by Sam Juliano
Tom McCarthy has won the trifecta after his third turn at directing, and he’s done so in impressive ascending order. To boot he’s proven he’s exceedingly gifted with actors. After the New Jersey native made a star out of dwarf thespian Peter Dinklage in the off-beat The Station Agent, he took on more audacious subject matter in his moving immigration saga, The Visitor, which yielded the finest performance in veteran Richard Jenkins’ career. Now, with the aptly titled Win Win McCarthy gets two chemistry-fueled top-flight performances from Paul Giamatti and Amy Ryan and a star-making turn from a high school wrestler named Alex Shaffer who was found in a talent search. But performances and deft direction are only a part of the equation as to why this seemingly modestly conceived drama makes a fair claim as the best film of 2011.
A major hit at the Sundance Film Festival, McCarthy’s film is a winning entertainment that weds acute and perceptive social issues with the big emotions that are mostly flubbed in the big-studio fare. It’s the kind of film that is all-too-rare in its consummate artistry, as it is in its feat of making familiar issues fresh and engaging. Win Win is the answer one should pose to those who find all kinds of reasons why they believe American movies lag behind other national cinemas, and it’s a textbook example of how seemingly modest concerns played out on a small stage can yield results so dynamic that the film leaves many more intricate films in the dust as a fully realized emotional experience.
Again setting his film on familiar Garden State turf, McCarthy casts veteran jouneyman Giamatti as small-town lawyer Mike Flaherty, who tries to relieve some money problems by using his influence as an attorney to convince a local magistrate to grant him guardianship over Leo Poplar (Burt Young), a wealthy old man who’s progressing into dementia. Mike likes the old codger, but he takes advantage of the situation, and secretly signs him in at an old-age facility, receiving a $1,500 monthly stipend for his “service.” But the innocuous arrangement yields to some complications when Leo’s teenage grandson Kyle (Shaffer) shows up on his grandad’s no longer inhabited home’s front steps, sporting bleach-blonde hair, smoking a cigarette, and evincing an exceedingly sullen demeanor. He claims he was sent from Ohio to live with his grandfather, but a series of subsequent developments reveal he’s taking refuge from domestic difficulties including a drug rehab stint for his mom, and his own indescretions, including car theft. Taking the story further, it is learned that Kyle was a champion-quality wrestler back home before being expelled from the team. This is a perfect albeit coincidental fit for Mike, who is employed as the local high school’s wrestling coach, a rag-tag unit whose history of success is as rare as Kyle’s losing a match. Before long Kyle is enrolled into the school, and fast becomes the star of the wrestling team, and at home is eventually adored by Mike, his initially-resistant wife Jackie (who resented being left out of the play for the guardianship) and their young daughter. The plot’s emotional underpinnings are brought to the surface in a series of events that involve the unexpected appearance of Kyle’s mom, the uncovering of Mike’s deceit, and the painful repercussions of defeat and the realization that nobody is perfect.
It’s this last revelation that is most tellingly conveyed in McCarthy’s own script based on a story he wrote with Joe Tiboni. Every major character in the film has glaring faults, but there’s still an overriding sense of compassion that guides the decision-making and the moments for forgiveness. Almost inevitably in these economically difficult times money is the reason for the various conflicts in the film, and ironically serves as the framework for the unlikely developments that bring hope and stability to a fragile familial infrastructure on both sides of the divide. These vital domestic matters which include the meaning of responsibility, and how people connect based on needs that are diverse yet mutual, rightly overwhelm the smaller matters connected with the inspirational sports movie. McCarthy knows just how subtly to incorporate these elements into his extraordinarily observant script, and how to minimize them as minor in the larger sphere. And McCarthy’s uncanny ability to cull nuanced humor and wit from his characters, pointing out their flaws, but always accentuating their humanity. Even while some characters have crossed the line in moral terms, they are exonerated within the nornal parameters of their grievances. These are people as delightful as any you’d want to spend 106 minutes with, and one can hardly blame McCarthy for not taking a more rigid position on thie infractions.
