Silver Linings Playbook


Bradley Cooper's fashion sense can drive a woman crazy.

Bradley Cooper’s fashion sense can drive a woman crazy.

(2012) Romance (Weinstein) Bradley Cooper, Jennifer Lawrence, Robert De Niro, Jacki Weaver, Chris Tucker, Anupam Kher, Shea Whigham, Julia Stiles, John Ortiz, Paul Herman, Dash Mihok, Matthew Russell, Cheryl Williams, Patrick McDade, Brea Bee, Regency Boles. Directed by David O. Russell

What normal is for the most part is highly subject to debate. We look at people who have mental issues with wary eyes as if their condition is not only contagious but also subject to a sudden outbreak of violence without any warning whatsoever. And yes, there are some people who are just like that.

Pat Solitano Jr. (Cooper) has been institutionalized for eight months. There’s been some sort of “incident” and here he is. However, his mom Dolores (Weaver) is checking him out, apparently against medical advice but with the blessing of the courts since he’d done his time. While his cheerful friend Danny (Tucker) tries to tag along (unsuccessfully), Dolores takes Pat home to his dad Pat Sr. (De Niro) who has some issues of his own.

Pat is determined to get back together with his wife Nikki (Bee) who it turns out was kind of the source of his predicament; Pat, a substitute teacher at the same school Nikki teaches at in Philadelphia, came home early one day to find her naked in the shower with the history teacher. And there was nothing clean going on in the shower either. So Pat snapped and wound up being diagnosed as bi-polar.

Now he’s trying to get his life back together again. He’s running and exercising, losing weight and getting into shape. He refuses to take his meds because they make him feel foggy and bloated. He runs by Nikki’s house and old school, only to find that she’s moved out and started teaching elsewhere. There’s a restraining order against Pat and going by the house is a violation, causing Officer Keogh (Mihok) to drop by and remind him that he has to stop this kind of behavior.

Then his good friend Ronnie (Ortiz) and his bitchy wife Veronica (Stiles) invite him over to dinner along with her sister Tiffany (Lawrence) whose husband had recently passed away. Tiffany also has some issues of her own, not the least of which is that she’s having sex with anyone and anybody regardless of sex or even if she’s attracted to them or not. There’s obviously tension between the sisters and Tiffany, who like Pat lacks an inner filter, finally decides to leave.

When Pat discovers that Tiffany still has contact with Nikki, he knows she could be the means to his salvation. She could get a letter to his wife explaining his situation, where he is and what’s going on with him – start the process of reconciliation. However Tiffany needs a partner for a ballroom dance contest and isn’t above using her position as leverage. Pat is willing to do anything to get his wife back…even humiliate himself. But finding a silver lining isn’t easy, especially when your dad is just as OCD as you are and nobody seems to understand how in love you and your wife truly are. Yeah, you really need a playbook, one better than even the mighty Philadelphia Eagles possess.

This was a bit of a dark horse when awards season commenced last year. Although Russell had Oscar pedigree established, this particular movie wasn’t expected to contend but it wound up with eight nominations and one win. Part of that is due to the outstanding performances Mr. Russell coaxed out of his actors.

Lawrence has blossomed into one of the finest young actresses working in Hollywood. After establishing herself with Winter’s Bone a couple of years ago she has become a lynchpin in a couple of major film franchises and now has won herself a Best Actress Oscar with this performance here, a bit of a surprise considering how worthy Jessica Chastain’s performance in Zero Dark Thirty was. I will say that this certainly was a wonderful job of acting by Lawrence, one which is hard-edged and vulnerable all at once with an underlying sexuality that isn’t like anything she’s ever done before. You could say that this was her debutante ball, going from girl to woman in one fell swoop. While I still think her Oscar win was an upset, I certainly can’t complain with Oscar’s choice. She was as good as anyone last year.

Cooper was a bit of a surprise as well. He’s shown some signs of having a serious actor in him but he mostly has played comedic leads and has done so with some success. This was a nuanced performance that caught every bit of his characters compulsions and anguish. Pat’s disorder is clearly in charge and finding the way to reality isn’t an easy path when all around is dark and there are no road signs to go by. It’s a marvelous performance and serves notice that Bradley Cooper isn’t just a leading man, he’s a skilled actor who can take on just any role he chooses. This just might be what makes both Cooper and Lawrence Hollywood A-list.

Depression and bipolar disorder are no laughing matters and while the writer and director treat them pretty much with respect (although there are some humorous situations that arise out of Pat and Tiffany’s condition, there are no more so than what arises in real life) there are those who have a difficult time watching the movie because it hits close to home. That’s something to consider before heading out to the multiplex or reasonably soon, rental source.

The first two thirds of the film is as good as anything you’ll see from 2012 although in the final act it breaks down somewhat and the ending is terribly predictable and unfortunate. Clever endings are hard to come by these days however and if Russell goes with tried and true, well I suppose he can be forgiven and the studio I’m sure was pretty happy with that decision.

I will say that this is a movie that you are aware of from the beginning is going to be thoughtful and award-worthy and that’s not necessarily a good thing. Some movies will sneak up on you and build and by the movie’s end you know you watched something special. I think that Russell was all too aware of the movie’s potential and you become aware of it as well. Great performances (including from tried and true veterans De Niro, Weaver and Stiles) elevate this from a solid movie to a very good movie. It missed greatness by about twenty minutes though.

REASONS TO GO: Great performances throughout. Really good chemistry between Cooper and Lawrence.

