The Whale: A Review - The Whale Beaches Itself on its Hyper-Theatricality

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 1 out of 5 stars

My Recommendation: SKIP IT. You’d be better off stuffing your pie-hole with guliver-expanding, artery-clogging garbage for two hours than watching this hyper-theatrical dud.

The Whale, written by Samuel D. Hunter (based upon his play of the same name) and directed by Darren Aronofsky, tells the story of Charlie, a morbidly obese online English professor suffering from congestive heart failure. The film stars Brendan Fraser, who was nominated for Best Actor at the Academy Awards for his work as Charlie, with supporting turns from Hong Chau, Sadie Sink and Samantha Morton.

The Whale is a comeback movie of sorts for both Brendan Fraser, whose career careened into oblivion as he aged out of being the handsome guy some years back, and Darren Aronofsky, who was once one of the most promising filmmakers of his generation but who has stumbled in his last two cinematic outings with the abysmal duds Noah (2014) and Mother! (2017).

The result of the comeback bid is a mixed bag as The Whale is a major disappointment of a film, and the blame for that lies squarely with Aronofsky and with Samuel Hunter’s script, but on the bright side, Brendan Fraser may just have rejuvenated his career with his sad sack, fat suit wearing performance in the movie.

I must say, I didn’t find anything cinematically redeeming in The Whale, not even Fraser’s performance, but I think Fraser has presented himself as a likeable person on the marketing and awards circuit and that may lead to future substantial work for him. Whether he’s up to the task in that work is certainly open for debate.

The Whale is a movie that yearns to be prestige but which is so theatrically written and executed that it feels like a very sub-par stage play from an overly confident, first-time playwrite you’d regret paying to see in some off-off-off Broadway hole in the wall.

The setting for the film is almost exclusively the dim confines of Charlie’s apartment. The action consists of his visitors, from his nurse Liz (Hing Chau), to a missionary named Thomas (Ty Simpkins) to his long-lost daughter Ellie (Sadie Sink) and ex-wife Mary (Samantha Morton), coming and going.

Due to Hunter’s cringe dialogue and Aronofsky’s stagey and/or laissez-faire direction, all of these actors give mannered and contrived performances. None of the characters they portray feel like real people, but rather like caricatures used solely as plot devices.

Sadie Sink is an actress I think has a very promising future, but her work as Ellie is so heightened and performative as to be distracting and laughable.

Hong Chau fares better than Sink but she too misses the mark with her incomprehensible Liz.

And Ty Simpkins’ character Thomas makes no sense and is a dramatic disaster, which is mostly due to the bad script but also aided by Simpkins’ tepid performance.

But the main failure on The Whale is Darren Aronofsky. Aronofsky’s direction is so awkward, clumsy and inept as to be disheartening. If I saw one more scene where a character walked to the door, then stopped and turned around and made some declaration…or walked to the door, opened it, stepped out, then stopped, turned around and made some declaration…or if I saw one more scene where a character crossed “the stage” and the camera counter-crossed…I was going to binge eat carbs until I spontaneously combusted.

In addition to that artless, theatrical staging, Aronofsky’s choice to confine most, but not all, of the action in Charlie’s apartment, but not limit the film’s perspective to just Charlie, is a grating and self-defeating one.

For this type of black box, arthouse movie to succeed, in needed to be a laser focused character study examining Charlie and his experiences alone. Instead, Aronofsky gives us side stories and scenes between undeveloped characters that feel like filler and dramatic distractions. These side-scenes drain any dramatic momentum the sorry story ever generated.

Aronofsky is a filmmaker I’ve long rooted for and admired. After seeing his first two films, Pi (1998) and Requiem for a Dream (2000), I thought he really had a chance to be a special artist.

Even his third film, The Fountain (2006), which was a more ambitious project but which ultimately failed, contained much promise and kept my hope alive.

His fourth and fifth films, The Wrestler (2008) and Black Swan (2010), seemed to indicate he had found his artistic groove and creative style with small budget, gritty character studies starring big name actors.

But then he went with a big budget project, Noah (2014), with Russell Crowe starring in the biblical epic. The result was a mammoth misfire both creatively and financially.

