Kim Baker (Tina Fey playing the real life Kim Barker) needed to turn her life upside down. “I wanted out of my job,” she says in the new black comedy “Whiskey Tango Foxtrot. “I wanted out of my mildly depressive boyfriend. I wanted to blow everything up.” And blow everything up she did… as bombs blew up around her.
When we first meet Baker she’s a New York City based cable-news journalist tiring of “writing copy for pretty people.” Eager for a change, both personally and professionally, she agrees to a three-month stint as a war correspondent in Kabul, Afghanistan during Operation Enduring Freedom. The “Ka-bubble,” the alcohol-fuelled world populated by expatriate journos and media types, soon seduces her and she becomes addicted to the rush of living and working in a war zone. Her three-month assignment stretches to four years as she begins a relationship with a charming Scottish photographer (Martin Freeman) and chases that elusive one big story.
Question is, when will she go home? Answer: When it all starts to feel normal.
“Whiskey Tango Foxtrot” breathes the same satiric air as “M*A*S*H” and “Catch 22,” but never rises to the level of social commentary attained in either of those films. There are as many jokes about Baker’s appearance—she is, apparently “Kabul Cute”—as there are about the war. It sidesteps any direct political stance. Instead it’s simply content to make the point that outsiders will never have a bead on how to fix the problems in this part of the world. “This war is like [making love to] a gorilla,” says US Marine Corps Col. Hollanek (Billy Bob Thornton). “You keep on going until the gorilla wants to stop.” It’s not a revolutionary idea but it is brought to vivid life as seen through Barker’s eyes.
The film is being billed as a comedy but it’s not always laugh-out-loud-funny. The jokes are styled to add to the atmosphere—Kabul international Airport, for instance, is referred to as K.I.A., which is also an acronym for “Killed In Action.”—which sits squarely in Tina Fey’s wheelhouse. She plays Baker as a mostly bemused—and frequently hung over—presence, able to keep the funny bits believable while bringing enough emotional heft to sell the serious parts.
“Whiskey Foxtrot Tango” is kind of like “Animal House” with warlords, or maybe, “Fear and Loathing in Afghanistan.” When it is firing on all cylinders, it hits its satirical mark—“Hearts and minds,” says one soldier, “the two best places to shoot somebody.”—but spends most of its running time elsewhere on Barker’s personal journey.
“The Big Short” is an infuriating movie. Not because it’s poorly made but because it is so well made. It takes years of banking bafflegab and distils it down to the essence in what may be the funniest, smartest and most maddening look at why America’s housing market crashed in 2008.
The films opens with a famous Mark Twain quote, “I’t ain’t what you don’t know that gets you into trouble. It’s what you know for sure that just ain’t so.” The quote is a bit of a Mobius strip but so is the story “The Big Short” is trying to tell.
Based on Michael Lewis‘ nonfiction best-seller of the same name, the film presents a cavalcade of facts and information formed into a story about how four investment-bankers—played by Christian Bale, Steve Carell, Finn Wittrock, John Magaro—saw the financial meltdown coming when no one else did. Taking on the arrogance of Wall Street’s old boy network, they bet against the American economy and, in the process, expose an unprecedented level of financial criminality.
“The Big Short” is a lighthearted look at a dire situation. Call it a dramedy. Director Adam McKay is best known for making movies like “Anchorman 2: The Legend Continues,” “The Other Guys,” “Step Brothers,” so he knows how to milk a laugh out of a scene. He also knows that the level of understanding the viewer needs to get why the housing bubble burst is above the level of most MBAs.
The movie explains that Wall Street likes to use confusing terms to make you think only they can understand what they do. “It’s like 2+2 = fish,” says one banker, expressing disbelief at the financial manipulations used by the big banks. To make the financial mumbo-jumbo sexy the McKay uses a variety of tricks, including cutting to Margot Robbie in a bubble bath explaining subprime loans in plain language. It’s a spoonful of sugar to help the expositional medicine go down. From the simple—one loan officer calls his clients “Ninjas, no income, no job.”—to the incredibly complex world of CDOs (collateralized debt obligations) “The Big Short” doesn’t shy away from tackling complex financial transactions but it never feels dry or forced. McKay is a showman, and layers the film with fourth-wall-breaking celebrity cameos and concise social commentary woven into the drama.
