Back Rowe Reviews
Real Time Movie Reviews from the Back Row of a Theater

Drama

A Haunting in Venice (PG-13)

s-l960
Directed by: Kenneth Branagh
Starring: Kenneth Branagh
September 2023


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


Master detective, Hercule Poirot (Kenneth Branagh), is settling into his post-retirement life when an old friend, Ariadne Oliver (Tina Fey), visits him at his exquisite residence in Venice, Italy. In an attempt at snapping the detective out of his funk, Ms. Oliver tells Poirot she’s arranged for him to attend a séance with the sensational spiritualist, the “Unholy” Mrs. Joyce Reynolds (Michelle Yeoh). Confident he can expeditiously expose Mrs. Reynolds as a charlatan, Poirot accepts Ms. Oliver’s invitation.

Arriving at a large mansion (which has all the hallmarks of a haunted house) on Halloween night, Poirot is introduced to Mrs. Reynolds. The detective is in the process of explaining his distrust of the supernatural when a giant chandelier crashes to the floor behind him. When Poirot begins hearing and seeing things that aren’t there, a fascinating question arises: are these paranormal occurrences part of an elaborate ruse, or is Poirot losing his mind?

Based on Agatha Christie’s 1969 novel
Hallowe’en Party, A Haunting in Venice is Branagh’s third outing as renowned Belgian detective Poirot, the central character in many Christie mysteries. Unfortunately, the third time isn’t the charm for Branagh, who also serves as the film’s director. In addition to Branagh, Fey and Yeoh, the cast is rounded out by some fine actors including Jamie Dornan (Fifty Shades of Grey), Kelly Reilly (Yellowstone) and Camille Cottin (Killing Eve).

The opening sequence of establishing shots—which focus on such subjects as ancient statues, quaint European alleys, and pigeons pecking away at stray seeds lost among the cobblestones—are artfully framed and help to establish the film’s melancholic atmosphere. Also, several gorgeous Italian vistas (as seen from Poirot’s expansive rooftop) bookend the film. Sadly, there’s far too little of this excellent location work in the film.

The bulk of the story takes place in the ominous mansion (palazzo) with events transpiring over the course of one night. With such confined action, the story feels like a glorified stage play—Christie’s penchant for stuffing a large ensemble of characters into a claustrophobic setting was also on full display in Branagh’s earlier two movies in the series,
Murder on the Orient Express (2017) and Death on the Nile (2022).

Haunting is a dark film, both artistically and spiritually. Symbolically, the middle (heart) of the movie is saturated with evil. It’s filled with scary tales, a séance, murders, and a creepy imaginary kid…the only thing missing is a black cat.

The lighting and cinematography combine to create a moody environment where dim-lit faces float in front of indistinct backgrounds and characters are dwarfed by expansive halls with vaulted ceilings. Branagh’s work behind the camera is meticulous, but he employs high angle and canted shots a bit too often.

Though appropriate to the story, the movie’s relentlessly bleak atmosphere may detract from the enjoyment of the film for some, and may be inappropriate for younger viewers. To wit, while watching a shadow puppet show about kids killing their parents, Poirot asks if the presentation is too frightening for children. An ironic question that also applies to the movie’s malicious and macabre subject matter.

Haunting is the worst of Branagh’s three Christie movies, which is disappointing since it squanders superb performances and excellent production values. Though the psychological thriller aspects are intriguing, the steady stream of cheap horror movie gimmicks (shattering saucers, slamming doors, bursting lightbulbs, squawking parrots and bees flying out of a skeleton’s mouth) fail to frighten…or entertain. Bottom line: Haunting is too drab and dire, without a hint of fun.

In one scene, Ms. Oliver quips that a brooding young boy has “all the charm of chewing tin foil.” Sadly, the movie has a similar appeal.

Rating: 2 ½ out of 4

Oppenheimer (R)

295e2859-9ea4-4cc4-a9fd-399022714bbf.70ba9b1e257fd3cf9942adbcd2b04b29
Directed by: Christopher Nolan
Starring: Cillian Murphy
July 2023


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


A while back, I blasted director Christopher Nolan’s Dunkirk (2017) for being an all action/no story WWII tale. Though set on another continent, and radically different in theme and tone, Oppenheimer also focuses on an inflection point in the war. However, Oppenheimer is the mirror image of Dunkirk; it’s all story with no action.

The film’s nonlinear story crosscuts between J. Robert Oppenheimer’s (Cillian Murphy) rapid ascent during his collegiate years, his shepherding of the teams developing the atomic bomb in New Mexico, and his appearances at two governmental inquiries years after the war had ended. Keeping all the various storylines/timelines straight might be a challenge for some audience members. Wading through stretches of dense dialog dealing with physics or quantum mechanics also may be a challenge for those who just squeaked by in high school Science classes. However, the greatest challenge facing the film’s spectators, especially those approaching middle age, is the three hour running time.

So, the big headline leading up to the film’s release is that this is the first Nolan film to contain sex scenes. Unfortunately, they’re completely unnecessary. As with any sex scene in any movie or TV show, it’s possible to show the act without showing the goods. Here, Nolan flaunts his new-found filmic freedom by staging a naked couple sitting in facing armchairs as they carry on a post-coital conversation, or, far worse, by showing the same couple in the throes of passion during an official state meeting. The latter is a very inappropriate, very unsexy sex scene.

But enough about butts; let’s talk about the eponymous figure. Murphy was perfectly cast and his performance doesn’t hit a single false note. The actor deftly modulates between science professor, pick-up artist and tortured soul post-bomb drop. But this portrait is the first area where the film is disingenuous.

The movie, written by Nolan, Kai Bird and Martin Sherwin, exalts Oppenheimer as the “father of the bomb,” a man whose brilliance brought about the end of WWII. In contrast, the real Oppenheimer, according to many accounts, was a womanizer and glory hog.

Buttressing this opinion is the fine TV series on WGN America,
Manhattan, which portrayed Oppenheimer as a creepy weirdo who did none of the work but took all the credit for creating the bomb. The latter point is obliquely verified by Nolan’s film, which doesn’t give any credit for the bomb to the other teams operating around the country, or to the army of scientists, physicists and engineers tirelessly laboring at the NM facility. The movie focuses on Oppenheimer and his contributions to the project to the virtual exclusion of everyone else’s (even Einstein (Tom Conti) is a mere footnote in the story). It’s as if Oppenheimer did all the work himself. Ridiculous!

The movie’s other, major disingenuous note deals with the bomb itself…and there’s a lot to unpack here. In short, while the movie lionizes its hero, it sanitizes the bomb. To its eternal discredit, the movie only briefly mentions Hiroshima and Nagasaki and fails to show even one still image (much less archival video clips) of the unimaginably devastating results of the atomic bombs: cities blasted to rubble and, most importantly, innocent souls being turned to mounds of ash. That’s the lasting legacy of Oppenheimer and the Manhattan Project.

Downplaying the significance of the bomb drops in Japan is a tremendous disservice to future generations—who otherwise may be doomed to repeat such atrocities. Indeed, merely quoting statistics of the deaths in Hiroshima and Nagasaki is tantamount to saying Hitler killed lots of Jews without showing the ghastly, gut-wrenching images of Auschwitz, Dachau, or other concentration camps. It’s a rated R movie, so why not show the horrors of war?

But Nolan eschews such horrific realities in favor of a bloodless retelling of one of the most heinous chapters of human history. In that regard, how much of what we’re seeing is the truth? Since Nolan omits such a crucial part of the story, can we really trust anything else in the film?

To whit, after the successful detonation of the Trinity bomb (a rather unspectacular explosion compared to the one in
Manhattan, or the haunting, mesmerizing slow push in of the mushroom cloud in an episode of the 2017 revival of Twin Peaks) in a remote region of NM, and after Germany has surrendered, some scientists in the movie question the need to use the bomb against Japan. The subtext is that to do so would be inhumane (true) and a show of wanton aggression (false). Anyone in favor of bombing Japan is portrayed as a warmonger.

Did Nolan forget the predicate for U.S.’s involvement in the war; namely, Pearl Harbor? Apparently so, because there’s no mention of Japan’s devastating sneak attack in the movie. So yes, without Pearl Harbor, dropping the atomic bombs on Hiroshima and Nagasaki seems like unmitigated savagery on a grand scale. The bittersweet calculus of dropping the bombs in order to end the war and, thereby, save millions of lives, is brushed over in a line or two of dialog. Again, there’s a clear agenda at play here.

Final bit about the bomb: is it significant that the only atomic bomb explosion we see in the movie is on American soil? Could it be that Nolan planned it this way to give his America-hating liberal friends something to get off on (other than Florence Pugh’s tatas)? Also, consider the many foreign nations that would love to see the demise of America. Will they be emboldened (and titillated) by this terrifying tableau?

Perhaps I’m reading too much into this, but you can’t argue the fact that the only giant plume of smoke and debris audiences (both foreign and domestic) will see in the movie is the one violently expanding above the desolate NM plain. The film’s lasting image will be of America burning, not Japan. Subliminal propaganda?

The most distressing aspect of Nolan’s revisionist history is the impact it will have on the youth of today/leaders of tomorrow. As a highly anticipated film with a wide release, many people who aren’t familiar with the actual events the film is based on may fall prey to Nolan’s agenda-laden interpretation of history.

When I screened
Oppenheimer, I was in a row with a surprising number of teenagers. As the credits rolled, I wondered what they would take away from the film. Conflicted hero? Heartless president (Truman, unexpectedly played by Gary Oldman)? Lots of talking? Not much action?

My greatest fear is that people, especially young people, will draw all the wrong conclusions from this flawed portrait of a flawed man. With the willful omission of the tragic events that preceded and succeeded the Trinity test, Nolan’s
Oppenheimer is much ado about nothing—just like Dunkirk.

But at least that Nolan debacle delivered some good action scenes.

Rating: 2 ½ out of 4

Sound of Freedom (PG-13)

4711a4bc-6b28-46c0-9728-ce08e294c3ff.5bfe2de503946040bb34f913367082f8
Directed by: Alejandro Monteverde
Starring: Jim Caviezel
July 2023


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


Heavy! If I only had one word to describe Sound of Freedom—the new film from Angel Studios, producers of the popular Biblical web series, The Chosen—that’s what I’d choose.

From the opening montage, which features real security camera footage of child abductions, to an early scene where traffickers use a faux talent photo shoot to exploit and abduct young kids, the mood is set for a horrific, heart-breaking film.

The story is based on the actual experiences of Homeland Security Investigations agent, Tim Ballard (Jim Caviezel). Near the beginning of the movie, Ballard earns the trust of convicted pedophile, Ernst Oshinsky (Kris Avedisian), who eventually divulges the location of Miguel (Lucas Avila), a young boy who was taken from his parents. Oshinsky is shocked when he learns he’s been betrayed. As the police arrive, Ballard tells him, “Never trust a pedophile.” The win feels good. Then, a short time later, a nurse tells Ballard that 8-year-old Miguel has lesions which indicate he’s been violated…words just fail.

Events escalate when Ballard meets former cartel accountant, Vampiro (Bill Camp), and they hatch a plan to locate Miguel’s sister, Rocio (Cristal Aparicio). When they learn Rocio has been sold to a drug lord who operates deep in the jungles of Cambodia, Ballard’s resolve is tested. To rescue Rocio from a life of slavery and prostitution, Ballard will literally need to go to the ends of the Earth.

Writing about a movie that deals with such topics as child exploitation, child sex trafficking, and pedophilia is exceedingly difficult. With such graphic, adult subject matter, this movie certainly isn’t recommended for anyone under 18. However, every adult on the planet should see this film—to be confronted with the ugly reality of the fastest-growing form of illegal trade today and made aware that the biggest perpetrator of this vile practice is America.

And where is Hollywood, the supposed purveyors of truth and exposers of injustice in our society? Gone are the days of films like
All the President’s Men (1976) which blew the lid off the Watergate Scandal (but maybe the only reason that movie was produced was because Hollywood is liberal and Nixon and his top men were conservative, revealing partisan hypocrisy even back then). Hollywood is all too happy to champion causes near and dear to its heart, like awareness of climate change or advocacy for the LGBTQ+ community. But where are they on the issue of child sex trafficking? Crickets.

It doesn’t further their liberal agenda to take sides on this extremely black-and-white (ethically, not ethnically) issue, so they turn a blind eye on it, along with the open border crisis, which is causing ballooning increases in sex trafficking, drug (especially Fentanyl) trafficking, known terrorists entering our country, and illegals crossing the border, many of whom have diseases and/or no practical work experience and have selfishly jumped the line in front of people who are legally seeking entry into the U.S. So, why do cowardly liberals remain silent on the issue of child sex trafficking? The border must stay open so that they can recruit a cheap labor force, which also will double as a new voter base for the Democrat party.

Keep in mind, these liberals belong to the political party that used to be inundated with bleeding hearts. No longer. Today, they don’t seem to care about any of the above issues and are collectively in denial that such existential crises exist. Their hearts are callous to anything except that which keeps them in power and keeps their bank accounts flush with cash.

These abused, endangered and sexually victimized kids, plus anyone who dies from a Fentanyl overdose, are just collateral damage to those who scheme to remain in power. That makes many political animals, power brokers and unscrupulous billionaires just as complicit as the traffickers and pedophiles. We would surely be revolted if we knew how many people in our country condone, profit from, or commit sexual acts with young children (as young as 6-years-old according to one of the characters in the movie). And that’s why Hollywood won’t touch this topic; they’d fall out of favor with those in power. So that makes Hollywood complicit too.

The number one job of any nation is to protect its citizens. When a government fails to fulfill that basic task, such dereliction can give rise to vigilantism and anarchy. As has happened repeatedly throughout history, people will take matters into their own hands if their security is threatened. But when the cause is just, as Ballard’s actions are in the movie, is it really vigilantism or just doing what’s right? And why should doing the right thing come at such a high price? As Martin Luther King, Jr. once said, “The ultimate tragedy is not the oppression and cruelty by the bad people but the silence over that by the good people.” Thank God for good people like Tim Ballard, who are willing to risk their life to save others.

For an independent film,
Sound is surprisingly well produced. Director Alejandro Monteverde does a fine job of utilizing his locations, especially the island and jungle environs. Caviezel delivers an intense, well-modulated portrayal of Ballard, a man whose soul is weary from slaving away in a system where perpetrators frequently slip though the cracks and innocents are victimized en masse. Caviezel is surrounded by some really fine actors including Mira Sorvino, who plays Ballard’s wife, Katherine; Kurt Fuller as John Bryant, Ballard’s sympathetic but by-the-book boss; and Camp, who steals the show as Ballard’s sidekick—he earns some of the biggest laughs and delivers some of the best lines in the movie, including one that contains the titular phrase.

Sound beat Indiana Jones and the Dial of Destiny on its opening day. Hopefully grassroots support and strong word of mouth will keep this film in theaters for several weeks…if not months. The film exposes the ugliness of the human condition and presents a message that must be heard, lest the immoral malignancy of child sex trafficking forever malign the soul of our nation.

Sound has put a human face on the issue of child sex trafficking. You can’t unsee the horrific tableaus in the film; the images, particularly the visages of the young children, are indelible. Unless you’re a perpetrator of the crimes the film exposes, it’s impossible to walk away from the movie unmoved.

Sound is one of the most important films I’ve ever seen, and certainly the most urgent.

Rating: 3 out of 4

Jesus Revolution (PG-13)

jr-l1600
Directed by: Jon Erwin, Brent McCorkle
Starring: Joel Courtney
February 2023


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


Based on true events, Jesus Revolution chronicles the early days of a spiritual movement that started in California and swept across the U.S. in the early 70s.

The film opens with aging pastor, Chuck Smith (Kelsey Grammer), shepherding aging parishioners; they sit like statues, uninspired by his passionless homily. While watching TV at home, Chuck makes a negative remark about the sea of longhaired youth at a protest. His daughter says he shouldn’t pass judgment on the hippies. The next day, she brings one home to confront her father with his own prejudice. The Jesus-looking hippie is named Lonnie (Jonathan Roumie).

Lonnie invites his friends over to Chuck’s house, and soon, the church is overrun with the barefoot brigade. On the plus side, Lonnie and his lot breathe life into the church, bringing lively music, excitement and a hunger for the truth to the calcified congregation. Now Chuck is faced with a difficult decision: should he embrace these colorful newcomers and risk losing his members, or send the hippies packing and return to business as usual?

The second word in title might give you a hint as to what Chuck did.

Not only does the movie center on an inflection point in our nation’s history, it also dramatizes a major turning point in the lives of three prominent ministers—Chuck Smith from Calvary Chapel, evangelist Lonnie Frisbee and Greg Laurie (played by Joel Courtney) of Harvest Christian Fellowship. Each of these men has made an indelible impact on the way countless Protestant churches operate, serve and worship today.

Co-directed by Jon Erwin (
I Can Only Imagine) and Brent McCorkle, Jesus Revolution perfectly captures the look and feel of the late 60s and early 70s. From the shaggy coifs and grubby duds to the psychedelic “Magic Bus,” every frame of the film feels true to the period. Another layer of authenticity is the washed out, “old film stock” look; a visual style that’s effective in many of the movie’s outdoor scenes, particularly those shot at the “Pirate’s Cove” location.

The movie boasts many fine young actors, particularly Courtney and Anna Grace Barlow, who plays Cathe, Greg’s girlfriend. Headlining the cast is Grammer, who deftly negotiates the emotions of a man caught between two worlds: traditional Christianity and the new movement embraced by the youth of the era. Kudos to Grammer for choosing to be involved with this project and for being so outspoken about his faith. Many have been cancelled for less.

The other veteran actor in the movie is Kimberly Williams-Paisley, who plays Greg’s mother in a minor and fairly unsympathetic role. Of course, Roumie is a major draw for many in the audience since he plays Jesus in “The Chosen.” Tough his wardrobe is different here, Roumie retains his messianic appearance from the Biblical series. However, fans of the series might be thrown for a loop the first time they hear him speak.

Aside from its terrific cast, historical accuracy and excellent production elements, the movie has a lot to say about our culture, both then and now.

For a Christian film, there’s a surprising surfeit of drug content here, although most of the drugs are mentioned, not shown. Speaking of his generation, Lonnie says, “Drugs were a quest…for God.” Though many claimed “acid would save the world,” it was a lie; there was “still a void.” He admits that his contemporaries were “searching for all the right things in all the wrong places.”

This highlights one of the movie’s main themes—the search for truth. The youth of the 60s and 70s were tired of being lied to by parents and a corrupt government, and turned to sex, drugs and rock and roll to try and escape a world gone mad.

Ironically, what the youth of that period were searching for, “Peace and Love,” are hallmarks of Christianity (Galatians 5:22-23). Observing the similarities between the rallying cry of the countercultural youth of the day and the mission of the church, Chuck’s daughter wisely asks him, “Don’t you want the same thing?”

In one scene, Cathe says, “What if there is no truth?” Greg picks up on her reference to one of the popular philosophies espoused by Allen Ginsberg. Greg rejects this notion: “Some things are absolutely true.” Even before his conversion to Christianity, Greg believed that there’s one objective truth.

Chuck’s wife Kay (Julia Campbell) makes this profound statement, “The truth is always quiet; the lies are always loud.” She buttons up her point with, “The truth is simple.”

I sincerely hope our politicians are reading this.

Jesus Revolution is much more than a religious biopic. It’s a heartfelt drama that also has comedic and romantic elements. It’s a story of renewal and redemption. A tale of faith and friendship.

It’s been said that with God there are no coincidences. So then, it’s no coincidence that just before the release of
Jesus Revolution, a revival broke out at Asbury University in Kentucky. Perhaps what’s started there will be the beginning of a new Jesus Revolution. And considering the fact that this movie opened the same weekend as Cocaine Bear, boy do we need it!

Rating: 3 out of 4

Black Panther: Wakanda Forever (PG-13)

th
Directed by: Ryan Coogler
Starring: Letitia Wright
November 2022



Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


The sequel to Black Panther (2018) opens with T’Challa’s (Chadwick Boseman, a fine actor who left us far too soon) funeral. Though appropriately somber, the sequence is beautifully filmed.

Sadly, the melancholic opener permeates the entire film. Much of the movie is bleak and dark—director Ryan Coogler carried the theme of mourning too far by shooting most of the first hour at night. These scenes include an assault on a deep sea drill platform, a showdown on a city bridge and Shuri (Letitia Wright) and Ramonda’s (Angela Bassett) first encounter with Namor (Tenoch Huerta).

For those unfamiliar with that name, Namor (aka The Sub-Mariner) is to Marvel what Aquaman is to DC. One twist with the Marvel character is that he can achieve flight with the assistance of tiny flapping wings on his ankles…why not? A curious decision by the studio was to make Namor of South American descent (a decision based on diversity?). Another unexpected twist is when Namor reveals his true identity as a Mayan god.

Many of the movie’s scenes take place in Namor’s underwater kingdom or in/around water. Is there a theme here, or just a plot device to keep the audience feeling the pressure and gasping for air (psychologically)? One wonders if the extensive water scenes were a conscious decision to contrast the action here with the largely landlocked original film.

One also wonders if the epic battle at the end of the film is symbolic. Namor’s soldiers of South American descent and Wakanda’s warriors of African ancestry battle it out with nary a Caucasian in sight—Everett Ross (Martin Freeman), the token white guy, has a few scenes in the movie but nothing substantial. Though white people, typically vilified as warmonger colonizers, aren’t directly involved in the conflict, some of them are the instigators of the massive melee; they’re mining a recently-discovered vein of vibranium, the mineral that allows Wakanda to remain a hidden, technologically-advanced society.

It never dawns on Namor’s brackish brawlers or Wakanda’s fierce fighters that they should join forces against their true enemy…the American government, which seeks to exploit vibranium for its own nefarious purposes. Namor and Shuri finally come to an agreement, but only after thousands have died; the resolution itself is so obvious, any simpleton could’ve come up with it at least an hour earlier in the story.

Shuri’s character arc is similar to T’Challa’s in the first film—a journey of loss and self-discovery that eventually leads to the fateful decision to accept the mantle of Black Panther. These character moments help to ground a film that lists on the ocean of story possibilities, casting about until it settles on the clichéd climactic conflagration. In the end, I’m really not sure what message the film seeks to impart or what it accomplishes, other than to anoint another eponymous hero to fight evil and defend Wakanda…in yet another sequel.

Marvel’s end credits bonus scenes are typically “Ah ha!” moments for comic book junkies; revealing some object, character or story point to tease a future film. In
Black Panther: Wakanda Forever, the coda is a really good character scene (perhaps the best in the film) that features some real emotions and answers a nagging question posed earlier in the story.

This Hallmark moment is a radical departure from the standard tag scenes and is a welcome change for anyone like me, who long ago succumbed to Marvel Fatigue.

Rating: 2 out of 4

Lightyear (PG)

6159Uf-EjdL._AC_SY679_
Directed by: Angus MacLane
Starring: Chris Evans
June 2022



Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


Buzz Lightyear (Chris Evans), Commander Hawthorne (Uzo Aduba) and Rookie Featheringhamstan (Bill Hader) explore an unknown planet, but are forced to make a hasty departure when they’re attacked by vine creatures. Buzz can’t quite steer the ship over the top of a jagged peak and the vessel crash lands on the inhospitable world.

One year later, a small base has sprung up around the ship, constructed by the ship’s crew who’ve been roused from their suspended animation naps. These industrious colonizers also have designed an experimental spaceplane that might be able to achieve hyperspeed, which will allow Buzz to bring his crew home and complete his mission.

With each unsuccessful mission, Buzz returns to the base to find that everyone has grown older. When Buzz finally achieves hyperspeed, he comes home, not to pomp and circumstance, but to the grim reality that the descendants of his original crew have been wiped out by an army of malevolent robots.

Does that synopsis make
Lightyear sound kinda’ ho-hum and hard to follow for a kid’s movie? It is.

If you find the story difficult to track, try to understand the reasoning behind the movie’s “meta” introduction, which tells us that young Andy from
Toy Story (1995) first idolized his favorite toy (Buzz, not Woody apparently) by watching a movie starring the Space Ranger, and that “This is that story.” So, just to be clear, we’re watching an animated movie about an action hero that a kid in another animated movie once watched; and his toy, based on that action hero, becomes the co-star of four films. Somebody pass the Advil.

The opening sequence of
Toy Story 2 (1999) features a brief episode where Buzz takes out an army of robots and encounters the villainous Zurg. The action-packed sequence cleverly sets up the climactic confrontation and starts the movie off with a bang.

As exhilarating as the pulse-pounding preamble is in
Toy Story 2, I couldn’t have handled an entire movie in the same format and style. Though the story here isn’t nearly as pedestrian as the breakneck pace of the dramatized video game in Toy Story 2, there’s an overall campiness the film’s handful of decent character moments can’t quite overcome.

Lightyear serves as an origin story for Buzz Lightyear and a loose prequel to the Toy Story movies. It gives us more details about the way Star Command and its Space Rangers operate. However, despite some nifty weapons, like the laser blade, and sweet-looking ships, like the XL-15, much of the movie is a pastiche of other sci-fi franchises, particularly Star Wars and Star Trek.

Buzz’ mission logs are an obvious rip-off of the captain’s log in
Star Trek. Also, the visuals when the XL spaceship attempts to slingshot around a sun are remarkably similar to the slingshot sequences in Star Trek IV: The Voyage Home (1986).

Other than their bright yellow paint-job, the hulking Zyclops robots bear more than a passing resemblance to the super battle droids in the
Star Wars prequels. The capital ship Zurg commands is reminiscent of an Imperial Star Destroyer (the Arquitens Class command cruiser in particular). Buzz and his team come up with a plan to destroy the mother ship, which will deactivate all the robots. This plan is virtually identical to the one hatched by the Gungans and the Naboo to destroy the Trade Federation ship, which deactivates all the battle droids in Star Wars: Episode I – The Phantom Menace (1999).

Aside from leaning on well-worn sci-fi tropes, the movie attempts to explore some adult themes, with varying degrees of success. The challenges inherent in colonizing an alien planet are addressed obliquely and the dome-like protection, called “Laser Shield,” prevents a lot of dramatic tension and potential action scenes.

Adding some literary heft, the movie weaves an allusion to
Moby Dick into its plot. After repeated failed attempts to reach hyperspeed, Buzz realizes his friends are getting older and are having kids and grandkids. At some point you’d think Buzz would stop, turn the mission over to a younger pilot and spend some quality time with his aging friends. But no, Buzz’ pride won’t allow that.

Breaking the hyperspeed barrier in his spacecraft is Buzz’ white whale. He risks everything to reach that goal. In the end, his obsession blinds him to what’s most important in his life.

Sadly, Buzz never gets to say goodbye to Hawthorne and his other friends because he’s off flying a mission when they pass away. It’s a poignant moment for the audience, as we place ourselves in Buzz’ boots and consider the brevity of life—if the movie has an emotional core, this is it.

Other than the secondary themes of obsession and growing old, the movie’s main theme, which is hammered home over and over again in the dialog, is Buzz’ independence.

Buzz isn’t very likable at the beginning of the film. He’s arrogant, controlling (he resists turning things over to an autopilot) and overconfident (Buzz’ overestimation of his piloting abilities is what causes the ship to crash, which is the inciting incident for the movie’s many complications). He makes condescending remarks about the rookie and ignores the young man’s frequent offers to lend a hand. In essence, Buzz is John Wayne in space.

Buzz’ narcissism is on full display when he makes mission logs. Dictated like a dramatic reading, these oft-embellished recordings are just to make him look good in the eyes of his superiors. Hawthorne calls out Buzz’ compulsion to record their missions and refers to his habit as “narrating” (not to be confused with “monologuing” in
The Incredibles). The fact that Hawthorne tells him no one listens to his recordings fails to dissuade Buzz from making log entries throughout the rest of the movie. Add stubbornness to Buzz’ list of negative character traits.

As was mentioned earlier, the movie’s writers work overtime to highlight Buzz’ independent nature. At one point, Buzz says, “I’m better off doing the job by myself.” Later, he says, “I’m always sure.”

Fortunately, Buzz comes to see the value of team. He gradually abandons his desire to control everything. He learns to accept the ideas of others and even delegates responsibilities he’d normally shoulder himself. Buzz’ loner leader turned team player story arc culminates with this admission, “I can’t do it alone. I need help.” Buzz’ transformative realization is also germane for the audience; we all need others in our life.

Lightyear is a disappointment on many levels. It contains the merest fraction of the movie magic that made the Toy Story franchise so wildly popular with kids, parents and critics alike.

Thematically, the movie is very adult; aesthetically, it’s very dark. There’s little levity, and only a few funny lines, in the movie. Plus, the hero isn’t very heroic for the first half of the film.

Though the production elements are top-notch, the story is lacking. I expect much more from Pixar (the quality of their movies has steadily declined since Disney bought the animation studio).

Still,
Lightyear is educational. It teaches us the proper way to make a meat sandwich. It references some real science too, like relative velocity and time dilation…pretty ambitious for a kid’s movie.

It also leaves us pondering the big questions about life and the universe.

Like, what’s beyond infinity?

Rating: 2 ½ out of 4

Top Gun: Maverick (PG-13)

s-l1600
Directed by: Joseph Kosinski
Starring: Tom Cruise
May 2022



Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


For anyone who’s seen Top Gun (1986), this film’s opening sequence will be an exhilarating blast from the past.

We witness jets landing on an aircraft carrier, tailhooks snagging arresting wires to bring the planes to a screeching halt. Then we see airplanes launching from the carrier; pilots are given the go-ahead hand signal by members of a highly-skilled group of technicians who serve as a pit crew for the jets. A triumphant fist pump accompanies each successful takeoff.

Then we hear the haunting strains of an electric guitar, which propels the regal power ballad “Top Gun Anthem” from the OG movie. Cue the goose bumps. The nostalgic opener culminates with a short sampling of Kenny Loggins’ “Danger Zone,” a song synonymous with the 80s movie.

The story begins with Captain Pete “Maverick” Mitchell (Tom Cruise) working on a P-51 Mustang in a hangar in Mojave, CA. Living up to his name, Maverick has nearly been discharged from the Navy several times for insubordination, but he receives orders from his friend, Admiral Tom “Iceman” Kazansky (Val Kilmer), to return to the Top Gun flight school in San Diego, CA. In a top secret meeting with Admiral Simpson (Jon Hamm) and Admiral Bates (Charles Parnell), Maverick is informed that he’s been tasked with leading a mission into enemy territory to blow up an underground uranium enrichment facility.

Surprise #1: Maverick learns that his role on the mission is to teach it, not fly it.

Maverick is introduced to the elite pilots he’ll be training.

Surprise #2: One of the young men is Lt. Bradley “Rooster” Bradshaw (Miles Teller), son of Maverick’s wingman Goose (Anthony Edwards), who died in a training accident in the first film.

As Maverick puts the pilots through grueling training, with occasional breaks for teambuilding fun, Navy Intelligence learns some distressing news…

Surprise #3: The enemy facility will be operational sooner than anticipated and the mission has been moved up—ready or not, the pilots will be wheels up in seven days.

So, will Maverick’s young pilots have the right stuff to complete an impossible mission (Cruise’s other alter ego, Ethan Hunt, could do it without breaking a sweat), or will they crash into a mountain or be shot down by sleek fifth-generation fighters? Buckle up! There are plenty more surprises on this wild ride.

A number of elements made the original film a crowd-pleasing classic. A callow, cocky Cruise was certainly a box office draw for many. The realistic dogfights between U.S. F-14 Tomcats and Russian MiGs created an immersive experience that appealed to the arcade/Atari crowd. The ubiquitous soundtrack generated excitement for the movie all summer long, and even people who hadn’t seen the movie (like me…I wasn’t allowed to see it) could identify the film by its chart-topping hits.

Top Gun: Maverick has plenty of things going for it as well. For starters, its storyline is a bit more complicated than the straight shot plot in the original film. A more seasoned Maverick struggles to find his place in the new Navy; hotshot young pilots and modern fighter planes threaten his obsolescence.

Rooster’s inclusion in the team of fighter pilots forces Maverick to confront the lingering ghost of Goose’s tragic death. The young pilot bears a grudge against Maverick for delaying his entry into the Naval Academy; unbeknownst to Rooster, it was his mother’s dying wish. The movie gets ample dramatic mileage from this estranged relationship.

And speaking of relationships, Maverick is reunited with long-lost love, Penny (Jennifer Connelly). Though underdeveloped, their relationship is sweet without being saccharine. Also, Cruise and Connelly have far better screen chemistry than the dubious pairing of Cruise and Kelly McGillis in the original film.

The movie’s attractive young actors deliver fine performances. Of note are annoyingly overconfident Hangman (Glen Powell), quietly confident Phoenix (Monica Barbaro), and silent techie Bob (Lewis Pullman). And what highflying film would be complete without Ed Harris? He plays Admiral Cain in a scanty, yet significant role.

Aside from its star-studded cast, the movie’s success rides on its aerial combat sequences. The visuals in
Maverick far surpass those in the original film, and some of the aerobatic stunts literally take your breath away (with apologies to Berlin). But in the age of CGI, how real are the dogfights?

Much like Maverick, Cruise is well-known for pushing the limits. From the outset, Cruise insisted that the sequel should contain no green screen or CGI shots. It would be easy to cheat on the close-up cockpit shots, but even those were captured in-flight during real aerial filming sessions.

In addition to enduring a three month boot camp designed by Cruise, the young performers involved in flight scenes had to undergo g-force training to prepare them for the incredible pressures they’d experience when filming aloft. Added pressure was placed on the actors when, out of necessity, they became active participants in the filmmaking process.

According to producer Jerry Bruckheimer, “The actors also had to learn how to run the cameras because when they’re up in the jet they have to direct themselves essentially. They also needed to be taught about the lighting, cinematography and editing, as it is the once-in-a-lifetime experience.” Now that’s how you take amateur filmmaking to new heights.

Not every aspect of the film soars, though. Many could justifiably argue that the opener is a rip-off of the original and that the entire movie is a redux of
Top Gun.

As with the first film, character development in
Maverick is fairly shallow; other than Maverick, Rooster and Penny, most of the characters are cardboard cutouts with call signs. Also, with very few exceptions, the plot is patently predictable.

The movie’s theme of “old vs. new” is delivered with all the subtlety of an exploding rocket. In the words of Admiral Cain, pilots like Maverick are “headed for extinction.” Maverick is frequently referred to as “old man,” and one of the younger officers calls F-14s “old relics”—the inference is that Maverick resembles the planes he used to fly.

There are plenty of worn-out tropes here too, like when the motorcycle-riding Maverick races alongside a jet hurdling down a runway; a callback to a similar scene in the original movie. Another allusion is when Rooster sits down at a piano and bangs out Jerry Lee Lewis’ “Great Balls of Fire,” something his father had done, with him sitting on top of the piano, in the first movie.

Then there’s the slogan-happy dialog, i.e. the oft-quoted, “It’s not the plane, it’s the pilot.” Or the Yoda-esque, “Don’t think, just do.”

One of the movie’s strangest story points is that the enemy remains unidentified. Apparently in today’s political climate, Russia and China are off-limits when selecting bad guys for a story. Perhaps we shouldn’t be surprised since this movie was co-funded by Tencent, a Chinese company.

In a movie focused on fight and flight, character moments often take a back seat to action sequences. An exception is the touching reunion scene in the middle of the story; it’s one of the only moments where the film slows down long enough for a meaningful conversation to take place. Iceman invites Maverick to visit his home; the latter is greeted at the door by Iceman’s wife who says, “It’s come back.”

When Maverick enters Iceman’s home office, his rival-turned-friend is having a coughing fit. Iceman can’t speak; he must express his thoughts with the assistance of a computer. Iceman inquires about Rooster. When Maverick admits he’s at wits’ end with how to deal with the young man, Iceman types, “It’s time to let go.”

This sage and selfless advice, coming from a man battling a terminal illness (the fact that Kilmer has throat cancer lends the scene added poignancy), is the heart of the film. It’s a stark reminder of the brevity of life, something the pilots in the film are all too aware of, and an admonition to make the most of every moment.

Top Gun: Maverick is a dazzling roller coaster of a movie. It’s a worthy successor to the original film and has pushed the technology and aerial acrobatics to the next level. The gravity-defying, death-daring stunts should make this a crowd-pleasing, summer popcorn flick.

It’s regrettable that the pervasive swearing detracts from what otherwise is a pretty clean film. Despite its heavy dose of foul language, the movie is an entertaining thrill ride that should appeal to a wide audience, especially those with a need for speed.

The final scene shows Maverick and Penny flying off into the sunset. Is this symbolic? Will this be the end of Maverick’s story, or will he be back in the sequel…

Top Gun: Rooster?

Rating: 3 out of 4

Dune (PG-13)

61ux6FzCdGL.__AC_SX300_SY300_QL70_ML2_
Directed by: Denis Villeneuve
Starring: Timothee Chalamet
October 2021



Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


The Padishah Emperor has ordered House Atreides to pack up and move from temperate timberland, Caladan, to arid sandbox, Arrakis. The cosmic house swap is completed when rival House Harkonnen abandons Arrakis for the incoming House Atreides. And so begins an era of peace and prosperity on the Atreides-ruled Arrakis. Guess again!

A member of the Atreides’ inner circle is a traitor. The conspirator arranges for a combined Harkonnen and Sardaukar (Imperial elite soldiers) army to slip into the capital city, Arrakeen, at night. Many Atreides warriors are lost in the battle. Those who survive learn, too late, that they were set up from the start.

That bare bones description of
Dune, the latest cinematic envisioning of Frank Herbert’s seminal science fiction novel, is only half of the overall story since this film is the first of two parts.

If you struggled to digest the above synopsis, know that it was even more challenging to summarize Herbert’s sprawling epic. Aside from its Machiavellian intrigue, planet-hopping plot, coming-of-age subplot and pseudo-religious underpinnings, the story’s expansive glossary of terms (ornithopters, hunter-seekers, stillsuits, in addition to all the proper nouns listed above) is enough to give you a brain freeze…even on Arrakis.

A world (universe) so rich in different races, beliefs, creatures, weapons and cultures brings to mind another fictional masterwork, J.R.R. Tolkien’s
The Lord of the Rings trilogy. In fact, it isn’t much of a stretch to say that Dune is to science fiction what The Lord of the Rings is to fantasy. They’re the high-water marks of their respective genres.

For all the diehard, deep cut
Dune fans out there, I don’t claim to be an expert on the subject. However, I’ve seen David Lynch’s 1984 film (several times), the mini-series that aired in 2000 on the Sci Fi Channel (now Syfy), and have listened to the unabridged audiobook. That said, take my comments with a grain of sand…or salt.

Director Denis Villeneuve (
Blade Runner 2049) has assembled an impressive ensemble of performers. Yet, some of the parts seem miscast. For instance, Timothee Chalamet (Paul Atreides) is ten years older than his character and seems too brooding for the part. Oscar Isaac (Leto Atreides) is too hard-edged and fails to capture the world-weary aspect of the character, as portrayed in the book.

In my opinion, Jason Momoa and Dave Bautista don’t fit their parts and were brought in merely to shore up the movie’s action scenes (and to attract fans of their other movies). I’m conflicted about Josh Brolin as Gurney Halleck. Javier Bardem and Stellan Skarsgård are perfect in their roles. The women are fabulous, especially Rebecca Ferguson as Lady Jessica and Charlotte Rampling as the Reverend Mother.

Dune is a visually breathtaking film. The set design, particularly the interiors of the Arrakeen buildings, is nothing short of inspired and lends the film an aesthetic that’s familiar (based on human architecture), yet otherworldly. The costumes, weapons and technology are all well crafted and seamlessly blend into the story’s milieu.

Particularly striking is the film’s array of surface and space-faring ships. The dragonfly-like ornithopters are fun to watch as they flit over dunes and mountains. The harvesters fit the bill as large cargo vessels with tank treads to help them slowly amble across the desert terrain.

With their immense size and angular designs, the capital ships are utterly jaw-dropping. They have an almost physical presence when ominously hovering above the surface. The surreal atmosphere created in these scenes is similar to the effect Villeneuve achieved in
Arrival (2016) with his massive, obsidian, contact lens-shaped alien ship.

Despite its stellar production, this film isn’t everything I’d hoped it would be. Compared to the film’s massive scale, the characters seem small and insignificant. Indeed, the characters are swallowed up (as if by a giant sandworm) by the expansive sets and the sheer magnitude of the story. Character moments are few and seem insignificant against the backdrop of interstellar war.

Even the action sequences are uninvolving and (here’s something I never thought I’d say) too short. To provide an omniscient view of the battles, many of the scenes were filmed from a distance. As a consequence, the audience doesn’t get to feel the pulse-pounding intensity of close combat or experience the jeopardy that comes with following the main characters through the battle (e.g., the melees in
The Lord of the Rings). The notable exception is when Momoa’s Duncan Idaho sacrifices himself Boromir-style to give his friends time to flee the rapidly approaching Sardaukar.

As with many movies, the biggest drawback here is the story; the screenplay was adapted by Villeneuve, Jon Spaihts and Eric Roth. Though their script remains faithful to the source material (in most respects), the writers focused their attention on servicing the fans more than clarifying story elements for the newcomers. Granted, the narrative can be confusing, even to the initiated, but the writers failed to provide adequate context for the story’s plethora of planets and peoples. They dole out bits of exposition at a pace that might lose some spectators. If I wasn’t already familiar with the world of
Dune, I would’ve been thoroughly confused by this presentation of Herbert’s novel.

One element that should remain invisible in any movie is the score. As a rule, noticing the music isn’t a good thing, because it can pull you out of the reality of the film. Much of Hans Zimmer’s score for
Dune is like listening to an army of rhythmically-challenged people pounding on metal garbage can lids with turkey legs. This type of grating, banging, industrial sounding accompaniment, complete with screaming electric guitars, is fitting for the handful of Harkonnen scenes, but not for the bulk of the score.

Some of the music is noteworthy; Middle Eastern sounds are used for the Fremen scenes and there’s a beautiful passage with a soprano during one scene. But overall, the word I’d use to describe Zimmer’s score is “obnoxious” (or perhaps just “noxious”). I recently purchased his soundtrack for
No Time to Die which is way, way better (and far more listenable) than this effort.

Despite being the best visualized version of Herbert’s classic, this presentation of
Dune is a mild disappointment. Unlike its scorching hot environs, the story is cold and aloof, offering insufficient context and scant character development. In a strange paradox, the film manages to be both awe-inspiring (production) and uninspiring (story).

The ending leaves the audience lost in the desert. We’ll see if they find their way back to the theater for
Dune, Part 2.

Rating: 3 out of 4

No Time to Die (PG-13)

51XYzFXLwaL._AC_SY741_
Directed by: Cary Joji Fukunaga
Starring: Daniel Craig
October 2021



Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


Bond is back (after a long delay due to COVID)! No Time to Die is Daniel Craig’s fifth and final James Bond film. The movie brings back many characters (Ralph Fiennes as M, Ben Whishaw as Q, Naomie Harris as Moneypenny and Jeffrey Wright as Felix Leiter) and story elements from Craig’s earlier films and picks up a short time after the events of the previous film, Spectre (2015).

A staple of every Bond movie is the “Bond Girl.” Since Bond is a “girl in every port” kind of guy, it’s unusual to see the same love interest in consecutive movies. Some early scenes focus on Bond and Madeleine’s (Lea Seydoux) honeymoon afterglow. The couple enjoys a few fleeting moments of happiness before their pasts come back to haunt them, shattering the illusion of marital bliss.

The only other Bond film that featured a retired Bond settling down with a new wife was
On Her Majesty’s Secret Service (1969). Cleverly, composer Hans Zimmer includes a slower-tempo version of a prominent theme from that movie in his score (track 11, “Good to Have You Back”). That earlier Bond film ended in tragedy and so does No Time to Die, but with a twist.

This movie is the culmination of Craig’s Bond films and marks a bold new direction for the franchise. Will we see our first female Bond in the next film—perhaps Lashana Lynch, who plays Bond’s replacement in this film?

Director, Cary Joji Fukunaga, makes excellent use of several gorgeous locations (the movie was shot in Italy, Norway, Jamaica, the UK and other regions) and stages some heart-stopping action sequences (especially the climactic FPS-style charge up the stairway to the tower). The writers, including Fukunaga, Phoebe Waller-Bridge, and others, do an excellent job of working within the well-established tropes of the franchise without being overly rote or formulaic.

Of course, when discussing narrative conventions, a Bond film wouldn’t be complete without a villain bent on destroying the world. This film features two villains: Christoph Waltz as Blofeld (held over from the previous film), and Rami Malek as Lyutsifer Safin. Blofeld is the nemesis from Bond’s past, while Safin is a haunting figure from Madeleine’s childhood. In the end, Bond must defeat both antagonists. But at what price?

The Bond films have always done an excellent job of projecting possible anarchist plots based on emerging technologies. In a ripped-from-headlines scenario, Safin intends to wipe out the majority of humanity with designer viruses that can target an individual’s specific DNA. It’s a frightening doomsday scenario that taps into pandemic fears and recent reports that U.S. medical databases have been hacked by a foreign government.

The film’s harrowing resolution is a gut-wrenching exercise in inevitability. While some will be satisfied with the ending, others will judge it as an emotionally overwrought and egregiously protracted denouement. In the defense of the latter argument, why does it take so long for the missiles to reach their target (they could’ve gotten there quicker if they’d been launched from the moon)? Others might gripe that the story is torn between a romance and an actioner, and that the movie’s nearly three hour running time taxes the bladder. All valid points.

On the flipside, the stakes are higher and the emotions run deeper here than in many other Bond films. It’s hard to imagine a future Bond installment eclipsing this film in dramatic depth and intensity, or in producing a finer title. Although, for the sake of accuracy, this movie should’ve been called
Bad Time to Die.

Rating: 3 out of 4

Stillwater (R)

Stillwater-2021
Directed by: Tom McCarthy
Starring: Matt Damon
September 2021



Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


The movie is named after the Oklahoma town which serves as the bookend location in
Stillwater. As opposed to its eponym, the dramatic waters in this film are anything but still.

Matt Damon plays Bill Baker, a divorced oil-rig driller whose daughter, Allison (Abigail Breslin) has been accused of a murder and is languishing in a French prison. Between jobs, Bill manages to scrape enough cash together to visit Allison and bring her gifts, like an Oklahoma State Cowboys hoodie. Sadly, Allison sees her former alcoholic dad as a mess up and her relationship with him is estranged, despite his best efforts to patch things up.

On his most recent visit to Marseille, Bill is assisted by Virginie (Camille Cottin). Bill forms a close bond with Virginie’s young daughter Maya (Lilou Siauvaud), and eventually falls in love with Virginie…at which point his life begins to implode.

The movie is about choices and how people tend to go to extremes when protecting the ones they love. Bill makes a series of bad decisions that threaten his newly-formed French family and nearly land him in jail. The climactic bombshell revelation, that Allison might not be as innocent as she claims, sets up a bittersweet denouement and a downer ending.

Director Tom McCarthy does an excellent job of contrasting the U.S. and French locations. The cinematography serves a double purpose of capturing the character of these two worlds while revealing how these two worlds impact the characters.

It’s hard to imagine a more fish-out-of-water scenario then dropping someone like Bill into a bustling French city. His attempts at learning to speak French are amusing; especially his comment about how many syllables it takes to say “chisel.”

Damon deftly inhabits his character and is thoroughly convincing as the rough-living roughneck trying to do right by his daughter. As good as Damon is, the supporting cast is excellent, especially Cottin, who grounds the story’s more contrived elements in reality. Siauvaud is cute as a button.

In the end, this family drama with crime elements and Parisian flair won’t be everyone’s cup of joe. Though it has shades of
Taken (2008), this well written clash of cultures tale will inhabit a unique corner in the “intercontinental, daughter in trouble, father takes matters into his own hands” genre.

Rating: 3 out of 4


Old (PG-13)

MV5BZGMxYmI2MDAtMjZlMC00YjQyLTljNGYtOGI0YmMwOGE3YWNiXkEyXkFqcGdeQXVyODk4OTc3MTY@._V1_QL75_UX180_CR0,9,180,266_
Directed by: M. Night Shyamalan
Starring: Gael Garcia Bernal
July 2021



Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


Director M. Night Shyamalan is back with a new thriller, Old.

The story opens with a vacationing family driving through a tropical paradise. After checking into an opulent seaside resort, the hospitality manager invites the family to visit a private beach. They’re joined by two other families; a mysterious man, who lingers like a statue near the rocky cliffs, was already on the beach before they arrived.

The first clue that everything isn’t okay comes when one of vacationers finds a dead body. Then, the adults are shocked when they discover their kids are growing older by the hour. Every attempt to leave the beach is met with failure or death and, judging from how fast their children are growing, the adults estimate they’ll die of old age within twenty-four hours.

A mystery coupled with a ticking time bomb plot device is usually an effective combination, and so it is here. But, before we’ve gone too far down the slot canyon of analysis, I want to make an admission that might make some scoff. I admire Shyamalan.

His early successes,
The Sixth Sense (1999), Unbreakable (2000) and Signs (2002), put Shyamalan on the fast track to becoming the next Alfred Hitchcock. Praise turned to ridicule with the release of a middling rash of films, including The Village (2004), Lady in the Water (2006), and The Happening (2008). Ironically, Shyamalan created his own monster when (ever smarter) audiences came to expect, and quickly deduce, his patented twist endings.

Shyamalan’s name became synonymous with box office flops and for a season it looked like his career was finished. But to his credit, Shyamalan took the criticism and failure in stride and kept trying (hence my admiration). In recent years, he’s delivered several modest successes, including the thought-provoking psychological thrillers
Split (2016) and Glass (2019).

Shyamalan, who also wrote the story (adapted from the graphic novel
Sandcastle by Pierre-Oscar Levy) and appears in a cameo role, delivers some skillful and inventive directing in Old. The unsettling vertigo effect inside the canyon is highly effective and the shots of kids freezing in place when playing a game of tag are downright creepy. Thankfully, he takes a minimalist approach when showing gory or graphic action; many of these incidents take place off-screen, with a few notable exceptions.

With the assistance of his crew, Shyamalan makes the plight of his aging characters an immersive experience for the audience. A blurry filter is used to depict a man’s failing vision. A woman covers her right ear and everything in the theater goes silent…a dramatic way to reveal that she’s deaf in her left ear. Even in the CG era, these old-school tricks still work like a charm.

As brilliant as his direction is, Shyamalan’s dialog is wanting. In the first few minutes of the film, the themes of aging and time are delivered with all the subtlety of a jackhammer. Such contrived lines include: “I can’t wait to hear it when you’re older,” “You’re too young,” “Don’t wish away this moment” and “Sit up, you don’t want to be hunched when you grow up.” These, and many other, examples reinforce my opinion that Shyamalan should’ve hired a professional scribe to co-write or, at the very least, polish his script.

Soliciting help from an established screenwriter would’ve benefited the narrative, too. The story’s structure is fairly taut until the very end, when the plot takes a sharp left turn and the audience goes “Ahh!” Shyamalan should’ve wrapped things up right there.

Instead, he takes extra time to explain what the audience has already figured out. Shyamalan ties up every plot thread, but he should’ve left a few details untidy…to preserve the mystery and allow the audience to fill in some of the gaps. Aside from a few obvious nitpicks (wouldn’t nails, hair/beards grow quicker in an environment with rapidly advancing time; wouldn’t the aging adults have more gray hair and wrinkles; and why don’t the older and younger actors playing the same person look anything alike?), the movie’s ending is its only significant misstep.

Though lacking in star power, the movie features solid performances from an ensemble of established adult actors (Gael Garcia Bernal, Vicky Krieps, Rufus Sewell, Ken Leung and Embeth Davidtz) as well as some fresh faces (Alex Wolff, Thomasin McKenzie and Alexa Swinton). The multi-generational (and racially diverse) cast not only serves the story, it gives each member of the audience someone to identify with, which is also true of the movie’s themes (aging and relationship issues will resonate with adults, while teen romance and thriller sequences will appeal to younger audience members).

The film’s tropical vistas, shot in the Dominican Republic, are absolutely gorgeous. It could be argued that the beach, as the central locus of action, is the “main character” of the movie. Perhaps this is why Shyamalan didn’t hire superstars…he didn’t want his location to be upstaged.

Old is one of Shyamalan’s only films not to be set in his hometown, Philadelphia (however, the story’s main family says they’re from Philly). Though an unintended analogy at the time of filming, Shyamalan has keenly noted that this story, which involves characters trapped on a beach, is reminiscent of the way many people have felt stuck during the COVID-19 lockdown.

The movie
The Missouri Breaks (1976), starring Marlon Brando and Jack Nicholson, is mentioned twice by Sewell’s character. Since the plot of that film doesn’t resemble the story in Old in any way, it’s a curious and esoteric reference.

Playing an overconfident swimmer in
Old, Leung is perhaps best known for his role in another tropical island mystery, TVs Lost. One young boy says he collects conch shells. This may be a reference to Lord of the Flies, yet another island survival tale/morality play.

In addition to its main theme concerning the fear of growing old and dying, there are several ancillary themes in the movie, including anxieties surrounding chronic illness and loss (of physical abilities, mental health, memory, cherished people and pets).

The movie also has a lot to say about time and how we choose to use it. With only thirteen hours to live, two characters decide to make a sandcastle on the beach. Some would view this as a waste of precious time. Others might see it as a shared experience providing an enjoyable distraction from the crushing reality of their impending doom. The scene posits an important message: no matter how bad things get, always take some time to have fun and enjoy the moment.

Old is a thriller wrapped in a mystery and tied together with a universal theme: the fear of growing old and dying. It’s man vs. nature stuck on fast-forward.

Old isn’t top-shelf Shyamalan, nor does it need to be. That seems to be one of the main ingredients in Shyamalan’s resurgence; he isn’t trying to make the next Signs. He’s just trying to make films with an intriguing premise and relatable characters rather than a thrill-fest with a trick ending. It’s a formula that seems to be working.

In the end, this isn’t a great film, but it’s a well-constructed mystery with a few good scares and some food for thought you can snack on after you’ve left the theater.

Parting tip: When someone invites you to a private beach, go snorkeling.

Rating: 3 out of 4

The Courier (PG-13)

MV5BYjg4YTJlNzMtY2U0OC00N2FjLWI0ZTgtNGM1NDRhMWNhZmRkXkEyXkFqcGdeQXVyMDM2NDM2MQ@@._V1_QL75_UX180_CR0,4,180,266_
Directed by: Benedict Cumberbatch
Starring: Dominic Cooke
March 2021



Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


The Cold War heats up in this political thriller from director Dominic Cooke (
On Chesil Beach).

A Russian spy, Oleg Penkovsky (Merab Ninidze), secretly believes Soviet leader Khrushchev’s (Vladimir Chuprikov) policies and rhetoric have become too aggressive (“…we…will…bury them!”), and that he shouldn’t be in control of an arsenal of nuclear weapons. Penkovsky sends a message to MI6 in London, outlining his plan to relay top secret information to British Intelligence in exchange for extraction from Russia.

In a bold move, MI6’s Dickie Franks (Angus Wright) and CIA agent Emily Donovan (Rachel Brosnahan) recruit a British businessman, Greville Wynne (Benedict Cumberbatch), to establish contact with Penkovsky. Wynne flies to Russia on a business trip to meet Penkovsky, and the two men begin an association that will lead them into ever greater intrigue and danger.

I’d love to tell you more of the plot, but then I’d have to kill you…and I like you. So I won’t.

There are two reasons I wanted to see this film:

1. Though it doesn’t directly deal with the conflict, the subject of the movie is the Cuban Missile Crisis of 1962. This is a personal historical event for me since my father served aboard a destroyer that was part of the blockade (his ship turned its large deck gun on a Russian U-boat, which promptly tucked tail and headed back to the U.S.S.R.).

2. The movie stars Cumberbatch, whom I esteem as one of the finest actors of our generation. His acting in the film has further reinforced that opinion. Not only is Cumberbatch’s performance finely-nuanced, his Tom Hanks (
Philadelphia and Cast Away) and Christian Bale (The Machinist) style emaciation is startling.

So, have you seen this movie before under different guises? Yes.

Penkovsky’s plan to leave Russia is reminiscent of Marko Ramius’ (Sean Connery) intention to defect from Russia to the U.S. on the eponymous nuclear submarine in
The Hunt for Red October (1990). Another similarity between these films is Penkovsky’s desire to live in Montana; the same state Captain Borodin (Sam Neill) wants to live in after he’s defected from Russia in the Red October.

Of course, a more recent touchstone for this film is Steven Spielberg’s
Bridge of Spies (2015). In that movie, American insurance lawyer, Jim Donovan (Tom Hanks) is sent to Berlin to mediate the exchange of an American pilot for a captured Russian spy, Rudolf Abel (Mark Rylance).

There are many parallels between
The Courier and Bridge of Spies. Both films are set during the Cold War and both are based on real events. Also, both Wynne and Donovan are hardworking everymen with no prior espionage experience. They both befriend a Russian spy, albeit for completely different reasons. Both men step up to the challenge (lesser men simply wouldn’t have gotten involved) and exhibit courage in the face of danger.

The entire thrust of the movie is about spying. Not only are Penkovsky and Wynne spying against the Russians, the Russians are spying on themselves. This fills the film with a pervasive paranoia.

It also provides a stark contrast with the scenes in London, where there isn’t the same feeling of anxiety that’s present in the scenes that take place in Russia. It’s the difference between a nation spying on its enemies (Great Britain) versus a country spying on its enemies
and it own citizens (Russia).

Sadly, we’ve had a long litany of spying in America. We’ve gone from spying on our neighbors (the Red Scare), to spying on political adversaries (the Watergate scandal), to spying on terrorists in our midst (the Patriot Act), to spying on individuals (Carter Page), to spying on the masses (hackers and social media platforms).

The script by Tom O’Connor is a slow-boil political yarn in the vein of
Tinker Tailor Soldier Spy (2011), which also featured Cumberbatch in its cast. For those who enjoy a well-structured plot with riveting intrigue and mild action, this film is for you. Those who prefer more action in their spy film (a la James Bond) might be disappointed by this movie’s slow start and deliberate pacing throughout.

Cooke’s sure-handed direction is further abetted by Sean Bobbitt’s crisp, moody cinematography. Though many of its scenes take place indoors, the film makes excellent use of its Prague and London locations. Most of the on location work was shot under overcast skies, which further enhances the film’s melancholy mood.

At first glance, you probably wouldn’t consider this is a buddy movie, but Penkovsky and Wynne (just like Donovan and Abel in
Bridge of Spies) forge an unlikely partnership that leads to a sacrificial friendship.

When the KGB begins to close in on Penkovsky, Wynne tells Franks and Donovan, “I’m not leaving him.” Wynne flies to Russia to help extract Penkovsky at great personal risk. Penkovsky and Wynne are willing to die in order to protect the secrets that can save millions of lives.

In the final analysis,
The Courier features deft direction, top-shelf writing and fine performances. It’s a finely mounted period piece that superbly captures the Cold War milieu.

Aside from these artistic considerations, the film recalls one of the most dangerous periods in history and leaves us with some nagging questions regarding the nature of spying.

It also spotlights courage and friendship. Penkovsky tells Wynne, “Maybe we’re only two people…but this is how things change.”

That haunting line is the heart of the film and begs the question: If these two men from enemy countries could work together for the common good, why can’t our politicians find consensus to solve the many pressing challenges currently facing our nation?


Rating: 3 out of 4

I Still Believe (PG)

rm2204534273
Directed by: Andrew Erwin, Jon Erwin
Starring: Britt Robertson
March 2020


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


Based on the real-life experiences of singer Jeremy Camp, I Still Believe is a unique film in that it’s both heartbreaking and inspiring. That bittersweet dichotomy permeates every moment of this tragic love story, which also focuses on faith and family.

Jeremy Camp (K.J. Apa) and Melissa Henning (Britt Robertson) meet at a concert and it soon becomes apparent that their love is written in the stars. But the universe throws the young couple a curveball when Melissa is diagnosed with cancer.

To its credit, the story doesn’t degenerate into a melodrama when depicting its tragic events. There isn’t a false note during the film’s emotionally gut-wrenching passages, particularly those that take place in the hospital.

The film benefits from some superb acting. Though Apa and Robertson scintillate as the movie’s central couple, the supporting cast is equally impressive. Jeremy’s parents are portrayed by Gary Sinise and Shania Twain. One of Melissa’s sisters is played by Melissa Roxburgh, the star of TVs
Manifest. In an ironic bit of casting, Cameron Arnett, who played a terminal patient in last year’s Overcomer, appears here as Melissa’s doctor.

The film is directed by the Erwin Brothers (Andrew and Jon), who also helmed last year’s surprise hit
I Can Only Imagine; another biopic about the life of a musician, Bart Millard. In a refreshing gesture of paying it forward, Millard serves as one of this movie’s producers.

The Erwin’s have done an amazing job of making a modestly budgeted film feel like a prestige studio drama. Aerial shots, like the ones at Camp’s beachside concert, are impressive and surely weren’t cheap to film. The movie also boasts a diverse soundtrack and an affecting score by John Debney (
The Passion of the Christ).

A two-hanky tearjerker, this film will have added significance for anyone who’s lost someone. It’s an eternally hopeful love story filled with music and more than its fair share of genuine, human moments.

In the end,
I Still Believe is a moving true story of true love. It’s anchored by superb performances and features a story unafraid to ask some of the big questions about life…and death. And what it means to really believe.

Rating: 3 out of 4

The Call of the Wild (PG)

rm260869121
Directed by: Chris Sanders
Starring: Harrison Ford
February 2020


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


Based on the Jack London novel of the same name, The Call of the Wild feels like a Disney movie, but isn’t (the movie was produced by 20th Century Studios).

Harrison Ford cuts a rugged figure as old-timer John Thornton. Ford certainly looks the part; he grew a bushy prospector’s beard in three and a half months. Ford’s performance is predictably strong as a man with vastly different priorities than most of his contemporaries. Unlike everyone else headed “North to Alaska,” Thornton’s goal isn’t gold nuggets, only solitude.

Ford anchors a cast that features oddly checkered acting. Bradley Whitford is solid in his blink-and-you’ll-miss-it part as Buck’s (Terry Notary) former, forbearing owner. Buck’s dogsled masters, played by Omar Sy and Cara Gee, are superb in physically demanding roles. It’s fitting that Sy and Gee’s characters deliver the mail since they deliver strong supporting performances that keep the story zipping along during the film’s early passages.

Ironically, the weakest performance comes from one of the finest actors in the cast…Dan Stevens. The one-note heavy Stevens portrays makes a Disney villain seem complex by comparison. Witness Stevens’ face when he enters Thornton’s cabin. His maniacal mask is so inhumanly contorted that I actually thought the movie had switched to an animated feature for a few beats.

This kind of melodramatic and megalomaniacal part is a tremendous disservice to Stevens, who, in other contexts (
Downton Abbey), has proven himself to be a fine actor. Here, he plays a greedy, cruel (especially to animals), unreasonable opportunist who wouldn’t last five minutes out in the wild.

Set in the Yukon in the 1890s, the locations (many of which were filmed in British Colombia and Yukon, Canada) are mind-blowingly frigid (winter) and lush (summer). While director Chris Sanders (
How to Train Your Dragon) does a fine job of creating the look and feel of London’s pioneer world, it’s Janusz Kaminski’s (Schindler’s List) cinematography that helps capture the alternatingly breathtaking and terrifying majesty of the Great White North.

The only knock on the visuals is that the saturation is really augmented during the summer sequences and the aurora borealis shots were quite obviously created with CGI. While on the subject, why was it necessary to CG animate Buck, the St. Bernard/Scotch Shepherd mix? Sure, the process of filming a live animal can be a bear (especially when it is one), but there’s just no replacing the genuine article.

Having a human inside a mo-cap suit mimicking the motions of a dog is preposterous (as it must’ve seemed to Ford when he had to pet Notary’s head). Although the final result isn’t embarrassing, there are moments when we can see right through the CG veneer, especially when, in an anthropomorphic display, Buck tosses Thornton a sideways glance. My preference would’ve been for real, rather than mo-cap and CG, animals in the movie. Featuring the latter was a major impediment to my enjoyment of the film.

In the end,
The Call of the Wild is a crowd-pleasing retelling of London’s classic adventure yarn. Excellent production values and gorgeous locations greatly add to this family-friendly tale of adventure and companionship between a man and his dog. For better or worse, the movie is exactly what you expect it to be.

So, will you answer the call?

Rating: 2 1/2 out of 4

1917 (R)

rm144738817
Directed by: Sam Mendes
Starring: Dean-Charles Chapman
January 2020


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


The movie’s serene opening is completely unexpected…two British soldiers are napping in a field in northern France during the height of WWI. Lance Corporal Blake (Dean-Charles Chapman) is roused by a superior officer and told, “Pick a man. Bring your kit.”

Before Blake’s waking friend, Lance Corporal Schofield (George MacKay), can protest, the two young men are trudging through a winding labyrinth of trenches. After several minutes of maneuvering down narrow passageways, the soldiers finally arrive at General Erinmore’s (Colin Firth) command bunker.

Erinmore wastes no time in outlining Blake and Schofield’s assignment—they are to cross over into enemy territory, rendezvous with a British battalion and deliver a letter which warns of a German trap. Failure to deliver the message will jeopardize 1,600 men, including Blake’s brother. This is one impossible mission even Ethan Hunt wouldn’t accept.

The movie’s premise is simple enough and, barring a few twists along the way, the plot is fairly straightforward too. But story (director Sam Mendes and Krysty Wilson-Cairns wrote the screenplay) isn’t the movie’s strong suit. Even though the film features excellent performances from Chapman, MacKay, Firth, Andrew Scott, Mark Strong and Benedict Cumberbatch, acting isn’t its strong suit either. (Fans of BBC’s
Sherlock will note that the series’ hero and chief villain are both among this movie’s cast).

So why is
1917 causing such a stir (many top critics have lauded the film and it just won Best Motion Picture at the 2020 Golden Globes)? In short, 1917 is a cinematic achievement. Though that phrase is employed far too frequently these days, it’s wholly justified in this case.

For
1917, Mendes (Skyfall) has attempted the seemingly impossible. Mendes’ original concept, which was inspired by his eight minute sequence at the beginning of Spectre (2015), was to film his WWI epic as a single shot in real time. Alas, unlike TVs 24, the movie doesn’t occur in real time, nor was it shot in order (a few scenes were shot out of sequence). However, the film does achieve the feeling of one long, continuous shot.

This certainly isn’t the first war movie to employ uber-difficult long takes. Many will point to the frenetic, bone-jarring long take in Stanley Kubrick’s
Paths of Glory (1957)—where Kirk Douglas leads his men on a writhing, weaving course along a bomb-blasted battlefield—as the finest of its kind. Others could make a strong case for the extraordinary long takes in The Longest Day (1962), Atonement (2007) and, of course, Saving Private Ryan (1998). While those films featured one significant long take each, 1917 is comprised of a series of extended takes, the longest of which is nine minutes. There’s no overstating the magnitude of what Mendes and cinematographer Roger Deakins (along with the alchemic editing team) have achieved here.

The film took extensive planning and execution to pull off. The sets were constructed in an almost storyboard fashion. The movie proceeded scene by scene, station to station, and through trenches, mud pits and tunnels. If it rained, the company shut down (but continued to rehearse) until the weather cleared. Conversely, if the previous scene was shot under an overcast sky and the sun peaked through the clouds, they had to wait for the sun to go back in. The sheer logistics of producing such a project (constructing 5,200 feet of trenches, filming in the mud and elements for 65 days, etc.) are mind-boggling and exhausting to consider.

Most war movies contain similar themes, such as bravery, courage, sacrifice and friendship. Blake and Schofield exhibit excellent teamwork as they work in tandem to overcome the many obstacles thrown in their path. Their training is evident and their dedication to the mission is admirable.

At one point, Schofield asks Blake why he was chosen for the mission. Blake asks Schofield if he wants to go back. Schofield proves his loyalty as a friend and fellow soldier by remaining at Blake’s side.

This degree of loyalty and companionship is reminiscent of Frodo and Sam’s in
The Lord of the Rings trilogy. Similar to Blake and Schofield’s trek, the Hobbits are required to traverse inhospitable regions filled with untold dangers in order to accomplish their objective. At one point, Schofield tries to pick up Blake, just like Sam did with Frodo. As sidekicks, both Sam and Schofield are willing to sacrifice themselves for their friend.

There are many unforgettable visual compositions in the movie. In one scene, a crashing German plane rapidly approaches Blake and Schofield from behind as they run straight toward the camera. The shot recalls Cary Grant sprinting away from the low-flying crop duster in
North by Northwest (1959).

In another scene, Schofield exchanges fire with a German sniper and ends up falling down a flight of stairs. After an undetermined span of time (brilliantly, the film fades to black for a few moments), Schofield finally regains consciousness.

Despite its unqualified brilliance, the movie surely will have its naysayers. Some may feel the movie’s progressive plot and filming technique have detracted from the overall viewing experience while simultaneously distracting many from realizing that the cause and effect story could’ve been written by a 10-year-old (with all due deference to today’s savvy young people). Others may criticize the movie for being enamored with its own style. All are valid arguments. Normally I grade down for “style over substance” spectacles (like
Dunkirk), but 1917 is a landmark effort that deserves nothing less than top marks.

In the final analysis, Mendes has achieved a staggering feat of cinematic wizardry with his ambitious one-shot filming. The movie is bolstered by stunning cinematography, astounding production elements, a beautifully restrained score by Thomas Newman and superb performances from its cornucopia of a cast.
1917 is an immersive, visceral and unrelenting journey through claustrophobic trenches, sodden plains and hellish landscapes…with cat-sized rodents and corpses to spare.

1917 is an unparalleled cinematic achievement unlikely to be outdone in our lifetime. Above all, 1917 has pushed the art forward. Regardless of its many accolades, that will be its lasting legacy.

Rating: 4 out of 4

Richard Jewell (R)

rm3455682817
Directed by: Clint Eastwood
Starring: Paul Walter Hauser
December 2019


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


Based on the horrific events that transpired at Centennial Olympic Park in Atlanta, GA during the 1996 Summer Olympic Games, Richard Jewell tells the true account of how the right security guard at the right time saved countless lives, but then went from hero to prime suspect in a matter of days. The movie is based on the book The Suspect by Kent Alexander & Kevin Salwen and the Vanity Fair article “American Nightmare: The Ballad of Richard Jewell” by Marie Brenner.

The movie begins with Richard Jewell (Paul Walter Hauser) delivering mail (and Snickers bars) to his new boss, Watson Bryant (Sam Rockwell). Jewell soon leaves that job to pursue a career in law enforcement. Years later, after being fired from his security position at Piedmont College, one of Jewell’s friends recommends that he try getting on one of the security crews at the Olympic Games.

We jump forward to when Jewell is working security for AT&T during the Olympics’ nightly concert series. One night, Jewell sneaks up behind his mother, Bobi (Kathy Bates), and joins her in singing the chorus to “The Gambler” as Kenny Rogers performs it live on stage. The following night isn’t as festive. Backpack. Explosion. And the rest is history.

Whereas the film’s central event is explosive, the story isn’t. Billy Ray’s (
Captain Phillips) screenplay is extremely slow out of the starting gate. We follow Jewell as he bounces from job to job before finally getting hired on at the Olympics. Though we learn a good deal about Jewell’s personality and eccentricities during these preliminary scenes, it would’ve been nice if the early stages of the movie had been more intentional.

Much of the movie’s geriatric pacing can be attributed to the octogenarian director’s filming style. With a few exceptions, the majority of Clint Eastwood’s recent films have lacked urgency. He tends to capture the reality of a story in a very deliberate manner. Here, that purposefulness almost works in his favor, since the film is set in the Deep South, a region known for its slower pace. Negative critiques aside, after a series of average (
The Mule) to awful (The 15:17 to Paris) films, this is Eastwood’s best effort in years.

Eastwood has tapped some fine talent for his biopic. Simply put, Hauser (
I, Tonya) makes this movie work. You can’t help but feel pity for the quirky, vigilant and by the book security guard.

There’s a great scene where Bryant accuses Jewell of not being mad enough about what’s happening to him. The remark succeeds in triggering Jewell’s indignation. Jewell tells Bryant he can’t react the way the lawyer would and that he has to be true to himself. Even when provoked to anger, Jewell still had integrity.

Rockwell is flawless as Jewell’s “loud lawyer.” Bryant repays Jewell’s loyalty by sticking with him through the media circus that ensues after Jewell becomes the assumed perpetrator of the bombing. Bryant’s hard-nosed approach is a huge asset in preventing the FBI agents from intimidating Jewell and coercing him into surrendering his rites.

Though she only has a handful of scenes, Bates is exceptional as Jewell’s mother. Her impassioned speech at the end of the film is deeply moving and shows her range as an actor. Jon Hamm perfectly plays Tom Shaw, the FBI agent who continues building his case against Jewell even after it becomes obvious the security guard is innocent. Rounding out the cast is Olivia Wilde, who plays Kathy Scruggs, an unscrupulous journalist more interested in grabbing a headline (and Shaw’s crotch) than telling the truth, regardless of how such falsehoods might destroy the reputation of an innocent person.

And therein lies the crux of the story. Jewell was falsely accused of a crime he didn’t commit. Though the judicial bedrock of our nation has been eroding for decades now, it’s clear that the time-honored standard “innocent until proven guilty” was tenuous even at this point in our history.

Indeed, more than ever, people are rushing to judgment and vilifying perceived offenders before they’ve been sentenced, tried or convicted. This type of trial by media is incredibly dangerous to individual rights. Though the media scrutiny was unbearable in 1996, can you image the living hell Jewell would’ve endured if the bombing had occurred during the age of social media?

Despite the fact that his reputation was besmirched by an overeager reporter and an overzealous federal agent, Jewell is one of history’s greatest unsung heroes since the bombing would’ve claimed many more lives were it not for his training, awareness and aggressive evacuation of the concert venue. Even though Jewell fits a certain profile (gun owner, lives with his mother, knows how to make a pipe bomb, wants to be seen as a hero, etc.), estimations of his character, by various news outlets and key law enforcement officials, couldn’t have been further off base. Using Jewell as a case study, one wonders how many others in our society are just like him…misunderstood heroes in the making?

Ironically, the real Olympic bomber, Eric Rudolph, confessed to the crime in 2005. Two years later, Jewell died of heart failure at age 44.

In the end,
Jewell is a bittersweet tale that illustrates just how quickly someone can go from being lionized to villainized. The movie is a sobering reminder of the media’s prevalence and the government’s ostensible omnipotence.

Jewell is a cautionary tale of how easily lives can be destroyed when powerful institutions succumb to knee-jerk reactions and turn public opinion against innocent citizens. It’s a lesson that’s just as salient today as it was in 1996.

Rating: 3 out of 4

A Beautiful Day in the Neighborhood (PG)

rm1032162305
Directed by: Marielle Heller
Starring: Tom Hanks
November 2019


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


A Beautiful Day in the Neighborhood, the biopic based on the life of Fred Rogers (better known as Mister Rogers), features a casting coup. Tom Hanks is astounding as the soft-spoken, affable creator of the children’s educational program, “Mister Rogers’ Neighborhood,” which aired on PBS from 1968 to 2001. Even though he isn’t a dead ringer for Rogers in appearance, Hanks nails the TV host’s mannerisms and speech patterns…and he rocks the red sweater.

The story takes place in 1998, when struggling journalist, Lloyd Vogel (Matthew Rhys), is handed an assignment to write a piece on Rogers. After conducting his initial interview with Rogers, Vogel walks away with more questions than answers, largely owing to the fact that Rogers is much more interested in learning about Vogel than talking about himself. After witnessing Rogers preempt filming to talk to a disadvantaged child, the jaded journalist is left to wonder if it’s all part of an act.

Rogers takes a liking to the “broken” writer and tries to get Vogel to open up about his past, specifically his strained relationship with his father, Jerry (Chris Cooper). With Rogers’ wise council, Vogel attempts to patch things up with Jerry, who has fallen ill and is nearing death.

For those who grew up watching Mister Rogers on TV, the film will be a nostalgic trip. The show’s opener, where Rogers changes into his sweater and exchanges his tennis shoes for slippers (with the iconic slipper toss from one hand to the other), is an indelible sequence. The miniature sets, replete with tiny homes and moving trolley cars, will be a stroll down memory lane for many in the audience.

Speaking of those scaled-down sets, the movie’s art department cleverly constructed several Rogers-esque neighborhoods to stand in for real housing developments in the movie. City skylines, like Pittsburgh and pre-9/11 NYC, are brilliantly realized and come complete with blinking lights at night. The shot of a toy plane taking off from a play-set airport is also amusing.

Though nothing alike thematically,
Beautiful reminds me of Julie & Julia (2009) structurally. That story bounced back and forth between Julia’s (Meryl Streep) experiences in a Parisian culinary school in the past and Julie’s (Amy Adams) blog challenge in her NYC flat in the present. Even though it doesn’t involve any time jumping, Beautiful splits its focus between Vogel and Rogers, with their shared scenes serving as the heart of the story.

Disappointingly, Rogers’ story doesn’t exist apart from Vogel’s, except during the reenactment of various scenes from Rogers’ show. Lest we forget (and the savvy audience surely hasn’t), this is supposed to be a movie about Rogers, not the troubled journalist who writes an article about him—in real life, Tom Junod’s article “Can You Say…Hero?” appeared in
Esquire. Though not without magical and memorable moments, the movie could’ve used a lot more Rogers and a little less Vogel.

That isn’t to say the Vogel storyline is devoid of meaning or relevance.
Beautiful’s father/son estrangement subplot would feel right at home in many other movies dealing with familial strife. Here, the Vogel family drama consistently upstages the movie’s main storyline and its central figure.

The Rogers/Vogel pairing is an intriguing juxtaposition of attitudes and worldviews. Theirs is truly a tale of two eras.

Rogers represents the past—the early to mid-20th century, an era when people treated each other with decency, civility and respect. It also was a time when people placed an emphasis on hard work, family, community and faith. Fittingly, Fred Rogers had a very Will Rogers perspective on people (apparently, the latter once remarked that he never met a person he didn’t like).

In a similar vein, Rogers believed that everyone is precious. As portrayed in the movie, Rogers spoke kind and wise words in near-hypnotic tones. Then he would look into a person’s eyes, listen to them intently and remember what they said…an interpersonal skill set that eludes many members of today’s perpetually distracted society.

By contrast, Vogel represents the late 20th century (and opening 1/5
th of the 21st century). He’s angry, cynical and self-important. If Vogel doesn’t want to talk to someone, he just walks out of the room (or kicks them out of his house). He’s skeptical of genuine kindness and often struggles to express his emotions.

Vogel won’t let anyone get too close to him, which is why it’s remarkable that Vogel eventually opens up to Rogers. The fact that Rogers and Vogel become friends proves that the generation gap can be bridged. Rogers becomes a type of surrogate father to Vogel.

Vogel and his real father eventually find common ground too. Vogel’s decision to forgive Jerry, despite his past mistakes, is a beautiful moment. The movie’s recurring theme of relational reconciliation finds its fullest expression during the deathbed scenes, which, despite their inherent solemnity, initiate a heartwarming, crowd-pleasing resolution.

In the end,
Beautiful is an uplifting tribute to a truly kind and caring soul. Even though this slice of life spotlight on Rogers is inspiring, it would’ve been nice to see the full sweep of his life and career. The movie barely scratches the surface of who Rogers was as a person (like the fact that he was a Presbyterian minister and attended the University of Pittsburgh’s Graduate School of Child Development). For a well-orbed portrait of Rogers, watch the superb documentary, Won’t You Be My Neighbor? (2018).

Let’s all follow Rogers’ example and share some kindness with others today. It’s a beautiful day for it.

Rating: 3 out of 4

Motherless Brooklyn (R)

rm2979435777
Directed by: Edward Norton
Starring: Edward Norton
November 2019


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


Based on the novel of the same name by Jonathan Lethem, Motherless Brooklyn is a neo-noir set in NYC during the 1950s. It’s a tale of murder, greed, scandal and political corruption. Some things never change.

The film opens with Lionel Essrog (Edward Norton), a private detective afflicted (or blessed) with Tourette’s Syndrome, assisting his boss, Frank Minna (Bruce Willis), with an important case. Things go sideways when Frank is taken for a ride, shot in the stomach and dumped in an alley. Frank’s final words not only hint at the identity of his murderer, they also blow the lid off a high-level political scandal.

As he begins unraveling the tangled web of graft, Lionel meets Laura Rose (Gugu Mbatha-Raw), an attorney who’s advocating for the scores of minority families that are being forced out of their homes to make way for new housing developments. Lionel also encounters Paul Randolph (Willem Dafoe), a disgruntled engineer who implicates his brother, Moses (Alec Baldwin), as the chief architect of the unlawful land grab. These clues edge Lionel ever closer to the truth behind Frank’s death…and, as we learn in the opening sequence, once Lionel starts pulling on a loose string, he just can’t stop.

Due to the movie’s excesses, it’s difficult to remain impartial while evaluating it. On the one hand,
Motherless is a gorgeous film (Norton’s deft direction beautifully captures the look and feel of the 50s milieu) with superb acting from its scintillating cast and period appropriate production elements—sets, props, clothing and coifs are all crafted with excellence. On the other hand, the movie is loaded with foul language (including over 60 F-bombs) and crude speech from one set of credits to the other.

It’s unfortunate that the movie’s unsavory dialog sullies the worthwhile facets of its story. Its R rating also prevents a broader audience from experiencing the movie’s remarkable central performance. Norton’s neck snaps and sudden outbursts never feel forced or rehearsed and are thoroughly convincing…an Oscar-worthy turn.

Lionel’s condition serves as a wild card element and produces sympathy in other characters (and the audience) when he apologizes for his behaviors (“I’ve got a condition…makes me say funny things”). Lionel’s ticks and quirks are the most interesting part of the movie. The same story with an average Joe detective would’ve made for a much duller film.

In adapting the screenplay, Norton borrowed story devices from two of the finest movies ever made:
Chinatown (1974) and Citizen Kane (1941). Even though they take place on opposite coasts and are separated by a couple decades, Chinatown and Motherless both feature subplots involving political malfeasance. However, while the dispute in Chinatown concerns the theft of water, the civic upheaval in Motherless centers on the illegal appropriation of land.

Unlike
Chinatown, there’s a racial element in Motherless, since the people being forced from their homes are largely Blacks and Latinos. One character refers to the city’s renovation efforts as “a program for Negro removal,” which hints at a systematic relocation (and perhaps even genocide).

Norton added the character of Moses Randolph to Lethem’s original cast of characters. Randolph is based on Robert Moses, a controversial city planner who lived in NYC during the mid-20
th century. Orson Welles also modeled his main character in Kane after a real-life figure: many feel that Charles Foster Kane was a thinly-veiled analog of newspaper mogul William Randolph Hearst. Norton’s use of the name Randolph would seem to be a tip of the hat to Kane.

One of the most poignant scenes in the movie is when Paul tells Lionel that his brother, Moses, is part of a “shadow branch” of our government—no one voted him in and no one can vote him out. Moses is the exemplar of the type of unelected bureaucrat that’s ruining our country. He’s completely remorseless over uprooting communities and honestly thinks his efforts are going to make things better for future generations.

Moses believes that real power is when “not one person can stop you.” This proves, beyond question, that Moses has no compunctions about operating above the law. So steeped in narcissism and egomania is Moses, that he just gives a haughty smirk when someone burns an effigy of him at a rally with a sign that reads “Moses the Dictator!”

Paul is a man of good conscience, but he’s afraid of his brother. In the end, only Lionel has the fortitude to confront Moses. A person willing to stand up for what’s right also describes J.J. “Jake” Gittes (Jack Nicholson) in
Chinatown, as well as Will Kane (Gary Cooper) in High Noon (1952).

In the end, the movie is a well produced period piece with superb acting and directing.
Motherless is a slow boil, hard-boiled crime yarn with flourishes of high art (the movie’s climax crosscuts between action in a taxi, a subway and a jazz club, where the band provides vigorous accompaniment for the entire sequence). It’s also a story that’s uber-salient with what’s transpiring in our government at present.

Early buzz for the film seems to indicate its potential to be in the hunt for Oscar’s top prize. Sadly, any accolades or awards the film receives will only perpetuate its objectionable content.

Lionel describes his condition as having glass in his brain. After enduring nearly two and a half hours of slow pacing, murky plotting and incessant swearing, I know exactly how he feels.

Instant classic or instantly forgettable? The jury is out.

Rating: 3 1/2 out of 4

Ford v Ferrari (PG-13)

rm1796446977
Directed by: James Mangold
Starring: Matt Damon
November 2019


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


Based on the actual events that took place at the 24 Hours of Le Mans race in 1966, Ford v Ferrari sets up a David v Goliath scenario where an American driving car brand (Ford) tries to dethrone the perennial champion Italian race car brand (Ferrari). To mix sports metaphors, if this sounds like the “Miracle on Ice” for the racetrack, you’re in the ballpark.

The movie opens at the 1959 Le Mans, where bleary-eyed Carroll Shelby (Matt Damon) pushes through fatigue and rainy weather to win the famed European car race. Jump forward a few years to a board room meeting at the Ford Motor Co. Henry Ford II (Tracy Letts) wants some new ideas to move the company forward. A member of the marketing team, Lee Iacocca (Jon Bernthal), comes up with a wild idea…a Ford race car.

Ford PR specialist, Leo Beebe (Josh Lucas), enlists the aid of Shelby and his team of engineers to build a prototype car for the express purpose of defeating Ferrari at Le Mans. Though designing and building the car proves to be a colossal effort (especially since they’re only given 90 days), an even greater challenge is getting everyone to agree on who should drive the car. Shelby wants his long-time friend, Ken Miles (Christian Bale), but the Ford team wants anyone but the abrasive, hotheaded speedster. The drama that ensues has just as many treacherous turns as the legendary racetrack.

What initially attracted me to this film, after seeing the trailer, was the winning combination of Matt Damon and Christian Bale. Here are two A-list actors at the top of their game in perfectly-cast roles delivering pitch-perfect performances. Acting of this caliber is a joy to behold and screen chemistry this refined is a true rarity.

Fortunately, the great performances don’t end with Damon and Bale. The movie is chock-full of terrific supporting actors like Letts (
The Post), Lucas (Glory Road) and Bernthal (The Walking Dead). Other memorable performances are turned in by Caitriona Balfe (Outlander) as Miles’ wife Mollie, Noah Jupe (A Quiet Place) as Miles’ son Peter, and Ray McKinnon (Fear the Walking Dead) as Shelby’s reliable and wise assistant, Phil Remington.

Director James Mangold (
Walk the Line) strikes the perfect balance between character moments and action scenes, lest one or the other should drive away with the movie. Mangold captures gritty, organic performances from his actors. One of the most remarkable bits of acting is when Ford II breaks down after Shelby takes him on a test drive in the new race car. Letts masterfully modulates (gear shifts) his emotions to the point where we’re not quite sure if he’s laughing or crying. An unforgettable scene.