His follow up film was Mother! (2017), an ambitious and audacious meditation on humanity/horror story that was simultaneously too tightly and too loosely woven. Mother!, which was one of the more disorienting and aggravating movies in recent memory, was rightfully panned and flopped at the box office despite starring Jennifer Lawrence, who was maybe the biggest movie star in the world at the time.

And now we have The Whale. What is so disheartening about The Whale is not that it’s a misfire, but that it’s so poorly made as to be shocking. Aronofsky’s promising career has become as bloated and artistically unhealthy as the morbidly obese, compulsive eater Charlie. It’s difficult to imagine Aronofsky righting the ship after three cinematic disasters in a row, but who knows? I certainly hope he does, but I’m not optimistic.

As for Brendan Fraser as Charlie, he is…fine. Fraser has the requisite sad eyes to engender pity beneath his enormous fat suit, but beyond that he doesn’t really bring much to the table.

The thing that is lost amongst the recent Fraser renaissance, is that he was never a good actor to begin with. His claim to fame is playing empty-headed lugs and second-rate action-hero roles. He isn’t exactly Olivier, and this fact makes me think his sympathy-fueled comeback will be short-lived.

That said, he has a legit chance to win a Best Actor Oscar, and that should at least help him to make a living in the next couple of years. Does he deserve the award? Frankly…no. But most people who win Oscars don’t deserve them either…what can you do?

In conclusion, The Whale is another in an expanding list of recent sub-par Darren Aronofsky films as well as another in a gargantuan line of awful movies from 2022. I watched this movie so you don’t have to…and trust me, you really don’t have to.

©2023

Looking California and Feeling Minnesota: Episode 79 - The Greatest Beer Run Ever

On this episode, Barry and I grab our magical dufflebag filled with a never-ending yet mysteriously weightless supply of beer and head into a war zone to discuss The Greatest Beer Run Ever, the new Peter Farrelly movie currently streaming on Apple TV. Topics discussed include awful acting, bad movies about great stories, and the curse of endless and empty streaming content.

Looking California and Feeling Minnesota: Episode 79 - The Greatest Beer Run Ever

Thanks for listening!

©2022

The Greatest Beer Run Ever: A Review and Commentary

****THIS IS A SPOILER FREE REVIEW!!! THIS REVIEW CONTAINS ZERO SPOILERS!****

My Rating: 2 out of 5 stars

My Recommendation: SKIP IT. An unforgettable true story turned into a completely forgettable motion picture.

The Greatest Beer Run Ever is the amazing, nearly unbelievable, true story of John “Chickie” Donohue, a seemingly dim-witted, ne’er do well merchant mariner from Inwood in New York City, who decides to show his support by traveling to Vietnam in 1968 to deliver beer to his neighborhood buddies serving in the war.

The Greatest Beer Run Ever, which is written and directed by Peter Farrelly and stars Zac Efron and is currently streaming on Apple TV +, is a really great story…but unfortunately, it’s a bad movie.

Farrelly (There’s Something About Mary) won a Best Picture and Best Original Screenplay Oscar four years ago for Green Book, his much-maligned movie on race relations, which was also set in New York City in the 1960’s and dealt with a conservative seeing the light and embracing a more progressive vision.

Green Book wasn’t as bad as the interminably aggrieved victimhood brigade would have you believe, but it also definitely wasn’t Best Picture material (although with the laughable CODA winning the award last year who the hell knows what a Best Picture worthy movie is anymore). Green Book was basically a well-crafted, well-acted, rather simple-minded movie about hope for humanity, no wonder it was so hated in our current awful age.

With The Greatest Beer Run Ever, Farrelly seems to, in the wake of the Green Book criticisms, be trying to either bolster his much tarnished liberal bona fides or give a mea culpa for his perceived sins against the new woke religion. Whatever he’s trying to do…he fails miserably.

Green Book, for all its shortcomings, worked as a piece of middlebrow entertainment masquerading as upper middle-class art, because it featured two really terrific actors, Viggo Mortenson and Mahershala Ali (who won a Best Supporting Actor for his work). The Greatest Beer Run Ever is not so blessed, as it stars poor Zac Efron.

Efron seems like a nice guy, and I have absolutely no animus towards him whatsoever and wish him nothing but success. But the truth is he’s an extremely limited actor and those limitations are laid bare in this film.