A great scene of Goldman Sachs executives laughing at Dr. Michael Burry’s (Christian Bale) $100 million investment is cut into a rap video celebrating excess. In one wordless scene McKay illustrates the arrogance of the bankers in the days before the rug was pulled out from underneath them.
Subtle it’s not, but the director’s use of pop culture images and music to set the scene goes a long way to establish a time, place and tone.
“The Big Short” features strong performances—Bale stretches in ways we haven’t seen from him before—but it is the film’s unflinching depiction of unbridled greed that will resonate.
Adam McKay is best known for directing broad comedies with Will Ferrell like Anchorman and Step Brothers. But his new film, The Big Short, is a different beast.
It’s the story of how four investment-bankers — played by Christian Bale, Steve Carell, Finn Wittrock and John Magaro — saw the devastating financial meltdown of 2007–10 coming when no one else did. It’s a lighthearted look at a dire situation. Call it a dramedy.
“When I read this book it did everything I wanted to see in a movie,” he says. “It was funny, it was tragic, and the characters were amazing. I think it was a case of running into one of the great books of the last 20 years that shows what is really going on in our modern world.”
McKay knows how to milk a laugh out of a scene but he also knows that the level of understanding the viewer needs to get why the housing bubble burst is above the level of most MBAs.
“It’s like 2 + 2 = fish,” says one banker, expressing disbelief at the financial manipulations used by the big banks. In the film he takes pains to explain how Wall Street likes to use confusing terms to make you think only they can understand what they do.
“We wanted to be the first Wall Street movie that took you behind the curtain, that really said, All these confusing terms you hear, all the ways the banks make you feel stupid or bored … it’s actually not that hard. If the guy who did Step Brothers can understand it you can too.
“We were trying to show that this thing that half of Wall Street doesn’t understand, these derivatives, mortgage backed securities, they’re actually pretty easy. They bundled a bunch of mortgages, they sold them, made a ton of money. Then they ran out of good mortgages so they put crappy mortgages in and coerced the ratings agencies to give them AAA. That’s it. That’s the whole story.”
McKay has an a-list cast but he didn’t want to make the movie all about the stars.
“It would have been very easy to just do this character story and just show these guys being affected by it but I wanted this thing to bridge a gap. I think there is too much stuff in our society where people just think, ‘Ahhh banking! It’s boring. Politics! Who cares?’ The truth is, this stuff is exciting, It’s the language of power. Once you get hooked on it, it gets addictive.”
The Big Short is a look at our recent past, but McKay warns this is not a historical drama or cautionary tale, rather it’s very much a going concern.
“All the effects of this collapse are still completely in play. All the same questions are still in play and they fixed a few things but they didn’t fix the main, weight bearing beam beams that caused this problem. So this is an active story right this second. That is one of the main reasons we made this movie, we want people to understand that. This isn’t over.”
Have a look at Richard’s “Canada AM” interview with “The Big Short” director Adam McKay!
“We wanted to be the first Wall Street movie that took you behind the curtain, that really said, All these confusing terms you hear, all the ways the banks make you feel stupid or bored… it’s actually not that hard. If the guy who did Step Brothers can understand it you can too.”
“Z for Zachariah,” a three hander starring Chiwetel Ejiofor, Margot Robbie and Chris Pine, is a dystopian story where the catastrophic events surrounding the devastation of the human race are less important than the more primal themes of lust and jealousy that arise between the trio of characters.
Robbie is Ann, a pious woman whose tough, lonely life changes when she meets and befriends scientist Loomis (Ejiofor). She hasn’t seen another person in a very long time and soon they work through their mutual mistrust to form a friendship with romantic overtones. Their budding romance is stopped short with the appearance of Caleb (Chris Pine), a charming stranger who inserts himself into their lives. Loomis doesn’t trust the newcomer and becomes even more suspicious when Ann and Caleb become romantically involved.
