Lee Daniels' The Butler

Let the Oscar buzz begin. Just four years after directing the award-winning Precious, Lee Daniels has catapulted his name in front of a film that has far greater names attached. The Butler is one of those films that finds the heart of the audience and grabs hold. It's a story ripe for emotion with its racial sensitivity and historical perspective spanning from the 1920's to the present. Like so many films today, it is inspired by a true story, and without much warning, it has hit the big screen as the first Oscar horse out of the gate. We all know that the first horse usually falls behind by the end of the race, but I am just filled with metaphors tonight, so horse racing it is. The Butler is a thoroughbred. With a cast chock full of past winners and nominees, it is so well executed that it is much more Forrest Gump, and less Tyler Perry than you might expect.

The Butler follows a young African-American from Georgia as he grows up in the 1920's in the heart of racist America. He learns to be a good, respectful domestic helper, and finds himself serving Presidents in the White House before long. He continues to serve under the Eisenhower, Kennedy, Johnson, Nixon, Ford, Carter, and Reagan administrations and finds that he is more influential on the powerful men in control of the politics of the nation than he ever thought he could be.

It's a bit of an underdog tale, but really it's more of glimpse at how unsuspecting patience and genuine kindness can truly cause social change. Lee Daniels does a tremendous job maintaining the authenticity while keeping the entertainment value high. It's a truly difficult balance when films about racial injustice typically are disheartening and somber, but like this year's 42, the protagonist is strong and the outcome makes you really want to cheer and cry at the same time.

Forest Whitaker is outstanding as the quiet, submissive Cecil Gaines. He says all the right things to get himself a job working as a butler, and none of it seems contrived or with any ulterior motive. He is an affable guy with a strong set of values and wants to work hard to make a living and raise a family away from trouble. It's a heartbreaking portrayal to see a character with a perception of the Old South (not even really that old) parlay to the way he lives in a more progressive city like Washington, DC. Over the decades, he rarely wavers from his ideology, and even with changes in Civil Rights, he maintains his position with his family and his friends. He knows that speaking up, or acting out is just asking for trouble, because he saw it on the Georgia plantation where he was raised. But, as time marches on, his perspective of America begins to change, and the transformation is nothing short of beautiful.

Oprah Winfrey makes a rare film appearance for the first time in 15 years, and it is a tremendous performance. Playing Cecil's wife, Gloria, she follows her husband through thick and thin and raises her two children best she knows how. The depth of her devotion while knowing that her husband is following the tune of a time gone by is captured through her eyes, and although her actions in the beginning lead you to dislike her, thinking she doesn't deserve Cecil, she redeems herself possibly more than any other character in an explosive dinner conversation.

Cuba Gooding Jr., Terrence Howard, and Lenny Kravitz play the friends and co-workers that Cecil makes along the way, and they bring what little levity and comic relief that there is, but more importantly, they show the camaraderie that develops within the community. Men facing the same injustices as each other, but living the same lives as white folks. Working, raising families, having parties with friends on weekends, etc. It shows that sense of normalcy within a racially divided country.

Robin Williams, Alan Rickman, Liev Schrieber, James Marsden, and John Cusack play Presidents, each with his own take on the role (and in some cases pretty heavy makeup). With the exception of Cusack, they are believable, but it might have been nice to have lesser known actors play the Commander-in-Chiefs. I'm not exactly sure what the intention was in casting them, all I can think is that it lends a sense of familiarity and trust with the audience. Whatever it was, by the Kennedy administration, I was excited to see who the other Presidents were going to be played by.

Mariah Carey, Alex Pettyfer, Vanessa Redgrave, Jane Fonda, and Minka Kelly also make brief appearances, which leads me to believe that Lee Daniels has much more clout in Hollywood than people (I) think. The cast as a whole is a who's who of actors. This may be the strongest ensemble of the year to this point. Watch out for Daniels over the next few years, he's going to make more films that will get plenty of attention from actors and actresses. After directing Precious in 2009, he is definitely a rising star, even if he's in his 50's.

