An Appreciation of Philip Seymour Hoffman (1967-2014)

"We are not helpless...and we are on a journey that risks the dark." - Philip Seymour Hoffman as Lancaster Dodd in The Master

Yesterday at around 11am, my boyfriend and I had checked out of our hotel room and were starting the two hour drive back home. Our conversation turned to movies as usual and I randomly brought up the 2006 Oscar ceremony and the ridiculousness that was Crash winning Best Picture. After a quick search I found that it was up against Brokeback Mountain, Capote, Good Night and Good Luck and Munich to which my boyfriend replied, "Wow, all those are better than Crash." This then led to me talking about the genius of Philip Seymour Hoffman's performance in Capote as I'll take any opportunity to talk about how much I admire his work. Fast-forward a few hours and we're sitting down for lunch when I receive a single text from my best friend that read "Matt. Check the news." I did just that and immediately lost my appetite while having to fight off an emotional breakdown in the middle of a restaurant.

I'm not going to mince words, Philip Seymour Hoffman is my favorite actor of all time and his performances have left an indeliable impression on me. I've never seen a man on screen in my lifetime that truly gave himself to every role, no matter how small, and made it the most memorable part of any film he was in. I first noticed PSH, like many film buffs of my generation in the Paul Thomas Anderson film Boogie Nights as Scotty J, a gay boom mike operator who devastates himself and the audience by professing his attraction to porn star Dirk Diggler. The aftermath where Scotty is continually cursing himself as "a fucking idiot," has stuck with me for years. 

I next saw him in PT Anderson's Magnolia, which is still one of my all-time favorite films. PSH plays Phil Parma, a hospice nurse in the service of dying media magnate Earl Partridge, played in one of his last screen roles by Jason Robards. Hoffman brought a frankness and honesty to his role that was, like most of performances, very true to life and believable. When Parma is desperately trying to get in touch with Earl's estranged son Frank and constantly being put on hold, the tension is ratcheted up several notches through PSH's performance alone. 

Hoffman has always had strong bit parts in films, ranging from Twister ("Fooooood!") to his role as the Big Lebowski's faithful assistant Brandt ("Her life is in your hands, Dude."). These roles, while they could have been played by anyone, are made more memorable by the simple fact that Philip Seymour Hoffman embodied these characters so well, no matter how little screen time he was afforded. From a terrifying villain in the third Mission Impossible movie to a shady mattress salesman in Punch Drunk Love to an embattled priest in Doubt, PSH always gave performances that were to me at least, a punch in the gut, but a most satisfying and welcome punch.

In 2006, Hoffman won the Oscar for Best Actor for his transformative portrayal of the titular character in Bennett Miller's masterful Capote. The rare biopic that works as a cohesive film and requires no prior knowledge of its subject, Capote features one of the best performances of the last decade. This film is cold in the best sense of the word and PSH so owns the role that you almost forget it's him after a while. He truly became Truman Capote and basically carries the entire film on his shoulders, the film would have been a totally different beast with another actor in the lead. No one portrayed an outsider with more skill than PSH, his reaction to the local Kansans' stares get under your skin and remind me of the stares that anyone who's different can get from strangers.

As good as he was in Capote he truly elevated his game in Paul Thomas Anderson's latest opus The Master. Playing a loose approximation of Scientology founder L Ron Hubbard in the form of Lancaster Dodd, PSH didn't so much steal every scene he was in, but commanded your attention instead. It's fitting that he starred in The Master because that's exactly what he was, a master of his craft. Dodd may very well have been his best performance in a career filled with "best performances," his subtle inflections and the pure conviction he brought to the role are nothing short of astounding. Lancaster Dodd was a character that was clearly fraught with many inner demons, and much like the actor himself, turned to substance abuse to try and fight them. Rewatching the film last night, the parallels between Lancaster Dodd the character and Philip Seymour Hoffman the man, in that aspect at least, became more apparent than ever.

