The Art Of The Jewel Robbery

“All right, here we go. Don’t sleep. Don’t sleep, because you might disappear.” ~ Constance

“Taylor Swift? Can’t we just go to this? Do we have to steal stuff?” ~ Amita

“This is Mommy’s very special work trip.” ~ Tammy

“People who steal, man, they’re just not trustworthy.” ~ Lou

“In three and a half weeks, the Met will be hosting its annual ball, and we are going to rob it.” ~ Debbie

It’s been a few years since the Ocean’s trilogy from director Steven Soderbergh, and now a follow up has hit theatres. The original gang led by George Clooney’s suave Danny Ocean aren’t involved this time out (though there are cameo appearances by a couple of them). Gary Ross has replaced Soderbergh at the helm for Ocean’s Eight, but the concept follows through on the franchise- a group of likable anti-hero crooks aim to pull an audacious heist. This time the gang are all made up of women, and the cast clearly is having a whole lot of fun in what turns out to be a playful addition to the caper genre of film.

We meet Debbie Ocean (Sandra Bullock), the estranged sister of Danny Ocean, who’s spent over five years in prison before making parole. Reunited with one of her old partners in crime, Lou (Cate Blanchett), she has a heist in mind. And she has a score to settle with Claude Becker (Richard Armitage), her ex who happened to be the reason she ended up in prison. Debbie and Lou recruit a group of women to carry out a daring heist of an insanely pricy necklace during the Met Gala, one being worn by actress Daphne Kluger (Anne Hathaway). Like brother like sister it seems for Debbie Ocean, and of course there are going to be complications along the way.

Soderbergh said after his trilogy was done that there would not be an Ocean’s Fourteen, particularly following the death of Bernie Mac, part of the crew of thieves in the trilogy. The idea of a follow up with a cast of women was floated about, however, gaining steam some years ago with a script in development from Gary Ross and Olivia Milch. Their story fits the tone of the earlier films- a breezy, fun energy, a group of likable crooks with different personalities and idiosyncrasies, a preposterous plan for a heist, a target who deserved getting robbed, and the carrying out of the crime.

As before, the film paces itself well, in a charming and stylish way, with a wealth of cameos (this being a fashion gala, some of those cameos are more welcome than others), but all in all, the tone of the story has the same smooth, funny energy of the earlier films. Ocean’s Eight isn’t quite at the level of Ocean’s Eleven, but it does well on its own merits. It doesn’t make the mistakes of the Ghostbusters reboot- first, this doesn’t feel like a supplanting of the original film, which outraged the socially demented fanboys, and second, the cast doesn’t include Melissa McCarthy, which was my objection to that reboot. Nor does the story seek to replace the earlier cast, but to take things on its own terms. It helps that these women aren’t portrayed as bickering with each other, at least not seriously, something you wouldn’t see in other films, and the story adds in twists and turns along the way that are refreshing and fun.

Ross as a director is a good choice for the film. He’s written or directed (or both) in a diverse set of films- Seabiscuit, Pleasantville, Dave, The Hunger Games, Big, Mr. Baseball. That’s an impressive resume, and his previous work shows he understands the emphasis of strong characterization and working with actors, as opposed to being the sort of director (Michael Bay, I’m looking at you) who relies on pyrotechnics and quick cut edits. That reflects itself in how he paces the film, and how it’s shot. The emphasis is on the characters, and everything else is in support of that. Yes, making use of the Met Gala, what to most normal people is an insanely over the top self-congratulatory bit of nonsense from the fashion industry, might in other hands overwhelm the story, but that doesn’t happen with the way Ross handles his direction. He gives us the sleight of hand we expect out of the genre, keeps track of the heist as it’s planned and as it unfolds, but always keeps us with the characters instead of lost in the crowd.

Casting was well done all around. Richard Armitage, who spent three films as Thorin Oakenshield in The Hobbit, plays a considerably less likable type here as Claude Becker, an art dealer. He was involved with Debbie before her time in prison, but screwed her over and got her sent away for fraud while he cheerfully walked. And so it’s understandable that Debbie might like a bit of payback against him. Armitage gives the character the requisite bit of charm that glosses over the sleazy, disreputable truth of who he is, ending up as the film’s highly unsympathetic antagonist. Late night host and occasional actor James Corden has a fun role as Frazier, an insurance fraud investigator who has his own suspicions about the group of women.

