"Trainwreck" Review

OP-ROB RATING: ALL-STAR

           “Trainwreck”, the latest film from Judd Apatow, is the story of a woman who believes that monogamy isn’t realistic. This woman is Amy Townsend (Amy Schumer), she works as a writer for “s’nuff”, a trashy men’s magazine located in NYC; and what seems to be most nights she parties at bars and clubs, usually ending up in a random man’s bed. But don’t be fooled into thinking that Amy is being taken advantage of, because she is completely in control of her lifestyle. Her routine is this: get manageably drunk at the bar, go home with the sexiest guy, have whatever kind of sex feels right that night, and never ever sleep over once it’s done. For Amy, this works perfectly. She never has to call the guy again and she always gets exactly what she wants. All this seems to be very satisfying for Amy, that is until she meets Aaron Conners (Bill Hader), a sports medicine doctor, and her entire belief system is turned on its head.

            “Trainwreck” is the first movie directed by Judd Apatow starring a female lead in Amy Schumer. Amy Schumer also wrote the screenplay, her first ever for a movie. For all those irregularities, “Trainwreck” doesn’t feel all that different from Apatow’s earlier films, “Knocked Up”, and “The 40-Year-Old Virgin”. Though it doesn’t break new barriers or rewrite the rules of comedy, the film is laugh-out-loud funny, incredibly vulgar, and in the end, very tender and thought provoking.

            Amy Schumer takes on the all-important job towing the line between being funny and disgusting. “Trainwreck” is filled with everything from dirty tampon jokes to a scene where Schumer’s character describes fishing a marooned condom out of her vagina to a group of stunned housewives. Some of the more inappropriate scenes are a little uncomfortable to watch, but like all good comedies the punch line is frequently worth the pain. Bill Hader also delivers a great performance as the innocent and sincere sports medicine doctor. While I don’t completely understand his desire for the “trainwreck” of a human being that Schumer portrays, his body language and thoughtful dialogue in the film make it very convincing.

            For the most part, Apatow focuses on developing the characters of Amy Townsend and Aaron Conners, however there are a slew of noteworthy supporting characters. Brie Larson plays Amy Townsend’s sister who has chosen a more responsible lifestyle by getting married and having a child. The scenes between the two sisters often feature tension and provide opportunities for Amy to mature and strive for resolution. An equally compelling foil is the Townsend’s father, Gordon (Colin Quinn). The opening scene of the film is actually dedicated to Mr. Townsend telling his children about why he and their mother are getting a divorce, ultimately leading to him explaining that monogamy isn’t realistic. The dynamic between Mr. Townsend and Amy is one if the most interesting parts of the movie. At s’nuff magazine, Tilda Swinton plays Amy’s eccentric boss who represents the corrosive personality that the early version of Amy is on the road to becoming.

            Of all the best parts of “Trainwreck” one particular role stands out from the rest, this is LeBron James. In the film, LeBron plays a close friend of Dr. Conners and is featured in significant portion of the film. LeBron looks right at home on screen, and his scenes were by far the most enjoyable. In one hysterical scene LeBron and Dr. Conners discuss the difference between Cleveland and Miami, LeBron wryly states, “There is no difference.” While LeBron still has a quite a few years to play basketball, his performance in “Trainwreck” should afford him the opportunity to “take his talents” to the silver screen as a second career.

            Despite the overall quality of the film, there are many scenes that seem unnecessary, and sometimes too obscene to have any positive effect. One particularly unfunny scene occurs when Amy goes home with a sixteen-year-old intern from her office. They have a strange sexual encounter that is gross, weird, and worst of all just not clever in any way. There are also many lewd quips delivered by Schumer that feel forced, and are often not at all amusing. Finding a balance in a raunchy comedy like “Trainwreck” must be incredibly challenging, however striking that perfect chord is vitally important to making an all-time-great. “Trainwreck” doesn’t quite make the leap, though it will find its place as an often revisited, hugely entertaining comedy that often has a sweeter side than the initial behavior of its main character might suggest.

"Amy" Review

OP-ROB RATING: LEGEND

             “Amy” is a documentary directed by Asif Kapadia, the same man behind the award winning film "Senna". The documentary masterfully unfolds the heart-wrenching story of the late singer, Amy Winehouse, and does so with great reverence toward the artist, and more importantly the person.

            Much of the documentary is focused on the music of Amy Winehouse. The lyrics to her songs are displayed on the screen in subtitles of her own handwriting. Kapadia makes sure the audience realizes just how reflective Amy’s music was of what was going on in her life. Listening to one of her songs is akin to delving into the private diary of a troubled girl. We see her life story through home movies and the lens of the paparazzi; her music provides the narrative.

            What I found most moving about Amy Winehouse was her unconditional love. Love for a husband that introduced her to toxic addictions, squandered her money and left her repeatedly for another girl. Love for a father that, at the very least, was too busy enjoying and insuring Amy’s financial success, to care for her physical and emotional wellbeing. Love for a series of managers and promoters that would go so far as to put her on stage wasted rather than cancel a show.

When I initially saw the trailer for “Amy” I had my doubts. I thought to myself, “Well its great that she had this sweet side, but what about the partying and the bawdy image she made for herself? Isn’t that her fault?” After seeing “Amy” I can say that the self-destructive behaviors and bad-girl brand may have simply been byproducts of the people around her. Perhaps none of those things were done out of selfishness, publicity or personal pleasure. As Kapadia would have us believe, Amy Winehouse sought only to love those around her and it was her unrelenting investment in those she loved that ultimately killed her. He illustrates a very convincing argument.

