Video review: "A Star Is Born"

The luster of “A Star Is Born” has faded somewhat since it opened in theaters, going from box office hit and surefire Oscar favorite to something of the ignored cousin in the awards season.

Everybody likes it, but not enough to actually win the gold.

Lady Gaga in particular has been blanked in most of the high-profile awards for her role as Ally, a plucky nobody who goes from dive bar crooner to pop star sensation in record time. I thought she was very good in the role, a real-life contender for “most famous person in the world” believably portraying someone who’s gobsmacked by her sudden fame.

But for me, Bradley Cooper quietly steals the show as Jackson Maine, the boozy country/rock singer who gives Ally a rocket ride to fame, only to see their relationship suffer when her rising star eclipses his fading one. There’s an unspoken ache to his performance that I found just riveting.

This is the fourth time this story has been told, with iterations in the 1930s, ‘50s and ‘70s prior to this one. (I’ve only seen the first.)

That lends the movie an ageless quality, yet it also felt very fresh and urgent to these eyes. What I took away from the experience is a more nuanced look at fame than we usually see in the movies. Regular folks hear about the substance abuse and mental health problems of celebrities and wished they could be so cursed with wealth and stature.

But Cooper, who directed and co-wrote the script with Eric Roth and Will Fetters, gives us an insider’s look at how normal life becomes warped by fame into an upside-down, inside-out travail that would crush most people.

With terrific songs (most written or co-written by Gaga), a pair of standout lead performances and a stellar supporting turn by Sam Elliott as Jackson’s older brother, “A Star Is Born” is a prime example that even though Hollywood constantly repeats itself, it can still provide indelible experiences along the way.

Video extras are decent, and decidedly music-heavy. This includes music videos of four songs -- “Shallow,” “Always Remember Us This Way,” “Look What I Found” and “I’ll Never Love Again” -- as well as jam sessions of three more: “Baby What You Want Me To Do,” “Midnight Special” and “Is That Alright.”

There’s also a making-of documentary, “The Road to Stardom.”

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Review: "A Star Is Born"

What’s it like to become famous? “A Star Is Born” provides as close an approximation as us peasants are ever apt to experience.

It’s a story of being a nobody and feeling all alone and ignored, and then suddenly there are people all around you constantly telling you what you should do and strangers acting as if they know you.

Lady Gaga, arguably the most famous singer in the world -- if it’s not her, then it’s Beyonce, who was originally in talks for this role -- plays a regular girl, Ally, who goes from crooning in a dive drag bar to the biggest stage in the world.

As with the three previous film versions of this story, the young star is helped along through their romance with an older big star, who eventually sees theirs become eclipsed and grows resentful. I’ve only ever seen the 1937 original and not the musical versions starring Judy Garland and Barbara Streisand from the 1950s and ‘70s, respectively.

Here Gaga’s co-star is Bradley Cooper, who also jumps into the director’s chair for the first time, as well as co-writing the script with Eric Roth and Will Fetters. I’m sure it will be Gaga who gets most of the attention, in a big showy performance that meshes well with her massive star persona. She wrote or co-wrote many of the songs in the movie, and at least a handful are showstoppers.

But it’s Cooper who grabbed my heart in a stricken performance as Jackson Maine, a boozy rocker/cowboy who everybody sees as the golden boy but really feels like a star-crossed loser in his heart. It’s as fine and sensitive performance as he’s ever given, and should be remembered during the awards season.

Cooper also proves to be a more than passable singer, belting out hard-edged rock tunes with a country tinge, as well playing the guitar (or miming doing so) quite believably.

He drops his voice into the basement, chewing his dialogue in a rich, deep burr that immediately made me think of Sam Elliott, which makes sense since he plays Jackson’s much older half-brother.

They used to sing together, but Bobby has now become the tour manager-slash-troubleshooter. Resentments abound -- about the music, the sweaty state fairs where they play, the hearing loss that secretly plagues Jackson. (I identified with him, trying to play it cool while having to ask people to repeat themselves.)

When Jackson stops off in a bar for a drink after one of his shows, he’s ensorcelled by Ally, belting out a saucy version of “La Vie En Rose” while handing out flowers. They spend a magical night drinking, talking, flirting and singing. Next thing she knows Ally has been flown in by jet for his next concert, invited on stage and made to sing one of her songs -- which no one’s heard before -- to a crowd of thousands.

The story is pretty languid and magical the first half, as her star blooms. The second half of the movie flies by very quickly as Ally goes from featured singer in Jackson’s band to a pop sensation all on her own, assisted by Rez (Rafi Gabron), a brilliant but mercenary manager.

This is the rare movie that, even at 135 minutes, could have stood to be a little longer.

The electricity between Gaga and Cooper is undeniable. It’s also fascinating to watch their relationship morph. In the beginning he’s clearly in charge, enjoying granting her a moment in the sun. Later, as his boozing outstrips his talent, Ally becomes the caretaker.

In one memorable scene, they cuddle on a balcony overlooking a massive billboard of her face just before her first album hits. He whispers in her ear to stay true to herself as an artist, not to lose herself in the hype the way he did.

It’s easy to look at all the drinking, drugs and partying and wonder why so many famous people throw their talents away. “A Star Is Born” invites inside the rarest of bubbles and helps us grasp the intense pressure that comes with having to perform. The biggest names often hide the most vulnerable souls.

Video Review: "Extremely Loud and Incredibly Close"

"Extremely Loud and Incredibly Close" is probably the most disrespected film ever nominated for a Best Picture Oscar.

