Category Archives: Dark Humor

Movie Review: Cyrus

And now everyone, time to breath that collective sigh of fresh air. “Cyrus” has arrived. It’s a comedy that’s not too ridiculous, and a drama that’s not too, well, overly dramatic; it’s just right. But then again, it’s also ever so wrong.

“Cyrus” is a little less of the screwball comedy you might’ve been hoping for. It’s humor is dark and very, very awkward. Cyrus, the man of the movie, isn’t even the main character. Rather, it’s John (John C. Reilly). John has been divorced from his ex-wife, Jamie (Catherine Keener), for seven years. While Jamie has happily recovered, John remains alone and devastated. After Jamie convinces him to go out one night, he meets Molly (Marisa Tomei).
At first, Molly seems perfect. She’s made John the happiest he’s been in years. But something must be wrong. Yep, there’s a problem. Molly has a grown son, the titular Cyrus (Jonah Hill). Cyrus was home schooled and he maintains a too-close-for-comfort relationship with his mother. He’s prone to panic attacks, and behind his sweet cover, he’s quite the sociopath.
Cyrus is no fan of John. He wants his mother back, and he’ll do anything to do so. John needs Molly, but he’ll have to get by Cyrus first.
“Cyrus” is not quite the movie I was expecting. I don’t mean this in a bad way. I mean that it’s more genuine, and more emotionally moving than I ever thought it would be. It handles a lot of characters that walked a thin line between character and caricature. Yet, each one fell into the former category. Despite the title, each character is handled with similar care, and each get their own sort of moment to stand out.
It might be emotional with all of the various character revelations. But don’t get me wrong, “Cyrus” is better comedy than almost anything that’s come out in some time. The laughs sometimes come from the dialogue, which often seems improvised. But it really derives from every character, and to truly get the humor of the film, you must become invested in the characters.
The story of “Cyrus” is bettered further by excellent acting. After a string of great comedic performances, Reilly returns to more dramatic form, while bringing in much comedic voice. He brings to his role some extra awkwardness, as well as this often child-like sense of vulnerability. Yes, you could totally see how this is the same actor from “Step Brothers.” Just think of it as another great comedic actors bending their comic acts into dramatic territory. Think of Adam Sandler in “Punch Drunk Love,” or Ben Stiller in “Greenberg.”
Someone who manages to be even better is Hill. Yes, he’s that good. Like Reilly, he packs in so much awkwardness. But his performance is also so dark, and so haunted. The point of his character is that his true motives are so hidden. He manages to be so sheltered, yet at times so open and honest. At times, he’s creepy beyond belief. Other times, you feel like you just want to sit down with him and sympathize. And the other great performance comes from Tomei. Between this, “My Cousin Vinny,” and “The Wrestler,” she proves she can play any character.
“Cyrus” embodies the newer genre known as Mumblecore. It’s basically exactly what the word suggests: quiet, and delightfully aimless. For a dialogue driven film, it certainly contains a handful of quiet moments that suggest much more beyond the surface. So please, pay very close attention to those facial expressions. You might see a smile, but look closer, and maybe you’ll see much suppressed anger.

The Duplass Brothers have mastered a style of both extreme awkwardness and a dominant feeling of being uncomfortably real. You can see that by their very odd yet innovative camera style. The camera never quite stays still. Even when focusing on one character, it still jiggles around and constantly goes in and out of focus.

It is also worth noting how the film’s title character isn’t even given a first person perspective. However, he may very well be the main character. Perhaps the film is about how all of these different people see “Cyrus.” Or maybe it’s about how Cyrus’s horrible actions cause people’s lives to fall apart. One thing is certain though: his character is too mysterious, and his inner workings too creepy, to be given a first person voice. It’s more entertaining to try and understand his thoughts and motives as the rest of the characters do.

As you watch more and more movies, even when watching a good one, you still get a sense that you can take past films as precedent and know exactly where the movie you’re watching is headed. “Cyrus” is resistant to that. It’s not trying to impress, and it’s not even trying to get you to like the characters. That comes out of your own opinion. It doesn’t even end on a note of certainty. There is a feeling of certainty that we know what will happen to the characters next, but we don’t need to see it. It will just…happen.