Although all of the movie’s race sequences are spectacular (like the unforgettable “brake fade” scene), the start of the Le Mans race is a ferocious, frenetic experience, especially the images shot from Miles’ POV, where cars spin out of control or shatter into mounds of debris right in front of him. Thanks to Mangold (and his cinematographer, Phedon Papamichael), the race scenes aren’t overly jarring or one big motion blur as seen in many action movies today. Also effective is the way Mangold crosscuts action on the track to drama (or comedy) in the pit.

The movie perfectly captures the milieu of the 60s. From clothes, coifs and cars, to products (sodas in glass bottles) and advertisements (a giant billboard of the Coppertone girl), the attention to historical detail in the film is remarkable.

Though all the main characters are well-drawn, Miles is a particularly fascinating character study. Despite his propensity to spout off about whatever’s on his mind (his critique of the new Ford Mustang is priceless), Miles has trouble communicating with his wife. Miles initially keeps her in the dark when he’s approached by Shelby to help design the new Ford race car. Later, when Mollie drives recklessly down the road (in a humorous role reversal, the race car driver has fits of anxiety over his wife’s driving), he finally confesses that he might be in line to drive at Le Mans. Interestingly, Miles’ Le Mans experience begins and ends with the words “slow down.”

Unlike with his wife, Miles has no problem talking with his son. There are two beautiful father/son scenes in the movie. The first is when Miles takes Peter out to the racetrack at night. Miles envisioning the “perfect lap” is a magical moment. On the eve of his departure to France, Peter shows his father a hand drawn map of the Le Mans race course. In another teary moment that reveals the special bond between father and son, Miles describes to Peter how to handle each part of the track.

The political tension between the suits and the grease monkeys is a diverting story element and serves a necessary role since there isn’t an actual villain in the movie. If there’s a downside to the constant friction between the pit and the box seats, it’s that it takes our attention away from the race. As a result of the political sidebars, the movie never quite captures the war of attrition that’s waged on the racetrack as was convincingly portrayed in Steve McQueen’s
Le Mans (1971).

In the final analysis,
Ford v Ferrari is a high-octane biopic fueled by sure-handed directing and top-tier acting. Though not an overt “buddy movie,” Damon and Bale deliver stellar performances as loyal friends who have a need for speed.

Ford v Ferrari is a long film that never feels long thanks to its bracing drama and pulse-pounding action sequences. The movie should receive nods in many categories come awards season.

Ford v Ferrari is a fairly clean and wholesome movie. The movie’s major blemish (grease stain) is that it’s inundated with unsavory dialog, specifically expletives and crass speech. Other than that caveat, the film is recommended for history buffs, gearheads or lovers of well produced films.

The most accurate description of the film comes from one of its most amusing lines…
Ford v Ferrari is “finer than frog fur.”

Rating: 3 1/2 out of 4

Joker (R)

rm3353122305
Directed by: Todd Phillips
Starring: Joaquin Phoenix
October 2019


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


If somebody said “Joker” in the 60s, the name Cesar Romero (from the
Batman TV show) would immediately come to mind. In the 80s, the Clown Prince of Crime received a sinister facelift from Jack Nicholson (in Tim Burton’s Batman movie). In the 90s, Joker was brilliantly voiced by Mark Hamill (in Batman: The Animated Series).

Of course, since 2008, the name Joker has become synonymous with Heath Ledger’s mesmerizing portrayal of the anarchic antagonist in
The Dark Knight (yes, Jared Leto played Joker in 2016s Suicide Squad, but his take on the madcap villain had neither the cultural relevance nor the staying power of Ledger’s). Even though it’s been over a decade since TDK captivated audiences worldwide, Ledger’s Academy Award-winning performance still looms large in people’s minds. In fact, many still struggle with accepting any other actor in the role.

But if anyone could pull off Joker, it would be Joaquin Phoenix…and he does, to a superlative degree. With all due deference to director Todd Phillips (
The Hangover) and the army of artisans who crafted this astounding cinematic achievement, what would Joker be without Phoenix? His performance is the very definition of what it means to chew scenery (in the positive sense). I could gush about Phoenix’ refinement as an artist ad nauseam, as every other reviewer will from here to Arkham, but there are many other worthy aspects of the film to assess as well.

Just as Phoenix’ acting choices will be analyzed by fans and film students for years to come, so too will the movie’s directing, cinematography (Lawrence Sher), and story (Phillips and Scott Silver). The film evokes the gritty NYC milieu of Martin Scorsese’s 1976 masterwork,
Taxi Driver, which starred Robert De Niro (who co-stars here as Murray Franklin, a Johnny Carson style late-night TV host) as Travis Bickle, a mentally ill working stiff who tries to assassinate a political candidate.

If there’s a knock on
Joker, it’s lack of originality. Not only does Joker hearken back to Driver, it also wholesale borrows its premise from Scorsese’s The King of Comedy (1982), which starred De Niro as wannabe stand-up comic Rupert Pupkin. Pupkin is unemployed, lives with his mother, fantasizes about becoming famous, commits criminal acts and appears on a late-night show. Joker’s Arthur Fleck (Phoenix) has a similar journey, but whereas Pupkin’s mother always yells at him from off-screen, we actually get to see Fleck’s mother, Penny (Frances Conroy).

Penny claims to have had an affair with Thomas Wayne (Brett Cullen) in the past, which, in Fleck’s mind, makes him the son of a multimillionaire. Fleck visits Wayne Manor in an attempt at cutting in on his perceived inheritance and meets a young Bruce Wayne (Dante Pereira-Olson). This is the closest the film comes to the world of the comic book. Thankfully, the movie contains no characters with capes, cowls or names that begin with Bat or Cat.

If the film loses points for being derivative, it makes them up (in spades) with execution. The cast is solid from top to bottom and boasts some truly fine talent in tailor-made roles. Shea Whigham and Bill Camp shine as hard-boiled detectives who smell a rat with Fleck. Zazie Beetz is also perfectly cast as Fleck’s love interest—a kindred spirit who brings a measure of sweetness to his otherwise bitter life.

Joker would’ve fallen flat (like Pupkin’s comedy act) had it failed to engender sympathy for Fleck, whose uncontrollable fits of laughter are based on a real condition called Pseudobulbar affect (PBA). Due to these often untimely outbursts, Fleck is taunted, bullied and beaten. Although this inhumane treatment doesn’t forgive the heinous acts Fleck commits later in the film, it does produce pathos in the viewer and adds to the character’s complexity.

Phillips does an exceptional job of creating atmosphere in the film (although I wish he would’ve held his establishing shots a few seconds longer…to let them breathe a bit). The movie’s showcase sequence, where Joker dances his way down several flights of stairs, is exquisitely lensed and choreographed (and acted). The scene takes place 3/4ths of the way through the movie and marks a defining moment for the character. Even though it may seem like a strange comparison, those same criteria apply to the iconic scene in
Rocky when Rocky Balboa (Sylvester Stallone) runs up the steps to the Philadelphia Museum of Art. However, the sequences are polar opposites both directionally and thematically (Joker’s giddy descent into evil is contrasted by Rocky’s arduous ascent to glory). Coincidentally, both characters have a five letter name. Curiously, Joker was inspired by Driver, which was released the same year as Rocky (1976).

In selected scenes, Phillips employs a filming technique that’s been used throughout motion picture history—particularly during the film noir period—where the camera frames a character through bars, window panes, chicken wire, grates, etc. Symbolically, this conveys that the character is trapped in some way, or is destined to be incarcerated. Cannily, whenever Phillips shoots his main character through wire glass (records room at the hospital) or metal bars (the front gate of Wayne Manor), Fleck is always on the outside where he’s able to walk or run away to maintain his freedom. When Fleck is finally captured and tossed into the back seat of a police cruiser, we expect the payoff of these visual cues to be Joker in jail. But Phillips shatters our expectations of Joker’s fate with a twist ending.

That controversial coda presents an interesting theory: what if the Joker in Joker isn’t our Joker (the one we know from comic books and other DC TV series/movies)? What if he’s merely a type of Joker, like the many people who wear clown masks and riot against the police near the end of the movie (such images recall the army of citizens taking to the streets wearing Guy Fawkes masks in V for Vendetta)?

Evidence to support this theory: 1. Arthur doesn’t kill the Wayne’s (admittedly, this is a weaker point since Joker isn’t always the perpetrator of the Wayne murders in the various versions of the Crime Alley vignette). 2. The name Arthur has never been one of Joker’s aliases (Jack or Joe are the most common). 3. There’s an age disparity in the film: Pereira-Olson is 9, Phoenix is 44. If the character’s ages are the same as the actor’s, Joker is 35 years older than Batman.  That means by the time Bruce returns to Gotham (after training abroad) to take up the mantle of Batman, Joker would be headed toward retirement.  That math doesn’t jibe with all other versions of the Batman/Joker mythos. Regardless of whether this theory holds water, only a psychological thriller this rich with meaning and nuance could produce such a mind-bending possibility in the waning seconds of the film.

In the final analysis,
Joker is a masterfully macabre origin story of one of the most colorful and enduringly popular villains in all of fandom. Peerless directing and acting mark this frightening portrait of psychological derangement.

Joker is the least cartoony, most artistic comic book film ever made. Despite the jocularity of its lead character and its moments of black comedy (the hilarious “punch out” scene), Joker is a serious film about serious issues (cynicism, mental illness, class inequality, and the rise of anarchy). Due to its uber-graphic slaughter scenes, Joker is also the most mature superhero (or supervillain) movie ever made.

The sad reality is that the film will probably inspire mentally ill members of our society to attempt acts of violence similar to the ones portrayed in the movie. It’s also profoundly tragic that such little progress (socially and in the field of mental health) has been made in the intervening years between
Driver and Joker.

The movie’s ending leaves things open to interpretation. It also leaves things open for a sequel. Unless it’s destined to become a landmark film like
The Godfather Part II (1974), I say leave this modern masterpiece well enough alone.

I’m not joking.

Rating: 3 1/2 out of 4

Overcomer (PG)

rm4287064320
Directed by: Alex Kendrick
Starring: Alex Kendrick
August 2019


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


The Kendrick Brothers (Alex and Stephen) have delivered a string of family-friendly, faith-affirming films over the years, including: Fireproof (2008), Courageous (2011) and War Room (2015). As with many of the Kendrick’s earlier movies, Overcomer uses sports as a vehicle for telling a tale of hope, faith and courage.

As the story opens, successful high school basketball coach John Harrison (Alex Kendrick) learns that the town’s manufacturing plant has closed its doors. John’s hopes of winning a state championship are dashed when many of his players are forced to move away with their families. Pressed into service as a long-distance running coach, John’s team consists of one runner, Hannah Scott (Aryn Wright-Thompson). In a cruel twist of fate, Hannah has asthma.

Through pure coincidence (or a Godincidence), John meets Thomas Hill (Cameron Arnett) when visiting someone else at a hospital. After striking up a conversation with the blind, bedridden man, John discovers that Thomas is Hannah’s long-lost father. The family drama heats up when Hannah meets Thomas for the first time and when her guardian grandmother (Denise Armstrong), who has intentionally kept Hannah from learning about her former drug addict father, finds out that Hannah’s been sneaking out to meet with Thomas.

Overcomer sets up in a similar manner to Disney’s McFarland, USA (2015), which chronicles the true story of high school track coach Jim White (Kevin Costner), who relocates to the titular town to become a cross-country coach. In this film, John doesn’t have to move, but the school’s principal (Priscilla Shirer) coaxes him into coaching a sport he knows next to nothing about. In both movies, unlikely athletes make it to the state championship, which results in a highly improbable, yet wholly satisfying story payoff.

Admittedly, the plot is oversimplified and idealistic to the extreme. Though the film has many saccharine moments, and even a few unnecessary scenes (the knee-slapping drama auditions, for instance), it has several salient themes, like: finding redemption, making amends (the movie cleverly avoids sermonizing by resolving the kleptomania subplot with a montage) and learning how to forgive.

Another theme that’s subtly woven into the fabric of the film is the discovery of identity. In a world where identity is confusing, complex and constantly in flux,
Overcomer presents an extremely simple definition of identity that’s as counter-cultural as you’re likely to find. The movie’s core audience will embrace this interpretation of identity, but will it make an impact on the broader populace?

The film contains a number of nitpicks. For instance, in real life, people (especially non-relatives) wouldn’t be allowed to just stroll into a hospital (without visitor’s tags, no less) whenever they feel like it. Also, a cross-country team consists of seven runners, so Hannah wouldn’t be allowed to race by herself. Fortunately, these peccadilloes don’t significantly detract from the movie’s overall message or entertainment value.

In the final analysis,
Overcomer is an inspirational story with heartfelt performances and pulse-pounding race scenes. Are you an Overcomer?

Rating: 3 out of 4

Crawl (R)

rm3618595840
Directed by: Alexandre Aja
Starring: Kaya Scodelario
July 2019


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


Fact: basements are very rare in Florida since most of the state is at or below sea level.

But why should facts ruin all the fun that can be had when alligators hunt people in the basement of their Florida home during a hurricane? Even though that scenario may sound completely outlandish, the new creature feature/disaster movie mash-up
Crawl allegedly was inspired by similar happenings during Hurricane Florence in 2018.

The movie opens with Haley Keller (Kaya Scodelario) competing in a swim meet as storm clouds loom in the distance (in a prescient gag, her team’s mascot is the Gators). Haley becomes concerned when the storm is upgraded to a hurricane and her father, Dave Keller (Barry Pepper), isn’t answering his phone.

Driving into the storm, Haley defies an evacuation order and pushes through the flood waters to her childhood home. Entering the house, Haley calls out for her dad, but all she hears is pounding rain and wind-blown debris crashing into the house. The search for her father eventually leads Haley to the basement, and anyone who’s seen this movie’s trailer, or any other creature thriller, can pretty much guess what happens from there.

Crawl is one of those movies that only works after you’ve suspended your disbelief. Failing to do so will leave you out in the rain (sorry, #HurricaneHumor).

The story by Michael and Shawn Rasmussen starts off on solid ground, but, like the costal Florida location featured in the movie (which was actually filmed in Belgrade, Serbia), quickly bogs down once the rain starts falling and the flood waters start rising. Whether due to the unreality of the situation or the shoddy CGI, the movie loses much of its credibility when the first gator appears. From that point on, the story gets more and more ridiculous—the Rasmussen’s stretch the thin premise for all it’s worth.

Embracing the tropes of scads of horror movies,
Crawl is brimming with inadvisable decisions that place characters in perilous situations…just to create a scare. The movie employs a series of contrivances to move the story along, like: well-placed pipes that protect characters from the gaping jaws of ferocious gators or a gator stepping on and breaking a cell phone before a 9-1-1 call can be placed.

Nitpicks abound in the film as well, like how can someone fire a gun when their arm is being chewed off by an alligator? For that fact, how many times can people be bitten by a gator before they pass out from blood loss and shock (Dave is bitten twice and Haley is bitten three times, yet somehow both are able to keep going)?

There’s a random sequence near the middle of the movie that shifts the focus from Haley and Dave to three foul-mouthed looters, who hoist a convenience store ATM machine into their boat. Though mildly reminiscent of the extreme weather pilfering in
The Hurricane Heist (2018), this scene is really just filler since it doesn’t advance the story in any significant way, aside from showcasing more gratuitous carnage. This is just another indication that, when it comes to plot, the Rasmussen’s script has no teeth.

Director Alaxandre Aja, who’s no stranger to creature flicks (
Piranha 3D), establishes a strong sense of place and creates a foreboding atmosphere throughout the film. There are some gorgeous shots in the movie, like the skin-crawling scene where alligators swim right past our heroes in the muddy water.

Aja’s character scenes are taut and his action sequences are frenetic without being jarring. And, to his credit, Aja only employs a few jump scares, which have become a staple of horror movies. Though most of Aja’s directorial choices are appropriate, the scene where he frames a close-up of an alligator’s eye is needlessly gimmicky.

As can be guessed from its R rating,
Crawl has an excessive amount of swearing, violence and disturbing images. The film features several fierce alligator assaults, most of which result in gory tableaus. Several minutes of the film are dedicated to characters binding up their wounds after these melees, and some of the visuals are downright stomach-turning.

Though the film is dominated by pulse-pounding creature attacks, a few meaningful moments can be detected while sifting through the narrative flotsam. Near the beginning of the movie, Haley is confronted with a moral dilemma: should she leave the area, as ordered by the authorities, or rebel against the evacuation order and attempt to rescue her father? Are there special situations where disobeying an order is permitted, or is that simply “the end justifies the means” mentality? It’s a compelling question that isn’t sufficiently answered by a movie preoccupied with less weighty, more pressing concerns…like survival.

Long before the hurricane arrived, the Keller home was devastated by a different kind of tragedy…divorce. Haley was never close to her dad, and the divorce exacerbated the rift in their relationship. Being trapped in the dank crawlspace forces Haley and Dave to confront their issues and reconcile their differences.

In addition to their physical wounds, the Keller’s are both nursing emotional wounds. In the “memory lane” scene, Dave blames himself for the divorce and says he doesn’t deserve a second chance. Haley has inner conflicts of her own. She’s trying to outrun (or outswim) the expectations her dad has placed on her, as well as those she’s placed on herself.

These few scenes confirm that the movie has more nuance than what’s visible on the surface. You might say its significance creeps up on you.

Though
Crawl aspires to be a top-tier thrill ride, it ends up succumbing to the abject silliness typically found in B movies. Despite its unsavory language and grisly story elements, the film delivers exactly what it promises: a suspenseful action yarn with a few good scares. Also in its favor is that, at an hour and twenty-seven minutes, it doesn’t overstay its welcome.

Ironically, the film has stumbled into some real-world relevance. At the time of its release, Tropical Storm Barry (which threatens to become a hurricane) is bearing down on Louisiana. Since there’s no way anyone at Paramount could’ve known about Barry when the movie started production, consider its timing an unhappy coincidence.

Rating: 2 out of 4

Tolkien (PG-13)

rm3033817600
Directed by: Dome Karukoski
Starring: Nicholas Hoult
May 2019


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


Tolkien focuses on the formative years of the eponymous author, who created the races, languages and lands of Middle-earth as featured in, arguably, the finest fantasy books ever written: The Hobbit and The Lord of the Rings trilogy.

The movie begins in the trenches of WWI as Lieutenant J.R.R. Tolkien is searching for his friend while ducking bullets and evading chlorine gas. The narrative crosscuts between these intense action scenes and various points in Tolkien’s past: from when he was a young orphan all the way through to his days at the University of Oxford.

Along the way, Tolkien forms an indelible bond with three other boys (a fellowship that mirrors the four Hobbits in the
LOTR). We’re given glimpses into Tolkien’s inner thoughts; the completely original languages he creates and the dark creatures he draws in notebooks. Of course, we know where Tolkien’s flights of fancy will eventually take him, but it’s an enjoyable journey to see how Tolkien was inspired to write his seminal fantasy saga.

Although the pacing is slow at times and the overall mood is somber, there are a handful of magical scenes in the film. Many of these moments come during the climactic battlefield sequences where we see a dark figure riding a black horse and ethereal wisps of black smoke writhing over the corpse-riddled plain like sinister wraiths.

Nicholas Hoult does a fine job of depicting Tolkien’s real-world challenges and internal struggles. Lily Collins is delightful as Tolkien’s love interest, Edith Bratt; a young woman who somehow manages to ground Tolkien while simultaneously setting his imagination free. The ever dependable Colm Meaney plays Father Francis, Tolkien’s guardian and mentor. The different actors who portray Tolkien’s friends at various ages are solid across the board.

Though it’s a fascinating character study and an effective biopic,
Tolkien isn’t very exciting, which is downright tragic when considering Tolkien’s works. In the end, one wonders why a movie based on the life of this revered fantasy scribe wasn’t more imaginative.

Oh, and since linguistics play such a prominent role in the movie, it’s pronounced “Toll-keen.”

Rating: 3 out of 4

The Best of Enemies (PG-13)

rm3253104128
Directed by: Robin Bissell
Starring: Taraji P. Henson
April 2019


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


Remember the Titans (2000) tells the true story of how two high school football teams—one all-white and the other all-black—integrated into one team in Alexandria, Virginia, circa 1971.

Though it doesn’t feature any pom-poms or pigskins,
The Best of Enemies has a similar premise to Titans. Also based on a true account and set in Durham, North Carolina in 1971, Enemies concerns a group of black students who are displaced after their school burns down. A two-week community meeting is held to determine if the black students will be allowed to continue their studies at a white school.

The twist is that the co-chairs chosen to ensure a fair vote are Ann Atwater (Taraji P. Henson), an outspoken civil rights activist, and C.P. Ellis (Sam Rockwell), leader of the local Ku Klux Klan. Living up to the movie’s title, the two bicker and scheme, but eventually become lifelong friends.

The downshot here is that the film suffers from slow pacing and is predictable from one set of credits to the other. The upshot is that Rockwell and Henson, along with the rest of the solid supporting cast, maintain audience interest with genuine performances (although Rockwell has become a bit typecast with his recent string of Southern-fried roles).

There isn’t anything revolutionary about the film, but its core theme of racial reconciliation is poignant…and is just as relevant today as it was in 1971. If you can get past the many utterances of the “N” word, you might find
Enemies an enjoyable, even heartwarming, film. At the very least, you’ll learn a new word: charrette.

Rating: 2 1/2 out of 4

Glass (PG-13)

rm2746709504
Directed by: M. Night Shyamalan
Starring: James McAvoy
January 2019


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


Glass
cleverly combines characters and events from Unbreakable (2000) and Split (2017) into a modern superhero yarn. M. Night Shyamalan (who writes, directs and makes a brief cameo here) has crafted a dual sequel that focuses on common people who possess superpowers, or at least those who believe they do. That psychosis angle is one of the movie’s more fascinating aspects. Do David Dunn (Bruce Willis), Elijah Price, a.k.a. Mr. Glass, (Samuel L. Jackson) and Kevin/Patricia/Hedwig/The Beast (James McAvoy) actually have superhuman abilities, or is it all in their heads?

Unfortunately, just like Dunn’s aversion to immersion and Mr. Glass’ vulnerability to gravity (and everything else), the film’s Achilles’ heel is sameness. One of the movie’s themes, “the strength in brokenness,” is borrowed wholesale from
Split. That film had a great deal to say about the current state of mental health and its implications on the nature and future of humanity. This film eschews those weighty topics in favor of the passé notion that everyday heroes live among us (shades of The Incredibles, Heroes and every Marvel TV show ever produced).

Another measure of sameness is the acting. McAvoy is just as brilliant here as he was in
Split, but that’s the problem; he’s just playing the same personalities in the same ways. We hang on his every word, anticipating some new quirk or deviation to occur, but there’s nothing different about Kevin’s personality pantheon in this movie. Shyamalan should’ve added a 25th personage to Kevin’s mental stew, someone who could provide a wild card element to the warring factions inside Kevin’s mind. Although it’s nice to see Willis and Jackson again, they’re monstrously underserved in the film.

Slow pacing is another drawback—Mr. Glass doesn’t have any significant scenes until halfway through the movie. Much of the film’s action takes place inside or on the grounds of an asylum, which makes it feel insular…and low budget. The promise of a protracted slugfest atop a newly erected skyscraper is downgraded to a parking lot brawl, which is profoundly disappointing.

Glass has a few minor twists, but doesn’t have that big A-ha! moment we’ve come to expect from a Shyamalan film. Though the movie makes us second guess ourselves for about three and a half seconds, it needed a more complex and convoluted (like Kevin’s mind) plot to set up a compelling and mind-bending climax.

Despite an intriguing concept, fine direction and tremendous performances,
Glass still manages to underwhelm. Sorry to shatter your expectations, but Glass isn’t as sharp as Split.

Rating: 2 1/2 out of 4

Green Book (PG-13)

rm852916992
Directed by: Peter Farrelly
Starring: Viggo Mortensen
November 2018


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


Inspired by a true account,
Green Book tells the story of an Italian driver (Viggo Mortensen) and a black piano player (Mahershala Ali), who embark on a concert tour to the Deep South in the 60s. Book is a poignant snapshot of the attitudes and mores of the period in focus. It’s also a road trip/buddy film that deals with racism in powerful, yet unexpected ways. The image of a white man driving around a black man makes many people stop and gawk; this role reversal stands out as one of the movie’s more ironic elements. Book has some magical moments, like: the chicken bone toss, lucky rock, confession in the rain and Christmas dinner scenes. The movie’s production is sensational, especially its period appropriate coifs, costumes and cars. Book also boasts tremendous acting from its two top-tier stars. Mortensen (virtually unidentifiable from his role as Aragorn in The Lord of the Rings films) and Ali (Moonlight) deliver extraordinary performances that should garner Oscar attention. Though Book is a tad idealistic, it contains a powerful central theme: namely, that reconciliation can win out over racism when people from different cultures choose to see things from the other’s perspective. Equal parts humorous and bittersweet, Book never sermonizes as it spotlights this less enlightened period of U.S. history. As a kicker, Book features one of the most heartwarming resolutions in recent film history.

Rating: 3 1/2 out of 4

The Girl in the Spider's Web (R)

rm3441393152
Directed by: Fede Alvarez
Starring: Claire Foy
November 2018


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


Lisbeth Salander (Claire Foy) is back in The Girl in the Spider’s Web, based on the novel by David Lagercrantz and the characters created by the late Stieg Larsson.  An extension of the American franchise (predated by a Swedish trilogy based on Larsson’s Millennium series) that began with David Fincher’s The Girl with the Dragon Tattoo (2011), Spider is directed by Fede Alvarez (Don’t Breathe) and features a largely foreign cast, which lends the film added authenticity. The story begins with computer hacker Salander accepting a job to steal top secret information. Soon after completing the task, Salander becomes the target of several international agencies including: the Swedish police, Russian agents, the NSA and a mysterious figure from her past. What has drawn the interest of such disparate entities?  A computer program called Firefall, which can access the codes of every nuclear arsenal on the planet.  And it’s up to Salander to make sure the program doesn’t fall into the wrong hands. The stolen files become the movie’s MacGuffin—the various parties are willing to go to any length to secure it, which presupposes an action-oriented plot. And indeed, the movie is packed with full throttle, well-choreographed action sequences that feel like they were lifted right out of a Bourne or Bond film.  The motorcycle chase, culminating with Salander hurtling across an icy lake, is one of the most spectacular sequences in the movie.  The bathroom brawl, vertical-lift bridge shoot-out and gas mask melee are also finely executed fight scenes. Foy (TVs The Crown) is absolutely spellbinding as misanthropic photo journalist Salander.  Whereas Rooney Mara (from Dragon) tried to act anti-social and mad at the world, Foy just is.  Though Foy is effective throughout, she’s downright frightening in her initial sequence where she goes vengeful vigilante on a woman beater—the makeup around her eyes gives her an added layer of feral intensity and makes her look like the newest member of the Suicide Squad. Salander’s boss and confidant, Mikael Blomkvist (Sverrir Gudnason), has a far less significant role in this movie and, disappointingly, doesn’t really factor into the story in any meaningful way. And, with apologies to Gudnason, he’s no Daniel Craig. The gorgeous locations, many of which were filmed in and around Stockholm, Sweden, add a great deal to the film and are truly mesmerizing and transporting.  The cityscape establishing shots, particularly the ones shot at dawn, dusk or night, are breathtaking.  Alvarez and his location scouts found some spectacular places to film, most notably an abandoned observatory.  Such a locale is typically used as the villain’s lair, not the hero’s hideout, so kudos to Alvarez for bucking convention. There’s far more backstory for Salander in this film than in Dragon. At the beginning of the movie, we witness a deeply disturbing flashback scene where young Salander leaves her sister alone with their father. The scene gives us the distinct impression that the girls grew up in an incestuous environment. Due to Salander’s traumatic childhood, she distrusts most people, men in particular. Since one of the movie’s main themes is the sexual exploitation of women, Salander is held up as a type of avenging angel (or demon) when she ties up and tortures the man who batters a defenseless woman. On a psychological level, taking revenge on the man is a form of catharsis for Salander; tormenting the perpetrator is like getting back at her father. The film seems to suggest that such heinous deeds are justified and that “an eye for an eye” is a perfectly acceptable method of punishment under the circumstances. It’s ironic that her vicious attack makes Salander just as bad as the abusive man. But such irony is lost on a movie bent on glorifying violence and applauding vigilantism. Sad. Whereas Dragon was a well-constructed mystery; Spider is a high-octane spy film.  Though lacking in star power, the story by Alvarez, Jay Basu and Steven Knight is a taut thriller that keeps the audience engaged all the way up to its cliffhanger ending. So, let the debate begin. Is Spider as good as Dragon?  Regardless, if you can get past the movie’s objectionable content, this is one yarn you’ll be glad you got tangled up in.

Rating: 3 out of 4

Indivisible (PG-13)

rm3423030528
Directed by: David G. Evans
Starring: Justin Bruening
October 2018


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


Based on the true story of how Army Chaplain Darren Turner (Justin Bruening) suffered from PTSD after returning home from Iraq in 2008, Indivisible is a well acted and produced film about faith and family. A third of the film takes place in Iraq (filmed in Santa Clarita, CA—M*A*S*H country) and another third in Memphis, Tennessee. During these scenes, the story effectively shifts its focus between the battlefront and the home front. Not only does the parallel action keep the movie rolling along, it also serves as the structure and core of the film. The final third of the movie focuses on the events before and after Darren’s tour of duty. Instead of fanfare and bliss, Darren returns home to a marriage on the brink. Darren’s wife, Heather (Sarah Drew), is deeply distressed by his withdrawal from her and the kids. Darren and Heather are a proxy for many other couples who’ve struggled to readjust to “normal” family life after a spouse returns home from active duty. The most poignant scene in the movie is when Darren tells Heather she has no idea how horrible it was in Iraq and Heather tells Darren he has no idea how difficult it was to raise kids all by herself while consoling many other soldier’s wives. The scene contains superb acting and is infused with raw emotion. It’s a shame the rest of the movie wasn’t as riveting or dramatic. Despite the finest allocation of its limited budget, Indivisible comes off as an inspirational movie of the week rather than a major theatrical release. Though the movie flirts with meaning, many scenes are oversimplified, predictable and borderline schmaltzy, which is a shame since the serious nature of the story demanded more from it. Still, it’s clear that everyone involved in the production was dedicated to the story and its message. Bruening and Drew, who both appeared on TV’s Grey’s Anatomy, have excellent screen chemistry and do a fine job portraying their characters. The movie boasts some fine guest performers as well, including Michael O’Neill as Chaplain Rogers and Eric Close as Lieutenant Colonel Jacobsen. In the end, Indivisible is too conservative for its own good—director David G. Evans could’ve portrayed the effects of PTSD in a more compelling and serious manner while retaining the movie’s family friendly, faith affirming themes and values. Unfortunately, what we’re left with is heartfelt but Hallmarky.

Rating: 2 1/2 out of 4

First Man (PG-13)

rm498615552
Directed by: Damien Chazelle
Starring: Ryan Gosling
October 2018


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


I must confess…space was my first love. Practically before I knew the alphabet, I knew the names of the nine planets (I grew up before Pluto was downgraded to a dwarf planet). I’m also reasonably certain that I knew the names Neil Armstrong, Edwin “Buzz” Aldrin and Michael Collins before I knew my multiplication tables; an assumption made even more likely by the fact that I’m terrible at math. To say it’s a thrill to see a movie that chronicles the historic first mission to the moon is a galactic understatement. What a critical period in our nation’s history. What a sacrifice (ultimate, in some cases) made by the army of scientists, engineers, mechanics, support personnel and, of course, intrepid astronauts; all of whom made the Apollo 11 mission possible and successful. Based on the book First Man: The Life of Neil A. Armstrong by James R. Hansen, First Man begins in 1961 when Armstrong (Ryan Gosling), a test pilot in California, gets a taste of space when he flies his X-15 jet high into Earth’s atmosphere. When the plane malfunctions, Armstrong relies on his mechanical know-how, piloting acumen and nerves of steel to help him return safely to terra firma. Turns out this brush with death was just a dress rehearsal. When an initially successful Gemini 8 mission takes a dangerous turn, also instigated by a mechanical failure, Armstrong’s skills are put to the test as he attempts to salvage the mission and save his crew. Of course, anyone familiar with the Apollo 11 mission knows it wasn’t exactly smooth sailing and that, once again, Armstrong’s mettle was challenged. Besides being a natural-born pilot, one of the reasons Armstrong was able to survive so many close calls with death was his preparedness. Even when he was at home, Armstrong was constantly working out solutions to potential problems on the dining room table. One of the best lines in the film is when Armstrong tells Deke Slayton (the ever dependable Kyle Chandler) “We need to fail down here so that we won’t fail up there.” That kind of dogged determination to get things right helped to preserve Armstrong’s life and the lives of those under his command. The gritty, metal-creaking realism during the heart-stopping flight scenes is enough to induce a panic attack. Cinematographer Linus Sandgren brilliantly builds tension by keeping his shots tight on the performers, which creates an overwhelming sensation of claustrophobia. Adding visceral punch to the cockpit scenes are the many POV shots of the characters looking out the small windows at lunar landscapes or, most nauseatingly, the Earth zipping past at regular intervals as the ship spins out of control. Of course, if First Man was simply a period picture that recounted the failures and successes of the space program during the 60s, it would get pretty boring pretty fast. Wisely, writer Josh Singer grounded the story with several significant events that impact the character’s personal lives early in the film. At its core, First Man is an examination of the effects of trauma. Armstrong loses a family member and several close friends. He uses that anger and grief to fuel his resolve to make it to the moon. But before he can set foot on that distant rock, Armstrong must overcome adversity, tragedy and the laws of gravity and probability. Gosling, who previously worked with director Damien Chazelle on La La Land (2016), delivers a beautifully understated performance as a grief-stricken man who summons the courage to rise above the many tragedies he’s been forced to endure. First Man is a nuanced character study of a man trapped between two worlds…the pain of the past propels him toward the promise of a brighter future. As with similarly themed films set during this era, such as The Right Stuff (1983) and Apollo 13, (1995), First Man reveals the plight of the astronaut wives who anxiously waited at home for days on end as their husbands traversed the dark expanse of space. As Armstrong’s wife, Janet Shearon, Claire Foy effectively embodies the debilitating effects of such constant worry. In addition to the individual price that was paid during the missions into space, there was also a societal toll. While the Space Race raged on, many people questioned the exorbitant appropriations for the space program. One of the movie’s more poignant passages is a brief montage of various political protests from the 60s, which is accompanied by the Gil Scott-Heron song, “Whitey on the Moon.” This exposes the adverse consequences of the space program—America’s quest to beat Russia to the moon brought about the suffering of many people. First Man is a staggering cinematic achievement, both in terms of its immersive, pulse-pounding space sequences and in its accurate depiction of the often tragic early days of the space program. The film boasts tremendous production values, deft direction and stellar performances from Gosling, Foy and the impressive array of journeyman actors. The evocative score by Justin Hurwitz features a number of unusual instruments, including the theremin, which was used to great effect in many 50s sci-fi movies. Delicate harp tones are heard during several space scenes; the ethereal arrangement produces an appropriately otherworldly score which is both inspiring and haunting. Like many of the aircraft/spacecraft it features, First Man has some serious flaws. At 2 hours and 21 minutes, the film is 10-15 minutes too long. Also, the stark contrast between the deliberate scenes on Earth and the frenetic sequences in space make this an exasperatingly uneven movie. The moon walk sequence is a visual marvel, yet is sadly lacking in magic. Where’s the elation of hoping along the lunar landscape (we only catch a brief glimpse of this)? Where’s the national pride of planting the American flag on the moon? The entire sequence is shot in a strangely detached manner. Lightheaded euphoria is eschewed in favor of art film moodiness. This is a tremendous disservice to spectators, who patiently waited the entire movie for an exhilarating, triumphant climax. The moon landing was one of the defining moments in human history and deserved far more grandeur and excitement than what Chazelle delivers. Another disappointing choice by Chazelle is the muted, ho-hum ending. Rather than fanfare and ticker tape, the director closes out the film with an awkwardly unemotional reunion between Armstrong and his wife. Regardless of its many missteps, First Man is a deeply-affecting biopic that somehow manages to achieve maximum intensity despite its slow pacing. The film is relentlessly jarring, so if you suffer from motion sickness you might want to take a Dramamine before entering the theater. First Man is one bumpy ride.

Rating: 3 1/2 out of 4

Operation Finale (PG-13)

rm2864151040
Directed by: Chris Weitz
Starring: Oscar Isaac
August 2018


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


Throughout film history, there have been several WW2 dramas with “Operation” in the title, including: Operation Crossbow (1965), Operation Daybreak (1975) and Operation Pacific (1951). Now there’s Operation Finale, a historical biopic from director Chris Weitz and actors Ben Kingsley and Oscar Isaac. The movie has an intriguing premise… Adolf Eichmann (Kingsley), one of the chief architects of Hitler’s “Final Solution,” disappeared after the war. Since Eichmann evaded capture, he was never brought to justice during the Nuremberg trials. Fast-forward to 1960. Mossad agent Peter Malkin (Isaac) and his team of secret agents track down Eichmann, who’s been living under an alias in Buenos Aires. After a series of narrow escapes, Eichmann is captured and delivered to Israel, where he finally stands trial for his crimes against humanity. If that synopsis makes the movie seem straightforward, predictable and inevitable, it is. Here’s a movie that could’ve been a first-rate period piece with a poignant message, but instead squandered its potential on a ponderous plot. Surprisingly, Weitz is responsible for much of the movie’s underachievement. I say “surprisingly” because Weitz has had a good deal of success contributing (as director, writer or both) to adventure driven fantasy/sci-fi movies in the past, like: The Golden Compass (2007), The Twilight Saga: New Moon (2009) and Rogue One: A Star Wars Story (2016). Here, Weitz’ direction is consistently arthritic, and his stiffness of form isn’t aided by rookie scribe Matthew Orton’s sluggish script. Orton’s story is adversely uneven: the first half is terminally slow while the second half is a taut thriller with a satisfying, if haunting, resolution. The movie is just over two hours in length and a good 15 to 20 minutes could’ve been excised with negligible impact on the story. If the movie has a saving grace, it’s the superb performances of the two lead actors. The scenes with just Isaac and Kingsley are the meat of the movie; the screen chemistry between the two actors is palpable and undeniable. The mental chess match that ensues between their characters is utterly enthralling, and it’s to Isaac’s credit that he’s able to hold his own against grand master Kingsley. Isaac does a fine job of keeping his character’s emotions in check…he delivers a beautifully understated performance and is believable throughout. Kingsley, as would be expected, is the movie. His portrayal of the nefarious mastermind of the Holocaust is effectively restrained and finely measured—our utter loathing of the character gradually turns to sympathy when we learn more about the man from his back stories. It’s plain to see that Kingsley elevated the production with his very presence. Without him, the movie would’ve been a glorified indie film with a gravitas vacuum. Kingsley, no stranger to WW2 films, acted in Schindler’s List (1993) and Walking with the Enemy (2013). There’s an appreciable disparity in ages between character and actor: at the time of his capture, Eichmann was 54; at the time of filming, Kingsley was 74. The early stages of the film are inundated with a number of distasteful racist comments. One anti-Semite makes the reprehensible remark that Jews seem to “pop up everywhere, like mushrooms after the rain.” Another rabble-rouser refers to Jews as the “rot in society.” Though upsetting, these remarks are an important reminder of the ugliness of racism and how it pervaded the 60s and, sadly, still persists in the world today. At the heart of the film is the theme of loss. On an individual level, Malkin and Eichmann have each lost something—the former, his sister; the latter, his humanity. Widening the lens, the film’s mass scale loss was the deaths of 6 million European Jews during the Holocaust. One of the compelling aspects the film foregrounds is the fine line between justice and revenge. In a couple scenes, Malkin admits that putting a bullet in Eichmann’s head would be far easier than smuggling him out of Argentina. Though it’s tempting for Malkin to exact revenge for what Eichmann did to the Jewish people, he is determined to capture the Nazi so that justice can be served. Rather than torture Eichmann to obtain his signature, as his fellow agents want to do, Malkin opts for a more humane approach. Malkin’s “good cop” strategy proves successful both in securing the signature and in creating a bond between himself and Eichmann. Even though Eichmann claims that all humans are animals, he reveals that he tried to facilitate the escape of some of the imprisoned Jews and shows remorse over his past actions, which serves to redeem his character…at least a little. In the end, Finale is a mild disappointment because it’s slow-moving and overlong. Still, it showcases the talents of two superb performers; one is an Oscar winner at the top of his game, the other is named Oscar and is an emerging star. Finale touches on many universal themes, including the deceptive nature of evil and our intrinsic need for justice. It’s a worthwhile film because it memorializes the Holocaust without glorifying it. Finale reminds us of the heinous acts that were committed during one of the darkest chapters in human history…lest we forget.

Rating: 3 out of 4 stars

Leave No Trace (PG)

rm3908455424
Directed by: Debra Granik
Starring: Thomasin McKenzie
June 2018


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


From Debra Granik, the writer/director of Winter’s Bone (2010), comes a father/daughter survival story set in the forests near Portland, Oregon, appropriately named Leave No Trace.  At first we think that Will (Ben Foster) and his pre-teen daughter Tom (Thomasin McKenzie) are either running away from something or that they’ve lost everything and found themselves homeless in the sticks instead of the streets.  But we quickly learn that they like living in the forest…it’s their home. We get an insider’s perspective of their daily routines; the many little things they must do in order to survive out in the wild.  They clearly have a love and healthy respect for nature. But nature abhors a vacuum, and one day a jogger spots Tom through a patch of foliage. The park rangers and police show up a short time later and haul Will and Tom back to civilization.  The process of readjusting to “normal” life—staying in a house, attending church and eating casseroles—proves to be a significant challenge for Will and Tom.  After taking some academic tests, it’s discovered that Tom, whose teachers are her father and a handful of books, is “quite a bit ahead of where” she needs to be (an obvious indictment against our dumbed down education system).  Tom makes the most of their situation, but Will is clearly struggling.  Tom tells her dad, “It might be easier on us if we adapt.”  But, after a few weeks it becomes obvious that Will can’t adjust to the vagaries of modern living.  It’s bitterly ironic that Will, who recently lived among the trees, now works a job where he cuts them down and packages them for shipment to California as Christmas trees. As Will stares longingly at the forest, we can almost hear the trees calling out for him to come home.  Fortunately, that isn’t how the story ends, as you’ll see when you watch the movie. And you must watch this movie; not only because Foster delivers a pitch-perfect, understated performance and McKenzie is a startling, wide-eyed revelation, but because Trace is a powerful human drama that asks some unsettling, poignant questions about the price of progress and what our modern conveniences have extracted from our souls. Trace subtly depicts how PTSD (which is never directly mentioned in the movie) can have a devastating effect on the sufferer and others in the family.  Ultimately, Trace is a heartbreaking tale of how life can gradually pull us in a different direction from the ones we love.  The extensive location filming gives Trace a strong sense of place: it’s a wholly immersive cinematic experience where you can smell the morning dew on the pine needles and feel the dampness in your bones as you join a rain-soaked Will and Tom on their quest to find shelter on a frigid night (a psychological stimulus that becomes a physical one when the theater’s AC kicks in).  But don’t worry, unlike the adverse conditions the movie subjects its characters to, Trace won’t leave you out in the cold. 

Rating: 3 ½ out of 4 stars

Hearts Beat Loud (PG-13)

rm376262144
Directed by: Brett Haley
Starring: Nick Offerman
June 2018


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


Frank Fisher (Nick Offerman), a self-professed “purveyor of pressed vinyl,” is going through a rough patch. Not only is Frank faced with closing his record store and starting a new career, his daughter, Sam (Kiersey Clemons), will soon be heading off to college on the other side of the country.  Frank’s bartender buddy, Dave (Ted Danson at his most witty and wise), tells him life is about adapting to setbacks, something Frank knows all too well since his wife was killed by a car while riding her bike.  Back in the day, Frank and his wife were part of a reasonably successful band.  Even though the music gene has been passed on to Sam, she’s more interested in becoming a doctor.  A family tradition that Sam has outgrown but Frank insists they keep observing is the “Jam Sesh,” where Frank plays guitar and Sam plays keyboards and sings (Frank’s “Jam Sesh Dance” is one of the movie’s more amusing moments).  One such session results in the titular song, which Frank uploads on Spotify. As fate would have it, the song ends up on a new artist playlist, which catches fire and generates interest from a music label.  At this point, most films would veer toward the sentimental and conclude with Sam putting her education on hold, Frank getting a second chance at making it big in the music biz and the duo releasing several records and racking up a handful of #1 billboard hits.  Fortunately, director Brett Haley (The Hero) pulls back the reins on that schmaltz stallion and resolves the film in a realistic manner.  Music is central to the film, and the songs (written by Keegan DeWitt) are deeply affecting.  The musical/vocal performances by Offerman and Clemons really sell the songs; the actors also sell their characters and their relationship as father and daughter.  The supporting players are wonderful as well: Blythe Danner plays Frank’s frequently incarcerated mother, Toni Collette is Frank’s landlady and “friend,” and Sasha Lane is delightful as Sam’s supportive girlfriend.  In the end, Hearts is so much more than a follow your dreams, father/daughter music movie.  It’s a lamentation for the heartfelt and finely crafted music of a bygone era.  Not only have we lost record stores to the likes of Amazon and eBay, but we’ve also lost the knowledge of the albums and artists themselves—anecdotes and trivia now retained only by diehard fans and a handful of aging radio DJs who were groupies when the artists were in their prime.  Sure, you can Google CCR and get plenty of facts about the group, but Siri isn’t going to reveal fascinating stories, deep cut knowledge and firsthand accounts of such artists like the Frank Fisher’s of the world can.  Another challenge to the artistry of the past is that, due to the availability and affordability of home studio equipment, anyone can make a record now.  Is that a good thing or a bad thing?  Time will tell.  The only thing we can do is adapt to the times…and follow the beat of our heart.

Rating: 3 out of 4 stars

Adrift (PG-13)

rm3146075904
Directed by: Baltasar Kormakur
Starring: Shailene Woodley
June 2018


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


Based on an incredible true story, Adrift recounts the harrowing tale of how Tami Oldham (Shailene Woodley) kept herself alive for 41 days on the open sea. A romance/survival movie, the story bounces back and forth in time between terrifying present and torrid past. Months before she finds herself stranded at sea, Tami meets and falls in love with Richard Sharp (Sam Claflin). The two adventure-seekers decide to sail around the world together and unwittingly steer right into one of the worst hurricanes in recorded history—the shot of the small boat climbing the giant wave looks like it was borrowed from The Perfect Storm (2000). Woodley excels in a physically and emotionally demanding performance. It’s been reported that she subsisted on just 350 calories a day in order to look the part of an emaciated sea storm survivor. Whereas Woodley’s acting can’t be faulted, the screenplay by Aaron Kandell, Jordan Kandell and David Branson Smith didn’t give the star much to work with. Even though most stories of this kind, i.e. Cast Away (2000), have a dearth of dialog, Woodley’s lines largely consist of “Woo hoos!” or “No, no, no, @?&!” for the majority of the film. The biggest problem with the movie is that the romance subplot feels foisted on the audience and isn’t nearly strong enough to support this kind of lost at sea tale, which has been done many times before in cinema history: Lifeboat (1944), The Old Man and the Sea (1958), Life of Pi (2012) and Unbroken (2014) to name just a few. One disaster movie where the romance did effectively anchor the story was Titanic (1997). There’s an indirect reference to that film when Tina delivers a line that’s the reverse of Rose’s (Kate Winslet) “I’ll never let go, Jack.” In the end, the movie’s predictability holds it back from having a greater impact. As things stand, Adrift has joined the ranks of inspiring, yet standard and safe, biopics.

Rating: 2 ½ out of 4 stars

American Animals (R)

rm1504985600
Directed by: Bart Layton
Starring: Ann Dowd
June 2018


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


American Animals is the story of how four college-age men bungled their plan to steal some rare bird books in Lexington, Kentucky’s Transylvania University library. The premise sounds outlandish and fictitious. However, as the opening text emphatically states, the movie isn’t “based on” the real story, it is the real story. To ensure validity, director Bart Layton weaves canned interviews throughout the tapestry of the film. This creates a strange narrative flow between the documentary style interviews with the real-life criminals and the dramatized action with the actors portraying them. Other drawbacks are slow pacing and an initially confusing plot…interviewees reference the incident long before we learn the details of what happened on that fateful day in 2004. The film is packed with allusions to other movies, including the “bigger boat” quote from Jaws (1975) and the characters’ assumed aliases (Mr. Pink, etc.) which were inspired by Reservoir Dogs (1992). When things start to unravel during the heist—i.e. incapacitating the librarian and the plan B exit through the first floor stairwell—the film finally finds some energy and urgency. Much like the early stages of the movie however, the denouement is dragged out and many of the silent reaction shots, though emotionally impactful, are painfully long. The movie boasts a cast of talented young actors, headlined by Evan Peters, who plays Quicksilver in the newer X-Men movies. The only other recognizable face in the cast is Ann Dowd, who is best known for her work on TV’s The Leftovers and The Handmaid’s Tale. The most striking sequence in the film comes during the disguise prep scene when a close-up shot of one of the young men creating wrinkles around his eyes cuts to a painting of an owl (and how fascinating that a synonym for thief is owl). It’s a jarring, disturbing cut that hints at the animalistic impulses that are driving these characters toward baser behaviors. There’s a subtle inference that this transformation is also a psychological one (i.e. assuming the traits of different animals), but this potentially fascinating storyline is never explored. The film is a mishmash of themes including: youth is wasted on the young, anything that can go wrong will go wrong and crime doesn’t pay. The movie is also a conglomeration of many different plot elements like: art, crime, college life, documentary filmmaking, etc. This reveals the movie’s narrative indecisiveness—much like the young men it focuses on, the story is in search of an identity. In the end, AA is a unique film both in terms of its subject matter and story structure. If you’re looking for something different, this is it.

Rating: 3 out of 4 stars

The Miracle Season (PG)

rm105138688
Directed by: Sean McNamara
Starring: Helen Hunt
April 2018


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


The Premise:

A high school volleyball team must overcome the loss of their team captain in order to repeat as state champions.

The Evaluation:

“Have you ever met someone who could make anything into an adventure?”

The movie’s opening line is the perfect introduction to its central character, the vivacious captain of a women’s high school volleyball team, Caroline “Line” Found (Danika Yarosh). Caroline’s ebullient personality is infectious; she makes friends with everyone she meets, even players on opposing teams. Coming off an emotional state championship win the year before, Caroline and her teammates have aspirations of repeating. After rolling past their first opponent, another championship seems all but assured. Then comes the tragic night when the news of Caroline’s fatal driving accident sweeps through the community like wildfire. The grief-stricken volleyball team’s hopeful quest for a second state championship comes to a devastating standstill. But with motivation from their inspiring coach and a resolve born out of their desire to honor their fallen friend, the players channel their anger and guilt into one all-consuming goal: “Win for Line.” Based on the true account of how the Iowa City West High School women’s volleyball team won the state championship against all odds in 2011,
The Miracle Season is a strong character piece that also features some pulse-pounding action during several volleyball tournaments. Season is a deeply moving story about finding the courage to carry on after a tragic loss. Despite its similar theme to We Are Marshall (2006) and similar plot to Hoosiers (1986), Season is an inspirational sports movie where the miracle on the court pales in comparison to the one that takes place inside the hearts of the grieving players and community.

The Breakdown:

Directing- The man responsible for keeping the character moments meaningful and the volleyball game sequences taut with excitement is director Sean McNamara, who also helmed the tragedy-turned-victory sports film Soul Surfer (2011).

Acting- The cast is an eclectic mix of established and new actors. Big screen notables like Helen Hunt (who also starred in Surfer) and William Hurt are joined by some truly fine young actors like Yarosh (Heroes Reborn) and Erin Moriarty (Jessica Jones). Jason Gray-Stanford (Monk) also delivers a memorable performance as assistant coach, Scott Sanders.

Story- Ensuring that the sports elements didn’t run away with the story are screenwriters David Aaron Cohen and Elissa Matsueda. Cohen was already familiar with the genre, having co-written Friday Night Lights (2004).

Costumes/Make-up- Standard, skimpy volleyball outfits, but the rest of the movie’s wardrobe is appropriate.

Cinematography- The locations surprisingly resemble the Iowan countryside even though the movie was filmed in Vancouver, British Columbia, Canada. These locations add a great deal to the team’s road trips, especially during the snow angel scene.

Music- The evocative trumpet arrangement in Roque Banos’ score perfectly captures the film’s bittersweet aspects. The crowd singing Neil Diamond’s “Sweet Caroline” at the end of the movie is a nice touch.

Visual FX- NA

Production Values- The various production elements are respectable, especially when considering the movie’s modest budget. The school/gym interiors are authentic and the Found’s house and barn sets are functional and homey.

Movie Magic- If you enjoy high-energy sports flicks with quick cuts that amp up the action, this movie is for you. Although the story does get a tad Hallmark-y at times, it’s a clean, inspirational film that spotlights one of the more remarkable stories to have come out of the world of high school sports in recent years.

Rating: 3 out of 4 stars

A Quiet Place (PG-13)

rm2582992384
Directed by: John Krasinski
Starring: Emily Blunt
April 2018


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


The Premise:

A family struggles to survive in a post-apocalyptic world where making the slightest noise can attract the attention of carnivorous creatures.

The Evaluation:

Normally a movie inundated with this much hype would collapse under the weight of the insurmountable expectations placed upon it. Since the trailer looked so intriguing, it comes as a great relief that
A Quiet Place delivers on its promise—it’s a thought-provoking, spine-tingling good time. John Krasinski does triple duty (actor, writer and director) on this horror/thriller/sci-fi hybrid. The linchpin to the film’s success is its premise. In a dystopian world, aliens have invaded Earth and wiped out a large percentage of the human population. The good news is that the creatures are blind. The bad news is that they have super-sensitive hearing. To safeguard against being attacked, the Abbott family learns to communicate by speaking in hushed tones or using sign language. Though the movie is disciplined at following the strictures of its self-imposed rules, the concept certainly has its fair share of nitpicks. First, how is it possible to run a farm without making any noise? Also, when approaching humans, wouldn’t the creatures hear breathing, however controlled, or a rapidly beating heart (yes, what we learn during the waterfall scene significantly weakens this argument, but the criticism holds up when the creatures are at close range)? Raising kids under such strict conditions would be a monumental task—no frolicking in the front yard or roughhousing in the living room. And, as if that wasn’t hard enough, how in the world would you bring up a baby in such an environment (a similar grievance was raised by fans of The Walking Dead over Rick’s baby, Judith, being raised during the zombie apocalypse)? As the creature closes in on Blunt and her baby, and later, Blunt and her daughter, it can’t quite locate the humans in either instance. So then, are we to believe that these blind creatures also have no sense of smell? These minor gripes are forgivable. What mars the movie most is the climactic sacrifice, which could’ve been prevented if one of the characters had been as quick on the uptake as the audience. Fortunately, this is the movie’s only instance of flaccid plotting. There are many parallels between this film and Signs (2002). Aside from both movies featuring an alien invasion storyline, cornfield encounter and farmhouse showdown, the aliens in both movies have one fatal weakness—a plot device borrowed from the original The War of the Worlds (1953). Also pilfered from Worlds is the “aliens travel in trios” concept, which is particularly relevant here since the minimum number of points required to triangulate the location of a sound is three. Though the movie’s creatures are reminiscent of the ones in Alien (1979), they do have a unique design (See: Visual FX). Despite its many similarities to other horror films, Quiet features one of the most clever and original concepts in the history of the genre. So, will this Signs meets Aliens post-apocalyptic chiller stand the test of time? Time will tell. One thing’s for certain, in Krasinski’s world, everyone can hear you scream.

The Breakdown:

Directing- Krasinski’s craft is impeccable—he channels Hitchcock and Shyamalan to great effect. Some of the moments Krasinski creates are utterly terrifying, like the baby in the basement sequence.

Acting- Emily Blunt mesmerizes in a physically demanding role—she had to stand in water for a good portion of the movie. Blunt effectively conveys a range of emotions without speaking for most of the movie. Likewise, Krasinski delivers a marvelously measured performance—the scene where he slowly raises his finger to his lips, signaling others to remain silent, will go down as an iconic image in cinema history. He’s come a long way from his days as Jim Halpert on The Office. The child actors (Millicent Simmonds and Noah Jupe) also do excellent work in challenging, largely non-speaking roles.

Story- A difficult screenplay to write and execute, but handled with expert skill by Bryan Woods, Scott Beck and Krasinski. With a dearth of dialog, most of the action had to be described in detail in the script or storyboarded.

Costumes/Make-up- Functional and appropriate for the world the characters live in.

Cinematography- Charlotte Bruus Christensen does a superb job of capturing the pastoral landscape and the action sequences inside and outside the farmhouse. There are many memorable scenes in the movie, particularly those involving the bridge, silos, fields and basement. The sweeping shots atop the silos help to establish the terrain and atmosphere of the agrarian world the characters have been relegated to. The rows of white or red lights also make a striking visual.

Music- The film’s eerie mood is further enhanced by Marco Beltrami’s ethereal score which, like the characters for most of the movie, goes largely unnoticed.

Visual FX- Truly astounding creature FX—the next iteration of the Alien creature is jaw-dropping, literally. The design of the creature’s malleable head is ingenious and sets up the movie’s most memorable visual during the climactic confrontation. These FX should be a shoo-in for an Oscar nod.

Production Values- Certainly not a lavish production, since most of the movie takes place in or around the farmhouse. However, the set design for the plundered general store, work station inside the basement and silos is truly exceptional.

Movie Magic- Off the charts. This is a wholly immersive experience that draws you into the movie’s terrifying reality and thoroughly enthralls you with one thrilling sequence after the next. Quiet is a high art horror flick that will be certified as an instant classic.

Rating: 3 1/2 out of 4 stars

I Can Only Imagine (PG)

rm85809664
Directed by: The Erwin Brothers
Starring: Dennis Quaid
March 2018


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


The Premise
:

While dealing with his traumatic past, a young man pursues his dream of becoming a professional singer.

The Evaluation:

Based on the life of Bart Millard (J. Michael Finley), lead singer of the Contemporary Christian Music (CCM) group MercyMe,
I Can Only Imagine tells its story by time-shifting between Bart’s abusive childhood and his turbulent journey to becoming a professional singer. Bart’s estranged relationship with his short-fused father, Arthur (Dennis Quaid), begins to change when Arthur is diagnosed with cancer. Bart and Arthur are able to repair some of their emotional and relational damage during the brief time Arthur has left. After Arthur’s passing, Bart doubles down on establishing his career and meets a talent agent named Brickell (Trace Adkins), who introduces him to two superstar CCM artists: Amy Grant (Nicole DuPort) and Michael W. Smith (Jake B. Miller). Amy is blown away by Bart’s heartfelt song (dedicated to his departed dad) and makes a deal to record it on her next album. But as Amy prepares to world premiere the song, something remarkable happens that has huge ramifications for Bart’s future. It’s a tearjerker ending that’s just as inspirational as the titular song.

The Breakdown:

Directing- The Erwin Brothers (Woodlawn) do a fine job of establishing the correct tone and evoking the right emotions from the actors, especially during the well-handled redemption scenes between Bart and Arthur. The film’s editing is exceptional—the constant jumping back and forth in time could’ve become tedious and confusing in less skillful hands.

Acting- Finley turns in an impressive and spirited performance in his film debut. He deftly layers on the pathos and carefully avoids any hint of schmaltz. As would be expected, Quaid turns in a consummate performance. He expertly modulates between abusive father and proud dad with a new perspective on life due to a terminal illness. Adkins is sheer perfection as the gruff agent with a big heart and delivers some of the funniest lines in the movie. Whereas DuPort favors Amy Grant (and has a strikingly similar smile), Miller looks nothing like Michael W. Smith. Though her scenes are few, the legendary Cloris Leachman adds some additional star power to the film as Bart’s Memaw.

Story- Even though the story by Alex Cramer, Jon Erwin and Brent McCorkle, based on Bart’s memoir, is an accurate account of Bart’s life, the script does take a few liberties with actual events to make them work for the big screen. For instance, the jeep that Bart works on with his dad in the movie was a truck in real life. Also, according to the book, Arthur attended Bart’s “Oklahoma!” performance, but in the movie, Arthur doesn’t even know Bart is in the play until he sees a handbill while eating at a local diner. Despite other minor variations such as these, the movie is a faithful portrait of Bart’s life.

Costumes/Make-up- Authentic to the period.

Cinematography- The location work, shot almost exclusively in Oklahoma, gives the movie a sense of grounding—Bart’s roots come into sharp focus during the Texas farm scenes.

Music- McCorkle’s soundtrack is bolstered by several source tunes, including U2s “Into the Heart.”

Visual FX- NA

Production Values- Though a fairly low budget film, Imagine never comes off as cheaply made. Aside from last year’s The Case for Christ, Imagine is one of the finest Christian movies ever made.

Movie Magic- Although the domestic abuse elements may be difficult to watch for some audience members, the movie’s themes of relational reconciliation, emotional healing and succeeding against long odds make Imagine a winning, faith affirming film. It’s a heartfelt true story that reveals the beauty that can come from tragedy. Imagine that.

Rating: 3 out of 4 stars

The Shape of Water (R)

rm4236598016
Directed by: Guillermo del Toro
Starring: Sally Hawkins
December 2017


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


The Premise:

While American and Russian agents seek to exploit a recently discovered aquatic life form for their own purposes, a lonely mute woman falls in love with the creature.

The Evaluation:

Del Toro, who brought us
Pan’s Labyrinth, two Hellboy films and Pacific Rim, has perfected his craft with The Shape of Water (easily one of the most evocative movie titles ever), a Cold War, trans-species love story told through a skewed filter and delivered with a visual brilliance nearly unparalleled in recent cinema history. So let’s dive right in…Shape has many layers. If you think you’ve figured out what’s going on in the film’s text, there’s always the subtext to consider. The movie uses symbolism, thematic echoes, unexpected reverses, inverted stereotypes and modern parallels to great advantage. One conspicuous bit of symbolism involves eggs. Eliza Esposito (Sally Hawkins) uses an egg timer (in the shape of an egg) when boiling eggs and timing her activities in the bathtub, which also deals with reproduction (female eggs). When Eliza makes first contact with the creature, she gives it a hard-boiled egg as a gesture of friendship. Later, when she copulates with the dubiously compatible creature, Eliza consummates (literally and figuratively) the egg subplot, since having her physical needs met by another has freed Eliza from her tub prison (more symbolism). Eliza’s water habitat is the tub; the creature’s water habitats are the tube and pond. Eliza and the creature merge in three other bodies of water: her tub, her flooded bathroom and the bay of the ocean. Before we leave the egg timer metaphor, it’s worth mentioning that Eliza’s regimented existence is a reflection of our own in many respects, since daily routines and responsibilities (chores, shopping, cooking, working, paying bills, etc) can be their own special form of incarceration. Ironically, Eliza is just as much a prisoner as the creature is—freeing the creature will free her from her self-imposed prison of loneliness. There’s overt symbolism in the various reactions to the creature…when faced with the unknown, some will be filled with curiosity and others with fear (fight or flight). The conservative vs. liberal reactions to the creature are fairly transparent (and oversimplified) and reveal a clear bias against one of those political worldviews. Also clear is the movie’s pro-Russia, anti-America sentiment, which turns the Cold War on its head. American agents (particularly Michael Shannon’s Colonel Strickland) are loud, crass and aggressive, while the Russian agent (brilliantly underplayed by Michael Stuhlbarg, who, along with Shannon, was a cast member of HBO’s Boardwalk Empire) is reserved, calculated and sympathetic toward the creature. Strickland’s racist, nationalist, isolationist agenda is abhorrent and is a little too on-the-nose in its portrayal of adherents of the political party in question. Strickland is an angry man who’s in a loveless marriage; contrast his angry and messy love-making with the beautiful bathroom coitus between Eliza and the creature. Strickland also makes inappropriate advances toward Eliza, racist comments about Zelda Fuller (Octavia Spencer) and tortures the creature in his own, private Guantanamo (another political parallel). When the creature bites off Strickland’s fingers, the military man is more concerned with retrieving his severed digits than his wedding ring. His ring, and marriage by extension, isn’t precious to him (LOTR’s Gollum in reverse). All of this reveals Strickland, not the creature, as the movie’s bona fide monster. One curious side story involves Giles’ (Richard Jenkins) desire to matter in a world that’s passed him by. Giles painfully learns that he’s lived past his shelf date relationally (his attempts at wooing a young waiter implode) and occupationally (the sensibilities of his ad artwork have become outdated). This subplot touches on the ageism that exists in today’s job market and how marketing typically targets the youth of our society. As Eliza’s friend/neighbor/mentor, Giles serves a key role in the plot to extricate the creature. The message is clear; everyone has a part to play in the unfolding human drama. Though there are deeper zones to be explored in the film, this brief overview of the movie’s many layers of meaning should suffice in recommending it as an instant classic…and frontrunner for Best Picture.

The Breakdown:

Directing- Del Toro has delivered a visual masterpiece, which effectively combines a Cold War thriller with a fantasy romance. The formalism on display here is truly staggering.

Acting- The eclectic cast of top-tier performers (Shannon, Stuhlbarg, Jenkins, Spencer, David Hewlett and the brilliant Doug Jones) are completely upstaged by Hawkins’ mesmerizing, deeply-affecting portrayal of the lonely, lovelorn lead character.

Story- The script by del Toro and Vanessa Taylor is equal parts fantastical, historical, meaningful and magical. The allusions to classical Hollywood movies are a nice touch; they tangibly tap into feelings of nostalgia for that era. When taken at face value, Shape is just a fantasy film. However, the story’s many aspects contain plot points that the viewer might not even be aware of—which makes the film such an enjoyable, and immersive, experience.

Costumes/Make-up- The period appropriate costumes are well designed. The style of the creature’s costume hearkens back to the titular monster in Creature from the Black Lagoon (1954) and is brilliantly realized.

Cinematography- While it’s del Toro’s vision that makes the film cohere, it’s Dan Laustsen’s brilliant framing that provides much of the movie’s visual wonder and beauty. Who will ever forget the flooded bathroom love scene?

Music- Another exceptional score by Alexandre Desplat. Many of the cues written for Eliza’s character are whimsical and sublime. The underwater passages, where several flutes combine to produce an otherworldly effect, are moody and moving.

Visual FX- Other than the underwater scenes there are very few visual effects in the movie.

Production Values- Top-notch. Real world elements (with historically accurate detail) are seamlessly juxtaposed with fantastical elements (and even flourishes of the absurd like the refrigerator filled with slices of Key lime pie) to forge a wholly original world.

Movie Magic- Immeasurable. The brilliant visuals, pitch-perfect performances, superlative directing, affecting accompaniment, multivalent story and period appropriate production elements all make for an unforgettable viewing experience.

Rating: 3 ½ out of 4 stars

Call Me by Your Name (R)

rm1422667008
Directed by: Luca Guadagnino
Starring: Armie Hammer
November 2017


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


The Premise
:

While on a summer internship in Europe, a young doctoral student falls in love with the professor’s son.

The Evaluation:

Based on the novel by Andre Aciman,
Call Me by Your Name is a coming-of-age gay romance story set in Lombardy, Italy in 1983. The cinematography is gorgeous and is, along with the performances, the highlight of the movie. The downside here is a slowly paced film that has no antagonist, no major obstacles to overcome, no MacGuffin or overarching goal. The story meanders from one scene to another without really building tension, except for sexual tension between Oliver (Armie Hammer) and Elio Perlman (Timothee Chalamet). The only plot device that gives the film any urgency is the time constraint imposed on it from the beginning—Oliver’s internship is only for six weeks. The monologue at the end of the film, delivered with measured sagacity by Michael Stuhlbarg, brings the story into focus—if the movie has any meaning, it can be found in this brief heart-to-heart sequence between father and son. In the end, this is an art film in the purest sense. Its unconventional love story and controversial peach sequence will be the only things most people will remember about this film. And in case anyone cares, I prefer to be called by my own name. Thank you very much!

The Breakdown:

Directing- Luca Guadagnino makes the most of limited sets and locations and elicits fine performances from his cast.

Acting- The performances here are subtle and naturalistic. Chalamet’s brooding melancholy is a perfect counterpoint to Hammer’s existential insouciance. Stuhlbarg is the glue that holds the whole company together; his character serves as supportive father and inspiring mentor to the two leads.

Story- A fine script by James Ivory, based on Aciman’s book of the same name. Characters are finely drawn and the subtle subtext that reveals the inner motivations and desires of those characters is what sustains viewer interest in a story that has no real action or conflict.

Costumes/Make-up- Period appropriate.

Cinematography- Rather than employing aerial establishing shots of the Italian countryside, Sayombhu Mukdeeprom keeps everything close and intimate. The lens is kept tight on the performers, placing the burden on the cast to tell the story rather than on sweeping visuals, which, most likely, was dictated by the budget. The footage of the village captures its inherent European charm, and the interior shots of the house and exteriors of the backyard tether our thoughts and emotions to that one locale…like Oliver, we’re also sad to leave the house when he heads back to the States.

Music- The score is an eclectic collection of songs by various artists. The soundtrack also includes originals by Sufjan Stevens, who seems to whisper his songs rather than sing them. “Mystery of Love” is highly evocative and perfectly captures the film’s bittersweet ending.

Visual FX- NA

Production Values- An indie film that, fortunately, doesn’t feel cash-strapped.

Movie Magic- Depends on your preference of gender, genre and subject matter. Call Me doesn’t set the world on fire, but is a well made slice-of-life tale that’s festooned with beautiful locations and mesmerizing performances. However, its inclusion in the Best Picture category seems political since there are many other worthy films to consider this year, such as: Molly’s Game, The Florida Project, The Disaster Artist, Last Flag Flying and I, Tonya.

Rating: 3 out of 4 stars

Hostiles (R)

rm1501975040
Directed by: Scott Cooper
Starring: Christian Bale
January 2018


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


The Premise:

A soon-to-retire Army captain must deliver his sworn enemy, a murderous Indian chief, back to his tribe.

The Evaluation:

The movie opens with natives ambushing a homestead and killing an entire family, except for the wife/mother Rosalie Quaid (Rosamund Pike), who cleverly evades the band of bloodthirsty Apache warriors. While en route to Montana, Captain Joseph Blocker (Christian Bale) comes upon the Quaid’s charred cabin and offers to escort Rosalie to the nearest fort.  The intrepid sojourners encounter extreme weather, aggressive natives and trigger-happy settlers (but surprisingly, no bears) along the way. All of this is standard fare for a Western film.  Gorgeous southwestern mountain vistas, like the ones seen here (filmed in New Mexico), are also a staple of Western movies.  In short, there really isn’t anything revolutionary about
Hostiles.  However, it’s the efforts of director/writer Scott Cooper and the exceptional performances by Bale, Pike and Wes Studi, as Chief Yellow Hawk, that make this a noteworthy entry into the genre.  The movie is gritty without being graphic; though there’s some violence (scalping), this isn’t Tarantino’s The Hateful Eight (2015).  Cooper’s story deftly builds jeopardy as the group endures one threat after the next, culminating with a rather unpleasant confrontation with the greatest hostiles of all…the White Man.  Though the film never plumbs the depths of human emotion like Unforgiven (1992), it effectively shows the plight of those struggling to navigate the savage architecture of the wild frontier. Though not the best Western to have trotted along in recent years (2015’s Bone Tomahawk holds that honor in my estimation), Hostiles is a well written, well acted survival yarn that confronts the ugliness of racism while extolling the virtues of love and courage. In short, Hostiles is a journey well worth taking.

The Breakdown:

Directing- Cooper’s (Black Mass) direction is sure-handed, if not stellar. He makes good use of his locations, but fails to create any splendor or atmosphere with his establishing shots. On the flipside, Cooper evokes tremendous performances from his actors, particularly the stars.

Acting- Bale and Pike are astounding in their roles…there isn’t a single false note between them. Bale beautifully underplays his part and Pike expresses the right emotion at the right time every time. The supporting cast members were chosen with great care and seem as if they drifted right out of the prairie and into the story. Stephen Lang is pitch-perfect as Colonel Biggs. Bill Camp (The Night Of), Jesse Plemons (Friday Night Lights), Q’orianka Kilcher (Princess Ka’iulani), Scott Wilson (The Walking Dead) and Ben Foster (Lone Survivor) all bring their parts to life with startling realness.

Story- Cooper relies too heavily on Western movie tropes while offering very few variations on the theme. I’m also conflicted about the ending, which is gimmicky and played for emotional effect. Does a film this harshly realistic need a happy ending?

Costumes/Make-up- Period appropriate down the line.

Cinematography- An excellent job overall by Masanobu Takayanagi, but the establishing shots of mountain vistas don’t really stand apart from those in any other modern Western.

Music- Max Richter’s score doesn’t draw attention to itself, which isn’t necessarily a bad thing.

Visual FX- NA

Production Values- The Western elements (sets, props, etc.) are authentic and finely crafted. The military fort and frontier town are particularly impressive.

Movie Magic- Though an unapologetically bleak tale, Hostiles succeeds at highlighting some of the beauty amid the brutality of the Old West.

Rating: 3 out of 4 stars

The Post (PG-13)

rm268720128
Directed by: Steven Spielberg
Starring: Meryl Streep
December 2017


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


The Premise
:

The Washington Post threatens to expose a government cover-up involving inaccurate reporting about the Vietnam War.

The Evaluation:

Directed by Steven Spielberg and starring Meryl Streep as the owner of
The Washington Post, Kay Graham, and Tom Hanks as her “pirate” editor, Ben Bradlee, The Post is based on actual happenings and readily recalls such expose films as All the President’s Men (1976) (ironically, this film ends with the events of Watergate…the subject of President’s Men) and Spotlight (2015). Spielberg’s direction is nearly invisible, which is a supreme compliment. He uses a classical style of directing, which is period appropriate and places the burden on his performers to carry the film rather than on elaborate camera setups, highly stylized shots or flashy editing (all of which were staples of Spielberg’s early career). Unless you spotted Spielberg’s name in the credits, you probably wouldn’t know he directed this film. Over the years, Spielberg’s collaborations with Hanks have been legendary…and lucrative. Adding Streep to the mix almost seems like too much talent for one film—after all, how many Academy Award nods and wins are represented by this trio? The chemistry between Hanks and Streep is undeniable and inestimable. The easy exchanges between these movie maestros makes it appear as if they’ve been performing together for years. However, as unbelievable as it seems, this is the first time these two top-tier actors have appeared in a film together. The supporting cast is also impressive. Curiously, Spielberg tapped some of TVs top talent for the side characters. Matthew Rhys (The Americans), Bob Odenkirk (Better Call Saul), Jesse Plemons (Friday Night Lights), Tracy Letts (Homeland), Bradley Whitford (The West Wing), Carrie Coon (The Leftovers), Sarah Paulson (American Horror Story), Zach Woods (Silicon Valley), Michael Stuhlbarg (Boardwalk Empire), Dan Bucatinsky (Scandal), David Costabile (Billions), Alison Brie (Mad Men), Bruce Greenwood, (American Crime Story), Johanna Day (Madame Secretary) just to name a few. Writers Liz Hannah and Josh Singer do a remarkable job of servicing the stars as well as the many ancillary characters. If the story has a weakness, it’s the lack of action. The movie’s narrative is largely composed of characters standing around and carrying on conversations about things that might not be readily apparent to audience members who weren’t alive during the period in question. In the end, this film is a sobering reminder of the pervasive and persistent nature of government corruption, a message that’s just as (if not more so) salient today as it was in the early 70s. With a timely theme and superlative acting and directing, The Post should be a strong contender for Best Picture. Maybe the headline on March 5th will read “The Post Nabs Best Picture Oscar.”

The Breakdown:

Directing- See review

Acting- See review

Story- See review

Costumes/Make-up- Authentic and period appropriate.

Cinematography- Less is definitely more in a film with such fine actors. Just roll the camera and let them do their thing.

Music- Another stellar score by John Williams, who, at age 85, is still composing vital and transcendent music. There’s an occasional hint of the main title from Lincoln (2012) here and the overall style resembles the many jaunty, jazzy refrains in Catch Me If You Can (2002). The soft piano pieces played during the restaurant scenes seamlessly blend into the action and the sprightly cues when the presses start rolling are vintage Williams.

Visual FX- NA

Production Values- Top-notch. I only wish we could’ve seen more of the world during this time period since most of the movie takes place indoors.

Movie Magic- There are a few tense scenes throughout and a rousing climax, but much of the movie is political and procedural. And dry.

Rating: 3 ½ out of 4 stars

Darkest Hour (PG-13)

rm955142400
Directed by: Joe Wright
Starring: Gary Oldman
December 2017


Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater
@BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!


The Premise
:

In the wake of Neville Chamberlain’s failed policy of appeasement, which has unwittingly abetted Hitler’s aggressive advance across Europe, Winston Churchill is enlisted to stem the tide of evil and help end WWII.

The Evaluation:

Darkest Hour is an immersive period piece with authentic, and finely mounted, production elements. The film’s success or failure largely depended on its casting. Fortunately, the actor chosen to inhabit the central role was more than up to the task. Gary Oldman delivers a career turn here as Winston Churchill. Could another actor have pulled off the part? Perhaps. But sometimes roles are tailor-made for a performer and such is the case here as the melding of character and actor was a feat of cinematic alchemy. Writer Anthony McCarten opens the movie with typist Elizabeth Layton’s (Lily James) first day on the job. McCarten introduces Layton and the audience to Churchill at the same time; an effective decision that thrusts us right into the heart of the action. Darkest Hour references the events portrayed in Dunkirk (2017); it was Churchill’s Operation Dynamo that mobilized a flotilla of 800 boats to rescue the 338,226 Allied soldiers who were surrounded by German troops on the infamous French beach. Also mentioned here is Churchill’s earlier failure (yes, this is a redemption story) at Gallipoli, which is chronicled in the fine 1981 film of the same name starring Mel Gibson. The sequence where Churchill rides the underground (subway) with commoners is the film’s standout moment as it serves to humanize Churchill while also fortifying his resolve to reject Hitler’s demands. Since the movie ends in the middle of the war, there’s still plenty of material to support a sequel. Maybe it will be called Darkest Minute, to be followed by Darkest Second to round out the trilogy. Sorry, just trying to lighten the mood.

The Breakdown:

Directing- Joe Wright (Atonement) does yeoman’s work here and evokes dazzling performances from his cast. The overall style is effective, but the interiors are exceedingly colorless and drab. However, it could be argued that such an aesthetic is the perfect accompaniment to the movie’s sullen subject matter.

Acting- An astounding performance by Oldman, who should be a strong contender for the Best Actor Oscar.

Story- A terrific screenplay by McCarten. The only drawback is that sometimes descriptions of off-screen actions are unclear and the pacing is a tad slow.

Costumes/Make-up- The costumes are well crafted and are period appropriate. The make-up (including latex appliances and torso padding to help Oldman resemble portly Churchill) is truly exceptional.

Cinematography- Limited to building interiors and claustrophobic corridors for much of the action, the cinematography by Bruno Delbonnel succeeds despite its limitations.

Music- Dario Marianelli delivers a solid score that supports the film without distracting from the action.

Visual FX- NA

Production Values- The limited sets are a drawback, but everything else is top-notch.

Movie Magic- Slow pacing and familiar subject matter are minuses, but the powerhouse central performance and rousing ending are huge pluses.

Rating: 3 ½ out of 4 stars

Murder on the Orient Express (PG-13)

rm274931968
Directed by: Kenneth Branagh
Starring: Kenneth Branagh
November 2017

What follows is the full-length review based on comments that were originally tweeted in Real-time from the back row of a movie theater @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!

The standard opening would say something like: “Based on the novel by Agatha Christie…” In this case, it’s more accurate to say: Loosely based on the novel of the same name by Agatha Christie, Murder on the Orient Express is a modern retelling of Christie’s seminal mystery yarn. Much to its detriment, this version of Christie’s magnum opus is more concerned with casting Hercule Poirot (Kenneth Branagh) as a superstar sleuth in the mold of Sherlock Holmes than as the humble, working man’s detective from the source material. The “loosely” argument is bolstered by the fact that director Branagh makes several significant alterations to the literary classic, the first of which comes during the movie’s opening when Poirot solves a mystery in the style of Holmes. Unfortunately, the case is exceedingly conventional and the specifics are muddled. We have no interest in the people involved in the whodunit since we just met them and could care less about the caper itself because we have no investment in its outcome. The whole sequence is gratuitous since it was designed solely for the purpose of demonstrating how marvelous a detective Poirot is…which we’ll figure out anyway once the titular murder has been committed. These are wasted minutes that could’ve been used for developing back stories or laying out the details of the homicide—both of which are cursory to the extreme in Branagh’s Murder. The procedural elements are breezed through—the clues (handkerchief with an embroidered H, pipe cleaner, broken watch and, later, scarlet kimono) are discussed in less than 30 seconds and the specifics of the murder (i.e., number of stabs, where and how severe the blows were, etc.) only take up about a minute of screen time. So what does Branagh spend the balance of the film on? Good question. It certainly isn’t on character development. Indeed, we get to know these train passengers far less than their counterparts in Sidney Lumet’s version of Murder (1974). That iteration of Christie’s book also had a decorated cast (Albert Finney, Sean Connery, Vanessa Redgrave, Michael York, Ingrid Bergman, et al.), but it could be argued that individuals in that movie were two-dimensional too. Branagh spends a few minutes of screen time on establishing shots of the train rolling along the European countryside. It’s a nice add since the technology didn’t exist in the 70s to create these sweeping, aerial landscape shots. However, the double-edged sword of technology is that it draws attention to itself. Here, our first impression is, “Wow, gorgeous vista,” and then our second thought is, “And it’s been rendered to death by CG artists.” As for the cinematography, Branagh makes the most of the cramped train set by using clever camera angles. Branagh employs a high angle shot twice—once when the body of loathsome Ratchett (Johnny Depp) is discovered and then during the examination of the corpse. One instance would’ve been sufficient, twice is overkill. Plus, both shots are long takes, which are more enjoyable for their artistic achievement than for their viewing pleasure. Another “loosely” item is the scene where Arbuthnot (Leslie Odom Jr.), who’s a doctor instead of a colonel in this rendition, shoots Poirot. Though his motivation is to protect Mary (Daisy Ridley), the good doctor earlier averred that he couldn’t harm a fly. This is the kind of inconsistency that drives Poirot, and savvy spectators, mad. Of course, the shooting serves the story as both a red herring and an action interlude, so its inclusion is understandable, if unacceptable. The next scene also has plenty of new material in it. For starters, none of the characters leave the train in Christie’s book. Here, all of the suspects sit at a table (where did it come from?) inside a train tunnel: the obvious visual antecedent here is da Vinci’s “The Last Supper.” This is the setting where Poirot solves the case, albeit in a less streamlined and cogent manner than in the book and earlier film. In particular, the two possible solutions aren’t explained very clearly. A compelling new scene involves Poirot offering himself up as a sacrificial lamb so that the guilty parties can go free. Poirot places a gun on the table, which affords the conspirators an opportunity to silence him. In a shocking twist, Mrs. Hubbard (Michelle Pfeiffer) grabs the gun and tries to off herself. Though not without entertainment value, this story embellishment falls flat when we learn that the gun is empty, making the whole sequence a pointless exercise, other than to generate some faux tension. Once the case has been solved and the train freed from the snow drift, the movie should come to an end. But the denouement is dragged out so that we can observe Poirot heading off to his next case—again, it’s obvious, and somewhat pathetic, that Branagh is so determined to portray Poirot as an in demand, top-shelf detective when he knows that the Belgium sleuth carries none of the clout or name recognition (at least in America) as Holmes, Spade, Marlowe or Hammer. Michael Green’s adaptation of Christie’s book is disappointing on so many levels there isn’t even a word to describe how poor his efforts are. Everything in the plot is done hastily. Like a runaway train, the story steamrolls along to its inevitable, predictable resolution. The elegance of Christie’s tale is in how it selectively dispenses clues and gradually reveals the motivations of its diverse, yet unified, characters. All of this is lost in Branagh’s Murder, which, in the end, is just a Reader’s Digest version of Christie’s masterwork. Murder’s expedience is its undoing. That’s a bitter reality since the film wastes a fine central performance by Branagh (which is much more enjoyable to watch than Finney’s, in my opinion). It’s also sad that the considerable talents of the rest of the spectacular cast were wasted on such perfunctory material. Ironically, that’s an even bigger crime than the one committed in the movie.

Only the Brave (PG-13)

rm1744707584
Directed by: Joseph Kosinski
Starring: Josh Brolin
October 2017

What follows is the full-length review based on comments that were originally tweeted in Real-time from the back row of a movie theater @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!

Like many based-on-a-true-story films, Only the Brave suffers from an ironic dichotomy—our familiarity with the firefighter film (Backdraft, Ladder 49, etc.) ignites our interest in seeing it, but our knowledge of the actual account (or educated guess based on viewing the trailer) renders the story more than a little predictable. However, there are some decent character moments in the film: particularly Brendan McDonough’s (Miles Teller) inspirational recovery from a drug addiction and Eric Marsh (Josh Brolin) and Amanda Marsh’s (Jennifer Connelly) struggles in dealing with Eric’s dangerous job and his unwillingness to have kids. The subplot of how Eric’s crew becomes (through rigorous training and physical fitness) the first municipal fire department in the U.S. to be certified as Hotshots is one of the more enjoyable aspects of the film. Sadly, most of the Granite Mountain Hotshots, save for James Badge Dale’s Jesse Steed and Taylor Kitsch’s Christopher MacKenzie, are given cursory character development (aside from cursing a blue string and making crass jokes) and are nothing more than set dressing. Jeff Bridges and Andie MacDowell have a few meaningful scenes but, sadly, only serve an ancillary function in the story. The blazing infernos are both star of the movie and unpredictable, all-consuming villain. The movie’s visual effects are exceptional—never do we sense that we’re looking at CG flames or plumes of smoke. Though purely perceptual, it’s almost possible to feel heat radiating from the screen when a wall of flame rapidly advances on the firefighters. These scenes are terrifying and trilling all at the same time. If the film has a downside it’s the ending, which stays just this side of being schmaltzy. Some scenes are played for emotional effect, like when Brendan insists on going to the gym after the fateful fire. Since the word has gotten out that there was only one survivor, Brendan’s appearance effectively crushes the hopes of the other Hotshot wives (and Brendan’s wife isn’t even among the community members keeping vigil for the firefighters…contrived). Despite its inevitable outcome, shallow characterizations and miscues during the denouement, Brave is a quality entertainment and a sobering reminder of how selfless firefighters throw themselves into harm’s way to protect us and nature. May we never forget the sacrifice of these fallen heroes.

Dunkirk (PG-13)

rm3222677504
Directed by: Christopher Nolan
Starring: Fionn Whitehead
July 2017

What follows is the full-length review based on comments that were originally tweeted in Real-time from the back row of a movie theater @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!

