Grade: B

The Walk: Race to the Top, But Don’t Look Down

Jeremy BeckReviews
Joseph Gordon-Levitt defies death as Philippe Petit in "The Walk"

Robert Zemeckis’s The Walk tells the story of Philippe Petit, the French daredevil who one day in August 1974, to the surprise and delight of thousands of unsuspecting New Yorkers, tiptoed back and forth across a wire stretching between the roofs of the Twin Towers of the World Trade Center. Midway through the film, Philippe and two confederates slink into a Manhattan electronics store and ask to purchase an interphone. The proprietor, a sharp fellow named J.P., suggests they buy a walkie-talkie instead, but Philippe refuses, explaining to his comrade in rapid French that cops can listen in on walkie-talkies. This statement raises the eyebrows of J.P., who it turns out speaks French (his initials stand for Jean-Pierre, and he is played very well by the American actor James Badge Dale); he assumes that this motley crew is intent on robbing a bank, and that they’re in dire need of some help.

Strictly speaking, J.P. is wrong—Philippe has no plans to steal anything, except perhaps a few moments of immortality. But in cinematic terms, J.P. is on the mark. The Walk, in its elemental form, is a crime caper. Its story, which it tells with considerable glee and marginal distinction, is that of a gang of lawbreakers who conspire to evade police detection and carry out a seemingly impossible objective. In this way, it is a successor to classic heist pictures like Rififi and Ocean’s Eleven. What distinguishes this one is that, where most capers thrive on the planning of the crime rather than the actual execution, The Walk achieves its power in depicting Philippe’s improbable, death-defying triumph. For the majority of its runtime, it’s a fun, frothy film: nicely acted, convincingly staged, and thoroughly familiar. Then Philippe steps out on that wire, and this modest, unmemorable movie becomes unforgettable. Read More

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The Man from U.N.C.L.E.: The Super-Spy Shuffle, with a Smile and a Wink

Jeremy BeckReviews
Armie Hammer, Alicia Vikander, and Henry Cavill are charming spies in "The Man from U.N.C.L.E."

It is telling that the best scene in The Man from U.N.C.L.E., Guy Ritchie’s fun and frivolous update of a forgotten ’60s spy show, involves a man quietly helping himself to a sandwich. That would be Napoleon Solo (Man of Steel‘s Henry Cavill), a crack thief-turned CIA agent who, during the scene in question, finds himself fleeing from angry German sentries after breaking into a heavily guarded warehouse. He begins the sequence—along with his grudging partner, KGB operative Illya Kuryakin (The Social Network‘s Armie Hammer)—attempting to outmaneuver ‘ze Germans on a speedboat, but during the chaos, he gets thrown overboard. Any reasonable movie would keep the focus on Kuryakin, hurtling alongside him as he evades his pursuers through heroism and ingenuity. Instead, Ritchie stays with Solo as he calmly finds his way to a pickup truck, where he happily discovers a Little Red Riding Hood-like basket of goodies. As Solo uncorks a bottle of wine and carefully tucks in a bib, the boat chase featuring Kuryakin rages on in the background, orange flames silently erupting into the black night sky. Yet only after savoring a bite of his stolen sandwich, then emitting a weary sigh of annoyance, does Solo come to his partner’s aid.

This is a very funny scene, but it’s also illustrative of Ritchie’s commitment to lightness as a mode of storytelling. To say he favors style over substance almost gives him too much credit. What really matters to him is buoyancy, which is why The Man from U.N.C.L.E. floats along in a state of perpetual ease and winking insouciance. Evoking a James Bond picture from the Roger Moore era (there is even a spectacularly cheesy double entendre), it is difficult to imagine a spy film less interested in generating danger or suspense. It’s pointless, but at the same time, it persuasively suggests that having a point is overrated. Read More

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The Diary of a Teenage Girl: Hungering for Sex, Love, and Womanhood

Jeremy BeckReviews
Bel Powley gives a breakthrough performance in "The Diary of a Teenage Girl"

The very first line of The Diary of a Teenage Girl, Marielle Heller’s uneven, appealing coming-of-age story, is “I had sex today”; it is immediately followed by a very Fifty Shades of Grey-like exclamation, “Holy shit!” But despite her youth and initial lack of worldliness, Minnie Goetze (Bel Powley) is no Anastasia Steele. She is not timid, nor is she entranced by notions of masculine dominance. She is instead a confident, eager, and often foolish femme who does not apologize for her desires, even if she does not entirely understand them. “I like sex,” Minnie tells us early on, and in case you didn’t believe her, she clarifies, “I really like getting fucked!” That may strike some as vulgar, but the most satisfying thing about The Diary of a Teenage Girl—beyond the powerful performance at its center—is its frankness in discussing sexual desire and its attendant emotions. Minnie is the hero of her story, she wants sex, and she refuses to cast herself as the victim.