This challenging drama was directed by high-toned director Stephen Daldry ("Billy Elliot," "The Reader") and adapted from Jonathan Safran Foer’s best-selling novel by screenwriter Eric Roth ("Forrest Gump"). Despite that prestigious pedigree, and the presence of major stars Tom Hanks and Sandra Bullock, "Loud" barely received a theatrical release. And reviews generally ranged from indifferent to openly hostile.

Me? I rushed it into the #3 slot on my Top 10 slot at the last minute.

Those lambasting the film seem to regard it as cynically manipulating the decade-old tragedy of 9/11, as a young boy searches the city of New York for clues to a game he played with his father, who died in the World Trade Center. I think these critics erroneously tried to force the label of "the definitive 9/11 movie" on the film, when really it's more a ruminative tale about a very specific, very unusual child.

As played with devastating effect by newcomer Thomas Horn, Oskar Schell is a brilliant but shy boy, possibly autistic, whose only substantial human relationship was with his dad (Hanks). When he dies, Oskar doggedly pursues the mystery behind one of the puzzle-like adventures his father would concoct for him, mostly as a ruse to force him to interact with other people.

As he traipses all around New York, encountering strangers and learning to come out of his shell, Oskar retraces the steps of his family life, and discovers that the mother he’d always kept at a distance is anything but uncaring. It’s a bracing, sad and joyous journey.

Video extras are pretty good, but not spectacular. The Blu-ray/DVD combo comes with a digital copy of the film and several featurettes.

The heart of the package is a making-of documentary that includes substantial participation by Daldry, his cast and crew. Other mini-documentaries focus on the search for an actor to play Oskar – Horn was, astonishingly, a total novice – and the lasting impact of 9/11 10 years later.

One of the more original pieces is a featurette about Max Von Sydow’s Oscar-nominated turn as a mute stranger who wanders into Oskar’s life, directed by Von Sydow’s own son.

Movie: 3.5 stars out of four
Extras: 3 stars

Review: "Extremely Loud and Incredibly Close"

"Extremely Loud and Incredibly Close" is not the story of a conventional Everyman as a child -- Oskar Schell is no Everyboy.

No, Oskar is an extraordinary lad -- a smart, painfully shy boy. His only really deep human connection is with his father (Tom Hanks), who recognizes the specialness of his child not as a disadvantage to be regretted but an opportunity to draw him closer and nudge Oskar toward a rich life shared with others. Thomas Schell was a failed biochemist who became a jeweler, but whose real occupation was a Biblical sort of shepherd, tending to a flock of one.

But the elder Schell dies in the 9/11 attack on the World Trade Center, and Oskar is left utterly alone. True, his mother (Sandra Bullock) is technically present, but Oskar correctly labels her an absentee parent. That's the sort of kid Oskar is: he knows what an absentee parent is, and he's hurting so badly inside he lashes out at his mother by telling her to her face that she's a failed mom.

"Extremely Loud and Incredibly Close" is based on the novel by Jonathan Safran Foer, adapted for the screen by Eric Roth ("Forrest Gump") and directed by Stephen Daldry, who has made four feature films, all of which I've loved ("The Hours," "The Reader" and "Billy Elliot" are the previous three.)

It is not a movie that consciously tries to be "the" film about 9/11 -- what Oskar refers to simply as "The Worst Day." But in its stark exploration of wrenching loss and the capricious way human lives collide with each other, it best captures the emotional vacuum felt by an entire nation more than 11 years ago, and to a lessening degree since.

Oskar's father often assigned adventurous tasks, or "expeditions" to him. Ostensibly scientific undertakings, they were really exercises designed to force Oskar to interact with new people and explore the real world around him. Precocious and earnest, Oskar recognizes the true meaning of these assignments, but still tackles them with enthusiasm because he so adores his father.

Shortly before his death, Oskar's dad set before him the grandest expedition of all: discovering the mythical 6th borough of Manhattan. This mission takes on new meaning when the boy discovers a key hidden inside a vase in his father's untouched closet. Unmarked, with only the cryptic word "Black" printed on a piece of paper, Oskar concludes this clue must unlock the puzzle of Thomas Schell's death.

With great deliberateness, Oskar sets out to the far reaches of New York City, attempting to interview every person named Black to see if they know about the mystery of the key. Since Oskar suffers panic attacks at the mere prospect of mass transit, he will walk everywhere he needs to go on his free Saturdays. He calculates it will take him three years, which in his unadorned narration Oskar recognizes is his way of extending the time he gets to spend with his father, or at least his fading memory.

With such a non-traditional protagonist, I was not surprised to learn that Thomas Horn, the amazing young actor who portrays him, came to this film project in an atypical way. This is his first acting credit of any sort; he was discovered after winning a tournament of "Teen Jeopardy" at the age of 12. Like Hailee Steinfeld in "True Grit" or Haley Joel Osment in "The Sixth Sense," this is the sort of performance that feels almost ethereal is its ability to tap such emotional depths and complex inner thoughts in one so young.

Other able performers turn up in supporting roles. Viola Davis plays the first woman Oskar encounters in his travels, one who has suffered her own recent loss. Jeffrey Wright plays a businessman mourning the death of his own father. John Goodman is the security guard at Oskar's building who trades good-natured insults with him. Max von Sydow turns up as the mysterious, silent man living as a renter in his grandmother's apartment right across the way, who takes an unexpected role in the boy's quest.

Bullock's role as the distraught mother struggling to come to grips with her son's odd acting out would seem to be a thankless one, but later on she shines a new light on their relationship that shocks even  young Oskar.

"Extremely Loud and Incredibly Close" hasn't been in the conversation of the best films of the year, but it deserves to be. It's a viscerally enthralling story about a singular boy trying to find his place in the world when his only anchor is ripped away. What a journey -- Oskar's, and ours.

3.5 stars out of four