Tag Archives: Ron Livingston

Drinking Buddies (2013)

Drinking Buddies (2013)

Romance on screen usually ends with two mismatched people discovering how made for each other they truly are. They’ll meet, hate each other from the get-go, but their paths are destined to overlap across various set pieces until the inevitable romance blossoms. The central relationship in Drinking Buddies (2013, 90 mins) flies in the face of convention and introduces us to two friends — one male, one female — who are attracted to each other from the start although see themselves as just being friends.

Kate (Olivia Wilde) and Luke (Jake Johnson) both work in a Chicago microbrewery. Their working day — apart from work — consists of joking, chatting, and drinking beer. When the working day is over the brewers head on a busman’s holiday to the pub where they play pool and down beers. The chat and jokes go on and it seems obvious, as Kate and Luke gravitate to each other, that the stars have their future all sewn up.

The problem is that both are in separate relationships. It’s early days for Kate and Chris (Ron Livingston), who seem slightly mismatched, his serious nature uncomfortable against her free spirit. Luke and Jill (Anna Kendrick) also appear wrong for each other as their wedding plans are in the process of becoming more concrete. During one weekend they stay at a beach house where these different personalities align themselves. Platonically, of course. But it sets in motion the impetus that buzzes along in the background of this film.

There’s little cinematic about Drinking Buddies. No big explosions. No thrilling twists. Instead it feels an intimate invitation into its characters’ world where we observe their minutiae. It’s a realistic take on relationships, the conversations between friends, colleagues, and partners delving into their thoughts and worries. Throw alcohol into the mix — and barely a chat goes by without a beer in hand —  and we get a loosening of tongues that allow the conversations to go beyond where they would sober. The beer may bring crazy impulses or thoughts to the forefront of minds, but the characters are never too drunk to overstep boundaries. The silences that pepper conversations as they hold back are both reflective,  real, and weighed down with truth.

Perhaps much of the real feel comes from its lack of script. While director Joe Swanberg knew where he was going with his story (scenes, development, etc) the dialogue was left to the actors to improvise. Wilde and Johnson have an obvious chemistry as they improvise and it helps with warming to their characters. Best of all is how we gradually see the disintegration of our expectations. While we expect Kate and Luke to shake off their complications and come together what we are instead given is more information that helps us see how unsuited they actually are (Luke’s life is structured while Kate seizes the day) even if they don’t see it themselves.

While Drinking Buddies may be boring to some, it has enough happening in its story to hold interest. Although billed as a romantic comedy it plays as nothing of the sort, instead coming across as a slice of life (well, lives) at crossroads and the decisions that need to be taken, be they grasped by the characters themselves or forced by circumstance. Its focus on relationships forces us to consider whether men and woman can truly just be friends without the sexual attraction that inevitably bubbles under. That line is definitely blurred but there’s an ironic twist in that, through alcohol, things come to seem much clearer.

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The Conjuring (2013)

The Conjuring (2013)

Typically, when a film begins by stating it’s based on a true story then you expect some grounding in the truth. When it comes to the supernatural and the skepticism that runs parallel, it feels an injustice to describe the film so. A true account, perhaps. But a true story? No. However, in a movie that delivers spooky goings on as fact, its veracity is always going to be questionable. Such is The Conjuring (2013, 112 mins.), a movie by James Wan that takes on the haunted house horror trope and delivers a sturdy but generic scarefest that rises above other horror offerings by virtue of their lesser quality.

After an opening gambit involving a possessed doll that serves as introduction to main protagonists, paranormal investigators Ed and Lorraine Warren, the story quickly moves on to the Perron family, a couple (Ron Livingston and Lili Taylor) with five daughters and a dog. It’s Rhode Island, 1971, and the family have picked up an old farmhouse at auction and are in the process of moving in. Minutes barely pass before secret areas are discovered and the dog, exercising a sixth sense, refuses to come inside. Thereafter the disturbances come thick and fast — unnatural bruising, clocks stopping in harmony, doors opening unaided — although the pace never feels rushed. Eventually it all becomes too much for the Perrons, now sleeping communally in the living room, and they call in the Warrens to help.

Ed Warren (Patrick Wilson), a demonologist and clairvoyant wife, Lorraine (Vera Farmiga), whose case files inform the story, move in with the family, seeking evidence of the supernatural so as to convince the Vatican that an exorcism is more than certainly necessary. Some research on the house provides back story to all things bumping in the night. And from there it’s event after event, either supplementing the back story or ratcheting up the frights until the denouement.

Areas where The Conjuring succeeds are twofold. First is the main cast, in so much as they put on convincing displays. Even the children, when experiencing the horrors around them, are individually given time to let their distress shine. When the actors believe, the audience believes too. As a result of this, the quality of acting is greater than can typically be expected from a horror film — perhaps because as a franchise stretches itself thin, with its stars long since abandoning it, roles are filled with lesser actors. Secondly, the scares, while not original, are for the most part solid. While the unsteady camera roams the house, offering up unnerving angles or the sense of always watching or being watched we get traditional scares such as ghosts reflected in mirrors, whispering voices, and doors slamming shut. We’ve seen them all before in countless horror movies. For the most part, they just work better here.

The steadfast focus on scares works however to the movie’s detriment. In looking to frighten his audience Wan neglects to offer a deeper thread that can resonate with the viewer long after the end credits. Perhaps that’s just wishful thinking but it’s a consideration that shouldn’t be brushed aside. With the current slew of horror remakes and spin-offs mostly treading familiar ground, there’s a need for an The Exorcist (1973) to suit our times. A film that goes deeper into exploring the nature of horror. The Conjuring is definitely not that film. Its characters go no deeper than being involved in its action. Possibly because, being angled from the Warrens’ point of view, the Perrons are just another case. What they do and where they go from here is not their concern. But even the Warrens, for all the actors’ efforts, need an extra dimension to truly flesh them out.

In one early scene, while the Warrens lecture a university crowd on their investigations, they suggest that people refer to them as both ‘ghost hunters’ and ‘kooks’. The Conjuring takes a side on this debate, opting for the former description. However, while it’s risible to suggest that the supernatural events depicted in this movie actually happened, a willing suspension of disbelief works in the movie’s favour. It’s a finely seasoned stew of horror tropes that too many kooks don’t spoil.

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