Giamatti is as effective here as the well-intentioned but weak-willed lawyer as he was in Sideways and John Adams, but the role is so routinely transcibed that you’d hardly notice anything special. Small town attorneys have run the cinematic gamut from Atticus Finch in To Kill A Mockingbird to Vinny Gambini in My Cousin Vinny and Giamatti’s role likewise has you believing everything he does is for a good purpose. Amy Ryan does a great job showing the overriding nature of maternal instincts and of overcoming her initial prejudices. Most of all, she and Giamatti make the most believable and vulnerable couple we’ve seen in American films in quite a while, and you get the feeling it was achieved effortlessly. As Mike’s pal, Bobby Cannavale is a kind of comic foil, and some of the scenes with assitant coach and office associate Jeffrey Tambor are among the funniest in the film. But the acting find here is Shaffer, a non-professional who most certainly will be reversing that status after this remarkable performance as a once-confident teen, wrackled by familial turmoil and the understandable desire to assert his independence. The spirit of this film is perfectly delineated in a scene when Kyle is seen for the first time displaying his extensive body tatoos. Cannavale points them out and then adds: “They’re freakin cool!” McCarthy reaches the depth of feeling which often trumps the rigid rules and norms that are typical for school behavior. It’s always a delight to see Burt Young, and he lends the film some authenticity as the aging patriarch whose care status is the lynchpin that sets the plot in motion. Melanie Lynskey as Kyle’s mother makes for a very effective bi-polar type, suffering from drug abuse and driven by her own narcissism.
The most ubiquitous aspect of Oliver Bokelberg’s otherwise conventional photography is the use of the close-up which in this film allows the audience to negotiate the prism of pain and frustration that progressively develops. There’s an irony in the film’s title that poses to suggest that financial and/or social success can be coupled with the the virtuous life. I’d prefer to suggest that Win Win can be interpreted more literally: It’s a “win” for the filmmakers and a “win” for the audiences. I’d put a capital letter on both w’s and call it a day.
Stars: ***** (highest rating)
Note: I saw Win Win on Saturday afternoon at 1:00 P.M. at the Angelika Film Center with Lucille and four of the kids (Sammy, Danny, Jillian and Jeremy). The concensus was unanimous in the affirmative, and I launched a wonderful discussion on the way back to Jersey.
Wow Sam. Another five-star rating in a year that’s not even three months old. Love the great review and the subject matter, and have always thought highly of Giamatti. Above all I agree with you on McCarthy. The Visitor is one of my favorite films of recent years.
Thanks Frank. Yes, I’ve already been razzed by Allan by email on the spate of five-star ratings, but to be honest it’s just the way it falls. There are times you can go four, five or six months without a five-star film, and then other times like now where a number appear at once. I do not regret a single rating of those I went the distance with as I will explain piece meal on this and the diary thread. Giamatti and McCarthy is a great collaboration!
I was hoping you’d be reviewing this. I thought it was going to be playing in the local multiplexes, but found it was only in the city. So maybe it will be a one or two week wait. I loved “The Station Agent” and respected “The Visitor.” Looks like McCarthy can do no wrong.
Fred: McCarthy is an inde director who hasn’t reached teh stage yet of a wide release at the outset. Indeed he may never achieve that, nor he may not even care to. I am with you on THE VISITOR, and hope you’ll get a chance on this new film this upcoming weekend. Many thanks as always my friend.
Sam, I had a hunch this was a good film after having seen the trailer twice. First, it’s nice to see Giamatti, an unlikely leading man but very good actor, getting some juicy roles. I haven’t seen The Station Agent but thought The Visitor showed great promise for Todd McCarthy. The boy who plays the kid looked great in what bits and pieces I saw.
Naturally you’d be drawn to a story set in the state of New Jersey, but of course there’s more to it than that.
Just as last year’s Rabbit Hole turned out to be a simpley made, straightforward, but high quality drama, I’m glad to hear we have something of quality to look forward to so early in the filmgoing year. I thoroughly enjoyed your passionate review.
Pierre: I would place a hefty wager that you’ll be singing the praises of this one. I just need to find someone willing to take my action. I also had seen the trailer, and was excited for the film’s release, especially in view of my high regard for McCarthy and Giamatti. And true what you say about suburban New Jersey having some sway with me. Ha! I thought of my experiences in the mid 80’s travelling to Sussex County in the wooden area of northwestern NJ, where I travelled to see my youngest brother (who is now 40) wrestling in the district finals. My brother was good, but he was pinned by a muscular blonde-headed wrestler (I even remember his name was Keith Turner) is about 20 seconds. These mountains boys live, eat and breed wrestling, and they are all business. I saw some of this in Schaffer’s character. But this is an emotionally rich film that stays with you well after you leave the theatre, and it’s surely the equal of that brace of foreign language masterpieces I’ve touted in the past weeks.
Many thanks as always my excellent friend!
I want to see this movie so badly, as much as Tree of Life, Meek’s Cutoff, Another Year or Uncle Boonmee. McCarthy’s first two films were astonishing and human and I’m glad to hear he’s doing well tackling comedy when my other favorite upstart humanists, Anna Boden and Ryan Fleck, slipped with their own foray into funnier fare. I keep looking for Win Win to open around here and will drive well out of my way to see it.