Based on a novel by Robert C. O’Brien, “Z for Zachariah” is a quiet movie that sits on the other end of the scale from recent dystopian movies like “Mad Max: Fury Road” or “CHAPPiE.” The action here is mostly internal and the only explosions are emotional. Director Craig Zobel challenges the audience’s idea of what a post apocalypse world would look like. His world is lush, save for a creek infected by nuclear waste, and he has boiled the story down to its essentials.
The film isn’t cluttered with the backstory of the disaster, instead it gives us just enough information on the characters to allow us to draw our own conclusions about them. Loomis is a drinker, Ann’s religious convictions have left her open to being taken advantage of while Caleb’s past is murky enough to arouse suspicion. It’s a complex study of character, a look at how people behave in isolated circumstances.
The actors rise to the occasion. Robbie leaves behind the glam of “Wolf of Wall Street” to find Ann’s vulnerability, while Pine is allowed to show more depth as Caleb than he’s able to in his “Star Trek” franchise. By the time the end credits roll, however, it’s clear this is Ejiofor ‘s movie. The multifaceted character is vividly alive behind his eyes and often his performance is more interesting than the movie itself.
Zobel’s deliberate pacing is meant to highlight the all-important subtext of the story but occasionally feels more like foot dragging than a style choice.
Adrian Martinez is “that guy.” You recognize his face but probably don’t know his name. He’s the actor you’ve seen in everything from American Hustle to The Amazing Spider-Man to this weekend’s Focus, standing just to the side of the main actors. He’s the sidekick to the stars, a moniker he wears proudly.
“Sidekick to the Stars?” he says. “That’s absolutely cool with me. I’m working and it’s the best film school in the world.”
From Ben Stiller, his “teacher” and Secret Life of Walter Mitty co-star, he says he learned “how to compartmentalize your energy. Nobody works harder than Ben Stiller. He was acting all day, directing and then editing.”
“Will Ferrell,” he says, “is surprisingly not funny on set except during the takes when he’s hysterical. I took discipline away from him.”
In Focus Martinez plays Farhad, a computer expert and associate of scam artist Nicky Spurgeon, played by Will Smith. It’s a small but important role, which gave Martinez the chance to watch Smith in action as they shot the film in New Orleans and Buenos Aires.
“From Will Smith I learned gratitude,” he says. “This is a guy who’s been doing this a long while and every day on set he was absolutely invested in the well being of everyone. He would gauge the temperature of the room and if he felt people were dragging he would just start dancing. Literally get jiggy with it. I felt, wow, this guy doesn’t have to do anything and he’s doing everything to lead the pack into the right place.”
He puts those lessons to work in a variety of gigs from comedy to drama, from big screen to small.
“I do television and commercials,” he says. “I don’t care. I just work. The way I’ve always seen it is that commercials are the haiku of acting, TV is like the short stories and movies are the novels. Whatever format you use as an actor you’re still a character whether it is six seconds or an hour-and-a-half.”
Finding a way to balance his professional and personal lives was a lesson he learned from a source off set.
“I have a nine-year-old daughter and she keeps it in perspective fore me,” he says. “The other day we were talking and I said, ‘Isn’t this great? I’m in Los Angeles but we can facetime and see each other.’ She said, very cogently, ‘You can’t hug in a facetime daddy.’ She doesn’t fool around. She brings it right home. I flying back to New York today and I can’t wait to hug her.”
Nicky Spurgeon (Will Smith) is a seasoned grifter from a long line of con men. His father and grandfather were flim flam artists and now he is passing along the tricks of the trade to Jess (Margot Robbie) a beautiful newcomer with a light touch—perfect for picking pockets—who just might get Nicky to break his golden rule of never getting emotionally involved with anyone.
When Spurgeon first spots Jess she is working a low level scam in a hotel bar. He teaches her how to use misdirection to pick pockets. “You get their focus,” he says, “and then you can take whatever you like.” Using a mixture of his methods and chutzpah they hit the rubes at the Superbowl in New Orleans, raking in over a million dollars in one week.
