Matthew McConaughey & Jared Leto Make DALLAS BUYER’S CLUB Worth Joining

Now playing at an indie arthouse near you:



DALLAS BUYER'S CLUB

(Dir. Jean-Marc Vallée, 2013)

Because of his strong performances in BERNIE, KILLER JOE, MAGIC MIKE, and even THE PAPERBOY, last year I tweeted: “I think 2012 may go down in movie history as the year Matthew McConaughey started to give a shit again.”



I stand by that statement, as the man puts in some of his finest work yet here as Texan Ron Woodroof, a real-life AIDs victim who distributed alternate illegal medication through a homegrown buyer's club in the mid '80s to early '90s.



When we first meet the scrawny mustached Woodroof, we see that he's a redneck who's all about rodeo, that is, when he's not working his day job as an electrician. The Texan (as is McConaughey) is livin' it up with cheap booze and cheaper women, until one day where he gets electrocuted on the job and wakes up in hospital and is by told that he's HIV-positive.



Woodroof, furiously complaining that this is a mistake because he's not a homosexual, throws papers at his physicians (Jennifer Garner and Denis O'Hare) from their charts around the room, and angrily storms out after saying: “I got a newsflash for y'all, there's nothing out there that could kill Ron Woodroof in 30 days!”



After doing some research and having some effective flickered flashbacks about just how sordid some of his partying was with intravenous drug use and all, Woodroof accepts his predicament and goes looking for treatment. He learns through the help of a disgraced doctor in Mexico (an almost unrecognizable Griffin Dunne) that the only AIDS drug legally available at the time, AZT, is poisonous, so he begins the business of transporting unapproved anti-viral meds across the Mexican border.



Speaking of almost unrecognizable, Jared Leto, in feminine makeup and tacky '80s tramp garb, shows up as a transsexual AIDs patient named Rayon, who forms an unlikely friendship with Ron. Well, actually it's pretty likely in an indie film context like this.



Both McConaughey and Leto both put their all into their roles, including the loss of 80 pounds between them to inhabit these characters, but the narrative isn't well served by choppy plotting and one too many throwaway scenes.



In one such scene, McConaughey's Woodroof tries to masturbate using the visual stimuli of photos of woman on the walls of his makeshift hotel room office only to get pissed off at a picture of T. Rex rock star Marc Bolan that Leto's Rayon taped up.



Or another in which McConaughey spies an attractive woman in line for treatment at his office, checks if she's HIV-positive, then it cuts to him having sex with her in the bathroom. This was more amusing but just as expendable, as these scenes do nothing by confirm what we already know - our protagonist is still not queer. These bits would be better as deleted scenes on the later Blu ray/DVD release, not cluttering up the storyline.



But overall there are enough weighty moments and excellent acting (even Garner brings a touching well-placed poise I've never witnessed from her before) to satisfy most movie-goers and create some deserved award season buzz.



With a more focused less erratic screenplay, DALLAS BUYER'S CLUB could've had a lot more power, but alongside a well chosen supporting cast McConaughey and Leto's invested performances shine through the movie's muddiness.

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ARTHUR: Not Completely Artless, But Still Extremely Annoying

ARTHUR (Dir. Jason Winer, 2011)




The one and only improvement that this remake of the fine but slight 1981 Dudley Moore comedy contains is that rich drunken playboy Arthur Bach doesn’t cackle obnoxiously at his own jokes throughout the entire movie.

That’s not to say that Russell Brand isn’t obnoxious in the role, don’t get me wrong. He really is.

Brand's schtick gets increasingly more annoying as the film progresses through its lazily arranged set-pieces, that stick closely to the original’s basic plot points, even recycling key dialogue, and even touches on elements of the 1988 sequel (i.e. Arthur tries to get sober and get a job).

The film does have a handful of decent one-liners mostly in the exchanges between Brand and Helen Mirren as Arthur’s nanny, but they’re not enough to justify this rancid re-imagining.

So Arthur is stuck in the pickle of having to marry a woman he’s not in love with (Jennifer Garner) or else losing his family fortune of $900 million. Indie “it” girl Greta Gerwig gets mixed up in this in the role formerly played by Liza Minnelli, but the character is now an unlicensed NYC tour-guide instead of a shoplifting waitress.

It was an inspired choice, one of the film’s few, to cast the Oscar winning Mirren, in a gender/job title change from butler to nanny, as Hobson, the role that won an Oscar for John Gielgud way back in the day. Her stern and acidic performance really helps the film through some tedious stretches.

Gerwig does good work with what she’s given, but there’s zero chemistry between her and Brand. Her aspiring children’s book author character is just a convention, and the film really isn’t very interested in her. Nor Garner, whose part is pretty insulting especially in the film’s worst bit – a sitcom-style bedroom scene that has the actress in a metal corset stuck to the bottom of Brand’s magnetic bed.

For some reason Nick Nolte appears as Garner’s grizzled father, and I don’t think I’ve seen him invested less in a part. Ditto Geraldine James as Brand’s disapproving mother, a thankless role in a movie full of them.

None of those other roles matter, of course, because it’s Brand’s show. He gets to slosh around doing wacky things like dressing up as Batman with his chauffeur (an extremely mis-used Luis Guzmán) as Robin leading the police in a high-speed chase in the Batmobile, drive the BACK TO THE FUTURE Delorean (he collects movie cars, you see), and strut down the street wearing President Lincoln’s top hat, coat, and cane he just purchased at an auction.

Unfortunately none of this is very funny, and Brand can be funny (see FORGETTING SARAH MARSHALL and bits of GET HIM TO THE GREEK), but this role which I admit looked good on paper, is just too broad, too obvious, and much too irritating to elicit genuine laughter. It’s just too painfully apparent and Brand just simply doesn’t have the ginormous charm that Dudley Moore had – I mean, the original was a vehicle completely built around that charm.

ARTHUR '11 is such a predictable conventional modernized rehash, that I’m surprised there wasn’t a remix of the theme song from the original (Christopher Cross’s “Arthur’s Theme ‘Best That You Can Do’”) with a well known hip hop artist rapping over it about his billionaire boy Arthur and how he rolls.

BTW this new ARTHUR does feature the inevitable cover of “Arthur’s Theme” by Fitz and the Tantrums, which now joins the film it graces in the bulging file of unnecessary remakes.

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