LeapBackBlog 2013 Film Awards – Part 4: Leading Performances

Film in 2013 was fantastic. We saw tons of wonderful performances, powerfully emotional dramas, hysterical comedies, gripping thrillers, big and entertaining blockbusters, and grand technical achievements. This year was particularly difficult in narrowing down my choices for my favorite films, performances, directors, and technical accomplishments. For example, I loved Amy Acker in Much Ado About Nothing and Oscar Isaac in Inside Llewyn Davis, but neither quite made the list, and the same can be said for David O. Russell’s wonderful directing in American Hustle or Hoyte Van Hoytema’s sublime cinematography in Her (both just missing out on the list, when they would have made it in most other years). And, there are a number of good films that did not make the list either (and a few I have not yet seen). As it stands, the LeapBackBlog Film Awards are made up, through difficult deliberation, of the films that entertained me and grabbed me as something special, the performances that engaged me, and the craftsmanship that delighted me. These are my favorites of 2013.

Part 1: Technical Achievements

Part 2: Supporting Performances

Part 3: Directors

Part 5: Films

Amy Adams – American Hustle

American Hustle is a con film, and like every con there needs to be something or someone that draws your attention away and makes you believe an untrue truth. Amy Adams serves this role in the film playing Sydney Prosser, an American who poses as the elegant British aristocrat Lady Greensley. Adams is fantastic in the role, and even has the audience questioning what is real and which emotions are true, setting up a great reveal and thus making the con work. Adams also uses a very bombastic wardrobe to grab the audience’s (and her mark’s) attention, pulling them him with her smile and a bit of skin. But it is all for show, as it is Prosser’s wit that is her best attribute. Adams had a prolific 2013, which included standout work in not only American Hustle but also in Man of Steel and Her.

Christian Bale – American Hustle

Christian Bale is an actor who just disappears into his characters (and has been a frequent name to pop up on my LeapBackBlog Film Awards), often physically transforming himself to fit the character, and Irving Rosenfeld is no different. American Hustle is a film of big performances, costumes, and hairstyles, but Bales keeps Rosenfeld grounded as the film’s emotional center. He is the character the audience can connect with and relate to – he is their in. Bale has genuine compassion in his performance, an emotional honestly that the audience can latch onto even when everything else seems to be living in the excesses that make the film what it is and a lot of fun. Without Bale’s great performance, to counterbalance the other bigger performances, the film may have collapsed in on itself, as something too remote and disengaged. His is the least flashy, but maybe the best of the performances in the film.

Cate Blanchett – Blue Jasmine

Oscar frontrunner (and likely eventual winner) Cate Blanchett is masterful in Blue Jasmine. Her character Jasmine is a woman who is in the midst of a psychological breakdown, and thus Blanchett in a sense needs to create two characters. The first is a prominent, sophisticated woman of means who gracefully and elegantly handles herself, while the other is a woman at the end of her tether a hair-pull away from being completely lost. Blanchett takes these two characters and smashes them together to create Jasmine, a woman who is in moments magnetic and commanding, completely radiant, and then in other moments a wreck, turning to alcohol and pills to forget/escape. It is fascinating yet uncomfortable and sort of tragic to watch. This is undoubtedly a deft and clever performance (one that could not have been played better by anyone else).

Sandra Bullock – Gravity

Sandra Bullock gives one of the year’s most physically challenging performances in Gravity. To create a realistic feeling zero-g environment, Bullock needed to work with puppeteers for what must have been very demanding days, mentally and physically. Her performance as Dr. Ryan Stone is the best of her career to date. She is just superb, having to convey everything with just her eyes, face, voice, and breathing for large portions of the film. She, like the film itself, is utterly enthralling. The audience lives and dies with her, holding onto every emotional moment – her journey becoming their own. Even though Gravity is a film built upon and largely succeeding on its amazing visuals, all of that splendor would have been lost without Bullocks stellar work.

Leonardo DiCaprio – The Wolf of Wall Street

Watching The Wolf of Wall Street, it is clear that Leonardo DiCaprio is having a blast with his character Jordan Belfort (regardless of whether or not he likes the man). DiCaprio has fully committed to the insane quality of the film and Belfort’s lifestyle, creating a performance that is maybe 2013’s most entertaining. His work is hilarious, but what makes it special is that DiCaprio still keeps the character grounded and creates a person who feels real to the audience despite the craziness that surrounds him (yes, Jordan Belfort is a real person, but it is doubtful that most audience members have heard of him, so in that way the film might as well be fiction). DiCaprio even gets the audience to get behind his character (a mostly despicable man) and root for him. How? Well, he is able to make the man resonate for the audience through emotional honesty in the performance. It is really fantastic work.