David Oyelowo is the one actor that I thought deserves special mention. Among a cast of stars, he shines the brightest as Louis Gaines, the eldest son of Cecil. Last seen in Jack Reacher and Lincoln, Oyelowo will be in Chris Nolan's upcoming box office grenade Interstellar. If you don't recognize him now, you will next year. He is the emotional focus of the film. The angst and sense of unfairness that is boiling under the surface. Forest Whitaker's Cecil is the protagonist, but he rarely outwardly loses his cool. His son Louis however, shares the Forrest Gump of the story. Cecil meets the Presidents, but Louis sees injustice and gets involved with the Freedom Riders, the Woolworth sit-ins, Martin Luther King, Jr., the Black Panthers and Malcolm X, and eventually wins back the affection of his father.

Danny Strong wrote an incredible screenplay based on an article by Wil Haygood. I had the privilege of meeting the man at a hotel in California a few years back, and he was working on a script at the time. I gave him some advice and was on my way. I like to think that meeting me was the stroke of luck and inspiration that he needed to catapult himself to massive screenwriting success. The project he was working on was called Game Change, which won him two Emmys. The Butler may add to his collection of gold, but if not, he has the two Mockingjay films in the pipeline, and will work with Ron Howard and Tom Hanks on The Lost Symbol after that. Impressive, and it's all because of me.

The Butler is an amazing lesson in American history, and Lee Daniels and Danny Strong don't lay it on too thick. They highlight major events that are glamorous and memorable for good or bad, but they also do so in a way that is endearing and relatable. I teach American History to middle school kids, and I'm going to find a way to use this film to show a 2 hour look at how critical the Civil Rights Movement really was during the 1960's. I think a lot of other films gloss over the humanity and focus on the violence or the injustice, but The Butler blends the two nicely. It is a remarkable story of one man's journey through life, and I for one am glad it had a happy ending. 9/10.

Elysium

Neill Blomkampt's visionary follow-up to 2009's District 9 offers a hyperbolic look at the social injustices associated with the class system. It's an interesting shift from the xenophobic Apartheid theme of D9. Set in the future, it's a look at how devastating the population overload might become and the way that the affluent might separate themselves from the impoverished.

The film begins quickly with the rundown of the setting. It would be nice if there was a bit more explanation through action, but the year is 2154, and the rich live on the space station Elysium. It's a massive artificial utopia, and everyone who lives there is happy, healthy, and wealthy. The billions living on Earth are destitute and dirty, which is where the majority of the action takes place. Enter Max. Played by Matt Damon, he's a recovering criminal on parole, trying to live a straight life working in a factory putting together drones who patrol Earth and keep order. There is an ominous tone from the start. A sense of hopelessness that can only be attributed to the class divide.

Max finds himself in a precarious position where he needs to get to Elysium quickly, and he is in a position to help out an old friend. He is given an exoskeleton suit in a gritty and cringe-worthy surgical scene, and he starts his journey. The Secretary of Defense for Elysium, played by Jodie Foster, uses the black ops at her disposal to keep the people safe from the dirty Earthlings, who try to immigrate illegally, much like Cuban refugees trying to get to Miami (not the best analogy, but whatever). Sharlto Copley, who has been a Blomkampt favorite since D9, is frightening as the psychopath, Kruger, who is tasked with tracking and killing Max. The film climaxes with the big showdown, and as a viewer, we are left in an unsettling place philosophically. It's emotionally evocative as intended, but in the end the execution is a bit weak.

When I say the execution is weak, I don't mean the visual effects, or the fantastic imagination of Blomkampt (from here out, I'll just call him Neill). I mean that the way that the story unfolded was a bit unexpected. The violence and graphic nature of Neill's storytelling is definitely his calling card, and Elysium is simply much more graphic than most moviegoers might enjoy. The intention is commendable; Neill wants to show the realism and plight of the people of Earth, and just how indiscriminate those in power can be when their economic advantage is being threatened.

Damon is a great actor, and this is a departure from his usual types of role. It's a bold choice, and one that must have been really fun for him to film. He's a really strong action star, and was a great choice as the everyman Max. He's broadening his horizons in the upcoming Terry Gilliam flick, The Zero Theorum, and will be in the Oscar caliber Monuments Men with George Clooney.

Neill is working on his next project, a Sci-Fi comedy called Chappie starring... you guessed it, Sharlto Copley. I haven't heard anything about it, but expect a strong story with a political motivation. He's a brilliant young filmmaker and will likely continue to toe the line with intriguing and controversial science fiction.