Though she is very much that, at least in one sense. Minnie, as you may have gleaned from the film’s title, is a teenager—fifteen, to be precise. That’s young enough as it is, but it becomes alarmingly so once you learn that the person she is so happily, repeatedly tumbling into bed with is her mother’s thirtysomething boyfriend, Monroe (Alexander Skarsgård). Yet Heller, who also wrote the screenplay (adapting Phoebe Gloeckner’s novel), is not interested in the legal or moral ramifications of Minnie and Monroe’s illicit union. She is more concerned with exploring how it makes Minnie feel: how it affects her sense of self, her demeanor, and, most distressingly, her relationship with her mother (a very good Kristen Wiig). In so doing, Heller puts a tremendous amount of weight on Powley, a 23-year-old British actress appearing in her first American feature (the movie takes place in 1970s San Francisco). She shoulders the load with aplomb, capturing Minnie’s vitality and hunger while also revealing glimmers of her fragility. Read More

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The End of the Tour: Talking About Writing, and Other Demons

Jeremy BeckReviews
Jesse Eisenberg and Jason Segel talk (and talk) in "The End of the Tour"

Writing in the New York Times in 1996 about Infinite Jest, the magnum opus from David Foster Wallace, the critic Jay McInerney wrote, “While there are many uninteresting pages in this novel, there are not many uninteresting sentences.” I feel similarly about The End of the Tour, James Ponsoldt’s compassionate, provocative, and occasionally dull recreation of the five-day period shortly following the release of Infinite Jest, in which Rolling Stone‘s David Lipsky trailed Wallace on his promotional rounds. It is not an especially kinetic movie, and if it is in no hurry to go anywhere, its luxuriant patience occasionally creeps into stasis. But it is also a sharply scripted and profoundly affecting character study, tenderly depicting two writers who are deeply committed both to their specific jobs and to the grander notion of composing meaningful words. Wallace and Lipsky both believed that their prose, as painful as it was to conceive, might actually mean something. The End of the Tour nobly honors their commitment, even if certain stretches of its narrative feel meaningless.

The movie opens in 2008, with a dumbfounded Lipsky (Jesse Eisenberg, even better than usual) learning of Wallace’s suicide, a tragic event whose dark shadow looms over The End of the Tour. It then flashes back 12 years, revealing Lipsky as a hungry and energetic young writer who keeps hearing about this rapturously received tome called Infinite Jest. Animated by both jealousy and disbelief, he scoffs at the reviews claiming that this mammoth novel heralds the arrival of the next Pynchon. Then he reads it. Not long after, he’s pleading with his editor at Rolling Stone to interview Wallace for a celebrity profile, and then he’s jetting off to snowy Illinois, hoping to reconcile this generation-defining book with the mere mortal who wrote it. Read More

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Trainwreck: She’s a Downtown Girl, Living in a Man’s World

Jeremy BeckReviews
Amy Schumer and Bill Hader find love in "Trainwreck"

They may both tower over the modern comedy world, but Judd Apatow and Amy Schumer aren’t very much alike. Apatow’s works, particularly The 40-Year-Old Virgin and Knocked Up, are best known for the overgrown man-children at their center, but they’re also curiously wholesome and sweet. He relies heavily on crudity and profanity, but he does so in the service of a romantic ideal—the notion that love can conquer all obstacles and generate true happiness—that is pure, cornball formula. But Schumer is a deconstructionist. She has ascended to the apex of the comedy landscape precisely because of the way she obliterates formula, exposing stereotypes and upheaving convention. Trainwreck, which Apatow directed from a script written by Schumer, is the funny, fascinating, and somewhat frustrating attempt to reconcile these two disparate voices into a unified song. Like its protagonist, it is often at war with itself. And, like its protagonist, it is vulgar, confused, warmhearted, and generally a hoot to hang out with.

Schumer plays Amy (in case you doubted the story’s autobiographical bona fides), an unapologetically promiscuous boozehound whom one might call a slut or a female stud, depending on one’s level of sexism or enlightenment. The idea that women can be funny, frisky, and lewd should hardly have been a revelation in 2011, but it was novel enough to turn Bridesmaids (which Apatow produced) from a well-made, modest comedy into an outright phenomenon. Now, Trainwreck extends that sense of gender liberation to the bedroom. That’s where we first meet Amy, tumbling between the sheets with an anonymous schmo, extracting pleasure from him before feigning sleep to avoid the obligation to reciprocate. “Don’t judge me, fuckers,” she admonishes via voiceover. It’s an odd plea, given that she spends most of the movie judging herself. Read More

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