Win Win (Ganamos todos)

I enjoy Royal Tenenbaums, Juno, and Little Miss Sunshine because they're about eccentric, witty people whose foibles are made less than tragic, their dialogue hypnotizes, and their personas seduce. Then comes Win Win, not as ingenious or innovative as those films but a winner in its own right because it embellishes little while it stays real and lovingly humane.

A little like my family and other interesting neighbors, Win Win has love to spare. Mike (Paul Giamatti) has a failing law practice, moonlights as a high school wrestling coach, and now becomes custodian of elderly Leo Poplar (Burt Young) because Mike needs the $1500 a month. Soon complication arrives with bleached blond Kyle (Alex Schaffer), Leo's grandson, who wants to live with Leo.

Mike is thus faced with more complications than he bargained for in the caretaker role, yet a bit of light shines through as he deals with the taciturn Kyle, who happens to be an excellent wrestler. Mike's relationship with his wife, Jackie (Amy Ryan), is rich with respect between both and patience on her part as she helps Mike through his ethical challenge and his guidance of Kyle.

Nothing comes easy in this dramedy, as it doesn't for most of us, but the beauty of this film is that it slowly works out all the kinks of life in a slowly distributed narrative with triumphs and setbacks that seem to come naturally. Because the central characters are loving and largely benign, the film has an easy, unforced quality.

Terry (Bobby Cannavale) is especially likable as Mike's old wrestling buddy, recently split from his wife, and full of energy to channel as assistant coach helping with their new wrestling star. Cannavale brings an easy charm to the film; he's an enjoyable foil for the schlubby, depressive Giammatti.

Although a few swear words, mostly "f bombs," are dotted in the dialogue, it is essentially a family where the characters live to love.

Win Win is a terrific multigenre sleeper. It's funny, even hilarious; it has mystery and action; and it features brilliant performances by the always-reliable Paul Giamatti and Amy Ryan. It's also not a movie that wallows in treacly messages, and it's not a movie that uses sports as a crutch for "finding one's inner strength." In short, it's a wonderful, top-notch movie.

Giamatti plays Mike Flaherty, a small-time lawyer who's running low on cash. He moonlights as coach of the local high-school team, which is, to put it bluntly, terrible. In a burst of fiscal sanity, Mike offers to become legal guardian for Leo, one of his clients (played by the crusty Burt Young), who's just been declared legally incapacitated. Why? Because as his guardian, Mike gets $1500 a month. But since he wants to avoid the extra hassle of actually taking care of Leo, he puts him in a nice home. Seriously, it's a nice home, with nice people and a big flat-screen TV.

At this point, the movie wants us on Mike's side – sort of. He needs the cash, and he doesn't really want to tell his wife Jackie (Ryan) that they're running low, not with two young daughters to care for as well. Plus he's coach of a terrible team and is just swimming in stress. Swimming in it. So much so that while jogging to work off the stress, he suffers a panic attack.

Just when Mike thinks some of his problems have been solved, teenage Kyle (Alex Shaffer) walks into his life. Kyle, it turns out, his Leo's grandson, and they've never met. Kyle's been sent by his mom to visit Leo. At first, this complicates things – especially when Kyle seems awfully reluctant to go back home to Ohio – but then Mike's remaining big problem is solved. It turns out the kid is a gifted wrestler. Who'd have thought that? He looks scrawny, but in practices Kyle shows he has the mettle. And thus things are riding well for Mike.

But this would be a truly dull (if inspirational) movie if things continued to ride well. One thing we learn early on is that Mike intentionally misled the judge in Leo's case, giving the impression that he would be actively taking care of Leo. But things really get going when Kyle's druggie mom (Melanie Lynskey) shows up to bring her boy back – and to take over as Leo's guardian.

Too often, Giamatti has played real sad-sack characters, guys who just can't seem to catch a break, guys who suffer at the hands of fickle fate. Not so here. Mike isn't exactly a conniving mastermind, but he's not an idiot, either, and he deals with each situation with logic and reason, even as they spiral further out of his control. It's a typically masterful Giamatti performance, and for once he's not a total loser who's in over his head. He's even a half-decent coach who simply has a lackluster team to work with.

Giamatti's not alone, though. I really got a kick out of Amy Ryan's performance as his somewhat-exasperated spouse Jackie, who's not terribly fond of suddenly having a teenage boy around at first. A few years back, Ryan turned in an Oscar-nominated performance as a native Bostonian in Gone Baby Gone. Ryan had a thick, believable Boston accent then. Here, she's playing a New Jersey native, but at no point does she go overboard with the Jersey Shore dialect. That's what good actresses can do – they can dial it back when they have to and show a little nuance.

Win Win is not a stand-up-and-cheer movie, although the audience at the screening I attended applauded when it was over. It's not a crime drama, and it doesn't really have a lot of twists to its plot. What makes it work are all of the truly sincere, dead-on performances: by Giamatti, Ryan, Shaffer, Lynskey, Bobby Cannavale, and even Jeffrey Tambor as one of Mike's wrestling assistant coaches. Not a sour note in the bunch, everyone at the top of his or her game.