Who else but Christopher Nolan (Inception) would be ambitious, or insane, enough to helm a film that depicts one of the worst military defeats in history? Based on the true account of how British and French forces were cut off and surrounded by the German army with their backs to the sea, Dunkirk is a prime example of how military intelligence often lives up to its reputation as an oxymoron. With the large troop transports blasted into flotsam, a flotilla of fishing boats and pleasure yachts was mobilized to rescue the 330,000 soldiers stranded on the beach at Dunkirk, France. But with enemy planes bombing the beachhead, the stranded soldiers were the very definition of sitting ducks. The film’s action takes place in three different arenas: land (getting off the beach), sea (boarding boats and evading enemy bombs) and air (destroying inbound enemy fighters and bombers). As would be expected with a Nolan film, the action sequences are absolutely mind-blowing and the cinematography by Hoyte Van Hoytema is meticulously crafted. Some of the finest sequences in the film are the dogfights, which effectively meld newer camera techniques with the shuddering, metal shearing, bolt-popping rawness of a classical Hollywood war film. The performances are adequate to the task, but there’s a dearth of dialog and a surfeit of long, penetrating gazes in the film. Case in point, the great Kenneth Branagh (as Commander Bolton) is reduced to a series of slow zoom close-ups that make him appear as if he’s struggling to hold in a suppository. Likewise, James D’Arcy (as Colonel Winnant) does little more than pace back and forth in a state of perpetual agitation, fretfully delivering the same line a dozen different ways over the course of the film. Young performers Fionn Whitehead and Damien Bonnard do the majority of the physical acting, but really aren’t given much to say either. Ironically, the character we are most drawn to is ace pilot Farrier (Tom Hardy), whose face is partially concealed for the majority of the movie. Also ironic is the fact that the film’s biggest drawback is Nolan’s writing. The cause and effect narrative takes us from one event, happening or action scene to the next with very little, if any, character moments in between. Dunkirk’s narrative is comprised of a series of storyboarded sequences and, as such, plays like a cinematic comic strip. The lack of character development leads to a disinterest in the few characters that actually have lines in the film. Indeed, due to the dearth of emotional investment in the characters, we don’t really sympathize with them at all. Though vastly different in theme and tone, Dunkirk is exactly what Titanic would’ve been without the love story. The reason Titanic was a titular success is that James Cameron crafted real characters that we could identify with so that when the inevitable disaster struck we were right there with them, in essence inhabiting their bodies and experiencing the tragedy with them firsthand. Aside from its marvelous acting, directing, detailed period elements and high production values, it’s that immediacy, that soul-possessing intimacy, which made the movie resonate so powerfully with audiences. In Dunkirk, we never get under the skin of the characters…everything is external. Because Dunkirk is so well made, scores of people will disagree with my assessment of the film. However, how much more powerful would the film have been if our connection with the characters was so strong that we could feel the sand between our toes as we stood beside the soldiers or felt the bone-jarring concussion of the bombs impacting on the beach? Taking nothing away from Nolan, who is a fine director in his own right, but in the hands of Steven Spielberg, who would’ve sent the script back for a massive rewrite insisting on richer back stories and more poignant character moments, Dunkirk would’ve been a four star film and Best Picture nominee.

The Case for Christ (PG)

rm943077376
Directed by: Jon Gunn
Starring: Mike Vogel
April 2017

What follows is the full-length review based on comments that were originally tweeted in Real-time from the back row of a movie theater @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!

Based on the true story of how Chicago Tribune reporter, Lee Strobel (Mike Vogel), set out to debunk Christianity in the early 80s, The Case for Christ is a challenging biopic that proceeds in an investigative manner and delivers its evidence fairly and without being overly preachy. As a stone cold atheist, Lee launches into a zealous, one-man crusade to discredit Christianity when his wife, Leslie (Erika Christensen), starts attending church and becomes a follower of Jesus. Lee embarks on a cross-country trek to discover the truth, interviewing experts on both sides of the argument. In the end, Lee comes to the realization that either way, believing or not believing in Christ, requires a leap of faith. Vogel (Under the Dome) and Christensen (Parenthood) are effective in their leading roles as a couple struggling to reconcile their divergent worldviews. Robert Forster, as Lee’s estranged father, and Faye Dunaway, as a professor of psychiatry at Purdue University, are dependably good in their ancillary roles. The coifs and costumes are all appropriate to the milieu, as are the product placements, i.e., the yellow bottle of Joy dish soap and Lee’s Motorola pocket pager. For a pro-faith film, this is an impressive production, especially when considering the quality of the typical Christian film. In the end, no matter which side of the argument you’re on, you must admit that this movie makes a compelling case.

Logan (R)

rm250167040
Directed by: James Mangold
Starring: Hugh Jackman
March 2017

What follows is the full-length review based on comments that were originally tweeted in Real-time from the back row of a movie theater @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!

Logan is Hugh Jackman’s ninth X-Men film and his third solo outing as Wolverine. Sadly, after seventeen years of portraying feral mutant, Logan marks Jackman’s final appearance in the franchise. Just as attrition has finally set in for the 48-year-old actor, Logan can no longer heal as quickly as when he was younger and feels the sting of every bullet that impacts on his adamantium exoskeleton more acutely than in his prime. Whereas Logan’s pain is physical, Charles Xavier’s (Patrick Stewart) is mental. In fact, the usually well composed Professor X, Logan’s longtime mentor, is losing his mind to the ravages of dementia. If you’ve ever wondered what would happen if Professor X got really mad and unleashed all of his mental powers into one furious barrage (like Cyclops without his shades), you’ll definitely want to keep an eye out for the movie’s psionic blast sequences…amazing FX. For two characters who started off on rough footing, Charles and Logan have become good friends; you might say they’re almost like a non-related father and son. The scenes where Logan, dutiful son, takes care of Charles, aging parent, are genuinely moving. It’s profoundly sad to see such a brilliant a mind wasting away, but Father Time eventually catches up to everyone, even mutants it would seem. The film’s family connection extends to Laura (Dafne Keen), a young girl who exhibits Logan’s ferocity while fighting and possesses his ability to rapid heal. Logan, directed by James Mangold (Walk the Line), is essentially a pursuit film with Logan attempting to outrun his past so that he can simply fade into obscurity. Although there are plenty of elaborately choreographed action sequences, the story occasionally stops to corral stray horses, which detours the through-line and delays the film’s mission. These scenes are a double-edged sword since they slow down the action in order to provide meaningful character moments, which effectively ground the story and prevent its more spectacular elements from running away with the show. Still, without episodes like the dinner at the farmer’s house, the film would have far less heart. Once the “special” bullet (similar in concept to a silver bullet for a werewolf) is introduced we have a pretty good idea of how it will be used—and, indeed, the ending is painfully obvious. Even though Wolverine’s demise is precipitated by a pulse-pounding fight sequence, he still deserved a more spectacular, more heroic sendoff. However, the scene where Logan passes the torch to the next generation of mutant heroes is heartwarming. So where does the franchise go from here? Will Marvel bestow Wolvie’s claws, laconic speech and rugged mien on a younger actor? Will Laura lead a whole new team of mutants? One thing’s for sure, the X-Men franchise will never be the same. But we can take solace in knowing that Logan/Jackman went out on top in, arguably, the first mature superhero movie ever made.

La La Land (PG-13)

rm3967749632
Directed by: Damien Chazelle
Starring: Ryan Gosling
December 2016

What follows is the full-length review based on comments that were originally tweeted in Real-time from the back row of a movie theater @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!

During the opening musical number in La La Land, appropriately staged on a L.A. freeway, I thought: “Dear God, what have I gotten myself into?” Based on that intro, I thought the remainder of the movie would be comprised of similarly elaborate musical numbers performed at regular intervals throughout the film. Much to my relief, I was wrong. The movie quickly transforms into an engaging romance/drama with only the occasional song and dance number interspersed throughout the narrative. What ensues is a follow-your-dreams tale where Sebastian (Ryan Gosling), a struggling piano player, wants to open his own jazz club and Mia (Emma Stone), a frustrated barista, wants to become a famous actress. Writer/director Damien Chazelle cannily delays the romance between Sebastian and Mia by arranging a series of anti-meet cutes, which should be a sign to the couple that their love affair is destined to be ill-fated. Casablanca (1942) is referenced a few times in the film and holds obvious significance for the star-crossed couple, particularly in how both films end. LLL seeks to tap into the brilliance of such masterpieces as Casablanca for its dramatic passages and Singin’ in the Rain (1952) for its musical routines. The film is brimming with classical Hollywood nods like the old film posters that adorn the walls of Mia’s bedroom and the Sebastian and Mia’s screening of Rebel Without a Cause (1955) at the Rialto Theater. As such, LLL is a reimagining of the Hollywood musical, a largely retired genre. Ironically, relying so heavily on Golden Age Hollywood themes and iconography has proven to be a double-edged sword for the film. On the one hand, the heavy quotation of vintage films has established the film’s look, mood and atmosphere as well as produced feelings of nostalgia in viewers enamored with such films. On the flip side, it could be argued that the film relies too heavily on early Hollywood tropes and that such an effort was done intentionally, to play on viewer’s emotions and to pander to those in the industry, particularly Academy members. Either way, LLL fails to achieve its goal since it doesn’t adhere to classical modes of storytelling. Indeed, the movie is a mélange of genres (comedy/drama/musical/romance) and is, perhaps, too ambitious for attempting to combine so many disparate story elements. One of those aspects is the jazz appreciation subplot. Whereas keeping the arts alive is an important endeavor, the obvious validation of jazz as an essential, vibrant art form is foisted on the audience and such advocacy is just one more objective the film tries to accomplish. Though many of the film’s romance scenes feel trite, Chazelle’s concluding “the life that would have been” parallel action device is brilliantly executed and infuses the film with an unexpectedly bittersweet resolution. In the end, LLL’s story is the only thing that holds it back from becoming an instant classic. The film’s directing, acting, production values, locations, cinematography and music (especially Justin Hurwitz’ “City of Stars,” which has a wistful “Moon River” quality) are all off the charts. Gosling and Stone’s (in their third movie collaboration) screen chemistry is so searing it nearly makes the film melt, something that actually happens during Sebastian and Mia’s screening of Rebel. There’s far more that works here than doesn’t, and at the end of the day, the film’s unique vision has broadened the appeal and potential for the modern musical. LLL seems to be a strong contender to win Best Picture. It just depends on what Academy voters are in the mood for this year: depressing drama (Hell or High Water, Manchester by the Sea, Moonlight), historical biopic (Hacksaw Ridge, Hidden Figures), inspiring true story (Lion), space invasion flick (Arrival), converted stage drama (Fences), or this film. We’ll find out soon enough.

Hacksaw Ridge (R)

rm2660241152
Directed by: Mel Gibson
Starring: Andrew Garfield
November 2016

What follows is the full-length review based on comments that were originally tweeted in Real-time from the back row of a movie theater @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!

There are a number of similarities between Mel Gibson’s new World War II story, Hacksaw Ridge and the WWI set Sergeant York (1941). Hacksaw’s Desmond Doss (Andrew Garfield) and York’s Alvin C. York (Gary Cooper) are both devout Christians and conscientious objectors. Due to the sixth commandment in the Bible, both men object to war since war is killing. Both men face heat for their beliefs from their families, friends, fellow soldiers and commanding officers. However, the persecution is much more severe for Doss, who is berated and beaten by the men in his barracks for his refusal to bear arms. Ultimately, both men join the service, but for completely different reasons: Doss, who wants to heal people rather than kill them, becomes a medic while York, an expert marksman known for blasting his initials in trees and winning a local turkey shooting contest, decides to use his skills to protect the lives of his loved ones and to defend American freedom. The heroic actions of both men defy the conventions of reality and are two of the more inspirational stories in the annals of war. And both stories have been adapted into top-tier films. Hacksaw’s narrative is divided into thirds: the early stages are dedicated to Doss’s boyhood, where he roughhouses with his brother and is raised by a long-suffering mother, Bertha Doss (Rachel Griffiths), and ex-soldier alcoholic father, Tom Doss (Hugo Weaving), and his late teen years when he meets and marries Dorothy Schutte (Teresa Palmer). The middle of the film deals with the adversity Doss faces at boot camp and the ensuing court martial. The movie’s concluding chapters focus on Doss’s exploits in the war, specifically the Battle of Okinawa in 1945, one of the bloodiest struggles of WWII. During lulls in the action, Doss crawled over the corpse-riddled battlefield searching for survivors while evading Japanese patrols whose objective it was to kill any American soldiers still clinging to life. Doss devised an ingenious way of lowering casualties down the side of a cliff to safety—easily the most awe-inspiring, heart-stopping sequences in the film. In the end, Doss saved 75 lives without firing a single shot at the enemy. As such, Doss was the first ever non-combatant soldier to receive the Medal of Honor. Garfield is pitch-perfect in his portrayal of Doss; his flat affect and aw-shucks demeanor hasn’t been a natural fit for many of his roles, i.e., The Amazing Spider-Man films, but works wonders here. Weaving, best known for his roles in The Matrix and The Lord of the Rings films, paints a tragic portrait of a once-heroic man now controlled and triggered by the bottle. Vince Vaughn is a laugh-a-minute drill sergeant who injects some much needed comic relief into the story to counterbalance the movie’s horrific and grisly scenes. Griffiths is effective in an ancillary role and Palmer is delightful as the sweetheart nurse who first inspires Doss to become a healer. Sam Worthington plays one of Doss’ superior officers, Captain Jack Glover, a man who initially distrusts Doss but comes around when Doss heroically sacrifices himself for his squad mates. The biggest name in the film, of course, is director Mel Gibson. Gibson’s anti-Semitic remarks and longstanding troubles with alcohol have kept him on the outs with Hollywood for the better part of a decade now. Tom Doss’ character reflects some of Gibson’s struggles, so you can tell that this project was personal for the director. Those who are turned off by the non-stop action of the typical war film will find plenty of character scenes to offset the onslaught of action in the latter stages of the film. At its core, this is an anti-war war film. Hacksaw boasts fine performances, tremendous production values and an incredible true story. Just as Doss’ acts of valor redeemed him in the eyes of his fellow soldiers, hopefully Gibson’s efforts here will help him to regain a measure of respect from his Hollywood peers. We’ll see come awards season.

Moonlight (R)

rm1452607488
Directed by: Barry Jenkins
Starring: Mahershala Ali
November 2016

What follows is the full-length review based on comments that were originally tweeted in Real-time from the back row of a movie theater @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!

Told in a Boyhood (2014) style, multi-decade storyline, Moonlight follows nine-year-old Chiron (Alex Hibbert) through his tumultuous teenage years (Ashton Sanders) and into his early adulthood (Trevante Rhodes). Chiron’s life is shaped by his home environment growing up; his mother Paula (Naomie Harris) is strung out on drugs most of the time and his self-appointed mentor Juan (Mahershala Ali) is a drug dealer who, ironically, sells drugs to his mother. Since drugs have been such a big part of his life, Chiron chooses the only thing he’s ever known as an occupation: as a successful drug dealer, Chiron becomes the same kind of soulless monster that kept his mother sick and broke. Gender confusion plagues Chiron during his formative years but he eventually discovers that he’s gay, something others have known all along and have teased him about since he was a kid. Chiron tries to hook up with Kevin (Andre Holland), a friend he had created a memory with on a beach (under the moonlight) one night when they were teens. Kevin, who was recently released from jail, has a wife and kid and is happier than he’s ever been. So why would Kevin risk that hard-fought happiness on a one-night stand with Chiron? He wouldn’t. Yet, that’s how the movie ends…on a completely farcical note. Faulty motivations and gaps in logic like these adversely affect the film; an indie pic that, despite delivering a compelling character study, is a drab, glum and relentlessly bleak vision of growing up in our nation’s inner cities. The movie’s performances are excellent throughout, especially Harris and Ali. Harris’ portrayal of a mother addicted to sex and drugs is deeply disturbing but also startlingly realistic. Even though director Barry Jenkins makes the most of limited locations—shot in and around Miami, FL—the movie still ends up looking low budget. Moonlight’s unflinching examination of the exigencies of life in one impoverished region of the U.S. makes for a searingly poignant tale, if not an enjoyable entertainment. Authentic characterizations and graphic, gritty story notwithstanding, it’s hard to see how this film was nominated for a Best Picture Oscar with other more deserving films, like Sully and Allied, waiting in the wings. Coming off a polarizing election season and last year’s racially charged Oscar’s ceremony, Moonlight’s inclusion among the elite films for 2016 seems like a makeup call. After all, the Academy is nothing if not political.

Lion (PG-13)

rm2445410304
Directed by: Garth Davis
Starring: Dev Patel
January 2017

What follows is the full-length review based on comments that were originally tweeted in Real-time from the back row of a movie theater @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!

What could be more frightening for a five-year-old boy than being separated from his family and not knowing how to get home? Such is the premise for Lion, the alternatingly heartbreaking and heartwarming missing person’s story which is based on true events and stars Dev Patel, Rooney Mara, David Wenham and Nicole Kidman. The story begins in India, moves to Australia in the middle and then returns to India for its stirring conclusion. The film’s exotic locations (which include West Bengal, India and Tasmania, Australia) are absolutely breathtaking and are wholly immersive—it’s almost as if we can feel the pebbles under characters’ sandals as they walk on gravelly paths, or get a chill from the cold, hard train station floor as Saroo (Sunny Pawar) sleeps alongside other indigent kids, or taste the sweet flavor of the bubbly orange soda offered to Saroo by a seemingly helpful woman. Though the film certainly engages the senses it also stimulates the mind and accesses the emotions in powerful and profound ways. The early stages of the movie detail the traumatic events of Saroo’s separation from his family, the hair-raising episode where he narrowly avoids being sold as a sex slave, the brief passage where he is taken to an orphanage and then finally, the life altering transition and subsequent ambivalent reaction to being adopted by a couple (Wenham and Kidman) from Australia. After a few scenes depicting his difficulties adapting to a new family and culture, we jump forward twenty years in Saroo’s (Patel) life to 2008, where he now speaks English and is a reasonably well-adjusted adult. A chance encounter at a party brings Saroo and Lucy (Kate Mara) together and they fall madly in love. After learning about Saroo’s tragic past, Lucy introduces Saroo to a new computer application named Google Earth. With the assistance of the program’s aerial and topographical features, Saroo starts to reconstruct the ill-fated journey that took him away from his loved ones with the hopes of being able to identify his hometown. However, Lucy soon realizes that she’s created a monster when Saroo’s obsession with finding his family consumes his every waking moment and strains their relationship to the breaking point. Revealing the movie’s ending would be a tremendous disservice, but suffice it to say, Lion contains a powerhouse payoff that satisfies without being overly sentimental. The performances are pitch-perfect across the board, especially Patel (Slumdog Millionaire), who is emerging as a tremendous A-list talent. The soundtrack by Volker Bertelmann and Dustin O’Halloran is also very good and contains an eclectic mix of Indian flavored tunes along with beautifully intimate piano pieces. I always get a rush of elation when a movie’s meaning is preserved to the very end, like Citizen Kane’s “Rosebud.” The explanation of the movie’s title here is a tremendous emotional kicker. Be sure to stay through the ending credits for footage of the real Saroo, who wrote the book “A Long Way Home,” which was adapted for the big screen by Luke Davies. Most movies leave audiences feeling thrilled, haunted, entertained, challenged or, at best, inspired. Lion leaves its audience feeling transformed. This isn’t merely a physical or emotional journey…it’s a spiritual one. So, if you’re ready to take the trip of a lifetime, jump aboard. When I say this movie will change your life, I’m not Lion.

Fences (PG-13)

rm3358588928
Directed by: Denzel Washington
Starring: Denzel Washington
December 2016

What follows is the full-length review based on comments that were originally tweeted in Real-time from the back row of a movie theater @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!

“Some people build fences to keep people out, and other people build fences to keep people in.” That line, delivered by Troy Maxson’s (Denzel Washington) best friend, Jim Bono (Stephen Henderson), is the crux of the new stage-to-screen drama, Fences. Indeed, the entire narrative is an extended metaphor for the titular boundary and we rarely ever leave the Maxson property—one scene takes the action out into the street and it just feels awkward, like at any moment an ankle bracelet will start beeping, indicating that we’ve roamed too far from the house. Some individuals are admitted inside Troy’s home and others aren’t. Troy’s wife Rose (Viola Davis) is always welcomed into his home…and bedroom. His stepsons, Lyons (Russell Hornsby) and Cory (Jovan Adepo), are little more than mouths to feed to Troy (especially Lyons, who shows up every payday looking for a handout), and are tolerated more than accepted in Troy’s house. By contrast, Troy’s mentally challenged brother, Gabe (Mykelti Williamson), can waltz right into the house and grab something out of the refrigerator—ironically, an earlier scene shows Rose shooing Cory away from the very same fridge. The relationship between Troy and Gabe is similar, yet thankfully less tragic, than that of George and Lennie in John Steinbeck’s Of Mice and Men. Bono is always warmly received into Troy’s home, but is quick to vacate the premises whenever Troy gets sauced and launches into an anger-filled rant. Sadly, Troy goes outside of his fences for pleasure and brings a lovechild inside the walls of his house. One of the story’s ironies is that Troy raises Rose’s two sons from a previous marriage, but she raises his daughter from another woman. The ramifications of Troy’s extra-marital affair is that he is no longer honored or respected inside his own home by his jilted wife and estranged sons. Troy’s licentious behaviors also place a strain on his friendship with Bono…decisions have consequences. If Troy isn’t drinking or swearing, he’s talking about sports; baseball metaphors are like a second language to him. At one point, when Rose has had enough of Troy’s baseball analogies, she reminds him that this is real life, not baseball. But to Troy, life is baseball. It’s the only thing he ever excelled at, the only thing that ever fulfilled him in life aside from the bottle and his various trysts. An ongoing theme in the film, which is expressed through Troy’s self-pity and regret, is lateness. On several occasions, we’re told that Troy is too late, meaning he’s too old to play in the major leagues, which are finally starting to accept black athletes at this time (the 1950s). Troy might be too old to play professional baseball but he isn’t too old, as Rose is quick to point out, to go off philandering or to sire a child. Although the fence analogy binds the movie’s narrative together, it’s August Wilson’s writing (based on his stage play), Washington’s directing and acting and the superb performances from the entire cast that makes Fences a noteworthy entertainment. Unfortunately, due to its long, chatty scenes, limited locations and claustrophobic settings, the movie never really breaks free from its theatrical moorings. If you can get past its sedentary staginess and its excessive use of the “N” word, Fences is a superb period piece that illuminates the struggles of one mid-century black family. The film is also a microcosm of the exigencies of the human condition—the challenges and successes that define us all, regardless of gender, race, religion or creed. Here’s a thought: Let’s tear down the fences and build bridges instead.

Manchester by the Sea (R)

rm1295519232
Directed by: Kenneth Lonergan
Starring: Casey Affleck
December 2016

What follows is the full-length review based on comments that were originally tweeted in Real-time from the back row of a movie theater @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!

Just so there’s no confusion, Manchester By the Sea, the saltwater drama starring Casey Affleck, Michelle Williams and Kyle Chandler, is most certainly not an upper. The film’s slice-of-life story focuses on Lee Chandler, a low ambition, short fused fixit man who has lost just about everything in life but now, unexpectedly, gains something…his dying brother’s will stipulates that Lee is to raise his nephew, Patrick (Lucas Hedges). The balance of the movie focuses on Lee’s wildly inconsistent parenting style and his frequently unsuccessful attempts at putting the pieces of his life back together again. From the outset we can tell that something is seriously wrong with Lee—he has near catatonic pauses in the middle of phone conversations, starts bar fights when people look at him the wrong way and can’t engage in small talk with women who are interested in him—but can’t quite put a finger on what plagues this thirty-something New Englander. Another clue that all is not well with Lee is that other denizens of the titular seaside community look at him with askance or outright loathing as he drifts down city streets like a wraith, fitting since he’s little more than the shell of a man. In answer to our silent demands to know what turned this loving husband and father into an emotionless drone, writer/director Kenneth Lonergan slowly unveils the consequential episodes of Lee’s life in a series of flashbacks, which, in time, disclose the horrific event that extracted the majority of his humanity. These glimpses into Lee’s past modulate between the mundane and the traumatic and are successful at garnering spectator sympathy for Lee. Despite his many flaws, Lee is a character we just can’t help but root for; mostly because we know we’d be just as messed up had the same tragic events happened to us. One of the movie’s most memorable moments is the reunion scene with Lee and Randi (Williams): the surprise encounter between the divorced couple is squirm-in-your-seat awkward but contains Oscar-caliber performances from the lead actors. Chandler, who plays Lee’s brother Joe, is influential and memorable in his ancillary role. Hedges, C.J. Wilson, Tate Donovan, Susan Pourfar, Gretchen Mol and Matthew Broderick are all superb in their supporting performances. The gorgeous seaboard vistas (filmed at various locations in Massachusetts) provide context, atmosphere and a nearly palpable sense of place. These establishing shots are skillfully woven into the action by Lonergan and his editing team and serve as the unbilled star of the movie. One repetitive, static shot, which captures images of Lee shoveling the same patch of sidewalk on successive days, depicts the harsh conditions and tedious sameness of winters in the Atlantic Northeast. Such creative flourishes are a double-edged sword, however, since they lend the film an art house aesthetic while also detracting from its overall commercial appeal. In the end, Manchester is a movie about personal struggle and the journey to find a measure of sweetness in an otherwise bitter life. The film’s somber mood and slow pacing won’t be a winning combination for many viewers, but those who enjoy rich characterizations and nuanced storytelling will embrace the film. The critical buzz surrounding Manchester substantiates its status as a frontrunner for Best Picture. However, with the recent groundswell of support for the Ryan Gosling and Emma Stone dance film, Oscar’s top prize might be headed to the other coast…to La La Land.

Hidden Figures (PG)

rm755107840
Directed by: Theodore Melfi
Starring: Taraji P. Henson
January 2017

What follows is the full-length review based on comments that were originally tweeted in Real-time from the back row of a movie theater @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!

Hidden Figures is an inspirational biopic that transports its audience back to a less progressive, yet more purposeful, period in American history. The story centers on three African American women who make substantial contributions to NASA’s rocket program during its most crucial decade, the Space Race 60s. Taraji P. Henson plays Katherine G. Johnson, a human “computer” with mad math skills. Octavia Spencer depicts Dorothy Vaughan, a mechanical genius who becomes an expert at operating the newfangled mainframe computers manufactured by some company named IBM. Janelle Monae portrays Mary Jackson, an ambitious young mother of two who wants to become an engineer. Each of the women is faced with significant obstacles along the way which threaten to sabotage their dreams. Johnson, who is treated with barely concealed hostility by many of her white coworkers, must run fifteen minutes in heels just to get to the closest “colored” bathroom and is eventually replaced by a real computer. Vaughan does the work of a supervisor but doesn’t receive the recognition or compensation for it. In order to be considered for an engineering position at NASA, Jackson must augment her Bachelor’s degree with extension courses which, as fate would have it, are only offered at night at an all-white high school. Although most of the story’s depictions are skin-deep, the acting elevates the cursory character development and the Caucasian co-stars certainly assist in that regard. Jim Parsons, in a very un-Sheldon like role (The Big Bang Theory), plays Paul Stafford, an arrogant, prejudiced physicist who seeks to undermine and discredit Johnson at every opportunity. In a similar role, Kirsten Dunst plays Vivian Mitchell, a persnickety boss who keeps Vaughan under her thumb and constantly quashes her ambitions for advancement. The closest thing we have to a decent white person in the film is Kevin Costner’s Al Harrison. What makes Costner’s performance here stand out from his typical role is that he isn’t portraying a hero or a villain…Harrison is a beleaguered supervisor tasked with putting a man in space and is simply trying to do that job to the best of his ability. One of the most refreshing aspects of Harrison’s character (a fictitious composite of three different directors at NASA Langley Research Center during Johnson’s tenure at the facility, according to historyvshollywood.com) is that he utilizes the best person for the job, regardless of race or gender—an admirable quality when considering the period when this movie was set. Although Costner has always looked at home in films (like JFK) set in the 60s, his appearance in Figures, which comes complete with horn-rimmed glasses, white dress shirt with thin tie and short cropped coif, is so authentic to the period that the line between actor and character becomes exceedingly blurred at times. The storyline is bifurcated between Civil Rights issues and a fly-on-the-wall perspective of the riveting operations inside NASA’s Space Task Group during Alan Shepard’s and John Glenn’s landmark missions. Unfortunately, the plot is fairly predictable, especially for those knowledgeable about these historical happenings, but credit goes to screenwriters Allison Schroeder and Theodore Melfi (also the film’s director) who have adapted Margot Lee Shetterly’s book into a compelling yarn that adroitly modulates between the home and work struggles of its three main characters. The addition of archival footage of various rocket launches and the newscasts that covered them also lends credibility and aids in maintaining viewer interest throughout the film. In the end, the movie’s objective was to raise awareness that there were many capable women, and what’s more African American women, working at NASA during the 60s. The film certainly succeeds on that front but also excels at being an enlightening endutainment. In addition to containing a first-rate double entendre in its title, Figures is a crowd-pleasing true story that underscores just a few of the myriad issues that faced our nation during one of its most turbulent decades. Figures affirms that it’s possible to reach the stars if we shoot for them.

Passengers (PG-13)

rm562235136
Directed by: Morten Tyldum
Starring: Jennifer Lawrence
December 2016

The below comments (in Black) were originally tweeted in Real-time from the back row of a movie theater and appear @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation (in Red). For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Passengers
Pod 1498 contains some guy named #Starlord. #Avalon #HomesteadII
“Just own it, Jim.”
#OwnIt
A lot of similarities to
#WALLE, especially the score by #ThomasNewman. #Autopilot #Axiom #Avalon
“I woke up too soon.” Jim is a bit of an
#EarlyBird. #Avalon
“It’s not possible for you to be here.” That’s the point,
#RoboTender. #Glitch
No
#PumpkinSpice on the #Avalon? There goes the future.
The
#SpaceLeap scene is absolutely breathtaking.
Jim trips on a bottle...it’s been the downfall of many men.
“It sure has a nasty sense of humor.”
#Universe
#Aurora Overdetermined sci-fi name?
“The ultimate geographical suicide.”
#SpaceHibernation #Avalon
Most amazing swimming pool in the universe.
Holding hands among the stars...best first date ever.
“You’re the most beautiful woman I’ve ever seen.” Every man left on Earth agrees with you, Jim.
Loose-tongued bartender ruins Jim’s proposal.
#PlotTwist
Public Service Announcement: Never go swimming in
#ZeroGravity. #Avalon
612 physical disorders. Oh Frack!
The
#Avalon is supposed to be #Meteor proof. Yeah, and the #Titanic was supposed to be iceberg proof.
Those last ten minutes were heart-stopping.
Final analysis: a
#Titanic meets #WALLE lost in space yarn with scintillating central performances.
The only drawback here is its derivative plot.
Rating:
3 1/2 out of 4. #JenniferLawrence and #ChrisPratt have tremendous chemistry in this space survival story.
Freebie: the 3 dits, 3 dahs and 3 dits on the poster is
#MorseCode for #SOS.

What if a man was accidentally awakened from a suspended animation nap ninety years earlier than planned? What if that man, the only conscious person aboard a gigantic spaceship headed for a distant planet, went bat guano crazy from being alone all the time? What if the man watched the video profiles of the 5,000 passengers on the ship and fell in love with one of the women? And what if that man, in the throes of loneliness and boredom, decided to rouse that sleeping beauty from her pre-programmed slumber? Such is the set up for the new sci-fi/romance movie, Passengers. Starring Jennifer Lawrence and Chris Pratt as star-crossed lovers who must negotiate the bitter realities of premature reanimation, the film is a master course in male/female relational dynamics in survival situations. The two stars have tremendous screen chemistry and nearly carry the entire movie by themselves—nearly. Michael Sheen and Laurence Fishburne play side characters who offer stellar support to the central couple, providing them with much needed advice and experience…and bridge access. There really aren’t enough superlatives to describe Lawrence and Pratt’s performances, so I’ll move on to an area of the movie I can critique. As is the case with many movies these days, the writing here is a mixed bag. Screenwriter Jon Spaihts is exceedingly adroit at evincing character motivations and habits and has skillfully infused the film with a tremendous amount of humanity despite its sterile, mechanical trappings. There’s a firm grasp of human relationships in the movie and the characterizations are flawless down to the most infinitesimal nuance. The romance subplot is sweet without being saccharine—the scenes where Aurora (Lawrence) and Jim (Pratt) have their first breakfast and first date are real gems. Commentary on class structure is cleverly woven into the narrative, like when we see Jim’s standard breakfast placed alongside Aurora’s Gold Star breakfast. The fact that Jim is an engineer and Aurora is a writer who comes from a family with means and status also addresses the inequities of humanity’s current caste system. Arthur (Sheen), the robot bartender, dispenses many keen observations on the human condition along with clever quips which add the appropriate amount of humor to this mostly serious film. Whereas Arthur brings the comic relief, Gus Mancuso’s (Fishburne) tragic sidebar furnishes the film with poignant pathos. The scenes where Aurora gives Jim the silent treatment are deftly crafted by Spaihts and expertly acted by Lawrence, who brings these scenes to life with startling realism (as any man who’s ever been spurned by a woman can attest). The prospect of dying alone in space versus the ethical dilemma over reviving a potential companion (which will consign her to a life of isolation) is the crux of the film and the implications of Jim’s fateful choice have profound ramifications on the entire story. One of the movie’s subtly stated motifs suggests that when our life’s aspirations go unrealized it’s how we choose to cope with our Plan B existence that defines us as individuals. Ultimately, Aurora (an overdetermined sci-fi name?) gets to write an exclusive, historic story, but it isn’t the one she had originally envisioned. Sadly, powerful takeaways like this one are overshadowed by contrived crises (like the escalating calamities that comprise the film’s conclusion), plot inconsistencies (Jim can browse personal personnel files and borrow a space suit, but is denied access to the bridge and can’t order a decent breakfast) and the movie’s Achilles’ heel…derivative storytelling. Aside from its “Adam and Eve in Space” premise, Passengers weaves elements from many other movies into its narrative tapestry. The most obvious thematic antecedent to this film is Titanic (1997). Both stories feature an upper class woman and a lower class man who fall in love on their way to a new world, but their ship encounters a dangerous obstacle along the way which threatens their survival. The obstruction in Titanic is an iceberg; here it’s an asteroid field. Perhaps the biggest source of inspiration for this film is WALL-E (2008). Both films feature long-range, resort style space vessels (with similar names—Axiom in WALL-E and Avalon here) which are conveying humans to a new planet since Earth is in a state of decay. These movies also employ an antagonistic autopilot which serves as a hindrance to our heroes. Additionally, Jim’s thrilling leap into space is reminiscent of WALL-E’s frolic among the stars. The final point of comparison between these films is that their scores have a similar style, which is fitting since the composer for both films is Thomas Newman. In addition to its pastiche plot, Passengers has an overwrought resolution, which is merely a series of near-death scrapes designed to produce a heart-pounding climax. This gimmicky ending is unnecessarily commercial and is incongruous with the rest of the film, which is essentially a big budget art film. A more contemplative denouement was in order here—one where we meet Jim and Aurora’s progeny and where we hear Aurora reading an excerpt from her book in a V.O. narration as the Avalon arrives at Homestead II. This emotionally complex and thought-provoking yarn deserved that kind of powerhouse finale—the extant epilogue is pat and merely satisfactory. Final thought: have you ever seen a more breathtaking pool? Or swimmer?

Arrival (PG-13)

rm3938516992
Directed by: Denis Villeneuve
Starring: Amy Adams
November 2016

The below comments (in Black) were originally tweeted in Real-time from the back row of a movie theater and appear @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation (in Red). For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!
Arrival
“We are so bound by time...by its order.” Like it or not. #Time
A sad departure at the film’s outset.
“I would need to be there.” Congratulations, you just volunteered.
The
#Sanskrit word for war? It’s all #Greek to me.
“Dazzle them with the basics.” Standard methodology.
“Maybe we should try talking to them before throwing a math problem at them.” Ha!
This gigantic obsidian spheroid puts #
2001’s #Monolith to shame. #2001ASpaceOdyssey
This gravity switch is a
#MindTrip.
The
#Kangaroo story is amusing.
“What is your purpose on Earth?” Love the way she teases out this sentence. Good
#Logic.
“Now that’s a proper introduction.” I’ll say.
#TentacleTouch #GreatLine
This smoke ring language is fascinating.
#SmokeRing
“A logogram is free of time.”
#Heptopod language.
“Are you dreaming in their language?” Conversation starter.
#Logogram
“Use weapon.” Uh-oh!
#Logogram #Heptopod
“Many become one.” The nations must unite.
“Louise sees future.”
#PlotTwist
Hannah is a
#Palindrome. So is radar. #Linguistics
“It was meeting you.” Ian scored major points with that line.
Final analysis: a thought-provoking “first contact with aliens” yarn that reveals the best and worst in humanity.
Rating:
3 out of 4. A visual marvel with solid acting. The atmospherics trump character development. Trite ending.

If a movie is only satisfactory for three-fourths of its running time, is it still a quality entertainment? Sure, but it’s also an egregious waste of potential. That last phrase perfectly describes Arrival since the first three-fourths of the film are taut, thrilling and saturated in mood and mystery, while the last quarter is an unwieldy, uninspired mess. To its credit, the movie doesn’t waste its time on drawn-out alien vessel appearances or FX fanfare sequences, like many alien assault flicks in the mold of Independence Day (1996). It’s clear from the outset that Arrival is a different kind of space invader film since it eschews the traditional action-packed opener in favor of a more moody and intimate prelude, introducing the first glimpses of the alien ship not in big budget special effects shots, but in streaky news footage airing on a living room TV. The story is infused with palpable tension as the military and scientists (never a good combination) scramble to determine if the recently arrived mother ships, which are presently stationed above a dozen random positions around our planet, are friendly or malevolent. Vital to the Save the Earth campaign is the inclusion of a communications cognoscente, but the world’s foremost authority on the subject has unceremoniously quit the project, presumably because his insurance doesn’t cover “Accidental Death by Space Aliens.” Rather than call or Skype the next qualified person on the list, Colonel GT Weber (Forest Whitaker, who is little more than set dressing in the movie) flies out for a face to face with the possible replacement and requests, rather than demands, that individual’s participation—apparently the fact that our planet can be blown to bits at any moment has no effect on the nerves-of-steel war dog. Fortunately for us, Dr. Louise Banks (Amy Adams) is available to join the global coalition of experts as her students haven’t attended her Linguistics class at the university ever since the aliens arrived (no dedication to higher education these days). Louise meets theoretical physicist Ian Donnelly (Jeremy Renner) and the sparks immediately start flying, triggered in part by their English versus Math verbal sparring match and in part by their obvious attraction to each other. Louise and Ian are tasked with establishing communications with the aliens, a tall order since neither of them remembered to pack a universal translator. The team’s initial visit to the alien ship (a colossal, obsidian spheroid hovering vertically in midair like a supersized version of 2001’s monolith) is a mind-bending, nape-prickling affair that effectively captures what it must feel like to make first contact with a bizarre alien species—this movie features gigantic heptapods with petal-like proboscises that emit puffs of black soot which congeal into circles a la Gandalf blowing smoke rings in The Lord of the Rings: The Fellowship of the Ring (2001). The novelty of these alien encounters wears off with successive visits (why so many?), but the intrigue heightens when our heroes learn the nature of the alien circles. So far, so good. Arrival, especially in the early goings, is reminiscent of The Day the Earth Stood Still (the original from 1951, not the schlocky remake with Keanu Reeves in 2008), which is widely regarded as one of the finest—and highly evolved—sci-fi pictures ever made. Though certainly in good company there, Arrival squanders its sure-footed setup with a standard, schmaltzy ending, particularly in how the earlier sparks between Louise and Ian are kindled into a full-fledged romance. This storyline feels rushed since the characters graduate from arguing co-workers to loving, dedicated parents in one convenient leap into the future. The jump in time is jarring and is further exacerbated by the fact that we learn very little about the star-crossed couple since the film’s otherworldly cinematography and alien atmospherics constantly overshadow what little character development can be found here (after all, the alien vessel is the star of the show). The flash-forward flubs also extend to the movie’s gimmicky resolution: side character General Shang (Tzi Ma) provides Louise with the solution to the alien riddle in a sequence so ridiculous it recalls the antics in Bill & Ted’s Bogus Journey (1991) where the titular twosome merely think of an action in the past that will thwart their adversary in the present. However, as awful as that story device is, the mishandled ending isn’t the only problem with the film. For instance, the aliens seem to comprehend concepts far more complex than “weapon,” so their nearly disastrous misunderstanding of the word seems more than a little contrived. Another narrative misstep is Ian’s out-of-the-blue voiceover narration midway through the film. Besides being overly expository, this narrated section is incongruous with the rest of the film and just feels odd since it shifts the POV away from the main character (Louise) and toward the secondary character (Ian). And then, to get really nitpicky, there are several story snafus, such as: how can a non-linear alien species know that humans will assist them 3,000 years into the future? Are they sure it isn’t 2,999 years from now? Or 3001? Further, why would these aliens even need our help since they’re so technologically advanced from us? Also, why do the creatures communicate with circles…seems a tad trite since we already associate (crop) circles with aliens, right? And how can Louise’s vision at the beginning of the film even occur since she doesn’t possess the capacity to look into the future at that point? Louise’s ability to gain knowledge from the future that will help us in the present which will preserve our future is a time paradox so convoluted it would give John Connor a migraine. These are niggling details, to be sure, but the sheer number of them reveals just how porous the plot is and prevents the movie from achieving maximum liftoff. Like a skilled magician, director Denis Villeneuve (Prisoners, 2013) has cleverly disguised his tenuous story with a style over substance sleight of hand along with an obfuscating display of temporal razzle-dazzle (in the Chicago sense of the word). In the end, Arrival’s arrival is well executed, but its departure needs some work. Good thing we have the next 3,000 years to get the sequel right.

The Girl on the Train (R)

rm465767424
Directed by: Tate Taylor
Starring: Emily Blunt
October 2016

The below comments (in Black) were originally tweeted in Real-time from the back row of a movie theater and appear @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation (in Red). For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

The Girl on the Train
Rachel drawing in a notebook is different than in the book.
I applaud the writer for maintaining the POV juggling from the book. We’ll see how well it’s executed.
Rachel’s hands shake while applying lipstick.
#Alcoholic
Powerhouse monologue in the bathroom.
#EmilyBlunt
An actual AA meeting...merely referenced in the book.
“I ride the train.” Unusual occupation.
#TicketsToNowhere
Bizarre depictions of people in the gallery paintings.
#FracturedIdentities
“Don’t make it impossible for us to work together.” Too late.
“Your wife hit me on Friday night.” That’s different from the book.
“I’m afraid of myself.” With good reason, Rachel.
“I fell asleep. I let her go.” Horrific!
“Rachel is a sad person.” Not as sad as you, Tom.
#LisaKudrow holds an important key to Rachel’s blackouts.
Megan wants to go to the woods with Tom. Bad choice.
“In a way you killed her.” Nice try, Tom.
#GuiltTrip
Anna has a heart shaped blood stain on her white sweater. Ironic.
Final analysis: a faithful adaptation that gets the broad strokes right, if not the fine details.
“There’s nothing so painful, so corrosive, as suspicion.” My favorite line from the book.
#Freebie
Rating:
3 out of 4. Solid acting and writing are squandered by middling direction. Such potential here.

Based on the popular book of the same name by Paula Hawkins, The Girl on the Train tells its sordid story from the perspectives of three women whose lives are intertwined in ways that could only be feasible in a novel…or Hollywood production. The movie arrives less than two years after the book was published (January of 2015) and comes courtesy of screenwriter Erin Cressida Wilson and director Tate Taylor. Sparing you a long litany of book-to-movie comparisons, I’ll just say that despite numerous narrative alterations (like the accelerated revelation of Rachel’s employment status), the story remains fairly faithful (unlike its characters) to the source material. Some changes work extremely well: the decision to omit the physical relationship between Rachel (Emily Blunt) and Scott (Luke Evans) is a plus since the mere implication of impropriety works wonders dramatically and since the two of them hooking up was dubious from the start. On the flip side, there are several plot breakdowns in the film, most notably the scene where we learn Megan’s (Haley Bennett) fate, which is bracketed by Rachel losing and regaining consciousness. Is this climactic moment a dream, a hallucination or some mental reconstruction of how Rachel thinks the murder occurred? Since the answer is none of the above, this deviation from the POV structure that was established from the opening moments of the movie, muddies the plot stream and creates confusion during the most crucial scene in the film. It’s precisely this sort of story inconsistency that prevents the cinematic Train from achieving what Hawkins did so masterfully in her novel, which only reinforces the long maintained sentiment that the book is always better than the movie. So then, just as the characters attempt to learn the identity of the murderer in the movie, let’s seek to discover who’s at fault for the film’s flawed execution. We certainly can’t point a finger at the acting. Blunt (though far more petite than the novelized Rachel) delivers an authentic portrayal of the low ambition alcoholic, whose frequent blackouts makes her testimony of a perceived crime dubious at best. The supporting players—Rebecca Ferguson, Justin Theroux, Laura Prepon, Allison Janney, Lisa Kudrow, etc—all deliver fine performances too. Wilson does an admirable job of adapting Hawkins’ novel—no small task with its large cast of central characters, multiple perspectives, jumping timelines and carefully constructed, time-released revelations—so her efforts can’t be criticized either. Although the action moves from England in the book to the northeastern U.S. in the movie, the story works well enough in either setting, so no drawback there. Ultimately, the culprit for the film’s underachievement is its directing. One wonders why such a high profile, and potentially highly lucrative, property was turned over to a virtual unknown (Taylor’s only prominent films are 2008’s The Help and 2014’s Get on Up)? Why wasn’t David Fincher (Gone Girl), Denis Villeneuve (Prisoners) or another proven director tapped to helm such a multivalent, psychologically complex thriller? Taylor’s direction fails to plumb the depths of Hawkins’ nuanced characters and, instead, settles for a perfunctory, skin-deep methodology. This inability to tap into genuine human emotions and motivations is a massive missed opportunity since Hawkins’ yarn is so immediate and so rich in character…and so Hitchcockian (the story’s inciting incident is essentially Rear Window on a train). As was conveyed in many of Hitchcock’s films, all spectatorship is voyeuristic in nature. As such, we’re equally complicit in Rachel’s transgressive meddling when she peers out the train window and when she inserts herself into the lives of complete strangers. The film’s saving grace is its ability to confront us with this key concept from the book. However, in the end, Train is merely an adequate adaptation of the novel and will underwhelm its audience, especially those who’ve read the book. Well, I’d love to stay and chat some more about this film, but this is my stop.

Sully (PG-13)

rm176490752
Directed by: Clint Eastwood
Starring: Tom Hanks
September 2016

The below comments (in Black) were originally tweeted in Real-time from the back row of a movie theater and appear @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation (in Red). For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Sully
The opening scene is intense. #PilotsNightmare
“Forced water landing,” not a crash.
“Everything is unprecedented until it happens for the first time.” Tell him, Sully.
Headline: “Heroism on the Hudson.”
“The right man for the job at the right time.”
Sully hallucinates a plane crashing into a building. #PlaneCrashPTSD
“Porterhouse will stop your heart.” Ha!
Airplane safety instructions...the one time people need to be paying attention.
“Brace, brace, brace. Heads down, stay down.” Words you never want to hear.
“People don’t survive water landings.” Wrong.
“I had to land in the Hudson.” Sully says it like it’s an everyday occurrence.
“I’ve never been so happy to be in New York in my life.” LOL
155. The number Sully was hoping to hear.
“A delay is better than a disaster.” Timely #FortuneCookie message.
“You’ve taken all of the humanity out of the cockpit.” You got ‘em there, Sully.
“Does anyone need to see more simulations?” Yes!
“We did our job.” Yes you did, Sully. And you saved everyone’s life.
“I would have done it in July.” Ha!
Final analysis: a powerful testament to human ingenuity and courage.
Rating:
3 1/2 out of 4 stars. Peerless acting and directing in this incredible true story of uncommon heroism.

In the hands of less skilled artisans, this film could’ve been a methodical, mediocre mess. By artisans, of course, I’m referring to the dedicated cast and crew of Sully, along with the dream team of director Clint Eastwood and actor Tom Hanks in their first cinematic collaboration. Having helmed Changeling (2008), Invictus (2009), J. Edgar (2011) and Jersey Boys (2014), Eastwood is no stranger to films based on true stories. Whereas his style in the past was marked by a formal stiffness, his direction here is steady and fluid, like a jet cruising at 30,000 feet. It would be unfair to label Eastwood’s earlier directorial efforts as boring, but other, more euphemistic words could certainly be employed, like: conservative, deliberate and restrained. In this film, purposeful pacing has been replaced with a sense of urgency rarely witnessed in an Eastwood picture, a change in style necessitated by the story itself—a pseudo-disaster movie mixed with a docu-drama with a twist of a legal procedural. Much like the subject matter itself, Eastwood’s direction is taut, terse and sufficiently streamlined…the film’s running time is a lean 96 minutes. Amid plane safety checks, aviation emergency procedures, media oversaturation and review board regulations, Eastwood keeps his finger firmly on the pulse and purpose of the film—the 155 lives that were saved by the instinctual, heroic actions of an experienced airplane pilot. It’s to his credit that Eastwood never loses sight of the human factor while regaling the terrifying events from the headline-dominating story from January 15, 2009. This is as complete a film as Eastwood has delivered and, as such, should garner attention from Academy voters, something he’s failed to seize since winning Best Director and Best Picture Oscars for Million Dollar Baby in 2004. Eastwood has always tapped top tier talent for his films and actors don’t come any more highly sought-after than Hanks. As would be expected, there isn’t a single false note in Hanks’ brilliantly multilayered and underplayed portrayal of Captain Chesley “Sully” Sullenberger. From his reactions during the actual plane crash (as well as the PTSD fantasy of a plane colliding with a NYC building), to interactions with his screen wife (Laura Linney), co-pilot (Aaron Eckhart), members of the media (including Katie Couric in a choice cameo) as well as the board of inquiry (Mike O’Malley, Jamey Sheridan and Anna Gunn), Hanks is simply masterful here, effortlessly conveying Sully’s dignity and sagacity. One look at Hanks in the captain’s uniform and it’s clear that he was born to play an airplane pilot…and just as with his costume, the role was tailor-made for him. Will this superlative effort generate another Oscar nod for Hanks? Also worthy of Oscar consideration is Eckhart, who plays co-pilot Jeff Skiles. Though it isn’t a colorful, edgy or overly nuanced part, Eckhart perfectly captures Skiles’ unwavering loyalty to Sully in an expertly measured performance. Ultimately what helps this movie achieve liftoff is the harmonic prosody between writer Todd Komarnicki and the editing team. Komarnicki’s screenplay is based on the book Highest Duty, written by Sullenberger and Jeffrey Zaslow. If told in a straightforward manner, this story would’ve never left the tarmac. Komarnicki’s effective use of wistful memories back to Sully’s early days as a pilot (a la 1957’s The Spirit of St. Louis), dream and daydream sequences and non-linear plotting all prevent this film from becoming a prototypical biopic. Likewise, the way Komarnicki breaks up the procedural portion of the film with character sidebars, video simulations and flashbacks is also flawlessly executed. Unlike the balance of the action, which is dominated by weighty life-and-death matters, the film ends on a humorous note—another indication that Eastwood has finally learned how to loosen up in his dotage. All in all, this is a first-rate true story adaptation that soars despite being grounded for most of the film. Be sure to stay through the end credits for clips of the real Sully along with the crew and passengers from US Airways Flight 1549. Tissues required.

Bonus material:
By some strange coincidence, Hanks’ career has been punctuated by plane crashes and water landings: his characters have survived two plane crashes in
Cast Away (2000) and Sully and three water landings including those two films along with Apollo 13 (1995). Additionally, many of Hanks’ films have centered on similar settings and situations, including: a whole other kind of water landing in Saving Private Ryan (1998), the stranded in an airport character study in The Terminal (2004), a boy coping with his dad’s death in the 9/11 plane attacks in Extremely Loud & Incredibly Close (2011) and terror on the high seas as a cargo ship is besieged by pirates in Captain Phillips (2013). Incidentally, Hanks played a courageous captain in that true story too.

Hell or High Water (R)

rm3351449600
Directed by: David Mackenzie
Starring: Jeff Bridges
August 2016

The below comments (in Black) were originally tweeted in Real-time from the back row of a movie theater and appear @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation (in Red). For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Hell or High Water
The “no bailout” graffiti is telling. #NoBailout
“All you’re guilty of right now is being stupid.” Ha! #BungledHeist
Bury the car, bury the evidence. Clever.
“Tweakers don’t sleep, they just...tweak.” LOL.
“Ain’t one drill the same as the next?” #ThatsWhatSheSaid
Second car buried. How many vehicles do these guys have?
“Kicking around skulls.” The origins of #Soccer.
“What don’t you want?” This waitress is a hoot.
Large crowd in the Post bank. This can’t end well.
Roadblock. Intense scene.
“Lord of the plains.” #FamousLastWords
Great acting in the final scene with Pine and Bridges.
Final analysis: though the premise is well worn, the acting is superb & the cinematography is gritty real.
Rating:
3 out of 4. A dusty drama with a strong sense of place and an Oscar worthy performance by Bridges.

As exemplified in silent masterpieces like The Great Train Robbery (1903), heist films have been with us since the inception of cinema. The tone of such films can be elaborate, like in The Italian Job (1969, 2003) and Ocean’s Eleven (1960, 2001), intricate like Mission: Impossible (1996) and Entrapment (1999) or intimate like Thelma & Louise (1991) and Drive (2011). This offshoot of the thriller genre has remained popular throughout the decades and seems to find new scenarios despite its well established conventions. The new bank robbery movie, Hell or High Water, resembles the buddy movie model in Thelma more than the team approach featured in the Ocean’s series. This movie’s pilfering partners happen to be brothers, Toby Howard (Chris Pine) and Tanner Howard (Ben Foster). What incites the film’s robbing rampage is twofold: 1. Toby’s pressing need to support his family, and 2. Toby and Tanner’s desire to buy back the family farm from the bank after their mother dies. On the right side of the law is Texas Ranger Marcus Hamilton (Jeff Bridges), a Southern fried law enforcer who talks like he’s got a perpetual wad of chaw in his mouth and who walks around like he’s got a load in his pants (witness him running toward the motorcade during the movie’s climactic action scene for a prime example of this). Though a bit of a fuddy-duddy (with racist tendencies) Marcus is a shrewd old agent, skilled at anticipating the next move of the perpetrators he’s pursuing, which sets up a rather riveting game of cat-and-mouse with the Howard boys and serves as the backbone for the film’s narrative. Bridges has tapped into some of his recent roles for inspiration for his character here: Marcus is roughly 80% Rooster Cogburn from True Grit (2010) and 20% good ole boy Roy from R.I.P.D. (2013). This is a measured performance that only misses fully realized status due to the screenwriter Taylor Sheridan’s negligence in providing Marcus with a substantial back story. Still, Bridges’ acting is utterly captivating and should garner a serious look from Oscar voters. Pine and Foster are also very effective at bringing their respective roles to life as two brothers on completely different life journeys—Toby turns to a life of crime for the sake of his family, Tanner engages in illegal activities simply for the thrill of it. In the end, each of the brothers gets exactly what he deserves. Also serving as inanimate characters in the film are the authentic looking Texas towns and landscapes (which were actually shot in New Mexico) and the skillful way such stark, yet strangely beautiful, locations are framed by cinematographer Giles Nuttgens. Director David Mackenzie has presented a somber and atmospheric on-the-run adventure that’s enjoyable as much for its acting as for its story and settings. The straightforward storyline is extremely deceptive since it contains a good deal of character subtext and several unexpected turns along the way, especially the ironic coda, which reveals that a greater fortune than the one the Howard’s stole has been right under their noses all along. Ultimately, the film isn’t earth-shattering, but, as a hayseed heist film populated with superb performances and gritty real locales, it certainly isn’t a bad way to spend two hours.

Money Monster (R)

rm2880380672
Directed by: Jodie Foster
Starring: George Clooney
May 2016

The below comments (in Black) were originally tweeted in Real-time from the back row of a movie theater and appear @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation (in Red). For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Money Monster
“You don’t have a clue where your money is.” Scary reality.
“Glitch.” Is it possible this movie is unintentionally timely, i.e. the edited #Iran video?
#ErectileCream on a news set. #Random
“We don’t do journalism period.” Does anyone anymore?
#LeeGates has some decent dance moves.
Most lax security on a set ever. #Nitpick
“It’s all rigged.” Not exactly a news flash.
“Start hosting.” Way to turn the tables.
Shoot the star of a news show live on TV? Shades of #Network.
Buy #IBS, save a life. #TripleBuy
“You believe in money, not people.” #ShallowExistence
Who needs enemies with a girlfriend like that?
“It’s not the computer’s fault.” Sure, buddy.
“We have an 80% chance of an 80% chance.” Hilarious!
Talk with the weapons up. Negotiation at gunpoint.
“What’s wrong with making a profit?” Plenty if people are made to suffer for it.
Final analysis: a message film wrapped in a thriller built on a farce. Entertaining but not earth-shattering.
Rating:
2 1/2 out 4. Nice to see Clooney and Roberts together again even though they only share one scene.

If money is the root of all evil, Lee Gates (George Clooney), a Jim Cramer style stock tip show host, is desperately wicked. As the movie opens, Gates and his producer, Patty Fenn (Julia Roberts), are engaging in some good-natured banter as they prep for another episode. But as filming commences, an unexpected visitor drifts onto the set and sends the plot veering in a different, unexpected, and ultimately, less interesting direction. It’s rare that such scintillating stars (Clooney and Roberts in front of the camera and Jodie Foster behind it) should be attached to such a banal, lackluster film. What starts off as a compelling The Newsroom style TV studio drama rapidly morphs into a high stakes thriller with Gates doing his finest fast-talking to avoid being blown to bits by a suicide vest on national television (a knowing riff on Sidney Lumet’s prescient 1976 film, Network). The movie’s tonal shift is jarring and really detracts from what sets up as a dramatic edutainment centered on the turbulent world of finance. This bait-and-switch narrative choice may annoy or confuse some audience members since the genre at the beginning of the film isn’t the same as when it ends. Sadly, the more the thriller storyline progresses, the daffier the movie becomes and the more we don’t care who comes out alive…or who doesn’t. It’s a shame that such tremendous talent was squandered on such mediocre material and that the movie’s intriguing premise, which contains a salient message about the current state of our economy and its effect on the scores of struggling citizens in our society, is thrown away in favor of the kind of remedial fare you can find on any run-of-the-mill TV procedural. So what did the actors see in this script that made them want to sign up? Maybe it had nothing to do with the script and everything to do with Clooney and Roberts jumping at another chance to perform together (this is their fourth big screen collaboration). Or maybe their decision was simply based on a desire to work with Foster. Perhaps I’ve got it all wrong and their true motivation for making this movie wasn’t camaraderie or artistic integrity…just the money.

The Jungle Book (PG)

tt3040964
Directed by: Jon Favreau
Starring: Neel Sethi
April 2016

The below comments (in Black) were originally tweeted in Real-time from the back row of a movie theater and appear @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation (in Red). For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

The Jungle Book
The opening reminds me of the #JungleCruise ride at #Disneyland.
“Wolves don’t hide in trees.” Good to know.
Nice #TimeLapse photography of the canyon transitioning into its dry season.
“In some packs the runt gets eaten.” Survival of the fittest.
The animals give Khan a wide berth. Not the one from #
StarTrek. #ShirKhan. #WaterTruce
“You will always be my son.” #WolfHug
I love seeing the respect for #Elephants. Magnificent creatures.
#BlackPanther vs #Tiger. Which will win? #Catfight
That molting is as big as a tent. #Kaa is near.
Beware the #RedFlower.
“Trust in me.” When someone says that you normally can’t.
“That’s not a song, that’s propaganda.” Ha!
#ShereKhan’s object lesson of the deceptive #CuckooBird is quite the traumatizing #BedtimeStory.
One of #MowglisTricks saves a young elephant. Touching scene.
#KingLouie really knows how to bring the house down.
#Bear vs #Tiger. Now we’ve got a fight. #ShereKhan #Baloo
#ShereKhan is engulfed by the #RedFlower. Good riddance.
Final analysis: a modern take on #Kipling’s classic with superb voice performances and jaw-dropping #CGI.
A decent family film that sadly lacks the charm of the 1967 cartoon and the magic of the 1942 #Sabu classic.
Rating:
2 1/2 out of 4. The target audience won’t be disappointed but adults may find fewer pros than Khans.

Director Jon Favreau’s (Iron Man) reverent riff on Rudyard Kipling’s adventure classic The Jungle Book is a virtual remake of Disney’s 1967 kiddie feature only with blended live action and computer effects standing in for animated characters and locations. Though this film isn’t the sing-along sensation that the cartoon version is, a couple of the original songs can be heard here (“The Bare Necessities” and “I Wan’na Be Like You,” which is sung by Christopher Walken). However, the musical element is toned down and the action is ratcheted up in this particular Kipling outing. The film is also noticeably more adult than its pedestrian predecessor: both Shere Khan (Idris Elba) and King Louie (Walken) are far more menacing here. Although much of this film’s storyline was lifted right out of the 60’s flick, some story elements have been altered and/or new ones added to stretch out the action to a full-length feature. To whit, the Red Flower line in the “I Wan’na Be Like You” lyric is expanded into an entire subplot in this movie. Another new passage is where Baloo (Bill Murray) convinces Mowgli (Neel Sethi, who not only looks the part but delivers a pitch-perfect performance) into knocking down some large honeycombs to sate the bear’s enormous appetite. It’s an amusing sidebar, but is a poor substitute for the scenes where Baloo teaches Mowgli how to spar and when the two new friends float down the lazy river in the original. Those scenes were charming; the ones in this film are merely amusing. While contrasting the films, there’s no doubt that the gold star for visual splendor and pulse pounding action scenes goes to this film, due in large part to the eye-popping computerized renderings of the menagerie of jungle creatures. The catfight between Shere Khan and Bagheera (Ben Kingsley) is appropriately feral and frenetic and the scenes with giant python Kaa (Scarlett Johansson) are effectively hair-raising. Sequences like the water buffalo stampede couldn’t have been achieved with such proficiency even a few years ago, much less with hand drawn animation techniques from the 60s. However, the superior visuals actually invite a possible criticism of this film. Since its narrative is so similar to the 60s animated feature, one wonders if this release was just an excuse to showcase the latest CGI—essentially a technical vehicle for the film’s FX. We’ve seen how green lighting a movie for the sole purpose of showcasing the latest visual effects has produced uneven or outright awful results, a la Star Wars: Episode I - The Phantom Menace (1999). This movie certainly isn’t that bad, but it is a tad perfunctory, what with its stock characters and connect-the-dots plot. The finest aspect of the film is its ending, which is a radical departure from the 60s movie and actually has more in common with the 1942 Sabu classic since animals must flee the devastating advance of the Red Flower in both versions. Unfortunately, the new nail biting climax can’t remedy this rote remake. All of this analysis is moot, of course, since the movie’s target audience will embrace the film regardless of the fact that it can’t stand up to the quality of its forebears. And is that such a bad thing? This film has updated the brand and introduced this timeless tale to a whole new generation of potential fans. There’s no downside there. Hardened critics and Baudrillard can go take a hike…or get lost on a jungle cruise.

The Young Messiah (PG-13)

tt1002563
Directed by: Cyrus Nowrasteh
Starring: Adam Greaves-Neal
March 2016

The below comments (in Black) were originally tweeted in Real-time from the back row of a movie theater and appear @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation (in Red). For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

The Young Messiah
How to draw a camel in the sand.
Death by apple.
Early miracle. #BirdResurrection
“Cavemen in Britain.” Was Britain even around back then?
“Destined to wander.” Israel has a history of wandering.
“How do you explain God to his own son?” #Dilemma
“Next time there will be no mercy.” True. #Crucifixion
Dreams run in the family. Keen observation.
“The boy must die.” Good luck with that...he dies at 33.
“He is not just a child.” Amen.
A glimpse of the future. #CrucifixionRoad
“The Romans fear the young.” With good reason.
“I like this child.” Me too.
The #AngelChild tells #Satan to keep his hands to himself.
Don’t say the word rain around #Jesus or it’ll start raining.
“She’s just a woman.” Show more respect for Mary.
Romans in the temple. Oh my!
“God is your father.” A big question is answered for #Jesus.
Final analysis: a unique telling of #Jesus’ early years with some beautiful locations and a solid cast.
Rating:
2 1/2 out of 4. Perfect casting of the central role infuses the film with joy and compassion.

A host of films have focused on the life of Jesus, and the vast majority of those have included the same basic story elements, i.e.,: his birth, ministry, crucifixion, resurrection, ascension, etc. Since the entire film focuses on the titular savior at age seven (even though the temple scene actually took place when he was twelve), The Young Messiah is an exception to the typical theological presentation. But with little to no Biblical backing for many of the events in the film, what Messiah gains in originality it loses in authenticity. Taking its cue from the recent Roman soldier spotlight film Risen, Messiah applies the 80/20 Rule to its narrative structure, with 80% of the story extrapolated from recorded history and dramatized for a mass audience and only 20% coming directly from passages in the Bible. The most noticeable deviation from the holy text is when young Jesus (Adam Greaves-Neal) performs miracles while he’s a boy living in Egypt. There’s no scriptural support for this plot point, and to the contrary, the Bible records Jesus’ first miracle at the wedding in Cana (John 2:1-11) when he was thirty. Be that as it may, the young lad having to conceal or constrain his supernatural powers is an interesting plot point that’s analogous to many comic book yarns where the hero tries to hide his abilities in order to blend in with the general populace (Superman being chief among these archetypes since, as many have noted, the Man of Steel’s messianic origin story and miracle working abilities directly parallel Christ’s). However non-canonical this subplot is, it does create tension and intrigue, especially in the early passages of the film (although I could’ve done without the gimmicky bird resuscitation scene). Also, like in Risen, Messiah features several new story elements that work quite well, including: Sean Bean as Roman centurion Severus, a conflicted soldier who is tasked with killing the young healer, and the Spartacus (1960) style Roman road flanked with crucified Jews. I was hoping that young Jesus would look up and knowingly stare at a cross…a foreshadowing of his impending demise. But alas, this is just one of many examples in the film of how an opportunity to create art was passed over (pun intended), which might speak to a lack of vision on the part of director Cyrus Nowrasteh or a shortage of shekels which shackled the production. All is not lost artistically though, since there’s a really nice aerial shot of Jesus’ family traversing the serpentine road lined with crosses at the end of the sequence. Despite period appropriate costumes and a handful of decent location shots, the film has a decidedly cash-strapped appearance. Sometimes acting can help elevate a budget-challenged picture (like Ben Kingsley in Walking with the Enemy), but such is not the case here. Other than Greaves-Neal, Bean and Sara Lazzaro (who plays Jesus’ mother, Mary), the rest of the cast members deliver par or subpar performances. All things considered, this was a valiant attempt at focusing on a brief chapter in Christ’s early years, but the writing, acting, directing and overall production didn’t support its vision or potential. Ironically, Messiah will go down as just another average Bible film that failed to inspire its audience.

Race (PG-13)

tt3499096
Directed by: Stephen Hopkins
Starring: Stephan James
February 2016

The below comments (in Black) were originally tweeted in Real-time from the back row of a movie theater and appear @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation (in Red). For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Race
“God spared you for a reason.” To run like the wind.
Nice to see that Jesse used the envelope system. #FiscalResponsibility
“Can you work?” Love how Jesse throws it back at him with his #CottonPicking story.
Metals not records. Important distinction.
“So long as they’re American citizens, we’ll accept Martians.” #RacialIntegration
“We’re going with the higher time.” #BS
Three #WorldRecords in 45 minutes. Unbelievable.
“You think track and field is hard, you should try marriage.” NK
Close vote, but no boycott.
Out on the track there’s “no black and white, there’s only fast and slow.” You tell him.
“Stop thinking so much, Jesse. It’s not what you’re good at.” Ha!
Luz helping Jesse out on the long jump is a nice moment.
The German crowd chanting “Owens” is a higher honor than the three gold medals.
“Don’t lose.” Don’t worry, he won’t.
The guest of honor has to go through the service entrance. Sad.
Final analysis: a comprehensive look at Owens’ plight as a black athlete during the 30s and his rise to fame.
Rating:
2 1/2 out of 4. Despite being overlong and slowly paced #Race is an inspirational biopic with an important message.

There’s a double meaning implied in the title of this latest Jesse Owens biopic, Race.  The obvious reference is to the movie’s focus on Owens’ career as a track legend, culminating with his astounding performance (four gold medals) at the 1936 Summer Olympics in Berlin, Germany.  The other meaning inferred by the title is Owens’ race—African American.  The bitter irony here is that despite his tremendous athletic talent, Owens was treated with contempt both by Caucasian members of his own team and especially by citizens of the host nation, whose white supremacist ideals sought the eradication of Jews and blacks (ironically, two Jews were bumped from the 4 x 100 meter relay so that Owens could participate, so apparently blacks were a bit better than Jews in the twisted minds of the Aryan adherents).  There was no safe haven for Owens on American or German soil, which makes his courageous story even more remarkable.  Ultimately, this movie isn’t about black and white or fast and slow (as Owens avers in the film), but heroes and villains.  Aside from Owens himself (Stephan James), Owens’ coach, Larry Snyder (Jason Sudeikis), is a driving force for good (and progress) in the film.  Other heroes come from unexpected quarters, such as the appropriately named German long jumper Carl “Luz” Long (David Kross), who helps orient Owens to the course and German film director Leni Riefenstahl (Carice van Houten), who dared to defy Hitler by filming the 200 meter dash for posterity, an event Owens was predicted to win.  The movie’s villains are the racist white Americans (like the brutish Ohio State University football players who force Owens to take a shower after them) and the many nationalized and propagandized Germans.  Of course the Kaiser himself is the greatest villain here—besides initially banning Jews and Blacks from the Games, which nearly sparked an international boycott, Hitler refused to shake Owens’ hand in clear defiance of Olympic tradition for gold medal winners.  Granted, there are a few gray characters in the film as well, such as the duplicitous Avery Brundage (Jeremy Irons) and prejudiced Olympic team coaches like Lawson Robertson (Defiance’s Tony Curran).  Race has greater scope than earlier films based on Owens’ life and has the added benefit of CGI as a storytelling tool.  These computer effects are most noticeable in the sweeping crowd scenes when Owens first enters the Olympic stadium in Berlin.  But is the movie better off for all of its technological advances and advantages?  Opinions will vary, but I think CGI was judiciously employed in the film.  The effectiveness of the movie’s broad stroke approach to telling Owens’ story is also a matter of debate.  Some will appreciate the movie’s in-depth history lesson and the many ancillary story lines (Riefenstahl) that are woven into the movie’s narrative tapestry.  Others (like moi) will maintain that the film takes us away from the focal point (Owens) too frequently and tries to achieve too much in the social and political arenas instead of adhering to its core identity as a historical sports movie…unlike the exploits of its main character, the story isn’t very streamlined.  How ironic that a movie about sprinting should be paced like a long distance run and have the running time of an average half marathon.  Race is an educational and inspirational film that ultimately fails to move its audience.  Sad to say, but despite its efforts to decry the injustices of prejudging a person based on their appearance, Race is skin-deep. 

Risen (PG-13)

tt3231054
Directed by: Kevin Reynolds
Starring: Joseph Fiennes
February 2016

The below comments (in Black) were originally tweeted in Real-time from the back row of a movie theater and appear @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation (in Red). For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Risen
Rolling stones used in combat. Symbolic of the big one later in the story. #RollingStones
“Until then...” #RomanBrutality
“Order...order.” I got it the first time. #BreathMint
Unusual for a #Bible movie to begin with the crucifixion.
“Never killed a king before.” Not just a king. #KingOfKings
“It’s as if he wanted to be sacrificed.” Like a lamb to the slaughter. #NoGreaterLove
“A day without death.” Great dialog during the pool scene.
“We must find a body.” Let the investigation begin. #CSIJerusalem
“Wait ‘till you see combat.” Ha!
“Some say he has risen.”
The scene where #Clavius asks which of his men knows #MaryMagdalene is hilarious.
“This is what you missed.” #RomanNail #Crucifixion
“They’re everywhere!” #Bartholomew is a great character who provides some much needed #ComicRelief. #12Disciples
The sword slips through #Clavius’ fingers. Seeing #Yeshua is a disarming experience.
“No one dies today.” The pursuit by the #Roman soldiers is an exciting sequence.
#CliffCurtis is very good in his portrayal of #Jesus.
The healing of the leper gave me #Goosebumps.
The #Ascension is spectacular!
“I doubt we’ll ever hear from them again.” Wrong!
Final analysis: the #Resurrection story told from a unique POV. Benefits from solid acting and gorgeous locations.
Rating:
3 out of 4. An original yet reverent #Bible epic with one of the finest #Redemption stories ever told.

Some years ago, back when I had aspirations of plying my acting skills (such as they are) into a career, I had the lead part in an Easter cantata entitled Bow the Knee.  The story focuses on a Roman centurion who has a crisis of conscience regarding the teacher named Jesus.  The play presented a unique story told from the POV of an original character and echoed similar conceits in films like Ben Hur (1959) and Barabbas (1961).  Like in Bow the Knee, Risen narrates the Passion of Christ through the eyes of a Roman soldier, but the twist here is that most of the story takes place after the crucifixion (which occurs early in the film).  The action kicks into high gear when Jesus’ tomb is found empty and Roman Tribune Clavius (Joseph Fiennes) is put in charge of the investigation to find the body.  This procedural element keeps the story rolling along until Clavius has a life changing encounter with the subject of his pursuit midway through the movie.  Clavius falls in with the disciples and, by proxy, takes us on a spiritual journey which is punctuated by several key events from Jesus’ post-resurrection ministry. The 80/20 rule applies to this movie, with roughly 20% of the tale actually based on scripture and 80% extrapolated from the inspired text and presented for dramatic effect.  The end result here is seeker sensitive and palatable for those with an open mind, but will probably frustrate those fundamentalist theologians who maintain that a Biblical epic must be chapter and verse (and has there ever been such a film since none of us where there 2,000 years ago to determine the story’s authenticity?).  One of the most exciting elements in the story is how it weaves in and out of the official New Testament narrative, which provides freshness for those familiar with the actual events from the Bible. Some of those vignettes, extracted directly from the holy book, are extremely well executed, such as: the crucifixion, the fish bounty, the healing of the leper and the ascension. Other sequences, like when Roman soldiers pursue the disciples through tussocks of grass and winding canyons, are nowhere to be found in the Bible, but are visually exciting and help maintain audience interest throughout the story.  Aside from its pioneering plot, the acting is also a boon to the film.  Fiennes is superb in the lead role and plays his character’s gradual shift in loyalties to perfection.  Peter Firth is exceptional as Pontius Pilate, portraying the Roman official as a flesh and blood character rather than an egomaniacal caricature.  Tom Felton is effective as ambitious Roman soldier Lucius and Cliff Curtis (Fear the Walking Dead) delivers an understated, yet deeply affecting, performance as Jesus.  In addition to the movie’s fine production elements, the locations have greatly contributed to the visual veracity of the film.  Shot in Spain and Malta, these exteriors have helped the story come to life by accurately depicting the Holy Land during the First Century.  In the end, this is a compelling story of personal redemption that just happens to be based on the Bible, and as such, should have appeal far beyond the religious set. 

The Revenant (R)

tt1663202
Directed by: Alejandro Gonzalez Inarritu
Starring: Leonardo DiCaprio
January 2016

The below comments (in Black) were originally tweeted in Real-time from the back row of a movie theater and appear @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation (in Red). For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

The Revenant
“Keep breathing.” Beats the alternative.
Never seen a river flow through trees like this.
Phantom arrows and friendly fire...they don’t stand a chance.
“Get off the boat.” #Unwise
“I ain’t got no life.” #PeltLife
Two bear cubs. Means momma is nearby. #GetOutOfThere
That #BearAttack is one ferocious sequence.
Leo might be wounded, but at least he has a #BearBlanket.
“Save your boy with a blink.” Intense scene.
Self-cauterizing a neck wound. #Ouch
God is a squirrel. Now I’ve heard it all.
Leo eats that fish #Gollum style.
Glass goes where the buffalo roam and the skies are cloudy all day.
“Your body is rotten.” Thanks for the compliment.
Silly Leo. Horses don’t fly.
Glass does the old #Tauntaun trick with his dead horse. It doesn’t smell good, but it’ll keep him warm.
“I need a horse and a gun.” Yeah! #RunningOnRevenge
Beautiful shot of the #Avalanche.
Final analysis: a cinematic masterpiece with a wholly immersive sense of place.
#AlejandroGInarritu has done for mountain forests what #DavidLean did for deserts in #LawrenceOfArabia.
Rating:
4 out of 4. A classic tale of revenge with superb acting by #DiCaprio and jaw dropping cinematography.

Ordinarily, a movie with liabilities like a dearth of dialogue, cursory character development and a standard cause-and-effect narrative wouldn’t be considered for Oscar’s top prize.  But The Revenant isn’t an ordinary film.  A good portion of the film’s success derives from its acting, particularly from Leonardo DiCaprio and Tom Hardy, who play diametrically opposed forces in a revenge yarn set during the frontier period.  While Hardy is sufficiently loathsome as the movie’s treacherous antagonist, DiCaprio steals the show with a finely nuanced and physical demanding performance as Hugh Glass, a fur trapper with a half-breed son from his deceased Pawnee wife. Considering the high degree of difficulty inherent in this role and the fact that he’s long overdue for a win (5 previous nods), DiCaprio appears to be a shoo-in to snag the Best Actor Oscar, which would be justly deserved. Domhnall Gleeson and Will Poulter also turn in noteworthy supporting performances and the grizzly bear, played by Glenn Ennis in a blue suit, gets props (two paws up) for a solid assist. Another key ingredient in the movie’s winning formula is Alejandro G. Inarritu’s peerless direction; the film’s tone and visual style are directly attributable to Inarritu’s exceptional skills as a film craftsman. Inarritu has evoked incredibly visceral performances from his actors and has done so with minimal takes in arduous outdoor conditions. Having already won Best Director and Best Picture last year for Birdman, Inarritu seems poised to carry away another armful of statuettes at this year’s Oscars.  Acting and directing aside, the production element that has elevated this film above the extant exemplars of woodland Westerns is the utterly mesmerizing lensing by cinematographer Emmanuel Lubezki.  The movie’s dizzying array of POV shots, long takes and elaborate tracking shots have combined to form a type of visual poetry. The variety, complexity and audacity of these filming techniques, which effectively transport the viewer right into the middle of the action a la a FPS video game, is nearly unrivaled in cinema history (the only films that even come close are Peter Jackson’s Middle Earth trilogies, but those movies employed far more CGI).  Whereas a director envisions a shot and the cinematographer frames it, the locations create the look and mood of a film. As such, the reason this film will go down as a masterwork of visual expression is its locations and the exquisite manner in which they were captured—the avalanche scene, filmed in a real-time one take, is a jaw-dropping achievement. Since the vast majority of this movie was shot on location (almost exclusively in the Canadian Rockies), the exteriors play a crucial role in creating the illusion of reality that moors the viewer to the milieu in palpable ways, wholly immersing them in this savage chapter in American history.  The movie’s location scouts did a phenomenal job of discovering picturesque vantages and pinpointing the perfect setting for each camera setup, so kudos to them for their pioneering (sorry, couldn’t resist) work on this film.  If you can get past its occasional brutal passage, this movie is a singular experience that far transcends the highest aspirations of the quotidian film in its genre.  Which is to say, The Revenant is a cinematic marvel.  Go see it or I’ll sick the bear on you.

The Big Short (R)

tt1596363
Directed by: Adam McKay
Starring: Christian Bale
December 2015

The below comments (in Black) were originally tweeted in Real-time from the back row of a movie theater and appear @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation (in Red). For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

The Big Short
Appropriate quote from #MarkTwain to open the film.
“It all came crashing down.” #Greed #Tragic
“You have a very nice haircut. Did you do it yourself?” Ha! #SocialIneptitude
How to #Hijack a #SupportGroup.
Short the #HousingMarket. #IncitingIncident
I learned more about #SubprimeLoans from @MargotRobbie in a #Bubblebath than any news story...and I liked it.
A #Short deal for 100 million. #GoldmanSachs is laughing now.
“Who bets against housing?”
“No one is paying attention.” #Scary
#CDO is like three day old halibut. Love the visual illustration by #AnthonyBourdain.
Four people per 100 houses in FL. There are more alligators per capita...like the one in the swimming pool.
They’re not confessing. They’re bragging. Pride comes before the fall.
“Fueled by stupidity.” The short definition of our entire system.
“A completely fraudulent system.” Imagine that.
The AAs are like Bs. “Kinda brilliant.”
#SyntheticCDO Atomic bomb to the #SubprimeBubble.
“I say when we sell.” Phenomenal acting by @SteveCarell.
Final analysis: a sobering look at greed run amok with amusing direct addresses and educational sidebars.
Rating:
3 1/2 out of 4. Superb acting with an educational, accessible story from writer/director Adam McKay.

As Gordon Gekko (Michael Douglas) enthusiastically declared in Wall Street (1987), “Greed is good.” However, when a glut of greed causes an entire financial institution to become fraudulent, which in turn threatens to crash that nation’s economy, greed most definitely isn’t good. The Big Short is based on the book of the same name (subtitled: “Inside the Doomsday Machine”), written by Michael Lewis, and chronicles the events that precipitated the financial meltdown in 2008. Just like other movies that have focused on the subject at hand, i.e., HBO’s Too Big to Fail (2011), Short is less an entertainment than a cautionary tale wrapped inside a biopic. If the movie’s subject matter conjures images of a dry, narrated documentary, you’ll be pleasantly surprised to learn that Short is nothing of the sort. Writer/director Adam McKay (Anchorman, 2004) has done a superb job of describing complex financial concepts in layman’s terms, and has employed luminaries like Margo Robbie, Anthony Bourdain and Selena Gomez to explain those concepts in amusing vignettes. As in the similarly themed The Wolf of Wall Street (2013), Short allows numerous characters to break the fourth wall and address the audience in supplemental, anecdotal or humorous asides. All of these story devices lend the film a unique narrative flow, which makes it accessible to a mass audience and prevents it from degenerating into a derivative snore-fest. The cast is headlined by Brad Pitt, despite the fact that his character is ancillary to the action and his screen time is far less than many of his co-stars. Christian Bale is extremely effective as glass-eyed, socially awkward hedge fund manager Michael Burry, the first person (according to the movie) to bet against the housing market. The most impressive (and unexpected when considering his typical role) performance is turned in by Steve Carell, who plays Mark Baum, the low empathy, high maintenance ringleader of a small team of renegades inside Morgan Stanley. The freeze-frame shot of Baum’s face when he learns about Synthetic CDOs perfectly mirrors our own expressions of confusion, disbelief and betrayal. For scores of people who were adversely affected by the bursting of the “credit bubble,” it will take the rest of their life to wipe that look off of their face. If Short has done its job properly, you should leave the theater furious over how the banks have destroyed millions of lives and very nearly tanked our economy. Short is an important film, not only as an edutainment, but also as a reminder for us to never again commit this kind of financial blunder…as is hauntingly hinted at in the final scene of the film.

Concussion (PG-13)

tt3322364
Directed by: Peter Landesman
Starring: Will Smith
December 2015

The below comments (in Black) were originally tweeted in Real-time from the back row of a movie theater and appear @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation (in Red). For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Concussion
“Banging heads...it’s not a natural thing.” Sounds like the movie’s central thesis.
“The science of death.” Macabre study. Takes a special person.
“Talk to them in your head.” Ha! #CadaverWhisperer
“Those are my peaches. They should not be there.” LOL!
“I’m dying in here!” Some amazing acting by #DavidMorse.
“One should eat breakfast in this country.” Got him!
“People do not go mad for no reason.” This one did. #MikeWebster
The jar illustration is downright frightening.
“God did not intend for humans to play football.” Scientifically accurate, but not a popular view among fans.
“Uneducated quack.” Idiot!
“The NFL owns a day of the week.” And Monday and Thursday nights too. #NFL
“This does not show up on a CT scan.” Get a #SPECT. #CTE
“They have to listen to us now.” #BurdenProof
“Tell the truth.” #Goosebumps
“If you don’t speak for the dead, who will?” #SpeakerForTheDead
“Please ask him to help me.” Touching scene. #HonestPrayer
Bennett finally gets to speak about concussions.
America’s forensic pathologist. #HighHonor
Final analysis: a sobering look at the dark reality of America’s favorite pastime.
Rating:
3 out of 4 stars. A transformative performance by #WillSmith in a David vs Goliath tale of courage.

During a conversation focused on the growing problem of head injuries in sports, Alec Baldwin (as Dr. Julian Bailes, former team doctor for the Pittsburg Steelers) makes this statement about American football: “It is a mindless, violent game, and then it’s Shakespeare.” This ironic dichotomy not only serves as the film’s underlying premise, it also effectively expresses the ambivalence felt by many players and fans who must grapple with the bitter reality that the fun and exhilaration they derive from the popular pastime comes with a price. By dint of its classification as a contact sport, you can’t have a high level of excitement without punishing tackles and vicious blows to the head. And yet, most people, especially with what we now know about the sport’s potentially devastating effect on the brain, would agree that we must do more to protect football players from TBIs (traumatic brain injury) or, as Dr. Bennet Omalu (Will Smith) discovers in the film, CTEs (chronic traumatic encephalopathy). Omalu first encounters the disease while conducting extensive tests on the brain of legendary Steelers center Mike Webster (David Morse). As Omalu continues conducting autopsies on deceased football players, he detects a pattern which becomes the basis for his landmark journal article, which leads to an official diagnosis (CTE), which generates skepticism from many in the medical community and outright hostility from the NFL…after all, it owns a day of the week. As ironic as it seems, discovering the degenerative condition inside players’ brains turns out to be a far easier task for Omalu than convincing the NFL of his findings. What kicks off as a standard sports movie morphs into a medical procedural and ultimately ends up as a David vs. Goliath political thriller. Above all, Concussion chronicles one man’s dogged pursuit of the truth and the considerable diametrical forces that attempt to discredit and squelch his work (this struggle of opposing views is not too dissimilar from the basic arrangement of players on the football field: offense and defense). Smith turns in a remarkable performance as Nigerian pathologist Omalu and absolutely nails the accent. The supporting players are also extremely effective in their roles, especially Morse, whose portrayal of the deteriorating NFL star is heartbreaking and haunting. Honorable mention goes to: Baldwin, Albert Brooks (as Omalu’s supervisor), Gugu Mbatha-Raw (as Omalu’s wife) and Luke Wilson (as NFL commissioner, Roger Goodell). One wonders how much interference director Peter Landesman encountered while spearheading this even-handed effort to expose the ugly truth of the NFL (in specific and football in general). With the considerable connections and bankroll the league has at its disposal, it’s a minor miracle that a movie like Concussion ever made it to the big screen. And the fact that the film was released on Christmas Day, deep into the NFL’s regular season, shows that Columbia Pictures isn’t the least bit intimidated by the institution it’s brazenly indicting. I admire that kind of pluck, and, judging by his onscreen characterization, something tells me Omalu would too.