Efron’s Chickie is like a more handsome, street-smart Forest Gump who stumbles through history oblivious to his own buffoonery. As one Sergeant says upon meeting Chickie in a war zone, “don’t worry about him, some people are just too stupid to get killed.”

As for Efron, he’s a good-looking kid (“kid” – he’s 34!) but he’s utterly devoid of charisma and magnetism. He almost seems to be trying to hide in front of the camera. Emotionally he’s a black hole from which no life or light escapes. And his dismal New Yawk accent is come and go for the first third of the film and then disappears completely for no apparent reason.

To be clear, Efron isn’t the only bad actor in the movie. The entire supporting cast, with two notable exceptions, are simply dreadful.  The egregiously amateurish cast are either over-the-top caricatures or underwhelming to the point of invisibility.

In particular, Chickie’s group of friends in New York are portrayed by a collection of the worst actors I can remember seeing in a mainstream movie and their accents are less New York than they are a rancid stew of Providence, Boston and Maine. I won’t name any of them out of some twisted sense of compassion, but holy shit they are embarrassingly bad.

The two notable exceptions regarding the abysmal acting are Bill Murray as The Colonel, a World War II vet who runs the local bar, and Russell Crowe, as a journalist in Vietnam. Murray and Crowe are not particularly exceptional in their roles, but whenever they are on-screen a sense of relief comes over the viewer as they know at least they’re in the hands of professionals. Murray and Crowe feel at home on the screen, whereas everyone else, most notably Zac Efron, does not.

To be fair to Efron, Farelly’s script and his direction are no help either as they’re utterly atrocious.

There are major plot points and dramatic moments throughout the movie that need to be earned but simply never are, like when Chickie makes the decision to go to Vietnam, it just sort of happens…and everything, particularly the crucial emotional beats, are as vacuous as that.

Another grating thing about the movie is that a major plot point is Chickie must carry a bevy of beers (Pabst Blue Ribbon cans) in a duffle bag across the ocean and all over Vietnam. Beers are heavy, but Chickie’s wondrous bag always seems nearly weightless and empty, but he continuously pulls beer after beer after beer out of it like it’s a magic hat.

If that bag were realistic, and Chickie had to lug it around and decide between dumping out beers or staying true to his mission, then the story and his burden would take on great meaning. The duffle bag literally could’ve been Chickie’s (and America’s) cross to bear across the globe for the sin of the Vietnam war…but instead it’s just a ticky-tack prop that draws viewers out of the reality of this astounding true story.

Another major issue is that Farrelly’s tone through much of the movie is whimsical, and it undermines the horror of the war we see unfolding before us and it all feels…unseemly. There’s a scene like this at the front lines in Vietnam which is so poorly choreographed and directed, and tonally off-kilter, that I found it repulsive.

What’s so grating about The Greatest Beer Run Ever is that it really could have, and should have, been great.

As I watched I kept thinking of how amazing this film would’ve been if it were made in the 1970’s, when the topic, a conservative ‘Road to Damascus’ moment regarding the crime and calamity that was the Vietnam war, would have more cultural resonance, meaning and impact. Imagine a movie like that directed by someone like Hal Ashby and starring Jack Nicholson, I mean God-damn…THAT would’ve been worth seeing!

But instead, we get this rather pathetic modern-day effort from Farrelly and Efron that feels almost instantaneously forgettable.  

To be fair, there are a few sequences that I thought were well done, most notably when Chickie runs into a little Vietnamese girl in a field and tries to interact with her. The scene is shot without sound with music playing over it and it’s easily the best and most profound scene in the film. Another interesting visual is what I will call “the falling-man” shot…which was very reminiscent of 9-11 and therefore was loaded with uncomfortable but insightful symbolism.

What is most interesting to me about the rather uninteresting The Greatest Beer Run Ever though, is that Farrelly was attempting to make somewhat of an anti-war movie in an age when anti-war movies are so rare as to be extinct. The reason for this is two-fold…first, the Pentagon and intelligence community control Hollywood and the messages about the military and war that it produces – and anti-war sentiment is not on their agenda. This manifests in movies and tv shows like Top Gun: Maverick and Seal Team getting made and movies like Oliver Stone’s long planned project on the My Lai massacre not finding funding. Secondly, the anti-war movement in America, along with Occupy Wall Street, Tea Party and the rest of the populist movements of both left and right, have been successfully co-opted and crushed by the establishment, resulting in the anti-war movement being virtually non-existent today.  

