"Silver Linings Playbook", Hollywood oddball

Silver Linings Playbook

This is, in my opinion, the sort of film that will get (better said has achieved) a lot of supporters as well as haters. The sort of movie that, almost from the very beginning, the spectator has to decide (whether consciously or not would deserve another post) if he/she believes it. To be honest, these black or white positions aren't fair with "Silver Linings Playbook", a film with a noteworthy share of attractive, but not that special to be a divisive, controversial one. Well, I guess that's the consequence of receiving such an exaggerated buzz, certified by the Oscars.

Did I "buy" the story myself? Not really. But that didn't ruin the film for me either. I guess my expectations weren't that high, wasn't looking for a movie with much substance and therefore I enjoyed its well-developed flow, as well as the chemistry and good job of the main actors. To me, "Silver Linings Playbook" is nothing more than a well executed romantic comedy with what could have been some intriguing dark twists that director David O. Russell is not interested to follow. Nothing surprising or mind-blowing, but probably better than your average Hollywood chick flick. Agreeable, with some charms, but far from the outstanding piece some have seen.

The story of Pat Solitano, very well performed by Bradley Cooper, who surprisingly (at least to me) shows a very different range from his recurrent perfume-ad boy with conviction, is not very new on surface. A troubled guy with bipolar disorder tries to reconnect with his previous life after spending some time in a mental institution. The shadow of a serious drama appears, helped by the apparition of Robert De Niro as his father, as seriously troubled, but accepted by society, as his son. But Russell shifts the focus, offering us a love story instead.

Well, the rom-com side clearly wins the pulse here. It's enjoyable thanks to Cooper and the magnetic, stunning presence of Jennifer Lawrence as Tiffany. My question is: being so attractive to the camera makes you an award winner? You can't help but feel moved by the dance and their relation. I'll be generous and I'll concede the film the benefit of wanting to build that sentimental link with not the usual tricks (although some could argue conversations and the mix between sports and love are a bit confusing a couple of times). But "Silver Linings Playbook" is also predictable and flat at the end. A happy ending for a Hollywood oddball. Praise the intentions or blame its shortcomings, that's up to you. I just can't see why this film is so special, for the good and the bad.

SCORE: 5,75/10  

"Bridesmaids", bye romantic comedies & weddings

Bridesmaids

Let's vindicate comedies. And the directors, screenwriters, actors, etc, that without missing the focus of making us laugh during 90-120 minutes, are capable of offering something, if not groundbreaking, at least refreshing, different. "Bridesmaids" might not be "high comedy" (whatever that means) but is an amusing comedy. And a big, much needed, kick in the ass to the abominable chick flick genre.

As the very recommendable and recently reviewed "Young Adult", "Bridesmaids" also subverts the archetype of female role, but now within the format of a comedy. Director Paul Feig (with the king of the new American comedy Judd Apatow behind him as producer) is capable of doing that "playing" in the most adverse of territories: the preparation of a wedding. Hard to imagine a more chick flick-bound scenario, but its hilariously used in its own benefit, providing the film the scenes, the munition to construct several unforgettable gags. Sorry lovers of weddings and traditional romantic comedies. This is not for you. We are closer to a female version of "The Hangover".

Still, that wouldn't make of "Bridesmaids" a recommendable film per se. If  you want to create a good comedy, you need an according script and a bunch of actors that can develop it. Which brings me to Kristen Wiig, unknown in Spain but a comic American icon. She's not only the absolute star of this movie, as the troubled, disastrous Annie Walker. She's also credited as co-writer of the script. What an immense work. At the very least, an Oscar nomination was in order (at the very least).

But Wiig is not alone, as all the secondary actresses are also amusing, with a deserved, very special mention to the explosive performance of Oscar-nominated Melissa McCarthy as Megan, while Rose Byrne is also remarkable as Helen, Annie's nemesis (and the caricature-archetype of the chick flick woman) and Maya Rudolph as Lilian, the bride and Annie's best friend. Male roles are quite marginalised here, being reduced to officer Nathan Rhodes (played by Chris O'Dowd) and Ted (Jon Hamm). Though both roles are nice, ridiculed updates of typical male characters (quite funny to see the Mad Men's star character turned into an evident XXI century asshole).  

The film doesn't have many misfires. Some (few) jokes might cross the line, and I could point an unbalance on its length, that hastens its conclusion to an unnatural extent, killing some secondary parts for the sake of reaching the climax of the film. But this are minor complaints in a film that for almost two hours keeps you laughing, with several scenes to be remembered, with actresses in a state of grace (especially Wiig and McCarthy), enjoying themselves while they dynamite all the romantic comedies clichés. Fun granted.

SCORE: 7,25/10