Spotlight (R)

tt1895587
Directed by: Tom McCarthy
Starring: Mark Ruffalo
November 2015

The below comments (in Black) were originally tweeted in Real-time from the back row of a movie theater and appear @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation (in Red). For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Spotlight
Goodbye cake. #Depressing
“Are you familiar with Spotlight?” That’s why I’m watching the movie.
“You wanna sue the church?” David vs. Goliath. #Ironic
“Would you consider picking this one?” A new story for Spotlight.
“Twenty grand for molesting a child?” A pittance for destroying someone’s life.
SNAP. #CrummyAcronym
“Not prayed for, preyed upon.” Utterly reprehensible.
“How do you say no to God?” #AbuseOfPower
“A recognizable, psychiatric phenomenon.” #ProtectedPredators
A break in the case. #SickLeave
“It takes a village to abuse one.” Horrifying.
“Six percent of all priests.” Absolutely frightening!
“I never got any pleasure out of it.” Just when you thought this movie couldn’t get any more shocking.
“It’s like everyone already knows the story...except for us.” #Obstruction
Story runs and the phones start ringing off the hook. The truth finally comes out.
Final analysis: An expose of corruption for the ages. Flawless acting & superb direction bolster this true tale.
Rating:
3 1/2 out of 4. Deplorable subject matter makes it hard to watch at times, but a vitally important film.

Spotlight dramatizes a watershed event from 2002 when the Boston Globe published a story that blew the lid off of the Catholic Church’s complicity in allowing known pedophile priests to continue serving in parishes. Spotlight is also the name of the small group of intrepid reporters at the Globe who exposed that pattern of corruption and dared to take on the Church. The movie is an ironic twist on the David versus Goliath tale from the Bible with the small team of reporters taking on the centuries-old religious institution. The story is told in a manner similar to that of All the President’s Men (1976), with reporters pounding the streets in order to piece together clues that will eventually aid them in confronting a social injustice. The newsroom dynamic in this film is also echoes President’s Men and other media focused movies of that period like Network (1976). The casting of the Spotlight team is pitch-perfect. Liev Schreiber, as editor Marty Baron, beautifully underplays his role in one of his finest performances. The star of the show is Michael Keaton, who plays Walter “Robby” Robinson, the ringleader of the Spotlight journalists. Each of the supporting actors are superb here, especially Mark Ruffalo, Rachel McAdams, John Slattery, Brian d’Arcy James and Stanley Tucci. Insuring that everything onscreen accurately reflects the actual events as well as the styles, attitudes and settings of the post-millennial era is director Tom McCarthy. Each aspect of the production feels period appropriate, especially the dimly lit, cluttered office spaces and claustrophobic boardrooms. Writers Josh Singer and McCarthy have done a superb job of taking the morally reprehensible subject matter and making it appropriate for a mass audience. They’ve also skillfully and artfully depicted the actual events without politicizing or bashing organized religion. Just as the Spotlight team treaded carefully as they built their case, so too have Singer and McCarthy walked the tightrope between exposing the heinous behaviors of the outed priests and remaining reverent to the Church. Many have trumpeted this film as the frontrunner for Oscar’s top prize...and it’s hard to argue with such a sentiment. If Spotlight should happen to clinch Hollywood’s highest honor, it would be two Best Picture wins in a row for Keaton.

Creed (PG-13)

tt3076658
Directed by: Ryan Coogler
Starring: Michael B. Jordan
November 2015

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Creed
No. But it is your uncle’s Rocky movie.

Adonis, son of Apollo, fights all the time. #FamilyBusiness
Adonis’ son will be named Agamemnon.

#CreedMansion Movin on up!
This cements the movie’s rags to riches theme.

Fighting without head gear. Duuumb!
Fighting in general…duuuumb. Or at lest tha the wey it meks ya.

“Time takes everybody out...it’s undefeated.” #Rocky
The first great line in the movie and a glimpse of the quality writing to come.

A “self taught” boxer. Good luck with that.
I once read a book about how to become an astronaut. Does that qualify me to go into space?

“What cloud?” Hilarious!
Generation gap.

Old school training. #SlowChickens
A really funny scene that hearkens back to Rocky’s training in Rocky II (1979).

The #ToughestOpponent scene is a nice moment. #ManInTheMirror
This scene underscores the commonly held view that a big part of boxing is psychological.

“Without the name there’s no fight.”
A line that exposes the dark underbelly of boxing…that it’s all about the money.

Adonis is afraid of being the “Fake Creed.”
His opponent, Conlan (Tony Bellew), later calls him a “False Creed.” This strikes at the heart of Adonis’ identity crisis.

Don’t call him “Baby Creed.”
It doesn’t take much to push an angry person over the edge.

“If I fight, you fight.” Yeah!
The line was telegraphed by earlier statements, but it still works.

Creed trunks. Special moment.
The best of both names. A key moment in Adonis accepting who he is and finding his true identity. And not a moment too soon.

“Can he fight?” #LetsGetReadyToRumble
Nice to see legendary ring announcer, Michael Buffer, in the movie. Adds a nice note of authenticity.

“Proud to be a Creed.”
He’s proud to be an American too…just take a look at those trunks.

Final analysis: a meaningful sequel that moves the franchise forward in a bold new direction.
You’ve got to tip your hat to Stallone, who keeps finding new ways to move his franchise forward.

Rating:
3 out of 4 stars. Superb performances by Jordan and Stallone. The best #Rocky movie that isn’t.

The seventh film in the franchise is actually the first with Creed in the title. As you’ll recall from the first four Rocky films, Apollo Creed (Carl Weathers) was Rocky’s nemesis turned friend, who met an untimely end in Rocky IV (1985). In the early goings of this film, we learn that Apollo had an illegitimate son named Adonis. Adonis is filled with anger over being raised in a foster home, and over never having met his father, and learns how to brawl at a young age. The adult Adonis (Michael B. Jordan) channels his aggression into boxing, which leads him to discover the identity of his deceased progenitor, which eventually leads him to Rocky (Sylvester Stallone). Initially reticent to get involved, Rocky finally agrees to become Adonis’ trainer, and you can guess where the film goes from here…for the most part. As an origins tale for Adonis, the movie’s rags to riches theme is in full force along with the master/pupil story element that worked so well in the first two Rocky movies with Burgess Meredith’s Mighty Mick. While Jordan’s characterization of Adonis isn’t overly complex, the physically demanding portrayal of Adonis, like Stallone’s punishing performances in his Rocky movies, is to be commended. The movie is all about self-discovery, the courage to keep fighting no matter what, the necessity of having family in your life (whether biological or not) and to always wear head gear when sparring (okay, so that’s not really one of the movie’s themes, but it is an important safety tip). Other than Adonis’ mother’s (Phylicia Rashad) mansion and his boxing trunks, there really isn’t anything glamorous about the film, which is actually a boon. The gritty look and feel of the film, and its inner city locations, resembles the original rather than the many sequels. Despite its fine production, clever premise and raw performances, the story line is fairly uncomplicated and is riddled with boxing movie tropes, i.e., the main character’s rough upbringing, an older/wiser mentor, training sequences/montages, key fight as the climactic event, etc. The twist on the formula is that Adonis is struggling to find his identity in the shadow of his father’s brilliant career. There are some really good character moments in the film, like Rocky’s “toughest opponent” training exercise and the “If I fight, you fight” scene where pupil challenges teacher. The motivational sayings are laid on pretty thick in the movie, which will be inspiring for some and annoying to others. Other than its sound bite dialog, predictable plot, stiff acting by Stallone (which actually fits his character this time around) and oversimplified story, there’s little else to critique here. The movie represents a changing of the guard: Rocky (finally) hangs up his boxing gloves and takes a young fighter under his wing. This symbolic transference of the mantle is nowhere more powerful and painful than in the final sequence, where Rocky struggles to climb the steps that he triumphantly vaulted in the first Rocky film. It’s a bittersweet and uber-nostalgic moment that’s also an extremely effective means of showing Rocky’s entire arc from young fighter to old trainer. The scene is ineffably poignant. So, with the baton securely passed from Rocky to Adonis, will there be a Creed 2? And if so, will Stallone be in it? Something tells me Stallone will appear in these films as long as he’s physically able to amble onto a movie set. Even if you aren’t a fan of his acting, you can’t take away the fact that Stallone is absolutely brilliant at finding new ways to keep his franchise pounding away at that side of beef.

Trumbo (R)

tt3203606
Directed by: Jay Roach
Starring: Bryan Cranston
November 2015

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Trumbo

Love the jazz score for the opener.
The infectiously upbeat music not only sets the tone for the film, it perfectly characterizes Trumbo’s unflagging energy and ambition.

“What writers write, builders build.” #PicketLine
This is an important reminder that no film would ever be produced without an army of people behind the scenes who build and create everything seen onscreen.

Post-movie shower. Sad.
Throwing a cup of water at someone was enough to make a point back in the 50s. Today they just shoot someone they disagree with. Tragic.

“We both have the right to be wrong.”
Trumbo was attempting to take the high road, but his strategy backfired since the person he was addressing had an extreme point of view. There’s nothing more dangerous that someone who knows they’re right.

Trumbo meets the Duke...and promptly insults him on where he was stationed during the war. #Ballsy
A really good scene, but I just couldn’t buy David James Elliott as John Wayne. But really, who else could they have cast in the part? Love him or hate him, the Duke was a true original.

Putting Communists in internment camps. Yikes!
I’m definitely not pro-Communist, but herding people like cattle into camps is morally reprehensible. We need look no further than Nazi concentration camps or US internment camps for Japanese Americans for examples of these atrocities.

Plan implodes when justice dies. Off to the pokey.
“The best laid plans…”

“Spread your cheeks.” How undignified.
Especially for an Academy award winning screenwriter.

“The luckiest unlucky man.” Touching and well written letter.

“No, you don’t want my name on it.” Ha!
Emphasis on the “you.” Having already been blacklisted and imprisoned, it made sense that Trumbo would use a pseudonym when trying to reestablish a career in the industry. While on the subject, many female writers also broke into the industry during this period by using pen names.

“The Alien and the Farm Girl.” Lesson: don’t mix political commentary with schlock.

Too busy for birthday cake. Sad. #SweetSixteen
Amazing how quickly people’s priorities can change. When Trumbo was in prison, his family was his main focus…at this point in his life it’s his work.

Who is Robert Rich? #
TheBraveOne
The story that kept nagging Trumbo over the years ends up becoming and Oscar winning screenplay. Just goes to show that it’s always best to write from the heart.

“It simply lacks genius.” Preminger was a tough customer.
But he was just as tough on actors, so there’s something to be said for his consistency.

Academy awards: 2. Yes!
Those who have an overdeveloped sense of justice, like me, will revel in this scene.

The scene where Trumbo’s screen credit is reflected on his glasses is absolutely brilliant.
Ingenious cinematography and inspired acting.

“It was a time of fear and no one was exempt.” #Blacklist
No one was exempt because this was such a polarizing issue. There really was no middle ground.

Final analysis: a timely true story of one man’s plight during a dark chapter in American history.
This film is timely because of what’s going on in the world at present. How will we treat the Syrian refugees when they arrive in our country? How will we treat Muslims in light of the recent terror attacks in Paris?

Rating:
3 1/2 out of 4. Rich in historical detail and social relevance with a towering performance by Cranston.

As a huge fan of Spartacus (1960), I’m very familiar with the name Dalton Trumbo and of his plight during Hollywood’s blacklist phase. However, even with a previous knowledge of his story (anecdotally, at least), there were many aspects of Trumbo’s life and career that I was completely unaware of, like his penchant for writing in the bathtub. Trumbo effectively melds disparate narrative elements—a socially conscious biopic, an enthralling character study, a bittersweet dramedy and an accurate, if abridged, survey of film history—into a cohesive edutainment. As such, there’s something here for everyone. The movie’s big draw, of course, is Breaking Bad’s Bryan Cranston, who is utterly spellbinding as the titular script writer. Like a virtuoso pianist, Cranston hits every note with precision and acumen and mesmerizes with a performance so unique and veracious that at times the line between character and actor is exceedingly blurred. I can gush about Cranston’s portrayal of the eccentric writer for the rest of this review, but in all fairness, the supporting players are dazzling in this picture as well. First of all, Michael Stuhlbarg (Boardwalk Empire) is exceptional as Edward G. Robinson. Though he doesn’t quite favor the diminutive actor, Stuhlbarg makes the part his own without trying too hard to provide a perfect portrait of the Classic Hollywood mainstay. On the flip side of the coin is David James Elliott, whose depiction of John Wayne is, ironically, more wooden than any part the Duke ever played. However, is it really possible for any actor to accurately dramatize Wayne since he was a walking caricature? Although Diane Lane, Alan Tudyk, Roger Bart, Elle Fanning and John Goodman are all superb in their roles, honorable mention goes to Louis C.K. as Trumbo’s writer friend Arlen Hird and Helen Mirren as the Hollywood gossip queen Hedda Hopper. John McNamara’s (Aquarius) script is witty and nuanced and delicately negotiates some rather turbulent political terrain. At its core, this movie is about courage and cowardice. Trumbo goes to jail for his convictions. Both actor Kirk Douglas and director Otto Preminger fight for Trumo’s name to appear in Spartacus and Exodus, respectively. Standing in stark contrast to the courageous actions of these men are individuals who named names in order to save their own skins, like Robinson. Ironically, as the film aptly depicts, many of the finger pointers also suffered career setbacks due to the very suspicion of their involvement with the Communist party. Director Jay Roach (Meet the Parents) has delivered a conscientious film that, in addition to showcasing the authentic details of the milieu, also captures the moods and attitudes of proponents on both sides of the politically charged issue at the heart of the movie. Inserting the film’s actors into archival footage via CGI, a la Forrest Gump (1994), is yet another of the film’s many masterstrokes. The way I see it, a movie that educates while it entertains is a double whammy winner. And if it also happens to have a message, so much the better. Topical and timely, this film is not to be missed.

Bridge of Spies (PG-13)

tt3682448
Directed by: Steven Spielberg
Starring: Tom Hanks
October 2015

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Bridge of Spies
It is.

Self portrait. Add a few more wrinkles there, buddy.
Being a painter is a nice cover for a spy.

Opening the coin. Intricate work.
Interesting how a different faux coin (silver dollar) also appears later in the movie.

“Not my guy.” Splitting hairs. #LimitingLiabilities
It’s amazing how ridiculous our system has become.  We split hairs so fine that we can’t even see the truth anymore.

Jim gets roped into doing a “patriotic duty.” #IncitingIncident
Alan Alda was the perfect choice for the part of Donovan’s superior…a symbol of the old, male Caucasian leadership of the era.

“Do many foreign agents register?” Good point.
Hi, I’m a spy for an enemy country.  Oops, guess I just blew my cover.

“You don’t seem alarmed.” Ha! #ElectricChair
There’s a man resigned to his fate.  Occupational hazard.

“You cannot be shot down. You cannot be captured.” No pressure.
Your country will disavow any knowledge of you.  Sign me up!

The “duck and cover” film shown in school is horrifying.
With Iran getting nukes, we might want to bring this instructional film back for today’s schoolchildren.

Pariah on a train.
What an awful feeling it would be to have everyone’s disapproving gaze trained on you.

The “standing man” story is a nice moment.
And pays off beautifully later in the movie.

Are there any “bigger issues” than justice?
It’s frightening how often justice is waylaid by misguided ploys or knee-jerk reactions.

If there’s a threat of capture, #SpendTheDollar.
It’s the last one you’ll ever spend.

“Will we stand by our cause less resolutely then he stands by his?” #KillerLine
An elegant line delivered with exceptional precision by Hanks.

The jet explosion scene is intense.
The only bona fide action scene in the movie.  Not nearly as pulse-pounding as the action sequences in this year’s Furious Seven, but it’ll do.

“Indulge their fiction.” #PrisonerExchange
This is where the plot gets convoluted.  Everyone’s angling for something different and it’s up to Donovan to outsmart all parties involved.

Watching the wall as it’s being built is #Historic.
A strange feeling washed over me as I watched this scene—viewing such a historic divide, as it’s being built, is…weighty.

Jim trades his coat for directions...and safe passage through East Berlin.
The expensive coat might have saved his life.  Good thing his passport wasn’t in it.

Jim’s “impatient plan” is the only sensible one.
Our timetable in the US does seem to be much more accelerated than the ones in many other places around the world.

“Every person matters.”
A very positive message that’s reinforced by Donovan’s insistence that Russian spy Abel (Mark Rylance in a terrific performance) be imprisoned, not sent to the electric chair.

“We’re on. Two for one.” Hot dog!
Easier said than done.

“I can wait.” Yeah!
An amazing moment of respect and solidarity.  Most people would’ve run toward freedom.

“This is your gift.” Touching.
Grab a hanky.

“I thought daddy was fishing.” Nope, he was off being a hero.
A stand and cheer moment.

A different kind of train ride this time. #Redemption
This is telling of just how fickle people are—how quickly their opinion can change. Remember High Noon (1952).

Final analysis: a slow-boil political thriller, brimming with historical accuracy and social significance.
And touching humanity.

Rating: 3 1/2 out of 4. Spielberg has delivered a gorgeous film and Hanks’ performance is Oscar-worthy.

As with any Hanks/Spielberg collaboration (their first since The Terminal, 2004) Spies is sure to be a hit with critics and audiences alike.  Based on the true story of how an insurance lawyer, Jim Donovan (Hanks), got caught in the middle of a political tug-o-war during the height of the Cold War, the film is a timely reminder of our nation’s tensions with Russia in the not-too-distant past.  The age-old adage that greatness is often thrust upon ordinary individuals at unsuspecting times certainly applies here.  Donovan, the very portrait of an unassuming leader, becomes the hero of the hour when his negotiation skills are called upon to secure the release of two American prisoners who are being held in prisons on the dark side (Communist) of Berlin.  Aside from the peerless acting and directing, the high end production is really what puts it over the top for this political potboiler period piece.  Peter Piper agrees.  The attention to detail and historical accuracy evident in every frame of the film is simply awe-inspiring; look no further than the startlingly realistic bombed out sections of Berlin for an example of this. The one possible snafu I have with this movie is that Spartacus appears on the marquee of a German theater in one scene.  Spartacus was released in the US on October 7, 1960.  It’s snowing in Germany, so we can assume that it’s Nov or Dec of 1960 when this scene takes place.  Since it normally takes three or more months for a movie to be distributed overseas, the timing of Spartacus’ release here is questionable. More research is required. If the movie has a downside it’s its length (2 hours, 21 minutes) and slow pacing. It’s unclear whether or not the inclusion of the Coen Bros. on the scripting team helped or hindered in this regard, but I’m reasonably confident, judging from their past work, that they had something to do with the overall quality of the script. Incidentally, the Coens’ are also currently co-executive producing the second season of Fargo on FX. One of the stars of that show, Jesse Plemons (Friday Night Lights) also appears here in an ancillary, but vital, role. So where’s all of the action we’ve come to expect from the man who brought us Indiana Jones and the first two Jurassic Park movies? The entire subplot involving the shot down pilot could’ve been explained in a couple lines of dialog.  The auteur wisely chose to add this story line (and the storyboarding for the sequence is vintage Spielberg), which provides the only real action in the movie.  However, even though the cross-cutting is nothing short of brilliant, these scenes are ultimately superfluous and don’t significantly move the story forward, and, ironically, only serve to make the film that much longer.  Despite these niggling criticisms, there’s a lot to appreciate here, not the least of which is the film’s humanitarian message and fish-out-of-water tale of courage and honor.  This historical biopic will go down as one of Spielberg’s finest films and should earn a raft of Oscar nods.  Spies is educational and inspirational and will stand the test of time as a top-shelf Cold War yarn.  Parting thought: if you ever visit Germany during the winter season, be sure to pack an extra coat.

Everest (PG-13)

tt2719848
Directed by: Baltasar Kormakur
Starring: Jason Clarke
September 2015

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Everest
If only psychologically. Actually, most SoCal theaters are like ice boxes year-round, so watching a flick is a great way to beat the heat.

20 teams. “A scrum on the ropes.”
Unfortunately, the more people there are on the mountain, the greater the chance of casualties. The grim reality of statistical probability.

“Mailman on Everest.” Long way to deliver a letter.
The Mailman is played by indie actor, John Hawkes (Winter’s Bone, 2010 and The Sessions, 2012).

Climber’s memorial. Last chance to turn back.
A graveyard for climbers whose lives were claimed by the mountain.

“The last word always belongs to the mountain.” Know who you’re competing against.
A good reminder to always pay the proper amount of respect to the mountain.

“One pound down here is like ten pounds up there.” #LightAndFast
This is a reference to shedding weight from a backpack, not personal weight. Although, that would factor in as well, one would think.

“Head down, one step at a time.” The only way to attack the mountain.
What a grueling task it would be to climb Everest. It’s not just how cold the air is, but also how thin it is.

“The mountain makes its own weather.” And it can change in an instant.
As the characters in the movie find out…the hard way.

Beautiful night view of the mountain.
There’s nothing like being on top of the world, breathing crisp, clean air and watching the moonlight glistening off of snow peaks. A spiritual experience.

No fixed ropes. You slip you die.
That’s okay. I’ll sit this one out.

Hopefully the call from home gives Rob the motivation he needs to get moving.
Wishful thinking on my part. In my defense, I was unfamiliar with this story before watching the film.

Final analysis: a heart-stopping, man vs. nature tale where respect for the mountain is paramount for survival.
And respect for fickle weather.

Rating:
2 1/2 out of 4. What the film gains in production it loses in predictability. A true story worth watching.

This type of extreme sports movie has been done many times throughout cinema history. Mountain climbing films like K2 (1991) and Vertical Limit (2000) are presented more as thrillers than man versus nature cautionary tales. Whereas many of those mountain movies are fictional, Everest is based on the horrific events that occurred on the big mountain in 1996. Rob Hall (Jason Clarke) lead a team to the top of Everest, but on the descent, conditions rapidly worsened and many climbers either slipped off the edge of a cliff or became one with the mountain…permanently. Survival thrillers, along with disaster films and murder mysteries, usually employ a thinning of the herd narrative approach, and such is the case here.  As macabre as it sounds, it almost becomes a spectator sport to guess who will live and who will die when things go south, as they always do in this brand of film.  This Darwinian winnowing of characters is much harder to guess in fictional stories, but in true events, like the one featured in this film, anyone familiar with the historical account will know who survives and who doesn’t.  However, the writing here is as taut as a climbing line and should hold the attention of everyone in the audience with its skillful recitation of the harrowing events that befell this particular group of adventurers nearly twenty years ago. Bringing the characters to life is an eclectic cast of fine actors including: Clarke, Josh Brolin, Jake Gyllenhaal, Keira Knightley, John Hawkes, Emily Watson, Robin Wright and Sam Worthington.  If there’s a downside to having such a large cast it’s that screen time is at a premium, especially since personal stories are constantly upstaged by action on the mountain.  Some of the individual episodes are tragic, like when Hawkes’ mailman, Doug Hansen, sends himself express to the bottom of the mountain, while others are heroic, like the subplot focusing on Brolin’s ironically named character, Beck Weathers, who, despite losing his nose, miraculously survives two gelid nights up on the slope.  Although the death scenes aren’t overly graphic, some of them might be frightening for younger kids.  However, despite a handful of death scenes, there really isn’t anything else that’s objectionable in the film.  Indeed, one of the producers of the movie is Walden Media, which is the family friendly company that brought us the Narnia trilogy.  Aside from the decorated cast, the biggest draw here is the gorgeous scenery filmed on location in Nepal and Italy.  As the de facto star of the movie, the mountain scenes had to be spectacular, and they are, thanks in large part to director Baltasar Kormakur and cinematographer Salvatore Totino. All things considered, this movie is exactly what you’d expect from a tragic true tale set on the frozen tundra.  The movie is a humbling reminder of the awesome power of nature.  Moral of the story: don’t play games with Mother Nature.  You’ll lose.

The Martian (PG-13)

tt3659388
Directed by: Ridley Scott
Starring: Matt Damon
October 2015

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

The Martian
Not quite. Though not nearly as epic in scale or scope as Interstellar, The Martian is an enjoyable sci-fi yarn in its own right.

Communication is the hallmark of teamwork. Until you close the comm channel.
Can you imagine how much people on a long range space expedition would get on each others’ nerves?

Wicked windstorm. Beware of loose satellite dishes.
And crews that leave their own behind.

“Mark Watney is dead.” The end.
Good thing he isn’t dead or this would be a really short movie.

The press conference puts #JeffDaniels’ news anchor skills from #HBO’s #
TheNewsroom to good use.
If you close your eyes, you can almost picture him at a news anchor’s desk. Daniels excels in this kind of role.

Warning: the #SelfSurgery scene is rough to watch.
Scott featured a self-abortion procedure in his Alien prequel Prometheus. Seems to be a pattern with the director.

“I’m not going to die here.” That’s the spirit.
Watney’s positivity, along with his ingenuity, is really what saves his life.

“Luckily...I’m a botanist.” Ha!
A very funny scene since we really don’t know what Watney’s position in the crew is up to this point.

Nice #Noseplugs, Watney.

The first sign of green on #Mars.
This scene reminds me of the beginning of WALL-E when the robot gives the green sprig to EVE as a present.

50 million miles from Earth. #MajorHomesickness
I couldn’t imagine the suffocating isolation of being on an interstellar voyage like this.

Organic, homegrown potatoes on #Mars. They make far tastier #FrenchFries than #MacDonalds.
At least you’d know they were real potatoes, not frozen slices of processed starch like at Mickey Ds.

“The whole world is rooting for you.” What a singular honor.
Better not accidentally kill yourself. No pressure or anything.

“I colonized Mars.” Hilarious.
Watney’s cogitations are always so well formulated. The mark of a great scientist.

Mark’s life is saved by the “handyman’s secret weapon.” #DuctTape #
TheRedGreenShow
This Canadian comedy show will leave you in stitches. Back to Mars: it’s amazing how duct tape can seal a breach in a cracked helmet, effectively shutting out the Martian atmosphere. And great preparedness on Watney’s part to have tape on his person at all times. He must’ve been a Boy Scout.

#ProjectElrond. Clever inside reference with #SeanBean in the room. #Boromir #
LOTR
Bean played Boromir, who was at the Council of Elrond in The Lord of the Rings: The Fellowship of the Ring (2001).

“Mark Watney, Space Pirate.” Love his line of reasoning. #SpacePirate
Though done tongue-in-cheek, the logical assemblage of facts with humorous applications makes this a delightful scene. It’s a nice character moment that further cements our affinity for the character.

“Everywhere I go I’m first.” What a euphoric feeling that would be.
It’s a sensation familiar only to true pioneers.

That tarp over the nose of the rocket is giving me major anxiety.
I’d want a lot more than a sheet of plastic between me and space.

“You have terrible taste in music.” Much needed #ComicRelief.
Disco is to music what film noir is to movies. Both had a clearly defined beginning and end. As such, they are styles or movements, not genres.

Final analysis: an inspiring story of ingenuity and tenacity that’s at least as heart stopping as #
Apollo13.
And is arguably more intense (as a whole) than last year’s Interstellar.

Rating:
3 1/2 out of 4. Damon turns in a stellar performance and Scott’s direction is truly out of this world.

Based on the novel of the same name by Andy Weir, The Martian is the latest foray into deep space by director Ridley Scott (Alien, 1979 and Prometheus, 2012). Although the star of the show is Matt Damon, he’s supported by a dazzling array of fine actors, including: Jessica Chastain, Kristen Wiig, Jeff Daniels, Michael Pena, Sean Bean, Kate Mara, Chiwetel Ejiofor and Mackenzie Davis. Damon plays Mark Watney, member of a manned mission to Mars. During a violent sand storm, gale force winds tear loose a satellite dish that slams into Watney and sends him spiraling away into the blustery Martian night. The team leader (Chastain) makes the difficult decision to leave Watney and the sand blasted surface of Mars behind for the regulated environs of the orbiting space vessel. Once the team is safely aboard, the ship begins its long journey back to Earth. At a press conference, Watney is pronounced dead by a NASA executive (Daniels). The end. Not quite. As you’ve guessed, Watney is still alive. Thus begins the rest of the movie, which centers on Watney’s arduous struggle to stay alive on the Red Planet and the problematic rescue mission mounted by NASA. The story element that makes this movie so incredibly enjoyable is its educational component: watching Watney use real science (most of which went right over my head) to sustain his life, especially during the sequence where he creates a makeshift greenhouse inside the landing pod, is engrossing and exhilarating. If these scenes have a downside, however, it’s that I suffered an anxiety attack when I mentally put myself in Watney’s place and realized I wouldn’t last one day on Mars with my limited knowledge of science. Granted, Watney is a trained astronaut, but there’s no way I would know how to make all of the gizmos he improvises with duct tape and feces (not together fortunately, ew). This master course in science is definitely one of the more engaging aspects of the film, but there’s plenty more to recommend it. Like in 2010 (1984) and Space Cowboys (2000), an international effort is required in order to accomplish the mission, a plot point that should appeal to foreign audiences as well as promote global goodwill…which our world can certainly use right now. There can be no doubt that Damon’s Watney is the hero of the hour: he’s resourceful, humble and witty. While Watney is a far cry from Damon’s devious Dr. Mann in Interstellar (2014), he’s a distant echo of Damon’s titular character in Saving Private Ryan (1998): rescue teams are sent to retrieve his characters in both of those films as well as this one. Playing a lost sheep is becoming a career MO for Damon. As a bona fide sci-fi epic, Martian puts other Mars-themed movies (Mission to Mars and Red Planet, both released in 2000) to shame. Ridley Scott’s well honed craft is evident both in the film’s outer space and planetary scenes. His framing of the visually striking desert vistas on the surface of Mars (filmed on Earth, of course) are effectively counterpointed by the moody and claustrophobic environments inside the various vessels—mother ship, module and rover. Scott mastered this juxtapositional contrast between the expansiveness of space and the constricting confines of space vessels in his Alien movies. The mounting crises in this film brings to mind the similar mechanical failures and scientific quandaries that made Apollo 13 (1995) such a pulse-pounding, nail-biting masterpiece. This film matches that level of intensity but also offers a good amount of comic relief, especially during Watney’s mission logs. Whereas Prometheus and Interstellar offer a harder brand of sci-fi, Martian is more scientifically accurate and has more commercial appeal. In the end, this survival film is thrilling, inspiring and crowd-pleasing and has carved out its own little corner of the sci-fi universe.

Pawn Sacrifice (PG-13)

tt1596345
Directed by: Edward Zwick
Starring: Tobey Maguire
September 2015

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pawn Sacrifice

“There are bad people out there.” Way to teach you kid, Ms. Fischer.
No wonder Fischer is so messed up later in life. Correction: “you” should be “your.”

“He taught himself.” Incredible.
The way the onscreen graphics illustrate the various moves that Fischer is seeing in his head is utterly brilliant.

“I want silence.” Woah!
I remember yelling that in my college dorm when knuckleheads were causing a commotion in the hallway while I was trying to study. Under the circumstances, I think my reaction was far more rational than Fischer’s here.

5 against 1. Fischer has a meltdown.
Fischer detects a pattern, something John Nash (Russell Crowe) was also pretty good at in A Beautiful Mind (2001).

“Russians are like boa constrictors.” Amazing how Fischer can remember every move of every game.
Although, some people can do the same for every baseball game they’ve ever seen on TV or listened to on the radio.

“Without chess he doesn’t exist.”
Not much of an existence if your whole world is wrapped up in one thing.

“A war of perception.” #ColdWar at its finest.

“World War III on a chess board.” Fischer vs Spassky.
The intrigue and action start kicking into high gear at this point.

Game 1 is decided by loud camera sounds.
And people in the audience whispering, coughing, etc. Noise pollution to the ultra sensitive.

Game 2- No show.
Fischer is busy looking for bugs in his room. No, not bedbugs.

Game 3. Bobby employs the “suicide” opening.
Dispensing with convention is what enables Fischer to get back into the tournament. A fact punctuated by his ingenious strategy in Game 6, which chess experts consider the finest game of chess ever played. Let that sink in for a minute.

The X-ray of Spassky’s chair reveals two dead flies. Nice to know Bobby isn’t the only one who’s nuts.
A great sequence that makes us question whether Spassky is just messing with Fischer or if he’s just as paranoid as his American opponent. The scene in Spassky’s room gives us a possible clue.

Chess is the search for truth.
Hmm…here I thought it was about humiliating your opponent.

Final analysis: a true story of a rare genius tragically plagued by a mental illness.
As we’ve seen in many examples throughout history, genius always has a trade-off: Vincent van Gogh, Brian Wilson (watch Love & Mercy), the aforementioned John Nash, etc.

Maguire delivers as a paranoid, angry perfectionist in an Oscar-worthy turn.

Rating:
3 out of 4. Archival footage is a plus in this Cold War drama featuring U.S.’s most eccentric hero.

Steeped in Cold War intrigue, Pawn Sacrifice (how awesome is that title?) is like a John le Carre spy novel merged with a psychological drama couched in a historical biopic. Not to be confused with Searching for Bobby Fischer (1993), which told the story of a young chess prodigy who was trying to become the next Fischer, this film features the real account of Fischer’s turbulent life and career. Fischer, who rose to prominence in the sport of chess during the early years of the Cold War, made defeating the Russians his personal mission in life, an objective that met with extreme resistance since the Russians ruled the game during the 60s and 70s and had a system in place to ensure their continued dominance. Even though Fischer’s ambitions to singlehandedly dismantle the Russian juggernaut set him on an arduous path, the toughest opponent Fischer ever faced was himself. In the throes of a co-morbid stew of symptoms (which, according to my unprofessional opinion, included: OCD, paranoia, manic depressive disorder and some form of autism), Fischer’s brilliance certainly came with a price. Bringing such a multifaceted character to life would prove challenging to any performer and former Spider-Man actor, Tobey Maguire, probably wouldn’t appear on anyone’s short list to play such an emotionally demanding part. However, sometimes defying conventional wisdom produces greatness and such is the case here as Maguire turns in his finest performance since Seabiscuit (2003). Although Maguire’s acting is consistently superb in the film, and should attract the attention of the Academy, the tantrum on the beach and the scene where Fischer tears his room apart looking for bugs are standouts. As with any good story, a hero can never truly shine without a formidable foil—that role is filled by Liev Schreiber, who is exceptional in his portrayal of Russian chess god Boris Spassky, a man who, as characterized in the film, had some mental troubles of his own. If the idea of watching a series of chess matches for two hours doesn’t appeal to you, know that director Edward Zwick (Glory) has done an excellent job of building tension through interpersonal and intrapersonal conflict and that very little of the movie is spent hunched over a chess board. That said, even if you aren’t a chess fan, the mesmerizing performances and bracing drama should hold your interest throughout the movie. The use of nightly news clips and archival footage from the actual chess tournaments also infuses the film with a degree of historical accuracy that should effectively transport you back to these significant events, which took place over forty years ago. So if you’re in the mood for a Cold War yarn, or just a fascinating character study of a mad genius, this movie is for you. That’s my gambit. Your move.

The Intern (PG-13)

tt2361509
Directed by: Nancy Meyers
Starring: Robert De Niro
September 2015

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

The Intern

“A hole in my life.” Many people, young and old, have this.
Although this search for significance is universal, it’s probably more pronounced for those facing old age alone.

“I still have music in me.” Heartfelt video audition. Inspiring.

A way for friends to shop together online. Dangerous.
Just imagine friends making recommendations for each other or people pressure buying what their friends bought. Frightening. Especially with the Confessions of a Shopaholic (2009) set.

“What was your major...do you remember?” Ha!
What a backhanded, ageist, comment.

Gray is the new green.
I thought orange is the new black. I’m so confused.

The blinking scene is hilarious.
Hathaway’s character is weirded out by people who don’t blink. But what about those who blink too much?

“Sitting is the new smoking.”
Not quite as bad for you, but a point well made for those cube dwellers that’ve been forced into a sedentary lifestyle.

When did “too observant” become a bad thing?
Many people are content to believe lies about themselves and are resistant when someone comes along and tells them the truth.

The Facebook and pizza scene is special.
This is the kind of well crafted character scene that sets Meyers apart from other filmmakers in the drama/comedy hybrid genre.

The “fake alarm” scene is hilarious.

First date at a funeral. Classy.
Flipping the bird at a funeral? Classless.

Pocket squares...a secret weapon with women.
DeNiro’s explanation for how pocket squares were made with women, not men, in mind is ennobling and chivalrous…something has clearly been lost over the generations. Hathaway’s character, Jules, points this out in the bar scene when she contrasts Jack Nicholson and Harrison Ford with the three twenty-something schlubs standing in front of her.

Intern/best friend. Touching scene.

Final analysis: a touching, topical film that strikes all the right chords emotionally.
As we’ve come to expect from Meyers’ films.

De Niro and Hathaway are terrific together and director Nancy Meyers has delivered another cinematic gem.

Rating:
3 out of 4 stars. A crowd-pleasing dramedy that should appeal to the young and old alike.

Nancy Meyers has done it again! Not only has she delivered another delightful and diligent character study, she’s also given us a film that, like many of her past films, has tapped into the zeitgeist in powerful yet nearly imperceptible ways. In The Holiday (2006), Kate Winslet and Cameron Diaz—both of whom have just broken up with their loser boyfriends and just need to get away—conduct an intercontinental house swap for the Holidays. Though themes of old relationships, new adventures, accidental boob grazes (okay, you got me…it isn’t a theme, but it is an extremely funny scene) and overcoming emotional numbness all factor into the film, it’s the keen comparisons between old and new Hollywood by Eli Wallach’s character that serve as the heart and soul of the film. It’s Complicated (2009) shows the effects that a middle aged divorce has on the grownup kids in the family…and how adults can carry on like kids in the midst of a confusing love triangle. The Intern (not to be confused with Vince Vaughn and Owen Wilson’s The Internship from 2013) is Meyers’ canniest film to date. The director addresses the generation gap, career reversal (woman CEO married to Mr. Mom, who, in his state of emasculation, steps out on his wife) and the need for structure and purpose in our lives in such an organic, unassuming way that most people will miss the surfeit of social relevance dispensed here. The film incisively depicts the plight of young people desperately trying to make their mark in a down economy and how anyone over forty is considered ancient by the youth focused job force and may find it difficult to secure employment. Whereas the twenty-somethings may be doggedly focused on making their first million by thirty, some retirement aged folks, like Ben (Robert De Niro), would be happy just to have a job to help them pass the time of day. The film underscores another disconnect in today’s business world…the people with little to no experience (not knowledge, degrees or advancement due to nepotism) are making all of the decisions while individuals with decades of on-the-job training and wisdom are being relegated to the sidelines or, worse still, coffee runs for entitled bosses with superior social media and/or computer skills but who have no people skills or business acumen whatsoever (if you detect a hint of animosity it’s because I, like far too many other highly qualified individuals in our country right now, am living Ben’s reality every day). Only when both sides of this generational struggle learn how to work together, as Jules (Anne Hathaway) and Ben do in this film, can true progress be made in our nation’s business sector. The infidelity subplot has been done a trillion times before, and the one here really isn’t all that noteworthy other than the way it adds tension to the story. What is worth mentioning is the film’s underlying theme of the basic human need for purpose. For Jules it’s her job, which everything in her life is conspiring to take away from her. For Ben, it’s having structure and socialization in his life as a retired widower. The message is clear: whether just starting out in the work force or winding down after a long career, we all need some type of vocation to fill our days and give us a sense of accomplishment. The final scene also gives us a hint about how to find fulfillment and satisfaction in life...sometimes we just need to take a day off to actually enjoy the life we work so hard to maintain. Other than its clever characterizations, stellar performances, sure-handed direction, socially salient plot points and crowd-pleasing story, The Intern is just like every other dramedy out there.

Captive (PG-13)

tt3268668
Directed by: Jerry Jameson
Starring: Kate Mara
September 2015

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Captive

Yeah, a #CR meeting. Best place to go to work on life’s three “H”s.
Hurts, hang-ups and habits. “Keep coming back, it works if you work it and it won’t if you don’t!”

“I like it too much.” If you’ve ever said this, there’s a good chance you’re an addict.
Actually, it’s almost a certainty.

“A month...a few days.” #AddictsTimetable
You hear this type of revisionist history all the time on TV shows featuring real-life drug busts.

Ahh...the old pour a Coke on the battery trick. #Classic
And just think, we actually put that in our stomachs.

Brian isn’t a complete monster, he has a soft spot for his son.
His one redeeming quality.

Brian is in denial over raping a woman and Ashley is in denial over her meth habit. #DoubleDenial
Messed up people have an uncanny way of finding each other.

“My family doesn’t listen to me either.” #NoTrust
Of course, once you’ve burned enough bridges, you have no more credibility.

“You’re not my brother.” Got him!

“Lady’s first.” #CrisisMoment
If you were an addict desperately trying to quit, would you take at hit or a bullet?

Brian’s plan is to rob a bank and escape to Mexico. #RealOriginal
This is pretty much the plan every villain has in every Western book/movie script ever written.

Brian says, “I have a demon in me.” Hadn’t noticed.
He also has drugs in him. Probably doesn’t help matters any.

The car stall scene is intense.
You just knew this was going to happen since they set it up earlier in the movie.

The greatest tragedy is a “life without purpose.” #PDL #Saddleback
One of the many great lines from The Purpose Driven Life by Rick Warren.

“Goodbye, Little Man.” Touching voice mail message.
It’s sad when you think of all the little men out there who will never get to meet their dads because they’re doing time for doing illegal things.

“You don’t have to be perfect to be used by God.” A #PowerfulMessage from @RickWarren. #Saddleback
In fact, many of the people God used in the Bible were far from perfect.

Final analysis: a powerful true story of how one woman finds redemption amid a life-changing tragedy.
And one man’s courage to do the right thing by letting the woman go and surrendering himself to the authorities.

Rating:
3 out of 4. A hope-filled story and fine performances help to overcome the movie’s budgetary constraints.

Based on the true story of how Folsom County prison inmate, Brian Nichols (David Oyelowo), escaped from his cell, killed four people (including a judge) and became the focal point of one of the most high profile manhunts in our country’s history, Captive is a tragic tale but also a story of courage, hope and forgiveness. The events portrayed in Captive take place in 2005 during a terrifying and tragic eight hour period and are adapted from the book of the same name written by Ashley Smith, the woman Brian holds captive when he tries to hole up and evade the police dragnet. Ashley, played by Kate Mara, is a meth head who is trying to get her life back on track so that she can regain custody of her daughter. Fate, or perhaps a higher power, puts these two tragic figures together and the results are, by turns, intense and inspiring. The first thing most viewers will notice about the film is that it doesn’t have a very big budget. The second thing that will register with the audience is that the producers wisely allocated a generous portion of their budget to securing A list actors, namely Golden Globe nominee Oyelowo (Selma, 2014) and Mara (House of Cards). Since the majority of the film features both actors, either together or separately, the lead performers had to be solid if the film had any chance to succeed, so money well spent on these two fine performers who fit their roles perfectly and work extremely well together. The story maintains its intensity throughout and the riveting drama is punctuated by thriller-esque moments, like when Ashley’s car breaks down at night in the pouring rain. The climactic sequence, where police close in around Nichols, is also quite suspenseful. The movie’s theme of redemption isn’t necessarily subtle, but it isn’t driven home with a jackhammer either…thankfully. Though there’s a strong religious underpinning here, the film never comes off as preachy. In fact, this movie should serve as a template for other “religious” dramas: it’s a gripping true story that has some top talent and a faith-affirming message that’s conveyed organically rather than foisted upon its audience. Some sports movies, like Facing the Giants (2006) and last year’s When the Game Stands Tall have already perfected this faith-based film formula. Granted, due to its conspicuous message and/or shoestring budget, Captive won’t be everyone’s cup of tea. At the very least, the film has given us a big screen treatment of the ripped-from-the-headlines account of Nichols’ prison break and subsequent life changing encounter with Smith. So, whether or not you find the film illuminating, hopefully you’ll find it captivating.

Learning to Drive (R)

tt3062976
Directed by: Isabel Coixet
Starring: Patricia Clarkson
August 2015

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Learning to Drive
Or as Kingsley’s Darwan says, “Seatbelt first.”

“Driving is a freedom.” One that can be revoked for idiots.
Many people need to be reminded that driving is a privilege not a right and that a license can be revoked at any time. There, I’ve made my point. Idiots!

The #TaxicabConfessions style opener is heartbreaking.
And an accurate portrayal of what cabbies must deal with as part of their job. No thanks.

“The third itch.” Male menopause. #Manopause
Every seven years. Kinda’ like Vulcans and Pon Farr.

“Teach yourself to see everything.” No easy task.
Especially for people who suffer from ADD/ADHD.

A #SkankMachine. Amusing.
And just like the tantalizing treats in a vending machine, flings only meet an immediate need and are nothing more than empty calories for the soul.

“It’s like asking me to move out of me.” Sad.
A spiteful spouse will use anything they can to inflict emotional pain during a divorce.

“I think it’s time to discuss road rage.” Ha!
Kingsley is masterful in his portrayal of an Indian man. Of course, he’s had plenty of practice. Gandhi (1982).

“Rear entry.” Check!
Not even gonna’ touch this one. Ew!

Peligro. Right motive, wrong language.
How terrifying would it be to live in a country where you didn’t know the language, customs, etc.?

“Goodbye Wendy.” Illegal hands to the face.
A really telling scene. Clearly Darwan has feelings for Wendy, but those feelings will have to remain unexplored due to his circumstances.

“You’re my faith.” Touching moment.
Whereas it’s inadvisable to put your faith in a person, I understand and agree with Wendy’s sentiment here. An extremely bittersweet resolution.

Final analysis: a feel good drama about finding the courage to overcome the painful transitions in life.

Rating:
3 out of 4. Superb central performances & a heartwarming story make this a crowd-pleasing winner.

Let’s face it…there isn’t anything earth-shattering about this movie. The family drama meets collision-of-cultures premise has been done many times before in movie history. Elevating such a project above the morass of similarly themed films requires, among other things, stellar lead performances. This movie certainly delivers on that front with superb turns by Patricia Clarkson and Ben Kingsley, two actors you wouldn’t naturally match up as a possible love interest, but who are marvelous together here. It’s not just the A-list actors who deserve credit, though: Grace Gummer (The Newsroom), Jake Weber (Hell on Wheels) and Sarita Choudhury (Homeland) also shine in their supporting roles. A solid assist also comes from the many NYC locations, which visually festoon the film while grounding the story in a strong sense of place. Another plus here is the judicious placement of cultural (Indian) insights into the story line, which provide diversity and authenticity to the proceedings. However, what really sets this film apart from others of its ilk is its unique riffs on dramedy tropes. The first expectation shattered here, and the trailer was more than a little disingenuous on this count, is that this is a romance film. As the plot unfolds, it becomes evident that Wendy (Clarkson) and Darwan (Kingsley), who meet via a chance encounter and develop an unlikely friendship, have feelings for each other. Those feelings, however, remain unrequited due to timing and propriety: Clarkson is in the throes of a divorce while Kingsley is just jumping (literally, since he ties the knot one day after meeting his bride) into a marriage—arranged, of course, as per cultural dictates. The wistful yearning the characters have for each other is palpable and the chemistry between them is undeniable. The fact that this slice-of-life story doesn’t degenerate into romantic drivel is really what recommends it the most. Another story element that eschews the typical cutesy or lazy storytelling often found in this brand of light drama is when Clarkson’s daughter, Tasha (played by Meryl Streep’s daughter, Gummer), asks if she can live at home with mom after experiencing a painful breakup with her boyfriend at college. Recently separated Wendy is in need of companionship, so this plan seems like a natural, mutual resolution to the felt-needs of both mother and daughter. However, Clarkson turns down her daughter’s request and affirms that returning to college, where Tasha will soon develop new friendships and romantic interests, is really the best thing for her. It’s a great moment that flies in the face of convention and is 100% schmaltz free. The final narrative changeup is when Wendy says her faith rests in Darwan, which precludes any kind of relationship with him since he’s married. Again, the writers don’t resort to pat or contrived solutions, so kudos to them for taking the narrative high road. While the sentimental set will surely grow frustrated by these less-than-ideal plot choices, those who prefer realistic stories with genuine emotions should thoroughly enjoy this honest, straightforward portrait of individuals who are attempting to embrace new beginnings while coping with life-altering challenges. Or to put it a different way, the movie is really just about learning how to suck it up and drive on.

Southpaw (R)

tt1798684
Directed by: Antoine Fuqua
Starring: Jake Gyllenhaal
July 2015

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Southpaw
With much respect to ring announcer Michael Buffer for his signature line.

The ritual of padding the boxer’s fists is extremely involved. Takes up a couple minutes of screen time.
Besides serving as an intro over the opening credits, this sequence demonstrates just how painstaking the preparations are for a bout and how boxing is, indeed, big business.

“Is that all you got?” Don’t taunt the guy.
Especially when you have blood streaming down your face.

“You got hit a lot, dad.” Hope’s daughter counts the boo boos on his face.
This is a really cute scene and a practical way for Hope’s daughter to gage how rough her daddy’s night was in the ring.

“You wanna go two rounds with me, champ?” Sign me up!
For Rachel McAdams I’m sure I could somehow find the strength.

“It’s not that bad.” Famous last words.

Hope head butts the referee. Where was that fight earlier in the bout?
Misplaced anger seems to be an issue for many boxers.

“Let me just give my daughter a hug.” Heartbreaking.
And when the bailiffs try to subdue Hope, you just know that things aren’t going to end well.

No wife, no house, no kid. Things have really gone south for Southpaw.
Somebody needs to play this Country song backwards so that Hope can get back everything he’s lost.

“Can’t even hit a question.” Ha!

“Stopping punches with your face is not defense.” That’s okay, Hope, Rocky was never any good at defense either.
Though not nearly as legendary as the training scenes in the Rocky films, the techniques Forrest Whitaker’s Tick Wills uses are also memorable and highly effective. I love the “strings in the ring” scene.

“Make him miss, make him pay.” Good strategy.
Fighting smarter, not harder, is the order of the day…a radical departure from Hope’s earlier, “human punching bag” style of boxing.

“Don’t let this man control you.” This is intense.
You just don’t go insulting a man’s family like that. I don’t know what the punk was thinking, but whatever it was, it backfired…in a big way.

Grab a tissue box for the final father/daughter hug.
Finally a glimmer of hope in this Murphy’s Law on steroids story.

Final analysis: a hard hitting redemption drama with a tremendous performance by Gyllenhaal.
However, as good as this performance is, it doesn’t top what Gyllenhaal achieved as the mentally deranged news cameraman in last year’s Nightcrawler.

Rating:
3 out of 4 stars. An often bleak look at a fallen star that thankfully offers some hope at the end.

For those not in the know regarding boxing jargon, southpaw refers to a left-handed fighter. Another aspect of the word comes to light during this film’s climactic fight when Billy Hope (Jake Gyllenhaal) switches from a right-handed to left-handed attack. It’s the reverse of Inigo Montoya’s surprise revelation in The Princess Bride (1987), “I am not left-handed.” When analyzing any boxing film, natural comparisons must be made to Rocky (1976) or even earlier films like The Set-Up (1949) or Somebody Up There Likes Me (1956), both directed by Robert Wise. In these examples, and many others, something resembling a pattern has emerged and a few of those boxing film tropes include: enacted boxing sequences (of course), a middle to lower class meathead who has lots of pent up anger from a childhood trauma or other family drama, a miraculous comeback against all odds and crowd-pleasing training scenes that help the audience to identify with and cheer on the main character. Many of those ingredients are present in this pugilistic portrait as well, with one notable exception; Hope is already at the pinnacle of his profession when the movie begins. Whereas Rocky was a populist rags to riches tale, Southpaw is a reversal of fortunes faux biopic that’s just as brutal outside the ring as inside it. The movie presents a fascinating character study of a man who parlays his talents into a career that provides everything he’s ever wanted in life—the World Light Heavyweight title, a gigantic estate, a fancy sports car, a beautiful wife and a cherubic daughter. However, Hope’s performance-driven existence implodes like a house of cards when tragedy befalls his family and he’s forced to be a father for the first time and get a job outside of boxing, which is all he’s ever known. Gyllenhaal is terrific as the movie’s central, tragic figure and is thoroughly convincing as both cocky champ and down-on-his-luck chump. This part splits its screen time between the public and private lives of the boxer, and Gyllenhaal plays each of these character aspects to perfection. This physically punishing role surely took its toll on the actor, so kudos to Gyllenhaal who, literally, suffers for his art in this film. Aside from the lead performer, the supporting players are also exceptionally good here, especially Rachel McAdams as Hope’s wife and Forest Whitaker as Hope’s no BS trainer. If the movie has a drawback, it’s the merciless and unrelenting Murphy’s Law plot, which turns the film into an exercise in bleakness and futility. By way of warning, the sustained heavy-hitting drama and frequently violent fight scenes may be too intense for some viewers. As such, Southpaw is about as enjoyable as hitting your thumb with a hammer. Fortunately it isn’t as painful and is more worthwhile in the end. Though the final scene offers an avenue of redemption for the downtrodden fighter, don’t expect a triumphant celebration like the ones found in the Rocky films. A solitary ray of hope is about all this film can muster.

Final Note: This film features James Horner’s final, posthumous score. Horner was one of the great film composers of our time. May he RIP.

Mr. Holmes (PG)

tt3168230
Directed by: Bill Condon
Starring: Ian McKellen
July 2015

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Mr. Holmes

“It isn’t a bee, it’s a wasp. Different thing entirely.” The essence of distinctions.
And, as we learn in the film, wasps kill bees. Oh, and that bees leave their stingers in their victims while wasps leave painful welts.

“It’s usually about his wife.” Holmes teaches Roger the #ArtOfDeduction.
Actually, this is more life experience than deduction. If a man is hung up over something, 9 times out of 10 it’s a woman.

“And if I forget to make the mark?” Practical as ever.
The scene later in the movie, where we see the journal filled with black dots, is absolutely horrifying. The mind is a terrible thing to waste, especially when it’s one as brilliant as Holmes’.

Never heard of a #GlassHarmonica. I usually just rub my finger over the mouth of a drinking glass.
And, truthfully, I’m not even very talented at that.

“We do not like wasps.” Something the young and old can both agree on.
The relationship between Holmes and Roger is one of the movie’s many highlights.

“I prefer facts.”
As Dragnet’s Joe Friday would say, “Just the facts, ma’am.”

Holmes finds #PricklyAsh amid the horrific remains of Hiroshima.
Fascinating, and bitterly ironic, that a substance that improves memory should grow in an area of the world that many would choose to forget.

Holmes watches a movie based on one of his cases. His review: #PureRubbish.
Of course, since Holmes himself is fictional, the detective watching himself on the big screen is utterly ludicrous.

“I can’t remember.” Holmes like we’ve never seen him before.
We’ve seen Holmes in the throes of an addiction (Nicholas Meyer’s 1976 film The Seven-Per-Cent Solution) before, but never in the grip of Alzheimers. It’s a totally compelling, and heartbreaking, portrayal of a once indomitable private detective.

“A good son always does what his mother asks.”
Good advice for sons of any age.

“Don’t say everything you think.” #LifeLesson
If you don’t have anything nice to say, don’t say it at all. Remember that chestnut from your youth?

Burn, wasps. Burn!
Actually, other than Holmes’ poor memory, the wasps are the only antagonists in the film.

“My first foray into the world of fiction.” And it’s a good one.
And more factual (if fictitious) than Watson’s accounts, as we’re lead to believe by Holmes.

Final analysis: a deeply moving portrait of a once formidable detective in the throes of losing his faculties.
A totally unique take on the character and one that hits the mark, thanks in large part to its incomparable star.

Rating:
3 1/2 out of 4 stars. McKellen is mesmerizing in this first-rate, though slowly paced, #DraMystery.

One thing there’s always been an abundance of throughout film history is sequels, and one of the longest running series of all time spotlights London’s preeminent caper solver, Sherlock Holmes. The master detective has been portrayed in over 200 films by over 70 top tier actors, ranging from Basil Rathbone to Robert Downey Jr. Although characterizations have contained minor variations in mannerisms and style, Holmes has been played fairly consistently over the years: confident, irreverent and snobbish, with an encyclopedic knowledge and preternatural insight into human beings and the natural world around them. By contrast, something we’ve never seen before, until this film, is a Holmes who isn’t in complete command of his mental faculties. A Holmes with Alzheimers is just as compelling (perhaps even more so), than a kryptonite crippled Superman. Since Holmes’ greatest asset is his brain, his aggressive memory loss reduces him to a pitiable, tragic figure—a mere shadow of his former self. However, what makes this vivid character portrait even more fascinating is that even though Holmes’ memory is failing him, his powers of deduction are still razor sharp. So who could possibly pull off such a complex role while also infusing it with the necessary vulnerability, sagacity and…magic? Why, a living, breathing wizard, of course. Ian McKellen’s performance is a study in brilliance; he fits the part of the aging investigator so well that it seems as if he were born to play Holmes. The main thrust of the movie revolves around Holmes’ final case—the one that inexplicably sent him into early retirement when he had plenty of good sleuthing years still ahead of him. Snippets of that case are woven into the tapestry of the narrative in a series of flashbacks. Holmes, channeling his inner John Watson, puts pen to paper and tries to piece together the events of his concluding conundrum in narrative form. There’s one crucial detail of his initial investigation that evades Holmes’ every effort to isolate it inside the prison of his mind. This elusive clue becomes a MacGuffin of sorts and its eventual unveiling reveals a heartrending tragedy. The bitter knowledge that successfully solving a case doesn’t always guarantee a positive outcome for all parties involved drives Holmes from his flat on 221B Baker Street to a country cottage, where he hangs up his deerstalker hat for good. Whereas the intermittent vignettes of Holmes’ ultimate intrigue serve as the spine of the movie, it’s Holmes’ interactions with his housekeeper (Laura Linney) and her son Roger (Milo Parker) that grounds the movie and shows us a human side to the character that we’ve rarely, if ever, seen before. Though the pacing is slow at times, the insightful flashbacks and clever planting of clues should hold the attention of most audience members. Of course, the period accurate details, gorgeous locations and stellar performances should also keep viewers engaged and entertained throughout the movie. Bottom line: this film portrays Holmes in a way we’ve never seen before, thanks in large part to an added depth of character and reassuring measure of his humanity. I deduce that this film will be well regarded by critics and will even gain Oscar’s attention. We’ll see how accurate my inner Holmes proves to be.

Irrational Man (R)

tt3715320
Directed by: Woody Allen
Starring: Joaquin Phoenix
July 2015

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Irrational Man

“A reputation proceeded me.”
An emphasis on the word “A.” Which infers a negative reputation. Ironically, it’s a negative reputation that Abe is fully aware of. Correction: Preceded. All proceeds from this review will go toward my grammar lessons.

The difference between philosophy and the real world. The #AnneFrank example is thought-provoking.
The point being that always telling the truth can have dire consequences in certain instances. Reference Jim Carrey in Liar, Liar (1997).

Abe avers that much of philosophy is #VerbalMasturbation.
Which is having sex with someone you love. Reference Annie Hall (1977).

Abe has lost “the will to breathe.” He needs to be #Unblocked.
Parker Posey helps Abe out with his whole “blocked” issue. Abe doesn’t need to resort to self love in this instance. I know, TMI.

Abe’s lesson in “existentialism” is shocking. #RussianRoulette
Abe definitely lives on the edge. The extents that he’ll go to in order to prove his point, however, are unhealthy…and dangerous.

Abe finds a new purpose as hit man. #StrangersInADiner
In a way, Jill creates a monster by drawing Abe’s attention to the conversation taking place in the booth behind her in the diner. Reference Hitchcock’s Strangers on a Train (1951).

“Go with your gut.” Abe should know. #BeerBelly
Phoenix really let himself go for this role. Suffering for his art…while eating a Big Mac.

How to lace a fresh squeezed orange juice with cyanide.
It looks a lot easier than it is. Don’t try this at home.

Abe has learned to celebrate life instead of romanticizing death.
Ironically, this new clarity in life comes from murdering someone he’s never met—celebrating death.

The deconstruction of the judge’s murder over dinner is a fabulous scene.
Ethan Phillips (Star Trek: Voyager) stands out here, but it’s his screen daughter, Stone, who steals the scene with her leaps of logic that prove to be dead on.

“A dark cloud had covered the moon.” #SeedOfDoubt
Note to men everywhere: when a woman says there’s nothing wrong, there always is…and there’s a good chance it’s something you said or did.

Abe’s “meaningful act” comes to light.
Abe’s rationalization for his action is disturbing, yet wholly justified from a purely pragmatic standpoint.

Saved by a flashlight.
It was a whistle in Titanic (1997). It’s the little things in life…

Final analysis: The story morphs from a character study to a murder mystery, but is compelling throughout.
I applaud Allen for taking a chance on this ambitious, off format story. This is certainly a unique entry into his oeuvre.

Rating:
3 out of 4. Top notch acting by Phoenix and Stone and sure-handed direction from Allen, as usual.

Woody Allen’s 51st film is a good one, but not a great one. The stars, Joaquin Phoenix and Emma Stone, are fabulous as mentally troubled teacher and starry-eyed student, respectively. The movie is a fascinating character study of Abe (Phoenix), a freethinking, womanizing, liquor guzzling philosophy professor whose melancholia and mania (self Russian Roulette) have established a reputation that’s followed him from his former college to his new one. The shrouded details of Abe’s checkered past create a mystique that proves irresistible to impressionable ingénues and carousing cougars alike. Abe’s projection of redeemable misanthrope acts like a potent aphrodisiac on the colleagues (Parker Posey) and students (Stone) who are helplessly and haplessly trapped in orbit around him. Abe is an intriguing personality for many reasons, not the least of which is that his own personal philosophy of life, and more importantly death, is so disparate from what he teaches in the classroom. Abe’s blind spot is his misguided notion of justice. Jill’s (Stone) blind spot is Abe. Jill follows Abe around like a lost puppy dog and is high on his crafty speech and encyclopedic knowledge, both of which make him sound like he’s figured out all of life’s intricate mysteries. Jill is oblivious to Abe’s dark side for the first half of the movie but her denial gradually wears off when she hears some disturbing rumors which open her eyes to Abe’s true nature…a deeply disturbed, ice-in-the-veins killer. As such, Abe’s psychotic tendencies run antithetical to the archetypal Allen lead character (even with as messed up as Cate Blanchett’s bi-polar busybody was in Blue Jasmine, her character was sympathetic in spite of her mental condition). Abe is sympathetic at the beginning of the film but is wholly irredeemable by the end. This lack of a true-blue hero is one of the story’s biggest drawbacks. The real Achilles’ heel here, though, is the story. By switching thematic gears—from a straightforward character drama to a murder mystery/thriller—midway through the film, Allen runs the risk of confusing or exasperating his audience. However, despite its noticeable narrative modulation, the mid-movie plot shift is a unique story method and Allen’s sure-handed direction makes the transition a relatively seamless one. Irrational is one of Allen’s headier scripts; it’s heavy on philosophy and ethics but light on the signature brand of humor that marks most of his films. All things considered, this is a nice change-of-pace film for the auteur. Sadly, though it contains rich performances and a thought-provoking moral, this film fails to register as top tier Allen. If you disagree with my assessment of the movie, know that I’m doing my best to not resemble the title.

Love & Mercy (PG-13)

tt0903657
Directed by: Bill Pohlad
Starring: John Cusack
June 2015

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Love & Mercy
Paul Dano also plays the younger Wilson.

“Well the master lock feature works.” #SellingPoint
Elizabeth Banks is charming and compassionate throughout the film, but this meet-cute really sets the tone for what’s to come.

“Lonely. Scared. Frightened.” Most people write their number on the back of a business card.
Or a matchbook. Those three words are a cry for help and, fortunately for Wilson, Banks perceives his unspoken plea. I also love the fact that Wilson’s star power is completely lost on her. She’s attracted to the real person not the celebrity. Refreshing!

“We can’t let them get ahead of us.” Musical #ArmsRace with #TheBeatles.
The period in question was before my time, so I had no idea that such a competition existed between these two groups. It makes sense, since they were popular around the same time, but they hailed from different countries and had radically different musical styles.

“If you repeat a mistake every four bars, it’s no longer a mistake.” #Improvisation
This is a really fun scene and demonstrates Wilson’s genius. He definitely had an ear for complex chord structures and unusual sounds.

“He scared me into making great records.” The rough road to greatness.
This traumatic back story really humanizes Wilson and garners a tremendous amount of sympathy from the audience.

“Do you think we can get a horse in here?” Ha!
Fitting, since the album was called “Pet Sounds.”

“Help me help Brian.” #ControlFreak
Dr. Landy is a conniving, manipulative twit. Paul Giamatti plays the loathsome psychiatrist to perfection.

Hang on to your ego.
Actually, letting go of it is probably the better course of action.

A chorus of plate scrapes. Deafening and annoying.
This scene gives the audience an insider’s understanding of how sounds tortured Wilson. An extreme OCD.

Something’s wrong with the recording studio. #BadVibrations
Another indication of Wilson’s mad process.

“Could you at least drive me home?” Funny.

Final analysis: a fitting, touching tribute to a true musical genius.
And, most poignantly, how such genius often comes with a price. Remember van Gogh.

Rating:
3 out of 4. Dano and Cusack deliver tremendous performances as Wilson. Good vibrations, great film.

In some ways, this film reminds me of Julie & Julia (2009), a biopic based on the life of renowned chef Julia Child (Meryl Streep) and a young woman (Amy Adams) who decides to make all of the recipes in Child’s cookbook in one year. Though vastly different thematically, both films are decades-spanning biographical pieces that sustain their parallel narratives with riveting drama and superb performances. Whereas Julie featured two different people, Love features one person played by two different actors: Paul Dano as 60s Wilson and John Cusack as 80s Wilson. The most significant comparison is that the earlier (chronologically) stories in both films are far more compelling than the later ones. Streep is thoroughly mesmerizing as the French chef, but Adams, despite her disarming charm in playing a struggling chef who blogs about her culinary experiences in a Soho flat, just can’t elevate the ordinary story that comprises her half of the film. Unfortunately, that same pattern holds true here as the story of how Wilson created some of the Beach Boys’ greatest hits is far more fascinating than Wilson’s deterioration under the mismanagement of a shady psychiatrist. Dano is dynamic as young Wilson, while Cusack struggles to gain emotional footing as the adult Wilson in arguably the more difficult role. And then there’s the matter of appearances: while Dano looks a little like a twenty-something Wilson, Cusack looks nothing like a middle-aged Wilson. Since both Cusack’s appearance and performance fail to capture the essence of Wilson, one wonders why the actor was selected to play the superstar singer to begin with…and was real life Wilson consulted on the casting choice? The only thing that salvages the 80s storyline is the supporting players, especially Paul Giamatti and Elizabeth Banks. Giamatti plays one of the most despicable antagonists to have crawled out of a dark corner of the silver screen in quite some time. When he swears out Banks at the car dealership you literally want to throw something at the screen. As for Banks, she exudes uncommon compassion for the emotionally troubled musician and singlehandedly makes the entire adult Wilson section work. But enough about the Wilson’s later life; all of the film’s fun and energy occurs in the earlier time period. The making of the music is simultaneously enthralling and thrilling and Wilson’s traumatic childhood and slow descent into mental instability are utterly captivating. Even though snippets of the Beach Boys catalog can be heard throughout the movie, I could’ve used a lot more of their music here, along with more concert vignettes. Despite the movie’s Jekyll and Hyde narrative (which makes for an emotionally uneven movie), this is still a worthwhile glimpse into Wilson’s world and the mad process that forged the many unforgettable tunes he’s churned out over the years. Maybe the next time we can have a film with a unified tone and a lead actor that actually looks the part. Wouldn’t it be nice?

Inside Out (PG)

tt2096673
Directed by: Pete Docter, Ronaldo Del Carmen
Starring: Amy Poehler
June 2015

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Inside Out
A high bar, to be sure, but this is certainly among the very best.

“I Lava You.” A sweet animated short. #Lava
At first I was dubious as to where this cartoon was going, because of the singsong nature of its narrative, but in the end this is a memorable, heartwarming short.

Joy meets Sadness. Don’t see them becoming friends.
Sometimes I’m just dead wrong.

“Family Island is amazing!” #CoreMemories
This concept is utterly fascinating and illustrates the importance of the major events and experiences in our lives and how they can shape who we are…positively and negatively.

“I’m starting to envy the dead mouse.” #NewDigs
It’s always difficult to start over in a new area, especially if it’s radically different from what you’re used to. The movie ably captures the feelings of uncertainty, loneliness and loss that can occur during these times of transition.

“Congratulations, San Francisco, you’ve ruined pizza!” #BroccoliTopping
A really funny scene, made even funnier by Anger’s brusqueness.

#MindManuals #LightReading

Train of Thought. Clever!
Even though it’s a little tongue-in-cheek, this is a fun concept.

“Can I say the curse word now?” Ha!
Ironic that anger is often the movie’s primary source of comic relief.

Dad’s #BrainOnHockey scene is frighteningly accurate.
And utterly hilarious! Zoning out while watching sports is an innate ability possessed by most men. Some men have even perfected it into an art.

“We’re deconstructing!” Brilliant visuals.
A very clever scene with some mind-blowing animation.

“There’s Déjà Vu. There’s Critical Thinking. There’s Déjà Vu.”
I think they just wanted to see if the audience was paying attention. Paying attention.

“Take her to the moon for me.” Bing Bong’s sacrifice is moving beyond words.
Grab the tissue box…this is a rough scene.

“For Riley!” Hilarious.

Sadness saves the day!
You just knew it would happen this way. A predictable, yet satisfying, ending all at the same time. Hooray for the underdogs!

What’s poo-berty?

Final analysis: an absolutely brilliant premise that’s executed to near perfection.
In fact, I honestly feel this is the most ingenious concept Pixar’s ever devised…and that’s really saying something.

Rating:
3 1/2 out of 4 stars. A thought-provoking, tender years tale that hits all of the right emotional notes.

Ever looked at someone and wondered, “What’s going through their mind right now?” The creative minds at Pixar Studios took that thought and turned it into an animated feature called Inside Out. The movie focuses on a young girl named Riley and her emotional and mental processes as she deals with a cross-country move from Minnesota to San Francisco. Instead of merely showing us Riley’s emotional struggles externally, director Pete Docter (Up) gives us a glimpse into the girl’s mind in order to observe, firsthand, the full spectrum of feelings she experiences. Riley’s individual emotions are personified by Joy, Sadness, Anger and others. Each of the emotions has a matching personality, i.e.: Joy is infectiously ebullient; Anger is violently explosive, etc. It’s been noted by some leading doctors and psychiatrists that the brain is the executive control center of the entire body. Pixar artists have cannily appropriated that factoid for their story by creating a central control panel inside Riley’s brain…the main operations center where the assorted emotions call the shots for Riley’s every thought, mood and behavior. But Riley isn’t merely an automaton, or a marionette whose strings are pulled by the tiny characters inside her brain. What’s really fascinating about the story is that Riley has volition apart from her own emotions, which is true-to-life since cogitations and cold hard logic can occasionally win out over emotions. The fact that Riley’s choices can override what’s going on inside her brain infuses the story with a great deal of anxiety and mystery since we, along with Riley’s emotions, often have no idea of what’s coming next. In these instances, Riley’s emotions must react to an unforeseen event, like when a life experience creates a core memory. The reverse also holds true as Riley is often deeply affected by her emotions and seems utterly powerless to regulate them. Some of the best twists in the movie occur when our young heroine is overcome by a particular emotion, like when Sadness does a number on Riley during her first day at the new school. This story device, where the action intercuts between Riley’s brain and what’s happening in the real world, generates tension throughout the film and effectively illustrates the disconnect between thoughts and feelings that we each must learn to reconcile. The world Pixar creates to represent the inside of Riley’s brain is truly astounding. The architecture of the mind is based on real science but is organized and visualized in a manner that reflects the thought process of an 11-year-old girl. The different sections of Riley’s personality, as well as the way memories are created, stored and discarded are brilliantly conceived and flawlessly executed. But not everything in the film is based on real world science. Some story elements, like the Train of Thought, are just there for fun. This film, which reveals a great deal about the human condition by examining the thoughts and feelings of an angst-ridden preteen girl, will go down as one of Pixar’s finest…which is no small claim when considering the studio’s back catalog of superlative animated films. Inside delivers an emotional wallop that’s rivaled only by the end of WALL-E (2008) and the beginning of Up (2009). The abounding movie magic contained within its narrative, along with its clever conceit, touching story and universal appeal, has insured that Inside will be enjoyed for generations to come. This 15th Pixar film has it all and is a shoo-in for Best Animated Feature and, perhaps, even for Oscar’s top prize. For a movie that’s all about the brain, Inside Out has a tremendous amount of heart.

Far from the Madding Crowd (PG-13)

tt2935476
Directed by: Thomas Vinterberg
Starring: Carey Mulligan
May 2015

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Far From the Madding Crowd

No sidesaddle for Bathsheba. Independent indeed.

George doesn’t listen very well. Needs some obedience.
I just hate it when I speak too soon…

Sheep excel at charging over a cliff like lemmings. Unfortunately, they don’t fly.
Splat! What a heartbreaking scene. Apparently some sheepdogs just can’t live up to their name.

“It is my intention to astonish you all.” Mission accomplished.
All Mulligan has to do is stare at the camera and we’re astonished.

“I have no need for a husband.” Ouch!
A very uncommon and audacious declaration for the period in question.

Who can save the sick ewes? The guy you just fired.
Okay, I’ll come back on two conditions: 1. You give me a raise, and 2. You go out with me.

Superb duet between #CareyMulligan and #MichaelSheen.
Some truly fine singing and with only a piano for accompaniment.

“We understand each other.” More than you know.
Schoenaerts and Sheen’s characters have both felt the bitter chill of Mulligan’s cold shoulder.

“I will make amends.” Sure you will.

And Child is rubbed off on the coffin. Insult to injury.
The mummy baby scene is unnerving.

Like or respect?

A ghost from the past arrives on Christmas.
Not to be confused with the Ghost of Christmas Past from Dickens’ A Christmas Carol.

“I forbid you.” And they lived happily ever after.
At long last, Mulligan comes to her senses and actually picks the right guy. Third time’s the charm, I suppose.

Final analysis: a well mounted period piece with gorgeous vistas & superb performances all around.

Rating:
3 1/2 out of 4. Mulligan, Schoenaerts and Sheen shine in a film that’s far from ordinary.

Cut from the same cloth as an Austen or Bronte literary classic, Thomas Hardy’s Far From the Madding Crowd offers everything you’ve come to expect from this brand of Victorian Era period piece…but with a twist. Whereas many examples of English countryside dramas involve family intrigue, shifting loyalties and scheming mothers seeking to marry off their daughters, etc, this story flips the script by spotlighting a young, independent woman who has absolutely no desire to be married…an abnormal, almost transgressive, attitude to possess during the period in question. A common trope in the romantic fiction of the period is the love triangle, but Hardy serves up another narrative twist in this story: the love rectangle. The bulk of the movie centers on three suitors (Matthias Schoenaerts, Michael Sheen and Tom Sturridge), each of whom vies for Bathsheba’s (Carey Mulligan) affections. As would be guessed, the four main performers are all superb in their roles. If I had to hand out a gold star it would go to Michael Sheen, who plays Bathsheba’s wealthy neighbor, William Boldwood (wonder if it ever occurred to him that his last name might be contributing to his celibacy), to perfection. William taps into some superhuman reservoir of patience when maintaining a state of decorum and civility in the face of Bathsheba’s many rejections and indiscretions. After nearly two hours of rebuffed advances and mind games, fate finally nudges Bathsheba in the right direction (since she’s not savvy enough to choose the right man on her own) when two of her three admirers are eliminated from the competition during a tragic shooting, which secures prison for the one and death for the other. When fate conspires to such a degree, it must be kismet; and so Bathsheba finally approaches the last man standing, Gabriel (Schoenaerts), and reveals her feelings for him. Of course, Gabriel has been in such mental and emotional anguish over Bathsheba from the beginning of the movie—desperately hoping she’d recognize and return his love—that he walks toward the sunset with Bathsheba like a lamb to the slaughter, completely exhausted from his pursuit of her and entirely at Bathsheba’s mercy to do her bidding for the rest of his sheep herding days. I know it was written during a different time (and on a different continent), but part of me hoped that Gabriel would pull a Rhett Butler (Gone with the Wind, 1939) and just keep on walking away from Bathsheba and her disreputable estate. Bathsheba should’ve been forced to learn the lesson that you can only toy with a man for so long before there are serious repercussions to your manipulations…reference long-suffering Eric Bana violently taking what he wants from scheming Natalie Portman in The Other Boleyn Girl (2008). All things considered, Madding lives up to its name in how it draws out its excruciating tale of unrequited love, providing resolution and release only in the film’s final scene. If you like complicated, character-driven period pieces with superior performances and production elements, this film’s for you. If not, you might find the movie’s protracted love affair to be quite…maddening.

Danny Collins (R)

tt1772288
Directed by: Dan Fogelman
Starring: Al Pacino
April 2015

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Danny Collins

Kinda based on a true story. Love the honesty.
Most “true story” films try to bamboozle us into thinking we’re watching an “actual account.” In many instances, what we’re really seeing is only the morsel of an authentic happening that’s been embellished into some egregiously sensationalized plot that bears little resemblance to the real event.

Opening concert: #MindiAbair on sax.
For those who’ve never seen Mindi in concert, you’re missing out…she’s an amazing performer. Mindi’s on a short list of female smooth jazz A-Listers (and when it comes to the saxophone, it’s her, Jessy J and Candy Dulfer).

Collins still has fans. “Three of them. Each one older than the last.”
Self-deprecating humor is one of Collins’ most endearing qualities, a trait that instantly wins over the audience.

“John Lennon wrote you a letter.” #BestBirthdayGiftEver
Unless it was delivered 30 years late.

“Busy Work” crawls out from under the bed. #Busted!
He definitely lives up to his name.

“Currently or in general?” Hilarious! #GoodPatter
This is the first scene with Pacino and Bening and the sparks start flying from the outset.

Danny’s attempts at matchmaking are humorous.

“You can’t buy redemption.”
You can’t buy love either. The Beatles made sure we knew that.

“I don’t know how I allowed it to go so long.” Touching scene.
At some point, it probably became easy just to put it off indefinitely.

#DinnerTease. Ha!
Bening sure knows how to play hard-to-get. Hats off to Warren Beatty.

Shattered picture frame, shattered relationships.
Symbolism? A definite possibility.

Danny loses his nerve and loses his dinner. #OneBadDecision
Good thing he doesn’t lose his lunch. That would just be too much.

“It’s a good thing when he calls you Tom.” Good father/son moment.
This is a genuinely moving scene and sets up a memorable final scene/shot.

Final analysis: a surprisingly moving washed up rocker tale with lots of heart and laughs.

Rating:
3 out of 4. Pacino is superb & has amazing chemistry with Bening. A heartwarming tale of redemption.

I have to admit, I was pleasantly surprised by this film. The trailer, which focuses mainly on the decades-old letter from Lennon, Collins’ life of excess and faux concert clips, didn’t do the movie justice. In some ways, this film reminds me of the similarly themed Music and Lyrics (2007). In that film, Hugh Grant plays a has-been 80s rock star holding on to the last vestiges of a music career by performing at smalltime clubs and state fairs. As the script would demand, Drew Barrymore enters his life and is a catalyst of change for Grant’s character, both personally and professionally. In this film, Collins befriends Bening who serves as confidant and muse to the derailed celebrity as he tries to put his life and career back on track. Fortunately, Collins doesn’t dedicate and play his new hit song for Bening during a live concert at movie’s end, as Grant does for Barrymore. This conscious effort to avoid schmaltz is one of the movie’s greatest assets, aside from its stellar performances. Pacino is predictably strong, and although this isn’t one of his finest performances, he’s thoroughly convincing not only in his portrayal of the larger-than-life singer, but also in his grungy, wrinkly and well-tanned appearance. Pacino is uber-charming in the film and plays the part of an old smoothie to the hilt. His screen chemistry with Bening is palpable and lends the film a fair amount of good-natured fun. The way Pacino infuses pathos into his character, in order to extract the optimal degree of sympathy from the audience, is absolutely brilliant. Indeed, we can’t help but cheer Collins on as he attempts to rectify past mistakes by inserting himself into the life of his adult son (Bobby Cannavale, in a pitch perfect performance)—whom he’s never met. The series of father/son vignettes, especially the movie’s final scene, serve to hoist the movie above the droves of middle-aged angst dramas that have graced the silver screen in recent years. Collins isn’t wildly original or overly inspirational, but it’s a highly effective, deeply affecting character piece that deftly sprinkles in some laughs and heartwarming moments amid the struggles of its title character; a fading celebrity, whose desperate attempts at remaining relevant and doing right by his family are strangely ennobling. All in all, Collins is a compelling slice-of-life tale and a friendly reminder that it’s never too late to make positive changes in our lives.

The Age of Adaline (PG-13)

tt1655441
Directed by: Lee Toland Krieger
Starring: Blake Lively
April 2015

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

The Age of Adaline

“The first and last chapter of her story.”
From that description, you’d think the narrator was referring to someone with a short lifespan, but nothing could be farther from the truth.

Adaline has five locks on her door. Not very trusting for an immortal.
In a later scene I did a recount and I think there might actually be six locks on her front door. But who’s counting?

“Magical” lightning bolt makes Adaline immortal. #OriginStory
Here’s the element that makes this a sci-fi story. It’s hokey, but no more so than the conceits behind The Curious Case of Benjamin Button (2008) or The Time Traveler’s Wife (2009), etc.

“Since I Don’t Have You” by #TheSkyliners. My dad’s favorite song.
I’d recognize it anywhere.

Adaline does her best #SherlockHolmes routine on a young suitor. #SolidDeductions
Ellis should quit while he’s behind. But he doesn’t. And so the story continues.

“Jenny kissed me.” Not familiar with that poem. But then, I’m not a know-it-all.
Truth be told, my knowledge of poetry is next to nil. Guess that means it’s time for me to take a rhyming pill.

Ellis keeps sticking his hand where it doesn’t belong. A dangerous habit for a professional painter.
Turns out Ellis isn’t a professional painter after all, he was just painting his flat. But to be honest, I’m not really sure what he does for a living. Seems like Ellis is a jack-of-all-trades sort.

“I don’t like having my photo taken.” And with good reason.
I don’t like having my photo taken either, but not for the same reasons as immortal Adaline...obviously.

A horse that can pitch? #DumbestJokeEver
But sometimes jokes are so dumb they’re actually funny. Such is the case here, much to Ellis’ relief.

Adaline has a pet photo album. Her priority is pets over people. The curse of immortality.
While pets have a shorter lifespan than humans, you don’t have to worry about them learning your secret. Plus, you can take them with you when it’s time to reinvent yourself in a new area.

An indoor, outdoor theater. Fascinating!
Placing the luminescent stars on the ceiling is a nice touch and certainly enhances the overall mood.

Ellis says Jenny has nine lives. Not far off the mark.

Superb acting by #HarrisonFord when he meets Adaline/Jenny. #StateOfShock
Scenes like this should come as no surprise, but sometimes the mind drifts to Indy and Han and we forget what a tremendously talented performer Ford really is.

“It was fleeting, inconsequential.” Nice cover.
I mean, he named a comet after her for crying out loud.

Never challenge an immortal to a game of #TrivialPursuit.
Kiss your winning streak goodbye, William.

Of comets and proposals. #NearMiss
A really good scene. Superbly performed and rife with meaning.

Scars don’t lie.

“You’ve lived, but you’ve never had a life.” The price of immortality.
You can never live up to your fullest potential if you’re always looking over your shoulder.

“Nothing makes sense without her.” #TrueLove

“My name isn’t Jenny.” The cat’s about to come out of the bag.
I was hoping she wouldn’t spill the beans here, but if she hadn’t, the movie would’ve run at least another half hour.

First gray hair...normally not a cause for celebration. Unless you haven’t aged a day in over 100 years.
I was less than thrilled when I plucked my first gray, but then again, I’m a vain man.

Final analysis: a thoughtful examination of mortality and the human experience.

Shades of #
ForeverYoung and #TheCuriousCaseOfBenjaminButton, but with its own unique twist.
By featuring main characters who, in some regard, exist apart from the normal flow of time, these types of films make us stop and take a long, hard look at our lives. By identifying with these characters, we gain an outsider’s perspective on our own lives, which reminds us just how precious a commodity time really is.

Rating:
2 1/2 out of 4. A farcical romance with Sci-Fi trappings. Has a message, but is fairly unmoving.

So the basic premise here, a woman achieves immortality after drowning in freezing water and being resuscitated by a well placed, well timed lightning bolt, is as unbelievable as they come; a story right out of a classic sci-fi pulp digest. The narrated narrative itself, which spans a century, reveals the plight of Adaline Bowman (Blake Lively) as she moves through time without aging and without making any serious connections with people for fear of growing too close to someone that she’ll have to run away from when her wrinkle free skin betrays her to aging “contemporaries.” The movie’s inciting incident occurs when Adaline unwittingly falls in love with Ellis (Michiel Huisman), a relationship she knows is ill-fated from the outset but is helpless to resist. Further complicating the story is the “meet the parents” scene where Ellis’ father, William (Harrison Ford), recognizes Adaline from the past. As a one-time lover of Adaline’s, William’s random reunion with the ageless woman explodes the implications of the story. The movie splits its time between four genres: Drama, History, Romance and Sci-fi. In many respects, the story feels like it was written by Nicholas Sparks, which screenwriters J. Mills Goodloe and Salvador Paskowitz should take as a compliment. The sci-fi elements are of the softer variety, resembling the works of Fitzgerald more than those of Wells. The former wrote the story-turned-movie The Curious Case of Benjamin Button (2008), a tale about a man who ages backwards. Here, the title character maintains a normal temporal trajectory, but will forever remain untouched by the ravages of time. The period elements are extremely well done and have attained the appropriate degree of authenticity to keep us engaged in the story’s fantasy. The acting is also superb. Ford’s portrait of a man yearning for the past and pining over the life that might have been is truly exceptional, and Kathy Baker, as Ford’s jealous wife, is also terrific in an ancillary role. Lively delivers a genuine, understated performance that very easily could’ve ended up being mawkish in the hands of a less skilled actor. At times, Lively’s Adaline seems detached or aloof. Such muted emotions are not only appropriate, but are keen observances of human behavior since an ageless woman would learn very quickly how to suppress her feelings in order to protect her identity as well as safeguard against over-investing in the lives of mere mortals. In the end, this film won’t set the world on fire, but it’s an intriguing examination of the human condition with respect to our perception of time and our own mortality. The underlying question “What good’s immortality if you can’t even enjoy it?” permeates this bittersweet tale. Fans of Sparks style decade-spanning romances should find the film heartfelt and emotionally satisfying. Those who appreciate finely mounted slice-of-life stories should also enjoy the film. But those who would prefer that sci-fi elements be kept out of their down-to-earth dramas might feel left out in the cold.

Ex Machina (R)

tt0470752
Directed by: Alex Garland
Starring: Alicia Vikander
April 2015

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Ex Machina
Not quite. But certainly a unique entry into the genre.

First prize. #InstantCelebrity
Nothing new here…everyone wants a piece of success.

“Follow the river.” In which direction?
Pretty vague directions when dropping someone off in the middle of the wilderness.