Great to see you here Jake, and I can well understand your wanting to see this one. It’s a film that will win quite a great review from you, and as always your penning of it will be incomparable. I’m definitely on line. I complete agree with you on what you say about the director’s appealing humanism, and with the comparison with those other two. The Malick seems to have every serious cineaste salivating, though typically his eccentric way of handled things has still not resulted in a firm release date. And I know you will beproduce great reviews on UNCLE BOONME and ANOTHER YEAR and am hoping on the Reichart.
My apologies my friend for being MIA as of late. I’ll see you very soon.
Sam – I’ve never seen a movie with Paul Giamatti that I didn’t like, but then your words–“Every major character in the film has glaring faults, but there’s still an overriding sense of compassion that guides the decision-making and the moments for forgiveness”–served to clench the deal for me and land it squarely on our must-see list!
Ah yes, Laurie, that is the one human concern and tendency that rings true with much of the philosophy we’ve seen and have been enriched by over the past months at SPEAKING FROM THE HEART. What I liked the most about WIN WIN is that everyone is likable but flawed. No false sugar-coating and no outright condemnation. McCarthy captures the working stages of the American Dream, which is as always fueled by financial concerns. The entire thrust of the plot centered around this theme. In any case, I completely agree with you on Paul Giamatti, and I do believe you and Len will fall for this one in a big way. But I’ll say no more.
It is much appreciated seeing the avatars of you, Laurie and Jeff above the post. You three are as supportive as any others online!
I read that Shaffer only had one acting experience in a lower grade. I’d have to think that his wrestling time is over and his acting career just started.
I read in Shaffer’s hometown newspaper that he suffered a back injury (unrelated to the filming). I hope this doesn’t limit him in any way, as acting is quite physically demanding.
I agree. I’m sure the scripts will be coming in short order.
Pierre: What you just asserted has indeed been confirmed in that wonderful interview with Shaffer that Terrill (creativepotager) just linked up below!
Yes Joe, his wrestling career is done, with some great things looming for him in the future I’m sure.
I also want to mention that Paul Giamatti is a wonderful actor. I generally enjoy his work… the main reason I went to see the hideously inept Lady In The Water on the big screen. I will definitely check this out soon and your review is passionate and well written as always Sam.
The two +’s in seeing Win Win are Giamatti and Juliano. The one considerable – is The Visitor. A movie I hated and considered a soppy PC bag of shit. God only knows how much I hate liberal guilt (and I’m a liberal).
Hahahaha Maurizio! I thank you exceedingly for that my friend!!!!
Giamatti has really entered the top rank of American actors, and his latest performance here confirms his gift of subtlety. I guess I tolerated LADY IN THE WATER, but really only liked THE VILLAGE in Shyamalan’s lamentable resume. I liked THE VISITOR quite a bit, but I can see what you are saying, and you are hardly the only one who has voiced those objections. I hope you’ll get a chance to see WIN WIN soon my friend!
Sam, I have added “Win Win” to our viewing list. I found this rather sweet and touching interview with Alex Shaffer that might be fun for your readers http://www.makingof.com/posts/watch/3015/alex-shaffer-of-win-win Thanks a bundle as always for giving us a bridge to yet another intriguing film.
Ah Terrill, this was fantastic!!! I just watched and heard the entire thing, and boy this kid is a natural! Glad to hear he wants to persue an acting career! And he corroborated what Pierre said above about the back injury. I really have my finger crossed that you’ll get an opportunity to see this excellent film in one way or another real soon! Thanks so much my very good friend!
Sam, a really nicely written review, especially the analysis of the characters in the movie and McCarthy’s treatment of them. I liked both of McCarthy’s previous films and thought this was their strongest point, something that, as you point out, is rare in movies today with their emphasis on technical gimmickry and the concept of director-as-star. Your recommendation has put this on my to-see list. I’d like to see more reviews by you like this one at WitD!
R.D.:
I really appreciate the kind words and pertinent embellishments, and am thrilled to hear of your considerable respect and fondness for McCarthy’s work. I couldn’t agree with you more. Let’s hope Tom stays put on the independent scene, at least for a few more films. His sensibilities are tailor made for the small and perceptive small-town dramas, though with THE VISITOR he of course widened the scope.
Looking forward to this one, though I’m just a tad skeptical here:
“this seemingly modestly conceived drama makes a fair claim as the best film of 2011.”
So you’re saying this might be better than Uncle Boonmee and Of Gods and Men?