Chiwetel Ejiofor – 12 Years a Slave

There is a real strength to Chiwetel Ejiofor’s performances as Solomon Northup in 12 Years a Slave. He is a man who refuses to be beaten down, to submit to a life that is not his own. This determination both makes his life harder, as just cannot keep his head down constantly calling attention to himself, and ultimately is his saving grace, as he just will not give up until he is reunited with his family. It is impossible to imagine the struggle Northup was forced to undertake (I cannot even begin to create it on any level for myself – it is just too devastating, and I think I would not survive it), and yet Ejiofor’s brilliance brings the audience in and gives them a conduit by which they can take on the experience, and envision themselves in Northup’s place: taking on his pain, feeling his loss, and finally fighting too with his determination so that they too can feel the wave of alleviation wash over them, knowing that they are finally free again. Northup’s circumstances are heartbreaking, and through Ejiofor’s compelling work the audience experiences everything fully, but he was one of the lucky ones. What makes 12 Years a Slave all the more agonizing is that though Northup does eventually get is freedom again so many are left to toil away in dire chains of forced servitude.

Greta Gerwig – Frances Ha

Greta Gerwig is so very charming in Frances Ha, giving a performances that is utterly fun and joyful, yet still emotionally complex. Frances is a girl living in New York trying to find her way, and thus the film serves as a coming-of-age story (even though Frances is mostly an adult already). Gerwig has a fantastic nervous energy throughout. She wants so desperately to embrace life fully, but is at the same time guarded expecting failure and disappointment. This energy creates a very funny vibe to the character that is both entertaining and endearing for the audience. While there are good supporting performances in the film, Frances Ha almost exists as a one-woman show with Gerwig delivering dramatically and certainly comically at the center.

Michael B. Jordan – Fruitvale Station

Recreating a real person is always a little tricky. Michael B. Jordan breathes life into and pays tribute to Oscar Grant (whose life was tragically taken too soon). Fruitvale Station is one of the year’s most emotionally powerful films, and Jordan’s performance is at its center, its driving force. For the film to work, Jordan needed to convey the duality of Grant’s life – a man who was a loving father and good person and a man who still found himself pulled back into the street life (no matter how hard he tried to escape) and all that comes with it (including an attitude). The film speaks to racism still being a constant issue in America, but to escape clichés and to garner a true emotional connection with its audience the film also needed to work on a human level and not just spout lofty ideals. Jordan’s performance does connect deeply with the audience, as he presents a fully fleshed out character. His performance is so good that the film incites action in the audience, as seeing Grant’s death (a man the audience has come to care about) at the hands of overwhelmed transit police officers is just too unthinkably tragic and completely avoidable.

Brie Larson – Short Term 12

Brie Larson is magnificent in Short Term 12 playing Grace, a caretaker at the facility for at-risk youths. It is not only a glowing breakthrough for Larson (reaffirming for those who already know her work and announcing for those who do not that she is a very talented young actress with a bright future), but also possibly 2013’s best performance (right there with Cate Blanchett in Blue Jasmine and Chiwetel Ejiofor in 12 Years a Slave). Larson gives a very brave performance as Grace, completely committing emotionally (which must have been very taxing) to a character that is very guarded with deep emotional wounds. Larson pulls the audience in so entirely that her emotional journey is felt fully by each viewer as well, giving the film its power. It is wonderful work that has shamefully been overlooked by many (yes, I am looking at all of you Oscar voters). Larson was also very good in supporting roles in The Spectacular Now and Don Jon in 2013.

Joaquin Phoenix – her 

Theodore Twombly is a character that easily could have been over simplified as being just a sad mope or a weird quirky guy. Joaquin Phoenix brings so much to the character, giving a beautifully complex performance in Her. Theodore is in some respects an everyman – someone the audience can relate to – as he is just like all of us: he is social, has hopes and fears, but is melancholy due to his somewhat recent breakup with his wife. Phoenix is able to emote so fully that the audience finds themselves right there with him emotionally (which all you can really ask from a performance): they laugh when he laughs; they feel pain when he hurts; and they feel hopefully when his future looks a little brighter. It is a subtle performance (that many seem to have overlooked) but nonetheless extraordinary.