Key card photo. Can I get a retake?
Remember that frightened look. You’ll see it again at the end of the film.

Gorgeous view from the patio. I can almost smell the pine trees.
The lab is situated in a remote region of a forest. Not only is the compound isolated, its tight, spare and windowless interiors lend it an institutional feel. Good thing Caleb doesn’t have claustrophobia.

Nathan wants Caleb to get past the “freaked out” stage.
Caleb should listen to his anxiety.

Data audit? Don’t sign the contract Caleb.
Of course, if he withholds his signature we don’t have a movie.

The Turing Test. Baptism of fire.
“Who’s Turing?” you ask. Reference The Imitation Game (2014).

Hello Ava!
Say it like “Hello Nurse!”

How many computer nerds wouldn’t get a #
Ghostbusters reference?
Especially since Caleb holds his own during the Trek talk later in the movie. I chalk this up as a nitpick.

Ava turns the tables on Caleb, grills him with questions. Be careful, Caleb. Nathan is listening.
Also, learn from this incident. If she can turn the tables on you once…

“You shouldn’t trust anything he says.” Now we have a story.
Of course, everyone in the audience knows Nathan is full of it even before Caleb conducts his first session with Ava, so not much of a surprise.

Hacking the world’s cell phones. A map of how people think. Fascinating!
And frightening!

If you could go anywhere in the world, where would it be? Ava chooses a traffic intersection. #PeopleWatching
You’d find Data hanging out on the other side of the intersection, except he’d be engaged in small talk with passersby (TNG’s “Starship Mine”).

Ava plays dress up for Caleb. She looks kinda #PlainJane now.
Darn it! No more “curve” appeal.

“Engage intellect.” The discussion on #JacksonPollock and #
StarTrek is intriguing.
Nathan’s Pollock painting does look like something Data would hang in his quarters.

Ava asks some tough questions for an AI.
Be very wary, young Caleb.

“Ava’s body’s a good one.” Uh, yeah!
The understatement of the year.

Caleb finds the skeletons in Nathan’s closet. #Sexbots
Hopefully there aren’t any minors in the audience since this is a Rated R movie (the fact that I’m bring this up reveals my distrust of parental “wisdom” in bringing younger kids to see such films), but just as a precaution: #FullFrontal.

Ava gives herself a physical upgrade. Thank God she put all the right parts in the right places.

Final analysis: an intriguing premise that asks some important questions about the essence of existence.

Rating:
3 out of 4. The Shakespearean ending is a miss, but the rest is a salient examination of sentience.

Deus ex machina is a Latin term that means “god from the machine.” The technique, which introduces a new character at the end of a story that swoops in and miraculously solves all of the problems, was employed by playwrights during Greek theater’s nascent period. Over time, the writing device fell out of favor and is now considered a universal no-no. In the new movie, which tellingly leaves out the deus (god) part of the title, we find a twist on the much impugned story device—we know who the agent of change is early on in the story, but how that character plays into the film’s climactic events is very much in question until the very end. The story here isn’t earth-shattering: A wealthy tech mogul lures a bright young computer nerd (under false pretenses) into conducting a Turing test on his latest android, who just happens to look like a supermodel. What works here is the examination—through the eyes of a machine—of what it means to be human. The mental chess match between Ava (Alicia Vikander) and Caleb (Domhnall Gleeson) is intriguing, and some complex emotional and psychological subjects are broached, such as: friendship, trust, sexuality and, of course, the essence of sentience. Another successful aspect of the film is its skillful thematic layering: the juxtapositions between the open spaces of the surrounding forest and the cloistered confines of the sterile lab, biological and mechanical beings and even good and bad people are all expertly woven into the movie’s narrative tapestry. The isolation from civilization and claustrophobia inside the compound both serve to enhance the film’s melancholic mood and are symbolic of how each of the characters is, in his/its own way, physically or mentally trapped. Lots of food for thought here, which makes the movie a joy watch. The small cast also suits the static, minimalist story. Each of the performers does fine work, but the lack of star power here (Oscar Isaac isn’t quite a household name yet, but will be come December) is one of the movie’s only drawbacks. The main problem with the film is its ending, which squanders a promising premise and solid setup with a predictable, even telegraphed, resolution that’s right out of Macbeth. In the end, Ex Machina is a stylish, thought provoking sci-fi yarn that should stand the test of time—well, at least until the androids take over and eradicate any trace of human existence.

The Second Best Exotic Marigold Hotel (PG)

tt2555736
Directed by: John Madden
Starring: Judi Dench
March 2015

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

The Second Best Exotic Marigold Hotel

#MaggieSmith most definitely isn’t getting her kicks on Route 66.
It’s abundantly clear that this scene was written only to generate a laugh. Since the meeting is in San Diego, why didn’t Patel and Smith just fly into the city’s airport rather than driving a convertible across the scorching hot desert?

“Get her some boiling water.” A humorous scene on the proper way to make a cup of tea.

“Why die here...when I can die there?” Quite a sales pitch.
Smith tells Patel to shut up and let her do all the talking during the meeting with David Strathairn. Patel exercises restraint for about 14.3 seconds.

Taxicab Confessions: India Edition.
Or, as the plot soon reveals, Strangers on a Taxi.

Sagai= Engagement Party. Let the drama begin.

“I went with low expectations and came back disappointed.” The eternal pessimist.
Maggie Smith’s line actually sounds like it could’ve been delivered by one of the two old coot critics in The Muppet Show.

“The fastest fox in the forest.” Or, the fastest talker in India.

“There’s just so much bloody potential” in life. And so many frustrating limitations.
Sometimes having too many options is worse than just choosing among a handful of opportunities. Having seemingly unlimited potential might also lead to a kind of ennui that prevents the person from getting anything done in life...the “Jack of All Trades, Master of None” syndrome.

#DevPatel asks his mom to take one for the team. Humorous.
Most women wouldn’t resist such an offer. I mean...we’re talking about Richard Gere here.

The wants and fears monologue is poignant.
One day after watching the movie I don’t really remember what was said here, but I’ll trust my earlier self that this was a great scene.

#DevPatel should’ve learned the choreography. He looks like a doofus on the dance floor.
Actually, that’s still better than what I could do in his place. #TwoLeftFeet.

“Shall we write the next chapter?” That’s when you know you’ve spun a good yarn.

“How much time do you have?” Way to go for the jugular.
A question you should never ask someone over 65.

Death by cow. Amusing.
Of course, there’s cultural relevance here since the train’s passengers would all be placed in harm’s way in order to save a cow…a sacred animal in Indian society.

I don’t do advice...I do opinions.
But if you offer your opinion on how something should be done, isn’t that kinda’ like offering advice, right?

The roots and wings wedding speech is touching.
Especially the script change portion at the end.

“There’s no present like the time.”
A nice play on words, but also a poignant nugget of wisdom. This phrase reminds me of Gandalf’s instruction to Frodo in The Lord of the Rings: The Fellowship of the Ring (2001): “All we have to decide is what to do with the time that is given to us.”

Final analysis: a natural extension of the first film with some new adventures and characters.
Although I miss Tom Wilkinson from the first film, the addition of Richard Gere, Tamsin Greig and David Strathairn were good casting choices that paid off huge dividends in the film.

Rating:
2 1/2 out of 4. A cultural and relational journey that was worth the return trip.

The Best Exotic Marigold Hotel (2011) was a crowd-pleasing, life affirming dramedy based on Deborah Moggach’s book of the same name. Most of the principal actors have returned in the sequel (Tom Wilkinson is out, while Richard Gere and David Strathairn are in), and the setting, tone and theme (i.e., making the most of the Golden Years) is fairly consistent with that of its predecessor. So why a sequel? Well, the first film was a modest hit, especially among the AARP set, so there was certainly financial justification for green lighting a sequel. Tapping the scintillating cast (which includes: Judi Dench, Maggie Smith, Bill Nighy, Penelope Wilton, etc) for one more go-round also must’ve seemed like a surefire way to win at the box office. Ultimately, having a built-in audience is the kind of safety net studios, like Fox Searchlight, are greatly desirous of, provided that the majority of that audience is still around to enjoy the sequel (after all, it’s been four years since the release of the first movie). Life imitates art in the follow-up film: just as the title has been established as a recognizable, bankable brand for the film franchise, it’s also inspired a franchise of hotels “stretching across India and beyond” in the world of the story. Sprinkling additional curry into the savory story are subplots involving: engagement/wedding parties (with plenty of Bollywood-style pomp and dancing), a surprise visit by a hotel inspector and a handful of percolating romances, all of which bloom into relationships by movie’s end…just in case we never get another chance to advance the story with this gracefully aging cast. What ailed the first film, i.e., shallow characterizations, uncomplicated plots and a heaping helping of sentimentality, also afflicts the sequel. Conversely, the elements that worked well in the original movie—gorgeous Indian locales, a dazzling cast, a positive, inspirational, meaningful story line—work like a charm here as well. The generation reconciliation between Patel and Smith’s characters, who are co-partners in the hotel franchising venture, is a clever way of keeping young and old viewers engaged throughout the movie. Also, when not preoccupied with sophomoric subplots, the movie effectively presents us with a sometimes humorous, sometimes profound look at what it means to grow old. The straightforward plot is the perfect compliment to the film’s feel good exuberance, and is the antithesis of the typical, dreary old age film like the uber-depressing Amour (2012). When all is said and done, this Second film is tons of fun and has a lot of dignity to go along with its levity. So, will there be a Third film in the series? And will Maggie Smith’s character return? Time will tell. But to be on the safe side, the studio should start production sooner rather than later. With a cast this seasoned, time is of the essence.

Mr. Turner (R)

tt2473794
Directed by: Mike Leigh
Starring: Timothy Spall
December 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Mr. Turner
Whenever I think of Spall, I’m reminded of that creepy rodent-man he played in Enchanted (2007). Another decidedly eccentric role.

Opening scene with sunset behind the windmill has a painterly quality.
Something that isn’t lost upon Turner, who sketches the scene as reference for a future painting.

“Do you need anything else?” Dangerous question.
Turner cops a feel. Every man has his needs, I suppose.

Don’t know that I could keep my food down with that hog’s head staring up at me.
Or at the very least I would push it down to the other end of the table and make someone else look at it.

“Remember me” is forgettable the way Mr. Turner sings it. He should stick to painting.
His voice is so awful; it could make a dog go hoarse from howling.

I was expecting a bigger ah-ha from the prism experiment.
An intriguing setup that ends up being a Huh? moment.

Is that crying or travailing?
Turner cries like he’s in labor. It’s a nerve-grating braying.

Turner ruins his masterpiece with a blot of red.
Just to make a mockery out of a fellow painter. Cruel, but not without an element of humor.

The discussion of gooseberries is zzzzzzz...
Whenever I hear the word gooseberries I think of Ergo “the Magnificent” from Krull (1983), a goofy, would-be magician who was fixated on pies filled with the berries.

“A dirty yellow mess.” Turner overhears this rather unflattering critique of his painting.
I just think he ran out of other colors.

Turner is resolved to bequeath his collection...turns down a fortune.
What unassailable integrity. Turner desired his paintings to be enjoyed by the masses not just one rich person. His focus was on posterity, not fiscal security.

“So I am to become a non-entity.” It is appointed to each of us.

Final analysis: a deliberately paced biopic that paints a vivid portrait of the eponymous artist.

Rating:
3 out of 4 stars. Surely not everyone’s cup of tea, but a gorgeous film by director Mike Leigh.

As a film featuring and focused on fine art, it’s fitting that director Mike Leigh should so deftly capture with a camera the same sumptuous vistas that the titular artist, J.M.W. Turner (Timothy Spall), created with his paintbrush back in the early to mid 1800s. Indeed, Leigh’s landscape shots are framed as photo real representations of the various paintings featured throughout the movie. Many of these tableaus are, in a word, painterly, and serve as the perfect compliment to Turner’s impressionistic, maritime paintings. Visual elements aside, the film is a fascinating character study of its central figure, a man who, as a former member of the Royal Academy of Arts, is regarded as one of Britain’s finest painters from his or any other era. As depicted in the movie, Turner is an eccentric individual whose gruff exterior is tempered only by his heart of gold. Spall’s portrayal is exceptionally nuanced, capturing Turner’s quirks and questionable behaviors in a manner that’s intriguing rather than revolting. As the lead performer in a two and a half hour movie, Spall has a surprising dearth of dialog, and many of his lines are little more than grunts…incomprehensible mumblings that lose in clarity what they gain in personality. Perhaps the highest praise for Spall’s performance is that he makes such an oddball character so sympathetic and, to a greater or lesser extent, relatable. History buffs, art critics and cinephiles will surely fall in love with this movie for its artful depiction of…art. But aside from those special interest groups, a broad swath of this movie’s audience will probably find the film: pretentious, dull, tedious, interminable or all of the above. Indeed, for many those viewers, this movie will be about as exciting as watching paint dry.

McFarland, USA (PG)

tt2097298
Directed by: Niki Caro
Starring: Kevin Costner
February 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

McFarland, USA
From Disney studios? You betcha’!

Costner as a high school football coach. It fits, but I thought this was a cross country movie.
Beware the job ending ricochet.

“Are we in Mexico?” Must’ve taken a wrong turn at Albuquerque.
If you’re not familiar with this reference, you need more Looney Tunes in your life.

Welcome to McFarland. Have a chicken.
The new family pet.

Invisible, expendable kids. Sad.
This is a disheartening indictment on the state of our education system.

“Congratulations, you just made the cross country team.” Ha!
No tryouts necessary. Now go run ten miles.

First meet. Palo Alto. No respect for team “Taco Bell.”
Racism in any form is ugly, but when it’s employed in a taunt it’s like squirting lighter fluid on an open flame. Of course, the team uses the anger from those taunts to fuel their revenge tour all the way to the state finals.

Makeshift course for hill conditioning. “The higher the better.”
The almond mounds serve a double purpose: hills to train on and physical reminders of how it took many hours of hard work from an army of low wage pickers to build them.

Costner must overcome the team’s “picker” mentality.
A rigid pattern of thought that leads to the conviction that things will never change for the better.

The bridge scene is moving.

Costner rides a pink “Barbie” bike. He rode a purple girl’s bike in #ThreeDaysToKill.

“Good race amigo.” Ha!
Paybacks are sweet.

Costner learns how to cut cabbages. Earns respect and the title “coach.”
Note to self: If ever you complain about your job at any point in the future re-watch this scene for a reality check and be grateful for what you have.

“Who’s tougher?” Good pep talk.

“McFarland’s going to state.”
A bit of a spoiler, but you could probably guess this from watching the trailer. Anything less would make this a fairly unremarkable story, yes?

“We’re not the chiefs, we’re the indians.” Sage advice.
A lesson that’s better to learn as a young man than an old one.

Costner’s “superhuman” speech is truly inspiring.

Danny Diaz saves the day. What a moment!
One of the ultimate examples of teamwork I’ve ever seen in film. Goose bump inducing.

Final analysis: an inspirational true story sports movie that hits all of the right emotional notes.
In the theater I attended, the entire audience began applauding when the end credits started to roll. Proof positive.

Rating:
3 out of 4 stars. A heartwarming and crowd-pleasing film with another tailor made role for Costner.

As sports go, cross country running isn’t one of the more exciting ones to watch. It also isn’t one of the more exciting sports to base a movie on. However, this film is surprisingly watchable thanks, in large part, to its star. Kevin Costner, the undisputed king of sports movies, plays Jim White, a failed football coach who gets a crazy idea to start a cross country program in the small farming community of McFarland, CA. Costner slips into this role as easily as when he puts on his favorite pair of boots: his rugged, Everyman appeal is a huge boon to his portrayal of Coach White. Not only does Costner look the part, but the veracity he brings to the role makes it seem like he really is a high school coach. In fact, Costner’s performance is so convincing and so effortless that the line between performer and character is exceptionally blurred at times: Costner the actor is subsumed into Costner the coach. As easy as it would be to give the lion’s share of the credit to Costner and his screen wife, Maria Bello, it’s really the no-name cast of Hispanic actors who are the heart and soul of the film. What shines through the most in this story is the hardworking and family focused citizens of Small Town, USA. The movie effectively explores how the other, other half lives and serves as a poignant reminder of the humble beginnings many people come from…and the scores more who never get the chance to improve their circumstances in life. The movie is educational; both in how it raises awareness of the lesser-known sport of cross country and in the way it reveals the inner workings of the Latino culture. The movie is also inspirational, depicting the means by which perseverance and teamwork can pave the pathway to success. Though the sports elements, and even the exultation and satisfaction over seeing the team win big, lend the true story its feel-good exuberance, the film attempts to impart something much deeper than just a standard chronicling of yet another high school championship team. The movie takes us back to the basics—dedication, loyalty and community, to name a few. In the final analysis, the biopic aspect is far less compelling than the movie’s subtle reminder of what really matters most in life: keeping the main thing the main thing. It’s a universal challenge that applies to those living in a sprawling metropolis or in McFarland, USA.

Wild (R)

tt2305051
Directed by: Jean-Marc Vallee
Starring: Reese Witherspoon
December 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Wild
Or sandals with duct tape. Hiker’s choice.

Loosing a toenail is painful. Loosing a shoe is devastating. Not a promising beginning.
The film does a great job of beginning right in the middle of the action…a tried-and-true guideline for good writing.

Walk a thousand miles? Piece of cake.
I mean, Forrest Gump ran from one coast to the other.

Reese wrestles with her mondo backpack. It has her pinned for a moment, but she prevails in the end. #CloseCall
There comes a point when too much planning is counterproductive.

No wonder Reese’s backpack is as big as she is, she’s lugging around journals and poetry books. #TravelLight
What she really needed was a book on how to pack light. Oops…more space.

Always bring the right fuel.

Divorce tattoos. Hmm. I thought the idea was to move on from the other person not to be constantly reminded of them.
I’ve never heard of this before and it seems a bit ridiculous. But to each his/her own.

Don’t get stuck in a rock crevasse, Reese. Learn from James Franco’s mistake.
She had me worried for a moment. Getting wedged in a rock outcropping would’ve changed the whole tone/theme of the film though. And not for the better.

“Seriously, you have no Snapple in that pack?” Nope, just the kitchen sink.
Actually, her backpack is about the size of a sink.

Pruning time. Lose the library and the...prophylactics? 12 of them? How much action was she expecting on the trail?
I understand that women have expanded awareness (thank you, John Gray) and that they always like to be prepared (like any good Boy Scout), but the inclusion of this item baffles me. Was she planning on humping a cactus? Or worse still…a coyote?

Find your best self.
A tad Hallmark-ish, but a nice reminder/sentiment just the same.

“Here’s to a young girl all alone in the woods.” Reese encounters the most dangerous predator...a horny redneck.
The rattlesnake doesn’t even come close to rivaling this threat.

Queen of the PCT. It’s better than Jane.
PCT = Pacific Crest Trail, locus for the majority of the film’s action. Jane = Tarzan’s mate, referenced earlier in the movie.

The polite boy is adorable.
And has a nice singing voice to boot.

Reese finds forgiveness at the Bridge of the Gods.
Self-forgiveness. The hardest kind to accept.

Final analysis: a well told journey of self-discovery and redemption, with some gorgeous scenery.

Rating:
3 out of 4. This emotionally, physically demanding role brought out the best in Witherspoon. Wild about it!

The premise here is pretty straightforward: a survival plot with a spiritual journey subplot. Though the progression of incidents makes the story fairly predictable, a few minor twists along the way add variety and intensity to the laser like through line. What breaks up the formulaic narrative is a series of flashbacks which fill in the gaps of Cheryl Strayed’s (Reese Witherspoon) tumultuous life leading up to her fateful decision to set out on a thousand mile schlep across the California desert. If the film has any art, it’s achieved during these dreamlike reflections that pop into Reese’s mind at random intervals during her trek. Wild is based on the book of the same name, which is based on the actual events of the brazen journey Strayed embarked upon in 1995. It’s hard to know if any other actor could’ve portrayed Strayed as effectively, but there can be no doubt that Reese pulls off the part…which is somewhat surprising since, thematically speaking, it’s a million miles away from Legally Blonde (2001). This role is quite a departure from the typical dolled up, good girl part Reese has played in many of her previous movies, so kudos to her for getting in touch with her inner Annie Oakley. Although much of the movie centers on Strayed’s often arduous attempts at negotiating her way through physical and emotional wastelands, she does encounter several people along the way (played by Thomas Sadoski, Gaby Hoffmann, Kevin Rankin and Cliff De Young) who provide her with valuable wisdom and resources. The standout supporting performance comes from Laura Dern, who plays Strayed’s mother, Bobbi. Bobbi’s bright, beaming face belies the inner pain she experiences from her bought with a terminal illness. Though her screen time is limited here, Dern, whose heartfelt portrayal is humbling and inspiring, has garnered an Oscar nomination for Best Supporting Actress. Perhaps it’s the fish-out-of-water, against type casting, but Reese has also received a nod in the leading female category. All things considered, this film isn’t earth-shattering, but it is gritty, flawed and genuine, much like its central character. Though many of us will never attempt such a challenging journey, we can live vicariously through Strayed’s incredible accomplishment by watching this movie from the comfort of a theater or our own living room. Unless someday we get a wild hair to have a wilderness excursion of our own.

The Theory of Everything (PG-13)

tt2980516
Directed by: James Marsh
Starring: Eddie Redmayne
November 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

The Theory of Everything

Science meets Arts at a party.
They say opposites attract. Here it’s not only a contrast in field of study but also in political/religious views.

A test to separate the quarks from the quacks. Amusing.
David Thewlis, best know for his portrayal of Remus Lupin in the Harry Potter movies, is a really good journeyman actor and is perfect in the role of Hawking’s professor.

“Celestial dictator.” Hawking’s rather unflattering moniker for the Almighty.
He finds “your lack of faith disturbing.”

“A false conclusion.” True love, however, can never be false.
Proof positive that love isn’t logical or quantifiable. It’s the only thing in the universe that an equation can’t solve. In short, love is the theory of everything. A curious aside: in John Nash’s (Russell Crowe) final speech in A Beautiful Mind (2002), he refers to “the equations of the mind” and credits love as the answer and solution to life’s mysteries. Two brilliant contemporaries arriving at the same conclusion. Fascinating!

Chapter four is “brilliant.” Secures Hawking’s professorship.
Chapters 1-3? Eh.

Need stress relief? Join the church choir.
Hawking’s wife eventually does find relief from her stress…in the arms of the choir director. Scandalous? Look two tweets ahead.

A lesson in pees and potatoes.
Some of the science goes right over my head, but the vacillation of theories regarding divinity is amusing. First Hawking proves the existence of God and then the scientist kills the Almighty. Don’t worry, Stephen, He believes in you even if you don’t believe in Him.

Hawking gives his wife a hall pass.
That was really big of him. Sheesh, I didn’t mean it like that.

A spelling board...how quaint. And crude. What a torturous way to communicate.
Seems like an alphabet chart with a pointer or even a Ouija board would be more efficient.

Hawking slips into a coma...his own personal black hole.

“That is for a friend.” Nice cover.
Oops, I guess that’s a double entendre.

A dot matrix printer. What a blast to the past.
Slow, loud printing. Hard to read. Perforated edges that you had to tear. Don’t miss it at all.

“Look what we made.” Touching.

Final analysis: a bittersweet biopic that deals with personal tragedy and life’s big questions.

Rating:
3 out of 4. An inspirational tale and an astounding, body-wracking performance by Redmayne.

As a film that focuses on the extraordinary life and career of renowned theoretical physicist, Stephen Hawking, the story is exactly what you’d expect it to be: a chronological, cause and effect period piece with fine performances and a plot that’s diligently moored to the actual account. Some will consider this middle-of-the-plate approach to be acceptable while others will regard it as inexcusably uncomplicated and lacking in imagination. In either case, the plot is a linear progression of significant moments in the mathematician’s life and, as would be expected, the narrative proceeds in a very logical and methodical manner. Save for Hawking’s occasional mental flash of celestial lucidity, there’s very little style here. Since much of the story focuses on Hawking’s preoccupation with time, it would’ve been effective, even fitting, if the story had employed flashbacks, flash-forward’s, disjointed continuity or other causal devices in reflecting the fluid nature of the movie’s temporal plot. Mind you, I’m not advocating a reverse polarity plot like in Christopher Nolan’s Memento (2001), but maybe something with leaps forward or backward in time like TVs Lost would’ve served the movie in good stead. Standard storytelling choices aside, any serious discussion of the film begins and ends with Eddie Redmayne’s mesmerizing, transcendent portrayal of the ALS afflicted central character...due to the inherent physical demands of the part, Redmayne justly deserves the Oscar nod he’s received for this role. Redmayne’s nuanced, effortless depiction of Hawking’s gradual physical deterioration is a study in brilliance. It’s a performance that exacted a considerable toll from the actor—the contortions required to mimic Hawking’s degenerative condition must’ve been agonizing to model and maintain. Somatic challenges aside, Redmayne’s facials reveal a man who appears to be virtually unaffected by his malady. If this portrayal is accurate, Hawking is far more jovial and enthusiastic about life than most of us would be in his position. The fact that Hawking can still smile at all is truly inspirational. All in all, this is a decent film that’s a fitting tribute to one of the brightest minds of our generation. However, the movie lacks the narrative savvy required to effectively convey its chrono-centric theme. The logic over emotion methodology has resulted in a film that fails to make any deep, lasting connection with its audience. So, will this film go down as one of cinema’s finest biopics? Time will tell.

Birdman (R)

tt2562232
Directed by: Alejandro G Inarritu
Starring: Michael Keaton
November 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Birdman

Subtitle: The Unexpected Virtue of Ignorance.
Little did I know when I tweeted this phrase that it would appear as a headline later in the movie.

@MichaelKeaton levitating in his underwear is an unexpected first scene. Really sets the tone.
Don’t worry this isn’t the last time you’ll see Keaton in his underwear in the movie.

@ProstateWhispers. Hilarious!
Funny thing is, when I typed it in, some guy had already created that Twitter account. Life imitating art?

“I didn’t even know the man” scene is amusing and beautifully acted.
This is like an entire acting workshop in a five minute exchange. Superb choices by two exceptional actors.

@EdwardNorton brings the cupboard down, but not the house.
Not in the truest sense of the phrase, anyway. His actions do produce hysteria in the audience, but not for being genuinely funny.

“You’re not important. Get used to it.” #EmmaStone delivers one powerhouse monologue.
Stone’s monologue ends up being a direct address to the camera and the intensity in her gaze threatens to burn holes in the screen…and the audience by extension. One thing’s for sure, I’d never want to make her angry.

Truth or dare scene is fun...and revealing.

“I can pretend too.” Ha!
Another phenomenal exchange between Keaton and Norton.

The toilet paper philosophy scene is profound in an offbeat way.
And humorous when Keaton wipes out humanity by absentminded dabbing his face with the double ply square.

Sometimes you have to stop and smell the lilacs.
Or non-smell them in this case. But they still look nice, and it’s the thought that counts.

All that gauze and tape around his nose makes him look like his alter ego.
You can bet this visual symbolism wasn’t just a happy accident.

Final analysis: a meaningful, yet bizarre effort with a behind the scenes,
A Prairie Home Companion vibe.

Rating:
3 out of 4 stars. An ambitious project with top tier performances and a one-of-a-kind story.

I doubt anyone who’s seen this film would disagree that it’s a true original. Whether or not it’s enjoyable is a matter of opinion. The story itself, which centers on middle-aged Riggan’s (Michael Keaton) attempt at recapturing some of the glories of his early acting career, should be universally understood and appreciated by most folks in the audience. However, the film runs the risk of loosing its audience over whimsical visual elements, i.e., Riggan levitating in his underwear or soaring above the NYC skyline as if he possesses the abilities of the fictitious, titular superhero. The blurred edges of fantasy and reality are painted with fine brushwork by director Alejandro G. Inarritu (Biutiful), but such intermittent departures from reality will undoubtedly prove inspiring for some spectators and irritating for others. There’s an enormous amount of art in the film, which should keep the die-hard cinephiles drooling: there’s also a very Broadway-centric narrative here, which should fill the theater set with elation. To whit, the majority of the movie is filmed inside the expansive area behind the stage, where labyrinthine hallways lend access to the prop, dressing and dining rooms where most of the drama takes place. The action randomly meanders between the various rooms, setting up juicy character vignettes in a similar manner to what Robert Altman achieved in A Prairie Home Companion (2006). Some of the film’s most meaningful moments include: Keaton’s heated exchanges with Emma Stone, his screen daughter; Stone and Edward Norton’s witty banter on the patio; Keaton and Norton as they vie for star status on the show and Keaton’s acerbic conversation with a jaded theater critic (Lindsay Duncan) in a bar. This last scene underscores the antagonistic relationship that often exists between actors and critics—it’s a clash of ideologies with vitriol to spare. Also worth mentioning is the film’s thinly veiled thesis on theater’s ostensible artistic preeminence over commercial films (and TV, etc). The inference here, and it’s been borne out many times by typecast actors, is that an actor who achieves commercial (cinematic) success early in his career might find it difficult to secure serious work in later years. There have been notable exceptions to this notion, like Robert Downey, Jr., who was an established thespian long before he was tapped to play Iron Man (at age 43). A fading public image has vexed many an actor over the decades, and Inarritu takes that mental angst to a fantastical extreme by showing us several glimpses of Riggan’s alter ego—the actual Birdman—who haunts and taunts the aging star’s private musings. Indeed, the often antagonistic or nihilistic voiceover thoughts, which struggle for supremacy over Riggan’s conscious cogitations, are an extremely effective take on the Jekyll/Hyde story device. These dark imaginings pose an intriguing question: Is this whole movie transpiring inside Riggan’s head? If so, is he actually an asylum inmate (as is supposed of Leonardo DiCaprio’s character at the end of Shutter Island) with the movie’s many flights of fancy simply representing the mental mechanizations of a certifiably insane individual? Besides the finely honed characterizations and stylish production, it’s really the multivalent nature of the psychologically complex plot that has ensconced this film in its own creative universe. The story is definitely open to interpretation, as is its appeal.

American Sniper (R)

tt2179136
Directed by: Clint Eastwood
Starring: Bradley Cooper
January 2015

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

AmericanSniper

The opening scene is the trailer. Right into the action.

Three types of people. A stern lesson.
Chris Kyle’s dad dispenses this harsh wisdom in order to toughen up his sons. Interestingly, in the early goings of Eastwood’s Jersey Boys (2014), a mentor tells Frankie Valli and his cronies that there’s only three ways out of the neighborhood. Maybe it’s just unfounded numerology, but the similarities between these scenes seemed worthy of highlighting.

She did it to get attention. Any excuse will do, I suppose.
If you’re caught red-handed, just confess. The “you weren’t supposed to be back until tomorrow” excuse is lame to the degree that it’s almost worse than the act of indiscretion.

Playing darts on a guy’s back. These SEALs are tough!
Lots of machismo in this scene. And a fateful night for Kyle, who meets his future wife at the bar.

“The space between heartbeats.” Who knew target practice could be so poetic?

He can’t hit a target, but he can tag a snake.
Reminds me of Paul Hogan’s Lightning Jack (1994), a self-styled Old West outlaw from Down Under who needed glasses to read but could hollow out a coin with a bullet from fifty feet away.

New Olympic sport...sniping.
The addition of the Syrian sniper is one of the film’s main criticisms. Apparently this nemesis is largely fictional, finding inspiration from a solitary chapter in Kyle’s book. However, the addition of a competent counterpart to Kyle ratchets up the tension and provides a de facto villain to the proceedings. The cat and mouse contest between the two top snipers reminds me of the taut action sequences between expert marksmen Jude Law and Ed Harris in Enemy at the Gates (2001).

Nitpick: Despite what the smart Alec says, it is a comic book. Graphic novels are much thicker.
A graphic novel is an expanded story or a collection of loosely related, non-continuous stories. It should be obvious, to anyone who’s ever picked up a comic book, that what the cocky character is holding in his hands is a single issue of a serialized comic book series, not a graphic novel.

“Horny preggers.” Ha!

Clear houses with the marines...takin’ it to the street.
I applaud Kyle’s assertiveness. Instead of just following orders and sitting around, Kyle was instrumental in saving the lives of many Marines while also extracting vital intel with his advanced negotiation/coercion skills.

Neighbor’s lawnmower turns on...the first signs of PTSD.
And speaking of PTSD…

The shell shocked brother scene is sad.

A direct action squad...bold new plan.

Squeaky floor, hidden cache.
So much for the hospitality. Hope the meal was good.

“You saved my life.” Goosebumps.
Cooper’s performance, as a man uncomfortable with accepting praise from others, is thoroughly convincing here.

“You can only circle the flame so long.” Sobering. And prescient?
It looks like that statement was prescient after all, although what ultimately does Kyle in completely took me by surprise.

Zales bites the bullet.
A tragic story line since it looked like he would pull through.

Tour Four: is this a vocation or addiction?
A condition we also saw in The Hurt Locker (2008) when soldiers were shown playing FPS video games on their downtime. Here, Kyle watches video recordings of some of the military operations he was a part of and, even more frighteningly, relives battles in his mind while starring at the black screen of a turned off TV.

“Don’t pick it up” scene is heart-stopping.
This is the ultimate crisis moment in the film. What an awful decision to be faced with. No wonder he had PTSD. Who wouldn’t?

Sandstorm. Visibility nil. How the heck do they know who they’re shooting at?
Talk about the fog of war! These are prime conditions for friendly fire.

“Who’s the legend now?” Ha!
Eastwood lays the “legend” status on pretty thick, especially since I’d never heard of Kyle before watching this film.

Final analysis: a haunting look at conflict in the Middle East and the toll it takes on our soldiers.
And at how little we invest in their lives after they return home.

Rating:
3 1/2 out of 4 stars. A career turn by Cooper and Eastwood’s finest film in years.
What was Eastwood’s last great movie: Invictus (2009)? Gran Torino (2008)?

For all of the active/retired members of the military reading this, thank you for your service.

How fitting that an actor/director whose name has become synonymous with bullet-riddled actioners over the last half century should helm a movie based on the incredible true story of Navy SEAL sniper Chris Kyle. There can be no doubt that this is Clint Eastwood’s finest directorial effort in years and that, when his illustrious career finally comes to an end, this film may very well go down as his behind-the-camera magnum opus. Based on the book of the same name by Jason Hall and Kyle himself, American Sniper follows the exploits of this decorated soldier and his plights on the battlefield and on the home front. Bradley Cooper, in an unequivocally brilliant performance, fully inhabits the title role and imbues Kyle with genuine emotions and reactions to the most stressful, unenviable circumstances imaginable (reference the “Don’t pick it up” scene). Regardless of the location or situation, Cooper eases himself into scenes that require: decisiveness on the front lines, tenderness at home with his family, awkwardness when praised for his heroic accomplishments and startling deftness at picking off enemy combatants in the heat of battle. With appropriate kudos going to the two men who made this film an indelible, inescapable biopic, it’s time to shift focus to the elephant in the room—as you’re probably aware of by now, thanks to media saturation, this film has generated a generous amount of controversy. Other than the fact that there are just as many F bombs dropped as bullets fired in the film, it’s hard to see how anything in this movie can be construed as controversial. Some will argue that the movie glamorizes violence, but in reality it does the exact opposite by depicting the horrors of war and the devastating effects it has on our troops. With all due respect to those who maintain a dissenting viewpoint, and at the sake of fanning the flame of an already incendiary topic, those who assess this film as a pro-war endorsement are completely missing the point. War is hell and its effects on soldiers are often mentally debilitating, as evidenced by Kyle’s severe PTSD in the movie. Despite several protracted battle sequences, which detail some of the major skirmishes Kyle participated in, the film in no way glorifies war. By contrast, the film shows good people getting their faces blown off or innocents being tortured by a drill, examples that underscore the need for our continued participation in ending the reign of terror in the Middle East. Again, I vehemently oppose the notion that this is a pro-war propaganda piece…it’s a brutally honest portrait of one man’s combat experiences and the traumatic effects those four tours of duty had on his psyche and his entire family; as the movie subtly reveals, everyone suffers when the soldier returns home from active duty. It’s a shame that the well advertised controversy, which hangs over the film like an oppressive layer of cloud, has cast an unflattering light upon this superlative film. However, judging from the way this movie has engendered long lines and packed theaters (I was shut out on its opening weekend), the controversy surrounding the film has generated a buzz that’s done wonders for its bottom line. Bottom line, Eastwood and Cooper are worthy of Oscar attention and the story is a potent reminder that freedom is never free. This film will stand the test of time, and with good reason. Parting shot: the extended “moment of silence” during the end credits is sobering and haunting.

Selma (PG-13)

tt1020072
Directed by: Ava DuVernay
Starring: David Oyelowo
January 2015

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Selma

The movie opens with an unexpected bang. What a senseless act of violence.
And it always seems like it’s the kids who pay the price…sad.

The right to vote unencumbered. No small ask.
Especially in the Deep South in the 60s.

“Dismantle the family.” A cruel strategy.
J. Edgar Hoover isn’t painted in a very favorable light in this film. He was also portrayed very unsympathetically in Clint Eastwood’s J. Edgar (2011), which is probably one of the reasons why that film didn’t do too well critically or financially.

“Give us the vote” speech is sensational.
In fact, it makes you want to stand up and cheer. But save your applause for MLK’s final rousing speech from the steps of the capitol building in Montgomery, Alabama.

“God was the first to cry for your boy.” Rough scene.
What a powerful sentiment and reassurance for a grieving father. Even when he wasn’t reciting a speech, MLK had a way with words.

MLK takes a long time to answer no. An uncomfortable and telling scene.
And an agonizingly ambiguous scene. But, with as much time as he spent away from home, it’s no wonder why MLK had relational problems with his wife.

The debacle on the bridge is a rough sequence.

March 2.0 with mixed races.
The tide begins to turn. The scene where MLK kneels to pray and the masses behind him follow suit reminds me of when Aragon kneels to pay homage to the hobbits and his entire kingdom kneels behind him in The Lord of the Rings: The Return of the King (2003). Note to women: that level of respect is enough to make a grown man cry. Works on me every time.

LBJ strikes down voting restrictions. Victory at last.
Persistence pays off…but at what price?

Footage of the actual march is deeply affecting.
Such archival footage provides authenticity and a profound weight to its historicity.

Final analysis: a deeply moving biopic centered on the landmark march for human rights in Selma, Alabama.

Rating:
3 out of 4. A difficult film to watch at times, but the uplifting ending makes it a journey worth taking.

This film is riddled with pro/con contradictions. On the plus side we have a story that focuses on an iconic figure from American history at the crux of his most monumental mission to affect a sea change in our country’s civil rights. On the minus side we have a story that focuses on an iconic figure from American history at the crux of his most monumental mission to affect a sea change in our country’s civil rights. In other words, because this story is so familiar to our collective consciousness (MLK’s name should be familiar to every citizen in our country, if only because of the national day named in his honor), the subject matter is easily comprehendible but also entirely too predictable. The movie’s main challenge was how to capitalize on the story’s immediacy and accessibility without making it perfunctory or hackneyed. The results here are a mixed bag. First to what works well in the film. The use of original locations where the actual events took place, accompanied by period appropriate cars, costumes, etc, is a huge boon to the movie; they add the kind of authenticity that’s a prerequisite for quality biopics. Also, the film boasts a dazzling array of top shelf talent, including: Oprah Winfrey as Annie Lee Cooper, Tom Wilkinson as former U.S. President LBJ, Giovanni Ribisi as Lee White, Common as James Bevel, Dylan Baker as J. Edgar Hoover, Tim Roth as Alabama Governor George Wallace, Stephen Root as Colonel Al Lingo, Cuba Gooding Jr. as Fred Gray and Martin Sheen as judge Frank Minis Johnson (uncredited). Whereas the performers certainly did their part in effectively portraying key figures from the era of civil unrest depicted in the movie, the writing and directing are the more culpable culprits for the film’s underachievement. Director Ava DuVernay’s technique is fairly invisible, which is fairly consistent with the framing methods employed during the mid 60s, but the resulting film has very little visual panache and is somewhat muted and bland—the very antithesis of the period in question. It seems as if DuVernay was so concerned with accuracy and veracity that she eschewed creative impulses at every turn, sacrificing any modicum of style or art in the process. At times, the plot feels like a cause and effect string of the significant events and speeches in MLK’s life. Since these public addresses are mere dramatizations of his original talks, wouldn’t showing clips of MLK’s actual speeches have been more emotional and impactful (and economical)? One of the biggest detractors to the narrative is that it’s so preoccupied with telling a historically accurate tale that it sacrifices character development in every case except for the title character. Other than the scene where MLK’s wife asks him if he loves her, the event-driven plot preempts any kind of heartfelt interactions and, indeed, stays just outside the circumference of genuine, human emotion. Granted, this film isn’t remotely as insipid as a Lifetime special, but it’s a far cry from being a bracing biopic like Argo (2012). Final thought: when I screened the film, I ended up sitting next to two teenage girls in a packed theater. Though they whispered back and forth a few times, the movie seemed to hold their attention the whole way through. This heartened me since there were plenty of other, more age appropriate entertainments in the Cineplex for them to choose from. That they selected this film meant that either their parents/teachers obligated them to go or that they had a genuine interest in learning more about MLK’s amazing life story. If the latter is true, we can find some comfort in knowing that today’s young people still want to learn about history—an encouraging sign since we all know what happens to those who fail to learn from the past.

The Imitation Game (PG-13)

tt2084970
Directed by: Morten Tyldum
Starring: Benedict Cumberbatch
December 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

The Imitation Game

The opening narration admonishes us to “pay attention.”
Thanks to Sherlock, I’ve been conditioned to automatically pay attention whenever Cumberbatch is onscreen.

Cumberbatch is recruited to study the “crooked hand of death.”
Otherwise known as Enigma. If you remember the movie U-571 (2000), their mission was to board a German sub and steal an Enigma device. Hey, maybe the encryption machine Cumberbatch’s team is trying to decipher is the same one from U-571?

“Should we leave the children alone with their new toy?” Ha!

Mission: check twenty million settings in twenty minutes. No problem.
If you’re Data (ST:TNG).

A machine to defeat a machine.
Sounds like a Terminator movie. This concept doesn’t sound like rocket science, but, inexplicably, it was back during WWII. The fact that Turing’s insistence on building/funding a machine was resisted by the military is simply incredible. How shortsighted and…illogical.

Crossword audition is clever.
But the chauvinistic tryout is disappointing. Apparently only men were good at crosswords back then.

Christopher is turned on for the first time.
This was the only child Alan Turing ever had, but what a brainchild. His creation (a rudimentary computer) not only single-handedly shortened the war; it’s changed the course of human evolution.

A rudimentary key word search is devised. Bloody brilliant!

“Turns out that’s the only German you need to know to break Enigma.”
The movie avers that love ended the war, but it was really Germany’s undying allegiance to Hitler that did them in—in more ways than one.

“We’ll have each other’s minds.” Uncommon bravery.
This is an astounding scene. Clarke’s (Knightley) willingness to marry Turing even after he reveals that he’s gay is mind-boggling. Turing knows that a life with him would be unfulfilling and rife with hardship so he pushes Clarke away with a vicious lie. In reality, he loves her too much to consign her to a life of unhappiness with him. It’s a bitter exchange with incisive dialog and superlative acting.

Final analysis: a staggering true story with a tremendous lead performance by Cumberbatch.
Cumberbatch continues to astound with each new part he plays…be it human or dragon.

Rating:
3 1/2 out of 4 stars. A superb period piece that should garner a great deal of Oscar attention.

As Turing’s (Benedict Cumberbatch) voiceover narration attests, intelligence wins wars…not planes, ships or boots on the ground. Though Imitation resembles neither a traditional, action-packed war film, nor a spy thriller, it’s much more than just a true story about how the Brits subverted the German intelligence apparatus: it’s a bracing character study, a tragic tale of unrequited love, a psychological war film (with only brief glimpses of actual combat) and a true account of how Turing’s machine helped to end the war while ushering in the computer age. A non-action war movie might not sound all that exciting, but thanks to its engaging story and fascinating character interplay, interest never wanes during the two hour drama…a tribute to Graham Moore’s screenplay (based on Andrew Hodges’ book) and Morten Tyldum’s taut direction. Of course, the name and face on the poster is what will attract viewers to this low-key, slow-boil period piece. Due in large part to his work on TVs Sherlock and big screen blockbusters like Star Trek Into Darkness (2013), Cumberbatch has become a household name and is fast becoming one of the finest actors of his generation. If Cumberbatch’s portrayal of Sherlock is noticeably ADHD, his turn as Turing more closely resembles someone on the spectrum. The lunch invite scene is uproariously funny and features a spot-on Asperger-ish delivery by Cumberbatch. As for the movie’s romance, Cumberbatch and Keira Knightley are brilliant as mismatched lovers. It’s profoundly sad that the mental compatibility these characters possess doesn’t translate into physical compatibility. This failed romance begs an interesting relational question: is the meeting of minds more important than physical infatuation? Many would respond in the affirmative, and if true, Turing and Clarke had a deep, meaningful love affair in spite of its platonic status. The procedural component of the film drags at times but contains enough unexpected turns to keep the audience engaged. The team of code breakers includes some interesting characters, one of whom has extracurricular allegiances, a subplot that provides the movie with a spot of intrigue. The size, composition and specialties of the group are strikingly similar to the members of the implosion team on WGN America’s Manhattan, a WWII set TV series that chronicles the mad scramble by American scientists to discover a way to split the atom. Though on opposite sides of the pond, Manhattan and Imitation both center on groups of scientists and mathematicians working on top-secret projects to defeat the Nazis amid an oppressive military presence; and both objectives are challenged by unforeseen consequences. The burden of knowledge has rarely been as devastatingly depicted as in this film. Indeed, Enigma becomes a Pandora’s Box of sorts when the code is finally cracked but restraint must be exercised so as to not tip off the Germans that their complex cipher has been decoded. The implications of this ethical dilemma erupt in a scene where one of the young men on Turing’s team, Peter Hilton (Matthew Beard), realizes that warning his brother’s ship of an impending German attack would expose their discovery and effectively nullify the years of work that went into breaking the German code. It’s a bitter twist on Star Trek’s “The needs of the many outweigh the needs of the few…or the one” maxim that Peter’s brother must die in order to preserve the secret that can win the war. How ironic that the team was so preoccupied with cracking the code that they failed to consider the implications and ramifications of what that knowledge would bring. Armed with substantial narrative and emotional complexity, this highly intelligent intelligence movie will go down as one of the finest non-war War movies in cinema history. There’s nothing Imitation about the film…it’s one of a kind.

Unbroken (PG-13)

tt1809398
Directed by: Angelina Jolie
Starring: Jack O’Connell
December 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Unbroken
And co-written by the Coen brothers, based on Laura Hillenbrand’s bestselling biography. You’d be hard pressed to find a stranger amalgamation of creative talent on any movie project, much less a historical biopic.

Heavy flack...so much for the sneak attack.
Correction: flak. Flack is what I’ll get for misspelling the word.

“Love thine enemy.” An apropos homily for what’s to come.

Run, Louie, run!
With apologies to Forrest. But seriously, this scene reminded me a lot of the early running scenes in Forrest Gump (1994).

Brother’s parting words are profound.
In fact, Louie’s brother has some of the most inspirational lines in the film and is, arguably, the reason why Louie has the mental tenacity to survive his many ordeals.

Certified by Helen Keller. Ha!
Helen Keller jokes are usually made in poor taste, but I couldn’t keep from laughing at this one given the context.

A bump on the raft in the middle of the night. Doesn’t get much more terrifying than that.
I’m pretty sure I wouldn’t get a wink of sleep…in fact, I’m positive.

The barf scene is disgusting. Glad I didn’t see this in 3D.
Lest you grow frustrated searching Fandango for a 3D version of the film, know that I was using hyperbole here. My comment was solely intended as a jest. Still, Jolie didn’t have to film the puke coming straight at the camera…and audience by extension.

Take your pick: a strafing plane or man eating sharks.

Would you rather die on the open seas or be taken to a Japanese internment camp?
There’s a card game with similar hypothetical quandaries, but I’d be willing to bet that this scenario isn’t one of them.

Louis refuses to read a false statement...becomes a human punching bag.
The price of allegiance…and integrity.

The Tokyo Ritz turns out to be a coal barge.
Instead of a chocolate on their pillow they get a lump of coal as their pillow.

Louis lifts a heavy beam over his head...his own personal cross.
In addition to being beaten with a bamboo stick and repeatedly punched in the face, this is yet another parallel between Louis’ sufferings and Christ’s.

Final analysis: a heavy true story that captures the triumph of the human spirit amid tragedy and suffering.

Rating:
3 out of 4 stars. Not an enjoyable film but an important and inspiring one.

I must admit, when I first learned that this film was directed by Angelina Jolie and co-written by the Coen brothers, I had serious doubts that it would adhere to Laura Hillenbrand’s bestselling book or, more importantly, honor the extraordinary life of its central personage, Louis Zamperini. I’ve never been happier to have been proven wrong. Jolie’s direction isn’t masterful but it’s very good…perhaps even surprisingly good. Of course, Jolie was supported by some exceptional talent behind the camera, beautiful location work and finely crafted, period appropriate props, sets, costumes and other production elements. The story hews fairly close to Hillenbrand’s novelized biography with a few notable embellishments and exclusions. While the book mentions the survivors catching birds and fish for food, grabbing a shark right out of the water by its tail seems a bit Hollywoodized. One significant omission from the film is that during the Summer Olympic Games in Berlin (1936), Zamperini actually met Hitler, who complimented the runner on his record-shattering final lap of the 5000-meter race. While on the subject of the Olympics, I wish Jolie would’ve spent more time on this aspect of Zamperini’s amazing life journey…it would’ve served as a lighter, happier counterbalance to the bleak and tragic events that dominate the back half of the film. To whit, for those who are disturbed by images of violence, the movie’s torture scenes may be difficult to endure. Though a far cry from torture porn, squeamish spectators are advised to avert their eyes or make a run to the concession counter during the beating scenes. All things considered, Jolie acquitted herself well in her second directorial effort and the story itself, though difficult to watch at times, is undeniably inspirational. It fills me with profound sadness that Zamperini never got to see his life story on the big screen—he passed away on July 2, 2014. This was a true account that deserved to be experienced by a mass audience, so I’m thrilled that it’ll now be immortalized on the big screen for future generations to experience. Your life and legacy are an inspiration to us all, Louie. RIP.

Big Eyes (PG-13)

tt1126590
Directed by: Tim Burton
Starring: Amy Adams
December 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Big Eyes
No Johnny Depp? No Helena Bonham Carter? Boy, Burton really is turning over a new leaf.

“You’re better than spare change.” Quite a pick up line.
It’s on the opposite end of the spectrum from “You look like a million bucks!”

“You are on the threshold of untold success.” Something tells me Adams’ fortune is about to come true.
Of course, I’ve seen the trailer, so I cheated.

The “Hobo Kids” paintings are all the rage thanks to the altercation reported on the front page.
A surefire way to create a sensation is to couch it in controversy.

Charging for posters of paintings...what a concept.
It was revolutionary for its time, but would be an obvious move by modern marketing (which, of course, would utilize the internet to drive sales).

The grocery store scene is the first traditional Burton flourish in the film.
This scene might weird some people out, but it’s really telling of Adams’ character’s psyche. On the other hand, maybe she’s completely sane and that particular store just happened to be invaded by aliens hailing from the same world as that big eyed nurse seen at the beginning of Star Trek (2009).

S. Cenic. The cat’s out of the bag.
“Scenic” is such an obvious tipoff that I’m surprised nobody in the art world caught it and ousted Walter Keane on the spot…unless this was artistic license taken by Burton in order to preserve the anonymity of the not-so-innocent artist/huckster until late in the film.

Adams works on a “defining statement” for the World’s Fair.
One set of big eyes per painting is manageable, but a throng of such bulging ocular orbs painted on a mural is overkill, right? And a bit creepy?

The “infinity of kitsch” is lambasted in the Times.
Terence Stamp is superb here and really gets in touch with his inner Anton Ego (Ratatouille).

“Eye did it!” The truth comes out.
A clever headline. Puns were more en vogue in the 60s, so it probably got better comedic mileage back then.

The courtroom “choreography” scene is humorous.
It’s the type of buffoonery you’d expect to see in a Looney Tunes short.

The verdict will be based on a paint off. Saw that coming.
The audience can predict the necessity of this scene twenty minutes earlier in the film, but the payoff is still extremely satisfying. The sequence has a very classical Hollywood feel to it.

Final analysis: a superbly crafted true account with tremendous performances and brilliant direction by Burton.

Rating:
3 1/2 out of 4 stars. Burton has redefined himself as a “serious” director. Who knew?

This is Tim Burton’s most enjoyable film in ages. Perhaps not incidentally, it’s also the least fanciful film he’s helmed in the same span of time. Have Burton’s recent box office bombs forced him into becoming an honest filmmaker? If the quality work he’s turned in here is any indication of his potential to become a dramatic director, one can certainly hope. Without the assistance of his usual thespian crutches—Depp and Bonham Carter—Burton has tapped Christoph Waltz and Amy Adams as his leads and not only was the casting pitch perfect, so are the performances themselves. Adams is extremely adept at generating pathos for her struggling artist single mom and Waltz is masterful at imbuing his deceptive opportunist with enough rakish charm to prevent his character from degenerating into a caricatural villain. Taking nothing away from the superb directing and writing, it’s really the acting that elevates this film above the scores of well crafted biopics. In fact, the performances are so mesmerizing that much of the time we’re completely oblivious to the finely appointed, period appropriate sets, props, costumes and other production elements that effectively transport the viewer back to the 50s and 60s. The attention to detail here is staggering and furnishes the film with a level of authenticity that’s absent from less meticulous, less immersive period pieces. And let’s not forget the film’s most valuable and vital props—the paintings. Some will find them appealing while others will find them creepy, but however you view them, the “big eye” paintings are the film’s focal point and silent co-star…and basis for the title. Burton has always had a yen for bizarre, disproportionate and askew characters, so doing a film about big eyes seems like a natural fit for the director, especially when recalling his walleyed Mad Hatter in Alice in Wonderland (2010), who could easily be a grownup version of one of the dejected waifs in Margaret Keane’s (Adams) paintings. Not only does Burton like big eyes, it would appear that he also likes the word big itself—this is the third movie he’s directed with that word in its title (1985’s Pee-wee’s Big Adventure and 2003’s Big Fish—to cover all the bases Burton should call his next movie Pee-Wee’s Big Eyed Fish). This film is a watershed event in Burton’s career; against all probability, he’s reinvented himself as a director of independent dramas. Burton can always return to his fanciful fantasy film roots if he so desires, but at least he has something to fall back on now if those projects should flounder. That might not mean anything to you, but to the baron of the bizarre, I’m sure it’s a pretty big deal.

Exodus: Gods and Kings (PG-13)

tt1528100
Directed by: Ridley Scott
Starring: Christian Bale
December 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Exodus-Gods and Kings

Reading entrails. Eww. How barbaric.
Kind of a gross scene to start a Biblical epic with, yes? But at least an alien didn’t burst out of the dead bird’s chest!

A clash of swords...a sign of things to come.
The next time their swords clash, Moses will be banished from the kingdom.

The rain of arrows is spectacular. The rest of the battle isn’t bad either.
The confrontation definitely has a LOTR aesthetic and pace to it, but it isn’t nearly as protracted or flashy as the melees in Peter Jackson’s Middle Earth films.

Moses visits the viceroy...insists on looking the slaves in the eye.

Moses spares
Breaking Bad’s #AaronPaul from the whip.
Turns out that Paul’s character is named Joshua, the man who eventually succeeds Moses.

Moses learns about his true identity from #SirBenKingsley.
If Kingsley told me my dad was a hippo and my mother was a rhino I’d probably believe him. The man has gravitas.

Moses looses one horse but gets two more.
It’s almost as if someone up there is looking out for him. Of course, Moses had to slay two assassins in order to acquire the steeds. The Lord giveth and the Lord taketh away, I suppose.

Moses answers the three questions correctly and gets to “proceed.”
Most men would die to have such an easy path to pleasure. Just my luck, but whenever I try playing that game it always ends up being twenty questions.

The burning bush sequence is very different, but very effective.
If there’s any scene in the movie that will spark controversy, this is it. Moses’ mud bath and chat with a young boy is way out in left field compared to a traditional interpretation of the burning bush event in the Bible.

Moses returns to Memphis...not the one in Tennessee.
The locals say it’s nice this time of year, but maybe they’re just in d’Nile. Yuk, yuk.

Ramesses watches his boats set ablaze by flaming arrows. A brilliant visual.
These minor acts of rebellion are but pinpricks to the mighty Pharaoh. However, where human agency ends, God’s might begins. Prepare for the twelve plagues.

Hmm...I never knew that crocodiles initiated the plagues.
However, this feeding frenzy is a spectacular feat of CG wizardry…and is also pretty gruesome.

Darkness falls over the city like an ashen shroud. Then the cries of terror ascend. Spine-tingling!
Ironically, this “angel of death” visual is far less elaborate, from an FX standpoint, than the ones in many of the earlier Moses films. Though low-tech and fairly simple to achieve, this sequence is highly effective.

The chariot pileup is awesome.
You just knew Ramesses’ hubris would lead to this end. But it’s still a spectacular cataclysm.

Tornadoes and tsunamis...oh my!
I couldn’t think of a third “T” word, but you get the point.

“They’re my people.” Goosebumps.
Actually, they’re God’s people but since it’s such a great line, and because the actor moonlights as Batman, we’ll let it slide.

Final analysis: a reverent treatment of the Biblical account with minor deviations from the text.

3 out of 4. Though more epic in scale, it still lacks the heart, and faith, of DeMille’s version.

Though not as blatantly sacrilegious as Darren Aronofsky’s Noah (2014), Ridley Scott’s rendition of the exodus saga takes occasional liberties with the sacred text which will, undoubtedly, create a great deal of controversy among theological fundamentalists. There doesn’t seem to be a happy medium with these big screen Bible features—they’re either poorly produced but theologically accurate or lavishly produced but brimming with questionable creative departures or outright heretical story elements. In Exodus, you can tell that Scott’s intentions were to evince the appropriate degree of reverence toward the source material while making art with some selected story elements. Unfortunately, the results are a mixed bag. The major action sequences look like they were storyboarded by Peter Jackson or Steven Spielberg, which is to say they look amazing but are better suited to a blockbuster adventure film than a historical epic. Some of the movie’s major narrative turning points are radically different from what appears in the Bible; chief among them is the head-scratching burning bush episode. Still, the plagues play out pretty much as you’d expect them to (except for the croc crock) and the “death angel” scene stands out as a prime example of how, when it comes to FX, sometimes less is more. Just like in Noah (see my review) however, the divine is often explained away by human reasoning here: the “scientific” explanation of the plagues, the receding of the sea (with the addition of tornadoes just because they look really cool), etc. The characterization of Moses has also been altered for wider appeal since listening to Bale stutter his way through two and a half hours of dialog would’ve been a major detractor to the story’s enjoyment. Bale’s Moses is decisive, confident and heroic: the real Moses struggled to exhibit any of the above attributes and, as a result, had to rely upon God for his strength…which is a major point of emphasis throughout his character arc. As flawed as the patriarch’s portrayal is, Scott’s depiction of the Almighty is downright disturbing. Scott consistently paints God as an angry tyrant. Worse still, this God is revealed as a warmonger when He expresses how pathetically ineffective Moses’ acts of sedition have been and how more aggressive, i.e., supernatural, measures are required in order to bring the evil Pharaoh to his knees. Is this really Scott’s perception of God? If so, it certainly explains the movie’s authoritarian portrait of the Big Guy (Boy?) Upstairs. The forging of the Ten Commandments was a visual extravaganza in Cecil B. DeMille’s 1956 masterpiece, but, for whatever reason, Scott chose to eschew FX during this dramatic passage—the low key scene sees Moses chiseling the tablets himself while the mental apparition of God stands around and bickers with him. Judging by this scene, it would appear that Scott’s God is also a micromanaging taskmaster (or is just plain lazy). In the end, this film will go down as an entertaining examination of this exilic event, but it certainly won’t be esteemed as a faithful adaptation of the Biblical account. However, Exodus is an updated cinematic spectacle with modern visual effects and big name stars, so it serves its purpose as a sensational, yet superficial, survey of this standout Sunday school story.

Nightcrawler (R)

tt2872718
Directed by: Dan Gilroy
Starring: Jake Gyllenhaal
October 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Nightcrawler

Gyllenhaal creates his own job as a freelancer.
After striking out with two potential employers, Gyllenhaal decides to take matters into his own hands and forge his own job description.

Gyllenhaal sees his “graphic” shooting clip on the news.
A monster is created. The chance to become famous for filming gruesome images at accident sites is like crack cocaine to Gyllenhaal’s narcissistic opportunist.

Gyllenhaal arrives late to a structure fire thanks to the ineptitude of his new intern.
Don’t worry, Gyllenhaal will get him back later in the film. And how!

Now that’s a significant upgrade in vehicles.
Though, it’s not very inconspicuous is it? In the scene where Gyllenhaal flees the scene of the shooting, wouldn’t his flashy sports car draw the attention of cops responding to the emergency? As a getaway car, his original beater would’ve been better suited for flying under the radar…plus, with the way Gyllenhaal drives, why would you risk crashing that beautiful new vehicle?

Gyllenhaal “sets the scene” at a car accident.
Clearly he never took a first aid course, because you never move an injured individual at an accident site for fear of creating or exacerbating a neck injury.

“A friend is a gift you give yourself.” Creepy!

Gyllenhaal films the accident he created. Now that’s cold.
Poor Bill Paxton didn’t know he was dealing with a nut job when he offered to partner with Gyllenhaal. Side note: Paxton played another adrenalin junkie in Twister (1996). However, the risk here is probably a little less and the pay is probably far better. It would be funny if this was an older version of the same character, who decided to settle down and get a respectable job after having his fill of chasing tornadoes.

Capturing a shooting in progress. Now that’s an exclusive.
This is a very grizzly sequence, especially in its original, non-blurred format. This sequence puts Gyllenhaal’s character on the map and also explodes the movie’s theme of ethics in media.

Gyllenhaal sets up his own exclusive. A dangerous game.
He uses cops as pawns in a scene that he’s created for his own amusement and professional advancement. Frightening!

Filming a high speed chase from right behind the pursuing cop car. Crazy!
You know this will be the next kick for those who like to live their life on the edge. Chasing tornadoes was so 90s.

Withholding information…minor detail.

Final analysis: a telling, salient story of media sensationalism gone awry.

Rating:
3 out of 4. A disturbing portrait of a troubled soul who finds his niche by capturing the shocking.

“If it bleeds, it leads,” Bill Paxton’s character says as he walks, no…swaggers, away from the scene of an accident with video camera in tow, brushing right past Jake Gyllenhaal, who’s late to the scene. Too late, it turns out, to sell his footage to a news station, because when it comes to independent footage, as with life itself, the early bird gets the worm. Conversely, I suppose the late bird gets the night crawler. Appropriately, that’s the name (nightcrawler) for these thrill-seeking freelancers who listen to police scanners and try to beat emergency vehicles to the scene of an accident in order to provide (for a price) local news affiliates with exclusive footage of the catastrophe. As if that premise wasn’t intriguing enough, the movie boasts a compelling character study and some searing commentary on the condition of our society. Gyllenhaal’s portrayal of a nightcrawler named Lou Bloom is undeniably brilliant—Bloom is a bundle of quirks and neuroses rather than just one idiosyncratic behavior, which seems to be all the rage in entertainment these days…especially on TV. To whit: Tony Shalhoub made the titular obsessive-compulsive detective famous on Monk, Claire Danes continues to astound as a bipolar CIA agent on Homeland and young Max Burkholder is masterful in his depiction of a preteen with Aspergers on Parenthood. The list goes on and on, but these clear-cut characters with easily diagnosable psychiatric conditions (even for a layman) often lead to predictable or caricatural enactments since the personality traits exhibited by such people are so distinctive and well-defined. Again, Gyllenhaal’s nuanced performance is utterly captivating because it adroitly avoids the obvious “Hey, guys, I’m playing an egomaniacal sociopath” telegraphing that frequently accompanies roles where attention is drawn to a character’s mental challenge or affliction. Acting aside, writer/director Dan Gilroy and cinematographer Robert Elswit do a superb job of capturing the distinctive look and mood of L.A., particularly during the night scenes. In many ways, Gilroy’s framing choices remind me of those in Nicolas Winding Refn’s Drive (2011), another nocturnal neo-noir that featured a generous portion of pulse-pounding racing through the city’s main arteries and side streets. As in Drive, the City of Angels serves as an additional, non-corporeal character in this film. I won’t belabor the movie’s not-so-subtle treatise on the current state of the news, but its message of morality (or lack thereof) in media is poignant, especially in light of the fact that many traditional news outlets have resorted to sensationalizing stories in order to compete with social media and online news sources. Sad to say, but traditional news just can’t satiate the appetite of a society that’s incessantly and exponentially drawn to the extreme, graphic and profane (all of which are shamelessly showcased and promulgated by YouTube videos, reality/late night/political commentary TV shows, etc) more than actual vetted and sourced journalism. At the time of this writing, HBO’s superb drama, The Newsroom, will air its final episode this weekend after three abbreviated seasons. As a show about a fictitious news network, The Newsroom never found a large enough audience to sustain a lengthy run, which is a profound disappointment since Aaron Sorkin’s topical, whip-smart drama is top shelf TV and deserved a better reception and fate than what it received. The characters on the show often express frustration over the fact that true journalism is being rapidly replaced by hack-on-a-corner reporting...after all, any idiot with a cell phone can capture or create the news these days. The grim reality we now face is that experienced and informed news anchors like The Newsroom’s Will McAvoy (Jeff Daniels) are becoming an endangered species, thanks to the Lou Bloom’s of the world. In a very real sense, these Joe Camcorders and late night creepers are holding the medium hostage. It’s enough to make your skin crawl.

Fury (R)

tt2713180
Directed by: David Ayer
Starring: Brad Pitt
October 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Fury

Pitt rides into tank hell.
This opening sequence reminds me of Sybok cantering through the desert straight toward the camera at the outset of Star Trek V: The Final Frontier (1989). Obviously the setting (and planet) is completely different here, but the shots themselves are close cousins.

Fury rolls into camp.
They’re greeted with vacant stares. Not much of a hero’s welcome.

A trope of war movies is the new guy...here his name in Norman.
The presence of Michael Pena is another war movie convention; the inclusion of at least one minority on the team.

Don’t touch Shia’s ‘stache.
I don’t begrudge him his defensiveness. After all, it probably took him a year to grow.

Why do fired bullets look like laser beams here?
Not much to add to this, but at times I thought I was watching a Star Wars movie.

Norman is faced with a “simple math” equation. Not so easy to carry out.

Norman is multi-talented: he plays piano, reads palms and is quite the ladies man.
That last one is a bit of a euphemism.

How to ruin a perfectly good egg breakfast.
Yeah, unless I was starving, I wouldn’t eat licked eggs.

Tank dogfight is intense.
Dogfight is typically used for one-on-one plane battles, though. Guess the word I should’ve used is…bullfight?

Pitt’s dogged directive: “Hold this crossroads!”
Two tweets in a row with the word “dog” in them. Woof!

Shia quotes scripture: “Here am I, send me.”
However, he also takes the Lord’s name in vain. Wonder if he knows the one about the impossibility of fresh and salt water flowing from the same fountain (James 3:11)? (Not to mention the third commandment as set forth in Exodus 20:7).

One tank versus an army. Never tell me the odds.
This battle certainly illustrates how a tank can function as a mini-fortress.

The final, high angle shot of the corpse riddled crossroads is horrific.
Although, I actually would’ve expanded the shot out even further, but the point was made, I suppose.

Final analysis: a standard issue war story that evokes a strong sense of time and place.

Rating:
2 1/2 out of 4 stars. A decent war tale, but even Pitt can’t lift the standard story out of the mud.

This certainly isn’t the first tank-centric WWII movie ever made—Sahara (1943), The Desert Fox (1951) and Lebanon (2009) to name three right off the top of my head), nor is it the most original. What is new here are the modern battle sequences which feature rockets and bullets whizzing by like laser beams in a sci-fi shootout. I have no way of knowing if these seemingly anachronistic visuals are accurate or not (I wasn’t there), but I’ve never seen this kind of special effect in any other war movie. As incredulous as it sounds, tanks firing laser beams is the least of this movie’s problems. Relying heavily upon war movie conventions and offering little that hasn’t been seen and done a hundred times before in WWII bloodbaths severely hobbles this film…like a tank that’s thrown a tread. Aside from a few reasonably suspenseful battle scenes and the climactic standoff, there’s really little to recommend the movie, other than the notable cast and high end production values. There’s a standout scene right in the middle of the movie when the tank officers invade the home of two German women. The reprehensible behaviors exhibited by the soldiers (Shia LaBeouf, The Walking Dead’s Jon Bernthal and Gracepoint’s Michael Pena) during this scene makes us loose all respect for them; so much so that when the final conflict arrives, we really don’t care if they live or die…it’s extremely difficult to emotionally invest in unsympathetic characters. In the end, Pitt, the new guy (Logan Lerman) and the tank itself are about the only things we have any kind of affinity for in the movie, and that really isn’t enough to justify shelling over a ten spot, two singles and a pair of quarters for (current ticket price in the OC). Is Fury a decent WWII flick? Sure. Is it worthy of inclusion into the War Movie Hall of Fame? Not even remotely. Let’s face it, without Pitt’s presence this movie would’ve tanked.

The Skeleton Twins (R)

tt1571249
Directed by: Craig Johnson
Starring: Kristen Wiig
September 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

The Skeleton Twins

One suicide attempt averts another.
This is a fascinating sibling (psychic?) connection…that they would be suicidal at the same exact moment.

The #MarleyAndMe scene is humorous.

Wilson’s commentary on “land mines” is graphic but apropos.
I’m sure every married man can identify with Luke Wilson’s comment. If you can’t admit it, you’re even more emasculated than you realize.

The siblings share secrets...a revealing scene.

Superb acting on the lip sync scene. A lot of fun.
It’s actually a bit frightening how well Wiig and Hader mouth the words to Starship’s “Nothing’s Gonna Stop Us Now.” Lots of rehearsal time or are they just freaks of nature at lip syncing?

“It turns out that I’m the one who peaked in high school.” Moving scene.
This is a really poignant moment of self-reflection, and one that’s sure to resonate with anyone facing middle age with nothing to show for their life but wishful thinking and waylaid dreams.

Final analysis: some amusing moments, but a far heavier story than the trailer intimated.

Rating:
2 1/2 out of 4. One of the finest brother/sister movies that’s come along in quite some time.

It really grieves me that I can’t give this movie a higher rating, particularly because of its exceptionally fine portrayals—Kristen Wiig, Bill Hader and Luke Wilson are all terrific in the movie. However, due to its unremarkable script, I just can’t justify a bump in my rating for this film. It’s not that the screenplay is awful, because that certainly isn’t the case. The story contains some decent dialog and several really good character moments, including the hilarious lip sync sequence and the humorous scenes in the dentist office. However, as a whole, the script, written by Mark Heyman and director Craig Johnson, is conventional and predictable…and only occasionally comical. An aggregate of well written and acted vignettes, the story never looses its entertainment value, and yet, as a whole, it fails to live up to the quirky, cutting-edge dramedy promised in the trailer. That unfulfilled promise to the audience could be a major impediment to the film’s success, especially since many viewers will expect to see similar antics to the ones Wiig and Hader regularly perpetrated on Saturday Night Live—although their chemistry from working with each other over the years is glaringly evident here. Another reason the movie might have a hard time winning over audiences is its identity crisis. The term dramedy was coined to define movies that contain a good mixture of dramatic and comedic elements. Although this film has several amusing scenes, the dramatic beats (consisting of suicide attempts, marital infidelity and a sex with minors back story) frequently overshadow the sporadic moments of levity, effectively throwing a pall over what otherwise could’ve been a feel-good flick. In fact, an honest appraisal of the film reveals an approximate ratio of 70% drama to 30% comedy, which is a radical reversal from the lighthearted romp depicted in the disingenuous trailer. Ultimately, the movie’s Achilles heel is its unsympathetic characters. We really want to root for these people, because they’re genuinely likable, but the story works overtime to make us loose our affinity and respect for them due to their irksome insistence on making poor choices. In the end, it’s just a shame that the cast didn’t get a more solid assist from the screenplay because the performances are truly remarkable, especially the ones turned in by screen siblings Wiig and Hader. Even though observing the interactions between these two stars is a treat all by itself, the movie would’ve been a veritable feast had it employed a story with more meat on the bone.

A Walk Among the Tombstones (R)

tt0365907
Directed by: Scott Frank
Starring: Liam Neeson
September 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

A Walk Among the Tombstones
Not quite, since this movie is significantly darker than the Taken films and since it involves absolutely no abductions.

Two shots before a shootout.
Drinking and driving is bad enough, but shooting while sauced seldom ends well.

Neeson turns down a job and gets his eight year chip.
A win/win. However, if things ended right here, we’d have a pretty short movie.

An elaborate back story for Neeson’s new case. I smell a setup.
The man who hires Neeson is played by Dan Stevens from Downton Abbey. Another DA star, Michelle Dockery, appeared with Neeson earlier this year in Non-Stop.

Neeson takes the titular walk. Meets the creepy groundskeeper.
Played by Olafur Darri Olafsson (of course it wasn’t fun to type). He looks like the destitute, mentally challenged child of Kevin Page, Bum from Dallas (2012).

Neeson tails a POI and is tailed.

No East Village Plumbing. No surprise.

The punch through the glass is awesome.
One of the coolest scenes in the movie.

The 12 steps narrated over the firefight makes for a unique sequence.
There’s definitely some art here, especially the sobering voice over and freeze frame techniques.

Final analysis: a deliberately paced thriller with an understated but effective turn by Neeson.

Rating:
2 1/2 out of 4. A tale of redemption that’s worthwhile if only for Neeson’s performance.

The most compelling screen heroes have always been the ones beset by some kind of mental or physical flaw…the more severe or debilitating the flaw is, the greater the exultation is at the end of the movie when the protagonist overcomes his limitations, defeats the villain and saves the day. Here, Liam Neeson’s former cop/present private detective is a recovering alcoholic—his problem affected his on-the-job performance which led to his swift departure from the force. The pivotal incident in Neeson’s past serves as opening prologue and intermittent back story, delivered in a series of stylized flashbacks, and is the movie’s spine, or, more appropriately, its heart. Unfortunately, the rest of the movie is standard B-grade thriller fare. The case Neeson accepts is similar (though, admittedly, more graphic) to the plethora of conventional crime plots featured on the ubiquitous network TV procedurals. Other than the movie’s star, the rest of the performers, though well-suited to their roles in most cases, fail to exhibit big screen chops. This should come as no surprise since many of the supporting players here have spent a significant portion of their careers making a name for themselves on the small screen: Dan Stevens (Downton Abbey) and David Harbour (Manhattan) to name just a couple. One aspect of the film that works particularly well is the soiled and seedy NYC locations that serve as immersive backdrop and locus of action throughout the film…the foreboding cemetery, panoramic rooftop, well-appointed or ramshackle residences and even the sparsely populated municipal library are all used to great effect in making this modestly budgeted film seem a bit more prestigious. Credit director Scott Frank with adding visual variety and visceral verve to the handful of action sequences, particularly the poetic, climactic shootout (see above). All things considered, Tombstones isn’t a stellar thriller, but it’s unique in its own right and has much to recommend it. At the very least, this film should tide us over until Tak3n.

The Judge (R)

tt1872194
Directed by: David Dobkin
Starring: Robert Downey Jr.
October 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

The Judge

“Nothing changes.” Welcome to Small Town, USA.
I’ve lived in plenty small towns growing up and can attest to the above statement.

“Yeah” is not an appropriate affirmation for the court.
Nor anywhere else for that matter. It’s the lazy man’s yes.

Firefly bar non-fight. “Get counseling.”
However, even with the law on my side, I still don’t know that I’d tempt, by incessant browbeating, such lowlifes into throwing a punch at me. I guess such natural, rational, fears fail to register if you’re Iron Man.

“Narrate this!” Ha!

Billy Bob Thornton is the prosecutor. Uh-oh!
After watching his cold, calculating portrayal of a hit man in Fargo, I just don’t think I’d want to take him on, even though his character here is on the right side of the law.

Jury selection is humorous.

Fixing the sink. Nice cover.
Just think how awkward and uncomfortable this scene must have been to film for both men; hours of standing in a tub, au naturel in Duvall’s case. With this particular scene in mind, among many others to validate consideration, Oscar nominations for both actors seem all but assured. To withhold such recognition would be utterly absurd.

First driving lesson...a special scene.

Double hurl. Nasty!
Just another reason why you should never walk on the grass.

“I choose you.” Touching moment.
The best father/son reconciliation scene I’ve seen since Chris Cooper shows up at Jake Gyllenhaal’s rocket launch at the end of October Sky (1999).

Final analysis: a slowly-paced but meaningful father/son drama with powerhouse performances.

Rating:
3 out of 4. This movie represents a new career watermark for Downey Jr and Duvall. That’s my verdict.

As a patchwork of conventional narrative elements—estranged father and son (Ordinary People, Parenthood), Big City success story returning to country roots (Sweet Home Alabama, The Fighting Temptations) and the stress and strife surrounding a funeral (Elizabethtown, Death at a Funeral)—there’s nothing earth-shattering about this story. However, the run-of-the-mill material is elevated by the superlative lead performances by Downey Jr. and Duvall; in fact, the air in the theater is filled with static electricity every time they have a scene together. Their onscreen chemistry is undeniable, and you can just tell that working together brought out the finest efforts from both stars. Also buttressing the movie’s standard screenplay is a raft of fine supporting players, including: Vera Farmiga, Billy Bob Thornton, Vincent D’Onofrio, Jeremy Strong, Dax Shepard and Leighton Meester. The location work for Carlinville, Indiana (extensively shot in Massachusetts) is also exceptional and serves as an appropriate, all-American backdrop for the movie’s rather unusual court case. As for the courtroom scenes, they’re judiciously shot and, fortunately, never completely upstage the film’s familial frictions or relational revelations that surface at the most unexpected and least opportune moments. There are plenty of solid scenes in the movie, like: Strong’s home movies, Downey’s late night break-in to Farmiga’s bar and the heart melting scene when Duvall meets his granddaughter (Emma Tremblay) for the first time. Ultimately, though, the movie is held together by Downey and Duvall’s shared scenes, especially the ones where they just go at it like two bare fisted brawlers in a grudge match. The movie would’ve been just another middling family drama, like the ones frequently featured on Lifetime, were it not for the powerful presence of these megastars in career defining turns. Although the film’s length and pacing may be a deterrent for some audience members, this movie will probably satisfy those who enjoy well-acted dramas. You be the judge.

Hector and the Search for Happiness (R)

tt1626146
Directed by: Peter Chelsom
Starring: Simon Pegg
September 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Hector and the Search for Happiness

Dogs don’t fly, Simon.
Don’t worry...the dog wasn’t hurt in the process of filming.

Two movies with Rosamund Pike in as many days.
As you can tell from my previous blog entry, I had just seen Gone Girl the night before watching this film.

“Cut the rope, Tintin.” Pegg goes off on a patient.
The Tintin reference reveals Hector’s status as a grown-up boy (a psychic patient of Hector’s actually sees him as a boy), but also prefigures his globetrotting adventures later in the movie.

Bumped up to business class. Down or memory foam?
I was bumped up to first class once on a very long flight overseas. There’s really nothing like it.

The mirror image inkblot for #4 is humorous.
This definitely reveals the id of the male gender. It’s the classic “Why have one when you can have two?” mentality.

Hector looses the scent of happiness atop a serene mountain.
Other than the arctic air, I definitely think I could be happy there for a while…jaw-dropping vistas.

#8 is vital...answer your calling.
Fulfillment is all about finding purpose in life. Actually, the quote at the top of The Equalizer (see my review) ties in rather nicely with this sentiment.

Must admit, I’ve never been successful at implementing #13.
I derive fun from watching movies and very short list of other activities. I know…I need to make an appointment to see Hector stat.

“Listening is loving.” A powerful principle and an emotionally impactful scene.
The sequence on the plane is the heart of the film, and is also the answer to the perplexing question Hector has pursued throughout the movie.

“Mothering with an S.” Ha!

“Emotionally squeamish.” Ouch!
Those who know us best can hurt us the most.

Final analysis: a journey of personal discovery marked by humorous and meaningful moments.

Rating:
2 1/2 out of 4. Not the comedy portrayed in the trailer but a feel-good flick.

Bored with the sameness of life, Hector (Pegg) embarks on a globetrotting journey to find that most elusive of emotions…Ah-penis (easily the funniest scene in the movie). As a respected psychiatrist dating a fetching woman (Rosamund Pike), Hector really has it all…and yet, his life is devoid of the titular element. Those who don’t have an attractive partner or a high paying job may find it hard to sympathize with Hector’s ennui, while others in a similar stage/station of life will readily identify with his plight. In many respects, Hector follows the same general trajectory and itinerary that Julia Roberts’ character did in Eat Pray Love (2010). This movie also mirrors last year’s The Secret Life of Walter Mitty, which starred Ben Stiller. Mitty and Hector both feature characters mired in the doldrums of existence and in desperate need of relief from the daily routine. Both men are entering middle age, both keep fairly rigid schedules and both find fulfillment and inspiration only after leaving their familiar surroundings and embarking on a transcontinental adventure. In Mitty, the goal is to find a missing photograph, while this movie’s objective is the apprehension of happiness. The end result of both movies is that the central male characters discover who they really are by escaping from their lives for a short season. If that premise sounds somewhat familiar, and formulaic, it is. Unfortunately, this film adds insult to injury with its predictable plot (the narrative has little character complexity and is told in a straightforward manner) and contrived subplots (Hector does a favor for a tyrant, played by Jean Reno, which pays off dividends later in the film, and the utterly inane brain mapping storyline that even Christopher Plummer’s fine cameo can’t salvage). The biggest drawback here is that the movie was billed as a comedy and is sure to disappoint those jonesing for a light-hearted romp with resident funny-man Pegg. That’s not to say the film doesn’t try its hand at levity; the above double entendre stands out as a chief example. However, Hector, who we’re supposed to take seriously, is portrayed as a klutz, bumping into and breaking everything that isn’t nailed down in feats of physical comedy that would make The Three Stooges envious. After the third or fourth occurrence, however, these pratfalls just aren’t funny anymore. This film is amusing and heartwarming, but not necessarily exciting. In the end, Hector finds happiness in the film, but will the audience?

Gone Girl (R)

tt2267998
Directed by: David Fincher
Starring: Ben Affleck
October 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Gone Girl

Primal questions. Yikes!
If this is really the description of a quotidian relationship, is there any wonder why 50% of all marriages end in divorce?

Villainous chin. First warning sign?
But what exactly constitutes a villainous chin? Long and pointed like Vincent Price’s? Rugged and rounded like Ray Liotta’s? Not sure Affleck’s chin qualifies as villainous by any standard.

A sugar storm and the first kiss.
This is a nice moment, but it’s robbed of any joy or elation since we’re already aware of the relationship’s trajectory.

Who let the cat out?
Ooo…ooo, ooo, ooo!

“We have our first clue.” Ha!
This is a much needed bit of levity to break up the tension. Also, the envelope clues us into the antagonist’s superior confidence in self and utter lack of respect for the abilities and intelligence of the detectives investigating the missing person’s case.

Www.findamazingamy.com. Is this a press conference or marketing blitz?
When you really stop to think about it, the true villains in the movie are Amy’s parents since they’ve gotten rich off of turning their daughter’s image and identity into a brand.

“Everything else is just background noise” works for a season...a short one.
You can only ride the waves of good intentions for so long in a relationship before the swelling emotional tsunami comes crashing down and takes you under.

Ambush at the vigil.

“Does Missouri have the death penalty?” Chilling.
Affleck’s character is a really poor chess player in the movie…he’s consistently two moves behind the person who’s framing him.

Gummy bear toss. Creating a sympathetic public image.
Make it gummy worms and I’ll commit all kinds of mistakes on purpose.

A convenient end note, but enough evidence to convict?

Miracle on the Mississippi...nice spin.
As the legal gun-for-hire, who’s amused rather than distressed by the case’s unexpected turns, Tyler Perry is exceptional in his supporting role.

Final analysis: an incisively smart & subversive missing person mystery with more twists than a roller coaster.

Affleck is convincing, but Pike is creepy good in a role that will have people talking for quite some time.
A lot of hubbub has been made about Affleck’s acting here, and while his performance is solid, it pales in comparison to Pike’s mesmerizing turn as a cold, calculating wife armed with a master plan for how to destroy her husband.

Rating:
3 1/2 out of 4 stars. Fincher’s direction is superb and the screenplay was written by Flynn herself.

There was never any doubt that the writing for Gone Girl would be top notch since the source material was adapted by its author, Gillian Flynn. Enlisting David Fincher (The Social Network) to direct was a canny choice as was tapping top talent in Ben Affleck and Rosamund Pike for the movie’s two central roles. Having all of the right ingredients doesn’t always translate into a successful movie (Waterworld) but, fortunately, the law of averages worked out in this film’s favor. The story of a philandering husband being accused of killing his wife has been done countless times throughout the history of cinema, but this movie’s unique set of circumstances and frequent red herrings, left turns or U-turns keeps the audience engaged right up until the bitter end; a resolution that’s created a great deal of controversy, especially for the scores of people who’ve read the book (I, unfortunately, cannot be counted among their ranks since I chose to read The Maze Runner instead—a grievous choice). Even though the story is methodical and procedural, we never lose interest thanks to Flynn’s diligently measured dialog and finely chiseled characters; all of which are well-rounded and many of which possess modulating or murky or motivations. As a deconstruction of the modern marriage, the film has plenty to say about the problems and pressures contemporary couples face. The scheming, controlling woman paired with a weak willed, low ambition, highly emasculated man is certainly telling of a societal trend that’s been steadily, if not exponentially, escalating since the Mr. Mom 80s. As such, is the movie making commentary on how traditional relational roles have shifted, or reversed, or is it merely spotlighting an isolated—though extreme—incidence of marital dissolution? There’s plenty to process here, which is to be expected since the movie’s superlative script comes from a truly fine novel writer. So, is this film the Fatal Attraction (1987) of our generation, or just a really well told mystery/thriller centered on a troubled marriage? Let the debate begin. But if things start getting heated I’ll be going, going…

Boyhood (R)

tt1065073
Directed by: Richard Linklater
Starring: Ellar Coltrane
August 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Boyhood

Painting over height benchmarks...erasing history.
This clever chronological conceit serves as a microcosm for the movie as a whole: there’s a subtle symbolic link between the height measurements on the door jamb and the progressive growth of the children over the course of the film. In a sense, these markings are a type of baton handoff, since the tick marks on the door signify events that have transpired before the story begins. This brief visual device gives us a sense of history and is a springboard for the movie’s action. On another tack, I’m normally not given to bouts of emotion in movies, especially for characters I’ve just been introduced to, but this scene made me profoundly sad. I wanted to yell at the characters to take a picture before painting over the ruler markings. Lost milestones can never be recaptured.

