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9 Director Darren Aronofsky (Requiem For a Dream, Pi) has been known to make tough to market, gritty, hard hitting dramas and in a lot of ways The Wrestler fits that profile. Still, this film finds Aronofsky painting a poetic, and tragic, picture of a washedup has-been. First things first: Mickey Rourke. There has been a lot of buzz about his performance in this film and his win at the Golden Globes cemented what many critics have been saying. The question then is “Does Mickey Rourke’s performance live up to the hype?” The answer requires no thought: “yes”. Rourke’s portrayal of Randy “The Ram” Robinson is absolutely heart wrenching. It is stunningly nuanced and The Ram comes to life in a way very few characters do. Every single moment of his experiences is felt with him. It isn’t much of a stretch to think of Rourke as a has-been and there is the hint he is channeling himself for this role. I hate to beat a dead horse but this is truly one of the best performances I’ve ever watched. The Wrestler focuses on the aforementioned Randy who was a household name wrestling in the 80’s but is now into his 50’s and wrestling small time shows on the weekends. He affords living, in a trailer by himself, by working in the stock room of a grocery store and he spends his nights visiting a strip club in an attempt to woo a stripper (Marisa Tomei). A heart attack, which occurs after a particularly brutal scene involving a staple gun, ends-up ending his ability to wrestle “safely” so he attempts to fix his broken life. He reaches out to his estranged daughter (Evan Rachel Wood) and takes full-time hours behind the deli counter of his supermarket. Despite his earnest desire to fix things, a potential rematch with his 80’s rival looms overhead tempting him to regain his glory. By Mike Cresci This film has been somewhat misrepresented in that it doesn’t focus on an athlete’s comeback but rather his attempt to have a life without wrestling. Evan Rachel Wood only has a few scenes but they are incredibly impactful and filled with raw emotion. Her three appearances are among the most memorable and painful portions of the film and really nail the relationship between a daughter and the man who was never there for her. What impressed me most were the wrestling matches. It’s hard to take anything prowrestling related seriously, yet Aronofsky is masterful in giving the scenes a ferocious feel, showing aspects of wrestling that are all too real, and displaying the loss of dignity the profession entails. At first glance many of the strip club and wrestling scenes appear needless and simply there to pass time. One might think they merely try to entertain with violence and nudity but at deeper examination you see that these moments define their characters. Tomei and Rourke do a beautiful job of showing the pathetic nature of these two characters and their desperation for money and pride. There were very few problems with the film and I would need another viewing to find them because none stick in my mind, but I can see where this movie would turn off the casual moviegoer. While beautifully shot and a gritty character study, it lacks the universal appeal of something like Slumdog Millionaire. Still, watching it was a visceral experience and I felt every emotion Aronofsky was pushing for. The ending, without giving too much away, is simple, tragic, poetic, and beautiful. You really feel it in your gut and Rourke’s last monologue is played down but poignant. The scene gave me chills. I’ve fought the urge to make a wrestling pun long enough so I have to sum it up by saying The Wrestler is, a beautifully told, emotional body slam.
The Last House on the Left- March 13 An innovative twist on the 1972 Wes Craven film, a gang of escapee convicts find themselves in the company of the parents of Mari Collingwood; one of the women they kidnapped and brutally assaulted. Her parents welcome them, embarking on a twisted and painful mission of revenge using methods of merciless torture. Sunshine Cleaning- March 27 In an attempt to make some money and a name for themselves, two sisters—played by Amy Adams and Emily Blunt— begin a crime scene cleanup business. Along the way, they grow closer and stronger as sisters and individuals. The film previewed at Sundance last year. I Love you, Man- March 20 Peter (Paul Rudd) is newly engaged, but after a lifetime of having “girl friends” is without a best man. On his hilarious mission to find one through various “man-dates”, he finds a new friend in Sydney (Jason Segal), which ultimately puts a strain on his relationship with his fiancée. Duplicity- March 20 As sexy story of deception, Clive Owen and Julia Roberts play two scheming corporate spies. Despite their lust-filled past, they join forces and use their intelligence skills to make a fortune by pulling a con on their feuding corporate-giant. By Paige Zangoglia 10
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