Frances Ha (2013) – Review

Review: Frances Ha is a fun coming-of-age drama that is light and easy going. The film is about Frances, a young woman in her late twenties who is still trying to find her way in New York City. She is a dancer, but that might just be an excuse for finding a real job. Frances has to make some tough choices after her best friend and roommate, Sophie, decides to move in her boyfriend leaving Frances to find new arrangements.

Set mostly in New York, shot in black & white, and dealing with young people trying to find their place after college, the film seems to take on the role of a modern update of Whit Stillman’s Metropolitan. Frances, like Tom, is a bit of an outsider even within her own group of friends, due to her awkward quirks – something that has seemingly become a staple of indie films (quirkiness in the lead character). She seems to always stick out everywhere she goes.

Writer-director Noah Baumbach and writer-star Greta Gerwig seem to want to tell a coming-of-age story with Frances Ha. The film is very playful and never really gets too bogged down in emotional turmoil, even as Frances faces tough times/choices. She is quite resilient. But again, she is in her late twenties – one would think that she would have grown up by now? And yet, Frances embarks on journey towards maturity and understanding, leaving behind her more childish careless tendencies and self-proclaimed bad-decision-making (or at least tries to). In short, she has to grow up – even if she is desperately clinging to anything that might save her from accepting that truth.

Much like the TV Series Girls, Frances Ha seems to perfectly hit its time and place (much like Metropolitan did in 1990). Its is a time capsule recording the culture, style, language, and overall feel of today’s young people (at least those in urban settings). While the main narrative arc is somewhat universal (a coming-of-age story), it is interesting to imagine how this might play in ten or twenty years, as the tone of the film is completely saturated with today’s lifestyle aesthetic.

Frances Ha is very enjoyable to watch, and Baumbach and Gerwig do a great job with the character of Frances. The film is a bit of a one-woman show, thus the audience connecting with the character is vital. The viewer cannot help but like her. She is very charming, and again despite her mistakes and shortfalls her resilience endears her to the audience. The viewer wants to see her come out on top. Baumbach and Gerwig want the viewer to feel good watching the film, and in this regard the film is very successful.

However, as enjoyable as it is, the film is very light, but works mostly as a drama. Yet, the viewer never fears that things may not work out for Frances or that she may suffer any real pain, as she seems to breeze through everything (that is just who she is – dancing in the streets). The film is not dramatic enough to be moving or emotionally engaging, nor is it funny enough to carry the audience on laughs. It does not strive to be more than it is – just a simple light enjoyable story about a girl who grows up.

Frances Ha may not be thrilling, dramatic, or hilarious, but it is nonetheless a pleasure to watch.

Technical, aesthetic & acting achievements: Noah Baumbach has seemingly been fascinated with intellectual slackers with his films (my favorite of which is The Squid and the Whale), but Frances Ha feels like a bit of a departure. Baumbach’s style is refreshed and vibrant, and narratively it is much less concerned with those who are frustrated by their surroundings and instead embraces a lead character who loves life and wants to be in the world (she is just trying to find where and how she fits). The sarcastic tone has been replaced with one of joyful vitality, which infects the whole film and through it the audience (as said multiple times above: Frances Ha is a light enjoyable experience). Baumbach’s filmmaking is engaging again (after a few lesser films) and I look forward to what he does next.

Cinematographer Sam Levy’s black & white photography works very well with the tone and style of the film. It seems to give France’s journey a very personal feel (almost documentary-like). Baumbach’s shooting style also has a cinema-verite quality to it, as if the audience is eavesdropping on the lives of real people. Everything has a very naturalistic look. Sam Lisenco’s production design works hand-in-hand with the photography as his sets feel very natural and organic. Baumbach also uses a great 1970s/1980s soundtrack for the film that reenforces the light/fun spirit of the film (songs like David Bowie's Modern Love and Hot Chocolate's Ever1's a Winner). Baumbach uses music from French New Wave films as well - as this is very much influenced by those films and has a similar tone. While there is no score, the soundtrack works incredibly well and is one of the best aspects of the film.

The cast is very good, all giving performances that feel naturalistic and improvised, as if they were saying the lines for the first time (fitting the overall aesthetic style for the film). Adam Driver and Michael Zegen are good in small supporting roles. Mickey Sumner is wonderful in her supporting role as Sophie, giving a breakthrough performance. However, the whole film belongs to Greta Gerwig as Frances. She has a fantastic screen presence always drawing attention towards her. She does a great job creating a nervous, awkward energy that is both funny and charming.