Rihanna as a musician isn’t to my taste, and the last time I saw her acting was in the cinematic catastrophe Battleship, in which she seemed completely out of place (but to be fair, nobody came out of that film looking well). She gets a different part, and one that suits her better, as Nine Ball (not her real name), a computer hacker and tech genius (because a heist film requires one of them). She fits the role well, giving the character a snarky, wiseass energy. Another musician taking time out to act in this one is the rapper Awkwafina (definitely a stage name), who gets her share of the film’s humour as Constance, a street hustler and thief who’s good with the sleight of hand trick. Her character has more of that snarky quality, along with a streetwise sensibility and a hunger for more. I liked what she did with the performance.

Mindy Kaling, who’s done a lot of television work in particular, is new to me with this film, but I’ve been familiar with her name. She gives the role of Amita a fun, exasperated take. The character is a jewelry maker who lives with her overbearing mother (a character in and of herself). The idea of making enough money on a heist and getting away from her mother holds a certain appeal, and the actress makes her likable and someone we can sympathize with. Sarah Paulson is one of those actresses you’ve seen in many television and film projects, both comedy and drama, most recently a supporting role in The Post. She might seem initially serious- and many of her roles have required her to be- but here she gets a character who’s a sly sort with a twinkle in her eye, particularly as she gets deeper into the heist. She plays Tammy, a suburban mother who has worked with Debbie before on crimes, and is still something of a crook even in suburbia. Her Tammy, seemingly peaceful (but bored out of her mind) with suburban life, comes to life with the idea of going after a heist, and the actress seems to be having a blast playing the part, which comes across through the film.

For whatever reason, Anne Hathaway has been the subject of a lot of online hostility (I don’t get it, but that’s me). Whatever is said about her personality in general, she seems to be taking that and putting it into her character with a lot of self-referencing and poking fun at her reputation. Daphne is the target of the heist- or to be more exact the necklace she’s to wear at the gala is the target, seemingly a self absorbed actress who craves attention, but there’s more to what makes her, and Hathaway ends up gleefully stealing scenes and comes across as enjoying herself.

Helena Bonham Carter is always a joy to watch in a film, with such a rich variety of roles throughout her career. Often they’re eccentric; some are unsympathetic, while others evoke empathy. Here it’s the latter, as she plays Rose, a somewhat nervous, withdrawn, and worrying fashion designer who is part of the heist. She’s far more human than the fashion icons we seen in various cameos during the film (a very good thing), and a bit hesitant to step into a life of crime, but vital to the plan. She really comes into her own, though, as a member of the team, shifting from worrisome to boldness (with a hint of worry), and it’s a treat to watch the actress bring out different nuances to the character.

Cate Blanchett is another actress who’s always compelling to watch, and she’s clearly having fun as Lou, Debbie’s partner in crime from before prison and the first person recruited into the heist. Lou has worked with Debbie before, and they’ve got complicated history with each other. They’ve also got trust and know that they can rely on each other. Her take on the character is a smooth, calm in the face of obstacles, and level headed sort- with the right touch of sarcasm and wit. You can’t help but like the character, even if you’re compelled to check your pocket for your wallet anytime she’s around.

Sandra Bullock has the right touch in the lead role as Debbie Ocean. She brings some of the same steady, affable charm that Clooney invested in Danny Ocean, and some of the same amused disregard for the rules. The actress has an innate likability, and so when we learn the circumstances of how she ended up in prison, we’re both rooting for her and wanting to see the comeuppance of the man who put her in that situation. Bullock also plays her role as the sort of person who other crooks will follow into a high stakes plan, and the right touches of humanity throughout her performance. And she happens to have great chemistry with Cate Blanchett, which plays out through the film. It helps that she seems to be having fun the whole time.

Ocean’s Eight turns out to be a worthy successor to what’s come before, a breezy and fun caper film with a fine ensemble of likable crooks among the characters, and a thoroughly unredeemable jerk in the mix. The actresses come across as though they were thoroughly enjoying themselves during production, and it shows. Director Gary Ross paces the story well, giving it an energetic, light tone in all the right places, and the final result is a treat to watch.

Coffee Laden Death Threats And Mistakes

I have an image blog today. Enjoy!

Do You Hear The People Caterwaul?

Mark Twain once remarked that nothing could make an opera more perfect than to leave out the vocal part. I would generally extend that to musicals; I've always thought they'd be much more tolerable if it wasn't for all that singing. And so it was that I skipped seeing Les Miserables, the musical adaptation of the Victor Hugo novel, when it was in theatres at Christmas. I know the novel well, having had first read it in my high school days. The story remains a classic; at its core are these two men, a convict who finds redemption in an act of mercy and the obsessed lawman who spends years searching for him, all amid the unrest, upheaval, and rebellions of France in the early decades of the 19th century. It has of course been adapted for film several times before; the most recent before last year had been the Liam Neeson and Geoffrey Rush version (if you haven't seen it, check it out). The musical, meanwhile, got adapted to great success for the stage, and ultimately by director Tom Hooper (The King's Speech) for the big screen, starring Hugh Jackman, Russell Crowe, Anne Hathaway, and Amanda Seyfried.