“Cyrus” is as real and funny as the people you know, or the people you never wanted to know. It proves that a raunchy joke, or a grown man standing in nothing but a t-shirt and holding a giant knife, can be funny and sophisticated. Oh, and I’ll emphasize once again that it’s weird. However, it’s the kind of weirdness that feels so unique. More directors should be like the Duplass Brothers: not afraid of throwing away Hollywood convention in order to tell a perfectly good story.

Movie Review: The Informant!

The poster for “The Informant!,” at first glance, reminded me of the poster for “The 40 Year Old Virgin.” Not only did both include two overly jolly men, but there was just something about them that made me happy every time I looked at them. Like the poster for “Virgin,” there was something so incredibly funny, and so incredibly strange about the poster for “The Informant!” that I just had to see it. It turns out, the movie is both of these things, in ways different than you might imagine.

“The Informant!” is based on the true story of one of the biggest (and weirdest) financial frauds in American history. However, it tends to take its history quite lightly. After a title card informs us that the film is based on a true story, we are treated to the sentence “So there.” Off the bat we are being told to expect nothing short of a comedic version of true events.
The corporate fraud focused on in the film is that of the major price fixing [Editor's Note: Please, don't make me try to explain what that is] that took place in the early 1990s at the Illinois food processing company Archer Daniels Midland (ADM). The seemingly innocent biochemist turned businessman Mark Whitacre (Matt Damon) becomes an informant for the FBI, who looks to bust the company. However, agents Bob Herndon (Joel McHale) and Brian Shepard (Scott Bakula) soon realize that Whitacre’s ineptitude might get them into more trouble than they could have ever imagined.
Commercials for “The Informant!” have made it out to be purely comical. While the film is hilarious at times, it’s not as much as a comedy as you might expect. While director Steven Soderbergh could’ve taken this exact same story and turned it into a dramatic, suspensful thriller on the level of “The Departed” or his own “Traffic.” Instead, he twisted it around and turned it into a light-hearted, comedic thriller with serious undertones. I’m happy he decided to take this path. Had the film been more serious, it probably would’ve seemed much less original.
Parts of “The Informant!” feel like a tribute to the great film noir of the past. Everything from the opening credit font, to the tangled web lies, feels right out of the paranoid thrillers of the 1970s. Meanwhile, the somewhat jazzy musical score could be traced all the way back to “The Maltese Falcon.”
Maybe the greatest reward the film gives is the pleasure of seeing Damon play Marc Whitacre with complete scrutiny. Damon pulled a De Niro for this performance and gained over 30 pounds to fully embody the everyday schlub that Whitacre truly was. In his performance, Damon is funny at all the right moments, tricky at all the right moments, and serious and self reflective at all the right moments. But most importantly, he always looks like he’s just having a good time in the role. When it doesn’t look like an actor is having a good time in a comedy, you know you’re in trouble. Damon looks like he’s having a blast.
Making up the rest of the ensemble are many comedians who now seem to be slipping into more dramatic roles. McHale, who started this week off good with his first real acting job ever in “Community” scores once again, getting one of the film’s biggest laughs with just a small facial expression.
While some perceive the humor to be a little smug and condescending, I remain a firm believer that in a smart film, structure relates to function. And here, the function is to almost give us the feeling of how overly smug some of the men must’ve been, thinking that even as they drew themselves closer and closer to being caught, that they remained invincible. Also fascinating is Whitacre’s narration. It doesn’t really do much to enhance the story or give us background details, it is basically just a stream of consciousness. It gives us a feeling of what goes through Whitacre’s head everyday. However, some of these details may actually be important. Or they may not. Maybe they’re just leading us into a big trap. The truth never is what it seems.
As the great line in “Some Like it Hot” goes: “Well, nobody’s perfect.” “The Informant!” certainly isn’t. It doesn’t really get interesting until the FBI gets involved, and often times its not as funny as it thinks it is. But it was one thing: really entertaining. It is so rare that you see a movie like “The Informant!” that provides the audience entertainment in a sophisticated and adult way. It is hip, yet it is also versed in the classics. It provides a history lesson without putting its audience to sleep.
But after all is said and done, you know what the funniest part of the film is? The fact that the real joke of the film is on you.
Recommended for Fans of: Sex, Lies, and Videotape, Catch Me If You Can, Wall Street, Traffic, The French Connection, The Maltese Falcon, Chinatown