Anti-war sentiment is now anathema in America, as liberals – long the vanguard in anti-war movements, have been so easily conditioned to demand blood lust, most notably against Russia. The same liberals I marched with against the Iraq war in 2003 are now ignoring the War in Yemen and demanding all-out war in Ukraine – up to and including nuclear war, and unthinkingly regurgitate vapid establishment propaganda like children reciting their A-B-C’s.

If you apply logic and dare to question establishment propaganda, like the obvious inanities of the Ghost of Kiev, or the Snake Island buffoonery, or the less obvious but equally dubious claims of the Bucha massacre, or the supposed Russian rape camps, or you speak out against the U.S. escalating the war by sending billions upon billions of dollars to Ukraine (in the form of weaponry) and sabotaging the Nord Stream pipelines, you’ll be reflexively tarred and feathered as a shill or stooge for Putin.

People have become deathly allergic to context (and thinking), so if you point out the fact that the U.S. instigated the illegal coup in Ukraine in 2014 ,and later broke the Minsk Peace agreements, and point out the fact that Ukraine killed 14,000 ethnic Russians (who were Ukrainian citizens) in the Donbas in the eight years after the coup, and that the Ukrainian government is riddled with fascists who banned the Russian language and shut down media outlets and opposing political parties, you’re just a useful idiot on Putin’s payroll.

This sort of shallow, simple-minded, historically illiterate, Manichean, knee-jerk jackassery used to be what liberals called out on the right and righteously fought against, but now liberals act exactly like flag-waving, McCarthy-ite right-wingers demanding all those with opposing views slavishly obey the establishment line or be branded a traitor or Russian sympathizer, or both. These empty-headed, emotionalist liberal fools are afflicted with the same disease they used to fight against, and are completely blind to their reactionist Russo-phobic conditioning.

The co-opting of the anti-war left by neo-con war mongers and neo-liberal corporatists is a calamity and will be catastrophic for the health of our nation, and may well lead to another world war and all of us to a fiery death.

On that less than pleasant note, let’s return to an equally unpleasant but much less important topic…The Greatest Beer Run Ever.

In more skilled and gifted-hands The Greatest Beer Run Ever could have made salient points on these weighty and vital issues and held a mirror up to reveal the madness that has engulfed America and its anti-anti-war discourse and actions. But unfortunately, Peter Farrelly lacks the needed craft, talent and courage to make such a meaningful movie, and instead churns out this flaccid, flimsy, D-level nonsense that will come and go with no one noticing.

The bottom line is that The Greatest Beer Run ever is a missed opportunity, and you would be wise to miss it too.

©2022

Thor: Love and Thunder - A Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 2 out of 5 stars

 My Recommendation: SKIP IT. A manic misfire of a Marvel movie. If you are a Marvel completist then save your money and wait for it to stream on Disney +.

In order to set the context for my review of Thor: Love and Thunder, which premiered in theatres Friday July 8th and is the newest film in the Marvel Cinematic Universe – and the Marvel behemoth’s 29th movie overall, it’s important to note that I am an enormous fan of the film’s writer/director Taika Waititi.

Waititi directed my favorite Marvel movie, Thor: Ragnarok – of which Love and Thunder is a direct sequel, and also adapted his 2014 vampire comedy movie What We Do in the Shadows into my current favorite television show of the same name, which is set to premiere its fourth season on FX this coming Tuesday.

The reality is that Waititi’s distinctive comedic style is an acquired taste, and, like the new strain of Super Gonorrhea going around, I most certainly have acquired it.

Which brings us to Thor: Love and Thunder. As exhilarating as Thor: Ragnarok was, Thor: Love and Thunder is disappointing. Yes, it has its moments, but those moments are very few and very far between.

The film’s plot is relentlessly convoluted, and revolves around Gor the God Butcher, a surprisingly subdued Christian Bale, who seeks revenge on the gods for the death of his daughter. Gor kidnaps the kids of New Asgard, who are the perfect dream children for Disney’s human resources department because of their remarkable ethnic diversity, and uses them as bait to draw in Thor and his goofy companions.