It goes without saying that Hoffman left us far too young at the age of 46 and it's a shame we won't get to see him play the older roles he was meant for. It's pointless to bring up the circumstances of his death since they're so well known at this point but I will say this; addiction is a terrible thing and Philip Seymour Hoffman was not an "idiot" or "stupid" as many ignorant people have been saying. He was simply a man with a disease, a terrible disease that for one reason or another he couldn't cope with, and that's the real tragedy. I as well as many other film fans will miss him dearly. He was a unique talent in the medium and to think that he can be replaced is pure folly. Cinema as a whole has lost one of its most talented performers and films going forward will be lesser because of it. 

"More tears are shed over answered prayers than unanswered ones." - Truman Capote

Movie Review: All Is Lost

                     

"I'm sorry... I know that means little at this point, but I am. I tried, I think you would all agree that I tried. To be true, to be strong, to be kind, to love, to be right. But I wasn't. And I know you knew this. In each of your ways. And I am sorry. All is lost here..." - Our Man

And so begins the story of an unnamed man and his battle against nature. All Is Lost is a harrowing look at eight days in the life of a sailor and all the measures he takes to ensure his survival. Waking up from a nap to find his boat has been struck by a wayward shipping container, Our Man quickly finds himself on the offensive against Mother Nature leading to some of the most intense 100 minutes of 2013.

Robert Redford gives one of the best  performances of his long and storied career here, holding your attention with nothing but his presence. This is an actor at the top of his game, given a relatively dialogue free screenplay and commanding the screen through sheer talent. You truly feel for Our Man as one terrible situation after another comes his way; from the wayward shipping container that begins his plight to horrific storms and a malfunctioning radio, Redford is constantly overcoming one horrible situation after another.

J.C. Chandor's work behind the camera is astounding. Directing from his own screenplay, which was only about 30 pages long, Chandor impresses at every point. Though barely any words are spoken throughout the film, it's never boring which is a true credit to his talent as a filmmaker. All Is Lost is only his second film and judging from that we'll be able to enjoy his work for many years to come. 

Described by some as Gravity on a boat, All Is Lost is far more effective than Alfonso Cuarón's film mostly because it's more relatable. Very few, if any of us will ever become astronauts but being stranded in the middle of nowhere here on earth is all too real and all too possible. Gravity was a very good film, All Is Lost is a great film, Chandor does more with so much less and the journey is all the more effective for it.

A great story of survival with one of the single best performances of 2013, All Is Lost is a phenomenal experience.

Movie Review: Her

"The past is just a story we tell ourselves." - Samantha

It was only a matter of time before Her came to be. Go to any public place; a bar, coffee shop, park or even the mall, and you will see a multitude of people staring down at their smartphones. Her asks the question of what happens when our smartphones become intelligent beings who can actually listen to us, give advice and yes, fall in love.

Spike Jonze's Her tells the story of Theodore, played masterfully by Joaquin Phoenix, a writer in the midst of a nasty divorce with Rooney Mara, who on a whim decides to switch to a new Operating System with artificial intelligence. This OS, which he names Samantha is played by Scarlett Johansson in one of the best voice acting performances I've ever heard. Theodore and Samantha make up one of the best film couples in cinematic history which is quite the feat since she isn't ever on screen. This relationship is at once outlandish but terribly believable, there's a real weight to their trials and tribulations that are on display here.

Jonze's vision of a near future Los Angeles is a sight to behold. There are no flying cars or jet packs, this is the future as any rational person would see it. From the clothes to the technology to the architecture on display, Jonze creates a world that is both science fiction and probable fact.

This is a film that will make you look back on every failed relationship you've ever been a part of and perhaps even question your current one as well. People do change, we are not constant images. We evolve in our relationships and in life and that's what Jonze shows with brutal accuracy. Her will be dismissed by many as frivolous and hard to understand but I was floored once the credits rolled. This movie turned me into an emotional wreck like few other have in the past.

Her is one of the best films of 2013 and one of the best romances you'll ever witness. A film that makes you question yourself almost as much as you question the film. I have a feeling that we are heading in the direction that Her presents and it will be an interesting and ultimately heartbreaking time to be alive.

Movie Review: Inside Llewyn Davis

The Coen Brothers have always populated their worlds with awkward people doing awkward things, five minutes into Inside Llewyn Davis our lead is carrying a tabby cat through the streets of New York. So clearly they haven't lost their knack for the awkward.

