Director: Michael Bay
Writers: Christopher Markus and Stephen McFeely; based on the magazine articles by Pete Collins
Stars: Mark Wahlberg, Dwayne Johnson, Anthony Mackie, and Tony Shalhoub

Synopsis: Bodbybuilders Daniel Lugo (Wahlberg) and Adrian Doorbal (Mackie) team up with ex-con Paul Doyle (Johnson) to live the American dream by stealing someone else’s life (Shaloub) and making it their own.

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DIRECTION

Pain & Gain is not exactly an ineptly directed film, but it walks too fine a line to say so with certainty. Michael Bay is neither in nor out of his element with this film. Pain & Gain appears to be Bay’s first attempt at a legitimate dramatic film, one he hopes the critics won’t scoff at; unfortunately, no scoffing has been avoided. Bay graduates his film shots and editing techniques in Pain & Gain (by actually keeping scenes on a screen for longer than 3 seconds), yet the movie still doesn’t know what it is. Is Pain & Gain a docudrama? Is it hyperbole? Is it satire? Is it good? Is it crap? The answer for each question: yes! Pain & Gain is too varied in quality and technique for it to work as a comprehensive film. There are scenes that work phenomenally on their own (e.g. the opening sequence, Doyle’s backstory, Ken Jeong’s scene). But a movie cannot hold up based just on the strength of a few of its parts. Unfortunately, Pain & Gain is a movie to watch highlights of on YouTube rather than watch in a linear fashion.

Grade: D

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SCRIPT

As poor a job as Bay directed Pain & Gain, not all blame lies on his shoulders. Much of the film’s fault is its writing. The script was penned by Christopher Markus and Stephen McFeely, who attempt to tell a black comedy version of horrific (and idiotic) real-life events a la Fargo. The story is was written for them and it is a fantastic story! Mostly, though, Markus and McFeely just give it an angle, a fresh spin. However, when the film comes together, much of what they intended as satiric or piercing just falls flat and leaves the viewer with a sour stomach. The other flaw of the script is the dialogue. Pain & Gain‘s script teeters between grace and  chaos, as if part of a half-done infinite monkey experiment. Pain & Gain may have been a better movie if it was told in a routine dramatic style but unfortunately the wrong creative lens taints it.

Grade: C

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PERFORMANCES

A stronger point of Pain & Gain is its performances. Despite being fed inane lines and given bipolar direction, the lead actors go out in a blaze of glory. Mark Wahlberg as Lugo is a trip to watch. He is utterly convinced he is this character. From his accent to his mannerisms to his muscles, Wahlberg is Lugo. Dwayne Johnson makes a valiant effort as the lovable, morally torn sidekick. Although his character becomes flat by the end of the film, some of his early scenes, Johnson portrays a range previously unseen in film going from action mode to comedy to tenderness to rage. Anthony Mackie’s portrayal of Adrian Doorbal is also notable. Mackie is a veteran yet mostly unknown actor. Similar to Wahlberg, he is his character. He has little emotional range, but he’s convinced that he doesn’t have any. Tony Shalhoub also gives a stellar performance as Victor Kershaw, the film’s antagonist. Despite all of the torture Kershaw is put through, Shalhoub plays the character so deftly that you still have no sympathy for Kershaw even though moral wisdom says the audience should. Supporting performances by Ken Jeong and Rob Corddry are two of the best in the film, playing well against and with type, respectively. Pain & Gain is also not always helped out by its performances. Rebel Wilson’s one-note role as a nurse specializing in male anatomy falls flat when she should be riotous. Additionally, Ed Harris is too low key for his role. The performances in Pain & Gain help to redeem what would have otherwise been a disaster of a film without them.

Grade: B+

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SCORE

Steve Jablonsky’s score is the only true brillance in all of Pain & Gain. (I like it so much, I’m actually listening to it right now as a write this review.) The score keeps a consistent dramatic tone even when the movie does not. Jablonsky’s use of electronic drum beats and far off strings create an unsettling feeling for the listener and heighten much of the unpleasant nature of the film. The opening piece “I’m Big” captured my ears and heart so fully that I knew I didn’t care how good or bad Pain & Gain was I would at least watch the movie with my eyes closed. And that’s my advice to viewers: the best way to experience Pain & Gain is buy the soundtrack!

Grade: A

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Overall Grade: C

Director: Danny Boyle
Writers: Joe Ahearne, John Hodge
Stars: James McAvoy, Vincent Cassel, Rosario Dawson

Synopsis: An art auctioneer who has become mixed up with a group of criminals partners with a hypnotherapist in order to recover a lost painting.

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DIRECTION
I usually love Danny Boyle as a director and Trance falls into that, “I enjoyed this, but never need to see it again” category. The big reason for that is mostly because of the script though. Trance tries to fall into the Inception, mind-busting, plot-turning kind of film, but it doesn’t quite hold up to that kind of level. The biggest win Boyle has with this film is making you fall into the world of trance he is trying to create. The hypnosis, word-bending shots and cinematography is amazing. He uses a lot of bright vibrant colors and creates an environment that captures you into his world. A lot of the time I wasn’t sure if I was in a trance or if it was real world. Considering the script (which is what brings this down for Boyle), I think Boyle does a good job of keeping you confused and lost, while engaging you with his interesting characters. And his visual style I loved. The performances and the score were also done really well.

Grade: B+

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SCRIPT
I have a love/hate relationship with this script. The characters are very interesting to me. I love Rosario Dawson and James McVoy’s characters as they are looking for something very specific. McVoy is confused and trying to figure out who he is, which up until the end you’re not really sure. Dawson on the other hand is fighting for who she is after a tragic circumstance and her craft is very manipulative. The dialouge with Dawsons character is amazing and Boyle does a great job of using it to provoke certain emotions. I love how, in the middle of crazy circumstance, their stories are intertwined which keeps the story in a vibrant spot. That being said, it rely’s heavily on coincidences and the ending ruins the first hour and half. When the script starts bring itself together, it more or less loses itself and the story could of just been told in 20 minutes. Where Inception has it’s twists and turn, it leaves you with an understanding of where the character is while leaving it open ended, which worked great. Not that Trance had to have the same ending, I feel like the story took way too much time to get to what was really a set of circumstances that were manipulated.

Grade: B-

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PERFORMANCES
I thought the performances were pretty good and I was really drawn in to Dawson’s character, Elizabeth. Her words and actions really put you on the couch sort of speak and I felt like I was in the world of Trance with her character. James McAvoy was good too but I didn’t really care for his character much. I think he does a great job of making you feel like you’re on his side though. Vincent Cassel does a great also and the tables turn on his character is some ways that are pretty unconventional. The other supporting cast is pretty average for the most part. Dawson stands out the most to me here though and it doesn’t hurt that I love her character the most.

Grade: B

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SCORE
Rick Smith’s score is amazing. It’s got a strong, underground dance vibe which is very fitting to the movie. It’s electronic in nature with some serious tones where appropriate. The final 20 minutes of the film is easily the best part though. It ramps up so appropriately and is so engaging. It’s a fun listen to outside of the film and is one of my favorites so far in 2013.

Grade: A-

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Overall Grade: B-