REVIEW: At Any Price

26 08 2013

If a movie makes you feel anger, it has to be effective on some level.  The ability to generate some kind of feeling in the viewer means the movie is communicating something right.

In the case of “At Any Price,” it’s easy to get angry because Ramin Bahrani’s script, co-written with Hallie Newton, is a well-plotted story that takes a look at flawed people on their worst behavior.  Though the film takes place in the American heartland, far away from the excesses of Wall Street, thematic similarities to films like “Margin Call” and “Arbitrage” make for a shocking testament to how just how pervasive a strain of reckless greed is running through our country.

Dennis Quaid’s Dean Ripple may deal with seeds rather than financial derivatives, but the ethical dilemmas he’s faced with at the farm differ remarkably little from the ones that must be dealt with at the stock market.  Dean can cheat and get ahead of his competitors, who seem to be beating him at every turn, or play an honest game for better or for worse.  He ultimately drags his son Henry into his moral mire, though not without plenty of Midwestern soap opera-style family conflict.

Bahrani’s allegory is quite clever, but it’s a bit overloaded and overwrought.  It never ceases to amaze me how subtlety always seems in such scant quantities in film, and Bahrani’s heavy-handed direction manages to essentially cancel out the nuances of the script.  “At Any Price” did manage to make me feel emotionally empty as justice remains miscarried, but at what cost?  For Bahrani, that pit in my stomach came at the expense of the story’s quiet power.  B-2stars





REVIEW: Cowboys & Aliens

27 07 2011

From the very beginning of Jon Favreau’s “Cowboys & Aliens,” a very uneasy unevenness settles on the screen.  The movie feels torn between whether to be an alien invasion movie that happens to be set in 1870s New Mexico or a Western movie where the villains happen to be aliens.  Rather than make an executive decision and splice the genres, Favreau settles for an unhappy medium, vacillating back and forth between which of the two he’d rather use for the particular scene.  The resultant jumble is just that, a movie that haphazardly joins various elements from both genres to create a bitter hodgepodge that barely satisfies on basic entertainment levels.

The film basically glides by plotlessly for nearly two hours, floating on the very thin premise that feels like an infantile idea to begin.  Combining cowboys and aliens sounds like a game played by a five-year-old when his mom throws the “Star Wars” toys in the Lincoln Logs bin.  It might be fun for a little while as the two clash, but we eventually come to the realization that the novelty can’t sustain, much like that child probably would as well.

The kids-at-heart writing this story, otherwise known as the guys who gave you such wide-ranging projects as “Star Trek,” “Transformers,” the television show “Lost,” “Children of Men,” “Iron Man,” and the unforgettable classic “Kung Pow: Enter The Fist,” have the attention span of that five-year-old child.  They fail to take the movie anywhere worthwhile past the original jolt of imagination that inspired them to combine the two worlds in the first place.  Once they get the whole thing assembled and need to get the plot rolling, they abandon it to play with Legos and leave the movie going on autopilot.

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