The other night, there it was, on the express shelf in the library. So, I figured, what the hell?

Well then, having had seen it now... obviously I'm still firmly of the musicals are like fingernails on a blackboard mentality. Though I will freely admit that the reprise of Do You Hear The People Sing at the end with Valjean and the spirits of the dead on the barricades (oops, did I spoil it for you?) is pretty stirring. This would have worked better for me with the actors adapting the book in a non-musical way. We can't always get what we want though. Anyway, that aside, Hooper does give us a France of two centuries ago in vivid detail, the grubbiness of the streets and the condition of the poor all too obvious (and for some reason, everyone's singing). There's a rich attention to everything, from sets to costume design to put us in that place. And most of the casting is pretty good. Hugh Jackman makes for a good Jean Valjean, a man spending the prime of his life in prison for the minor crime of stealing a loaf of bread, and spending years afterwards seeking redemption in a quiet life and the foster daughter who comes into his world. Crowe embodies Inspector Javert well, carrying an authoritarian air, a man who sees the world in strict black and white. He finds himself at a crossroads, struggling with the notion that a convict can become a better person, a fact that defies everything he has ever held dear. As to the quality of their singing, I'll leave that for fans of musicals to comment. I would have just preferred everyone stop singing.

Anne Hathaway sympathetically plays the tragic Fantine, doomed to an early death (death is a big thing in this whole film, in case it's not already apparent). She's had it tough in life, and yet finds energy to sing. And sing. And sing some more. And just when we think she's done, she's singing a little bit more. Amanda Seyfried plays her adult daughter Cosette, raised by Valjean. She's the ingenue role of the story, of course, falling in love in an instant... but stuck with someone who, well... we'll get to that when we get to the bad parts of the film. Samantha Barks plays Eponine, who features into later parts of the film during rebellions in the streets of Paris. She's got her heart set on a fellow who seems completely oblivious to her- and she deserves better. Yes, you guessed it, she buys the farm too ( they could have just named the film Everyone Dies). Still, she plays the role knowing her character deserves better than this. While singing. Did I mention the singing?

This brings us to the bad. Marius is a key figure in the novel, and he's been played well before. In the Neeson & Rush film from 1998, Hans Matheson played the character with conviction, and we got the connection between he and Cosette in that film. In this, however, we are stuck with one Eddie Raymayne, who is singlehandedly the worst actor in the ensemble. There's no conviction, no strength, no spark, no intelligence in the role. Not a thing. It's like we're looking at Kristen Stewart's long lost brother, with maybe one or two extra facial expressions. And for some inexplicable reason, both Cosette and Eponine seem to find the nitwit irresistable.

The other bad actor in the cast has a way of tarnishing a very good actress, seeing as how she spends most of her time onscreen with him. Helena Bonham Carter, whose work I consistently enjoy, finds herself cast as Mrs. Thenardier, the innkeeper and something of a thief, with a husband who's just as much of a thief. Unfortunately, however, he who is cast as her husband is the problem, and being in his company doesn't do the usually wonderfully spirited Carter any favours. Sacha Baron Cohen is one of the world's most obnoxious human beings (yes he is, times infinity plus one... this is Russell Brand level obnoxiousness). To say he is an irritating rock troll is an insult to rock trolls, who have better manners and charm. Every second the man appears on the screen, I feel compelled to throw something at him. He's essentially playing his own obnoxious self (I suspect variations on that are all he's capable of, judging by his previous work), and I would have rather liked to see a French soldier come out of nowhere, take him out, and just put the audience out of its misery.

Anyway... I'm not a fan of musicals. Fans of musicals might well have loved this one, particularly if they're long time Les Mis fans. Or they might protest that Hollywood actors don't sound the same as Broadway singers. Those like myself, who find musicals to be cruel and unusual punishment might want to seek out an earlier adaptation. I would have preferred to see Hooper assemble this cast for a straightforward adaptation that didn't involve caterwauling. As long as Cohen and Redmayne were stranded on some deserted island, or in the high Arctic (without wintercoats), somewhere they couldn't annoy us.

And so with that, it seems, as you'll see, that Les Miserables inspired a lot of twisted pics. I'll leave you with a whole pack of them.