Object lesson about no bumpers in real life.
A good point that’s made on the wrong occasion.

50 cents for the F word.
C’mon, charge him $10. The only way he’ll stop saying it is if it hurts a little.

“Everything’s a line.” Trouble on the home front.

Astros game. Clemens striking out batters half his age. Wonder how he was able to do that.
I apologize for my insensitivity, but this was way too easy.

Hawke has “the talk” with his kids.
Always an awkward topic…especially when broached at a bowling alley. Classy!

Nice long take of Hawke and his son hiking in the forest.
And some great dialog about how perplexing females can be to teenage boys…as well as grown men.

Mason gets a red letter edition and a rifle for his 15th birthday. A mixed message?
I suppose the commonality is that both are types of weapons: a sword and a shotgun.

Darkroom chat...totally demotivating.
How do idiots like this obtain jobs teachers? I’d really like to shove this guy’s face into the stop bath.

Commentary on humans becoming robots is profound.
I’ve used the same argument for why we’ve become so captivated by zombies.

Feeling the weight of the “empty nest” is a touching moment.
However, due to her poor choices in husbands, Mason’s mom brings middle-aged loneliness on herself.

“The moment seizes us.” Interesting life philosophy.
A beautiful location, profound dialog and pitch-perfect acting make this scene a poignant punctuation mark at the end of an elegant, thought-provoking film.

Final analysis: not an earth-shattering story, but a staggering achievement in film.

Rating:
3 out of 4 stars. An insightful, meaningful survey of modern boyhood, brilliantly acted and directed.

We’ve all seen dozens of movies where different actors were used to portray a character at different stages of his life. Many times, the child or teen looks nothing like the adult version of the same character. Director Richard Linklater has devised a unique solution to this casting conundrum by filming the same actors over a twelve year period. The end result of the director’s audacious and ambitious filmic gambit is nothing short of astounding. By following the same family over an extended period of their lives, the viewer can more readily identify with the characters while also feeling emotionally connected to them. This kind of familial familiarity only comes from well constructed and conveyed character histories. While the adult actors sustain noticeable, yet minor, physical changes over the years, the kids, who were filmed at different checkpoints between the ages of six and eighteen, undergo the more drastic transformations. A perfect compliment to the film’s naturalistic aesthetic, watching the kids’ incremental growth is like experiencing a time condensed overview of the struggles, successes and significant events during their turbulent childhood. Whereas the adult story lines frequently focus on less compelling, soap opera style subplots, the through line involving the children’s journey from K-12 and beyond is thoroughly mesmerizing. In the same regard, even though Ethan Hawke and Patricia Arquette turn in fine performances, it’s Ellar Coltrane and Lorelei Linklater (the director’s daughter) who captivate us throughout the nearly three hour decade-spanning drama with their realistic portraits of modern young people. When all is said and done, it’s the maturation of these two burgeoning actors that furnishes the movie with its groundbreaking novelty. Without their perpetual presence and precocious performances the movie would be just another well acted, well directed drama. So now the question is, does Linklater have another dozen years in him to make the sequel, Girlhood?

When the Game Stands Tall (PG)

tt2247476
Directed by: Thomas Carter
Starring: Jim Caviezel
August 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

When the Game Stands Tall

Nice archival footage of the real team.
Always a plus in these true story sports films.

“A perfect effort from snap to whistle.” I’m inspired.
However, Caviezel’s non-modulating droning isn’t a good match for an inspiring high school coach. Perhaps he’s been playing the soft-spoken John Reese on Person of Interest for too long, but he needed to get more fired up for this role.

Coach throws an opportunity in the trash.
Most people in his position would die for such an opportunity.

Coach survives the widow-maker.
And we’re not talking about a sandwich or burger with that moniker. Nor a movie with Harrison Ford as a submarine commander.

“Lame dad.” Ouch!

He was only trying to help his friend. What a senseless tragedy.

“They’re playing just like us.” Uh-oh!
Whenever you come to such a realization, it’s already too late.

Field trip. Some much needed perspective.
Coach Boone (Denzel Washington) took his team on a field trip to Gettysburg in Remember the Titans (2000). The location here is quite a bit different, but the result is similar in that players are forced to look beyond their own struggles and, in this case, see the problems and needs of others.

“Well it sure aint Gatorade.” Ha!
Correction: ain’t has an apostrophe. However, since ain’t ain’t a word and because ain’t ain’t in the dictionary, does misspelling it really matter?

Team sharing session...a nice moment. See, guys can emote.
I’m just glad they didn’t have a group hug.

The first nationally broadcasted high school game on TV is a special one.
An epic confrontation and just what the team needed to get back on track.

Take a knee and raise your hat for a heartwarming finale.
However, part of me sympathizes with the over-competitive dad (Clancy Brown), who wants his son to break the record. You only get one chance in life to achieve something like that. You can always raise a hat after the record’s been secured, right? I know, I know, we wouldn’t have the mushy ending that way.

Final analysis: an inspiring true story about overcoming adversity with courage and integrity.

Rating:
3 out of 4 stars. A meaningful story with solid performances. A lot of bang for the budget.

Or is it “boom,” as #JohnMadden, who appears in the closing credits, would say?

Based on the incredible real life story of one high school football team’s (the De La Salle Spartans) legendary run of 151 consecutive victories (the longest winning streak of any team in sports history), this film follows in the footsteps of the great gridiron tales of yesteryear. By now, these factual football movies have developed a well-established (well-worn?) formula: archival footage of the original team, reenactments of key games, tragedy befalling one or more of the characters, a caring/inspiring coach, a noteworthy achievement garnering national headlines, etc. Although this film doesn’t have the same financing, production values or cinematic polish as major studio releases like Remember the Titans (2000), Friday Night Lights (2004) or We Are Marshall (2006), the story is worthy of its big screen showcase and the talent on tap (Caviezel, Michael Chiklis and Laura Dern) helps to elevate the material while shrewdly disguising its budgetary limitations. Caviezel is serviceable as Coach Ladouceur, but his monotone delivery belies the passion he seeks to instill in his players…Caviezel only raises his voice during one locker room speech. I have no way of knowing if the actor’s quiet intensity mimics the real coach’s vocal inflections or not (I’ve never met the man), but on the face of it Caviezel doesn’t seem like a natural fit for the part of a spirited football coach. Chiklis provides some comic relief and sage advice as Ladouceur’s assistant coach and, in light of Caviezel’s understated, emotionally vacant performance, is the heart of the film. Dern, as Ladouceur’s supportive wife, makes the most of a limited role, but her talents are wasted on a part that’s completely servile to the exigencies of her husband’s career. The one story line possessing the potential for character complexity is the father-living-through-his-son scenes between uber-controling dad (Clancy Brown) and his star running back son (Alexander Ludwig). Unfortunately, due to standard dialog and minimal screen time, this subplot ends up being the narrative equivalent of an incomplete pass. There are certainly finer examples of its kind in the annals of true story football accounts, but this movie has found its own niche and the fact that it’s also inspirational and family friendly is so much the better.

Calvary (R)

tt2234003
Directed by: John Michael McDonagh
Starring: Brendan Gleeson
August 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Calvary
But after the gun smoke dissipates, who will he confess to…another priest?

A startling opening line.
This is actually the second line spoken in the movie, the first by Gleeson. The opening line is definitely startling though, especially when considering the location and function of the discussion.

Redhead commits the “classical error.”
The redhead in question is Gleeson’s screen daughter in the film, played to perfection by Kelly Reilly. In case you’re wondering, Gleeson’s character sired her before he became a priest.

“Bi-polar or lactose intolerant. One of the two.” Ha!
Is this line overdetermined or are people really this dumb?

No asterisk after “Thou Shalt Not Kill.” Good conversation.
This scene contains some of the finest, most meaningful, dialog in the movie. Funny how it’s in our DNA to always look for loopholes.

The colossus pees on a painting. Strange!
Strange hardly covers it. This whole scene is extremely disturbing. Irish funnyman Dylan Moran (Shaun of the Dead) turns in a truly offbeat, creepy performance as the emotionally anesthetized rich man who’s relegated himself to a life of isolation and boredom…and truly bizarre behaviors.

The lectern held up well. Can’t say the same for the rest of the church.

The “third act revelation” is a touching scene.
This is the final and finest father/daughter chat in the film.

Sunday. Time to face the music.
Notice that the location of the climactic showdown is similar to where the earlier “third act” interchange took place. Symbolism?

Too much talk about sins and not enough talk about virtues. Good point.
Maybe people would sin less if their virtues were extolled more often.

Final analysis: a heavy film that asks big questions about the injustices of life.

Rating:
3 out of 4. A tremendous performance by Gleeson and gorgeous Irish vistas are pluses to the glum story.

Other than its trappings, performances and shockingly raw subject matter, what really sets this film apart is its unique twist on the murder mystery formula. To whit, Gleeson knows who the murderer is early on in the story, but the audience is left in the dark as to the identity of the killer—and there are plenty of possible suspects among the Irish village’s salty citizenry. The kicker is that the homicide hasn’t yet occurred and that the targeted victim is Gleeson. As a “good” priest, Gleeson will become the sacrificial lamb for the heinous transgressions (the kind you’ve heard about in the news) of unethical priests. Gleeson overcomes the urge to skip town and finds the resolve to face his accuser, a la Christ before Caiaphas, the high priest. As Gleeson approaches his would-be assassin and his own personal Calvary, the mystery transforms into a thriller that will leave the audience gasping for air. Cannily penned and helmed by John Michael McDonagh, Calvary is a multifaceted gem with much to say about the human condition. As Gleeson conducts his priestly duties, such as confession, communion, visitation, etc, the audience picks up clues along the way. This procedural element is a clever device for drawing us into Gleeson’s world while also introducing us to his parishioners, one of whom has murderous intentions toward him. The movie features numerous one-on-one conversations between Gleeson and one of the various supporting characters, and all of these exchanges are rich with meaning and laced with subtext. There’s a good deal of character complexity here and many questions are left unanswered, like: does Gleeson, who struggles with the bottle and shoots up a pub, even qualify as a “good” priest? Also, the startling final scene opens up mind-blowing implications and invites multiple readings. Any way you look at it; this is a smart, sullen and sordid story. However, if you disagree with my assessment, I’ll happily acquiesce. I’m not going to make this a hill to die on.

If I Stay (PG-13)

tt1355630
Directed by: R.J. Cutler
Starring: Chloe Grace Moretz
August 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

If I Stay

The rock star catches Mia “blissing out.”
Though it’s a completely different style of music from what he plays, Adam (Jamie Blackley) recognizes passion in Mia’s playing…and is inexorably drawn to it and her.

The “guilt and bribery” comment is humorous...and true.

A “wild” date at the symphony.
Don’t worry; very little screen time focuses on the performance. Instead, the audience’s attention is drawn to Adam’s hand, which keeps inching its way toward Mia. Under the circumstances, I suppose that seemed more appropriate than the “mock stretch and place arm over the shoulder” maneuver.

Nurse’s advice to “take control” is a moving moment.
This actress, Aisha Hinds, also plays a caregiver in TVs Under the Dome.

I don’t recall the “How to extract a bee stinger with teeth” procedure in the Boy Scout manual.
Actually, he sucks it out with his mouth, but I worried about how that might translate in a tweet.

The tape job on the chapel ceiling is awful.
But it’s the thought that counts, right? And it’s a very nice thought that pays dividends later in the movie.

Mia creates magic at her audition.
Grandpa, Stacy Keach, watches from the wing. This scene gave me a fit of anxiety because I thought for sure Mia would see her grandfather and allow the distraction to ruin her audition.

Mom’s pep talk is bittersweet.
Some really good dialog regarding the complexity of relationships and some fine acting from Mireille Enos, star of AMC/Netflix’ The Killing.

Grandpa’s conversation with the two Mia’s in the hospital is astounding.
There are many great scenes in the movie, but for my money, this is the finest. Keach turns in a career performance not only in his heartfelt delivery of some very emotional lines but also in how he makes us believe that he’s in tune with Mia’s living spirit. It’s a staggering turn by a skilled artisan. Piggybacking off of his solid supporting role in last year’s Nebraska, I don’t know how the Academy can overlook him for a Supporting Actor nod this year.

I’ve seldom head that kind of reaction to the final scene of a movie.
The movie does end quite suddenly, but I actually liked its resolution. Granted, the theater I was in was composed of about 80% pre-teen/teen girls, so an emotional outburst was to be expected, I suppose. Correction: Heard, not head.

Final analysis: an emotional roller coaster ride filled with teen angst, young love, tragedy and hope.
And a lot of music, ranging from classical to rock…something for everyone.

Rating:
2 1/2 out of 4 stars. Sentimental at times, but a potent reminder of the importance of relationships.

In combination with the similarly themed recent release, The Fault in Our Stars, this movie serves as an effective one-two emotional sucker punch that will see nary a dry eye in the theater. Based on the novel of the same name by Gayle Forman, this twist-of-fate, teen angst tale hits as many emotional notes as Mia (Moretz) does musical ones during her cello performances. Strangely, a recent episode (“Prodigy”) of J.J. Abrams’ cancelled TV series, Believe, featured a remarkably similar premise to the one in this film—a young violin player is traveling with her family to performance when a vehicle in the opposing lane skids out of control, hits her car and claims the lives of her family. This plot is either in the ether or there’s some major artistic appropriation going on. In any event, the scenes at Mia’s house stand out as the movie’s highlight, with the romance, music and accident aftermath elements coming in as a distant second. Though admittedly on the permissive side, Mia’s parents are the kind of non-judgmental, nurturing, encouraging role models that typically raise well-adjusted, highly creative children by being their kids’ biggest cheerleaders. The home scenes radiate incredible warmth and serve as an effective counterbalance to the dire present that awaits Mia at the conclusion of each crosscut flashback. Moretz wholly embodies Mia...she’s really grown as an actress since her Kick Ass days. The film could’ve unraveled into a tangled mass of sentimental schmaltz if not for Moretz’ diligent work at grounding her character in the reality of tragedy…it’s an emotionally complex role and she plays it to perfection. Although it can’t quite be called a teen romance, a melodrama or a weepie, the film flirts with all of the above. While squarely aimed at the teenybopper set, the movie may appeal to some men, if only because of its musical elements. Still, a large percentage of the male audience may find the film’s excessive emotion to be utterly repellant to the degree that they may find themselves being involuntarily drawn to the back door of the theater. Walk toward the light, brothers!

The Giver (PG-13)

tt0435651
Directed by: Phillip Noyce
Starring: Brenton Thwaites
August 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

The Giver
The Newbery, along with the Caldecott, are the two highest honors in children’s literature.

Don’t be thrown by the B&W, folks. You’ll soon learn why.
The B&W cinematography works on two levels: 1. It effectively depicts the “Sameness” of this ultra-compliant society, and 2. It lends the film a Classical Hollywood look and feel that further reinforces the community’s idealistic, “Leave it to Beaver” veneer.

Streep tells a knee-slapper...literally.

Asher’s assignment in the movie is quite different than in the novel.
It was obvious that effecting such a change would have implications for the movie’s climax…and it does.

Jonas experiences his first blast to the past. Chilling and warm all at the same time.
The visual motif of Jonas looking up into the sky while in motion, employed several times in the film, is indicative of his adventurous and inquisitive nature…something that comes in handy for his job assignment.

Sailing into a sunset. The vibrant colors are a stark contrast to the B&W filming.

Boundary of Memory map.
This is an interesting alteration from the book. Having an actual, physical edge overrides the book’s rather ethereal non-explanation for how the memories would depart the Giver and invade the community’s collective consciousness, but is it scientifically feasible for memories to be constrained to a radius of a few miles? It definitely strains credulity, although, one person serving as the repository for an entire culture’s memories is outlandish from the start.

The Giver gives Jonas a lesson on music and emotion.

Jonas uses an antiquated word.
I have some “precise language” for Jonas’ mom (Katie Holmes), but this is a family friendly blog, so I’ll refrain.

The Release scene is even rougher in the movie than in the book.
It’s one thing to read about an infant being euthanized, it’s quite another to actually see it on the big screen. You can just feel the controversy brewing over this scene.

The Giver gives Jonas strength.

Jonas is lost to the edge.

Bridges and Streep argue over the freedom to choose. Great dialog and acting.
This exchange doesn’t appear in the book; however, it’s a brilliant addition that really secured the rating in my mind. Here are two great actors just going at it, and the collision of communist/socialist vs. capitalist ideologies is the movie’s most salient and pivotal scene.

Jonas crosses the boundary...everything goes technicolor.
A logical visual device to aid the story, but also a knowing nod to Pleasantville (1998)?

Final analysis: a deceptively straightforward story that has much to say about our modern society.
For a teen movie, The Giver has far more biting political subtext than most adult movies…including ones centered on politics.

Rating:
3 out of 4. A cautionary tale that makes commentary on the human condition and the importance of apples.

Now before you go off on a tirade about how the community in this movie is just like the Abnegation faction in Veronica Roth’s Divergent, there’s one thing you need to know…The Giver was written in 1994, seventeen years before Divergent was published. So, if anything, Roth borrowed from Lowry, not the other way around. Even though there are many similarities between both fictional worlds (a focus on teens, a rule dominated society, rite of passage ceremonies, etc), one major difference is that while Divergent is dystopian, The Giver is utopian. Also, Divergent’s Brave New World style segregated society is intended as a cautionary tale (much like the disparate districts in The Hunger Games), whereas The Giver is a political barometer—ranging from communal regulation to individual determination—that reveals the tensions created when the ends tug against the middle. Although both books/movies broach important social messages, it could be argued that The Giver’s metaphysical mystery makes it more compelling than Divergent’s clear-cut clash of castes. Comparisons aside, The Giver stands on its own thanks to director Phillip Noyce’s (Patriot Games) brilliant use of color, or the lack thereof, cinematography in the film and the superb performances turned in by Jeff Bridges, Meryl Streep, Alexander Skarsgard, Katie Holmes and, I kid you not, Taylor Swift. The audience, much like the book’s readership, will be composed mostly of teens and pre-teens, but I sincerely hope that adults show up to see it as well since there’s plenty of meat on the bone for spectators of any age. There are four books in the series, so it’s conceivable that, as with Divergent and The Hunger Games, Lowry’s books will spawn a franchise of its own. If so, her books will prove to be a gift that keeps on giving.

A Most Wanted Man (R)

tt1972571
Directed by: Anton Corbijn
Starring: Grigoriy Dobrygin
August 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

A Most Wanted Man
The book was written by John le Carre, who also penned Tinker Tailor Soldier Spy, which became the basis for the 2011 film of the same name.

Hoffman is being watched by the Americans. Ooo.
The news that he’s being scrutinized by the Yanks inspires such mock fear.

Evidence of torture. A horrific tableau.
I bet McAdams’ character is sorry she asked…I know I am.

The instrument is produced in order to secure a fortune.
One might say it’s the key to the whole plot.

Hoffman looses a foot race. Surprised?
Correction: loses. This one always gets me. If “lose” rhymes with “choose,” why doesn’t it have two “o”s? Darn English language.

The flat is infested with bugs.
The kind that spies use. I don’t think I’m really giving anything away since by now you realize this is a spy movie.

“Unclean money” is given to charity. Guess that redeems it.
When people talk about laundered money that means it’s clean too, right?

An audible is called...Seven Friends Shipping. Gotcha!
From this scene to the end we have ourselves a movie. Too bad the rest of the film is such a snorer.

Final analysis: a slow-boil international espionage yarn with a subtle, powerful performance by Hoffman.
In fact, I’m not even sure the movie would be worth watching without Hoffman in it; with apologies to Rachel McAdams, Willem Dafoe and Robin Wright, who all turn in fine performances in limited roles.

Rating:
2 1/2 out of 4 stars. The German location work is stunning, but the pacing is somnambulating.

As with Tinker Tailor Soldier Spy, this le Carre adaptation is a taut tale with fine acting and directing (The American’s Anton Corbijn) that resembles a chess match more than a Bourne style high-octane actioner. What we have here, then, is a cerebral procedural with little action and even less emotion, save for Hoffman’s f-bomb blitzkrieg during the climax (and really, could anyone employ this particular expletive with as much visceral vitriol as Hoffman?). The climactic action scene is gratifying after waiting so long for something to actually happen in the movie, but it’s too little too late to assist such a stolid story. The European locations are a boon here but can only do so much to spruce up this drab drama, which sees the majority of its scenes told in dimly lit offices that could’ve been filmed anywhere…and probably were. Many will classify this film as a thriller, but that would be a misnomer since there’s absolutely nothing at all thrilling about the methodical, mechanical narrative…however realistic it might be. In the end, this isn’t a terrible film, but it certainly isn’t an exciting one either. It’s just sad that this is one of the final films (only the last two The Hunger Games movies remain on his posthumous filmography) in Hoffman’s tragically abbreviated career. Although his performance is memorable, the film is not.

The Hundred-Foot Journey (PG)

tt2980648
Directed by: Lasse Hallstrom
Starring: Helen Mirren
August 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

The Hundred-Foot Journey
Correction: “Hundred Foot” needs to be hyphenated. Relax, it’s not like I messed up the title or anything.

Cooking makes ghosts. An interesting perspective.
One creature must die so that another can live. The circle of life and all that stuff.

The establishing shots of the French village are gorgeous.
The B unit captured some really nice vistas of the village and surrounding countryside.

Mirren visits the enemy’s camp.

Opening night. Establishing a clientele the hard way.
The dog gambit is particularly ingenious…and humorous.

The five French sauces pass the taste test.

The early bird gets the pigeons.
You know what they say about paybacks.

Mirren rejects the peace offering. The war heats up.
Throwing that fine meal in the trash should be a crime.

Mirren makes an omelette...a sumptuous scene.

Hassan makes the titular journey. Learns how to cook classic French cuisine.

Pop the cork...two stars.
Three is the apex; two is superb for a restaurant in a small village.

“Maybe brakes break for a reason.”
In other words, the hand of fate can conspire to bring people together. Then again, maybe they were just old brakes in dire need of repair.

Innovation requires inspiration. Hassan takes a train home.

Final analysis: a delectable clash of cultures film with mouthwatering dishes & a dash of romance.

Rating:
3 out of 4 stars. How could I give it anything else?

Produced by Steven Spielberg and Oprah Winfrey and based on the novel of the same name by Richard C. Morais, this film is a tasty treat for those in the mood for European trappings, fine dining, unassuming romance or all of the above. The film has many quality ingredients, including solid direction by Lasse Hallstrom (Salmon Fishing in the Yemen) and yet another virtuoso performance by Helen Mirren, but what prevents it from getting top marks is the last quarter of the movie. Despite a solid setup, the film settles for a standard resolution, which comes complete with an extra helping of schmaltz. The rags-to-riches story device is undeniably inspirational, but it’s also egregiously sentimental, especially when screenwriter Steven Knight employs various media (magazine covers, news reports, etc) in narrating Hassan’s meteoric rise to the upper echelons of elite chefs in Paris…shameless. Still, some people get off on this brand of emotional catharsis and will surely feel serviced by the story’s feel-good elements. However you slice it though, this kind of movie does a disservice by trading on such populist wish fulfillment. In my estimation, this is three-fourths of a good movie, hence the rating. And yet, even with the overwrought resolution, this film is still a journey worth taking, if only for the exquisite entrees and lush landscapes.

Begin Again (R)

tt1980929
Directed by: John Carney
Starring: Keira Knightley
July 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Begin Again

Vision, not gimmicks. The opposite of most entertainment these days.
Especially big budget blockbusters.

The imaginary arrangement that’s constructed around Knightley’s acoustic song is brilliant.
I envy people with such musical mutant powers.

The new song garners a slap from the mind reader.
Never underestimate the power of women’s intuition.

Record every song at a different location. A unique concept.
And a logistical nightmare. Probably the reason why no one’s ever done it before.

“Hold on” section with the kids is a nice moment.
Well worth the $5 per kid for their services.

Listening to Knightley’s playlist via a special splitter. Recreating a magical moment.
This musical montage is the highlight of the film. The sequence is the audio/visual equivalent of a warm embrace.

The kazoo solo is hilarious.
I used to play one as a kid, but I’m out of practice. I need to get my chops up.

A buck for a book is a risky proposition. An amusing coda.
I love it when we get additional story during the end credits and not just silly outtakes.

Final analysis: like
Once, this is a song-centric film with strong character beats and fine performances.
The songs Knightley’s character sings have a Norah Jones or Colbie Caillat quality to them and should prove listenable, and perhaps even enjoyable, for most viewers.

Like the music it features, the film is a stripped-down drama that reminds us of what pure artistry really is.

Rating:
3 out of 4. A charming turn by Knightley & a new career watermark for Ruffalo. Plus some catchy tunes.

From director John Carney, who brought us the similarly themed and structured Once (2007), comes Begin Again, a dramatic and romantic movie that can’t really be classified as either. Nor can it be called a musical, despite the fact that it has just as many full songs as most musicals. Genre quandaries aside, what’s readily apparent is the movie’s easy manner and affable characters (and the picturesque location footage shot in NYC doesn’t hurt either). Besides its toe-tapping melodies, the film’s greatest asset is its deftness at avoiding standard rom-com clichés. For starters, there really isn’t a romance in the film since Knightley breaks up with her singer boyfriend, Dave (Adam Levine) and, thankfully, never hooks up with Ruffalo (eww!). The movie also does a good job of avoiding mawkish episodes: a scene near the end sets up the opportunity for an emotionally gratifying (and gratuitous) moment when Dave invites Knightley to the stage during a concert (the same exact scenario occurs when Hugh Grant coaxes Drew Barrymore to the stage in the 2007 film Music and Lyrics). Against our expectations, Knightley listens in the wing for a few minutes and then leaves. That’s just one example of how Carney (who serves as sole writer) diligently worked to keep his story free of contrivance. So then, no matter which genre Begin belongs to, file it in the feel-good music movie section, and those who stumble upon this indie winner will be completely satisfied.

Ida (PG-13)

tt2718492
Directed by: Pawel Pawlikowski
Starring: Agata Kulesza
May 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Ida

How many nuns does it take to place a statue of Christ?
Asking this was probably in poor taste, but the scene just begged for such a jocular question to be posed. The answer is four.

A Jewish nun?
A religious oxymoron?

Ida is drawn to the Coltrane tune and the man playing the saxophone.
Transgressive on both counts.

Ida lets her hair down. A significant scene.
A hint of what’s to come.

Saving the bones is a bit macabre, yes?

A snicker at supper. A sign that Ida isn’t ready for the “forever” nature of her impending decision?
Not a Snickers for supper. Although, a candy bar would probably be more appetizing than what’s in that soup.

Ida’s transformation is startling in its suddenness.
It’s frightening at how rapidly and radically humans can change.

Final analysis: a somber film about an orphan’s journey to discover the fate of her parents.

Rating:
3 out of 4 stars. A moody period piece that greatly benefits from its beautiful B&W cinematography.

This film is a quiet, unassuming character study centered on a young nun’s search for answers to her parents’ fate. More importantly, the movie is a quest of self-discovery as the woman searches for clues to her identity. Who is she and who does she want to be? These questions lie at the heart of a film where mood rules the moment and many of the film’s greatest revelations are subtly communicated through impressionist directing and minimalist acting. The actress who portrays Anna, Agata Trzebuchowska, delivers an understated performance that powerfully conveys a wide range of emotions with very little facial variance. It’s an extremely nuanced portrayal that’s made even more impressive by the fact that this is Trzebuchowska’s film debut. While the acting and writing are solid throughout, it’s Pawel Pawlikowski’s direction that elevates Ida to the upper ranks of the many fine films being produced by the European national cinemas these days. While the picturesque cinematography of the brooding, overcast Polish countryside and villages is stunning in its own right, Pawlikowski’s framing of his performers is simply sumptuous. In addition to employing radical angles in a handful of shots, Pawlikowski frequently pushes his characters to the extreme edges of the screen to produce tension and discomfort in the viewer and to reveal the inner turmoil of these marginalized and forgotten characters. In several of these shots, the director frames Anna’s disembodied head in the corner of the screen to signify the chastity inherent in her status as nun in training. Such thoughtful framing is subtly woven into the tapestry of the film and serves as a guide for interpreting the movie’s style, substance and subtext. Ida isn’t a phenomenal movie by any measure, but it’s well told and beautifully shot. If you can get past the subtitles and black and white filming, this movie is definitely worth watching.

The Fault in Our Stars (PG-13)

tt2582846
Directed by: Josh Boone
Starring: Shailene Woodley
June 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

The Fault in Our Stars

“A roller coaster that only goes up.” Where’s the fun in that?
And, technically, is that even a real roller coaster? I mean, most of the enjoyment comes from the drops, twists and turns, right?

Gus introduces his parents to “Just Hazel.”
Actually, Gus introduces her as “Hazel Grace.” Gus’ dad calls her “Just Hazel.” Apologies for the inaccuracy and confusion.

Okay is the new always.

Gus takes Hazel to a skeleton playground for a picnic.
Skeletons signify death…overdetermined imagery considering the movie’s subject matter? The bit about Hazel wasting her wish is very amusing, though.

The conversation on the “sad swing set” contains some killer dialog...and some incredibly raw emotion.
The grenade metaphor is particularly powerful. And speaking of metaphors…

Gus is told to put out his metaphor on the plane.
A non-metaphor flight? Airlines are getting so picky these days. Next thing you know, they’ll have non-humor flights. Oh wait, I’ve been on a few of those.

Answer day in Amsterdam.

A very unromantic location for the first kiss.
Which is the irony of the scene. If Hazel wasn’t breathless after her long ascent up several flights of stairs, I’m sure she was after that kiss.

The pre-funeral scene is deeply moving. The line about a “limited infinity” is staggering visceral.
Any criticism of the movie’s bent toward sentimentality will have this scene in its crosshairs. The sole purpose of this melodramatic sequence is to tug on the heartstrings...and it works like a charm. Correction: “little infinity.”

Hazel experiences her great and terrible 10.

Wow, that last “okay” went through me like an electric shock.
As a key ingredient in the title, director Josh Boone cleverly uses stars as a recurring theme/symbol throughout the movie. How fitting that the movie should conclude with Hazel looking up at the starry host with its scintillating beauty reflecting in her eyes.

Final analysis: a film preoccupied with death that somehow ends up being life-affirming.

A sobering reminder of the brevity of life and the things that matter most in it.

Rating:
3 out of 4 stars. Could’ve been melodramatic, but strikes all of the right chords emotionally.

Based on the wildly popular book of the same name by John Green, Fault follows a courageous young woman on her mission to discover why she is made to suffer from a terminal condition. Although emotions here are real, and occasionally raw, some will undoubtedly find the more melodramatic aspects of the plot to be unbearably schmaltzy. To those hardened critics I say, “Get a heart!” In my estimation there’s only one scene (mentioned above) that even comes close to being maudlin, and the overall story seems far less interested in trumpeting the injustices of individuals living in the throes of cancer and fully invested in telling an intimate story of one person’s plight and how others in her orbit are affected by her infirmity. The story, adapted by Scott Neustadter and Michael H. Weber, is never contrived or stilted and adroitly avoids the mawkish pitfalls that so many other films of this kind unwittingly stumble into. Besides the exceptional performances of the star-crossed lovers, Shailene Woodley and Ansel Elgort, the film’s greatest asset is its dialog, presumably lifted wholesale from the book. I remember hearing one such line in the trailer, “You trying to keep your distance from me in no way lessens my affection for you.” I thought, Wow this is going to make a great movie. Fortunately, my initial assessment of the film holds up thanks to a movie brimming with such great lines and accompanied by genuine performances and a truly touching story. This certainly isn’t an easy film to watch at times, but its veracity reveals the bitter reality that fate can’t be cajoled or controlled. Barring a few sentimental moments, this movie presents an inspiring and heartwarming story that’s really hard to find fault with.

Jersey Boys (R)

tt1742044
Directed by: Clint Eastwood
Starring: John Lloyd Young
June 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Jersey Boys

A nick at the barber shop. “What’s a little blood between friends?”
Tapping Christopher Walken for this film was a casting coup. He was born to play this part…an absolutely pitch-perfect performance.

Three ways out of the neighborhood, two types of women. A severe world.
My parents were born and raised in that world. I’ve spent my entire adult life trying to divest myself from such a rigid worldview.

Jam session on the organ is a cool scene.
But comes with a price.

Manually loading bowling pins...what a job.
And the identity of the young teenage boy loading the pins is sure to take you by surprise.

A gift for the newest member of the group...a left shoe.
If you sense a sleight, you sense correctly.

“The musical equivalent of room service.” Always read the fine print.

The Four Felons get tossed out of the bowling alley, but a “sign” changes their fortunes.
Actually, The Four Felons, cast as an aspersion, is far better than the group’s original name…The Four Lovers. As a male quartet, did they not consider how such a name could be misconstrued? Ah, the innocent 50s.

A “Jersey contract” threatens to tear the group apart.

Valli’s pep talk to his daughter hits the right emotional chord.
And is really the only scene in the movie that contains any emotional resonance.

Final analysis: a well crafted spotlight on Valli and his group.

Rating:
3 out of 4 stars. An immersive film that captures the sound and mood of the period in focus.

I must admit, I’ve never been much of a Frankie Valli fan. His high falsetto work, especially on songs like “Walk Like a Man,” is like fingernails on a chalkboard to my ears. Musical preferences aside, I’m now a fan of the singer, thanks to the insightful portrait of Valli’s life and career, brought to us by the man who once tried his hand at singing in “Paint Your Wagon” (1969) and then wisely stuck with his day job. It’s evident that Eastwood has a profound affection for the subject matter and his attention to historical detail is peerless. The film is saturated with nostalgia for the music and mores of the 50s and 60s and the sets, costumes, cars, etc, are all period appropriate to a superlative degree. Those familiar with Valli’s greatest hits will find it nearly impossible to refrain from singing or humming along when snippets of those songs, played in chronological progression of course, blast from the theater speakers. Despite the many qualities that recommend the movie, however, it remains strangely unmoving. The same can be said of Eastwood’s previous directorial effort, J. Edgar (2011)…a finely mounted and acted period piece that provides a vivid history lesson without really engaging the heart in any meaningful way. Eastwood needs to reevaluate Changeling (2008) to see what’s been missing in his recent films. The story here is remarkably similar to that of a concurrent group, The Temptations (as chronicled in the 1998 self titled TV miniseries). It seems that many popular acts from this era had a meteoric rise to fame followed by a catastrophic meltdown, instigated by the group’s requisite prima donna: David Ruffin for The Temptations and Tommy DeVito for the Four Seasons. But besides the group’s internal drama and Valli’s relational challenges on the home front, this movie resides on the outskirts of substantive emotion. Indeed, despite the film’s ability to engage the ear (music) and mind (human interest story of a group of guys trying to parlay their talent into fame), the movie plays like a Lifetime movie (with a ton of expletives added) punctuated by dramatized Time Life archival music video clips. As things stand, the movie is a finely produced “true story” that’s memorable more for its music than its standard story or static direction. If you’re in the mood for this type of movie, Jersey might satiate your hankering; otherwise you’re sure to be disappointed by its predictable plot and surficial story. In other words, you might want to save your money and make this one a rental. Capiche?

Personal note: My uncle was lead trumpet for Valli’s touring group for a couple years in the mid-sixties, so it was fun for me to get a glimpse of what his life might have been like during that stretch of time.

Belle (PG)

tt2404181
Directed by: Amma Asante
Starring: Gugu Mbatha-Raw
May 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Belle

The premise is immediately established.
Most of what was shown in the trailer transpires in the first five minutes of the movie, which is a welcome change from the usual preview that ruins every key moment, line or action scene in a film. There’s something refreshing about being “cinematically blind,” not knowing what’s coming around the next bend story wise. It’s one of the many reasons why movies were so thrilling during the golden age of cinema.

Wilkinson and Watson puzzle over Belle’s future.
Belle’s real name is Dido, but I didn’t want to Tweet that name for fear of misspelling it to my own eternal shame and ridicule.

Whispering in French raises auntie’s ire.

Good moral debate over human cargo.
It’s unbelievable to think that we once had arguments over such an issue…that there actually could be two legitimate sides on such a topic.

“Coming out” meant something completely different in those days.

“Wait for no man, dear.” Ha!
The seeds of women’s lib?

“Just as in life, we’re no better in paintings.” Poignant.
I must say that I don’t recall ever having seen a painting from this era with a person of African descent featured in it before seeing the many such paintings displayed in this film. But I’m certainly not an art connoisseur from the period in question…or any other for that fact.

James is a creep...the “manhandled” scene is repulsive.

Argument in carriage is intense.
I don’t think I’d ever lock horns with Wilkinson. Remember when he went off on George Clooney in Michael Clayton (2007)? “I am Shiva, the god of death.” Now that’s gravitas.

Wilkinson sees himself in a fiery young politician. A superb scene.

“Let justice be done though the heavens may fall.” Wilkinson’s ruling is an amazing moment.
A great quote, but an even better scene. The verdict isn’t nearly as epic as the one in To Kill a Mockingbird (1962), but it’s still provides a rousing resolution.

Final analysis: a deeply-affecting true story that tackles such heavy issues as racism & slavery in the late 1700s.

Rating:
3 out of 4 stars. Splits its time between familial and political intrigue. A moving, inspiring tale.

This isn’t the first “true story” film to highlight events during the pre-Victorian period. This certainly isn’t the first movie to feature matchmaking mothers intent on marrying off their daughters to this rich relative or that powerful duke…look no further than Jane Austen’s Pride and Prejudice (1940) for a master class on the subject. This also isn’t the first film to spotlight the social blight of slavery during this time period; one really good story on the subject is that of humanitarian William Wilberforce in Amazing Grace (2006). What is new here is the story of a young black woman who grows up on an estate with a staid, white, aristocratic family. Imagine dropping a black girl into Downton Abbey and the effect would be about the same. Dido’s (Gugu Mbatha-Raw) plight, which immediately creates identification and pathos in the audience, is the one plot point that keeps the movie from being just another finely mounted, well acted costume drama. Her struggle for acceptance and equality is inspiring and captivating: we can only imagine what Dido endured as someone too good to eat with the servants but not good enough to eat with her “family.” The social commentary, which is chiefly preoccupied with human rights, is subtle throughout and we can thank Misan Sagay that the writing never gets heavy-handed. It goes without saying that the acting is amazing, but it’s worth mentioning just the same. Wilkinson and Watson are well suited as Dido’s adoptive parents and Mbatha-Raw is a revelation as the delightful yet redoubtable title character, a brave woman who fights for self-respect while fighting for the fate of her race. In the end, the movie succeeds because there are many familiar features from other such period pieces to make the story accessible along with enough new elements to keep us engaged and entertained from the outset. Add this to the pantheon of well acted, well produced and well written historical dramas.

Transcendence (PG-13)

tt2209764
Directed by: Wally Pfister
Starring: Johnny Depp
April 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Transcendence
It sounded good at the time.

Bettany in a bleak Berkley. Narration decries the downside of technology.
Meaning its ability to take control of our society. Have we learned nothing from Skynet?

Castor wants to create his own god. Hmm... Something tells me that won’t end well.
His comment that all of science is the attempt at becoming God is revealing and somewhat ironic when considering what’s to come for his character in the movie. With statements like that is there any wonder why there’s such a huge rift between religion and science? Correction: Caster.

PINN is the new KIT, but with a lot more computational power.
And not housed inside a car. Minor detail. Correction: KITT.

Now those closest of Castor play God by trying to save his life.
And nobody, not even his wife, thinks this is a bad idea? This is what happens when people stop reading science fiction. Or reading period.

Depp looks creepy in electrode curlers.
But still not as creepy as his chalk complexioned character in Charlie and the Chocolate Factory (2005).

Why does Kate Mara always play a nut job?
Remember her turn as a psycho B on 24?

Castor tells his wife they need to get off the grid. Uh...he is the grid.

Ominous note: Run from this place.
Evelyn still doesn’t take Tagger’s hint. Maybe if he’d written, “Run for you life,” his message would’ve gotten across more clearly.

These guys heal quicker than Wolverine.

Nano rain. Now we’re drifting too close to #Revolution.
This sequence boasts some of the best FX in the movie.

Creepy townsfolk reminds me of Invasion of the Body Snatchers.
They’re really just zombies that look like normal people, which is exactly how zombies looked in 50s movies like the one listed above.

Final analysis: a standard cautionary tale of technology running amok.

Offers some food for thought, but it’s more like a light snack.

Rating:
2 out of 4 stars. Squanders its fine cast with farcical fare. Can you prove you’re self aware?

This movie is a profound disappointment. Longtime cinematographer for Christopher Nolan and first time director, Wally Pfister, drew the short straw on this project. Pfister frames a few nice shots in the movie (especially the rows of solar panels), but the movie’s ordinary, rundown and non-cinematic locales lend the whole proceedings a low budget look. The leaden script from Jack Paglen had no chance of becoming the edgy, poignant, mind trip the movie aspires to be…Inception it’s not. Besides being derivative of many other sci-fi works, The Terminator and ST:TNG’s “The Schizoid Man” among many possible choices, the story is so outlandish that suspending one’s disbelief still doesn’t help relegate it to the realm of reason…or reality. Depp’s performance is muted and uninspired: his slump continues and this just might prove to be his least successful movie ever. Morgan Freeman does the most he can with a cardboard character and Paul Bettany plays a scientist whose shifting motivations are contrived and disingenuous. Rebecca Hall, who turns in the movie’s most sincere and convincing performance, can’t quite sell us on her motivation behind preserving the essence of her husband. This story embodies the age-old axiom of absolute power corrupting absolutely but adds nothing new to the hackneyed formula. The movie flirts with having a message, but the execution of the anemic story line prevents any such notions from gaining traction. What’s unfortunate is that the story actually had the kernel of a compelling idea. Unfortunately, that kernel never turned into something white, fluffy and delicious. Instead, it resides at the bottom of your popcorn bucket with all the other old maids.

Million Dollar Arm (PG)

tt1647668
Directed by: Craig Gillespie
Starring: Jon Hamm
May 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Million Dollar Arm
Million Dollar Baby was already taken, so Disney settled on Arm. Don’t believe a word I say.

“A highly improbable challenge” to turn a cricket bowler into a baseball pitcher.
With unlimited time and money, this feat might be attainable. But training two Indian teens (who have never even touched a baseball before) to become pitchers on a professional baseball team within one year would be a ludicrous proposition, right? Keep watching.

“Indians love honking and bypassing the system.”
This makes for a funny scene, but I wonder how many Indians would feel mischaracterized by this statement. The two Indian lads (neither of whom like cricket, which exposes another stereotype imposed upon Indians…that they all love cricket) observe that Hamm’s character is always hustling. By extension, making the comment that all Americans maintain a fast pace of life would be an equally prejudicial remark to the one quoted above.

Tryout day. Long lines of low velocity throwers. Arkin gets plenty of shut eye.
As always, Arkin is a hoot in this movie. He seems to be Hollywood’s go-to actor for playing a curmudgeon with a heart. As a side note, I was in the audience when Arkin introduced a movie he starred in at this year’s TCM Film Fest. The “real” Arkin seems far less irascible than his frequent onscreen personas, but every once in a while I detected a hint of that patented back east brusqueness.

The last contestant is called “The Flamingo.” Aptly named.

The double hurl scene is disgusting.
I’d trade my sports car in for a minivan after that too. Can you really ever get the smell out?

Finger cut shouldn’t effect the cutter.
Correction: affect, not effect. Didn’t have time to reason it out.

All of India will be watching. No pressure.

Tough sledding in Tempe.
Arkin’s ploy with the Pirates’ scout not only keeps the Indian boys’ dreams alive, it also saves Hamm’s bacon. Er…

“Thank you” meal is a sweet scene.

Final analysis: a predictable, yet heartwarming true sports story.

Rating:
2 1/2 out of 4 stars. The footage of the actual players during the end credits is a nice touch.

Though there isn’t anything earth-shattering in the movie, it tells a mildly intriguing tale of courage in the face of impossible odds. There’s virtually no narrative complexity here and the characterizations are fairly cardboard, except for Lake Bell’s next door nurse, whose compassion and honesty lend the film the smallest modicum of genuine human emotion. The uncomplicated plot and a cause and effect, some might even call it paint-by-numbers, story line render the movie predictable at every turn. Those who prefer straightforward stories with lollipops and roses endings will be pleased to no end with this movie. Those who prefer more complexity and artistry in their entertainment will find this film borderline insufferable. There’s no doubt that the follow-your-dreams elements are a tremendous asset to the movie, as is the location footage shot in India, but the sum total here is far less than it could’ve been…and one could justifiably blame Disney’s family friendly formula for that. Is the film inspirational? Undeniably. Is it as inspirational as other Disney sports films such as The Rookie (2002) and Miracle (2004)? Not even close. Like the early efforts of the Indian pitchers, this movie is slow and out of the strike zone.

3 Days to Kill (PG-13)

tt2172934
Directed by: McG
Starring: Kevin Costner
February 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

3 Days to Kill
The dollar sign is on the wrong side of the numeral…long day at the movies.

Why are albinos always bad guys,
a la #ThePretender?
The opening attack is pretty standard action movie fare…would’ve been nice to see a more elaborate scenario with edgier filming. And since Luc Besson is the co-writer, you’d almost expect that degree of punch and panache from the movie’s action sequences.

Costner is admonished to put his affairs in order.
A phrase no one ever wants to hear.

“Yellow is not a man’s color.”
Neither is purple, as he’s soon to find out.

Costner rides a purple bike through Paris.

“Kill or die,” says the comely woman in the hot sports car.
Well, when she puts it like that…

Costner ties up a bad guy with the handy man’s secret weapon. Reference #TheRedGreenShow.
You’ll be amazed at the myriad things you can create with the stuff.

“The spare’s loose in the trunk.” Funny scene.
Funny, but farcical. A spare tire can’t move on its own inside a parked car…unless we’ve unknowingly drifted into a horror movie.

Bike riding lessons...a sweet scene.
With a gorgeous vantage of the city in the background.

“Real football.” I love it.

Guido’s secret sauce...hilarious scene.
The funniest scene in the movie, but the trailer absolutely ruined it.

More lessons...dancing this time.
But the mom’s (Connie Nielsen) entrance at that particular moment, arranged for maximum emotional effect, is more than a little contrived.

Costner really knows how to crash a party.
Fitting, I suppose, since he was a bodyguard in a former (acting) life.

Final analysis: a unique blend of action and humor in this job vs. family themed film.

Some beautiful European locales along with a few Bourne-esque action sequences are a boon to the film.

Rating:
3 out of 4 stars. Another solid turn by Costner and McG’s finest directorial effort to date.

Despite its thematic tensions, something about this movie just works. It’s a serious movie about serious matters that doesn’t take itself too seriously. Thank goodness for small miracles. If played straight, the movie would’ve imploded since it falls far short of the quality seen in a Bourne or Bond Euro flavored action thriller. The film explores the lighter side of a genre where life and death stakes normally belie any modicum of levity. Tonally, the movie falls somewhere between Bourne and Red—a sizable dramatic chasm, to be sure. Some will, wrongly, view the film as a spoof, while others will be thrown by how it tries to wear two hats (or masks)—the light and the dark (reference the movie poster), the comedic and the dramatic. Such tonal shifts didn’t bother me because Costner is utterly convincing as a man with literally nothing to lose (except for the respect and admiration of his family) and because he navigates back and forth between the narrative poles with masterful ease. I can see where viewers expecting an all-out action film will be disappointed by the movie’s comedic bits and schmaltzy daddy/daughter scenes; the atypical blend of story elements will surely attract some viewers while repelling others, as any work of art will do when pushing the envelope. To me, the movie’s uniqueness is what sets it apart from a standard action picture and makes it an enjoyable entertainment. But if you disagree with my assessment, please don’t kill the messenger.

Walking with the Enemy (PG-13)

tt1515208
Directed by: Mark Schmidt
Starring: Jonas Armstrong
April 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Walking With the Enemy
Mr. Kingsley, as you’ll recall, also played a protagonist opposed to the Nazis in Schindler’s List (1993).

1944. Hungary. Nazi invasion. Restrictions. Curfews. And so it begins.
“I’ve got a bad feeling about this.”

Not so warm welcome at the work camp.
As would be expected…this isn’t the Ritz after all.

Kingsley, the Hungarian leader, must choose the lesser of two evils.
Some good acting here, but nothing that really makes Kingsley flex his acting muscles. Also, too many of the shots in this scene were done from one camera setup, which makes the sequence feel static and unimaginative. A prime indicator of just how time and budget constrained this film is.

American planes arrive. An exciting but short-lived action scene.
Just a guess, but this sequence probably consumed about half of the movie’s budget.

German officers take what they want. Rough scene.

You definitely don’t want to get caught with a radio.

“This piece of paper is someone’s life.” A chilling statement.
This scene has considerable dramatic heft; ironic considering how lightweight the object in question is. Items purchasing freedom for the oppressed echoes the scene at the end of Schindler’s List where Schindler is willing to offer his watch and car to save more lives; a bargain, he bitterly realizes, he’s too late to make.

The greater of two evils stages a coup.
A. Germany. B. Russia. Unless you’re a student of history you have a 50/50 chance of guessing correct.

German officers joke about their “resorts.” Detestable.

Final analysis: an OK WWII tale that’s notable more for its historical importance than its filmmaking.

Rating:
2 1/2 out of 4 stars. Kingsley’s involvement is negligible in a film desperate for his talent.

Despite its obvious dearth of talent, time and money, the movie makes the most of what it has by featuring some impressive on location work. Also, the film’s sets, props and outfits (uniforms play a major role in the film) are all well designed and period appropriate. What holds the movie back is middling performances by a largely no-name cast, a sputtering screenplay by Kenny Golde (the first half of the film really drags and some of it could’ve been condensed or trimmed since the film runs fifteen minutes too long anyway) and standard, largely uninspired direction by Mark Schmidt. What’s sad about the end result here is that this true account is actually an inspiring tale of courage and cleverness in the face of unspeakable evil. One wonders how significant the improvement in overall quality would’ve been if the movie had had a bigger budget, a top shelf director (a la Spielberg, who tends to do well with this period of history) and some real star power. As for Kingsley, he does what he can with what little screen time he’s given, but his presence is more like a cameo than a star turn. On this count, the movie poster, which prominently features Kingsley’s visage, is more than a little disingenuous. Fans of the performer will feel shortchanged by his blink-and-you’ll-miss-it part, while those who know Kingsley only by sight will wonder why this accomplished actor isn’t featured more prominently in the story. Either way, the movie needed more of Kingsley. And more money wouldn’t have hurt either.

The Railway Man (R)

tt2058107
Directed by: Jonathan Teplitzky
Starring: Colin Firth
April 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

The Railway Man

A meet-cute on a train...one of Hollywood’s oldest romance movie tropes.

I would get rid of my mustache in three seconds flat with that kind of offer.

Kidman challenges the “code of silence.”
Amazing how men can get together and talk about anything under the sun except for what’s troubling them.

Clever makeshift radio.
MacGyver would be proud.

Kidman’s “interference” has dire consequences.
But Firth’s callous remark is far more shocking than the preceding incident.

“You will be killed shortly.” Blood doesn’t flow any colder than that.
That line actually seems like it belongs in an action movie, not a historical drama.

“No one would believe what you did to us.”
The atrocities of war are unfathomable to all but those who willfully choose to perpetrate its evil acts.

I’ve never seen a more meaningful bow. Tearing up.

Final analysis: a deeply moving tale of the devastating effects of war...

...and the miracle of racial reconciliation.

Firth and Kidman are simply masterful in their roles.
As would be expected. Let’s see if Oscar nods in their direction.

Rating:
3 1/2 out of 4 stars. Not an easy movie to negotiate emotionally, but well worth watching.

As is indicated by the title, railways and trains play a pivotal role in the movie’s plot. It’s fitting, then, that director Jonathan Teplitzky and his film crew should so elegantly isolate images of trains, tracks and bridges from different countries (England and Japan) and different time periods (the WWII 1940s and the film’s 1980 milieu). The train track motif works on an aesthetic level as well as a symbolic one. Ironically, other than the opening meet-cute and closing restorative encounter, every other instance involving a train or its tracks in the film results in the occurrence of something unpleasant, sometimes even tragic. The overcast sky and seething ocean are also an effective metaphor for the inner turmoil Firth’s character is made to endure. These artistic and canny directorial choices populate a movie rich in visual splendor and narrative complexity. With the exception of the protracted torture scenes (you’ve seen worse on 24), there isn’t anything objectionable in the movie, making the R rating a bit curious…other than the fact that the majority of Best Picture winners share that rating. Though it’s far too early to predict with any accuracy, the film seems well positioned to make a run at Oscar’s top prize. Firth and Kidman also seem poised to garner nominations for their roles here which have, yet again, redefined the measure of a tour de force performance. Some might find the movie a bit ponderous in the plot department, which is a shame. However, if you can hang in there to the end, you’ll experience one of the finest emotional payoffs to have graced the cinema in recent years. Pacing issues notwithstanding, this is a nearly flawless film with powerhouse performances and a harrowing historical account that won’t soon be forgotten.

The Lunch Box (PG)

tt2350496
Directed by: Ritesh Batra
Starring: Irrfan Khan
February 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

The Lunchbox

More like rich and spicy, I suppose.

Quite a production for delivering lunch boxes.
Though it isn’t nearly as intricate as their computer and phone wiring system.

Never tell a woman her food is “just good.”
A surefire way to insure an uncomfortable night’s sleep on the couch.

The first note is discovered. The premise and story structure is established.

We forget things when we have no one to tell them to. A poignant truth.
Is this why old people always insist on regaling the glories of yesteryear?

Empty lunchbox prompts a heartfelt note. Touching scene.

Final analysis: a touching tale of unrequited love brilliantly portrayed by Khan and Kaur.

Rating:
3 out of 4 stars. Moral: Sometimes the wrong train leads to the right station. All aboard!

Though the premise is simple and the story is straightforward, there’s an emotional depth to this movie that far transcends its status as a drama/romance hybrid. The film features real people in real situations and their actions and reactions are wholly believable all the way through to the existential ending. The movie is preoccupied with two of life’s greatest necessities and pleasures…love and food (and how the two often intersect). The visuals of food preparation and consumption, aided in no small part by mouthwatering descriptions of aromas and flavors, produce an almost Pavlovian reaction in the viewer. It’s recommended that you watch the movie on a full stomach—otherwise you might leave the theater with nubs where your fingers used to be. The location work is wholly immersive and makes you feel like you’ve taken a two hour vacation to Mumbai. And, all things considered, this isn’t a bad way to spend two hours. Just don’t be surprised if you’re craving Indian cuisine for the next week.

Draft Day (PG-13)

tt2223990
Directed by: Ivan Reitman
Starring: Kevin Costner
April 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 95

32 teams, 7 rounds. “The clock is always ticking.”
Chris Berman’s opening narration certainly generates excitement over what’s to come later in the film. His presence also legitimizes the movie and lends the fictional story some semblance of a “real” NFL draft.

The Browns are a desperate team? Not exactly a news flash.
However, I do applaud writers Rothman and Joseph for their decision to cast the spotlight on one of the most downtrodden franchises in professional sports (and for making the Seahawks organization look like a bunch of money-grubbing schmucks…no love lost here). Somewhere in the movie, someone mentions changing the look of the Browns’ helmets. I hope I wasn’t the only one who agreed with such a sentiment. Is there a plainer, uglier helmet in the NFL?

A deal over pancakes. Costner isn’t hungry.

“People pay to get splashed.” A powerful commentary on the state of the game.
Frank Langella is such a great actor who brings gravitas to every role he plays. He makes Costner seem like a whimpering child in this scene.

Lots of split screens. A bit much?
The film employs more split screen scenes than an episode of 24. It’s a useful device for showing two sides of a phone conversation—and there are a lot of them in the film—but by the middle of the movie this stylistic choice reaches overkill status. I will say that Reitman cleverly shows one person’s shoulder jutting into the image of the other person’s image panel, etc, and the scene where an individual travels from one edge of the screen to the other, passing right over the other person talking on the phone, was absolutely brilliant.

Costner trades the future of the franchise for some “magic beans.”
This critique comes from his screen mom, Ellen Burstyn.

Montana spots John Candy in the stands at the 1989 Super Bowl. Wonderful anecdote and scene.
I’d never heard this story before and it really enriches the text and subtext of this scene.

Is that your final answer, Callahan?

Sorry Bo, the Browns already have a “super” quarterback.
If the emphasized word is too cryptic…Tom Welling from TVs Smallville.

Final analysis: an educational, if fictional, behind-the-scenes look at the NFL draft.

Not as lightweight as some of Reitman’s earlier efforts, but not as engrossing as it should’ve been either.

Rating:
2 1/2 out of 4 stars. An original gridiron tale that should tide over diehard fans until the new season.

If Costner keeps on this career track, he’ll soon be the king of sports movies. How many has he made anyway? Bottom line, this is a decent film that effectively reveals the back room wheeling and dealing that accompanies an NFL draft. As exciting as that sounds the film is often devoid of excitement, owing largely to the fact that the character moments feel perfunctory and insipid. The blossoming relationship between Costner and Garner, the pressure Langella places on Costner and the family friction that results from the recent death of Costner’s dad all play out like vignettes in a Lifetime movie. Although it captures the flavor of an NFL draft, the movie is a pale reflection of the exhilarating, pulse-pounding drama that takes place during an actual draft. As such, some will choose to forego this film and just wait another month for the real thing.

The Grand Budapest Hotel (R)

tt2278388
Directed by: Wes Anderson
Starring: Ralph Fiennes
March 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 53

The opening matte paintings have a Mr. Rogers charm.
Something about the way the little tram moves up the model reminds me of the cheesy miniature sets seen on Mister Rogers’ Neighborhood on PBS.

Law dines with Abraham, who regales the story of the early days of the hotel.
Which, along with some minor crosscutting back to the present, constitutes the bulk of the film.

The reading of the will and a round of punches. A lot of fuss over “Boy With Apple.”
The Green Goblin lands the final blow…of course.

Elaborate breakout sequence is amusing.
I don’t think it’s possible to devise a more indirect route for escaping a prison. And once free, everyone would stand around and talk for a few minutes, right? Hilarious!

A second copy of the second will...quite the confession.

Old style filming on the ski chase is hilarious.
The increased film speed has a silent era feel akin to the Keystone Cops movies.

Final analysis: not as endearing as
Moonrise Kingdom, but a fine effort in its own right.

Rating:
3 out of 4 stars. A zany tale with a fine lead performance by Fiennes.

Enjoyably outlandish, this movie is vintage Anderson. It has all of the hallmarks that have come to define the auteur’s style: quirky characters, decorated ensemble, ornate dialog, stylish camerawork, lavish locations and high production values. Though a million miles apart thematically, this film actually boasts a narrative structure similar to the one employed in Christopher Nolan’s Inception (2010). Just as Nolan’s preeminent mind-trip featured a plot with multiple layers, this movie also follows different sets of characters (real and fictitious) through different periods of time. The film’s denouement seamlessly progresses forward through the levels until we’re back in the present, which is where the film began. It’s a clever framing device, brilliantly conceived and executed by Anderson and co-writer Hugo Guinness. Bottom line, if you’re in the mood for something outside the box, this film should do rather nicely.

Noah (PG-13)

tt1959490
Directed by: Darren Aronofsky
Starring: Russell Crowe
March 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 65

Crowe and Connelly also portrayed a married couple in A Beautiful Mind (2001).

Not too worried about spoiling plot points for this one.

The intro is eye opening...never heard of the Watchers.

Noah is quite the humanitarian...looks out for white flowers and dragon dogs.
Just a guess, but his skill at taking care of animals might come in handy someday.

Noah encounters a Watcher. I wonder if it has any vulnerable spots?

Noah sings a lullaby. Guess Crowe didn’t want those singing lessons he took for
Les Miserables to go to waste.
Not that they did much good, mind you. It’s a good thing all of the canines are sedated on the ark. Otherwise, the howling over Crowe’s singing would make our ears bleed.

A cup of tea with Methuselah. I hope the tea leaves aren’t as old as he is.
Yeah, yeah. My jokes are as stale as the tea.

Amazing time lapse montage.
But it’s used once again during story time with Noah. This occurrence should’ve been skipped in favor of the latter usage of the technique, which has more dramatic impact.

Watchers remind me of
LOTRs Ents...right down to the lumbering gait and booming, gravelly voice.

You knew they’d be coming sometime...all manner of reptiles board the ark. Why did it have to be snakes?

Question: Wouldn’t the sedation incense also effect the humans?
Correction: affect. Po-tay-to, po-tah-to.

“The time for mercy is past.” Fortunately God didn’t feel the same way.

Total
LOTR battle to repel the advancing throng.
The 5.1 quake hit right in the middle of this sequence…just added to the overall effect. Who needs IMAX?

Noah’s creation story is brilliantly visualized.
But looses its visual vitality due to the movie’s earlier instance of time lapse photography.

Final analysis: a beautifully crafted film, but a very strange take on the flood narrative.

The film fails as a faithful Biblical account but works extremely well as a fantasy epic.

Noah, a venerated man of faith, is characterized here as a misguided, manic Ahab.

Rating:
2 1/2 out of 4. Had higher hopes for this one. Can theological accuracy and art coexist? Remains to be seen.

Yes, the beginning of the film contains a warning that artistic license was taken with Aronofsky’s stylized rendition of the Biblical account of the global flood as told in the book of Genesis. Despite the disclaimer, does that give Aronofsky the right to forge the Biblical narrative into anything his fertile imagination conceives (I mean, introducing aliens into a film about Napoleon might seem less odd and would certainly be less controversial)? As if to remove all doubt as to how far the director will stray from the inspired source material, within minutes we’re introduced to the Watchers, which, presumably, are a variation of the Nephilim but with the potential to achieve eternal redemption (except for the one that cracks open its chest because that’s suicide, right?). With the Watchers, Aronofsky sets the tone and expectations for the film right out of the gate. You’ll either accept his fanciful riff on the story of Noah or you’ll outright reject the whole affair as high art heresy. Theological accuracy aside, the story starts floundering once the rain starts falling. Besides a needlessly protracted battle, filmed with all the visual verve of a LOTR movie, the subplot involving Ray Winstone’s devious antagonist is utterly daft. Those who’ve heard the Sunday school story will know that Noah and his family survive the deluge, so the outcome of the fight scene is a foregone conclusion. Consider this a failed attempt at generating dramatic intensity. As for the characterization of Noah as a type of tragic and tortured Ahab, there’s really no justification for it other than the fact that Aronofsky needed something to sustain viewer interest during the 40 days/nights part of the tale. There’s no doubt that Crowe pulls off the neurotic Noah but could conflict have been generated some other way so that the hero of our story stays somewhere this side of sane? Despite the many ways Aronofsky tampers with the original Biblical account, his biggest disservice to the film is his narrative choices, which consistently sideline God during key moments of the story. For instance, in our human minds it seems impossible that Noah and his family could’ve built the ark by themselves, so Aronofsky introduces the Watchers to make the task seem more feasible, effectively eliminating any supernatural agency from the equation. Also, from a man-centric perspective, it doesn’t seem probable that Noah and his family can feed and tend to all of the animals in the world for 40 full days, so Aronofsky devises a way to sedate the animals. If God could shut the mouths of hungry lions to preserve Daniel’s life, couldn’t God put all of the animals on the ark into a state of hibernation? Explaining away divine activity also occurs in subtle ways in the film, like when Noah’s sons raise the main door to seal up the ark. In the Bible, it’s God himself who shuts the door (Gen. 7:16). These instances, along with many others, reveal that the movie’s underlying problem isn’t the creative liberties taken with the story but rather the removal of the hand of providence from appearing in the movie’s broad strokes. I’m okay with whimsical story elements like the Watchers—I wasn’t alive during Noah’s time, so I can’t deny their existence—but I’m not okay with the excision of a divine agency from the heart of the story or human explanations given for miraculous events. After all, if you erase God from the story it kind of defeats the purpose, right? Bible scholars aver that 99% truth is still heresy. The many liberties taken here evince a story that’s deserving of such ignominious status. I had hoped that this movie would finally be the perfect marriage of an artistic, commercial film with a story that’s faithful to the original text. Unfortunately, this movie isn’t the consummation of those desires. Now all I’m left with is the sinking feeling that this movie was a missed opportunity of biblical proportions.

Heaven is For Real (PG)

tt1929263
Directed by: Randall Wallace
Starring: Greg Kinnear
April 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 34

Hospital and pizza...well as long as it isn’t hospital pizza.

Lions and bears and unicorns, oh my! Strange sermon illustration.
Not sure I got the point here. Seems like a bit of a stretch. Plus, were unicorns ever mentioned in the Bible? I don’t recall David taking one of those down with his sling.

Be careful how you slide into third.

I’ve been to the Butterfly Pavilion...and I’ve held Rosie.
Twice, actually. I have the pictures to prove it.

Kinnear’s tantrum provides a crucial defense to his son’s incredible testimony.

Jesus has markers...not the color markers on the table though.

A second sister...some much needed proof for Colton’s mom.

Kinnear’s titular sermon is so stirring it leads to a hug-fest; not that uncommon in small town Nebraska.
Consider this homily a successful Hail Mary. I guess someone was listening up there…in heaven.

Final analysis: a “religious” film that challenges our notions of the afterlife with minimal sermonizing.

A decent cast, headlined by Kinnear and Thomas Hayden Church, but Connor Corum steals the show as Colton.
Correction: Thomas Haden Church. Guess I can expect to be sandblasted for that mistake.

Rating: 2 1/2 out of 4 stars. A powerful message of hope. Hopefully it’s not just preaching to the choir.

One of the revealing aspects of this movie is how people’s reactions to the concept of heaven can be so radically different. Some accept its existence blindly and others reject it out of hand since, in their minds, it isn’t scientifically feasible. What fascinated me most about this movie is how church parishioners dealt with the version of heaven young Cole claims to have seen in a not so near death experience. Some are filled with hope by his story, others are threatened by it and still others just want it to blow over so that the media blitz will end and life can return to normal. The fact that it evokes such varied and extreme reactions indicates just how polarizing and inspiring a topic heaven can be, especially when broached in a “true story” film. Though the production values are hamstrung by insufficient financing, director Randall Wallace makes the most of the heartfelt story, based on the book by Todd Burpo, and capitalizes on the A list performers at his disposal, Kinnear, Church, Kelly Reilly (Flight) and Margo Martindale from TVs The Millers and The Americans. Just as convictions concerning the reality of heaven widely differ, opinions regarding the quality of this film will also vary. Some will view this film as overly sentimental, while others will regard it as heaven sent.

Nebraska (R)

tt1821549
Directed by: Alexander Payne
Starring: Bruce Dern
January 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 31
Payne previously directed The Descendants (2011) starring George Clooney.

“I’m not trusting the mail with a million dollars.” Hilarious!

Will Odenkirk become the Brokaw of Billings?
Hard to know for sure. Guess we’d better call Saul.

A side trip to the “roughed in” monument.

Family reunion in Hawthorne is a hoot.
However, this super slow mo existence is agonizing to watch and even more unbearable to experience in real life.

“The next round is on Woody!” The cat’s out of the bag now.
It’s nice to see Stacy Keach again, even though his character is a scum bag in the film.

Cemetery scene ends with quite the exclamation point.
I think it’s safe to say that this is one of the most outrageously unexpected moments in film history.

A visit to the homestead...just a bunch of old wood and weeds.
Woody expresses many memories, good and bad, about being raised on a farm.

Wrong farm, wrong compressor. Uproariously funny.
Equally sidesplitting is the follow-up scene where Woody and Kate (June Squibb) carry on a conversation with some old friends while sitting in the back seat of their car. Absolutely pitch-perfect acting by Squibb.

Victory lap in new truck.
Success is sweet…even if it only lasts for a few blocks.

Final analysis: a no frills, B&W drama with much to say about human behavior...both good and bad.

Straightforward premise from the start and deliberate pacing throughout.

Authentic small town atmosphere and beautiful framing of landscape shots.
All the more effective visually since they were shot in black and white.

Rating: 3 out of 4. A road trip film where the “buddies” are father and son. Dern and Forte are a superb duo.

Bruce Dern delivers a career performance as Woody, an aging man on a mission to claim his million dollar sweepstakes winnings. Payne’s direction is superb and cinematographer Phedon Papamichael’s (yep, that’s his name, and Payne’s real last name is Papadopoulos) framing of the movie’s Midwestern landscapes perfectly establishes the mood and visual identity of the film. Wim Wenders would be impressed by such deftness at capturing the stark beauty of the American heartland. Above all, this movie is a fascinating look at the human condition, specifically in how old friends will magically appear whenever an individual comes into some money. Everyone’s looking for a handout these days, and the “Hey, Woody, you remember me, don’t ya’?” scenes are amusing and telling. Any such social commentary is presented with the utmost subtlety, which is fitting since that’s also how Dern delivers his lines. All told, this film is a rare cinematic treasure and a unique slice of Americana.

Philomena (PG-13)

tt2431286
Directed by: Stephen Frears
Starring: Judi Dench
November 2013

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 82

Sixsmith forced to eat humble pie with a side of grovel sauce.
A BBC reporter’s words, not mine. I’m not that clever.

Desperate Sixsmith decides to accept a “human interest” assignment.
Desperate times…

Philomena returns to the scene of the crime...relives the past.
A truly heartrending flashback.

Sixsmith’s commentary on God’s “weird game” is poignant...a universal quandary.

Philomena goes to Washington. Then goes to see the monument of the tallest president.
Her comment about Abe being tall even while seated is priceless.

“He was smart and he had a firm handshake.” Who could ask for anything more?

A Celtic harp...another clue revealed.

Sixsmith’s “doorstepping” attempt falls flat.
Fortunately Philomena proves more resourceful…and forceful.

They come full circle. Nice T.S. Eliot quote.

Final analysis: another virtuoso performance by Dench. A demanding emotional role and she makes it look easy.

Similarly themed to the indie
Oranges and Sunshine, Philomena reveals a dark chapter of Britain’s past.

Rating:
3 out of 4 stars. A sad “true story” that stays just this side of a tear-fest.

It’s no surprise that Dench turns in yet another powerhouse dramatic performance here. What is surprising is just how effective Coogan is in the supporting role. You might remember the actor as Octavius in the Night at the Museum movies. There’s quite a variance in tone between the actor’s typical comedy roles and the straightforward dramatic part he plays here. Characterizing the movie as a straight drama, however, would sell it short since the story contains occasional moments of comic relief, like when Philomena regales the sordid details of the romance novel she’s reading. For the most part though, this is a quiet and heartwarming human interest story that cleverly avoids the kind of mawkish displays normally witnessed in this kind of film. So, if you’re in the mood for effectively told “true story” drama, Philomena should fit the bill rather nicely. And honestly, just watching Dench do her thing is justification enough to watch this film.

Her (R)

tt1798709
Directed by: Spike Jonze
Starring: Joaquin Phoenix
January 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 52

“Choke me with the dead cat.” Okay we just took a wide left turn.

OS1. We’re not that far away from this technology folks. Frightening possibilities.
Even the name sounds probable for this hypothetical technology.

Mini Stay Puft man in the video game has a potty mouth.

“I’d like a slice of cheese please.” A computer that knows what you want to eat.
But can it always account for mood or a finicky palate?

Samantha hints that she might be exceeding her programming. Fascinating!
Maybe she’ll magically appear as Seven of Nine.

Ingenious use of fade to black. The morning after...awkward.

“The past is just a story we tell ourselves.”

Beta test for a computer game...Phoenix looses many “mommy points.”
He still does far better than I would.

Phoenix is afflicted by a “socially acceptable form of insanity.”

Signing the papers...one of the most heart-rending experiences imaginable.
Been there, done that…have the emotional scars to prove it.

A surrogate. This is so strange. It’s true what they say...three’s a crowd.

Samantha is experiencing growing pains. Disturbing implications.

“Are you in love with anyone else?” Always a dangerous question to ask.

Final analysis: one of the most astounding examinations of the human condition ever to grace the big screen.

Jonze’s prescient, near-future tale juxtaposes our need for love with our growing sense of isolation.
Prescient is the perfect word to describe this film. Jonze has captured the zeitgeist of where our society and technology will be 5 to 10 years from now. His vision here is past the cutting edge…truly astonishing.

The world Jonze creates is staggeringly real and downright frightening in its implications for our future.

And yet, hope remains as long as we don’t loose connection with each other...as we witness in the final scene.

Rating:
4 out of 4. Profound beyond description, Her is a truly moving experience. Now I’ll take out my earpiece.

I have little to add to the above statements, so at the sake of compounding compliments or stockpiling superlatives, I’ll keep this wrap-up short. The one caveat I offer is that this is an extremely graphic (sexually) movie, so precautions should be taken if such content is deemed inappropriate for potential viewers. That said, a more profound film concerning the nature of love, belonging, sex, heartache and loneliness you’ll be hard-pressed to find.

The Wolf of Wall Street (R)

tt0993846
Directed by: Martin Scorsese
Starring: Leonardo DiCaprio
December 2013

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 51

DiCaprio’s internal monologue becomes a direct address to the camera. Interesting narration method.
American Hustle, a concurrent release, also features an unusual mode of narration.

McConaughey’s chest thumping is truly bizarre.
And his protruding buck teeth only add to the strangeness of the scene.

DiCaprio gives a clinic on how to sell stocks.
Jaws go slack all over the call center.

Hill’s “present” sets DiCaprio on a bad course.

New company with a new script.
Wages increase while inhibitions decrease.

Robin Leach’s extravagant description of the yacht is amusing.

“Pick up the phone and start dialing.” DiCaprio’s rousing speech verges on the manic.
No verge about it…he falls over the cliff.

DiCaprio and Kyle Chandler’s amiable showdown on the yacht is amusing.

The Cerebral Palsy Phase. Funny stuff.

DiCaprio decides not to be sold to and creates an army of chest-thumpers.
Not to worry, they’ll all be making cameos in the next Planet of the Apes Movie.

Somehow the story just morphed from
Wall Street into The Perfect Storm.
A very bizarre narrative left turn.

Chandler delivers a yellow “go to jail” card.

Final analysis: an overlong tale of greed, sex and drugs with an unrelenting blitzkrieg of F bombs.

Slick direction by Scorsese and fabulous acting all around.

Owes a debt to
Wall Street and The Boiler Room, but pushes the boundaries of excess to the extreme.

Rating:
2 1/2 out of 4 stars for being derivative & excessive. Now I need Benihana & a mind cleanse.

There’s a great divorce in my evaluation of this film—a giant chasm which makes reconciling both sides a quandary of epic proportions. On one side is Scorcese’s sumptuous direction, DiCaprio’s utterly captivating performance and top-notch work in every phase of the production. On the other side is the ostensibly hyper-real lifestyle of the characters which comes complete with lewd behaviors of every kind imaginable and pervasive drug use all being done at work, out in the open for everyone to see, enjoy and clap and cheer for. If you’re still under the assumption or misguided, idealistic hope that some things are still sacred in the world, give this film a watch and it will shatter any such notions. I think the disconnect for me is a matter of identification…the lifestyle placed on display in the film isn’t even remotely appealing to me so it’s hard for me to sympathize with any of the characters. As such, this get rich, live large philosophy holds no fascination for me. Despite its stellar production values, I just can’t endorse this film because its excesses detract from its entertainment value. In the final analysis, Scorcese’s wonderfully woven Wolf is merely a celebration of corruption and debauchery. Morally reprehensible from one set of credits to the other, this film is gratuitous to its own peril.

The Monuments Men (PG-13)

tt2177771
Directed by: George Clooney
Starring: George Clooney
February 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 37
A blunder right out of the gate…no apostrophe appears in the title.

Two spits for Stahl. Drink up!

Who will make sure the Mona Lisa keeps smiling? Compelling argument.

“They’re not blanks.” Ha!
This training sequence feels like it was lifted right out of a classical Hollywood war movie. Uproariously funny.

Post D-Day Normandy. Gorgeous revolving shot of the characters as they step onto the beach.

Damon’s poor French ensures brief subtitle scenes...thankfully.
A very clever decision on the part of scriptwriters Clooney and Grant Heslov.

Clooney’s speech to his men is inspiring...and depressing.
Inspiring for the audience, depressing for his team.

A German standoff. Smoking with the enemy.
Another riotously hilarious scene. Balaban and Murray are pitch-perfect in their deliveries.

Murray’s gift 45 hits all the right emotional notes.
A really special moment amid the atrocities of the war.

Talk about a bad place to take a cigarette break.
This scene is shot in Germany, and for those who’ve never been there, this is exactly how it looks…right down to the overcast sky.

Blanchett entrusts Damon with “her life.”
She actually wants to give him something more.

Talk about a national treasure!
The Dwarves or Erebor couldn’t have stacked it any better.

Grab and go...the Russians are coming.
No, Alan Arkin doesn’t make an appearance here, although that would’ve been a choice inside gag.

Final analysis: for the often heavy subject matter, this is a surprisingly feel-good movie.

Phenomenal production values, fine performances and a gorgeous score from Alexandre Desplat.

Rating:
3 out of 4 stars. An important film with a poignant message. Will it be forgotten by next Oscars?

To start with, it’s just a blast to see all of these stars together on the big screen. Secondly, it’s nice to see a war movie that doesn’t take itself too seriously and is affecting only when it needs to be. There are some gorgeous shots (Dujardin sprinting across the field) and scenes (Bonneville’s heroic stand to protect the Madonna and Child statue in Bruges) in the film and the production perfectly captures the look and feel of Europe in the 1940s. This is just an incredible story that illuminates a sidebar event during WWII. Much appreciation goes to Robert M. Edsel and Bret Witter, who wrote the book upon which the movie is based, and to director Clooney for capturing these recreated events with such verve and veracity.

American Hustle (R)

tt1800241
Directed by: David O. Russell
Starring: Christian Bale
December 2013

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 23

How to do a comb over 101.

Apparently there’s an art to sliding a suitcase.
An art Cooper hasn’t mastered.

“We’re all conning ourselves.” Interesting philosophy.

Two lunches. Trouble brewing?

Four busts and they skate.

The new “science oven” doesn’t like metal.

Palpable antipathy between Adams and Lawrence. The opposite of a meet-cute. Classic!

The new player from Florida has a familiar bearing.
Something tells me you don’t wanna’ mess with this guy.

The ongoing ice fishing story is hilarious.
Cooper has listening problems…he’s always jumping to conclusions.

It’s all fun and games until someone gets hurt. Rough scene in Renner’s house.

Final analysis: a top-notch heist yarn with top shelf performances and peerless direction by Russell.

A wholly immersive film that cleverly employs filming techniques from the period it showcases.

Production values, especially costumes and hair styles, are staggeringly authentic.

Unique employment of the internal monologue from multiple characters.
And sometimes characters switch from talking (thinking) about themselves to talking about a different character.

Rating:
3 1/2 out of 4 stars. Should be a frontrunner for Oscar’s top prize.

Russell, Bale and Lawrence should be strong contenders as well. However, there’s an intangible missing ingredient here. Each aspect of the production is superb, but some ineffable quality eludes the proceedings. In the end, this is a handsomely mounted, highly styled heist film that has everything but heart. The absence of that crucial element might be its Achilles heel come awards season.

The Book Thief (PG-13)

tt0816442
Directed by: Brian Percival
Starring: Sophie Nelisse
November 2013

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 33

Beautiful shots of snow covered fields during the movie’s opening.

Acquires the first book at her brother’s funeral.

The lyrics to the kid’s choir song are horrifying. Talk about corrupting the next generation.
…with racist propaganda.

The sight of all these Nazi flags is unsettling.

A bonfire for “intellectual dirt” and a speech sure to turn your stomach.
The scary thing is that Hitler was convinced he was doing God’s work.

Leisel makes an unexpected new friend.
Okay, so this spelling of the girl’s name wasn’t underlined in red so I assumed it was the correct spelling. Apparently the “i” comes before the “e”. I changed the spelling of her name mid-movie when I saw her name written in a book.

Snowball fight in the basement is a fun scene.

Liesel learns the meaning of the word “conscripted.”
The hard way.

Story time during an air raid. Brave girl indeed.
An audience isn’t any more captive than that.

Death is “haunted by humans.”

The final twenty minutes are extremely difficult to watch.
If you made it through Schindler’s List (1993), you’ll probably be okay. Otherwise…

Final analysis: a finely mounted period piece with excellent performances and a moving narrative.
Geoffrey rush and Emily Watson are superb as Liesel’s adoptive parents and Sophie Nelisse is cherubic in the lead role.

Rating:
3 out of 4. A sobering tale that somehow manages to be uplifting at the end. Highly recommended.

A few years ago a movie entitled The Boy in the Striped Pajamas (2008) dared to show the holocaust through the eyes of a young boy. Here we see similar atrocities through the perceptions and experiences of a young girl. Though their family situations are vastly different, the children in both movies are exposed to the horrors of the systematic extermination of the Jews during WWII. Amid book burning bonfires and blitzkrieg bombings, it’s really the story of how these characters cope with the exigencies and uncertainties of the turbulent times in which they live. And, of course, if we’re talking characters, we’re also referring to the actors who portray them. Even though the temperaments of Liesel’s adoptive parents are vastly different, they’re both charming in their own way. Though Rush and Watson bring their characters to life with requisite brilliance, it’s Nelisse who steals the show as the endearing ingénue at center stage for most of the movie. Liesel’s wide-eyed wonder and innocence is an effective and poignant counterpoint to the often bleak and tragic events of the film…a film that’s not to be missed.

The Secret Life of Walter Mitty (PG)

MV5BODYwNDYxNDk1Nl5BMl5BanBnXkFtZTgwOTAwMTk2MDE@._V1_SX214_
Directed by: Ben Stiller
Starring: Ben Stiller
December 2013

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 32

Walter’s wink is rejected. The joys of online dating.
And has product placement in a movie ever been as front and center as eHarmony is here?

Lots of
Ally McBeal like flights of fancy, one of which features a poetry falcon.

The last
LIFE, a missing photo and a meet cute.

Don’t touch Mitty’s Stretch Armstrong.
I punctured mine as a kid and got the green monster guy as a replacement. Those toys were supposed to be puncture proof…leave it to me.

Am I way off base here or should Mitty check the wallet for the missing negative?
Refer to Jeff Goldblum’s line in Jurassic Park after the T-Rex smashes through the fence.

The
Benjamin Button fantasy is humorous.

Mitty finds a thumb in Greenland.
Does that mean he has a green thumb?

Does Iceland really have a Papa John’s?
Another shameless, and dubious, product placement.

Searching for ghost cats in the Himalayas.
BTW, did Mitty ever submit a vacation request at work?

Mitty’s mom saves his wallet and his
LIFE.
Mom = Shirley MacLaine. Her “Oh, by the way…” meeting with Penn is contrived beyond belief.

Final analysis: a sweet film that appeals to the daydreamer in all of us.

This life-affirming film reminds us that we’re all extraordinary & that life is an adventure.

Rating:
2 1/2 out of 4 stars. Directed by Stiller, the film is inspirational but predictable.

A feel good film based on James Thurber’s classic and the original 1947 movie starring Danny Kaye, the new Mitty is endearing and ennobling but is also exceedingly overly simplistic in the script department. There’s no character complexity and no narrative nuance here. Everything is buttoned up just as you’d expect it to be. Though painfully two-dimensional at times, Stiller’s Mitty is a revealing character study of a man trapped inside his own mental prison, however elaborate a prison it is. Mitty’s attempts at breaking out of self-imposed strictures, routines and modes of behavior is half the fun of the movie, and in our increasingly isolated society, I’m sure many audience members can identify with Stiller’s portrayal of a highly intelligent and creative individual who’s constrained by social inadequacies, whether real or imagined. The other half of what makes the movie fun is the globetrotting to Iceland, Afghanistan and the Himalayas, all of which were filmed on location in Iceland. So if an uncomplicated, warm fuzzy fest is on today’s movie menu, order up the Mitty with a side of popcorn and you’ll be completely satisfied.

Saving Mr. Banks (PG-13)

tt2140373
Directed by: John Lee Hancock
Starring: Emma Thompson
December 2013

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 62
In case anyone cares for this brand of trivia, this is the second film Hanks has starred in with “saving” as the first word in the title.

Chlorine and sweat...an apt description of L.A.
Actually, chlorine is probably one of the city’s nicer smells.

I feel the same way about pears.
Eating sandpaper would have about the same effect.

An audience with Walt. The first/last name preferences are hilarious.
Some great dialog and performances by Hanks and Emma Thompson here.

No red in the picture. The demands keep coming.

The music goes up on the word down...ironic.
And ingenious.

Farrell’s speech is incredibly uncomfortable.
In fact, it’s squirm-in-your-seat awful.

“Get on the horse, Pamela.”

The penguin’s out of the bag...animation.

Walt’s story about delivering newspapers in the snow features some astounding acting.
Even by Hanks’ lofty standards.

Escorted to the premier by Mickey himself.

Be sure to sit through the end credits for an amusing extra.

Final analysis: an amazing production with stellar acting from a dazzling and diverse cast.
Especially Colin Farrell, Paul Giamatti and Jason Schwartzman…who can actually sing. His rendition of “Feed the Birds” is one of the film’s emotional high points.

A great deal of magic and heart here along with some bittersweet revelations of the past.

Rating:
3 1/2 out of 4 stars. Walt would be proud of this genuinely moving biopic.

When you think Disney, you think magic. Whether someone casting a spell in an animated feature or a woman pulling sundry items out of a bag in a movie like Mary Poppins (1964), the Disney classic which this movie is framed around, magic is a word very closely associated with the Mouse House and its numerous and diverse productions. If you’re doing a movie about Walt, it’d better be magical, and fortunately, there’s nothing to worry about here. Additionally, you’d better cast someone amazing to play Mr. Disney. Again, no problem since the namesake studio nabbed Hanks for the title role. For those who love classic Disney films, and Mary Poppins in particular, this movie will fill you with a rare form of elation that derives from deep admiration and fond memories. Some would define that special kind of feeling as…magic.

Dallas Buyer's Club (R)

tt0790636
Directed by: Jean-Marc Vallee
Starring: Matthew McConaughey
November 2013

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 60

Emaciated McConaughey is virtually unrecognizable.
Following in the footsteps of Tom Hanks (Philadelphia, Cast Away) and Christian Bale (The Machinist), McConaughey, emaciating himself almost beyond recognition, sold out for this role. McConaughey’s appearance adds immeasurably to the veracity of his performance.

Low T cell count equals a dire prognosis.
The first time I ever heard of T cells was ST:TNG’s “Genesis” where the crew devolves into an assortment of early primates. But that has absolutely nothing to do with this movie. Feel free to tip me on the way out.

“Screw the FDA, I’m gonna’ be DOA.”
Great line.

Playing cards in the hospital with Ms. Man.

Building a clientele the hard way.

A line at the motel to buy memberships.

World tour to procure life saving meds.
Why was it so difficult and why was the FDA (Federal Death Agency) so slow to respond to the AIDS crisis?

To wild flowers and bone-in rib-eyes.
Nothing wrong with that toast…unless you eat the flowers and use the steak as a centerpiece.

The high pitched ringing is back. Not a good sign.
Or sound, as it gets annoying after a few minutes.

Final analysis: a new career landmark for McConaughey in a role not soon forgotten.

