of bureaucratic incompetence. Nevertheless this carefully modulated character study ultimately ends on a powerful note.
Lucy is so ridiculously harebrained, that it becomes a compelling watch, like a train wreck. For about the first third of the film it's a fairly straightforward woman in peril story. Once Scarlett Johansson ingests the narcotic and she begins to understand how to manipulate its benefits, the saga becomes a superhero movie without a legitimate antagonist. Scarlett Johansson morphs from a trembling airhead into an instinctual killing machine. Her voice becomes a robotic monotone to boot. Apparently only stupid people show emotion. I kept wondering when someone else would simply take the same drug so they could oppose her on the same level playing field. Alas no one seemed to figure that out. That lack of sense ironically accords with everything else in this loopy film. The script lazily sets up a far fetched premise without even trying to explain why it would work.
As her intellect grows so does the ludicrousness of the story. There's a moment where Lucy pages through time with her hands like she's playing a Dance Central video game. We watch her zip from Paris to New York's Times Square as the site transforms through various eras. While wearing Louboutins and a sexy black mini, she ultimately has an awkward meet and greet in the Jurassic era with Lucy the Australopithecus. Yes, I'm talking about the first hominid. Then they touch fingers like when God created Adam à la Michelangelo. I laughed so hard I cried. It's an efficient little thriller too. The whole thing clocks in at just 90 minutes. A trippy dippy delight along the enjoyable nonsense of concoctions like Congo and Anaconda. Lucy is not good in the traditional sense, but it is hilariously nonsensical in spite of itself. This is pure camp and on that level, it qualifies as an entertaining movie.
A Hard Day's Night is not particularly deep but it is fun - displaying an irreverent charm that is joyous. The Beatles come across as likable and witty. It simplifies their personalities and then amplifies them in short easy to digest sound bites. Yes, they are caricatures of their personas but these are appealing distortions of themselves. The production is highlighted by a manic energy. There are a lot of funny bits contained within. My favorite: Ringo puts his coat down for a girl so that she can walk across a muddy puddle several times before she ultimately falls down a deep hole. Oh and let's not forget the music! As far as this Beatles fan is concerned, every song is gold, but highlights include: "If I Fell", "And I Love Her", "She Loves You", "Can't Buy Me Love" and the title hit of course.
Boyhood has an astounding level of characterization. The depiction of the four principals is deceptively simple. Yet it isn't until after you contemplate the full scope of the chronicle that you fully comprehend the complexity of the portrait. The production was shot over 39 days beginning in the summer of 2002 and completed in October 2013. Mason gets taller, his voice deepens. His personality matures before our very eyes. But even more than the physical changes is the emotional evolution of a life. Linklater isn't content to merely gives us Mason's reality. Mom Olivia has a compelling dramatic arc as well. Incidentally, Patricia Arquette is extraordinary. This is the single greatest performance of her career. She registers fear, pain, sorrow and joy with absolute veracity. At different points, her depiction details two marriages to men of questionable character. A scene where her husband Bill interrogates the kids about their mother's whereabouts is chilling but it gets increasingly intense when he starts checking their cell phones for calling history. Conversely there are moments that are quite moving as well. An offhand comment by Olivia to a handyman replacing their home's water pipes will have major repercussions later. All of these vignettes immediately make an impression but they must meditate in the mind well after the saga is over. The drama advances organically and the actors perform naturally. Rarely has an individual's developmental transitions been dramatized so imaginatively on film. Boyhood is an outstanding achievement and a magnificent paean to the simple brilliance of the human experience.