Summary & score: Frances Ha is the perfect film for those looking for something funny, light, and with great characters and style. It is an utter joy. 7/10

Stars to Watch: Part 4 – Movies Spotlight – April 2011

Cinema constantly has new talent each and every year, making good films and opening audiences’ eyes to new characters, stories and worlds. April offers three more exciting performers to watch.

Saoirse Ronan

What She’s Been In:

Ronan, 16, made her screen debut in 2003 on the Irish public service broadcaster RTE in the medical drama The Clinic and then later in the mini-series Proof. In 2007, she made her American debut in the film I Could Never Be Your Woman co-starring with Paul Rudd and Michelle Pfeiffer. While it is not the best film, though funny, she is great in it as Pfeiffer’s more grownup that her years would indicate daughter. She also appeared in two barely seen films before getting her breakthrough performance (see next paragraph). After her breakthrough, she starred in Gil Kenan’s adaptation of City of Ember, and was the best part of the film (along with Bill Murray). Her first big starring role came in 2009 with Peter Jackson’s The Lovely Bones. The film was an ambitious mess, but Ronan was quite brilliant in it (and one of my favorite performances of the year). In January 2011, she co-starred with Ed Harris, Jim Sturgess and Colin Farrell in Peter Weir’s The Way Back about Siberian gulag escapees who walk 400 miles to freedom in India.

Breakthrough:

Ronan’s big break came in 2007 with a supporting role in Joe Wright’s Atonement. She played the role of Briony Tallis (age 13). Jealous of her older sister’s relationship with Robbie, the handsome son of an employee of her parent’s house who she has a big crush on, she tells a lie that devastates their relationship. She spends the rest of her life trying to atone for her mistake. The film is brilliant, set during WWII in England. Ronan stars with James McAvoy and Keira Knightley, stealing the film a bit from these two very good actors. She is so good, in fact, that she was nominated for an Oscar in the Best Supporting Actress category. Her performance in the film got my attention, and I have been a fan ever since.

April Film:

In April, Ronan has her next great role – working again with Wright in the film Hanna. It is about a young girl who is trained by her father to be a cutthroat and unforgiving assassin all with the purpose of unleashing her on his rival, a ruthless CIA agent. Ronan stars as the title character. The film looks to be a great mix of action, thriller and drama genres in sort of a twisted coming-of-age story. It co-stars Eric Bana, Cate Blanchett, Olivia Williams, and Tom Hollander (who from the trailer looks to be awesome).

Upcoming:

Also in 2011, Ronan has another young assassin film – Violet & Daisy, about two teenage assassins who accept what they think will be an easy gig (but of course it is not). The film co-stars Alexis Bledel and Danny Trejo and is Geoffrey Fletcher’s directorial debut (he won a screenwriting Oscar for Precious). 2012 looks to be big year for her – she is up for roles in either The Hobbit: Part 1, directed by Peter Jackson, or Anne Karenina, directed by Joe Wright. It seems as though scheduling conflicts would keep her from doing both and some reports already have her as a confirmed cast member of The Hobbit (but either way, both are great opportunities, but I cannot help but be more excited for The Hobbit). With good working relationships with great directors like Jackson and Wright, there should be tons of wonderful projects in her future.

Career Highlights:

1.)    Atonement (2007) – supporting* [Blu-ray/DVD/Rent]

2.)    City of Ember (2008) – lead [DVD/Rent]

3.)    The Lovely Bones (2009) – lead [Blu-ray/DVD/Rent]

4.)    The Way Back (2011) – supporting [Blu-ray/DVD/Rent]

*Editor’s picks

Rory Culkin

What He’s Been In:

Culkin, 21, got his start in films alongside his older brothers, Macaulay and Kieran (often as their younger brother or version of their character), in the films The Good Son, Richie Rich and Igby Goes Down (in which he has a few good scenes with Bill Pullman). While he has had roles in Hollywood films as a more established actor (though, still young), like his supporting role in Signs, Culkin has found a good niche for himself in indy films, appearing in a number of good ones: The Chumscrubber, Lymelife (starring with his brother Kieran) and Twelve. He also had a role in Down in the Valley.

Breakthrough:

Culkin’s breakthrough came with his supporting work in 2000’s You Can Count on Me, about a single mother’s life that is thrown into turmoil when her troubled younger brother returns to town. Kenneth Lonergan’s film features strong scenes between Laura Linney and Culkin, which led to Culkin receiving a Young Artist Award for Supporting Actor and an Independent Spirit Award nomination for Best Newcomer. He got his first leading role in 2004’s Mean Creek, an excellent film about a teen bully who is lured into the woods with devious and tragic intentions. Jacob Aaron Estes’s film showcased fantastic performances from its young cast, especially Culkin and Carly Schroeder, garnering two Independent Spirit Awards – John Cassavetes Award and a Special Distinction Award for the ensemble cast.