The plot twists and turns make just about no sense at all, and the tonal shifts of the film are jarring to the extreme. Make no mistake about it, the film is a comedy, but it opens with a little girl dying and then puts other little kids in frightening peril as a key plot point. The comedic tone and the kids in peril plot mix together like birthday cake at a beheading.

Needless to say, this PG-13 movie is much too scary/dark to be suitable for kids under 13…and frankly, much too shabby to be worthwhile to adults with half a brain in their head.

There are some bright spots though, among them the brief appearance of the Asgard Players acting troupe, which features Matt Damon and Melissa McCarthy dramatizing great moments in Asgardian history on stage. As well as Korg, Thor’s sidekick (voiced by Waititi himself) repeatedly mis-stating Jane Foster’s name…a gag that made me laugh every time. There’s also an absolutely absurd appearance by a hammiest of hams Russell Crowe as Zeus. Crowe’s Zeus is a gonzo piece of bloated bizarreness but I found it amusing as hell.

Another very bright spot is Chris Hemsworth. Hemsworth is so good as Thor it’s simply miraculous. Hemsworth is, of course, buff beyond belief and impossibly handsome, but he’s also effortlessly charming and astoundingly funny.

Unfortunately, Natalie Portman is the exact opposite. Portman returns to the Thor franchise as Dr. Jane Foster, Thor’s ex-love interest, except this time, through some not very clear plot machinations, Dr. Foster is somehow turned into a Thor…and takes the title of The Mighty Thor.

Portman as Jane Foster/Mighty Thor is more wooden than a log cabin and makes a cigar store Indian seem lively in comparison. Portman pushes so hard to be frolicky and fun but she’s so stiff and unnatural that when she attempts to smile, she seems like a cadaver getting a colonoscopy.

Portman may very well be a talented actress, or she may not be, but what she definitely isn’t is a gifted comedic actress and that is glaringly obvious in Thor: Love and Thunder.

Other issues with the film abound. For example, Gor’s villainous minions are these shadow creatures that are so generic and bland as to be ridiculous.

These shadow creatures highlight the film’s other big problems, namely its lack of visual clarity and cinematic crispness, as well as its pedestrian fight sequences…in other words the movie features third-rate action sequences and looks like shit, which is criminal for a movie with a $250 million budget.

And last but not least, the movie, like seemingly all Marvel movies and tv shows nowadays, of course, features some heavy-handed human resources inspired social engineering and woke pandering and preaching. The previously mentioned rainbow of Asgardian kids being a perfect example. As is the cringiest of cringe scenes where Gor calls Portman’s Thor, “Lady Thor”, and she angrily responds “my name is The Mighty Thor! Or you can call me…DOCTOR! JANE! FOSTER!” My only wish was The Mighty Thor aka Dr. Jane Foster had been wearing a pink pussy hat in that scene for affect. That cringilicous scene along with the “female Avengers unite” scene from Avengers: Endgame, should only be legally permitted to be played in voluminous vomitoriums because they’re such gag-worthy, girl-power garbage.

On top of all that, the final act of the film is entirely rushed and completely devoid of any dramatic impact while being detached from narrative coherence.

Due to my love of Thor: Ragnarok and my Waititi fandom, I was looking forward to Thor: Love and Thunder. I was also curious to see if, after the cinematic and creative debacles (and for the most part, box office misfires) of the recent spate of Marvel movies, from Black Widow to Shang-Chi to The Eternals (God help us!) to Dr. Strange in the Multiverse of Madness, Thor: Love and Thunder, with the brilliant Waititi at the helm and the equally brilliant Chris Hemsworth in the lead, could stop the bleeding over at the Marvel money factory that pays for Mickey Mouse’s mansions. I am here to report that it doesn’t.

Thor: Love and Thunder will do fine at the box office, but it won’t signal a return to Marvel magnificence. The reality is that Marvel is in deep shit, and if they don’t realize that then they’re delusional. Their new movies are sub-par, their tv shows are cratering in quality (I’ll have a review of Ms. Marvel out late this coming week – here’s a preview…”YIKES!”) and it is now very clear that the Marvel monstrosity has lost the plot and has their head’s so far up their asses they’re incapable of finding it.