This might have fared well, critically, if it were released during awards season. It sort of reminded me of last year's Greenburg, starring Ben Stiller, only funnier and sweeter. Win Win is a charming, quiet movie that reminds us that, as the Grateful Dead once told us, once in a while you can get shown the light in the strangest of places if you look at it right.

Many films (for better or worse) portray an idealized form of life/drama to combat the current economic malaise. "Win Win" is not that kind of film; instead choosing to revel in the struggles of day-to-day life and work through them.

For a basic plot summary, "Win Win" sees Mike Flaherty (Paul Giamatti) struggling to make a living for himself and his family. His law practice is hemorrhaging funds, the bills are piling up at home, and his health is even failing due to the anxiety. After becoming personally involved with a client (Burt Young), Mike "inherits" a son (Alex Shaffer) who provides a spark for his high school wrestling team and lifts his spirits. That is, of course, until life intercedes once again.

In better times, this might be the kind of movie that people would stay away from due to the fact that is is so down-to-earth in its portrayal of life's struggles. In tough times, though, "Win Win" really resonates on a personal level. The struggles of life are not black-and-white, but full of shades of grey and ambiguity.

Also, while the film is well-acted as a general rule, Giamatti's performance is especially moving. Giammatti is one of the great character actors of our time and never fails to shine on the big screen. There's no one who can match his style of acting in terms of combining over-the-top physical/verbal acting with dramatic intensity.

About the only thing that prevents this movie from being a true classic is that the climax doesn't necessarily live up to the build-up. Don't worry, though, as the rich characters and believable circumstances are more than enough to provide compelling drama and entertainment.

The story-line of Win Win brings difficult and realistic moral issues before us, which engage our interest and challenge our sympathies. But the film is not a ponderous work of moral theory, fortunately. Instead, it has many humorous moments which keep the tone quite light, even as the film raises some darker problems.

The first dilemma concerns the subterfuge that lawyer Mike Flaherty (Paul Giametti) employs to win the maintenance award for looking after his elderly client Leo who suffers from Alzheimers disease. The dilemma is not so much his (he needs the money too badly and he has a family to provide for), as ours - should we sympathise or not? Mike is a lawyer, yet he deceives the court and thus breaks the law. Yet, at the same time, Leo does not really lose out because the home that Mike puts him in is very comfortable. In a way, Mike's deceit is a win-win solution that solves Mike's financial problems and also provides proper care for Leo. But surely deceit cannot be condoned? Or can it? While we are still dealing with that issue, an entirely different one looms up and takes over the story. Leo's grand-son arrives, looking for his grand-father, Leo, who is now in the care home. Not only does this plot development add a lot of tension (because Mike's deceit is in danger of being exposed), it also adds further complications on the moral front. The first is, should Mike tell Kyle the truth, or is it better to try and help Kyle personally while leaving him in the dark? Should we really expect Mike to confess, when the result will be disastrous for so many people and achieve very little, apart from establishing the truth about Leo's transfer to the care home? Once again, we are just beginning to settle one problem when another arrives to add further complications, this time in the shape of Kyle's mother, Leo's daughter, who has never shown any interest in her father, but now shows a mercenary interest in his state of dependency.

I really enjoyed this film. There is a lightness in the telling of the story, which makes the whole experience a pleasure, but it is a story with some difficult issues to set before us, issues such as the care of the elderly and the rights of birth-parents over foster-parents, which give us food for thought. Above all, however, the film is very well acted and the characters are brought to life very effectively, persuading us of the reality of the issues which it raises, but also coaxing us to temper our judgment of our fellow human beings. The film reminds us that life is rarely as clear-cut as our stern guilty-or-innocent judgments would require.

In an effort to clear out our DVR in time for a gazillion hours of Summer Olympics coming up, my husband and I went on an Indie film bender and watched about 10 flicks that we had recorded. Out of all of them, only two really stood out -- Win Win and In a Better World, a small Danish film. I had resisted seeing Win Win in the theater, honestly, because it didn't look like something I'd like based on the trailer. I thought it was going to be one of those feel-good, high school sports movies with the troubled kid and the coach who turns everything around and everyone goes home happy. This had many more layers to it, as all of the other positive reviews posted here will attest to.

My big takeaway from this film is that I really trust Paul Giamatti's choices of roles, and until he proves otherwise, I will see him in anything he does. I am also amazed at the range of characters he can play, and his ability to make a huge difference in a film even if the part he plays doesn't seem that significant in terms of screen time. Win Win was truly a vehicle for him (as the film Barney's Version was a year or so ago), and he carries it with no problem. Great supporting performances here by Amy Ryan, Bobby Cannavale (who I currently love hating in Nurse Jackie), Jeffrey Tambor, and newcomer Alex Schaffer as the kid.