I was expecting a bit more from Elysium. It had such a strong idea, and is as original a Sci-Fi film as I've seen since Moon (Duncan Jones, 2009). The problem was that the violence near the end of the film wasn't commensurate with the vibe from the start. Damon's Max finds himself caught up in a more important fight than he could have predicted, but he's supposed to be the anti-hero, and he becomes larger than life, and virtually indestructible. I would have liked to have seen a little more humanity from him. Additionally, the film climaxed and ended pretty abruptly. There are so many untended questions that could have been addressed, but I suppose the pondering is what Neill intended.

I don't know why I thought Elysium would be so much more than what it was. Maybe it was the magic of District 9, or the idea of a fresh film in the genre when so much is stale, remakes, or sequels. Whatever the case may be, I just wasn't impressed as much as I had hoped. It's an interesting film, but not as interesting as it should be. 6/10.

We're the Millers

We're the Millers follows an affable small-time drug dealer named David (Jason Sudeikis) who doesn't really fit the typical profile. He's in his mid-30's, is well-spoken with quick wit and humor, and is realizing how sad his life has become. He's likable and handsome, and clever and successful in his approach to dealing marijuana. He does live by a credo though, which makes him that much more respectable; don't sell to kids. Through an unfortunate encounter, he is coerced into doing an international smuggling job for his ridiculous dealer (Ed Helms) when he owes him $40,000, so he reluctantly agrees and makes his plan. Enter Rose (Jennifer Aniston), Casey (Emma Roberts), and the hilarious Kenny (Will Poulter). They are recruited to play his wife and two kids, although their real identities are much more interesting. Aniston is a jaded, aging stripper, Roberts is a hardened street teen, and Poulter is a naive virgin who is really just a nice guy. Together, they make their trek to Mexico as The Millers.

Their journey is not without its obstacles. David isn't accustomed to playing house, and when you're taking a giant RV filled with 4000 pounds of pot from Mexico with strangers, things are likely to get a bit crazy. They piss off the drug cartel, have problems with the border patrol, meet a gangsta wannabe named Scotty P; you know what I'm sayin? and finally, link up with a good, Christian couple and their daughter on a road trip played perfectly by Nick Offerman and Kathryn Hahn. The best moments are the interactions with the Fitzgeralds and the best lines are given by Hahn. In the end, the Millers develop an unlikely respect and bond for each other, but the real fun is the burgeoning relationship from the start.

Unfortunately, many of the best lines are spoiled in the previews. You know the entire story before you sit down in the theatre, but there is still plenty to love. Sudeikis has a comedic confidence that is so refreshing. You can tell that a lot of the lines are improvised (see the outtakes at the end) and he's building a body of work like Will Ferrell more and more with each film/show he stars in. His selection of work for TV is amazing, having been in Children's Hospital, It's Always Sunny in Philadelphia, 30 Rock, Portlandia, and of course SNL. His star is on the rise, and with more films like Horrible Bosses, or Millers, he'll be around for a long time.

Jennifer Aniston is in full "look how hot I am at 45, Brad Pitt" mode, and dances and jiggles like a real stripper (or how I imagine a stripper would dance and jiggle...) She is pretty funny and is shirking her wholesome image with every raunchy comedy that she makes, but she's doing it nicely and shamelessly. I've never been a big fan of her work, but she plays Rose with swagger, and you can tell she loves showing her body off, a la Demi Moore in Striptease, but without the actual nudity (or paycheck). Ken Marino makes a quick appearance as the strip club manager, and he fits that role perfectly, you can tell that he's enjoying himself. The nickname of one of the other strippers is comedy gold, and little details like that are what make this film fun.

The real heart of the movie comes from the teenage kids. Julia Roberts' niece is making a name for herself in her own right, and has some lines that make you double take that she actually said it. It's my kind of humor, and it's fun to see her take on roles that aren't too Disney, or too wholesome. My favorite part of the movie however, is Will Poulter as the clueless Kenny with a heart of gold. The Brit will break out with this role, but is going to gain a whole new audience in next year's young adult adaptation of Maze Runner (think a poor man's Hunger Games). The only way I can describe his character is as a grade A doofus. I mean that endearingly.