 The start to Amy’s downward spiral came when her true friends left her side. These friends included her former manager Nick Shymansky and two of her childhood girlfriends, Juliette Ashby and Lauren Gilbert. Throughout the entire film it is clear that these three individuals were the only people that loved Amy with no strings attached. Why she distanced herself from these people is a question that the audience is left to explore. Perhaps Amy Winehouse's greatest flaw was her inability to identify the people who were truly good for her until it was too late.

One important revelation I gained from the film was just how emotional Amy Winehouse was as an artist. The words in her songs were written in blood, and I can only imagine how painful it was for her to perform them sometimes. One of the more tender scenes in the documentary comes when Amy starts recording with one of her music idols, Tony Bennett. In this scene Amy is nervous, sober, and at her very best as a singer. She botches the first take on a duet with Bennett, but after the living legend offers some gentle words of encouragement, she rises above and beyond the occasion.  Although “Rehab” was the song that put Amy Winehouse on every front page in America, she was a jazz singer at heart. The music of Amy Winehouse wasn’t meant for massive crowds or wild music festivals, but instead for small venues where people could quietly listen and experience the clarity of emotion that beamed through her music. The scene with Bennett affirms her rightful place in jazz music, as Bennett himself later said, "the great ones that are very talented know just how to turn jazz singing into a performance that's unforgettable. And Amy had that gift."

 In one of the final scenes Amy is booed off the stage at a show in Belgrade; a show she was forced into by her management. In the all of the disappointment and calamity in the crowd, there is also a sense of spectacle. As if the sight of Amy stumbling around in sheer drunkenness were entertaining. For many people, this will be the Amy Winehouse that is remembered, a considerable talent that succumbed to substance abuse and pursuit of celebrity in the public eye. That is why I am glad that Asif Kapadia was able to provide a different view of Amy Winehouse in “Amy”. Instead of looking at the glitz, lunacy, and horror of Amy’s short stint at the top of the music world, he focuses on her time before the spotlight. When supportive and loving friends surrounded her, a time when she played her music for small crowds who were awed by her performances.

For those who decide to see “Amy”, a new person with a familiar face will emerge to be remembered . A woman so brilliant at singing that she ranks among the most gifted to ever pick up a microphone; a kind, yet haunted soul who gave her all for those she loved. 

"True Detective" Season 2 Episode 1 Review

OP-ROB RATING: STARTER

An avid “True Detective” fan told me that while he was excited for the new season, Matthew McConaughey and Woody Harrelson just couldn’t be beat; Detective Rust Cohle and Marty Hart were simply too perfect, and even the most impressive cast and new story wouldn’t match the previous season. Season 2 premiered last night, and it confirms what my friend pointed out and what many would agree with: “True Detective” will not be the same.

            Episode One, “The Western Book of the Dead”, takes place in several cities in Los Angeles County, California; most prominently “Vinci” City and focuses on four different main characters. Frank Semyon (Vince Vaughn) is a real estate entrepreneur and a white-collar criminal, although we have reason to believe he has had a more hands-on, violent past. Ray Velcoro (Colin Farrell) is a police detective within Vinci City. As apparent from episode one, Velcoro was once an honest lawman but has sunken into depression, alcoholism, drug abuse and corruption after a family tragedy. Detective Ani Bezzerides (Rachel McAdams) is a similarly dark character. She isn’t corrupt, but may be an alcoholic and most certainly has family issues that contribute to her lone wolf, detached attitude. Finally, Officer Paul Woodrugh (Taylor Kitsch) is the cleanest of the bunch. He is dedicated to a fault, yet is clearly troubled by his past. His bodily scars and ex-military history are good places to look for his current post-traumatic symptoms within the show.

            These dark characters are all drawn together through the disappearance and murder of the Vinci City Manager, Ben Caspar. This particular character is not actually shown on screen with a pulse, however we can put together that he is involved with Mr. Semyon in orchestrating a sketchy, California railway deal. His disappearance causes issues for Semyon, who must convince investors of the proposition’s adherence with the state government.  Velcoro is assigned to investigate Caspar's disappearance by his commanding officer. When Velcoro searches Caspar’s house he finds a disheveled residence filled with pornographic artwork, sex toys, and a very creepy, Aleister Crowley inspired costume. Caspar’s body turns up on the side of the highway propped up on a park bench. The man to stumble upon him is none other than Paul Woodrugh, who pulls off onto the side of the road during an intense motorcycle ride in the pitch black of the night. He reports the corpse to the police; the episode ends with Velcoro and Bezzerides at the scene of the discovery.

            The episode is filled with a lot of character development. Much of which is dark and depressing. The plot moves fast and the viewer is challenged to catch every little shard of information that comes flying across the screen. The characters all seem to struggle with deep-rooted, emotional issues that will define the tone of the show.

            The creator and writer of “True Detective”, Nic Pizzolatto, knew what my friend knew. Any follow up to McConaughey and Harrelson would be a disappointment. Pizzolatto himself grew up in and around New Orleans; the first season of “True Detective” was so natural and automatic that any kind of extension would seem artificial and forced. For that very reason, Pizzolatto has decided to take the show on a veritably different path. The first episode features a similar opening to the old season, as well as the familiar panning landscape shots, except now the camera peers over Southern California instead of the Louisiana bayou. This new setting in California provides a fresh canvas, and the new characters are different colors for him to paint. I don’t know how the rest of the season will turn out. But after one episode I can say for sure that Pizzolatto’s writing is just as dark as before, the acting is just as good and the plot is far more cerebral. In all, “True Detective” is back and it’s a whole new ordeal. I can’t wait for the story to unfold.