April Film:

In April Culkin stars alongside Emma Roberts (another star to watch; it is also Culkin’s third film with Roberts), Hayden Panettiere, Erik Knudsen, and Lucy Hale among other young actors, veteran actors and returning cast members in Scream 4 (along with Culkin and Roberts, I am excited by Alison Brie and Kristen Bell being a part of the cast). The film is being positioned as a new generation take on the Scream franchise, but fans of the original trilogy will be happy as many cast members are returning (at least those still alive) and Wes Craven is directing. It should be a lot of fun for genre fans.

Upcoming:

In 2012, Culkin co-stars in Hick with a great cast: Chloe Grace Moretz (another star to watch), Blake Lively, Juliette Lewis, Alec Baldwin, and Eddie Redmayne. Reuniting with his Lymelife director Derick Martini, the film is about a Nebraska teen (played by Moretz) who decides to set out to Las Vegas. Once there, she releases that the city is more than just bright lights but dangerously uncharted for a young girl. Scream 4 being his first big Hollywood film since Signs, its success could see Culkin land more mainstream fare going forward.

Career Highlights:

1.)    Igby Goes Down (2002) – supporting* [DVD/Rent]

2.)    Signs (2002) – supporting [Blu-ray/DVD/Rent]

3.)    Mean Creek (2004) – lead* [DVD/Rent]

4.)    The Chumscrubber (2005) – supporting [DVD/Rent]

5.)    Lymelife (2008) – lead [Blu-ray/DVD/Rent]

6.)    Twelve (2010) – supporting [Blu-ray/DVD/Rent]

*Editor’s picks

Greta Gerwig

What She’s Been In:

Gerwig, 27, wanted to be a playwright as she studied English and philosophy at Barnard College, but got into acting too when she took a minor role in Joe Swanberg’s LOL in 2006 while still in school. She also starred in his next two films Hannah Takes the Stairs and Nights and Weekends (both of which she co-wrote). Starring with Mark Dunlap in Hannah Takes the Stairs, she got a role in his next directed film with his brother Jay – Baghead. While still a very indy film, it did get some notoriety for the directing brothers and Gerwig. She also got a supporting role in the well-received indy horror film The House of the Devil. Early this year, she starred as Natalie Portman’s best friend in the romantic comedy No Strings Attached (her first Hollywood movie). While the film is entertaining but not great, there is a lot of funny material and moments highlighted by Gerwig’s performance, which is wonderful (she steals the film with not much screen time).

Breakthrough:

Gerwig’s more mainstream (but not totally) breakthrough came last year in Noah Baumbauch’s Greenberg, co-starring Ben Stiller. The film is about a New Yorker who moves to Los Angeles to figure out his life. He housesits for his brother and falls for his brother’s assistant (played by Gerwig). The film has fantastic performances from Stiller and Gerwig, and will probably best be remembered for launching her career into bigger roles (film critic A.O. Scott said she “may well be the definitive screen actress of her generation” based on her performance in the film) – and just like that, a star was born (at least for those that watch more indyish fare).

April Film:

In April Gerwig co-stars with Russell Brand in Arthur, a remake of the 1981 Dudley Moore film, about a man-child who stands to lose his very wealth inheritance when he falls for a woman his mother does not like. She suggests a more suitable arrangement. Thus, Arthur must decide if he wants to give up his life of luxury to take a chance on love. Gerwig plays his love interest, while Helen Mirren, Jennifer Garner, Nick Nolte, and Luis Guzman feature in supporting roles. The film looks like it could be potentially funny and entertaining (but probably not good), and at the least worth renting for Gerwig’s performance.

Upcoming:

Hopefully coming soon to DVD, Gerwig has Northern Comfort, about two strangers that cross paths on their way to Canada. She stars and co-wrote this indy film. Later this year, she stars in Damsels in Distress (taking a break from Hollywood comedies) by writer-director Whit Stillman (who is known for his very good film Metropolitan), about three girls who take it upon themselves to revolutionize life at a grungy East Coast university. The film co-stars Megalyn Echikunwoke and Carrie MacLemore, featuring supporting work from Analeigh Tipton, Adam Brody, Alia Shawkat, and Aubrey Plaza (from Parks and Recreation). While Gerwig has a good place for herself in indy films currently, I hope she finds a few good big projects in the future.