Marvel has dominated cineplexes and our culture for nearly fifteen years, but Thor: Love and Thunder is just one more piece of proof that the bloom is off the Marvel rose and I’m here to tell you that it ain’t coming back.

The bottom line is that Thor: Love and Thunder is nothing but a major disappointment. If you are a Marvel completist, then wait for Thor: Love and Thunder to stream on Disney + in a few weeks or months, and watch it then, because it simply isn’t worth your time and hard-earned money to see in the theatres.

©2022

Hurricane Joaquin : Top Five Joaquin Phoenix Performances

The tv newsman with the impeccable hair and the vacant eyes is telling me that Hurricane Joaquin is tempestuously coming to a boil out in the Atlantic. Hurricanes and blizzards are the only time that weather is taken away from the tv weather person, be they the disingenuously jovial and cringe worthy comedy type of "weatherman", or the impossibly built and erotically charged type of "weather girl" (notice the term is 'girl' and not 'woman', no 'woman' over 23 need apply), and given to the vapid, dead-eyed mannequin that mindlessly reads the teleprompter every night, otherwise known as the "anchor person". As weatherman Schecky Numbnuts or Barbarella Bombshell slouches off in a darkened corner of the tv studio, no doubt rueing their plight, Johnny Handsome moves his fantastically whitened teeth up and down and tells me that Hurricane Joaquin is a powerful and unpredictable storm that is potentially on its way to ravage the eastern seaboard of the United States. I turn the sound off to avoid listening to the monotonous prattling of the orange faced man with the strenuously somber look, who deep down is praying that the Hurricane death count rises high enough so that the story will have 'dramatic resonance' with viewers and advertisers. 

Even with the sound off I cannot escape Hurricane Joaquin, as updates flash across the bottom of the screen. I chuckle every time I see the name Hurricane Joaquin crawl across on the news scroll, because I think of another Joaquin, the polar opposite in every way of the insincere Johnny Handsome, the enigmatic actor Joaquin Phoenix. Joaquin Phoenix may be the best actor on the planet, and if he isn't the best, he is certainly the most interesting. Just like his name sake Hurricane, Joaquin Phoenix is powerful and unpredictable, tempestuous and raging. Instead of voyeuristically watching people in peril on the other side of the country from a force of nature called Hurricane Joaquin, I have decided to watch another force of nature, Joaquin Phoenix, rage in his best film performances, right here in the comfort of my own home. 

In tribute to Hurricane Joaquin here is a list of Joaquin Phoenix' best performances. So sit back, relax and enjoy The Master of the inner wound and the outer transformation, Joaquin Phoenix. 

If you are in Hurricane Joaquin's path, I genuinely implore you to please stay inside and stay safe, as hurricanes are serious and potentially very deadly business.  If you are going to watch Joaquin Phoenix films, the advice stays the same…stay inside…and stay safe. 

TOP FIVE JOAQUIN PHOENIX PERFORMANCES

5. GLADIATOR (2000)

Gladiator, directed by Ridley Scott, won Best Picture at the Academy Awards, and it's lead actor Russell Crowe won Best Actor. At the time of the film, Crowe was arguably the best actor and biggest star in the world, which only makes it all the more impressive that Joaquin Phoenix nearly steals the film right out from under him. Phoenix plays Commodus, the emperor's rather erratic son, who rises to the throne by killing his father in a jealous rage. Phoenix performance is electric, as he vibrates with a disconcerting and unsettlingly mania, a result of a very, very deep father wound. What makes Phoenix so good is that his energy, both physical and emotional, is sustained and focused yet unpredictably dangerous and capricious. The scene where he threatens his own sister with incestuous rape and the murder of her son, is chillingly effective. Phoenix greatest asset in playing Commodus is that he never gets stuck playing things at the same level. Commodus is certainly a mad man, which is why he is just as frightening when he is being reserved and quiet as he is when he is raging, because you don't know where his cruelty and wrath will fall next. Phoenix never lets Commodus be a caricatured villain, instead he creates a character that so desperately wants to be loved, and when he isn't, he wants others to feel the hurt that he carries so deeply inside him. Gladiator, at its heart, is a very conventional film, but Joaquin Phoenix' carefully crafted and nuanced performance raises the film from being somewhat mundane to being compulsively entertaining.