Rating:
3 out of 4. A realistic portrait of AIDS in the 80s & the extreme measures taken to find a cure.

There can be no doubt that this is a superlative, career defining performance by McConaughey. And let’s not forget Jared Leto and Jennifer Garner who are also terrific in the film in pivotal supporting roles. The subject matter here certainly isn’t breezy popcorn fare, but the movie’s historical significance and cultural relevance is undeniable. What should’ve ended as a tragedy is an inspirational tale of a man who wouldn’t take no for answer and in the process managed to save his life and the lives of countless others in the process.

The Counselor (R)

tt2193215
Directed by: Ridley Scott
Starring: Michael Fassbender
October 2013

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 38

The graphic opening is tastefully and artistically shot.

24-karat conversation with the jeweler. Talk about multi-faceted.

#HaveYouBeenBad. There’s the line made popular by the trailer.

Pitt’s joke about why Jesus wasn’t born in Texas is hilarious.
A tad sacrilegious, but still very funny.

How did the cops catch up to the motorcycle if it was going 206 mph?

Desert Star Septic. “We pump it all!” Now that’s marketing at its finest.
Winston Rothschild, III (Jeff Lumby), a septic tank worker on the Canadian comedy The Red Green Show had the slogan: “We take the stink off your hands.” Just proves that toilet humor will never die.

What if another vehicle had happened by before the motorcycle arrived?
I only ask because this sort of plan never succeeded in the Roadrunner cartoons.

“Grief is worthless.” Deep philosophical terrain.

Pitt’s demise is gruesome.

Final analysis: immaculately filmed, well acted with a peerless script by Cormac McCarthy.
Who wrote the post-apocalyptic novel The Road, which became a motion picture in 2009 and starred Viggo Mortensen.

Should be renamed “Sex, drugs and cheetahs.”

Rating:
3 out of 4 stars. Adult themes abound accompanied by scathing commentary on human flaws.

This is a well acted/directed “immorality play” that reveals the dark underbelly of the drug trade along the Texas/Mexico border. Nothing really shocks here—we typically associate these behaviors, lifestyles and actions with those who manufacture, transport, buy and sell drugs. Crime doesn’t pay and the comeuppance received by the characters here is consistent with the truth of that universal maxim.

12 Years a Slave (R)

tt2024544
Directed by: Steve McQueen
Starring: Chiwetel Ejiofor
November 2013

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 27

The N word is used in the first line of dialog. Could be a rough film to stomach.

The horizontal mambo is filmed horizontally. Fitting.

Waking up in chains. Apparently there’s no such thing as a free dinner.

Giamatti sells slaves to the ubiquitous Cumberbatch.
C’Batch washed the bleach out of his hair for this one.

“You are no better than prized livestock.” Woah!
A bit of jealousy perhaps?

The letter goes up in flames...and hope of freedom along with it.
Just when things couldn’t get any worse.

Pitt challenges Fassbender on what is true and right. Some great dialog in this scene.

The whipping sequence is unbearable.
Not quite as unconscionably inhumane as the scourging in The Passion of the Christ (2004), but horrific just the same.

From Platt back to Solomon.
What a difference a name makes.

Final analysis: a difficult movie to navigate emotionally.

Not an enjoyable entertainment, but an educational one.

Rating:
3 out of 4 stars. Fine acting and directing, but rough subject matter makes it difficult to watch.

It goes without saying that this isn’t popcorn entertainment, so it’s suggested that one be in the right mood or state of mind when subjecting oneself to the more uncomfortable or objectionable aspects of this film. The historical attention to detail here is staggering and the overall production is fittingly praise-worthy. The story is compelling and the acting is superb, especially Chiwetel Ejiofor as main character Solomon Northrup. This is the kind of story that can very easily feel like a dramatized documentary, but fortunately, director Steve McQueen (not the guy who jumped the barbed wire fence on a motorcycle) turns the historical events into a riveting drama. This is edutainment at its finest.

The Fifth Estate (R)

tt1837703
Directed by: Bill Condon
Starring: Benedict Cumberbatch
October 2013

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 25

Talk on whistleblower is intriguing.

The nucleus of a radically new approach to the dissemination of information.

I’m no Sherlock, but I’m pretty sure someone poured bleach into Cumberbatch’s shampoo bottle.

“Courage is contagious.”
Platitudinous but true.

Cumberbatch and Thewlis lock horns.
Nothing like a little professional competition to ratchet up the drama.

Two couples exited the theater during the multiple wipe montage.
The plot might be hard to follow for some. Others might be like “who cares?”

“Am I interrupting something?” The pursuit of truth has its consequences.
And some people have no boundaries…or common decency.

Alexander Siddig sighting. Any
DS9 fans out there?
Dr. Bashir, I presume.

Collateral murder...big leak.

An information war with the US government. Assange makes a deal with The Guardian.
Did he sell out?

Thewlis’ conversation about the creation of the fourth estate is exceptional.

So is Cumberbatch’s extended, edited monologue in the final scenes of the movie.

Final analysis: an important film that effectively, if not adroitly, tells the story of WikiLeaks.

Afflicted by a furiously paced narrative that requires frequent visits to Wikipedia in order to keep up.

The filming style is irksome at times and the story runs twenty minutes too long.

Still, Cumberbatch is utterly captivating and Linney and Tucci turn in solid supporting performances.

Rating:
2 1/2 out of 4 stars. Not very exciting or entertaining, but worthwhile because of its message.

This isn’t the type of film most people would naturally gravitate toward, unless they’re C’batch fans or are interested in the subject matter, since it’s more educational than entertaining. Still, the educational component is salient since we’re all affected by media and the dissemination of information. It’s a brave new world out there and thank goodness for Assange for daring to expose corporate and political corruption both here and abroad.

Captain Phillips (PG-13)

tt1535109
Directed by: Paul Greengrass
Starring: Tom Hanks
October 2013

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 47

Phillips runs a tight ship. Safety drills are abruptly interrupted.

Warship ruse turns back one skiff. Well played, Phillips.

Skinny stages a coup.

One pirate makes the same mistake John McClain did in the first
Die Hard...never walk around barefoot.
Unless you’re a Hobbit.

Stay put in seat 15.
I don’t think I’d move a muscle. Probably wouldn’t breathe either.

Phillips caught writing a note in class. Pays the price.

Three tangos down. Game over.

Not all of this blood is mine. Phenomenal acting by Hanks.
We’ve been waiting for this all movie. A good performance suddenly transforms into the kind of scenery-chewing extravaganza we’ve come to expect from Hanks.

Final analysis: a taut biopic that delivers just what you expect it to.
But little more.

Maintains suspense throughout, but never reaches thriller level intensity.

Rating: 3 out of 4 stars. Everything works here except for the predictable “true story” plot.

Paul Greengrass’ (The Bourne Ultimatum) direction is a bit safe here. Everything about the story feels paint-by-numbers. The movie is important for its historical significance, but if the movie had any less dramatic urgency it would be a documentary. Hanks, though central to the story, seems to take a back seat to Skinny and the Glass Walkers (would make a great blues band name). As was mentioned earlier, Hanks only shines in one scene near the end of the film…an egregious waste of his talent. This story was big news in 2009. As such, what the movie gains in familiarity it looses in originality. Or to put it another way, it’s hard to build suspense when the audience already knows what’s going to happen in the end (like when viewing Titanic or The Perfect Storm). A thriller with a foregone conclusion isn’t much of a thriller.

Gravity (PG-13)

tt1454468
Directed by: Alfonso Cuaron
Starring: Sandra Bullock
October 2013

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 45

Previews are still running...the optimal time to take a Dramamine. Gonna’ be a bumpy ride.

“Can’t beat the view.” No kidding.

Why doesn’t Bullock have a thruster pack? Not as big of a star as Clooney?
Guess NASA can only afford one…government cutbacks and all.

Marvin the Martian sighting.
A great inside gag.

Don’t know that I’d be sharing my life story with 2% oxygen remaining.
Consider this a nitpick. Although, silence wouldn’t serve the story very well, would it? I mean, Cast Away (2000) in space probably wouldn’t have sold too many tickets.

Why doesn’t Clooney climb over Bullock to safety?
You can apologize for any accidental groping once safely back inside the station.

Fetal position in zero G. Artistic shot.

Should’ve ejected the chute first.
Hindsight is 20/20. However, Bullock is a highly trained astronaut and should know better, emotions notwithstanding.

Soyuz out of gas...time to get out and push.
Princess Leah might volunteer for that job.

Brilliant use of fire extinguisher.
Bullock must’ve seen WALL-E (2008).

Final analysis: should’ve named it Oxygen since the characters and audience are gasping for air all movie.

Rating:
3 out of 4 stars. Visually breathtaking and intense from start to finish.

Immaculately realized by director Alfonso Cuaron and brilliantly framed by cinematographer Emmanuel Lubezki, this is a gorgeous film. Even in 2D the film is so immersive that you actually feel like you’re in outer space. Though some of the film’s science is dodgy, it’s really the film’s visual splendor that makes it an unforgettable cinematic experience. Bullock and Clooney turn in decent performances, but the real star of the film is that gigantic blue globe hovering in space. At movie’s end, when Bullock defiantly, triumphantly drags herself out of the water and stands fully erect on the beach in a low angle shot, do you get the sense that Cuaron is attempting to show the culmination, indeed evolution, of Kubrick’s chimps in 2001: A Space Odyssey (1968)? Or maybe it’s merely a beautifully framed shot.

Prisoners (R)

tt1392214
Directed by: Denis Villeneuve
Starring: Hugh Jackman
September 2013

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 44

Be prepared...Jackman’s diatribe on survival is advisable but extreme. A harbinger of things to come?

Using the Chinese zodiac as a pick up line. A valiant attempt.
Wait, is this an inside joke? Jake Gyllenhaal also starred in Zodiac (2007).

Dano wraps his RV around a tree. The mystery deepens.

Instead of searching the forest shouldn’t they be canvassing the neighborhood?
Oops…spoke too soon. I just hate it when stories have to catch up to me.

A basement without stairs. You couldn’t pay me enough.

Don’t ignore the necklace on the stiff.

Dano made a big mistake in angering the Wolverine.

Jackman goes Jack Bauer on Dano. Brutal scene.
Definitely not for the faint of heart. This whole subplot has a tragic The Ox-Bow Incident (1943) quality to it.

Creeper at the wake. Are we dealing with a cult?

Creeper in the house.

Jake’s shirt is always buttoned up...hiding a necklace?

Creeper’s house has curious wall designs.

“The war we wage with God.” Frightening!
There are some real sickos out there.

As we learned in Titanic, never underestimate the power of a whistle.

Final analysis: moody atmosphere is palpable from the start. Taut yarn that’s accompanied by fine performances.
The ending could’ve gone a couple different ways, but I’m okay with the resolution they chose.

Perhaps a bit too leisurely in its pacing, but is engaging from start to finish.

Does an excellent job of challenging our notion of what constitutes a monster.

Rating:
3 out of 4 stars. A psychological thriller more than a physical one, but it will stand the test of time.

This is a very intelligent and emotionally supercharged thriller. It’s so good, in fact, that it was exceedingly difficult to keep from spoiling several of the story’s main plot points, which I managed to do anyway in certain instances. Amusingly, one of my “spoilers” is an unintentional red herring, so don’t always believe what you read. Some of the torture scenes are not recommended for those with a weak stomach. However, if you made it through 24 okay, you should be fine here.

Closed Circuit (R)

tt2218003
Directed by: John Crowley
Starring: Eric Bana
August 2013

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 41
Steven Knight.

Multi-camera opening reminds me of a Person of Interest episode.

“Fair and transparent.” Broadbent certainly isn’t referring to the US justice system.

Judge lays out the rules for the case...the relational ticking time bomb is set.

42191. The mystery deepens.

Cross-cutting between both sides of the investigation keeps the plot rolling along.

Broadbent warns Bana not to stray. A taut exchange.
The plot reveals its hand at this point though…Knight should’ve worked a little harder to shroud the purpose and function of this antagonist.

“Thou shalt not communicate” commandment is broken. Ramifications could be far-reaching.

Howe grills Witness X. Wow!
Hell hath no fury…and boy does she unleash it.

New plan...get him to the court on time.
They skip the whopper of a topper though.

Breakfast with Broadbent. “Let it go.”
Also Henry’s advice to his son in Indiana Jones and the Last Crusade (1989).

Final analysis: a decent spy yarn infused with the appropriate degree of paranoia.

Features fine performances all around and boasts deft direction.
By John Crowley.

Rating: 2 1/2 out of 4 stars. Non-thrilling Thriller sputters down the runway but never quite takes off.

The abilities of some truly fine actors were squandered here. The story isn’t very gripping from the outset and never really goes anywhere…well, nowhere exciting anyway. Cut from the same narrative cloth as Tinker Tailor Soldier Spy (2011), this film is a slow boil political yarn that fails to deliver the major climax we anticipate. And how many times must Bana be told to back off the case before he gets it…or gets it? Long after the audience is bored to tears, I suspect.

Paranoia (PG-13)

tt1413495
Directed by: Robert Luketic
Starring: Liam Hemsworth
August 2013

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 40

Opening narration: a lament over the death of the American Dream.
Which gives rise to those who want to get rich quick. The movie chronicles the fate of such individuals.

To climb the corporate ranks, Liam must loose the attitude.

“Fit in to get in.” Personality makeover coaching.

New flat and new office. Maybe I’m just being paranoid, but I’d check for bugs.
As Jeff Goldblum said in Jurassic Park, “Boy, do I hate being right all the time!”

Multiple character beats. The middle is sagging.

Lunch at the club...clash of the titans.

Phones out, batteries on the table. Hi-tech disarmament.
This is how we do it in the modern era. In peaceful settlements in the Old West, gunslingers would be asked to hand over their guns as they rode into town.

“Someone is always listening.”
Not exactly a news flash.

Double-cross times two.

Final analysis: simple premise, straight-forward plot and minimal intensity. Nothing we haven’t seen before.

Rating:
2 out of 4 stars. A film that desperately tries to be on the cutting-edge but offers nothing new.

The early stages of this movie set up well, especially the opening narration, but the story is rushed through its paces in a similar fashion to how Hemsworth (Thor’s brother) is seemingly, instantaneously and miraculously transformed into a marketing genius that will act as a Trojan horse inside Harrison Ford’s company. To be sure, it’s a farfetched plot, but I wouldn’t mind such an outlandish premise so long as the story actually went somewhere…which it doesn’t. The “action” scenes have very little action and the resolution is contrived to the point of incredulity. I expected much more from this Ford vs. Oldman showdown, but the story’s impact and relevance are negligible.

Jobs (PG-13)

tt2357129
Directed by: Joshua Michael Stern
Starring: Ashton Kutcher
August 2013

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 22

Town hall meeting...introducing a tool for the heart.
Inspirational from the word go.

Jobs walks across campus Hobbit-style.

A drug-induced psychosis—hearing classical music in a wheat field.

Stirring things up at Atari. The genesis of Pong.
Boy do those two names bring back memories. Oops…just dated myself.

Friend’s advice, “Nobody wants to buy a computer.” Thankfully, Jobs didn’t listen.
Apparently, in real life, Jobs maintained this notion not his steadfast sidekick Steve Wozniak. But the movie is called Jobs not Woz, so…

“Welcome to Apple Computer.”

Social currency. Make the small things unforgettable.
A shaping philosophy of things to come.

Jobs salvages Macintosh. It’s “insanely good.”
Quality parts make a quality computer. Rocket science to the rest of the industry.

Windows...a blatant rip-off.

Personal/product disconnect plagues Job’s life and work.

A natural extension of the individual. Well said.

Final analysis: an effective biopic that paints in broad strokes while missing some of the fine brush work.

To whit, Pixar, iPhones, iPads and Jobs’ final days before passing.
It would’ve been nice if the movie had featured these Jobs accomplishments and covered his life up to his untimely death. As such, the movie feels like a book with the final chapters torn out.

Still, I wasn’t ready for the movie to end, so the old writer’s adage of always leave them wanting more is fulfilled.

Rating:
3 out of 4 stars. A seamless performance by Kutcher and a fitting tribute to an uncompromising visionary.

Final thought: I write my reviews on tech Jobs pioneered. A debt of gratitude is owed for how he’s changed our lives.

I was initially a bit dubious over Kutcher’s casting in the title role, but I must admit that he delivers an utterly convincing performance as the late inventor extraordinaire. The unheralded technologies pioneered by Jobs (listed above) should’ve been included in the movie, even if in a post-movie crawl of all of his accomplishments. Still, the movie does a fine job of capturing the essence of the man, his shortcomings and his many achievements. This biopic is yet another of Job’s products that’s worth consuming…insidious.

Lee Daniels' The Butler (PG-13)

tt1327773
Directed by: Lee Daniels
Starring: Forest Whitaker
August 2013

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 17

Off to the shed...this can’t end well.
After all, chickens tend to loose their heads there.

“The law was against us.” A sad commentary of our past.

“We don’t tolerate politics in the White House.” Ironic.
And highly dubious.

Cusack hands out pins. Awkward scene.
An interesting casting choice for Nixon, but an unexpectedly fine performance by Cusack.

The restaurant scene is unbearable...awful beyond words. Inhuman treatment.

Freedom bus takes a wrong turn in ‘bama.
Another gut-wrenching scene.

A tie from one prez and a tie clip from another. Priceless gifts.

Butlers are subversive...interesting viewpoint.
The central thesis of the movie.

Invited to a state dinner...movin’ on up.

“You’ve served your country well.” A statement normally reserved for those in the military. A nice moment.

“I know the way!” You tell him.

Final analysis: rough subject matter at times, but an exceptionally well made/acted film.
The ending is a puff piece for President Obama. The slant here is painfully obvious.

Rating: 3 out of 4 stars. Should be plenty of Oscar nods for this one.

The only drawback here is that the film feels like a documentary at times, reciting the major moments of butler Gaines’ life and career in a fairly straightforward manner…and the “true story” factor does little to discourage this observation. The politics of the film could also serve as a debit depending on which camp you belong to. However, this is an important film that confronts us with an ugly chapter of human history from the not-too-distant past. Story aside, Whitaker seems well positioned for another Oscar nod for his truly fine performance here.

Elysium (R)

tt1535108
Directed by: Neill Blomkamp
Starring: Matt Damon
August 2013

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 8

Space station looks like it was borrowed from Kubrick’s 2001.

Vow made by boy and girl is similar to the one made at the beginning of Pixar’s
Up.

Parole officer reminds me of
Total Recall’s Johnny Cab.

Shuttles with invalid access codes...I’m having a
Return of the Jedi flashback.
Wow, four movie references in a row. I was on a roll.

“Extraction!” Damon’s had better days at work.

Meeting with Spider—Damon gets Borgified.

Foster’s accent is more annoying than Bale’s gravelly Batman speech.
It’s painfully put on…so obviously not her normal mode of speech.

Damon uses pigs as a blanket.

“The hippo wants a friend.” A touching scene.

Facial reconstruction...like a Spielberg effect in reverse.

Final analysis: engaging dystopian yarn that falls short of
District 9 despite topical themes and stark realism.
District 9 was also directed by Neill Blomkamp and starred Sharlto Copley, who plays the antagonist here.

Rating: 2 1/2 out of 4 stars. Mildly disappointing, but still a decent popcorn flick.

There are some gorgeous visuals in this film, especially those involving the titular space station. The Brave New World contrast between classes is pertinent as we continue to see the dissolution of the middle class in our society. The near-future world created by Blomkamp here is astounding, spring-boarding off the success of his similarly themed and styled District 9. Damon is solid, but understated in the film and everyone else is just kinda’ there…playing their parts exactly as you’d expect them to be played. For all of the unbridled, unqualified genius exhibited onscreen, the movie is largely unmoving. Sadly, there’s very little movie magic here…which is disappointing since this film appeared to have incredible potential to become a dystopian masterpiece.

The Way Way Back (PG-13)

tt1727388
Directed by: Nat Faxon, Jim Rash
Starring: Steve Carell
July 2013

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 16

Poor Duncan...gets a 3 out of 10 rating from Carell and gets dumped on by everyone else.
Pathos is immediately generated for Liam James’ character. From the outset, it’s obvious where our sympathies are intended to reside…a tad telegraphed by co-directors/writers Nat Faxon and Jim Rash.

Did Twisted Sister have an alternate track called “Carry a Laser?” Amanda Peet’s character thinks so.
Correction: Mr. Mister not Twisted Sister. My lack of knowledge regarding 80s music has been exposed.

Rockwell’s humor goes right over Duncan’s head...even his “best stuff.”
This is Rockwell’s most charming role to date.

A smooch before S’mores.
Wanting s’more is precisely what’s getting Carell into trouble.

Duncan’s first day working at the Water Wizz.
Terrible name for a water park. I mean, isn’t the idea to keep the wiz out of the water?

How to unclog a water tube? First, find a hero.

Rockwell’s PA gag is hilarious.
The funniest scene in the film…worth the price of admission.

Commentary on ghost crabs and a failed kiss attempt.

Final analysis: not quite what I expected, but a decent film. Carell’s most unsympathetic role.
I applaud Carell for attempting a different kind of role, but straying too far from his comedic wheelhouse could endanger his career.

Rating: 2 1/2 out of 4. Though not overly funny at least it wasn’t overly long.

Not as feel good as one would expect from the amazing cast and amusing trailer, the film is a decent indie with solid performances, a sweet teen angst/teen falling in love story and gorgeous on location filming in Massachusetts. There isn’t anything sensational here, just a pleasant slice-of-life, summer vacation yarn.

Blue Jasmine (PG-13)

tt2334873
Directed by: Woody Allen
Starring: Cate Blanchett
August 2013

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 15
I intended to say “the cast of millions.” An exaggeration of how Allen typically stuffs his films with a raft of A-list talent.

Ah, the comforting, standard Woody Allen opener. Some things never change.

Andrew Dice Clay...now that’s a casting coup.
And a surprisingly multilayered performance by the 80’s star.

Bad clams and a bad blind date.
Maybe Jasmine can commiserate with Indiana Jones…he almost had a bad date once.

Ali from #TheBachelorette. I’d recognize her anywhere.

A drink with the dentist.

That yellow purse doesn’t match her sister’s outfit.
In fact, it sticks out like a sore thumb…and I’m pretty sure that’s the point. You gotta’ love how people will try to force their one expensive accessory into a variety of outfits just for the perceived prestige it gives them.

Babysitting her sister’s boys...bad idea. Especially the “Edison’s medicine” part.

Final analysis: not top-tier Allen, to be sure, but entertaining and more accessible than
To Rome With Love.

Not nearly as humorous as Allen’s usual fare. The dialog isn’t as whip-smart and witty either.

However, Blanchett’s
tour de force character study of mental unraveling should garner Oscar attention.

Rating:
3 out of 4 stars. Allen’s tale of two sisters is amusing if not moving.

It’s very difficult to manufacture feelings of disappointment over a Woody Allen film, but this outing, barring Blanchett’s Oscar-worthy turn, is B-tier Allen. However, B-tier Allen is still better than 99.9% of the films Hollywood churns out these days. Although the writing suffers a bit in this film, the performances, from top to bottom, are superb. Though taken to the extreme, Blanchett’s Jasmine embodies the collective loss and bitterness our generation feels over having had it all and lost it all during the economic downturn. Most have hunkered down and moved on but some, like Jasmine, are still under the illusion that they can maintain their pre-global recession lifestyle in the present day. It’s a powerful delusion, brilliantly realized by one of the finest female actors of our time.

Still Mine (R)

tt2073086
Directed by: Michael McGowan
Starring: James Cromwell
July 2013

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 11

Side note: Maybe this film can help me recover the brain cells I lost while watching Pacific Rim last week.

Babe Ruth anecdote and commentary on the Great Mystery.

Cromwell’s cows are on the lam. Maybe he should’ve stuck with pigs.

“Seems like there’s some kind of regulation for everything these days.”
Ain’t it the truth? Will we ever have rules that make life easier instead of harder…expand freedoms rather than restrict them?

“Age is just an abstraction; it doesn’t have to be a straight jacket.” Great line.

Grandson gets a tape measuring job. Amusing scene.

Cromwell vs. the inspector...taut scene with superb dialog.

Pine holds a lot of memories...what a profound scene.
This scene has more meaning than many movies have in their entirety.

These telepathic, intercut, scenes across a distance are beautifully conceived and executed.

Cromwell’s monologue in court...wow. Utterly speechless.
Beautiful baseball analogy. Incisive dialog flawlessly delivered by Cromwell in a scene that may go down as his finest.

Final analysis: a deeply moving “true story” of one man’s determination in the midst of multiple hardships.

Oscar-worthy performances by Cromwell and Bujold. Gorgeous direction and a story straight from the heart.

Rating:
3 1/2 out of 4 stars. Aside from its pacing and predictability, this is a nearly flawless film. See it.

You always hear about those rare cinematic treasures that nobody’s seen…add this film to that list.

The Kings of Summer (R)

tt2179116
Directed by: Jordan Vogt-Roberts
Starring: Nick Robinson
August 2013

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 20

Looks like the kind of birdhouse I’d build. My carpenter brother would be mortified.

Game night. Avocado meat?
Goes well with spam pâté.

A montage of horsing around and a man-ifesto.
Ah, to be able to return to such simple times…when life felt limitless and summers seemed to last for years.

Every movie should have a Biaggio. He’s a hoot.

Caught red-handed with Boston Market.
A blatant violation of the Bro Code…not Barney’s.

Proving once again that Monopoly is the most divisive board game ever devised.

Back to civilization. Joe keeps the ‘stache.
The first sign of manhood?

One parting shot of the ramshackle kingdom. Dreams of independence and anonymity can’t last forever.

Stay after the credits for more Biaggio high jinks.

Final analysis: a heart-warming, if quirky, coming of age tale.

Rating:
2 1/2 out of 4 stars. Unique enough to find its way into the pantheon of runaway teen movies.

Pacing is definitely an issue here as is the plot, which generates very little tension throughout the movie…even the gimmicky snake scene doesn’t provide much jeopardy. In fact, the film doesn’t even have an antagonist. It does have quite the wild card though in the form of funny man Biaggio (Moises Arias); an unforgettable character that, due to the movie’s indie status, will be enjoyed by far too few people.

The Great Gatsby (PG-13)

tt1343092
Directed by: Baz Luhrmann
Starring: Leonardo DiCaprio
May 2013

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 7
Wish I had a quarter for every time DiCaprio says that phrase in the movie.

A mystery caller...awkward.

Never been a fan of anachronistic scores. Rap music in the 20s?
80s pop music ruined Ladyhawke (1985) and modern tunes consistently yanked me out of the “reality” of A Knight’s Tale (2001). I know most people disagree with me over the last one though, but I’ll stick to my lance.

“I’m Gatsby.” What an entrance! Still doesn’t rival the Duke’s in Stagecoach, though.
Or Orson Welles’ in The Third Man (1949) or Rita Hayworth’s in Gilda (1946).

“Perhaps more flowers.” Amusing quip.

The meet-cute. Exquisitely filmed.

It’s raining shirts...gorgeous scene.

The desire to repeat the past. The dangerous lure of nostalgia.

Leo sinking under water. This is becoming a career motif.
“I’ll never let go, Jack.” Psyche!

Final analysis: a towering spectacle. Pitch-perfect casting/acting. Elegant direction by Luhrmann.

Exceedingly high production values accompanied by breathtaking cinematography.

Script is faithful to source material, but not shackled by it.

Rating:
3 out of 4 stars. I think this effort would make its progenitor proud.

Though the book is far from theatrical—it’s a tawdry, high society yarn with noir-ish overtones—Luhrmann’s highly choreographed and stylized shots lend themselves well to what basically amounts to a musical without any musical numbers. The performances are beyond stellar, especially DiCaprio as the tortured title character and Maguire as the wide-eyed protagonist. Mulligan and Edgerton also sizzle as mismatched lovers. All in all, this fine envisioning of Fitzgerald’s novel will stand the test of time.

The East (PG-13)

tt1869716
Directed by: Zal Batmanglij
Starring: Brit Marling
June 2013

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 14

Now that we’re pulling up the stakes on many summer tentpoles, it’s time for some different fare.
Meatier fare, thank goodness.

I’ve always loved Page’s delivery and Marling was fabulous in the deeply-affecting #AnotherEarth.
A trippy, gut-wrenching film that will have you noodling for days.

Prepare to get your spy on.

After that harrowing opening narration, the movie definitely has my attention.

Marling picks a bad time to become a hobo.

This application of super glue actually works...I’ve had occasion to use it in the past.
Learned it from a master meat cutter when I was apprenticing under him in a former life. Seals the cut and heals remarkably fast.

Wearing a straight jacket to dinner...interesting attire.

Clever place to hide a cell phone.

A deadly toast...a taste of their own medicine.

Spin the bottle...enjoyed at frat parties and cult gatherings everywhere.
When a thought comes, it comes. Don’t know that I’ll ever be able to outdo this one.

Jason Ritter’s character here is virtually identical to the one he plays on #Parenthood. Does he have any range?

Group washing in the lake...weird.

Page confronts her dad...the same actor who plays the VP in
#Homeland.
Actor Jamey Sheridan.

The last jam strikes close to home.

The trash apple scene is unsettling, but is it an act?

Final analysis: a thought-provoking yarn that grapples with the nature of justice.

Should corporations be held responsible for the ecological disasters they create?

Rating:
3 out of 4 stars despite some ponderous pacing. Definitely a water cooler discussion film.

The movie has an undeniable independent feel to it, but has a surprising raft of A-list talent in its cast. There are disturbing scenes here and some challenging ones as well. The movie broaches some important questions, like: which is worse, a corporation that makes millions by ravaging our environment or homegrown terror cells bent on bringing down such companies? The film isn’t exactly popcorn entertainment, but it’s an effective counterpoint to the increasingly vapid and vulgar offerings at the Cineplex.

Mud (PG-13)

tt1935179
Directed by: Jeff Nichols
Starring: Matthew McConaughey
May 2013

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

Pasted Graphic 4

Great atmosphere from the get go.

Ah Michael Shannon again. From villain to deadbeat.

Beanee Weenie’s at the Piggly Wiggly. Yep, we’re in the Deep South.
Correction: Beanee Weenee. Almost got myself in trouble there.

How to un-tree a boat?

“We’re just selling fish.” Intense scene.

Many mixed messages about the nature of love.
Good complexity on this subject throughout the movie.

Bounty hunter convention at the motel.
“We don’t need their scum!”

To Mud’s island at night sans Juniper.

Ellis slugged again and then falls into a pit. Overall, not a banner day for the young boy.

Taut shoot-out on the riverfront.

Ashes to ashes, Mud to mud.
If I had it to do over again, I’d put a question mark at the end of this phrase.

All in all, a starkly real tale of life in the Arkansas swamplands.

Big name actors turn in fine performances, but young actors who play Ellis and Neckbone steal the show.

Rating: 2 1/2 out of 4. Next up: Prepare yourself for World War Z with Brad Pitt.

A decent indie with a top-notch turn by McConaughey. Witherspoon is perfectly cast and Shepard delivers the kind of solid support you’d expect from such a superb career actor. Beautiful location footage throughout is a big plus. With a strong sense of place, this is a great way to escape for a couple hours into a remote region of our nation.

Argo (R)

tt1024648
Directed by: Ben Affleck
Starring: Ben Affleck
October 2012

“Inspired by actual events” movies can either be, well, inspirational or emotionally overwrought. Fortunately,
Argo has a healthy dose of the former along with great performances and a steady hand at the helm in star/director Ben Affleck. Instead of being merely based on a true story, Argo is “Inspired by the incredible true story,” as the movie’s marketing materials would have us believe. When you use a superlative like incredible to describe your movie, you open yourself up to a world of ridicule if the film doesn’t live up to such a lofty assertion. Again, the movie has nothing to worry about as the word incredible is far too paltry a word to describe this Oscar contending powerhouse…that just happens to be a true story.

Superlatives aside, the film chronicles the historical account of six Americans who are displaced from the US embassy in Iran during the violent riot/siege in 1980. Forced to hide out at the Canadian ambassador’s (Victor Garber) house, our half dozen citizens must evade capture long enough for our government to figure out a rescue plan. Enter CIA agent Tony Mendez (Affleck), a specialist in such dangerous extractions. He has a plan…sort of. Gleaning inspiration from his son’s choice of TV entertainment, a
Planet of the Apes movie, Tony devises a scheme where he will fly into Tehran as a location scout for a sci-fi movie and fly back with his “film crew.” What could possibly go wrong with that plan?

As Bryan Cranston’s Jack O’Donnell says, in one of the movie’s many memorable lines, “This is the best bad idea we have…by far.” However, if the cause is just, sometimes fate will conspire against probability and even a bad plan will work like magic. Such is the case here, except for the magic part. It takes forces far more powerful than that to get our citizens back home…teamwork, tenacity and a ridiculous amount of happy coincidence.

However, when it comes to movie magic, the film has it in spades: besides a terrific script by Chris Terrio (based on Mendez’ memoir), sure-handed direction by Affleck, sweeping cinematography by Rodrigo Prieto, milieu appropriate coifs, costumes, sets and archival news footage (and an old toy collection I’d die to get my hands on, shown at movie’s end), what puts it over the top is the film’s knowing jabs at Hollywood. John Goodman, in a sensational supporting role as make-up expert John Chambers, tells Mendez that he’ll fit right in pretending to be a Hollywood big shot. Another terrific supporting role is turned in by Alan Arkin, who plays an out-of-step movie producer whose every utterance in the film lands like a well-timed punch line, particularly the oft used play on words, “Argo f@!k yourself.” The film never takes itself too seriously, which is its greatest weapon and asset. So then,
Argo can be called a biopic with bracing drama and selective moments of comic relief. This is as close to a complete movie as you’re ever likely to experience.

When the action heats up in the later acts, the film becomes a first-rate thriller. Indeed, the film’s climax, specifically in the way all of the moving parts have to work just perfectly in order for our heroes to be saved, is reminiscent of the pulse-pounding intensity of
Apollo 13 (1995), another high stakes drama based on actual events. In addition to edge-of-your-seat climaxes, both films also have stand-up-and-cheer endings.

Any way you slice it,
Argo is a superior film and should rack up a clutch of Oscar nominations/wins come awards season. Depending on how Mr. Spielberg’s Lincoln turns out, Argo just might waltz off the stage with the top prize: an Oscar for Best Picture certainly isn’t out of its reach. Prognostications aside, Argo is the finest biopic that’s come along in quite some time. Sometimes true stories based on bad ideas make for great movies.

Rating: 3 1/2

Trouble with the Curve (PG-13)

tt2083383
Directed by: Robert Lorenz
Starring: Clint Eastwood
September 2012

There were rumors that
Gran Torino (2008) would be Clint Eastwood’s swan song as an actor, but fortunately the lovable curmudgeon is back in the saddle in Trouble With the Curve, a middling baseball yarn directed by Robert Lorenz. Here, Eastwood plays a crusty baseball scout who’s too proud to get an eye surgery or use a computer for stat analysis, despite his daughter’s (Amy Adams) incessant urging to get ocular support for the former and his boss’ (John Goodman) eternal consternation over the inefficiency of the latter. Adams is an up-and-coming lawyer who can spit out baseball stats like Vin Scully…a chip off the old block, though her career choice is a disappointment to Eastwood, who had trained Adams from her youth to eventually fill his shoes. Justin Timberlake, who’s a rival to Eastwood and love interest for Adams, introduces a change up element into the middle of the plate narrative. Or to put it another way, the story would’ve been pretty vanilla without Timberlake’s twist of wild cherry.

One of the major plot points involves a young slugger who has a ton of talent and confidence, but also plenty of attitude and arrogance to match. Goodman, along with front office staffers Robert Patrick and Mathew Lillard, must decide whether or not to draft the young phenom over Eastwood’s objections concerning the player’s dubious potential. But with failing eyesight and archaic scouting methods are Eastwood’s evaluative skills to be trusted with a big paycheck on the line?

Trouble sets up well with Eastwood’s physical impediments, Adams’ struggle to make partner at a law firm while helping out stubborn dad, Timberlake’s hero worship of Eastwood and schmoozing of Adams and Goodman’s constantly challenged loyalty to Eastwood by Patrick and Lillard. There are some good character moments throughout, like Eastwood’s utter inability to have a conversation with Adams about anything other than baseball. An insider’s look at the baseball scouting process and interactions between scouts and the front office is mildly diverting, and the character beats are marginally intriguing, but the film, much like the young man being scouted, fails to deliver on its potential.

The trouble with the film is its ending: contrived to the point of absurdity, the populist notion that a kid who’s never played on a baseball team can strike out a slugger at the top of the draft class is reassuring and heartwarming, but utterly ludicrous. Adams’ decision to leave behind a promising career in law to follow in daddy’s footsteps is also oversimplified and overly idealistic. It’s just another populist climax for viewers who get off on that type of roses and rainbows ending. Also, and not that a film must always tie up all of its loose ends, but we never learn if Eastwood undergoes eye surgery or if he decides to stay with the game or retire.

With the film’s pedigree I expected a lot more from it; maybe not
Field of Dreams (1989) but perhaps something comparable to The Rookie (2002). Unfortunately, this film isn’t as magical as the former or as inspirational as the latter. Trouble has a few solid innings, but strikes out in the end.

Rating: 2 1/2

The Master (R)

tt1560747
Directed by: Paul Thomas Anderson
Starring: Philip Seymour Hoffman
September 2012

The Master has all of the directorial deftness, acting acumen and narrative nuance one could hope for in an instant classic. It’s as if the word Oscar is subliminally inscribed onto each individual frame of the film. As the movie languidly rolls along, all you see is Oscar...Oscar...Oscar. Whether or not the film’s formidable array of talent and production values translates into actual statuettes remains to be seen, but a more obvious example of Oscar bait you’re not likely to find.

Paul Thomas Anderson’s direction is utterly mesmerizing, aided in subtle yet profound ways by Mihai Malaimare Jr.’s sumptuous cinematography. Philip Seymour Hoffman is typically terrific as a charismatic cult leader and Joaquin Phoenix is masterfully magnetic as an aimless, restless lush—he’s taken his performance as Johnny Cash in
Walk the Line (2005) and slathered on new layers of physical ticks and mental neuroses. Amy Adams is effective in her role but there isn’t as much meat on the bone here as there was in her last outing with Hoffman in the dramatically taut Doubt (2008). Laura Dern has even less screen time than Adams, but makes the most of a pivotal supporting role as a passionate acolyte of Hoffman’s dianetics-esque religion.

Performances aside, the story is a rich, multi-layered yarn that has much to say about humanity’s search for significance in the ebbs and flows of life. Phoenix is the yin to Hoffman’s yang…in a strange twist of fate the two become unlikely friends. In unexpected yet undeniable ways, one is the answer to the other: Phoenix lacks structure and focus and Hoffman needs more insouciance and spontaneity.

The Master is a microcosm of our collective struggle to ascertain the reason for being. The film’s paradoxical layers of meaning are as insidious as they are insightful: just as spectators strive to apprehend the purpose of their own existence, the characters in the film also seek to understand their role and place in the cosmos. In a shrewd attempt at indoctrination, the film projects its prescriptions and hypotheses of sentience through its characters onto the viewer, who then must embrace or outright reject such precepts based on previously formed beliefs and world views. Though the film appears benign, it is extremely aggressive in its refusal to leave us unchanged where life’s big questions are concerned.

However, for all of its ostensibly insightful glimpses into the essence of existence, the story ends up being little more than a manifesto for the free thinking, existential, touchy-feely set. Despite it’s utterly engrossing narrative, brilliantly told and visualized by Anderson,
The Master will undoubtedly leave its audience in a “huh?” haze as the end credits roll. It’s not that the plot is too hard to follow or its structure too complex, but when all is said and done what does it all mean?

In the same way that Clint Eastwood’s
Hereafter (2010) posed many questions about the afterlife but ultimately proved inadequate at answering any of them (of course), The Master posits numerous notions concerning the nature of reality but fails to convince the audience of its doctrines. In the end, the film’s lasting relevance will be more for its artistry than its philosophy (sophistry?). Maybe the real answer to existence is striking the balance between Hoffman’s relentless pursuit of knowledge and Phoenix’s unbridled lust for life.

Rating: 3

Arbitrage (R)

tt1764183
Directed by: Nicholas Jarecki
Starring: Richard Gere
September 2012

So here we have a standard movie about a workaholic male who makes bad financial decisions, has an affair, gets caught red-handed in both and ends up loosing everything (no spoiler alert here since most of this is discernible from the trailer). The basic plot of
Arbitrage has been employed a thousand times before, and has been executed far better on a number of occasions. The movie threatens to degenerate into a Lifetime movie at times, but the compelling characterizations, coupled with the typically stellar performances by Richard Gere and Susan Sarandon, hoist this film to the top third of dramatic morality plays.

Gere’s turn as corporate giant Robert Miller is a disquieting portrait of modern man. Miller is driven by success, greed, lust and the failing notion that he can be provider and protector for the women in his life. Turns out Miller’s wife, daughter and paramour all need protection from him and his calamitous choices. Like many of his real life contemporaries—the Bernie Madoff’s of the world—Miller is able to keep all of the plates spinning in the air for a time, but is ultimately doomed to fiscal failure as well as public and private humiliation. The film’s resolution is intentionally left ambiguous, but none of the possible outcomes are ideal where Miller’s future is concerned.

When all is said and done,
Arbitrage isn’t a barnburner, but isn’t a bad way to spend a couple hours either. The performances alone should keep viewers engaged in the slow boil narrative. The universal moral “you play with fire, you get burned” is worth reinforcing, I suppose, lest someone has forgotten such lessons imparted in the latest episode of Law and Order or NCIS. Though not quite an ode to modern males, the film posits some fascinating notions regarding this allegedly endangered gender. Great performances with some food for thought…who could ask for anything more?

Rating: 3

Jeff Who Lives at Home (R)

tt1588334
Directed by: Jay Duplass, Mark Duplass
Starring: Jason Segel
March 2012

Jeff Who Lives at Home is a quirky, slice-of-life dramedy that’s carried on the capable shoulders of its stellar cast: Jason Segel, Ed Helms and Susan Sarandon portray the film’s central, dysfunctional family.

Sharon (Sarandon) is a cubicle-bound, middle-aged woman seeking some adventure amid the doldrums of her daily routine. Pat (Helms) is a hardworking stiff who misguidedly thinks that buying a new Porsche will somehow resurrect his floundering marriage. Jeff (Segel) is a superstitious homebody stricken with a lack of ambition and has a bought of agoraphobia. Yes, this is the Jeff referenced in the title, and though his brother and mother figure prominently into the plot, the central through line is Jeff’s meandering journey of self-discovery, which features a character arch that begins with Jeff near-catatonic on a couch and ends with Jeff as a
bona fide hero.

The film has a heavy quotation of M. Night Shyamalan’s
Signs (2002), which Jeff references on a consistent basis and has based the broad strokes of his life’s philosophy upon. Like in Signs, randomness versus design is an underlying theme in the film; however, more often than not, the movie skews toward the existential. Sometimes the existential drifts toward the improbable, like when Jeff, Pat and Sharon—all in separate vehicles—end up on the same bridge where traffic has halted due to an accident. The improbable sometimes gives way to the nonsensical, like when Jeff helps Pat spy on his cheating wife (Judy Greer) only to see Pat’s new Porsche towed away mid-stakeout.

All in all, Jeff Who Lives at Home is an entertaining indie, whose coincidence-laden, real-time narrative makes it a refreshing zero-to-hero yarn. So here’s to all the Jeff’s in our lives…though they may not contribute anything significant to society, they just might end up becoming the saviors of the world someday.

Rating: 2 1/2

Salmon Fishing in the Yemen (PG-13)

tt1441952
Directed by: Lasse Hallstrom
Starring: Ewan McGregor
March 2012

It’s fitting that one of the most unique movie titles in modern cinema also belongs to one of the more refreshingly original films released in recent years. That movie, based on the novel by Paul Torday, is
Salmon Fishing in the Yemen. Yes, you read right…fresh water fishing in the middle of a desert. The premise seems utterly outlandish (a fact not lost on Ewan McGregor’s Dr. Alfred Jones, who initially refers to the proposed project as a “bloody joke”), but the story never takes itself too seriously and delivers a charming denouement that’s sure to please the “fairy tale ending” set.

Director Lasse Hallstrom (
The Cider House Rules) uses his locations to great effect and appropriately blends traditional shots with stylistic ones (like the extreme high angle vantage of the serpentine reception desk in the office where Emily Blunt’s character works) in order to create the overall impression of a commercial film with mild indie influences. Though the film will be mostly relegated to art house theaters, Salmon Fishing certainly has commercial appeal since its style never upstages the story with excessive or ostentatious artfulness and due to the draw of its big-name stars.

The performances, as would be expected from this cast, are tremendous. Though Kristin Scott Thomas is relegated to a rather small part, she gets some of the best lines/laughs in the movie. McGregor’s seldom been as likable as he is here and the blooming Blunt is disarmingly charming. The fact that McGregor can overcome any moral objections to his character’s extramarital romance with Blunt, to the extent that spectators actually yearn for the couple to get together, is a testament to the acting acumen he now possesses (a padawan he is no longer).

One of the running themes in the film is the case of faith vs. science or random chance. Though it shouldn’t be ironic, the fact that the Arab man preaches faith to the pragmatic Caucasian man is a bit of a twist. If anything, this ancillary storyline exposes the increasingly agnostic worldview being adopted in the West. It also forwards the notion that devotion to a religion need not include the kind of fanaticism that leads adherents to crash jets into skyscrapers. The sheik in the film (Amr Waked) is a genuinely nice guy, and his portrayal goes a long way toward shattering the unhealthy stereotypes that have endured for ages, but were exacerbated by 9/11.

The “love story” here is sweet but is fairly contrived, like the through lines in all romance movies. The chemistry between principle actors is undeniable and there are several sublime moments in the film, like when McGregor names a handcrafted fly (for fishing) after Blunt’s character. However, the “wife and lover meet” passage near the end of the movie degenerates the plot into a glorified soap opera. Fortunately, minimal screen time is dedicated to this love triangle subplot and stasis is soon regained, but not until tragedy befalls the project and hope rises from the ashes…all true love must first be tested in the fiery cauldron of trial and opposition, I suppose.

Salmon Fishing probably won’t set the world (or box office) ablaze, but it’s a nice change of pace film with vivid scenery, sure-footed performances and a one-of-a-kind premise. Unlike the scores of uninspired, unbelievable dramedies being released these days, this is one film you can buy into…hook, line and sinker.

Rating: 3

Chronicle (PG-13)

tt1706593
Directed by: Josh Trank
Starring: Dane DeHaan
February 2012

So here we have
The Blair Witch Project (1999) meets Cloverfield (2008) meets TVs Heroes (2006-2010) meets every teen angst movie ever made. Shot almost entirely from the POV of the main character on his camcorder, Chronicle centers on a group of high school guys who discover an alien ship buried beneath a field. The result of their exposure to the alien technology is that they begin exhibiting superpowers which, of course, is a recipe for disaster since we’re dealing with horny, hot-headed teenage males.

One of the lads in particular, upon coming to the realization that he’s now an apex predator, starts committing random acts of mayhem…because he can. In the end, the only person who can stop him is his best friend. A city-smashing melee ensues, which recalls the climactic battle between the titular hero and his three nemeses in
Superman II (1980), and the results are predictably tragic.

No one can say that this film isn’t a valiant attempt at creating a new sensation, but it rides on the coattails of many similarly themed efforts like the ones listed above. Additionally, there are undeniable shades of Shakespeare here and even allusions to
Star Trek—the original series’ pilot saw Captain Kirk killing his megalomaniacal best friend, Gary Mitchell, in order to save his crew and the universe as we know it.

In the final analysis,
Chronicle is a unique hand-held project that tells a decent story and is mildly diverting, if not earth-shattering. Maybe Chronicle II will provide some variety by cutting shots taken by two camera-wielding students.

Rating: 2 1/2

J. Edgar (R)

tt1616195
Directed by: Clint Eastwood
Starring: Leonardo DiCaprio
November 2011

What everyone will be talking about after seeing the Clint Eastwood helmed biopic,
J. Edgar, is Leonardo DiCaprio’s performance as the title character…and why shouldn’t they? It’s a career defining turn by the actor who once stood on the bow of a ship and yelled “I’m the king of the world!” If he keeps turning in performances like this one, DiCaprio may someday own that very title.

A fascinating character study of the former FBI director during the 40s and 50s,
J. Edgar is psychologically complex despite the character’s single-minded furor to rid our country of any trace of Communism. The central thesis of the film, as is conveyed in an opening narration by DiCaprio portraying a doting J. Edgar Hoover, is that “even great men can be corrupted.” J. Edgar spent his entire life and career ferreting out communists and other nefarious agents with an unholy zeal.

The bitter irony here is that J. Edgar himself was corrupted, not by the system, but by his own hubris and egomania. J. Edgar’s bloated view of himself is powerfully exposed near the end of the film by his good friend and assistant Clyde Tolson (Armie Hammer). The essence of Tolson’s scathing comments, if they are to be believed, rewrites some of the major events of the film effectively excluding J. Edgar from many of the story’s main events, which, of course, would make for a brief and dull movie.

Tolson gives his friend a reality check when recounting arrests that were made not by J. Edgar, as he claimed, but by other agents. Tolson’s frank assessment of his friend’s consistent self-aggrandizement stuns J. Edgar at first, but the moment of mental sobriety is short-lived and the FBI director is back to ridding the world of perceived evils. There’s something poignant here about how we see ourselves versus how others see us.

As portrayed in the film, J. Edgar was a grade-A narcissist who was in love with himself and his work, to the exclusion of anyone else. J. Edgar had mommy issues (his mother is played by the inimitable Maggie Smith) and eschewed heterosexual (Naomi Watts) and homosexual (Hammer) offers for companionship. There’s something to be said for the ardent adherence to an ideal, especially one that ensures domestic tranquility, but all extremes are dysfunctional and J. Edgar’s rigidity of behavior and thought alienated even the few people in his life who actually cared about him. Though addled by a different form of psychosis, J. Edgar was just as mentally ill as John Nash was in
A Beautiful Mind (2001).

None of these broad stroke characterizations take anything away from the intricate nuance of DiCaprio’s performance and one wonders how much instruction the actor received from Eastwood, who is notorious for getting what he wants in the first take. It seems to me, and this is just a guess, that Eastwood was more hands-off than micromanaging with respect to the film’s performances. As an actor himself, Eastwood is an actor’s director, so it stands to reason that he would just roll the camera and trust his talent to deliver fine performances—which they do to a superlative degree here.

Eastwood’s direction might feel a little labored at times, but his method is actually an unqualified work of genius. Most of the shots, with a few notable exceptions, are done in the style of a classical Hollywood film. As such, Eastwood mirrors the filming techniques employed in the period he’s portraying—clever. Though difficult to defend, it’s also my belief that Eastwood’s conservative direction is the perfect parallel for the conservative politics displayed in the film. In a sense, Eastwood, whose career has been marked by decidedly conservative narratives or sentiments, was the perfect choice to helm this Oscar bait biographical period piece about such a fiercely conservative political figure from the not-too-distant past.

Though the production values are superb across the board, we hardly even notice the sets due to DiCaprio’s scenery-chewing performance. Indeed, there are moments when the actor so inhabits the character that we no longer see DiCaprio—only J. Edgar. This is especially true of his scenes as the older J. Edgar where his acting is genuinely convincing despite that fact that he’s buried under latex and make-up. Unfortunately, the same cannot be said of the make-up or performance by Hammer as Tolson. We often get the sense that Hammer is “playing” an old person rather than simply being an old person. In many instances that noticeable disparity pulls us out of the reality of the film. Granted, Hammer’s make-up isn’t as good as DiCaprio’s, but he’s decisively overmatched by DiCaprio and one wonders if a different casting choice would’ve served the story better.

J. Edgar might be a name frequently bandied about come awards season. Although a nod for Eastwood’s directing is uncertain at this time, DiCaprio seems to be a strong contender for Best Actor and might just walk away with the golden statuette. It’s anyone’s guess if the film will win Best Picture, but one thing’s for sure, come February, J. Edgar will be well acquainted with Oscar.

Rating: 3

The Big Year (PG)

tt1053810
Directed by: David Frankel
Starring: Owen Wilson
October 2011

TAKING AIM:
The comedic dream team of Owen Wilson, Jack Black and Steve Martin star in an offbeat dramedy that manages to be all about birds without being for the birds.

TARGET PRACTICE:
Filmic Antecedent: Twister (1996) gave us a glimpse into the lives of extreme hobbyists known as storm chasers (there’s even a reality TV series based on this thrill seeking subculture). While the enthusiasts in The Big Year don’t face the same kinds of imminent dangers while engaging in their hobby, their furor, devotion and blatant disregard for anyone who doesn’t share the same passion is just as intense as those tornado tailgaters in Twister. The fanatics in this film are called “birders,” not bird watchers, which anyone can be by looking out their window. Birders travel far and wide to find rare and exotic birds and some can identify a bird by its chirp or warble (others can even approximate such sounds with their vocal cords and throat…weird).

Martin is Masterful: This isn’t the first time Steve Martin has teamed up with two other film funny-men (Chevy Chase and Martin Short in 1986’s ¡Three Amigos!, for instance), but his compadres in this film (Wilson and Black) are significantly younger than him. Even though Black’s character narrates the movie and Wilson serves as a pseudo-antagonist, it’s Martin who emotionally anchors the film. We feel pathos for Martin’s character when he tosses his cookies on a boat or when he misses a plane that costs him a trip to Attu, Alaska—a hotspot for birding in May. We can’t help but chuckle when Martin initiates his patented victory jig. But most of all, we can only try to fight back tears when Martin whispers his first words to his newborn grandson. It’s moments like this that ground the movie and prevent it from degenerating into an off-kilter buddy movie centered on a fringe pastime.

Winners and Losers: Of course, Wilson and Black aren’t chopped liver. Black is charming as the unlucky-at-love everyman with daddy issues and Wilson is the most disarmingly likable antagonist to come along in recent film history. One of the prevalent themes in the film is sacrifice—what are these characters willing to give up in the pursuit of their goals/hobbies/dreams? By the end of the movie, each of the main characters looses in one area of his life but also wins in another; such tradeoffs are an accurate depiction of real life. It’s a credit to Howard Franklin’s screen adaptation of Mark Obmascik’s book that the resolution holds some surprises for the viewer: who wins and who looses what might not be exactly what you’d expect.

Semiotics Playground: Part of the enjoyment in watching buddy films, especially if some type of journey is involved, is tracking the progress of the characters throughout the course of the film. Here, checkpoints of different stages of the characters’ “big year” are demarcated with a variety of graphics and other visual cues. In film studies, semiotics is a theory that deals with signs and symbols in movies. In many instances a film’s deeper meaning can be gleaned from its patterns/textures, lighting/shading, camera position/angle/movement and, indeed, physical signs. Here, geographical maps of various stops on their journey are superimposed over live action shots of the characters, a la the Indiana Jones series. A similar effect shows handwritten text over the Alaskan countryside, designating the exact spot where a particular bird has been spotted. Text markers appear at random intervals in the movie and represent specific locations or points in time. Most visually innovative is the film’s use of overhead counters to indicate the current number of birds each character has spotted—the graphic is especially effective when all three characters spot the same bird at the same time.

PARTING SHOTS:
In the final analysis, those expecting to see these A-list comedians in an all-out goof fest are sure to be disappointed with
The Big Year, which breaks down at roughly 90% drama and 10% comedy. Still, this is one of the most original movies to have come along in quite some time, and so much the better since it offers an educational component to its often single-minded, straightforward narrative. The film definitely isn’t earth-shattering, but it offers a few humorous and touching moments that make it a worthwhile entertainment. Sometimes it’s just nice to see something fresh, however unusual. The Big Year is both…highly recommended.

Rating: 3

Moneyball (PG-13)

tt1210166
Directed by: Bennett Miller
Starring: Brad Pitt
September 2011

So here we have one of the timeliest movies regarding the current state of our society and economy. Oh, and it just happens to be about baseball.
Moneyball chronicles the actual events surrounding a general manager’s brazen decision to eschew the tried-and-true recruiting strategies employed by MLB franchises for over a hundred years in favor of a statistical algorithm developed by an economics graduate from Yale.

Oakland A’s general manager, Billy Beane (Brad Pitt), indicts his team’s old guard for upholding errant philosophies of recruiting talent—i.e. don’t trade for a player if his girlfriend is ugly because that means he has no confidence. In 2001, the A’s put 39 million dollars worth of talent on the field while the New York Yankees fielded a team worth 114 million. Knowing that his David will never be able to slay the Goliath’s of the league, Beane tells the room of stodgy scouts, “It’s an unfair game…we’ve got to think differently.”

Enter Peter Brand (Jonah Hill) and his paradigm shattering notion of buying wins not players. Beane sticks his neck out for Brand and his revolutionary concept, but club manager, Art Howe (Philip Seymour Hoffman) is resistant to the radical adjustments made to his line up. In the early goings, it appears that Beane will get the axe, but by season’s end something magical happens in the other City by the Bay as statistical probabilities turn into logic-defying reality.

There’s little suspense here for MLB fans who know the results of Beane and Brand’s experiment, but the storytelling is compelling and the performances—across the board—are superb. Also, those normally turned off by “sports” movies just might enjoy
Moneyball because it’s more about characters and convictions than memorializing some legendary game from the past. However, Moneyball isn’t completely devoid of competition as it effectively weaves actual game footage along with reenactments by actors into a seamless tapestry that supports the story rather than dominates it. All of this to say, Moneyball is an engaging “true story” drama that just happens to be about sports.

So what does all of this have to do with the current state of our country? Well, maybe it’s just me, but doesn’t it seem like we can use some of Beane’s and Brand’s open-minded strategizing on Capitol Hill about now? Clearly the old ways, promulgated by old guard politicians (many of whom are, well…old), just don’t work anymore. I’m not suggesting that we throw the baby out with the bathwater, but there can be no doubt that some new ways of thinking are needed in order to get our economy back on track.

Moneyball exposes, in microcosmic form, the kind of myopic and rigid reasoning that’s lead to stagnation and entropy (not to mention apathy) in that colossal franchise called the USA. So I guess it’s true what they say about baseball imitating life. Heck, for many people, baseball is life!

Rating: 3

Drive (R)

tt0780504
Directed by: Nicolas Winding Refn
Starring: Ryan Gosling
September 2011

When I saw the trailer for
Drive, I thought it was going to be another of those high-octane, lowbrow car race/chase movies in the mold of the Fast and Furious franchise. How wrong I was. Although centered on cars, specifically a silver Chevy Impala, Drive is more Shakespearian than Vin Dieselian (that didn’t quite roll like I wanted it to). There are plenty of scenes or elements in the movie that hearken back to earlier cinema staples involving a solitary man driving a car at night, the most obvious antecedent being Martin Scorsese’s Taxi Driver. Drive also borrows from a variety of styles/genres, including: films noir (Double Indemnity) and thrillers (Vertigo) in the way it anthropomorphizes the city as an ancillary character in the film with streets and highways representing veins and arteries.

As it turns out, the story more closely resembles a Shakespearian tragedy, particularly
Macbeth, than any other car-centric film. Though not quite approaching the bloodletting witnessed in an R-rated splatter fest like Scarface (1983), the film is exceedingly bloody and sees nearly every main character stabbed or shot by movie’s end. However, the movie never crosses the line of becoming gruesome or gratuitous, and, if anything, is artful in how its characters are dispatched. Again, car movies aren’t usually mentioned in the same breath as art films, but Drive comes close to straddling both sides of the street—it’s the perfect balance between a well made mainstream movie and a stylish indie.

And speaking of art, there are some beautiful shots/sequences in the film—and many of them have absolutely nothing to do with cars. There’s an understated scene, with minimal dialogue, where Ryan Gosling and Carey Mulligan converse inside their apartment complex and we see the orange-red glow of a sunset bathing the distant skyscrapers seen through the window the couple is standing in front of…the same hue highlights Mulligan’s hair and back in an ethereal outline. As far as production is concerned, the scene is fairly unremarkable, save for the narrow window of opportunity the crew had to work in before the rapidly setting sun disappeared beyond the horizon and the lighting effect was lost. Besides the execution of the shots, what’s being conveyed between the characters—the subtext—is what’s most fascinating about the scene. Indeed, it could be argued that the lovelorn characters realize, on some innate level, that the kind of relationship they yearn for with each other can never be realized and the setting sun signifies the impending cessation of their friendship.

Even though the themes and mode of storytelling are completely different, there’s something about
Drive’s characterizations, pacing and narrative structure that feels similar to a Coen Brothers film, especially Blood Simple (1984). I have no reason to make such a comparison other than my own interpretation of Drive. Although the trappings are divergent in nearly every way, Drive and Blood Simple are examples of thrillers or postmodern films noir. Both movies boast complex characters/relationships, a botched heist and excessive bloodletting.

Another genre quoted from here, although certainly not directly, is the Western. I will stop well short of classifying
Drive as a modern Western, but in addition to bounty hunters and shootouts, Gosling’s character is a laconic, rugged individual who is competent not as a gunslinger but as an expert driver. Additionally, Drive turns Western conventions on their ear when Gosling’s character leaves behind a fortune and the woman that he could’ve settled down with, and drives off not into the proverbial sunset but into a pitch black night. The movie also leaves us with a lingering question: Will Gosling’s character even survive since he was wounded in the final confrontation?

The performances here are, fittingly, just as stellar as the performers. Gosling and Mulligan mesmerize as misfortunate lovers, whose ill-timed and ill-fated romance never has the chance to blossom into the kind of lasting relationship they both need and desire. Just as serendipity brings the couple together, tragedy splits them apart. Oh how fickle fate can be. In addition to the dazzling leads, the movie’s supporting players are equally impressive: Albert Brooks, Bryan Cranston and Ron Perlman were all perfectly cast and deliver rich and authentic performances.

Drive is a subtle and engrossing character study and a thinking person’s action film. Some will criticize Drive for not having enough, well…driving in its story or that it needed more action sequences. For me, I just wanted the story to keep going—to learn what would happen next with these characters. Regardless, the movie successfully upholds the old show biz maxim that instructs writers to “always leave them wanting more.” There’s definitely part of me that wants to follow Gosling into that good, dark night to learn the fate of this fascinating lone wolf. Drive on, young Gosling, drive on.

Rating: 3

Contagion (PG-13)

tt1598778
Directed by: Steven Soderbergh
Starring: Matt Damon
September 2011

Contagion is a film that literally has everything going for it and yet somehow ends up being a mild disappointment. The cast is beyond stellar. The old expression “more stars than you can shake a stick at” certainly holds true here…Damon, Paltrow, Winslet, Law, Fishburne, Cotillard, Cranston, Gould, ad infinitum. Director Steven Soderbergh, who’s no stranger to assembling large ensembles (Traffic and the Ocean’s trilogy), cleverly recruited the dazzling array of A-list talent by meting out bite-sized roles that only required, in most cases, a minimal time commitment on the shoot. Such a strategy to lure top-shelf talent is as insidious as…well, a population eradicating virus.

Other than acting and directing, the one area of the film that gets an A+ is the real-world science behind the nature of infectious diseases and the contingency plans or protocols set forth by media, military and other government organizations after an outbreak has occurred. The procedural factor, however, is also detrimental to the film, as some scenes play like a glorified episode of CSI (and, indeed, Fishburne’s presence at the CDC does nothing to discourage this notion), while simultaneously slowing the pacing to that of a courtroom drama.

I would refer to
Contagion as a thinking person’s disaster film, but that description would be grossly inaccurate: the film’s methodical narrative is more educational than sensational and more filling than thrilling. Still, the film isn’t devoid of merit, especially when it comes to the human equation—i.e., how do people react to the species-threatening epidemic? Do they cower in fear or off themselves? Do they cloister themselves from the rest of the world and wait it out until a cure is discovered? Do they go out of their way to help others even if their own safety is jeopardized? Or, as Law’s character does, do they attempt to make a buck off of the tragedy…the capitalism of catastrophe?

As interesting as the various displays of the human condition are, the humanity of the characters themselves is often as cold and sterile as one of the many science labs seen in the movie. Look no further than Damon for an example of how unemotional the humans are in this film. Damon’s best scene is when he insists on seeing his wife (Paltrow) even after the doctors have told him that she’s passed away. We can forgive his numbness during this scene (and, as ironic as it sounds, the sequence isn’t without an element of humor), but Damon only transitions from denial to grieving during the film’s dénouement. Granted, his thoughts have been preoccupied by the crisis, but he shows no remorse over his wife’s death until the waning moments of the film and doesn’t even mention, much less shed a tear over, his departed step-son.

Though the film achieves a praise-worthy degree of technical proficiency, with startlingly realistic direction that delivers a blow-by-blow description of how infections spread, the story, despite its best efforts to endue the audience with feelings of anxiety and panic, is strangely unmoving. Perhaps it’s that we have little to no emotional investment in or identification with any of the characters before they start keeling over…and then we’re on to a different place with different characters. Though the ping-pong plot certainly doesn’t foster character development, Soderbergh’s direction keeps the audience at arm’s length, never inviting viewers into the middle of the action. In short, the story lacks heart.

Contagion’s brilliant final sequence, which tracks the virus from its improbable creation all the way through to its transmission to patient zero, is worth the price of admission. It’s just a shame that the rest of the film didn’t capture the same degree of visual verve and visceral vitality. One thing’s for sure, whether you like Contagion or not, I bet you’ll start washing you hands more frequently after watching the film. Oh, and stop touching your face!

Rating; 2 1/2

The Help (PG-13)

tt1454029
Directed by: Tate Taylor
Starring: Emma Stone
August 2011

Based on the book of the same name by Kathryn Stockett,
The Help tells the tale of a progressive young journalist (Emma Stone) who has the conviction to write about the mistreatment of the black nannies/maids in the Deep South during the 1960s. Of course this decision doesn’t sit well with the bridge club and Stone is soon ostracized by fellow whites for her stance against the inhuman and unethical treatment of black workers at the hands of white employers. Stone is embraced by the black women whose testimonies soon fill the pages of a book she writes on the subject of the hostile and adverse working conditions “the help” is made to endure on a daily basis.

Bryce Dallas Howard is magnificent as the ringleader of the elitist white women and is the perfect foil for the idealistic and seemingly harmless Stone. Although her screen time is limited, Sissy Spacek is delightful as Howard’s not-all-there mother, and some of the most memorable lines and moments revolve around her character. The African American stars are all superb, especially Viola Davis and Octavia Spencer as feisty Minny. Certainly not to be forgotten is Allison Janney’s turn as Stone’s well-meaning, matchmaking mother.

Performances aside, the movie’s moral is delivered in a subtle, palatable manner that avoids the kind of sermonizing that often plagues social message films. In that regard, the movie does an excellent job of showing the injustices being perpetrated against the black women instead of just telling us about their plight, which would be far less compelling.

The historical elements—costumes, cars, etc—are authentic to the milieu and lend the “feeling” of being in small town Mississippi in the 60s. The narrative, which certainly isn’t radically different from other stories of its ilk, populates its plot with believable people faced with a variety of realistic challenges. Sometimes these pressure filled situations produce memorable moments, like the “poo pie” scene.
The Help is a superb period piece that presents a slice-of-life story of a dark period in America’s not-too-distant past.

Rating: 3

Rise of the Planet of the Apes (PG-13)

tt1318514
Directed by: Rupert Wyatt
Starring: James Franco
August 2011

TAKING AIM:
The seventh movie in the outlandish sci-fi series is more down-to-earth than its forebears, but is more commonplace and less spectacular as a result of its contemporary plot and settings. An origin story of the decades-spanning furry franchise,
Rise of the Planet of the Apes is intended as a series reboot, much like Batman Begins (2005) was for Christopher Nolan’s modern tales of the Caped Crusader. Although the film flirts with a message, something along the lines of not harming animals or how unethical scientists create monsters, it ends up as an irrelevant tale coupled with uninspired direction and largely unremarkable performances, which leads us to…

TARGET PRACTICE:
Let’s Be Frank About Franco: James Franco is serviceable in the lead role, but takes a back seat in nearly every scene he shares with Caesar, the story’s focal point and top ape. Franco’s performance is understated, which is appropriate to the role, but he doesn’t bring anything special to the part of a scientist with a conscience grappling with an ethical dilemma. As such, Franco’s presence and performance are serviceable, but not necessarily memorable. Let’s be frank, Franco has always been a fairly flat actor who works well in an ensemble but really isn’t leading man material, which this film amply proves.

Lithgow Finds Another Furry Friend: John Lithgow just can’t seem to get away from furry animals in his more fantasy themed films. It’s been an eternity (1987) since Lithgow befriended an amiable Sasquatch in Harry and the Hendersons (he had a little more hair back then too). Here, Lithgow gloms onto Ceasar who becomes a therapeutic presence in the life of his character, an Alzheimer’s sufferer. Lithgow’s performance is finely tuned and subtly executed—his swings of lucidity aren’t nearly as dramatic as many other Alzheimer’s portrayals in film, which is refreshing to see. I guess it should come as no surprise that Lithgow could so successfully pull off such a role, but it is confirmation of what we’ve known about the versatile actor for years…he’s got quite a range (I mean, compare his character here to the one he played for six years on TV in 3rd Rock from the Sun). Lithgow’s greatest contribution to the plot is his sometimes quirky, sometimes profound advice to his screen son, Franco. As a foil and voice of reason, Lithgow’s interactions with Franco help to ground a movie rife with fantastic notions. Lithgow provides a major assist to Franco, whose often uninspiring performance needed plenty of support.

Solid Support: Brian Cox walks a fine line between dictatorial overseer at an animal control center and outright villain. We dislike him because he’s deceptive and, ironically due to his choice of professions, because he doesn’t seem to care one whit about animals. But, at the end of the day, Cox’s character just does his job and goes home—presumably to avoid the wholesale destruction of the last half hour of the movie. Cox is certainly an antagonist in the film, but he fails to measure up to bona fide villain status. David Hewlett (Stargate: Atlantis) delivers a memorable turn as a set upon side character who always ends up in the wrong place at the wrong time—that is, clawed into submission by the movie’s main mammalian. To add insult to injury, Hewlett’s character contracts a virus when infected by a doctor’s bloody sneeze. We’d feel bad for him if he wasn’t such a self-important twit throughout the film. Of course, the key performance (via motion capture) belongs to Andy Serkis as Caesar the ape. Serkis continues to amaze in bringing various CG creatures to life (Gollum in LOTR and the eponymous behemoth in the 2005 version of King Kong) and has unassumingly become the monarch of mocap. The physical demands of the role were considerable and Serkis really sells it, especially the close-ups of Caesar’s face and eyes which reveal and array of emotions that, ironically, serve to humanize the advanced ape.

Plot Holes:
Animal Control—No Dogs or Cats?: One of the movie’s main interiors is a facility dedicated to sheltering simians, to the exclusion of other types of animals or pets. Just how many stray simians are there in the greater San Francisco area? Plus, isn’t this a pretty mundane and drab interior for a big budget, summer blockbuster?

Who Needs the FDA?: The black supervisor, who’s resisted using Franco’s drug the whole movie, fast tracks a new variation of the drug based on Franco’s testimony that it works on his dad. Wouldn’t there need to be a series of trials before attempting to use a drug on a living animal? Is the supervisor really that greedy?

The Second Half is Like the Drug After it Wears Off: Gets Dumber and Dumb…:
Of all of the possible population centers to terrorize in the City by the Bay, why did the apes select the Golden Gate Bridge? Wouldn’t pedestrians on city sidewalks provide better targets than people sitting in their locked cars? Or better still, shouldn’t the apes attack Gen-Sys to exact revenge for the way they’ve been treated? Could it be that the finale locale was selected by the writers since the bridge would make for an immediately identifiable and exciting set piece? If so, how contrived was that decision?

Going Ape on the Golden Gate: Besides its location, just how silly is this climactic action scene? The escaped apes pound and pounce on stalled cars and occasionally attack a person dumb enough to get out of their vehicle or cops riding on horses…‘cause that was a good idea. In King Kong (1933), the mighty ape swats attacking planes from the sky. Here an ape jumps up into a helicopter and brings it to the ground for no good reason other than the fact that it would make for a cool visual. Derivative? You bet! Dumb? It goes without saying.

Not Even a Slap on the Paw?: Even after all the destruction the ape’s caused, Franco still isn’t frightened by Caesar? I would be. What’s more, wouldn’t he chastise Caesar for instigating such a catastrophe? After all, an evolving ape should know better.

PARTING SHOTS:
If there was any hope that
Planet of the Apes could be resuscitated as a franchise, after Tim Burton’s middling effort in 2001, this latest film in the series has effectively pulled the plug. The movie is just this side of awful, and it’s only the fine performances by Serkis and Lithgow that save the film from becoming an utter laugh-fest. Rupert Wyatt’s direction is uninspired and the entire movie feels cash strapped for an ostensibly big budget blockbuster. Hopefully this lackluster effort will forestall any thoughts of producing a sequel to this prequel…there certainly isn’t anything in this film worth aping.

Rating: 2

Sarah's Key (PG-13)

tt1668200
Directed by: Gilles Paquet-Brenner
Starring: Kristin Scott Thomas
July 2011

Sarah’s Key begins as a holocaust film and quickly transforms into a decades-spanning missing person mystery. On the face of it, such a radical thematic shift would threaten to produce an uneven film and run the risk of frustrating or confusing the audience. However, Sarah’s Key is executed with such precision, and such a streamlined through line, that tonal variations merely serve as variegated patterns against which the bracing drama unfolds.

Kristin Scott Thomas plays a contemporary journalist who’s writing an article about the heinous events that took place in France on July 16, 1942—Jews living in France were ripped from their homes and shipped off to internment camps. A narrative device, employed with near-clockwork precision in the film, is the cutting back and forth between present and past, which gradually brings both timelines to meaningful intersections and resolutions. Part of the thrill of this story structure is that the audience learns clues right alongside Thomas as she continues peeling back the layers to learn the secret of one detained French family, and their courageous daughter…the eponymous ingénue.

The early stages of the film, particularly the unsanitary living conditions the Jews were forced to endure while being held captive inside a stadium, are a bit rough to watch. Still, the most graphic scene here doesn’t even come close to the horrific tableaus displayed in
Schindler’s List. Even though what is suggested in the scenes is generally worse than what is actually shown, those with weaker stomachs are advised to take caution.

The mystery surrounding Sarah’s key is revealed about midway through the film and the balance of the story deals with the ramifications of Sarah’s fateful decision. Though the movie is a bit leisurely at times, the frequent trips to the past keep the story moving along, never allowing us to loose interest. However, the scenes involving Thomas’ personal life,
a la her foundering marriage, serve as a detraction and distraction from the main purpose of the story and feel a bit like the earnest character moments frequently featured in Lifetime movies. The modern story here isn’t nearly as compelling as past events, a narrative condition that also plagued Nora Ephron’s Julie & Julia.

Thomas certainly can’t be faulted for the movie’s soap opera moments; she makes the most out of what she’s given. In addition to her sumptuously understated performance, Thomas deftly delivers English and French dialog in a challenging bilingual role. Appearing only in the last quarter of the film is Aidan Quinn, whose character helps Thomas assemble the puzzle of Sarah’s life. Though his screen time is limited, Quinn, like a good anchor man, really brings it home with a finely attenuated performance, fraught with nuance and genuine emotion.

Even though American audiences may only be familiar with Thomas and Quinn, the rest of the cast is rounded out by some terrific French actors. As such, roughly half the movie features French speaking with English subtitles, so fair warning for those with an aversion to foreign films. However, it’s my sincere hope that subtitles won’t dissuade potential viewers from watching this superbly crafted, acted and scripted film, which makes salient observations on the finer and baser aspects of the human condition.

Sarah’s Key illustrates how the best of intentions can have dire outcomes when waylaid by evil designs. Though frequently bittersweet, Sarah’s Key is a deeply moving film rife with profound sadness and shame over the atrocities committed against scores of innocent people. But, as the film implies more than preaches, hope can arise from the ashes of tragedy and provide a better life for future generations, so long as we never forget the lessons of the past. After all, as the film dramatically illustrates, “We’re all a product of our history.”

Rating: 3

The Ghost Writer (PG-13)

tt1139328
Directed by: Roman Polanski
Starring: Ewan McGregor
March 2010

“Polanski’s Political Potboiler Stars a Superspy and a Jedi”

Roman Polanski’s The Ghost Writer, though not as shocking as Chinatown or as haunting as The Pianist, is a fine film in its own right, a taut thriller told from the epicenter of a political earthquake. At the center of the epicenter is Adam Lang (Pierce Brosnan), former Prime Minister of Britain, who’s been accused of advancing American policies while he was in office. The revolving door of ghost writers commissioned to massage Lang’s memoir into printable form soon sweeps a young and ambitious scribe, simply referred to as The Ghost (Ewan McGregor), into the web of intrigue and controversy that seems to surround Lang wherever he goes: Lang ping-pongs back and forth between native England and the eastern seaboard of the US.

We enter Lang’s world as an interloper, a voyeuristic onlooker to the drama that unfolds around Lang and those in his orbit. Lang, though understandably and undeniably aristocratic in public, is much more subdued behind closed doors, especially in one-on-one interviews with The Ghost. Past the officious exterior, Lang, when finally able to lay aside the worries of the world, displays a degree of vulnerability that’s a bit unsettling at first. It’s an expertly measured performance by Brosnan, a career actor with an inestimable range (Lang is a light-year from Bond).

McGregor also turns in a fine performance that’s deceptively understated in its fly-on-the-wall subtlety. Even though Lang is sympathetic and central to the plot, the audience identifies more strongly with The Ghost since he’s brought into the political turmoil at the same time that we are. As The Ghost forms his opinions of Lang, we’re right there peeking over his shoulder, sensing, as he does, that something isn’t quite right in Lang’s world.

The Ghost’s expressions of confusion, suspicion and apprehension are mirrored on our faces: in this way, director and writers see to it that character and audience are on equal footing. Or perhaps Polanski is deluding the audience into a state of false confidence. Perhaps The Ghost is one step ahead of us and the only reason we’re clued in at all is because his writer’s eye is leading our gaze to details we would normally miss. Either way, this narrative choice allows for tangible tension to reign supreme throughout the story…and we can be grateful in our consternation since the movie’s intricate web of intrigue ensures a more satisfying viewing experience than a paint-by-numbers puzzler.

Of course, keeping the audience in the dark and methodically parsing out plot details at a pace which produces maximum suspense is a staple of the thriller genre, and few do modern-day political potboilers better than Polanski. Polanski knows how to gradually build anticipation until…bang, some major character revelation or unforeseen event causes a rupture in the story’s stasis. Even though the action never reaches the fevered pitch of a
Bourne movie, there are some nail-biting episodes like when The Ghost takes a trip on a ferry boat and discovers that he’s being shadowed.

Though the film’s intensity ebbs and flows (like the undulating ocean waves visible through the window in Lang’s office), an undercurrent of dread is ubiquitous, like apprehensions over the impending storm. The literal storm that’s been brewing since the movie’s early stages finally hits midway through, just as several character arcs are reaching their breaking points. The storm scene, of course, is symbolic of what the characters are experiencing. What would’ve come across as telegraphed by a lesser director is artistically and organically achieved by Polanski, whose expert grasp of storytelling allows for a slow boil approach to these climactic events.

The movie’s East Coast locales serve as an additional, though non-corporeal, member of the cast. The visual splendor Polanski creates, with the assistance of cinematographer Pawel Edelman, is nearly palpable. The overcast, blustery shoreline scenes along Martha’s Vineyard (surprisingly shot in Germany) are visually immersive and are the perfect accompaniment for the movie’s melancholy mood. The scene where McGregor bikes over to Eli Wallach’s house, the expanse of gray and beige creating a haunting yet beautiful tableau all around him, has more atmosphere than many movies have in their entirety.

One of the film’s many highlights is the showdown interview between The Ghost and Paul Emmett (Tom Wilkinson). Few actors can lace pleasantries with napalm like Wilkinson; his character’s thinly veiled disdain for The Ghost boils just beneath the surface of his composed and professional demeanor. Besides containing some tense, hair-raising dialog, the verbal sparring match between Wilkinson and McGregor sets into motion a chain reaction that ultimately leads to The Ghost’s untimely demise: if you’ve seen any of Polanski’s back catalog you can make an educated guess at the nature of the film’s down ending.

Although
The Ghost Writer fails to measure up to Polanski’s earlier masterpieces, it’s still a taut yarn with fine performances and a riveting riddle that will keep the audience guessing right up until the bitter end. And let’s face it, a lesser Polanski film is still better than the vast majority of films Hollywood is turning out these days. There’s little intrigue in that statement.

Rating: 3

Marley & Me (PG)

tt0822832
Directed by: David Frankel
Starring: Owen Wilson
December 2008

“Heartwarming, Tear-jerking Dramedy is a Doggone Good Time”


John Grogan (Owen Wilson) is wading through the deep stuff. His wife, Jenny (Jennifer Aniston) wants to have a baby. John turns to his friend, Sebastian (Eric Dane), for advice and is told that the best way to slow down Jenny's biological clock is to sidetrack her with a puppy.

For her birthday, John buys Jenny a puppy...the cheapest of the litter, which should automatically raise a caution flag in one's mind. Of course, as the story would require, the little mutt grows at an alarming rate and soon takes to ransacking the Grogan house and generally making its owners’ lives a living nightmare. And of course, it's not too long before Jenny gets pregnant, leaving John to wonder where his well-calculated plan went so awry.

Marley & Me, based on the experiences of the real-life Grogan family, is fairly believable, but there are a few moments of hyper-reality. Thankfully, these requisite mishaps involving the calamitous canine don't degenerate into the kind of improbable silliness that reigned supreme in the Beethoven movies. Such paint-spilling, car-denting, villain-foiling antics would have killed this movie as sure as rabies killed Old Yeller.

There can be no doubt that the star of the movie is the dog; however, the human performances aren't anything to howl at, especially the leads. It's no secret that Jennifer Aniston is a capable actress; since her days on
Friends, Aniston has made a respectable career out of mostly comedic, sometimes-dramatic movies as the leading lady in mostly successful films. The big shocker here is Owen Wilson's multi-faceted performance...perhaps the first for the towheaded funny-man. I think it's safe to say that Wilson has graduated before our very eyes, playing a man who's desperately trying to balance the rigors of family life with his career, all while maintaining a good sense of humor and positive outlook on life. Wilson probably won't be hefting an Oscar any time soon, but he actually shows some range here, which is a refreshing change from his patented, daffy shtick. Apparently he can be serious. Who knew?

Alan Arkin, in yet another Oscar-worthy supporting performance, mesmerizes as John's unflappable, unemotional editor. Much like Tommy Lee Jones' Marshal Gerard in
The Fugitive (1993), Arkin feigns an uncaring attitude, but is deeply concerned with the lives of those around him. If ever discovered to have a heart, Arkin’s editor would surely echo Gerard’s image-preserving request at the end of The Fugitive, "Don't tell anybody, OK?"

It's contestable whether or not Marley & Me is a family film. Certain situations and some language would probably be enough for concerned parents to keep their kids away from seeing the film. Then there's the ending. Some—anticipating a happy ending—will be broadsided by the movie's tragic climax. If your children bawled for a week after viewing Old Yeller (1957), you might consider leaving the kids home and reserving Marley & Me for a date night. Truth be told, it’s more of a date movie than a family film anyway, so word to the wise.

Though shamelessly sentimental in spots, Marley & Me is as heartwarming as they come…a popcorn movie in the truest sense. With ticket prices skyrocketing, it’s satisfying when you actually get your money’s worth at the Cineplex and the Wilson/Aniston vehicle is worth every penny. Cute, cuddly and crowd-pleasing, Marley & Me is an early Christmas present that will give you all the warm fuzzies of actually owning a dog without having to clean up the mess!

Rating: 3

Valkyrie (PG-13)

tt0985699
Directed by: Bryan Singer
Starring: Tom Cruise
December 2008

“Riveting Slice of WWII History Hits Its Target”


A decorated, raven-haired soldier walks into a room filled with debating officers, surreptitiously places a handbag under the conference table and slowly backs out of the room. A few minutes later, the building explodes behind the escaping soldier. Inside the burning building are the strewn bodies of the chancellor and his top military advisors. Hitler is dead!

Sounds like a fictional story, right? Like they say, truth is often stranger than fiction. In reality, the above incident, dubbed Operation: Valkyrie, was just one of several failed assassination attempts made on the fuhrer’s life. The new movie based on this pulse-pounding chapter in World War II history is titled
Valkyrie and is directed by Bryan Singer (X-Men).

The soldier in charge of the Valkyrie mission was Colonel Claus von Stauffenberg, a German officer with divided loyalties, willing to risk it all in order to end the tyranny of the 3rd Reich. In the movie, Stauffenberg is played by Tom Cruise, a dubious choice at first mention but a casting coup upon further reflection (take a look at the astoundingly similar side-by-side profile photos of Stauffenberg and Cruise at this film’s wikipedia page). Cruise, known for action roles more than psychological dramas, turns in a fine performance as the conscience driven soldier who can no longer stand by and allow Hitler’s atrocities to continue unimpeded. Cruise is surrounded by a dizzying array of A-list talent that’s essentially a who’s who of accomplished British actors, including: Kenneth Branagh, Bill Nighy, Tom Wilkinson, Terence Stamp, Eddie Izzard and Bernard Hill.

Although the set-up is a tad slow at times, the story starts to snowball once the assassination plot is formulated and set into motion. There’s a good deal of political intrigue and nail-biting suspense throughout, and the execution of the plan is an exercise in high anxiety. There’s bound to be a Murphy’s Law factor to any set of “best laid plans,” but the stakes here are impossibly high for Stauffenberg and his fellow conspirators: failure is tantamount to death. The drama reaches edge-of-your-seat intensity when the mission starts to unravel and Stauffenberg is forced to make choices that will eventually seal his fate.

A few months before seeing this film, I watched a documentary on the subject entitled
Operation Valkyrie: The Stauffenberg Plot to Kill Hitler. With the accurate details of the actual mission fresh in mind from this presentation, I went into the movie expecting to find the usual fact fudging or creative embellishments that accompany far too many big screen adaptations of true historical stories these days. I must admit to being impressed and pleasantly surprised by Singer’s and writing duo Christopher McQuarrie and Nathan Alexander’s painstaking adherence to the recorded facts from the real-life account.

Singer’s attention to historical accuracy also extends to the movie’s finely mounted production elements, which populate every inch of the big screen in
Valkyrie. Sets, props and costumes are all period appropriate and draw the audience into Stauffenberg’s world with their authenticity; noticeable flaws or inconsistencies would similarly take the audience out of the movie’s mesmerizing action. The virtually identical reconstruction of the Wolf’s Lair sets is awe-inspiring and many of the scenes in Berlin and the German forest were shot at the exact same locations where the actual events took place.

