Beautiful Boy (2018)
★★★ / ★★★★
It is not often that I encounter a dramatic film in which I find myself—multiple times—having to pull my eyes away from the screen because what’s going on is so realistic, looking at the images feels like a breach of privacy. “Beautiful Boy” is based on the memoirs “Beautiful Boy: A Father’s Journey Through His Son’s Addiction” and “Tweak: Growing Up on Methamphetamines” by David and Nic Sheff, respectively, and the works are adapted to the screen by searing honesty by Luke Davies and Felix Van Goreningen. It is not interested in using large brushes to paint a portrait of drug addiction. Instead, it is specific to Nic’s story and his family’s numerous attempts to help him.
It shows how so many movies about drug addiction tend to utilize clichés to amplify the drama. In order to avoid common trappings, observe how it employs time. For instance, within a span of twenty minutes, several weeks or months can pass. Flashbacks are introduced in a non-linear fashion. An unexpected dramatic parabola is created and so our expectations are shuffled like a deck of cards. Sometimes these expectations do not materialize at all. And yet, intriguingly, we still have a full appreciation of the subjects’ struggles.
This can be attributed partly to the film’s strong central performances. Steve Carrell plays the father and Timothée Chalamet plays the son. Their interactions command great tension, particularly during moments when David feels he must confront Nic about his disease. Each confrontation is different. At times it is approached from the perspective of anger. Sometimes confusion. Other times of great frustration. The father wishes to understand his son’s affliction, but he fails to see that his son doesn’t understand it either. Yet despite the whirlwind of rehab centers, sleepless nights, Nic going missing for days, and receiving calls from various professionals, there is always love there. Sometimes love isn’t always in the form of being there or giving. Sometimes love comes in the form of restraint.
Carrell and Chalamet appears to feed off one another’s energy. And so when the father looks at his son and asks whether he is on drugs, the question is not really a question. A parent always knows deep down. And so I wished Maura Tierney, who plays Nic’s stepmother, were given more to do. Tierney is wonderful when she must act in the background. Great performers can say a lot without saying a word. Standing from a few feet away with a concerned body posture tells us plenty. While it is appropriate that the camera focuses on father and son, I found my curiosity inching toward her character sometimes. David has two young children with Karen. It is apparent that Nic’s sudden disappearances impacts them, too. They ask about him. They miss him. They know he is on drugs.
I loved that the material manages to set aside some time to present facts not normally shown in movies involving drug addiction. For example, we see brain scans and hear what methamphetamines does to the brain, particularly in the amygdala. There is talk about receptors being destroyed following consistent meth usage. Given enough time, these receptors might recover. These are seemingly small but important details—mundane to some. They are often found, for instance, in science books or niche documentaries, not dramatic films. I enjoyed that it assumes viewers will be interested in details rather than repelled by scientific or medical jargon. It treats viewers as curious and intelligent. It may even inspire them to do more research about the topic. To further understand drug addiction, one must have an appreciation of biological events.
Date Night (2010)
★★★ / ★★★★
Steve Carell and Tina Fey star as a married couple who decided to go to the city on their date night to get away from the ennui of their busy schedules which mostly revolved around work and their kids. To spice things up a bit, they decided to go to an exclusive fancy restaurant which required reservations months in advance. Since they didn’t make one, Carell and Fey decided to pretend to be another couple–a couple involved in theft and currently being pursued by corrupt cops (Common, Jimmi Simpson) who seemed to work for the mob of some sort. When I saw the trailers for this film, I knew I had to watch it because casting arguably the funniest people in Hollywood right now is genius. What I loved about this movie most was not because of the story–mistaken identities, a couple feeling like their marriage lacked spark; I’ve seen it all before–but because of the chemistry between Fey and Carell. They matched each other’s awkwardness and both had great comedic timing. The two actors managed to pull off genuinely tender moments between them where I couldn’t help but feel touched. They were a believable couple and that’s why I cared about their characters. Written by Josh Klausner and directed by Shawn Levy, the script and the filmmakers allowed the two leads to play on their strengths and let the awkwardness linger to the point of saturation. But “Date Night” was as funny as it was exciting. The scene when the two cars (one owned by constantly shirtless Mark Wahlberg, a conceit I was glad that the actor embraced) couldn’t uncouple from one another was a definite standout. It was so much fun to watch, I wished that I was in that car with them. However, I did wish that the side characters had more screen time. For instance, Leighton Meester as the babysitter, Kristen Wiig and Mark Ruffalo as the couple about to get a divorce, Taraji P. Henson (who I love in those “Tyler Perry” movies) as the honest detective, and James Franco (doing his “sparkly eyes” thing that I’m always impressed with) and Mila Kunis as the weird but hilarious couple involved in blackmail. Nevertheless, the movie was so much fun and the adventures all over New York City reminded me of “Nick and Norah’s Infinite Playlist.” Those who are in the mood for good-natured comedy with a spice of action will definitely enjoy this movie, while fans of Fey and Carell will undoubtedly be happy with it.