Ed Helms is a bit wasted, and overacts in what could have been a scene-stealing role. Ripe for lines and a charismatic persona, he just comes off as an unlikely kingpin who doesn't really own his importance.

Written by a couple of teams that were behind Wedding Crashers and Hot Tub Time Machine (and others), We're the Millers is a pretty original, sharp, and satisfying comedy. Director Rawson Marshall Thurber has been puttering around Hollywood since his 2004 home run Dodgeball: A True Underdog's Story, which he wrote and directed, but he's back on track now.

Ultimately, We're the Millers is a well-executed comedy. Since my only real complaint is that the previews spoil a lot of the comedy, there isn't really anything to complain about at all. Great cast, great story, great dialogue. Better than any of the other mainstream summer comedies. 8/10.

2 Guns

Duplicity, shootouts, and male bonding. It's not Lethal Weapon 5, but it's pretty close. Mark Wahlberg and Denzel Washington buddy up for this far-fetched tale of two federal agents who are tricked into robbing a bank together, only to find that they stole too much money... and from the wrong person. The traditional paradigm of buddy flicks runs rampant throughout this one with Wahlberg as the Riggs (Mel Gibson); a bit of a wild card who gives out one liners and is just way too cool even when he's facing the barrel of a gun. Denzel isn't quite Murtaugh (Danny Glover), but he is the more serious of the two and less of a shoot from the hip type. It doesn't end there. The two of them are forced into collusion, and although they hate each other once they discover the truth, they grow to become the best of friends. Pretty standard, but also pretty fun. It's based on a graphic novel of the same name by Steven Grant, and a sequel is already in the works. It's made roughly half of its $60 million budget in the first week, and hasn't been released overseas yet. This is the kind of non-superhero movie that should do well internationally, so it has big return potential.

The film follows two men who have no idea that one is an undercover DEA agent and the other is an undercover Navy SEAL. They are both trying to bring down a Mexican drug lord and are both willing to throw each other under the bus to do so. Once they discover each other's identity, it's too late. They are already in over their heads, ostracized by their own people, and being hunted by both the Mexicans and the CIA. Their only hope is to work together to bring down corruption and save their own lives. There's a lot of gunplay, great one-liners, Bill Paxton as we haven't seen him before, and a topless Paula Patton. What's not to like?

We haven't seen Denzel loosen up in quite some time. It's nice to see him crack jokes and have a little fun with his role. No bad-ass crook, cop, or alcoholic pilot here; just an actor having a good time. Wahlberg has a great natural sense of humor that is starting to shine more and more. His work in The Other Guys and Ted were truly funny, and he's showing that he's more than just a CK model who thinks he can rap. In my mind, he's shedding the 1990's image and becoming one of the better actors around for action or comedy. Don't put him in the Oscar category yet (although his role in The Departed was incredible), but he could get there. Next year he's playing the titular role in Lone Survivor, and will take over where Shia LeBeouf left off in Transformers 4. It's good to see him having some fun.

The supporting cast is mostly irrelevant as the focal point is on the 2 guns. The two that stand out however, are Bill Paxton and Edward James Olmos, who play the bad guys. I've been a fan of Paxton for a long time, but he's never been quite so cold and ruthless. It's fun to see this side of him, even if it's a bit out of character. Olmos is a bit harder to take seriously. I'm in the middle of Dexter season 4, and it's hard to not see him as a joke of a serial killer. He's just too nice of a guy to believe that he's a kingpin. Personal feelings aside, they each bring some added flair and tension to the mix, and are just enough levity and entertainment to make it work. Patton is eye candy as the hottest bitch in the room (little Robin Thicke reference - he's her husband) and James Marsden shows off some muscle in a wasted role. The rest of the cast is just there to shoot and get shot at, and that's totally fine.

Baltasar Kormakur is an Icelandic director best known for the Wahlberg bust Contraband, but also has some foreign work on his resume. Lucky break for such an industry outsider to nab a graphic novel action flick with two Hollywood A-listers. His next film should be epic as well, pitting Josh Brolin, Jake Gyllenhaal, and Jason Clarke against the elements in Everest.

2 Guns isn't without its plot holes, but its OK. Believability isn't at the crux of the film; two A-list action stars is. At just under 2 hours, we get to know the two and are given the action that we are craving. With a couple of rudimentary twists and an open ending, there is definitely room for a sequel. The chemistry between Washington and Wahlberg is pretty good, as they have such different personalities, and they are exaggerated to create that contrast. They shine when together as there is natural banter and I would pay to see them again. 7.5/10.