Career Highlights:

1.)    Baghead (2008) – lead [DVD/Rent]

2.)    The House of the Devil (2009) – supporting [Blu-ray/DVD/Rent]

3.)    Greenberg (2010) – supporting [Blu-ray/DVD/Rent]

4.)    No Strings Attached (2011) – supporting [Blu-ray/DVD/Rent]

*Editor’s picks

No Strings Attached (2011) – Review

No Strings Attached is really funny, yet disconnected and sort of a depressing assessment of modern relationships. Ultimately, it is an entertaining and enjoyable film – thanks primarily to the witty joke writing and comical (if not zany) performances from many of the cast members. Director Ivan Reitman seems, however, to want to tell a number of different stories with the same narrative. There is a lot stuffed into the film (much like life, I guess), but the format of a sub two-hour romantic comedy does not lend itself well to tackle all the narrative issues convincingly in the allotted time (had this been stretched to a season of television, it may well have worked a lot better and felt more complete, not to mention that the narrative idea felt a bit like a television sit-com pilot). As is, it is disjointed and superficially satisfying. Sure, the audience laughs (a lot) but the deeper emotions are not there. Not due to poor performances, but more so to the out-there, exaggerated nature of the comedy and hollow characters. The most difficult relationship to feel anything for was Adam’s with his father. The father character is not real, or at least does not feel that way at all. He oozes with forced humor intentions, while being completely awful to his son – resulting in a character and scenes that are neither funny nor illicit emotional connection/development. When, he does find his heart and reconnects with his son, no one cares because the relationship was meaningless to the audience from the beginning. Reitman also does something quite interesting (whether on purpose or not) in his juxtaposing the silly humor against the sad state that modern relationships are in. The ‘real’ love examples the audience are given play out mostly off screen, while the highly problematic relationships are forced upon the audience (one of them being Adam and Emma’s – while they do like each other on some level, it does not feel like they will make it, the ending having a slight awkward The Graduate feeling to it, though not nearly as poignant). Whether or not relationships in the film (primarily the one of the main characters) accurately mirror the current state of dating or not is secondary to their comparison to those of romantic comedies past (a genre that in recent years has faltered for the most part). Watching this film leaves an overall feeling of sadness while romantic comedies generally leave the audience feeling good. And so, while it is an interesting approach for Reitman and writer Elizabeth Meriwther to take (plus, in a world of remakes trying original concepts is greatly welcomed); it seems to ultimately leave the film feeling disconnected. The narrative is depressing for the most part, and yet the audience is told to laugh (and does so) throughout creating the disconnection from the deeper emotional turmoil the film is addressing. Thus, the narrative does not succeed (however, for those reading deeper into the film, Reitman does create a clashing of emotions akin to taking uppers and downers). The other issue is with the character of Adam. He really has no character. He is in a sense the ultimate straight-man allowing all those around him to be crazy. But, this is really his film and thus his character needed more. The audience only relates to him through projection of their own experiences and feelings. No Strings Attached is difficult to completely peg – it is very funny at times (though certainly geared towards a younger audience) and in being so entertaining and likable, but for those wanting more, like a complete narrative with real characters, it falls short.

Technical and acting achievements: Ivan Reitman has had a tough go of it in the last decade or so, directing mostly terrible films. Thus, it is good to see that the director who made many of my favorite childhood comedies (Ghost Busters being one of my top five favorites of all-time) actually make an entertaining film again. John Debney’s score and Rogier Stoffers’s cinematography were adequate for the type of film that this was (nothing special, but really not needing to be). However, Ida Random’s production design and sets/locations were aesthetically interesting. The cast is what really elevated this film (which is true really with any romantic comedy). Lake Bell, Chris Bridges, Olivia Thirlby, and Mindy Kaling provide good supporting work and some very funny moments. However, very good actors Cary Elwes and Kevin Kline were underused (and seemingly pointless to have an actor of his caliber in the role) and just not good respectively. Greta Gerwig and Jake M. Johnson were fantastic in their supporting roles. Both had some of the best and funniest moments; Gerwig stealing most of the scenes she was in. Ashton Kutcher plays the straight-man almost to the extent of being interchangeable with any other good looking late 20s early 30s male (though it is not completely his fault, his character was written hollowly without much emotional connection to the audience). Natalie Portman is good in the film (serving also as an executive producer), both powerful in the dramatic scenes while having great timing in the comedic ones.

No Strings Attached is probably the most entertaining and funny film to have a narrative that does not really work at all. 6/10