Stephen:
I am saying it is in the company of those others. I am loathe to put this terrific lot in numerical order (something I will do in true drama queen fashion at the end of 2011) but I steadfastly refuse to downgrade any film because it’s subject matter might seem slight by comparison to weighter philosophical films. I thought OF GODS AND MEN a staggering masterpiece and a film right up my proverbial alley (same with BOONME) but rewards come in small packages too. It accomplished what it set out to do, and the end result is a brilliant film that works on every level. I do consider it roughly the equal of the great films you broach here, and it’s easily the best American film we have seen so far as we near the one-quarter mark.
Many thanks as always my friend for stopping in.
Sam, I thought you might be interested in this interview with McCarthy I ran across yesterday:
http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2011/03/20/PKE71IA3JO.DTL
Just read this interview R.D., before coming to this thread. Loved it. Didn’t realize all that business there with the Lumets. Seems like McCarthy is a regular guy, and got a chuckle about the revelations that surfaced with the lady in the elevator at his Manhattan penthouse. Ha!
Thanks so much for including it on this thread my friend!
I try not to read any reviews of films until I have seen them. However, your high rating is noted, Sam, and I will certainly return to read this piece once the film has come out here. I did quite like the uncomplicated dignity of THE VISITOR though.
Aye Longman, wise strategy. I do hope the film crosses the pond soon, and I’d love to learn of how it washed with you. You’ve responded well to some coming-of-age years, and this one has the right people involved. I am definitely with you on the moving THE VISITOR.
Many thanks!
Well, you got me with this one!!!!
Like you, Sam, I was a huge admirer of McCarthy’s THE VISITOR and THE STATION AGENT and I couldn’t agree with you more that he has a flair for pulling tremendous performances from actors you already thought have done their defining work (you and I had many a lengthy conversation on Richard Jenkins tour-de-force for THE VISITOR). When I saw the head line for this review I almost knew I was in for good stuff with your assessment of the film.
This was a wonderful read and you have me salivating to see this film…
Aye Dennis, I well have remembered your strong regard for both previous McCarthy’s, especially THE VISITOR. As I’ve stated above, I believe this third feature is his best yeat, and any rating under five stars would be playing the critics game. A great film is a great film, and that’s that. I’ll gladly see it again with you soon.
I’ve gotten your e mails on the house move, and am happy to hear you are back in Fairview. I actually know that corner house well in fact. We’ll talk soon my very good friend! You still need to see OF GODS AND MEN! It’s in Montclair this week with CERTIFIED COPY!
I hadn’t thought to see this, certainly not in theaters, but your recommendation here has driven me to make plans to see it the first chance I get. Now hopefully you don’t burn me like you did on THE KIDS ARE ALRIGHT and (partially) RABBIT HOLE! I kid.
I must say I really look forward to your pieces about new films that are in theaters. You’re incredibly adept at it, and it fills a void that Wonders has. Nice work Sam.
Well many thanks for those kind, generous and motivating words Jamie! You are the best!
Well, all joking aside I know THE KIDS ARE ALRIGHT didn’t click here at the site, but this film is far different, and you’ve seen this very fine director’s previous work. It’s a small film in scope, but it’s issues are as universal as any film with a more auspicious intent, and the parts come into place perfectly. You ultimately may not go the five-star route, but I bet you will like it quite a bit. Thanks again!
Sam, a great review – you should do more of them. I loved ‘The Station Agent’ – somehow managed to miss ‘The Visitor’, but will hope to put that right as Richard Jenkins is such a fine actor (dare I mention he was great as a recovering alcoholic in Eat Pray Love). Anyway, I’ll hope to see this movie and then return and reread and re-comment!
Oops, should have mentioned that I’m another fan of Giamatti, who was so great in ‘John Adams’.
Thanks so much for the kind words Judy! I have indeed posted another review on the tails of this one and am prepping another on JANE EYRE. I guess with me it’s a questtion of time, and as of late I’ve been able to do some juggling. If you like Jenkins, there is no question THE VISITOR will impress you. Yep, Giamatti has shown some amazing versatility, and he’s excellent again in this film.
Sam,
Dorothy and I saw the trailer for this about a week ago and our impression was this wsa going to be good. Your excellent review confirms what we thought. Giamatti is such a wonderful actor (he was great in John Adams) that the film would probably be worth seeing just for him alone. Your high apprasial certainly verifies there are other reasons too.
Thanks very much for that John! Yes, this is one instance where strong trailers translate into strong movie. McCarthy will be at Manhattan’s Angelika Film Center this coming Friday and Saturday nights, and I am tempted to see the film again just to be part of the Q & A. As a fellow New Jerseyite I was thinking some fascinating stuff might inspired a question from my end. I am pondering my next move. I completely agree with what you say about Giamatti and look forward to your own reaction to the film!