The To Do List

The crude humor indie comedy of the summer has hit, and with it, deadpan specialist Aubrey Plaza. A terrific cast in the vein of Superbad, but a more chick-centric approach to the debauchery that high school age kids experiment with, The To Do List is surprisingly fun.

The year is 1993. Not so long ago that it seems different, but writer and director Maggie Carey hits the cultural trends on the head. Trapper Keepers, Grunge, VCR's, Parker Lewis Can't Lose button up shirts (that's right, I went there), Skorts, etc. They are all ideas typically associated with the era that is unarguably a time of bad fashion and waiting for the next big thing.

Aubrey Plaza is Brandy Klark, a goody-two-shoes that is too successful for her own good. Creator of every academic club, published, accomplished, she is finishing high school and getting ready to head off to college to a world of maturity and seriousness. The only problem is that she hasn't had any of the fun experimentation that goes with being an irresponsible teenager, and she's worried that college will be overwhelming. Enter the To Do List. Ever the organized young woman, she creates a sexual bucket list of all of the raunchy things that she can come up with. She's inspired by her unexplainable newfound cravings for the college-aged Rusty Waters, played by Scott Porter. Her two best friends, Fiona and Wendy, played by Alia Shawkat and Sarah Steele are the perfect complements to her rigid and rule-abiding uptight debutante. They push her and prod her to loosen up, without being overly aggressive. The three of them are young, inexperienced, and talk like the girls from Fast Times at Ridgemont High.

Brandy's friends help her along her journey, navigating obstacles like her conservative, yet very realistic parents (Connie Britton and Clark Gregg), her slutty older sister and her constant put downs (Rachel Bilson), and the high school boy who has loved her forever but has never had the guts to say so (Johnny Simmons). Bill Hader and Andy Samberg add comedic depth to the ensemble, and the overall tone is light and airy. Complete with an embarrassing song number at the end (Bridesmaids, This is the End, yada yada yada) The To Do List is a well-rounded, fresh, red band comedy that brings you back to the early 90's, but without the awkward realism.

To keep herself occupied during her summer, Brandy gets a job as a lifeguard at the local public pool, and that is where the film anchors. She works with both her crush and crushee (not sure how to say that) and her friends visit her often as she slowly realizes that it's OK to just have fun sometimes.

Aubrey Plaza, who is so good as Parks and Recreation's April, delivers comic gold. She embraces all of the uncomfortable scenes and sequences with a nonchalant attitude and is virtually fearless as she tackles the taboo. The artful success is that it is borderline crude, but stays just on the right side of offensive. It tiptoes, but doesn't quite cross it, much like Something About Mary. Lots of semen jokes, but tastefully done of course. She's quickly becoming the next Parker Posey; an indie icon. Let's just hope she sticks to picking good roles while the iron's hot.

Connie Britton and Clark Gregg are a great match as the parents who have a little sexual tension themselves. They follow in the long line of strict, high expectant cinematic parents who raise a great kid, but reluctantly let her spread her wings (or legs) and become an adult. Connie Britton just has a way about her that is Southern charm and "hey y'all" smiles all the way. She is just so happy all the time. Her matter-of-fact sex talks evoke the discomfort of her kids, and Clark Gregg seems almost more uncomfortable than the kids, but it's entertaining. Rachel Bilson is the best part of this film though. She typically plays such good-girl parts, it's fun to see her let loose with the insults and 90's verbiage.

Writer/Director Maggie Carey, who has been flying under the radar since 2001, most notably as a part of the Funny or Die vignettes, is climbing the ranks. As a comedy writer, she might be the next Diablo Cody, or Lena Dunham. OK, maybe not either, but she definitely has a future in the writer's room, and will be hanging around Hollywood for awhile. Did I mention she's Bill Hader's wife? That doesn't hurt either, to be in that circle.

The To Do List isn't anything new or even great, but it is fun. Raunchy teen comedy fun. The biggest difference being that it's from the female perspective in an otherwise male dominated genre. If you're a child of the 90's, as I was, you'll enjoy the references and subtleties. 8/10.