A nervy game of one-upmanship nets another big score, and Jess, thinking she is part of the team—both professionally and romantically—imagines a life of crime with Nicky until he unceremoniously dumps her, gifting her with $80,000 and a free ride to the airport.
Three years later Nicky is in Buenos Aires working a big job for billionaire Garriga (Rodrigo Santoro). To his surprise Jess is also there, but is she working an angle or has she gone straight?
One part Scorsese, one part Soderbergh, with a healthy dose of “The Sting” thrown in, “Focus” is a stylish crime drama more about the characters than the crime. Nicky’s maxims—“Die with the lie.”—set the scene, but the story is more about a commitment-phobe who loses himself over a woman. It works because of the chemistry between Smith and Robbie. They have great repartee, trade snappy dialogue and despite a gaping age difference, make a credible couple.
Smith hasn’t been this effortlessly charming in years and Robbie blends streetwise—“It’s a minor miracle I’m not a hooker right now,” she says.—with easy charm. The pair are a winning combo, reminiscent of the spark-plug chemistry between George Clooney and Jennifer Lopez in “Out of Sight.”
“Focus” could use a bit more focus in the storytelling—a late movie plot twist doesn’t ring true given the lead up to the big reveal—but it zips along at such a pace and is enough fun that you may not notice.
Hunter S. Thompson, the great gonzo journalist and observer of American life, had nothing to do with “The Wolf of Wall Street,” but he certainly is one of the film’s spiritual fathers.
Directed by Martin Scorsese and based on the life of hard-partying Wall Street tycoon Jordan Belfort, it is a depraved opera about sex, drugs and greed. It’s the kind of epic story of avarice and excess Thompson would have relished, but are audiences ready for a three-hour drug fuelled romp through the wild side of Wall Street?
When we first meet Belfort (Leonardo DiCaprio) he has yet to occupy Wall Street. An ambitious newbie, his first day as a broker is Black Monday, October 19, 1987, the date of the biggest crash since the Depression. Forced to reinvent himself he forms a shady company specializing in penny stocks that do little for his clients, but line his pockets with commissions.
With money rolling in Balfort and company (including Jonah Hill as Quaalude enthusiast Donnie Azoff) dive head first into Wall Street’s cocaine and hookers era, forming a brokerage firm with the upstanding name of Stratton Oakmont. “Stratton Oakmont is America,” says Balfort. “It’s the land of opportunity.”
Equating success with excess, Balfort indulges in every debauchery while making everyone around him rich (and himself richer than everyone else) and fending off attention from the FBI.
By the end of “The Wolf of Wall Street” you’ll feel as though you’ve had testosterone splashed on your face. From the film’s opening scenes of DiCaprio and Co. throwing helmeted little people at a giant Velcro target to a wild soon-to-be-classic Quaalude scene, Scorsese has crafted a film that makes Gordon Gekko look warm and fuzzy. It’s muscular filmmaking that takes no prisoners, highlighting unlikeable mostly male characters in dubious situations.
There are female characters. As Belfort ‘s second wife Naomi Margot Robbie does good work, but the movie is a boy’s club. Or rather, a frat house where the Bro Code relegates women to the bedroom or the barroom but rarely the boardroom.
The sexual politics are definitely slanted in toward the males, but the movie shines as a metaphor for all the venal men whose gluttonous appetites for power and wealth ground the US economy into the dirt over the last few decades. Scorsese captures the unhinged spirit of these men, luxuriating in the decadent details of their lives.
It makes for entertaining viewing, mostly because DiCaprio and Jonah Hill are able to ride the line between the outrageous comedy on display and the human drama that takes over the movie’s final minutes. Both are terrific, buoyed by the throbbing pulse of Scorsese’s camera.
With its fourth wall breaking narration, scandalous set pieces and absurd antics “The Wolf of Wall Street” is an experience. At three hours it’s almost as excessive as Balfort’s $26,000 dinners. It feels a bit long, but like the spoiled brats it portrays, it will not, and cannot, be ignored.