4. INHERENT VICE (2014)

Inherent Vice, directed by P.T. Anderson, is much like the man who stars in it, very strange, wondrously layered and terribly overlooked. Phoenix' work in this film is a tribute not only to his transcendent talent, but to his commitment to his art. His character "Doc", is created with such meticulous specificity that only a master craftsman could have pulled it off. Phoenix is able to convey a painstaking depth in the form of Doc's emotional wound, and a subtle charisma, that drives his character, and the film, through it's labyrinthian plot while never losing it's urgency and vitality. His scenes opposite his nemesis Josh Brolin, are pieces of comedic and dramatic gold.  It is really an extraordinary achievement to behold, and a credit to the artistry, magnetism and charm of Joaquin Phoenix.

Click here for my full review of INHERENT VICE.

3. WALK THE LINE (2005)

Joaquin Phoenix is sort of a strange looking guy. He has a cleft lip, a sunken sternum and a messed up, hunched back looking shoulder. And yet, despite all of these oddities, in Walk the Line, Phoenix goes full-on chameleon and transforms himself into the barrel-chested baritone, American icon Johnny Cash, without skipping a beat. It is a remarkable performance, all the way down to Joaquin doing much, if not all, of his own singing. What makes the performance all the more impressive is that it isn't an imitation of Cash, but rather an original creation that is close enough to the Johnny Cash we know to keep us placated, but unique and particular enough to keep us riveted. Once again, Phoenix creates an internal wound so vivid as to propel his character and compel the viewer all the way through the film. Walk the Line is at times a pedestrian piece of filmmaking, but Joaquin Phoenix' work in it is so magnetic that it is transcends and elevates what surrounds it.

2. HER (2013)

Her is the story of Theodore, a sensitive man living in the near future who falls in love with a computer operating system. It is directed by Spike Jonze and it stars our man of the hour, Joaquin Phoenix as the aforementioned Theodore. In the film, Phoenix sublimely uses his physicality to convey the isolation, desperation and emotional arc of the fragile and deeply damaged Theodore. Just watch and marvel at him walking around the futuristic Los Angeles in varying degrees of slouch. He also uses his greatly under appreciated charisma and magnetism to captivate the viewer while romantically playing opposite nothing but a voice. Her is really just a run of the mill love story, but both Jonze and Phoenix turn it into a poignant, touching and tragic commentary on human frailty and disconnect in the modern world. Joaquin Phoenix creates such a genuine, tender and delicate character that his hurt and his hope are palpable, as evidenced by two extraordinary scenes, one a dinner with his ex-wife exquisitely played by Rooney Mara, and the other when Theodore has a frantic conversation with his operating system/lover on the steps leading into a subway. Both scenes are exquisite examples of Joaquin Phoenix'  power as an actor.

Click here for my full review of HER.

1. THE MASTER (2012)

Acting is like walking a high wire, and the great actors, like Joaquin Phoenix, can do it without a net. In The Master though, Phoenix not only walks without a net, he goes without the high wire altogether. Joaquin simply jumps off the precipice and into the abyss with his arms and heart wide open, embracing whatever may come. What comes is nothing less than sheer brilliance, the master work of a true creative genius. In the film, again directed by P.T. Anderson, Phoenix plays Freddie Quell, a malcontent in post World War Two America, with emotional and mental scars from the war and from his life before it. Phoenix contorts his body and his face to such extremes that he is unrecognizable in the role. It is such a virtuoso display of physicality that it boggles the mind. Every tortured contortion and deformity on Freddie's face and body tells the story of a specific and detailed inner hurt in outer form. It is not hyperbole to say that Phoenix' performance as Freddie Quell is the most transcendent piece of acting captured on film this century, and maybe even the last century as well. There is no other actor working today who could have done what Joaquin Phoenix did in The Master. His work is so vibrant, so vivid, so original, so unique, so detailed and so alive that it was a quantum leap in the evolution of the art of acting. A performance like that was previously inconceivable, and only the truly inspired genius of Joaquin Phoenix could have brought it life. Actors for generations to come will strive to match the audacious magnificence of Joaquin Phoenix performance in the aptly titled  The Master.  Joaquin Phoenix has proven to all of us that he most certainly is...The Master. I bow to his talent, and tip my cap to his mastery.

Enjoy the Joaquin Phoenix movies and stay safe!!