The tale of a down on his luck folk singer "living" in 1961 Greenwich Village, Llewyn Davis is a man who doesn't seem awful by choice but by his circumstances. The perennial "guy on the couch" at various apartments throughout the city, Davis just can't seem to keep his mouth shut, which is bad since he only seems to spit venom at everyone trying to help him. There are times you're actively rooting for him to just be quiet so maybe something good will come his way but that's not who Llewyn is and this is a Coen Brothers film.

Film critic West Anthony once described the Coen's Fargo as "bad things happening to people at all times," and that's an apt description for this as well. Llewyn Davis just can't seem to catch a break no matter how much he tries. The sad thing is that he's actually a very talented singer with some good material, and I hate to go back to it but this is a Coen film, so that isn't going to get him anywhere.

The cast that's been assembled here is supremely talented and I was constantly impressed with the performances, every character no matter how small seems fleshed out even if they only get a few minutes of screen time. Oscar Issac is a revelation as the lead, bringing a believable sense of defeat and a fantastic singing voice. Carey Mulligan plays a woman scorned with crisp take-downs aimed at Davis. John Goodman on the other hand plays a cantankerous jazz pianist who always has something to say, very little of it nice, but he brings some great comedic levity to the shit-storm that is Davis's life. Also as usual, Justin Timberlake gives a solid performance as one of Davis's friends with a heart of gold.

Inside Llewyn Davis may not be a perfect representation of the early folk scene in New York but it's definitely the Coen's perfect representation. Solid performances, great music and never ending circle of terrible situations, this is the Coen Brothers doing what they do best.

Movie Review: Pacific Rim

A colossal disappointment from one of my favorite directors, Pacific Rim is a wooden, anger inducing mess.

How could the man who made Pan's Labyrinth have anything to do with this? Nothing seems fleshed out beyond a rough sketch. Sure the monsters and robots look cool and it's some fun to watch them fight but the human element is nothing but cliches and catchphrases.

Charlie Hunnam is an absolutely atrocious lead here, with the range of a cardboard cut-out. I felt bad for his co-stars since he clearly brought nothing to the table.

Good special effects can't save this wreck from being anything other than C grade sci-fi.

Movie Review: Cronos

A dark, adult fairy tale from Guillermo Del Toro with fantastic makeup effects and performances.

The story of a kindly old antiques dealer who gets in way over his head with an immortality device, Cronos was Del Toro's first feature film. Though a bit rough around the edges, this is a film with a purpose that accomplishes what it sets out to do.

A one of a kind vampire film and undeniably raw, Del Toro does what he can with his budget to explore death and death after death. Not to give anything away but this film completely shifted gears in what I was expecting about half way through and I couldn't have been more pleased with what I saw.

Performances are enjoyable here including a delightfully unhinged performance by Ron Perlman as the villain's crazy, brutish nephew. Great praise should be reserved for Federico Luppi as Jeśus Gris, the lead protagonist, he brings a warmth to the role that was a nice touch. The relationship he has with his granddaughter Aurora is both believable and in the end quite sad.

A great debut from one of my favorite filmmakers and a wonderfully original vampire story, Cronos much like his later Pan's Labyrinth is a fairy tale even adults with enjoy.

Movie Review: The Stranger

Having never seen one of Ray's films I wasn't too sure of what to expect. What I got was an immensely pleasurable film with a great cast and performances.

The story of a long lost uncle coming to visit his niece's family for a week is both tense and heartwarming. Her husband is suspicious that he's a con-man while her son immediately bonds with the old man through his tales of the world. Written by Ray, I got the sense that this was a real family with strong bonds and the dialogue shows this.

Though there aren't many locations there's a real sense of place when you're in this family's home, almost as if you would know exactly where you were going if you were there. During the outdoor scenes there's vibrant color and beautiful scenery to behold and I was never bored throughout the two hour runtime.

Much like Kurosawa's final film 'Madadayo' this is a smaller movie than what has come before in the director's canon but from what I've read, just as powerful.

A great film from a director whose work I'm looking forward to delving deeper in to.