REASONS TO STAY: Keeps you a little too off-balance in places. Too Hollywood an ending.

FAMILY VALUES:  There is quite  a bit of foul language and some scenes involving sexuality and brief nudity.

TRIVIAL PURSUIT: The film was originally to be produced by Anthony Minghella and directed by Sydney Pollack before they both passed away in 2008; as it turned out the movie would be the first to get nominations in all five of the “Big 5” categories of the Oscars (Best Picture, Best Actor, Best Supporting Actor, Best Actress and Best Supporting Actress) since Million Dollar Baby in 2004.

CRITICAL MASS: As of 3/4/13: Rotten Tomatoes: 92% positive reviews. Metacritic: 81/100; the film received rave reviews.

COMPARISON SHOPPING: David and Lisa

FINAL RATING: 8/10

NEXT: Quartet

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Jack Goes Boating


Jack Goes Boating

Amy Ryan tries to be polite but can't hide her confusion when Phillip Seymour Hoffman launches into a Kenneth Mars impression.

(2010) Romantic Comedy (Overture) Phillip Seymour Hoffman, Amy Ryan, John Ortiz, Daphne Rubin-Vega, Thomas McCarthy, Lola Glaudini, Richard Petrocelli, Salvatore Inzerillo, Harry L. Seddon, Shawna Barmender.  Directed by Phillip Seymour Hoffman

Who can say why two people that shouldn’t be together end up that way, while two people who should be together don’t. The mysteries of human interrelationships would baffle Steven Hawking (and probably does) since so much of it is inexplicable. There are no scientific formulas to explain the human heart.

Jack (Hoffman) is a mild-mannered limo driver for his uncle’s (Petrocelli) company. His best friend is Clyde (Ortiz) whom he’s known since they were kids. Jack has ambitions to work for the MTA in New York City (where they live) but nobody really believes he can pass the test needed to become an MTA driver. Jack lives alone, has no girlfriend and most of his social life revolves around Clyde and his girlfriend Lucy (Rubin-Vega). Lucy, while fond of Jack, doesn’t want him around quite so much and thinks a girlfriend would be just the ticket to give him a life of her own.

Lucy works at a funeral home with Connie (Ryan), a woman who might just be as shy as Jack is. Like Jack, she is alone (although not nearly as dependent on others as Jack is). Clyde and Lucy decide to get the two together.

Surprisingly they get on very nicely and Connie remarks to Jack that she wants to go boating in Central Park. Since it’s the beginning of winter, that indicates an interest in a long term relationship. However Jack doesn’t particularly want to go boating – he can’t swim. Clyde offers to teach Jack how to swim, since Jack is eager to continue seeing Connie.

Jack also wants to cook Connie a meal in the meantime, which is quite an undertaking for a guy who doesn’t know how to microwave popcorn. He gets some lessons but when the big dinner date arrive (Clyde and Lucy are also invited), things go horribly awry. Still, Jack and Connie seem to get closer and closer – and as they do, Clyde and Lucy begin to drift farther and farther apart.

Not only does Hoffman appear in this as the lead actor, but he also directed the movie (based on Robert Glaudini’s stage play of the same name – Glaudini also wrote the screenplay) which is difficult enough. He is in nearly every scene and is the center of the action. That can be good and bad; while Jack is out to improve himself and improve the quality of his life, he is taking baby steps for the most part; for the audience viewing this it can be downright irritating.

I’m not saying watching a shy man change his life is inherently boring – it’s not – but as depicted here the more interesting characters tend to be the ones on the periphery. Clyde, Lucy and Connie all held my attention more readily than Jack did, a bad sign.

Still, the movie has a sweet charm to it that helps offset the lack of inertia. Hoffman does shy and awkward as well as anyone, and he does it here nicely. Jack isn’t the brightest bulb in the chandelier but he has a good heart. Connie is much smarter than he is but just as socially awkward. Ryan gives her a sweet and sexy quality that is self-conscious but totally believable.

Ortiz for me was the most interesting performance. A little bit smarmy, totally 100% New York, Clyde has the best of intentions but is derailed by his own failings. His heart is in the right place but he can’t get past his weakness for marijuana, nor his jealousy of Lucy’s past infidelities.

There is a scene near the end of the movie when the two couples are at Clyde and Lucy’s apartment which is as awkward as any I’ve ever seen in a movie (awkward in a good way). It is the most powerful scene in the movie and as Connie tries desperately to pull Jack away from the train wreck that is occurring, you are right there with her. It is in this moment where Hoffman shows the potential of being a really good director.

This isn’t a movie that’s going to reveal a lot of new insights into love or life; it’s just a look inside two relationships and four lives. It does give a sense of how it is to live and work in New York, which is always welcome. It also is charming and sweet at times, awkward and irritating at others. Just like real life.

WHY RENT THIS: The relationships are believable and the one between Jack and Connie is sweet.  

WHY RENT SOMETHING ELSE: The movie lacks inertia.

FAMILY VALUES: There’s a bit of cursing, a smidgeon of drug use and some sexuality.

TRIVIAL PURSUIT: Hoffman originated the role of Jack in the stage production.

NOTABLE DVD EXTRAS: There’s a featurette on how the process of adapting the movie from a stage play into a film.

BOX OFFICE PERFORMANCE: $619,570 on an unreported production budget; the movie was most likely a flop.

FINAL RATING: 5/10

TOMORROW: 30 Minutes or Less