It’s a testament to the arresting events of the factual story that it can so effectively sustain viewer interest throughout its two hour running time. Likewise, it’s a testament to Singer’s unwavering vision—which has realized the Stauffenberg plot in exacting detail while also adding the visual urgency and narrative expediency befitting a big screen adaptation of such a crucial chapter of WWII history—that the story works at all in its cinematic form. Those who go in expecting all-out action (and the casting of Cruise is certainly disingenuous on this account) will surely be disappointed by this psychologically and politically complex docu-drama, but for those who can sit through the denser intrigue in favor of its suspenseful action scenes will find a film that educates while it entertains. If only there had been more men of conviction like Stauffenberg to stamp out the evil and injustices committed in our generation. If only…

Rating: 3

The Proposal (PG-13)

tt1041829
Directed by: Anne Fletcher
Starring: Sandra Bullock
June 2009

“Jilts Its Audience with Standard Rom-com Shtick”


The Proposal, starring Sandra Bullock and Ryan Reynolds, is about two people who despise each other but eventually fall madly in love. We’ve seen this scenario a kajillion times before and have suffered through each permutation of the threadbare rom-com yarn with low interest and high anxiety to exit the theater as quickly as possible.

Director Anne Fletcher must’ve thought she’d struck gold in this new take on the ages-old form, if only because of the story’s exotic locale…Alaska. But, whereas location is everything in real estate, it can only take a movie so far, especially if it’s accompanied by a mediocre narrative. Sadly, we don’t get to see much of the Alaskan countryside in the film and when we do it’s either shoddily projected onto a green screen behind Reynolds or unimaginatively framed by Fletcher and her cinematographer. A few eagles factor into the story, but that’s the extent of the wildlife displayed in the movie—no bears and no moose…just Betty White in native Alaskan garb, dancing around a fire and chanting a string of vowels while worshiping Mother Earth. Guess that explains why there aren’t any animals in the movie.

The movie’s premise revolves around Bullock’s bulldog book editor Margaret Tate, who’s facing deportation to her home country, Canada…eh! In an act of desperation, Margaret grabs her assistant, Andrew Paxton (Reynolds), and convinces her boss and an immigration agent that she and Andrew are engaged—much to Andrew’s utter shock and revulsion. Andrew refuses to go along with the elaborate charade until Margaret promises him a promotion. The rest of the movie plays out like
Meet the Parents in Alaska, with only a quarter of the silly mishaps and less than half the charm.

Bullock tries her hardest to invoke Meryl Streep’s Miranda Priestly from
The Devil Wears Prada, but fails miserably, despite being called “it” or “witch” by her tweeting employees. However, though brusque and business minded, Margaret doesn’t resemble the harsh image painted by her skittish underlings. From a narrative perspective, it’s important that Margaret not be portrayed as too harsh because she has to be likable enough for audiences to cheer her on later in the story.

Andrew is a talented writer with aspirations of becoming editor, but he doesn’t know how to stand up for himself or stand up to Margaret and her frequently unreasonable demands. Andrew, on rare occasions, shows some
chutzpah, but is ridiculously compliant for most of the movie. Ironically, as hard as it is for Andrew to say no to Margaret, he has no problem rejecting his father’s (Craig T. Nelson) continued pleas to come home and take over the family business. A puzzling inconsistency.

The film is buttressed by some decent supporting acting by Andrew’s parents (Nelson and Mary Steenburgen) and grandmother (White), but there’s nothing Oscar-worthy here. Ramone (Oscar Nunez), the town’s jack-of-all-trades—he’s a porter, grocer, adult entertainer and minister—provides some comic relief, but is actually more creepy than funny (the Chippendales striptease scene is one of the most disturbing sequences I’ve seen in a recent film and will surely be a turnoff for men and women of all persuasions). Ramone has several of the more amusing lines in the movie, but, like a cheap watch, his timing is always just a little off. The feeble chuckles generated during the
faux outtakes at movie’s end are like the courtesy laughs you’d pay one of your grandfather’s corny jokes.

Though I must admit that
The Proposal doesn’t have as many goofy gags as the typical comedy film, coaxed laughter is still the movie’s MO. Standard comedic gags, i.e., something tragic happens to a pet (here, an eagle carries off the family dog), a man accidentally knocks a woman overboard and one character schemes to get feuding lovers back together again (in this case White’s meddling grandmother fakes a heart attack so that the emergency helicopter can take them to the airport before Margaret flies back to the “Lower 48”), permeate the film. The promising premise laid out in the early stages of the film quickly devolves into a series of rom-com conventions, most significantly the “two people who weren’t meant to fall in love that miraculously do” plot device.

Besides the woefully underachieving story, the casting of the leads is the most ironic aspect of the movie. Bullock and Reynolds have very little chemistry as a romantic couple, which actually works well when they bicker and backstab their way through their fabricated relationship. When they finally realize that they really do love each other (something we’ve known all along), their lack of chemistry makes the contrived ending that much more improbable.

The series of ending “twists” are so predictable as to be embarrassing, and writer Pete Chiarelli consistently defaults to convenient solutions instead of more complex or, dare I say, realistic resolutions. Though I applaud the movie for largely eschewing the screwball moments that epitomize the vast majority of modern movies in this genre,
The Proposal isn’t nearly as funny as you’d expect, making it an affair to forget. If someone invites you to see The Proposal, my advice would be the same as if they were offering you an illegal substance…just say no!

Rating: 2

Up (PG)

tt1049413
Directed by: Pete Docter, Bob Peterson
Starring: Edward Asner
May 2009

“Up Through the Atmosphere, Up Where the Air is Clear…”


I always find it amusing when a movie title unwittingly becomes the description of its story, theme or overall effectiveness. For instance, the Coen Brothers’ Intolerable Cruelty and two Matthew McConaughey movies, Failure to Launch and Fool’s Gold, each embody the refined essence of their appellations. Whereas those movies accidentally stumbled into titular irony, Up clearly intended its prepositional title to describe not only the story’s frequent trajectory, but also its charming, heartwarming and…well, uplifting themes. And I’m sure Disney/Pixar hopes box office rankings and financial earnings will swiftly and exponentially head in the direction indicated in the title.

At some point in their story lines, each Pixar movie features a stirring or sentimental scene which effectively becomes the heart of the film. These infusions of emotion are often administered in a sequence of shots with a tear-jerking song performed by a big-name artist: Sarah McLachlan’s “When She Loved Me” in
Toy Story 2 and James Taylor’s “Our Town” in Cars, for instance. In Up, directors Pete Docter and Bob Peterson hit you with a heart-rending haymaker even before you’ve had a chance to settle into your seat or scoop your first handful of popcorn.

The introductory montage succinctly and skillfully distills the entire life of Carl Fredricksen (voiced by Ed Asner) into just over four minutes of screen time. The sequence is an efficient and effective series of images which encapsulates Carl’s experiences from when he was a young boy all the way up to the present, where Carl is a cantankerous old man. Highlighting key events—like Carl and Ellie’s wedding, the young couple buying and fixing up a house, learning that Ellie can’t bear children and growing old together—the montage conveys a lifetime of milestones and memories without a single line of dialog. The concise sequence enables spectators to immediately identify with Carl’s plight and sympathize with his present despair. As a microcosm of life’s most meaningful moments, the opening montage in
Up stands out as one of the finest examples of time compressed storytelling ever to have graced the silver screen.

Having already emotionally climaxed over the beautiful, wistful opening, I could’ve left the theater completely satisfied at that moment. Part of me wishes I had. Though the brilliant opening rapidly rockets the story to its affective and creative zenith, the balance of the film, including the high-flying finale, fails to reach the same elevation achieved in the first act. I guess it’s true what they say…what goes up must come down!

Ironically, the story starts to deflate once Carl and stowaway adventure scout, Russell, reach South America, roughly a third of the way into the movie. I use the word ironic because the balloons that keep the house aloft start popping about this time. The symbolism here is apropos since the story, just like Carl’s house, looses altitude and starts to sag in the middle of the film.

Carl’s house is a central focus of the film. The house is the means of transportation to South America, is present with Carl during the octogenarian’s journey through the jungle and represents a lifetime of memories which anchor, indeed shackle, Carl to the past which he must let go of before he can have the adventure of a lifetime. In order to fulfill his promise to his departed sweetheart, Carl uses a garden hose to pull his hovering house through the jungle toward its intended resting place near Paradise Falls. After a series of misadventures, which see the house being heavily damaged, set on fire and gorged of its furniture in order to assist the slowly deflating helium balloons in lifting the house, Carl is faced with the fateful decision to either save his life, and the lives of his newfound friends, or save his house.

Such instances of adult jeopardy can make you forget you’re watching an animated feature. Another mature moment occurs when Russell opens up and shares his story with Carl, who’s viewed the youth as an inconvenient nuisance up to this point. Russell recalls a curb where he and his absentee father used to sit on while eating ice cream and watching cars cruise by on lazy summer afternoons. The boy expresses fondness for a particular period of his past when his father was still a part of his life. From this moment on there’s a noticeable shift in the way Carl treats Russell. Carl’s wife is gone and so is Russell’s father; the two of them, along with talking dog Dug and sweet tooth snipe Kevin, become a surrogate family. As an antithesis to the healthy, nuclear family showcased in
The Incredibles, Pixar features a hurting, non-traditional familial unit in Up. In this way, Pixar has acknowledged the disparate realities and fractured identities of the postmodern family.

Heady material for a kids’ movie, to be sure, but have no fear, there’s more to this movie than sitting around a campfire singing Kumbaya. Soon enough we’re introduced to the movie’s villain, Muntz (Christopher Plummer), and his evil canines. The action reaches its apex during a climactic midair skirmish: the battle gives new meaning to the word dogfight since the pilots of the enemy planes are…dogs. Though the frenetic sequence is a ton of fun, it borrows heavily from any number of war movies with an occasional reference to action film franchises such as
Star Wars and Indiana Jones.

Up is a rousing and inspiring journey that fails to reach the lofty dimension suggested in the title due to an uneven narrative and overly pedestrian story elements (I’m talking to you, Kevin). In the end, the film is a mild disappointment because it never quite gains enough altitude to lift its story back up to the level of its brilliant opening. The montage, by itself, is finer than any other Pixar film in its entirety. It’s just too bad the rest of the movie failed to achieve such stratospheric heights.

Rating: 3

Terminator: Salvation (PG-13)

tt0438488
Directed by: McG
Starring: Christian Bale
May 2009

“We Have Seen the Enemy and He Has a Heart”


There are a lot of firsts in Terminator: Salvation, the fourth film in the series which comes after a six year sabbatical. This is the first film in the series to feature Christian Bale in the role of adult John Connor. This is the first Terminator film not to feature Arnold Schwarzenegger, although a CG version of the original model (nude of course) goes mano a mano with Batman, uh…I mean Bale. This is the first in the series to take place exclusively in the future (except for a brief prologue which is set in 2003). Terminator: Salvation also has a new hand at the helm, McG (We Are Marshall).

Another significant addition to the new film is the abundance and variety of new Terminators, some of which look like they were leased from the
Transformers franchise. The new models come in all shapes and sizes and serve a variety of purposes in the story…always at the best moment to advance the story, of course. We have modified HK’s (Hunter/Killers, as we learn from Anton Yelchin’s Kyle Reese), scout ships (which serve a similar function but are a bit larger than the mini-hunters in the Terminator 3-D ride at Universal Studios Hollywood), sleek motorcycles which pop out of the legs of a giant Terminator which looks for all the world like Megatron’s cousin, some nifty serpentine Terminators which lurk in lakes and rivers and an assortment of garden variety Terminators like the T-600. The manifold futuristic mechanizations here are reminiscent of Star Wars, especially the prequels, and the aforementioned Transformer films, which some have accused this film of copying.

All of this naturally gives rise to the question, why all the new types of Terminators? There are more new models in
Terminator: Salvation than in all of the previous films combined. This does give the movie a different mood and visual style, but it smacks of the same kind of story contrivance that saw R2-D2 suddenly sprouting thrusters in Star Wars: Episode II—Attack of the Clones; the little droid possessed no such propulsion capabilities in the original trilogy. This reveals the inherent weakness of John D. Brancato and Michael Ferris’ script: everything, from one set of credits to the other, is done for the sake of convenience and expedience in order to move the plot toward a harrowing conclusion and yet another sequel. Expedience, when all is said and done, is the film’s saving grace: for all of its newfangled gimmicks and continuity paradigm shifts, the story never allows you the time to take a breath…an oft-used stratagem employed by summer blockbusters seeking to conceal their lack of story with chaotic action sequences and glossy FX.

In addition to the myriad machines, there are plenty of narrative alterations in the new film, including a centralized rebel command and the newest model of Terminator. What isn’t new here is the murky time paradox, which addles the plot with too much exposition while needlessly exasperating a broad swath of the audience with confusing timelines and genealogies when all they really want to do is sit back and enjoy a popcorn flick. It’s been a while since I’ve seen the earlier films, so the paradoxical elements of the plot are a bit fuzzy in my mind. It seems strange to me that an adult John Connor (son) could exist in the same instant of space-time as an eighteen year-old Kyle Reece (father) without the universe imploding. I’m sure Dr. Brown from the
Back to the Future trilogy would have a few choice things to say on the subject.

Be that as it may, the movie contains several intriguing story elements, like: the rebel HQ on a submarine (Michael Ironsides, with his typical tough-as-nails persona, is the rigid commander), a new RF signal which could put an end to Skynet and the latest Terminator/human hybrid, Marcus Wright (played with a great deal of precision by hunky Sam Worthington). The subplot involving Marcus’ ambivalence over becoming a reformed Terminator keeps the audience guessing his loyalties until the bitter end. And is it me, or is there something about Marcus’ composition and manner that just screams Borg?

Though the plot looses focus at times, McG delivers a handful of memorable moments in the film, namely: the bridge ambush, the prison break and shootout through the mine-filled base, the serpentine Terminators attacking Connor and the entire sequence with the giant Terminator. The bridge battle reminds me of similar action sequences in
True Lies (1994) and Mission Impossible III (2006), and the pulse-pounding motorcycle pursuit features a less sparse, more debris-filled roadway than the one seen in the similarly dystopian Mad Max (1979). The final battle inside Skynet, which features resistance officers and Terminators scattering in every direction like frantic stormtroopers on a doomed Death Star, is somewhat protracted and fails to deliver the kind of visceral thrills required of a blockbuster finale. The melee never quite draws us into the fight but leaves us feeling hollow over the shallow spectacle…a fitting culmination to a similarly heartless movie.

Terminator: Salvation has left the gate wide open for a sequel. It has also left us with some hope for the future, unlike each of the bleak resolutions in the earlier trilogy. I actually think the new direction for the series has potential…imagine Red Dawn (which is currently being remade) with Terminators subbing for Russians. If the guerrilla war premise catches on, it could sustain the series for a few more movies until all of the Terminators have been terminated.

Rating: 2 1/2

The Curious Case of Benjamin Button (PG-13)

tt0421715
Directed by: David Fincher
Starring: Brad Pitt
December 2008

“Masterly Telling of Fitzgerald’s Timeless Tale”


Originally, I had considered writing this review backwards, in keeping with the movie’s reverse polarity plot, but decided it would require too much effort to write and would be too demanding on the reader. So then, this linear review of director David Fincher’s The Curious Case of Benjamin Button will attempt to convey the essence of the story’s unusual plot device, which was first conceived by F. Scott Fitzgerald in his short story of the same name, published in 1922. The film certainly lives up to the curious part of its title since it chronicles events in the life of the eponymous character, an altogether average man save for the fact that he ages in reverse.

The story is set in New Orleans in 1918. Born as a tiny, wrinkly old man, Benjamin is raised by a black nursing home worker, Queenie Weathers (Taraji P. Henson). During the early years of his life, Benjamin’s weak legs require him to walk around with the assistance of crutches, but he’s miraculously healed of his infirmity at an evangelical tent meeting. At age twelve, the course of Benjamin’s life is forever altered when he first meets redheaded Daisy. And so his life goes—year after year filled with successes and failures, a war, an affair, a few heartbreaks, an occasional happiness and the loss of many friends—until Benjamin dies as a baby at age eighty-four.

After accepting the narrative conceit and identifying with the plight of the characters,
Curious is a profoundly moving examination of what it means to be human and the brevity of our existence. Achieving that level of appreciation might be a chore for many viewers due to the film’s unusual mode of story conveyance, a large number of uneventful dramatic sequences and a running time of two hours and forty-six minutes. As such, the film may end up being immensely enjoyable for some or tortuously interminable for others.

As for me, I’m a proponent of the former, largely because of the intriguing story line, Fincher’s superlative direction and deeply affecting performances by Brad Pitt, Cate Blanchett and Tilda Swinton. Despite the film’s length, I never once looked at my watch or started squirming in my seat…a testament to the enduring salience of Fitzgerald’s source material and Fincher’s incisive vision in translating it to the big screen. A lot of hoopla about the director’s creative prowess, to be sure, but this is a film that could’ve derailed at multiple junctures were it not for Fincher’s efforts in realizing this sprawling story in personal and meaningful ways.

As was teased earlier, the movie’s performances are nothing short of astounding. Pitt mesmerizes in a role that has redefined his career and left little doubt as to his potential to become, as he has here, a powerhouse dramatic actor. Pitt’s age appropriate acting, aided in no small measure by the make-up and CG effects which incrementally transform the actor into progressively younger versions of his character, is absolutely flawless.

Cate Blanchett, again, defies the boundaries of what a performer can achieve as Benjamin’s childhood friend turned romantic interest, Daisy. Daisy is the film’s most difficult role to play since she not only occupies the closest orbit around Benjamin, but also rotates in the opposite direction from him. Like ships passing in the night, Daisy must come to terms with the realization that a relationship with Benjamin is doomed to fail before it even begins. And yet, such knowledge doesn’t dissuade her from bestowing upon Benjamin the rarest form of devotion…she willingly trades a few years of joy and fulfillment for decades of thankless service as a caregiver for her continually regressing soul mate. Despite Benjamin’s status as central character, Daisy, as the impetus behind Benjamin’s every action and decision, is the film’s focal point and emotional anchor.

One of the movie’s profound ironies is how an intimate story about one man’s life can feel so epic. The film is a poignant exploration of our own mortality and a powerful reminder that our lives are defined by the sum of our choices, the totality of our experiences and the indelible mark we make on those we leave behind. If there’s a silver lining to passing on, the movie captures it fully; the warm glow of a gilded gloaming is a signature seen throughout Fincher’s extraordinary film. It’s a gentle reminder of the impending sunset that faces us all and to seize the day while we possess the capacity to do so.

Curious is life affirming, but also life assessing. The movie challenges us, both with its unusual mode of storytelling and with Benjamin’s reverse chronology, to conceptualize existence in terms foreign to our own. When Benjamin’s retrograde life cycle is juxtaposed with the forward trajectory of our own reality, different aspects of humanity are revealed that otherwise would’ve been underappreciated or overlooked. This melding of timelines allows us to see ourselves with fresh eyes, as if examining our race from an outsider’s perspective. The movie’s greatest gift is the understated, yet profound, manner in which it reveals just how precious a commodity this thing called life really is, regardless of which direction we age.

Those who can endure the film’s length and implausible science for the sake of this truly unique cinematic experience will be swept away by its rich characterizations and enthralling story of a life lived well…in reverse. The human condition, with its setbacks and triumphs, ecstasies and travails rarely has found so subtle and powerful an expression in the cinema.

Rating: 4

The Boy in the Striped Pajamas (PG-13)

tt0914798
Directed by: Mark Herman
Starring: Asa Butterfield
November 2008

“Chilling, Childs-eye View of the Holocaust”


Many who see The Boy in the Striped Pajamas will describe it as Schindler’s List through the eyes of a child. Though essentially accurate, the statement is oversimplified and quickly unravels when minor comparisons between the two films give way to vast differences in perspective, style, narrative, scale and tone. Schindler’s List told the true tale of a German altruist who saved hundreds of Jews from the horrors of concentration camps. By contrast, The Boy in the Striped Pajamas is a fictional story that focuses on a German lad’s forbidden friendship with a Jewish boy of the same age; the two are separated by status, race and an intervening electric fence. The epic is exchanged for the intimate in this short and somber holocaust film, written and directed by Mark Herman. Taking into account the above variations in form, The Boy in the Striped Pajamas has left its own indelible mark on the most dire and dismal subcategory of World War II films.

The movie opens with a German family moving from Berlin to a mansion in the countryside. The father, Ralph (David Thewlis in a masterful turn as a duty-bound German soldier), has been reassigned as the commandant of the nearby concentration camp. Ralph’s son, Bruno (Asa Butterfield), resents having left his friends behind and is perpetually bored, spending much of his time in a tire swing. One day, Bruno’s innate curiosity and insatiable desire to explore the natural world gets the better of him and he blazes a trail into the neighboring wood; Bruno eventually happens upon a barbwire fence, behind which sits a young boy clothed in what Bruno perceives as striped pajamas. Bruno introduces himself and discovers that the young boy’s name is Shmuel (Jack Scanlon). Shmuel’s striped shirt has a patch with numbers on it, which Bruno mistakenly thinks is used in some kind of game. Bruno inundates Shmuel with questions about the camp, the strange looking “farmers” that work there, and why it smells so bad when smoke is billowing out of two nearby chimneys. Upon learning that Shmuel is trapped inside the fence, Bruno incredulously asks, “Are you not allowed out? Why? What have you done?” Shmuel simply replies, “I’m a Jew.”

Bruno’s confusion regarding his newfound Jewish friend intensifies when Bruno’s tutor tells him, “If you ever found a nice Jew, you’d be the best explorer in the world.” Befriending Shmuel becomes even harder to justify when Bruno’s sister, Gretel (Amber Beattie), refers to Jews as “evil, dangerous vermin.” Turning to his father for answers to his burning questions, Bruno is told that Jews aren’t even human.

It’s hard to imagine that such racial epithets and derogatory remarks could be made by members of a civilized society, especially by a race of people so preoccupied with proving their own superiority. As difficult as it is for adults to fathom the atrocities committed by Nazis, the holocaust makes even less sense to children. Bruno simply can’t comprehend why his friend is made to endure harsh conditions or abusive treatment from Nazi soldiers. The movie’s climax is a heartrending chain of events that culminates in a shocking conclusion guaranteed to leave you, and the rest of the audience, in stunned silence.

Based on the novel by John Boyne, Herman’s script somehow manages to conjure up complex emotions from within its simple structure. Herman doesn’t overstate his case, but allows his superb cast to carry the story forward in organic, realistic ways: Thewlis and Vera Farmiga, who plays Bruno’s mother, are perfectly matched as a couple polarized by the unthinkably inhuman deeds being undertaken at the camp. Farminga delivers one of the finest crying scenes ever committed to film, and the look on Thewlis’ face at movie’s end says far more than an elaborate monologue ever could.

Though told on a much smaller canvas than most holocaust films,
The Boy in the Striped Pajamas is just as effective. As the screen gradually fades to black, in one of the slowest dissolves in motion picture history, the horrific tableau of a gas chamber forms ghost images in our eyes; a haunting reminder of the unconscionable activities that took place in Nazi concentration camps. There’s no reconciliation here; just grim reality. The only happy ending that can be derived from the film is a personal determination to never again allow such heinous crimes to be visited upon any race of people. Due to a few graphic scenes, the film isn’t recommended for children, but is strongly encouraged for teens and adults as a sobering reminder of this dark chapter in human history.

Rating: 3

Twilight (PG-13)

tt1099212
Directed by: Catherine Hardwicke
Starring: Kristen Stewart
November 2008

“Teenage Romance Takes a Walk on the Dark Side”


In 2001, the WB network took a chance on a different kind of superhero show; their motto was “no tights and no flights.” The series takes place in Smallville (the show’s title in case you haven’t guessed it), Kansas, and focuses on superhuman happenings amid everyday, rural life; the town definitely lives up to its name. The show features a handful of flawed yet interesting adults, who take a backseat to the well-adjusted, multiracial students at the local high school. Each of the teens has a defining hobby, i.e., newspaper editor, athlete, coffee shop proprietor, and a few even display special abilities, especially an angst-ridden teen named Clark Kent.

Though a point-by-point comparison breaks down in places,
Twilight, based on the teen novel of the same name by Stephenie Meyer, is similar enough to Smallville to validate the reference. The movie opens with unsettled teen, Bella Swan (Kristen Stewart) embarking on a cross-country journey from her mom’s place in Phoenix, AZ to her dad’s house in Forks, WA…purportedly the wettest place in the continental US. Forks is overcast, brooding and moody, much like Twilight’s melancholic heroine. As Bella adjusts to her new high school, she meets Edward Cullen (Robert Pattinson), a pale-skinned heartthrob who looks even more despondent than Bella. Edward and his mysterious, mishmash family are misunderstood by the town’s populace, many of whom believe the Cullen’s are part of a cult. Of course, as the story would have it, Edward and Bella fall hopelessly in love and they live happily ever after. Well, not quite.

There are several ingredients that make this story irresistible. Starting with the source material, Meyer’s world is fully formed, which makes it easy for us to be drawn into the reality of the movie.
Twilight embodies many universal themes, such as: overcoming prejudice, the struggle to fit in and not overdoing the glitter. Well, maybe not the last one, but the scene I’m referring to will go down as the film’s biggest blunder.

The movie’s setting is simply magical. I’ve been to Forks, and I can tell you it looks just like it does in the movie. In fact, the location work so completely captures the feel of the damp, musty, puddle-pocked burg that my allergies flared up just looking at it.

The movie’s money scene takes place right after Edward gives Bella a piggyback ride to the top of a towering pine tree. In a beautifully filmed sequence, the camera swoops down and circles around the teenage lovebirds (it’s reported that the elements were so severe the actors were nearly blown off the boughs). Director Catherine Hardwicke then cuts to a panoramic view of a mist-draped valley where a writhing river snakes its way down the valley toward the mountains on the distant horizon. Anyone who’s been to the Pacific northwest will be flooded with memories at seeing this gloomy, yet awe-inspiring vista.

Hardwicke and her casting director have assembled an exceptionally talented and attractive group of young actors, many of whom will undoubtedly go on to become major Hollywood stars. I don’t think anyone would argue that Pattinson and Stewart have enough chemistry to stock a science lab, but
Twilight is much more than a two pony show. In fact, Twilight’s cast may qualify as the finest ensemble of no-namers I’ve ever seen in a film. Standout performances are turned in my Billy Burke as Bella’s dad, Charlie, Peter Facinelli as Dr. Carlisle Cullen, the patriarch of his clan, Taylor Lautner as Jacob, Bella’s Native American friend and Cam Gigandet as James, Bella’s stalker.

If you’re familiar with
Twilight’s premise, you’ve surely noticed by now that I’ve taken extra care not to reveal even the most basic secrets of the film. I’ve shown such restraint so that people who haven’t read the books (like me), can enjoy the film on its own terms without having everything spoiled before they enter the theater. Though most people will have prior knowledge of Edward’s secret, my aim is to preserve the mystery for the three people in Zambia who’ve never heard of Twilight.

Whereas
Harry Potter has captivated kids and pre-teens, Meyer’s novels have captured the hearts and minds of teens everywhere and even a few fantasy-prone adults like me (my favorite scene is the “baseball” game). Twilight is an engrossing world, made memorable by its exciting set of fresh conventions and original characters. I would think that any degree of box office success would guarantee a series of films. Up next: New Moon.

Rating: 3

The Express (PG)

tt0469903
Directed by: Gary Fleder
Starring: Rob Brown
October 2008

“Inspiring, if Derivative, True Story Adaptation”


We’ve seen this kind of film many, many times before. As a story centered on an individual athlete, it pales in comparison to Rudy. With respect to its tragic resolution, it resembles Brian’s Song, although it’s not nearly as emotionally overwrought as the James Caan, and Billy Dee Williams’ gridiron classic.

The movie in question is
The Express: The Ernie Davis Story. Recruited by legendary Coach Ben Schwartzwalder (Dennis Quaid) to play running back for the Syracuse Orangemen, Davis (Ron Brown) follows in the footsteps of such greats as Jim Brown. We’re afforded glimpses into Davis’ childhood, how pursuing bullies forced him to become a fast runner, as well as an overview of his college years with actual footage of Davis’ real games. His college career culminated with a landmark event in collegiate sports…Davis became the first African American to win the Heisman Trophy.

Brown (
Coach Carter) is adequate as Davis but is somewhat laconic, which beautifully fits the part since Davis was the kind of athlete who did his talking on the field. Quaid is much more gruff here than in his past sports movies; his gravelly, smoker’s voice is used with great effect for the no-nonsense coach. Of the supporting cast, two standout performances are turned in by popular character actors Clancy Brown, who plays the assistant coach, and Saul Rubinek, who portrays the owner of the Cleveland Browns, Art Modell.

Though primarily focused on Davis, the story touches upon racism, which was certainly a major social challenge of the period in question. In one scene, rowdy fans toss glass bottles down at the players (even the white ones) because the team had a prominent black athlete as a starter. Even though we’ve seen racism portrayed in other sports flicks, such as
Remember the Titans and Glory Road, the movie would’ve been remiss had it not at least touched upon this hot-button, contextualizing, topic.

There’s an inspiring thread of tradition that runs through the film. Coach Schwartzwalder coaxes Jim Brown into recruiting Davis and near the end of the film, Davis, again at the urging of his former coach, helps persuade Floyd Little to play for the Orangemen. The color orange was present during Little’s entire football career: after college, Little went on to play for the Denver Broncos, becoming the nascent franchise’s first star running back. Inspiring, if not amazing,
The Express pays fitting tribute to the brilliant career of a class athlete and all-around decent human being who left us far too soon.

Rating: 3

Lakeview Terrace (PG-13)

tt0947802
Directed by: Neil LaBute
Starring: Samuel L. Jackson
September 2008

“I’ve Got My Eye on You!”


Have we really come all that far? Are we, as a society, just as racially motivated as we were during the Rodney King riots or even the Jim Crow era? Those are the challenging, haunting questions posed in Neil LaBute’s tight, taut and terrifying thriller, Lakeview Terrace.

The movie stars Samuel L. Jackson as Abel Turner, a hot-tempered cop, who’s coping with his wife’s recent death in a tragic car accident. Abel disapproves of the interracial couple that recently moved into his diverse, titular neighborhood—Caucasian Chris (Patrick Wilson) and African American Lisa (Kerry Washington)—and determines to make their life a living hell in an effort to force them out of the community. But are such extreme acts as home invasion and slashed tires committed by morally superior Abel or by some other unseen agency?

In his most ambitious and multifaceted role to date, Jackson turns in an Oscar-worthy performance as a disturbed soul who walks the tightrope of legal and illegal activities, all the while shielded by the badge he wears. Abel often goes to extremes when teaching others a lesson. Instead of talking down a drug dealer who has a shotgun to his chin, Abel encourages the man to pull the trigger. When the hood chickens out, Abel cuffs the man, satisfied that the dealer will never again contemplate suicide.

In another jaw-dropping scene that you’ll be trying to get out of your head for days, Abel drops his britches in front of Lisa to illustrate how there are no longer any standards in our country. When Lisa threatens to call the police, Abel hands her his cell phone and says, “You want to call the cops? Here, I’ll tell you who’s on duty.” After the episode, Lisa throws up in the sink. Knowing that she can’t tell Chris, for fear of his reaction, Lisa knows she’s trapped. And therein dwells the primary dilemma at the core of this spine-tingling thriller: Who do you call when you can’t call the cops?

As the object of our identification, Chris is the most pivotal character in the film. We can feel his frustration when Abel’s outside floodlights keep him up at night. We can sense his barely contained anger when Abel embarrasses him in front of his wife and their guests at a housewarming party. Even though Abel makes for a fascinating character study, he would have come off as too cartoonish or maniacal were it not for Chris’ “can’t we all just get along” persona as a counterbalance. If Wilson’s acting had been only half as convincing, the movie would have fallen flat…his subtle performance is the key to making the film a viable reflection of reality.

Juxtaposed with the thriller narrative is the issue of racism, or in this case, reverse racism. The film takes a hard look at interracial marriage and the ramifications of such a union—the potential for a mongrel child. Writers David Loughery and Howard Korder tackle these issues in an unflinchingly intelligent manner without sermonizing or choosing sides. What’s even more frightening than the movie’s racial epithets is Abel’s acerbic statement, “Why don’t you go back to where they accept your kind of people.” Lakeview Terrace is in an L.A. suburb. L.A. is one of the largest melting pots in the world. If not in L.A., where would Chris and Lisa find acceptance as an interracial couple?

Though the pacing is slow in spots, LaBute (
The Wicker Man) has crafted a visually engrossing film. His use of close-ups reveals the deep-seated motivations of his characters; his clever framing techniques are also superb. In fact, there’s just as much subtext being conveyed through cinematography as there is through dialog, facials and body language, which makes the viewing experience a real treat.

Throughout the movie, a fire rages in the surrounding mountains and edges ever closer to the neighborhood; as the action intensifies so does the inferno, which becomes a symbol for the film’s violence and racial tensions. In spite of its recurring racial slurs and graphic language, the film possesses many redeeming qualities, not the least of which is an intelligent, nuanced and textured story.
Lakeview Terrace is an uncommonly good thriller that engages the senses with pulse-pounding showdowns and cliffhangers. As a didactic and climactic thrill ride that gradually builds suspense layer upon layer, the movie’s structure, ironically or intentionally, resembles a terrace.

Rating: 3

The Dark Knight (PG-13)

tt0468569
Directed by: Christopher Nolan
Starring: Christian Bale
July 2008

“Dark and Disturbing Bat-sequel Doesn’t Clown Around”


So how do you follow up a box office smash that not only rebooted a franchise but also proved beyond doubt that a comic book film could achieve high art status? Take a cue from Star Wars! George Lucas’ second Star Wars movie, The Empire Strikes Back (1980), was, in its day, the most successful sequel of all time. Empire kept audiences coming back with its bold new direction, darker tone and bitter outcomes, i.e., the bad guys occasionally win and the good guys get frozen and loose appendages.

The Dark Knight, like Empire, resisted the urge to rest on the success of its predecessor (Batman Begins) by taking a sharp left turn into the seedier and grittier regions of Gotham’s crime-infested underworld. Living up to the darkness denoted in its title, The Dark Knight is a well-crafted heist film, a highly styled noir and an elaborate Greek tragedy all wrapped up into a tangled, yet cohesive, ball of narrative yarn. Call it Batman meets The Departed.

Deuces are wild in
The Dark Knight: besides being the second film in the series, it features two villains (one is even named Two-Face). The score was arranged and conducted by two veteran composers, Hans Zimmer and James Newton Howard: not since Jaws has an ascending two note main theme been used with such terrifying effectiveness. There’s also enough plot for two movies here and, as such, some may consider The Dark Knight to be too long.

With a movie as finely mounted and expertly executed as
The Dark Knight, it’s nearly impossible to find fault with the film, and an objection leveled at any part of the picture is tantamount to a baseless attack; like pointing out one errant brushstroke in the Mona Lisa. Just the same, here are my gripes: Though the action is frenetic out of the starting gate, Nolan and David S. Goyer’s story is slow to unravel—the main point of the movie doesn’t coalesce until somewhere near the middle. Another minor irritant is the choose-your-own-fate gimmick which was used ad nauseam in the Spider-Man movies. Here, The Joker (Heath Ledger), who claims to be a man without a plan, sets up two separate scenarios where one person/group must be sacrificed so that the other person/group can live. Once is acceptable, twice is overkill in the same movie. Nolan’s one directorial miscue is his overuse of 360 degree tracking shots which keep spinning around until we’re all sufficiently dizzy. Oh, and is it my imagination or has Batman developed a speech impediment since the last movie?

On the flip side of the coin, the movie’s directing, acting and production values are nearly unimpeachable. The sweeping overhead cityscape shots are breathtaking as are the pulse-pounding action sequences. Nolan expertly, almost imperceptibly, alternates his action scenes between day and night. He also cleverly juxtaposes Harvey Dent, Gotham’s White Knight, with Batman, the city’s Dark Knight, and effectively turns the old “good guys wear white, bad guys wear black” Western film convention on its ear.

Most of the supporting ensemble was retained from the first film, including Michael Caine as Alfred, Gary Oldman as Lt. Gordon and Morgan Freeman as Lucius Fox; all of whom have meaty subplots here. Journeyman character actor, Eric Roberts, represents a crucial piece in the crime puzzle as mob boss, Salvatore Maroni, and Anthony Michael Hall keeps us well-informed as an earnest news reporter. The only significant casting change is that of Rachel Dawes: Maggie Gyllenhaal has replaced Katie Holmes, who received career-stalling advice from hubby Tom Cruise when he steered her toward a part in
Mad Money and away from reprising her role in the Bat-sequel. Gyllenhaal immediately hits her stride as conflicted lover Dawes; Bruce’s old flame and Harvey’s new squeeze. If anything, Gyllenhaal’s portrayal of the driven young attorney is less strident and more balanced than Holmes’ Dawes, but, even with a successful baton exchange, it’s a shame that character continuity had to be disrupted.

Much has been made of Ledger’s maniacal riff on The Joker and his shocking death a few months after wrapping this film. Clamoring fans have petitioned for a posthumous nod for the Australian actor—solely based on what they saw in the trailer, mind you—but such wish fulfillment may prove too optimistic come Oscar season despite Ledger’s career-defining performance. Ledger’s Joker is, inexplicably, less sinister and psychotic than Jack Nicholson’s version of the Clown Prince of Crime in 1989s
Batman. Still, this Joker is more accessible and less predictable which is far more entertaining to watch, especially when the mad genius outsmarts the cops and Batz at practically every turn. Whether or not Ledger gets a nod, this will go down as his most iconic role and Hollywood’s most effective villain since Hannibal Lecter.

As strange as it sounds, the focal point of the film isn’t Batman or The Joker, but Harvey “Two-Face” Dent (Aaron Eckhart, who delivers a superbly multi-faceted performance). Dent’s tragic fall from grace is the emotional and thematic vertex of the film. As an unwitting pawn, trapped between powerful agents of good and evil, Dent is forced to choose sides. His brazen statement, “You either die a hero or you live long enough to see yourself become the villain,” is a self-fulfilling prophecy; for in the end, The Joker outmaneuvers Batman and turns the crusading district attorney to the proverbial “dark side.” You can bet we’ll be seeing more of Two-Face in the next movie.

On the technology front, the highly advertised new Batpod is only in the movie for a few minutes before being totaled. Some may feel short-changed, but I find it refreshing, even ironic, that in a big budget action/adventure film the main attraction isn’t the FX or the newest hi-tech gizmo or machine, but rather, the hero’s courageous sacrifice, the villain’s psychotic schemes or the plot’s many twists and turns. Perhaps Batman films are helping to redefine the summer blockbuster as something other than a progression of filler scenes in between CG battles. One can only hope.

Though this wasn’t the sequel I expected, it’s hard to argue with the results. The movie’s direction is masterful, the writing is inspired, the acting is pitch-perfect and the production elements are superior in every category. This is an epic crime saga that just happens to have Batman in it…and that’s just the way Nolan wanted it.

Why so serious? Because
The Dark Knight is a seriously good film that will captivate and exhilarate fanboys and casual viewers alike. Let’s just hope that Oscar takes it seriously!

Rating: 3 1/2

Leatherheads (PG-13)

tt0379865
Directed by: George Clooney
Starring: George Clooney
April 2008

“Screwball Football Farce Reveals Clooney’s Looney Side”


George Clooney’s budding romance with period pieces has blossomed into a love affair in Leatherheads, a comedic look at the early days of professional football, circa 1925. Before rules and regulations “ruined” the game, the players were much more colorful and simply played for love of the game. The money and crowds were as insubstantial as their padding and helmets, but the price was well worth the sacrifice, especially when the alternative was working in the factory, field or mine.

Moving up to the pros was also an outlet for college standouts that refused to hang up their pads after graduation. Such is the case for dashing Princeton running back, Carter “The Bullet” Rutheford (John Krasinski), who’s conscripted by charismatic Dodge Connolly (Clooney) to play for his Duluth Bulldogs. Carter, a war hero of Sergeant York proportions, appears on billboards and stadium advertisements throughout the country. Dodge hopes that such celebrity and visibility will help reinvigorate his failing sport.

On his quest to legitimize pro football, Dodge meets Lexie Littleton (Renee Zellweger), a spitfire news reporter for the Tribune who’s following a lead that will expose Carter’s heroic war story as a hoax. The ensuing love/hate relationship between Dodge and Lexie features some of the finest rapid-fire dialogue to grace a film in recent years. There are numerous scenes where the couple’s spirited bickering takes center stage and almost makes us forget we’re watching a football movie—especially during the passionate argument in Lexie’s cabin, a throwback to Cary Grant and Eva Marie Saint’s tryst on a train in Hitchcock’s classic
North By Northwest. Though the movie’s middle chapters are addled by slow pacing, there are several amusing subplots that help keep the film on track: a love triangle forms between Dodge, Lexie and Carter, Dodge and Lexie evade a Keystone Cop-like police pursuit and Dodge and Carter engage in a gentleman’s fistfight where each man itemizes injured areas for the other to avoid.

The climactic game pits dotting Dodge against former teammate Carter on a muddy field in Chicago. The new commissioner’s edict that the contest be played without Dodge’s usual on-field antics forces the aging player to use all of his ingenuity in drawing up a game-winning play. Taking a cue from Carter’s grossly exaggerated war record, Dodge dubs the play the “Sergeant York.” The unconventional, yet not entirely illegal, play caps a slobber-knocker contest and a wildly entertaining film.

Leatherheads is classic comedy told on a timeless canvas, bolstered by directorial panache and acting acumen. Above all, it’s good old-fashioned filmmaking that pays fitting tribute to Hollywood’s Golden Age.

Rating: 3

10,000 BC (PG-13)

tt0443649
Directed by: Roland Emmerich
Starring: Camilla Belle
March 2008

“Woolly Wonka and the Raiders from Early Egypt”


When Roland Emmerich, director of such mega-blockbusters as Independence Day and The Day After Tomorrow, decided to do a historical adventure he really rolled back the calendar. Based on sketchy historical evidence, wild suppositions and mammoth-sized leaps of logic, 10,000 BC tells a simple, straightforward tale of courage, passion, rivalry and prophecy with dreadlocks and loincloths to boot.

The movie opens with a scene-setting narration by Omar Sharif, which introduces the main players—blue-eyed ingénue Evolet (Camilla Belle) and brash hunter D’Leh (Steven Strait), childhood friends turned adult lovers—their mountaintop village and their plight; shrinking mammoth populations threaten to bring on starvation and the much feared “last hunt.” The story heats up when the four-legged demons (proto-Egyptian slavers) raid the camp and carry off Evolet and many other villagers. Tribal elder Tic’Tic (Cliff Curtis), D’Leh, and two other tribesmen embark on a harrowing rescue mission—complete with narrow escapes, chance encounters and the occasional evisceration by a prehistoric ostrich—in order to retrieve their friends and loved ones.

With
10,000 BC, Emmerich and co-writer Harald Kloser have found the secret to being predictable without being boring. Of course, love him or hate him, boring is not a word generally associated with Emmerich or his films. Besides breathtaking cinematography (shot in South Africa, New Zealand, Thailand and Namibia) of snowcapped mountain ranges, sweltering jungles, tall grasslands and gorgeous desert vistas that would make director David Lean (Lawrence of Arabia) drool, the movie’s effects-laden action sequences are undoubtedly the movie’s cornerstone. Let’s face it, without the action scenes the movie, with its no-name cast, alternate-history lesson, contrived storyline and monosyllabic dialogue, wouldn’t have amounted to very much.

It’s reported (
Empire/March, 08) that the animal animation took two effects houses two years to complete. At one point, when rendering estimates exceeded the time remaining until the movie’s premier, Emmerich made the executive decision to reduce mammoth fur density by 50 percent. Despite this CG shearing, the mammoths look surprisingly respectable, mostly because their movements resemble present day pachyderms. The same cannot be said of the saber-toothed tigers which are embarrassingly fake-looking, both in appearance and movement. As far as feral felines are concerned, the film’s saber-toothed cats represent a significant regression from Narnia’s lion, Aslan, which had its own CG challenges. Fortunately, the ancient tigers only appear in a few scenes, and soon enough we’re back to watching the not-so-woolly mammoths stampeding down pyramid ramps, knocking off anyone or anything that gets in their way like massive, prehistoric bowling balls.

For all of its historical inaccuracies and screenplay shortcomings,
10,000 BC is a visual spectacle, pure and simple. Proudly showcasing breathtaking backgrounds, Emmerich gets it right when he uses real locations instead of CG ones (Lucas’ prequels suffered from the reverse). There’s something uniquely organic and exotic in Emmerich’s use of various locales in the film; each landscape—tundra, tropical, desert, etc.—serves to characterize the different climates while providing color, texture, atmosphere and, dare I say it, artistry.

Emmerich’s unbound imagination and unbridled vision have forged
10,000 BC into a unique viewing experience. However, when a sequel is excavated, let’s hope the writers find some semblance of a storyline for 9,990 BC. With any luck, that’s also the year the saber-toothed tiger became extinct.

Rating: 2

Vantage Point (PG-13)

tt0443274
Directed by: Pete Travis
Starring: Dennis Quaid
February 2008

“Do You See What I See…See…See?”


Four people standing on four corners of an intersection witness an accident. What does each one see?

I’m sure you’ve heard that hypothetical exercise in a philosophy or psychology class or perhaps in a riddle during a long road trip to help pass the time. It’s a simple illustration of a complex concept…point of view. The movie poster for
Vantage Point succinctly spells out the movie’s premise while doubling the number of individuals in our example: 8 strangers, 8 points of view, 1 truth.

Vantage Point illustrates the subjectivity of viewpoint amid real world politics in our terror-wracked world. Freshman director, Pete Travis, says this about the movie’s intricate POV plot, “…our version of the truth depends on who we are and what perspective we’re viewing it from” (Empire, Feb 08). Like at the corner of an intersection.

The movie opens at an anti-terror summit in Salamanca, Spain, where the U. S. President (William Hurt) is set to deliver a rousing speech to a capacity crowd. As he approaches the podium, the President is shot by a sniper. Pandemonium erupts in the teeming square as panicked spectators flee the vicinity en masse. Then a bomb explodes and bodies rain down all over the courtyard. By the time the dust settles, we’ve got ourselves a whopper of a whodunit with frenetic, energetic action scenes and loads of political intrigue to spare.

However, the taut plot’s Achilles Heel is that the story rewinds five times to the same moment (twenty-three minutes before the assassination) and shows the same sequence of events but from different perspectives and, if we’re lucky, different angles. Useful for filling in the back story and gradually revealing more pieces to the puzzle, the movie’s repetition may prove exhausting to some, judging from the groans I heard each time the movie’s rewind button was engaged. However, writer Barry Levy deserves credit for delivering an intense and intelligent actioner with a
Rashomon style plot device that bears up well under scrutiny while providing edge-of-your-seat exhilaration.

The movie’s A-list actors also deserve a shout out here. Sigourney Weaver, who plays a news journalist, does excellent work in a limited role—she only appears in the first act. Dennis Quaid and Matthew Fox are secret service agents. Quaid, who previously took a bullet for the president, is restive and a bit paranoid. Fox, on the other hand, is conspicuously calm during the movie’s tragic events. Forest Whitaker, in a superb turn as the innocent bystander who captures a glimpse of the assassin on his camcorder, is the emotional anchor in the movie and shines in the scenes where he tries to help a little girl find her mother among the stampeding throng.

Vantage Point is a good film, but with more experience at the helm and less redundancy in the non-linear story, it could have been great. Still, Vantage Point is an action-packed thrill ride that starts off in high gear, accelerates through the Bourne-like car chase and hits maximum velocity during the twisty, heart-stopping climax.

Final thought: If you find yourself needing a break from the repetitive storyline, don’t hesitate to get up and refill your popcorn. If you time it right, you can return to your seat at the same exact moment you left.

Rating: 3

Definitely, Maybe (PG-13)

tt0832266
Directed by: Adam Brooks
Starring: Ryan Reynolds
February 2008

“You Must Choose, But Choose Wisely!”


Premise:
A father tells his inquisitive daughter the story of how he met her mother.

Synopsis:
When the usual bedtime story fails to captivate precocious preteen, Mya (Abigail Breslin), she coerces her father, Will (Ryan Reynolds), into regaling the story of how he fell in love with her mother. The movie unspools in a series of flashback vignettes which introduce us to three of Will’s old flames: Emily (Elizabeth Banks), April (Isla Fisher) and Summer (Rachel Weisz). Will renames the women to make his story more of a mystery, but Mya, obviously, knows who her mother is. However, one of the movie’s inherent thrills is that we in the audience are kept guessing who mommy is until the very end, and even then, there’s a significant twist before the movie fades to black.

Creative Contributions:
Looking at the film from a production standpoint, the first thing that stands out is the remarkable cast. Breslin is her normal, adorable self, but it’s Reynolds who steals the show with his disarming sarcasm and charming brand of helplessness. Will’s three, pitch-perfect paramours are simply smoking, especially Weisz, who’s come a long way from the geeky librarian in The Mummy. Honorable mention (and Oscar consideration) goes to Kevin Kline for his colorful portrayal of book-writing boozer, Hampton Roth. Hampton’s torrid love affair with his student, Summer, takes a strange twist when she falls in love with Will; the ensuing love triangle further muddies the waters with respect to Will’s ultimate choice for a mate. Besides relational matters, the movie’s political commentary is also engaging. Overly idealistic and highly opinionated Will starts off as a lackey at Bill Clinton’s campaign headquarters and eventually works his way up to a power position by the president’s second term. Will’s progression from ambitious upstart to disillusioned sideliner makes for a fascinating character study.

Evaluation:
My initial reaction to the trailer for Definitely, Maybe was “Maybe, If I Must.” However, the film is a superior love story because it doesn’t constrain itself to the standard conventions of the genre: faux pas, awkward moments, startling revelations, relational gags, etc. The performances are all outstanding and writer/director Adam Brooks’ first-rate script is wildly entertaining and highly provocative—think of Definitely, Maybe as the perfect marriage between a chick flick and a Woody Allen dramedy. The end result here is far superior to other recent romance films and is definitely worth seeing.

Rating: 3

The Bucket List (PG-13)

tt0825232
Directed by: Rob Reiner
Starring: Jack Nicholson
January 2008

“Kickin’ It with Nicholson and Freeman”


Car mechanic, Carter Chambers (Morgan Freeman), is laid up in a hospital. He has cancer. The fussy old crank in the bed next to Carter is also a cancer victim and just happens to be the owner of the hospital, Edward Cole (Jack Nicholson). Edward makes incessant demands of nurses and his personal assistant Thomas (Sean Hayes). He also has gourmet feasts prepared for him and frequently turns up his nose at some portion of the meal. Carter should be so lucky…his feast is bland hospital food.

Faced with a similar demise, Edward and Carter band together against their mutual enemy like two soldiers in a foxhole. Such commonality provides the basis for a budding friendship which comes full bloom in time, but not before Edward finds a crumpled up piece of paper on the floor that contains Carter’s bucket list. Simply put, the bucket list is an itemization of all the things an individual hopes to accomplish before he kicks the bucket.

At first, Edward is amused by the quaint concept but then buys into the idea wholesale when his doctor delivers the devastating news…Edward and Carter both have six months to live. After being released from the hospital, the geriatric gents set out on a journey of reckless abandon and personal discovery…all financed by Edward’s billions.

The first item on the list: hold a big gun on a safari. Next up: skydiving! Other items: race a car, get a tattoo and go to India. The more items they check off the list, the more Edward and Carter realize that gallivanting around the globe is only prolonging the inevitable; both must return home to make restitution with estranged family members.

Justin Zackham’s excellent script gives the story wings, but it’s the superlative performances that make it fly. Nicholson and Freeman, an unlikely pairing, bring out the best in each other like iron sharpening iron. Impressive filmographies and multiple Oscars aside, the big screen veterans infuse their roles with dignity in the face of finality.

One wonders how much actual direction veteran
auteur Rob Reiner gave his legendary leads. Was he hands-on or did he just wind up his two stars and turn them loose to do what they do best…sell tickets and entertain audiences? Either way, Reiner’s well-honed craft is manifest in every frame, especially in the intimate character vignettes.

Some will judge
The Bucket List as an overly sentimental debacle, whose stilted carpe diem homily shamelessly tugs at the heartstrings. Whereas I acknowledge the validity of that viewpoint, I see the film as an uplifting, life-affirming guide on how to go out with a bang. And really, is there any harm done in being reminded to take stock of one’s life or to make the most of every moment? Seize the day before you seize up!

Rating: 3

Juno (PG-13)

tt0467406
Directed by: Jason Reitman
Starring: Ellen Page
December 2007

“Well-written Script Makes For a Well-rounded Drama”


Young Juno McGuff (Ellen Page) nervously paces back and forth in her living room as her expectant parents wait with bated breath for Juno’s announcement—they think she’s been expelled from school. Expulsion, a word Juno employs as if she learned it on a flashcard in the womb, is the least of her parents’ worries. As tension builds, Juno summons enough courage to exhale those two words that every parent of a teenage daughter fears to hear, “I’m pregnant.” Shell-shocked, her parents launch into a series of contingency plans—prenatal vitamins, etc.—and then wryly ask themselves why it couldn’t have been something simpler…like drugs.

Thus begins the indie dramedy of precocious teens and world-weary adults. The movie has many subtle messages woven into its seemingly innocuous narrative. Issues like teenage pregnancy—and by extension abortion vs. adoption—and marital (in)fidelity are all handled with relative ease by screenwriting newcomer, Diablo Cody, a former exotic dancer. My only criticism of Cody’s work is that the dialogue she puts in Juno’s mouth—laced with SAT words, modern expressions and enough societal references to fill a dictionary of cultural literacy—seems a little too advanced for a sixteen-year old girl. That’s not to say that teens like Juno don’t exist, but exactly what percentile are we talking about? Still, it’s nice to see a movie that exemplifies a young person who is intelligent and well-adjusted…imagine a society in which Juno was an average teenager!

Besides the groundbreaking performance by Page, some wonderful supporting performances are turned in by the eclectic ensemble. Allison Janney and J.K. Simmons play disappointed but supportive parents who handle Juno’s indiscretion with a surprising degree of equanimity. Simmons, in particular, brings charm, humor and sagacity to his part. There’s a great father/daughter scene, where Simmons’ character tries giving Juno advice, that’s amusing in its awkwardness and touching in its genuineness.

Jason Bateman and Jennifer Garner play the young couple who desperately want to adopt Juno’s baby; they discover the knocked up teen’s ad in the Penny Saver paper. Bateman and Garner are pitch-perfect in the film’s most complex roles; Garner is delightfully understated and Bateman is a portrait of ambivalence in a marriage riddled with relational subtext.

Director Jason Reitman (Ivan’s son), equipped with a superlative script and excellent performances, has helmed an effort that’s shifted the paradigm for teen angst pictures. You can bet this original storyline, masterfully executed and promulgated by Reitman, Cody and Paige, will be emulated without success for years to come, ad nauseam. But for now, enjoy the blissfully sweet beginnings of a new movement in film.

Rating: 3

I Am Legend (PG-13)

tt0480249
Directed by: Francis Lawrence
Starring: Will Smith
December 2007

“We Have Seen the Enemy and It is Us!”


Based on Richard Matheson’s novel of the same name, published in 1954, I Am Legend is the third filmic adaptation of his dark, dystopian yarn (1964’s The Last Man on Earth and 1971’s The Omega Man). Though the film diverges from Matheson’s novel in a few key areas, most notably the resolution, this I Am Legend retains the book’s melancholy tone and macabre themes while giving the story a modern upgrade.

The movie takes place in 2012, three years after a virus (engineered to cure cancer) turns airborne and eradicates 5.4 billion people, effectively transforming NYC into a weed-infested wildlife preserve. Col. Robert Neville (Will Smith) has natural immunization to the virus and tries to unravel what went wrong with the supposed miracle cure. His day consists of pilfering supplies from abandoned apartments, hunting deer with his dog, Sam, and working in his lab to find a cure for the virus. At dusk, Robert boards up his apartment, turns off all the lights and curls up with Sam and his rifle in the bathtub. The shrieking screams of “the creatures” who roam the streets at night plague Robert’s fitful sleep as he shivers in fear and prays for the dawn.

Besides merely scaring the audience senseless (which it does with all the subtlety of an exploding bomb),
I Am Legend is also disturbing on deeper, more salient levels, not the least of which is the scientific plausibility of a designer virus, however well-intentioned in its application, actually wiping out our entire species. It’s conceivable that our scientists could do it in haste—or by accident. Jeff Goldblum’s indicting line in Jurassic Park, “…your scientists were so preoccupied with whether or not they could, they didn't stop to think if they should,” readily comes to mind here. And what about radical terrorists who would resort to germ warfare to defeat their enemies? As terrifying as the movie’s “dark seekers” are, these shocking scenarios are far more unsettling.

One of the rules for crafting any good piece of fiction is “Show, don’t tell.” Director Francis Lawrence (a former pop-video creator), expertly adheres to that maxim while forging Matheson’s brainchild and Mark Protosevich and Akiva Goldsman’s adapted screenplay into his own frightening vision of our world gone horribly wrong. As we closely study Robert’s actions, questions naturally arise, like: Why does Robert have the alarm on his wristwatch set to go off at different times during the day? What is the significance of the various appearances of butterflies in the film? Who set the trap that snares Robert, and why does he fall for it? And, does the mannequin’s head turn or is it just a motion-created optical illusion? Or was that just my imagination?

“Because there is so little dialogue,” Smith told EW, “every moment has to be rich with human experience.” Ergo,
I Am Legend can be viewed as a kind of near-future Cast Away, with the main differences being location (distant island vs. devastated metropolis), sidekicks (blood-painted volleyball vs. intrepid German Shepherd) and stars (Hanks vs. Smith). At first glance, Smith would seem to be no match for Hanks, but Smith’s acting here is amply textured and cleverly nuanced. In his most ambitious role to date, Smith plays a man in the throes of loneliness who hangs onto sanity by a thread; a physically and psychologically demanding performance that, in its own way, rivals his career-defining turn in The Pursuit of Happyness—the gold standard for Smith films.

I Am Legend has great atmosphere during the day (thanks in large part to the keen eye of LOTR’s cinematographer, Andrew Lesnie), but the night scenes feel like a glorified zombie movie, however intense. The movie’s most riveting sequences take place during daylight hours—Robert chases Sam into an abandoned warehouse and Robert confronts mannequin, Fred, who’s moved during the night. The special effects are also a mixed bag—the CGI is quite good early on, but as the movie progresses the visuals get hokier (did they run out of F/X funds?), particularly on the dark seekers, whose half-baked appearance and movements resemble an average video game character.

Despite these niggling details,
I Am Legend is an exhilarating thrill-ride that features spine-tingling encounters, pulse-pounding pursuits and disturbing revelations about the human condition under extreme conditions. With its eerily realistic shots of nature reclaiming Times Square, engaging flashbacks, Oscar-caliber lead acting and heart-stopping action scenes; I Am Legend has set the bar for near-future outbreak films to near-unattainable heights. If the movie’s done its job, it will haunt you with its horrific “what if” scenario long after you’ve left the theater: lingering side effects may include anxiety, paranoia or excessive jumpiness. You’ve been sufficiently forewarned!

Rating: 4

August Rush (PG)

tt0426931
Directed by: Kirsten Sheridan
Starring: Freddie Highmore
November 2007

“Follow Your Heart…Follow the Music”


Ever seen a movie that had you convinced you were watching the greatest piece of cinema since Gone with the Wind until you left the theater and realized that your emotions had been manipulated by a mawkish screenplay and the cherubic face of an emerging acting prodigy? That’s the effect August Rush, director Kirsten Sheridan’s overly sentimental tear-jerker, had on me.

Evan (Freddie Highmore) was given up for adoption at birth. Now eleven, Evan runs away from an overbearing orphanage and embarks upon an incredible journey to find his parents. His parents—Lyla (Keri Russell), the cellist in a New York orchestra and Louis (Jonathan Rhys Meyers), the lead singer of a struggling rock band—met and conceived Evan on a one night stand…and then never saw each other again.

Evan possesses exceptional hearing abilities: he can pinpoint, filter, combine or adjust specific sounds to create musical compositions in his mind. He stands at a busy corner in NYC and, as if in a trance, conducts the cacophony of sounds that fill the air around him. Evan believes that following the music will one day lead him to his parents.

In Central Park, Evan encounters a talented young guitarist who takes him to a group of homeless musicians. In exchange for food and a place to sleep, the orphans pay tribute to the Wizard (Robin Williams), a surrogate father who exploits their talent for financial gain. It’s the Wizard who bestows the titular nickname upon the youth, but Evan is cautious of the capricious adult and soon breaks away from him and his musical misfits. Evan’s prodigious knowledge of music eventually leads him to The Julliard School of Music and ultimately back to his parents—ironically, Evan’s parents are drawn to his music, not the other way around. The movie climaxes with an emotional family reunion that, thankfully, doesn’t overstay its welcome.

A modern retelling of
Oliver Twist, August Rush also borrows from many other “orphan seeks parents” films. However, the movie’s performances bail out the oft-sappy story: Russell, Rhys Meyers and Highmore are all superb, and Williams’ Fagin archetype is wonderfully nuanced and worthy of Oscar consideration.

Even though much of the movie seems far-fetched (an eleven-year-old at Julliard?) and oppressively heavy-handed,
August Rush somehow manages to entertain and inspire. If the film’s ending feels a bit abrupt, know that it’s probably a blessing in disguise since a dénouement of any length would have tipped the scale from saccharine to maudlin. And no one would want to rush out and see that!

Rating: 3

Martian Child (PG)

tt0415965
Directed by: Menno Meyjes
Starring: John Cusack
November 2007

“Boys to Men…Martian Style”


Martian Child is the story of a troubled young boy, Dennis (Bobby Coleman), who believes he’s from another planet and the sci-fi novelist, David (John Cusack), who adopts him. Pale-skinned Dennis (who has an aversion to sunrays) is socially maladjusted, has bouts of kleptomania and only eats Lucky Charms. On balance, Dennis is exceptionally bright, has an insatiable curiosity about science and boasts extraordinary abilities—he claims that he can taste colors. Dennis’ mission, purportedly assigned by leaders on his home world, is to learn what it’s like to be part of a human family.

David doesn’t know the first thing about parenting and Dennis proves to be much more difficult to manage than the average 6-year-old kid. Their unusual, familial dynamic, which creates a variety of situations ranging from the comedic to the dramatic, forms the foundation of the story written by Seth Bass and Jonathan Tolins, based on the novel by
Star Trek scribe, David Gerrold.

When Dennis says something bizarre—like when he calls the family dog a flomar, which means “warm, furry friend” in Martian—David exasperatedly replies, “I deserve you.” The beauty of the story is that David and Dennis both deserve, and need, each other. David is mourning the recent loss of his wife and Dennis is angry and confused about being abandoned by his parents at birth: both must learn to rely on the other in order to move forward in life.

Coleman is simply adorable in the film: the precocious actor imbues Dennis with the perfect blend of angst and child-like innocence. Cusack anchors the movie with his exceptional performance; he infuses David with the appropriate amount of humanity and vulnerability in a role that properly showcases his expansive range. In a serendipitous bit of casting, Cusack’s real life sister, Joan, plays his onscreen sister. Other key, supporting performances are turned in by Amanda Peet as David’s longtime friend, Oliver Platt as David’s off-kilter publicist, Anjelica Huston as a high-powered editor, Sophie Okonedo as an adoption agent and Richard Schiff as the child services watchdog.

If
Martian Child feels familiar somehow, it’s because the movie shares story elements with such films as Powder (1995) and K-PAX (2001). However, despite its derivative storyline, Martian Child is a heart-warming exploration of the human condition as seen through the eyes of a misfit child. The film is also a clinical examination of our deep-seeded need for love, acceptance and security, and as Dennis establishes in the film, these are basic, human needs…even on Mars.

Rating: 2 1/2

Dan in Real Life (PG-13)

tt0480242
Directed by: Peter Hedges
Starring: Steve Carell
October 2007

“Unexpectedly Poignant Dramedy from the King of Camp”


The family reunion movie has been done a thousand times before, but thankfully number one thousand and one saw the green light of day, because Dan in Real Life is a genuine gem filled with adult angst, familial strife and guffaws aplenty.

Dan Burns (Steve Carell), a well-known parenting expert who has his own radio program, whisks his three daughters off to his parent’s house in Rhode Island for a get-together. If
Meet the Parents was set around a family reunion and only had a quarter of its clumsy mishaps, you’d have a pretty close approximation of Dan in Real Life. Whereas Ben Stiller’s Greg Focker was the very personification of Murphy’s Law, Dan merely has brushes with misfortune, like the occasional run-in with the same cop.

At the heart of the story is a painful-to-watch love triangle. Dan, who’s been a widower for four years, is just starting to work up enough courage to start dating again. Dan meets Marie (Juliette Binoche) in a bookstore and makes an instant connection with her. Hope is rekindled in his heart…a hope that’s quickly dashed when Dan learns that his new crush is actually his brother’s (Dane Cook) girlfriend. What a cruel world!

Dan spends the rest of the movie trying to stay out of Marie’s way while desperately trying to keep her out of his head; he manages to accomplish neither. Every time Dan sees Mitch and Marie’s public displays of affection, he mentally retches. Mitch and Marie are as mismatched as two people possibly can be; on the other hand, Dan and Marie are an eminently better suited couple…something everyone sees but no one voices. As Dan’s feelings for Marie intensify his behaviors become more extreme, and in the end Dan manages to alienate his family, loose the respect of his daughters and sabotage his best chance at rediscovering true love. Again, what a cruel world!

Despite instances of his patented, comedic shtick, this is Carell’s most serious role to date and he’s very effective at engendering sympathy from the audience as the black sheep of the family—Dan’s parents put him up in the laundry room and assign him to dish detail. Carell plays the pariah to the hilt; Dan is so hapless you just can’t help but feel sorry for him. Two must-see moments are the shower and burnt pancake scenes.

The movie’s synopsis is as basic as they come and its plot is unpretentious and uncomplicated, and yet the story contains some truly fine character studies and familial discoveries—the movie’s most effective attribute is its complexity amid streamlined simplicity. A family film that’s comical and inspirational,
Dan in Real Life is one of the finest dramedies that’s come along in recent years. Highly recommended!

Rating: 3 1/2

No Reservations (PG)

tt0481141
Directed by: Scott Hicks
Starring: Catherine Zeta-Jones
July 2007

“Bittersweet Treat with a Dash of Romantic Tension”


I once knew a guy who possessed an almost unnatural insight into cooking: as if reciting an Emeril show, he instructed me on what steps and which ingredients needed to go when and where to produce a savory meal…which he had just conjured up in his head and instinctually created right before my very eyes. A similar, if more professional, display of culinary genius is showcased in No Reservations, a dramedy centered on a 5-star eating establishment in NYC.

Catherine Zeta-Jones plays Kate, a workaholic chef whose ineptitude at raising children is magnified to frightening new levels when her niece, Zoe (Abigail Breslin), comes to live with her. Kate, who knows nothing about making meals for kids, serves Zoe duck for lunch and a fish (with head and tail still attached) for dinner.

Kate’s rival at work is insouciant sous chef, Nick (Aaron Eckhart). Nick’s unpredictability and fun-loving manner comes off as irreverence to Kate, especially when Nick shows up to work in his pajamas and conducts an opera with soup ladles. Kate’s problems surmount when Zoe takes a shinning to Nick and her intensifying feelings for Nick boil over, setting up some amusing interplay between the principle characters.

There’s nothing flashy about
No Reservations, and that’s probably what makes it charming rather than cloyingly sentimental. The performances are sincere and bring balance to a story that easily could have digressed into a mawkish tear-fest were it not for sure-handed direction by Scott Hicks and a solid screenplay by writers Carol Fuchs and Sandra Nettelbeck. Zeta-Jones plays high-strung and lovelorn Kate to perfection and Eckhart imbues Nick with the perfect blend of boyish charm and rugged refinement. Breslin (Little Miss Sunshine) shows her serious side in her portrayal of a grieving pre-teen trying to accept the death of a loved one while adjusting to new house rules.

Though the film is a tad heavy-handed in the “tug-on-your-heartstrings” department, it’s a feel-good love story that’s sure to be a crowd-pleaser. Effectively balancing light-hearted moments with mature themes,
No Reservations has all the right ingredients. As such, I have no reservations about recommending the film. Soup’s on!

Rating: 3

Lucky You (PG-13)

tt0338216
Directed by: Curtis Hanson
Starring: Eric Bana
May 2007

“Bana and Barrymore Are a Winning Pair”


Movies that try to create an epoxy out of disparate story elements (like Treasure Planet’s pirates in space conceit) typically fail to bond either because the elements aren’t complimentary or because spectators would enjoy seeing a film about one or the other, but not both together. In Lucky You, director Curtis Hanson—along with a star-studded cast including Eric Bana, Drew Barrymore, Robert Duvall and Debra Messing—has defied the odds with his surprisingly robust romantic drama that revolves around poker.

Huck Cheaver (Bana) is a fast-living, thrill-seeking poker addict, who lives life on the edge and lets the chips fall where they may. Estranged from his father, L.C. (Duvall), Huck has refined the art of smooth-talking, especially with women, but his lack of commitment coupled with his gambling habit has relegated him to a life of loneliness in his Spartan house, which boasts a high-end entertainment system but has less furniture than a motel room.

The movie’s romantic leads first meet when Huck rescues Billie (Barrymore) from a sleazy schmoozer. Huck soon learns that Billie is the younger sister of one of his acquaintances, Suzanne (Messing). Despite Suzanne’s warnings, Billie becomes involved with Huck, but it doesn’t take her long to discover Huck’s score: Hustle = 10, Commitment = 0. As someone who doesn’t fall for his patented spiel, Billie challenges Huck with, “You say whatever you want people to hear.” As Huck’s feelings for Billie intensify, he finds himself at a crossroads; his budding relationship now stands in direct opposition to his dream of competing in the World Series of Poker.

For some,
Lucky You will feel like a feature-length version of a TV poker tournament; others will see the film as an extended seminar on the finer points of Texas Hold ‘Em poker. However, there’s more here than just a high-stakes card game. The movie is extremely instructional at revealing the gambler’s mentality: the competition and compulsion that compels the gambler to risk it all on a bet (one of Huck’s male acquaintances looses a wager and is made to walk around with false breasts).

Bana and Duvall are a very good father and son pairing and have excellent chemistry—L.C. is a two-time W.S.P. champion and Huck has lived his life in the shadow of his father’s accomplishments—the friction between the two is nearly palpable. There’s an excellent scene where L.C. shows up at the café where Huck and Billie are having breakfast. Billie, feeling awkward about the unexpected intrusion, excuses herself to make a phone call. Father and son engage in a war of words as they play a fast-paced variation of poker. Besides the action onscreen, what makes the scene crackle with intensity is the knowledge that Billie will soon return and find them playing poker. When Billie does return, her reaction—which ranges somewhere between shock and revulsion—reveals the perspective of an outsider who, for the first time, sees the mental illness that inflicts those with a gambling habit.

Duvall, like fine wine, continues improving with age—his performance here is easily the most textured and intricate in the film. Bana and Barrymore are a feasible couple and both shine in their respective roles. Though Barrymore is the beneficiary of some fine dialogue, written by Eric Roth and Hanson, she still holds her own in a role more demanding than her usual teeny-bopper fare. Parts like this just might make a serious actress out of her…time will tell.

The biggest challenge the movie faces is timing, which on the face of it sounds ignorant since timing is crucial to every movie. Texas Hold Em’ reached the height of its popularity, at least on TV, about two years ago. Had the movie been released at that time—or even six months ago so that it could cash in on some of
Casino Royale’s success—Lucky You may have stood a better chance of winning big. As things are, Lucky You is a solid hand that plays up to its potential, but unfortunately doesn’t get the best of it.

Rating: 3

Amazing Grace (PG)

tt0454776
Directed by: Michael Apted
Starring: Ioan Gruffudd
February 2007

“Inspiring and Moving, but Not Quite Amazing”


You would naturally think that a movie named after the venerated church hymn would feature the song’s writer, John Newton, but, as Miracle Max from The Princess Bride would say, you’d only be “mostly” correct. Though Newton does appear in the film in a minor role (Albert Finney plays the blind composer with the appropriate degree of nobility and sagacity), the movie’s main character is William Wilberforce (Ioan Gruffudd, Reed Richards from Fantastic Four), an idealist championing social reform in Britain circa 1797. While fighting for the abolition of slavery, Wilberforce also contends with a debilitating illness which ultimately claims his life.

There are a number of memorable scenes in the film, but two standout moments reveal the ways in which good can overcome evil, even when using less than virtuous methods (See:
Star Trek’s “The Savage Curtain”). The first instance of righteous chicanery occurs near the middle of the movie when Wilberforce instigates a poignant object lesson under the guise of an extravagant lunch served aboard a sailing ship drifting along one of London’s channels. Wilberforce tricks the assembled members of high society into experiencing, firsthand, the plight of African slaves when the elaborate vessel pulls alongside a slave ship. The inhuman conditions that exist on such ships, which have produced what Wilberforce terms the “smell of death,” confront the affluent onlookers with a graphic tableau of how the other half lives. There’s a bit of populist pride that creeps in when Wilberforce demands the wealthy spectators to lower the handkerchiefs from their noses and deeply inhale the fetid aroma. It’s a brief sequence that makes an indelible impression on the memory.

The other episode of legerdemain takes place near the end of the movie when Wilberforce tries pushing though legislation that will abolish the country’s slave trade policies. The strategy he uses to manipulate Parliament into getting the motion passed is a stroke of genius…it’s
the stand and cheer moment of the movie. Even though his stunt is highly deceptive, the cause is just: Wilberforce’s tactics surely would’ve met with approval by the great emancipator himself, Abraham Lincoln. Hopefully, as a result of viewing this film, many will now esteem Wilberforce as the slavery abolitionist from over the pond.

Although it’s quite obvious from the outset that the film isn’t a big budget extravaganza, director Michael Apted (
Nell) does an excellent job of maximizing what little star power and budget he has at his disposal in crafting this inspirational tale of Wilberforce’s unwavering courage and conviction in the face of unspeakable evil. Apted also effectively capitalizes on the strength of the exceptional supporting cast: Michael Gambon, Ciaran Hinds, Rufus Sewell and Toby Jones are all well-known and well respected British actors who perform their respective roles with the requisite degree of competence and brilliance. Aside from the cast, the bulk of the film’s meager budget was allocated for location shooting and period appropriate sets and costumes, and though the results have a decidedly Hallmark look to them at times, the overall production is bolstered by the film’s fine performances, an engaging narrative and Apted’s sure-handed direction.

With another marvelous performance turned in by Gruffudd, I guess we now must consider which superlative will accompany the title of his next project. After all, his most recent films have been fantastic and amazing. Regardless of what his next movie is named, I’m sure it’ll be stupendous.

Rating: 3

Bridge to Terabithia (PG)

tt0398808
Directed by: Gabor Csupo
Starring: Josh Hutcherson
February 2007

“The Best Family Fantasy Film This Side of Narnia”


This is one of those extremely rare instances where the movie is actually better than the book. Bridge to Terabithia, the John Newberry Medal-winning children’s novel by Katherine Paterson, which tells the story of two pre-teens that forge an unlikely friendship and discover an enchanted realm in the forest just behind their neighboring houses, has been brought to magical life by Walt Disney Pictures and Walden Media.

In C.S. Lewis’
The Lion, the Witch and the Wardrobe (also produced by Walden), the magical land of Narnia is accessed by walking though a long-abandoned wardrobe; here the children enter the imaginary realm of Terabithia by swinging across a gully into a dense forest. The main difference between Narnia and Terabithia (which may have derived its name from Lewis’ island of Terebinthia in The Voyage of the “Dawn Treader”) is that Narnia is a fully realized magical land, while Terabithia is wholly imagined by Jess Aarons (Josh Hutcherson) and Leslie Burke (AnnaSophia Robb).

Jess, a budding artist, dreams about being the fastest kid in the sixth grade. Leslie, the new girl in school, has her free-thinking, book writing parents to thank for her overactive imagination. Despite a mild setback when Leslie outpaces Jess in a race and embarrasses him in front of his entire class, the two become fast friends. When Leslie conjures up the magical kingdom in a nearby wood, Jess sketches it on paper and the world of Terabitha begins to take shape. (Paterson’s tale of two prepubescent friends forging an imaginary world deeply resonates with me: I had similar experiences growing up, but most of my adventures with friend, Dan, took place in the various mainstream sci-fi universes of the late 70’s and early 80’s at a variety of locations around town.)

As was mentioned earlier, the movie surpasses the book in a few key areas: First, there are several logical extensions of scenes or new tidbits of character development that serve as embellishments to Paterson’s original text. One example is the scene where Jess, having worn holes in his own sneakers, takes a black marker to his sister’s old, pink tennis shoes to make them passably respectable for the race at school. Unfortunately, the marker wears off by the time the recess bell rings and Jess has to run the race in pink sneakers. The second area where improvements were made is in the area of visual effects. In Paterson’s story, Terabithia is frequently referenced and visited by the children, but the enchanted land is never fleshed out in any detail. Now, thanks to the vision of director Gabor Csupo and the innovative wizardry of those at Weta Digital, Terabithia has come to life in a breathtaking ways, specifically with the addition of a tree house fortress, skrogers (squirrel ogres), dragonfly warriors, swooping eagles, a giant troll and a jaw-dropping celebration sequence where the various denizens of the kingdom assemble to applaud the arrival of the new princess.

The third element that sets the movie apart is the excellent actors that breathe life into their respective characters: Hutcherson and Robb are joined by Robert Patrick as Jess’ dad and Zooey Deschanel as the kids’ music teacher, Ms. Edmonds. Each member of the cast does an excellent job, but it’s really Robb’s winsome performance that steals the show. Robb is a genuine cinematic treasure and one can only hope she doesn’t turn into the next Lindsey Lohan.

Even though
Bridge to Terabithia will find itself comfortably perched atop family film top ten lists for some time to come, many will feel shortchanged by a tween-aged drama that merely flirts with fantasy rather than fully immersing itself in a mythical world, like in the case of Narnia. Others will criticize the movie for its thematic similarities to The Yearling and My Girl. Even so, the movie is highly entertaining, and for many, Bridge to Terabithia will serve as a portal to a simpler, more whimsical period in life when swinging with your head back really did feel like flying. In this age of perpetual busyness we could all learn to slow down, take a deep breath and follow Leslie’s RX for happiness, “Close your eyes, but keep your mind wide open.”

Rating: 2 1/2

Breach (PG-13)

tt0401997
Directed by: Billy Ray
Starring: Chris Cooper
February 2007

“Cooper is Mesmerizing in Political Potboiler”


Based on the gripping true story of how the worst traitor in the history of U.S. Intelligence was discovered and brought to justice, Breach is a fascinating post-Cold War yarn which underlines the unsettling notion that the last person you’d suspect of being a criminal often times is.

FBI agent, Robert Hanssen (Chris Cooper) has projected such a sanitary image of himself throughout his distinguished career that he’s been placed in charge of a special task force to ferret out a rogue agent who’s been selling secrets to the Russians. A devout Catholic and family man, Robert never drinks (even off duty) and frequently extols the virtues of prayer. But Mr. Clean, it turns out, has some dark secrets which are eventually unearthed by Agent Burroughs (Laura Linney). Burroughs “promotes” Robert to a new post and assigns callow agent, Eric O’Neil (Ryan Phillippe), to serve as Robert’s assistant and her informant. As the high stakes chess match plays out, the questions become: is Robert guilty of treason, and if so, is anyone clever enough to beat him at his own game?

Breach, even without car chases and shootouts, is a first-rate potboiler that contains enough intrigue to fill two movies—the PDA download and car sweep scenes are especially suspenseful. Director Billy Ray does an excellent job of gradually building intensity throughout the film, and the script by Adam Mazer and William Rotko doesn’t miss a beat. The movie’s incisive dialogue is finely crafted and contains several memorable gems, like Robert’s first line to Eric, “Tell me five things about yourself and four of them true.”

Cooper turns in a spellbinding performance as Hanssen and almost single-handedly carries the movie: when it comes to chewing scenery, Cooper could give Pac Man a run for his money. Cooper’s wonderfully nuanced portrayal of straight-laced, no-nonsense, yet privately perverted Hanssen (the scene where he lusts after
Entrapment’s Catherine Zeta-Jones is downright disturbing), is utterly captivating and convincing. An Oscar nod would be the appropriate response to this powerhouse performance.

Though some have exiguous onscreen time, the supporting actors play a vital role in servicing the plot as they fall into orbit around Cooper: Linney and Phillippe are joined by Caroline Dhavernas as Eric’s wife, Kathleen Quinlan as Robert’s wife, Bruce Davison as Eric’s father, Gary Cole as Agent Garces and
24’s Dennis Haysbert as Agent Plesac.

Besides touting the acting, directing and writing, there’s little more that can be said here without spoiling the plot to this truly riveting tale; a story that’s made all the more alarming by its factual elements. As the shock and horror of 9/11 continues to fade from our collective consciousness,
Breach is a jarring reminder of the ever-increasing need for intelligence and vigilance…lest we should forget the tragedies of the past.

Rating: 3

Freedom Writers (PG-13)

tt0463998
Directed by: Richard LaGravenese
Starring: Hilary Swank
January 2007

“Standard ‘True Story’ Formula Shackles Inspirational Tale”


From MTV Films, producers of Coach Carter, comes Freedom Writers, another inner-city portrait which is also based on a true story and features Academy award winning Hilary Swank as indomitable educator, Erin Gruwell. In the wake of 1992’s Rodney King riots in L.A., Woodrow Wilson High School, while embroiled in a tumultuous integration program, was reeling from violent turf wars not dissimilar to the ones taking place outside the school’s barbwire brimmed walls. Enter into that seething cauldron of bigotry and race hatred Mrs. Gruwell, a prim and proper freshman teacher who insists on wearing a real pearl necklace while also wearing a perpetual smile. Her smile is quickly erased when a knockdown, drag out fight ensues in her inaugural class.

With the classroom doubling as a battleground, teaching is a daily struggle to survive. Mrs. Gruwell eventually connects with her students as she learns their back stories. There’s an excellent scene where Mrs. Gruwell plays the “line game” with her students. Two rows of students face each other with a dividing line between them; a step toward the line indicates that a particular question applies to an individual. Mrs. Gruwell’s worst fears are confirmed when statements like, “Step toward the line if you’ve lost a friend to gang violence,” reveal the grim reality her students face on a daily basis.

The movie is standard in many ways; besides adhering too closely to the
Coach Carter template, the movie comes complete with a connect-the-dots plot and underdeveloped supporting characters, played here by Scott Glenn as Gruwell’s dotting dad and Patrick Dempsey as her neglected husband. Other inherent weaknesses in the movie are a cloying resolution and an oversimplified remedy for educational and societal ills. I’m truly glad that Gruwell’s unorthodox methods of teaching paid off for a small group of young adults, but if the movie’s writers and producers are trying to champion a cause or inspire a movement, they’re being overly idealistic, much like Gruwell on her first day as a teacher. Besides, aren’t there more remarkable true stories out there just waiting to see the (green) light of day? Is Hollywood really that devoid of original material? Are we, as a society, so starved for heroes that the story of a rookie teacher who encourages her students to write about their hang-ups in journals will not only inspire us, but also induce us to shell out ten dollars to see it?

Freedom Writers is an unremarkable human interest story that has all the salience and staying power of one of those warm-fuzzy features that air at the end of news broadcasts. For those hoping to experience a feel-good flick, Freedom Writers might seem like it’s hot off the press, but for most, the movie will read like yesterday’s news.

Rating: 2 1/2

Dreamgirls (PG-13)

tt0443489
Directed by: Bill Condon
Starring: Jamie Foxx
December 2006

“With These Girls…Life is But a Dream”


If movies could mate, Dreamgirls would be the cinematic offspring of Ray and Chicago. The movie, though fictitious, is reminiscent of real life music sensations such as The Supremes and The Temptations and reflects the offstage struggles those groups (and many others like them) experienced when fame exacted too high a price from some of their number. Based on the book by Tom Eyen and the musical of the same name, it was long maintained that Dreamgirls could never be adapted into a screenplay, but now, thanks to writer/director Bill Condon and a scintillating cast, Dreamgirls has finally made the transition from Broadway to big screen.

The story focuses on three friends—Effie (Jennifer Hudson), Lorrell (Anika Noni Rose) and Deena (Beyonce Knowles)—who work their way to the pinnacle of musical success during the 60’s. Along the way, the singers fall victim to the various pitfalls of the industry; unethical managers, song stealing opportunists, producers who sell out to reach a broader audience, drugs, sex and the list goes on and on.

Singing backup for Jimmy “Thunder” Early (Eddie Murphy) gives the trio the exposure and popularity they need to break out on their own. However, just as the group starts to take flight, manager Curtis Tabor Jr. (Jamie Foxx) stirs up a hornet’s nest when he decides to relegate soloist Effie to backup duty so that he can elevate Deena to lead singer…because she’s easier to look at and will attract a younger crowd. Effie, who refuses to sing “oos” and “ahs,” walks out on the group,
a la David Ruffin.

Dreamgirls closely parallels Chicago in its use of musical interludes to further the story, and let’s face it…the movie is the music. There isn’t a single song in the film that doesn’t deserve Oscar consideration for Best Song. Jennifer Hudson, in her screen debut, steals the show with her concussive chest voice—she can flat-out wail! In some ways, Hudson’s personal story is more inspirational than Effie’s—she’s gone from American Idol reject to movie star in just over a year…quite an accomplishment.

The dazzling costumes and sets are certainly worthy of mention, but while passing out accolades it’s impossible to avoid highlighting the superlative cast: the three female leads, along with Foxx and Murphy, are nothing short of stellar, and the expansive supporting cast includes such notables as Danny Glover and John Lithgow.

Though
Dreamgirls didn’t reach me like Chicago did, it isn’t difficult to see the movie’s appeal: it’s an entertaining film that boasts show-stopping musical numbers and a genuinely human story. So, to any other musical movie with aspirations of surpassing Dreamgirls this year…dream on!

Rating: 2 1/2

We Are Marshall (PG)

tt0758794
Directed by: McG
Starring: Matthew McConaughey
December 2006

“We Are…Mildly Inspired”


Widely regarded as the worst tragedy in the history of collegiate sports, the Marshall University football squad, after suffering a 17-14 loss to East Carolina on November 14, 1970, boarded a plane that crashed in mid-flight. There were no survivors. The new movie based on that horrific true account, We Are Marshall, focuses on the process and politics involved in rebuilding the school’s football program.

The unenviable task of finding a replacement football coach falls on Marshall’s president, Dr. Don Dedmon (David Strathairn). As fate would have it, the last person on Dedmon’s list, Coach Jack Lengyel (Matthew McConaughey), accepts the position; Jack’s passion for life and football stands in stark contrast to the grief-stricken community of Huntington, WV. There’s a great scene where Jack approaches Red Dawson (Matthew Fox) to be his assistant; Jack learns that fate guided Red’s decision to drive home the night of the crash. Sympathetic but firm, Jack challenges Red to stop wallowing in his pool of self-recrimination and get on with living…Red accepts the job.

Ian McShane (
Deadwood) plays the chairman of the school board, Paul Griffen. Paul, an embittered shell of a man whose son was one of the 75 casualties, opposes the groundswell movement to reinstate the football program and threatens to fire Dedmon if the president doesn’t change his position. If Paul has a soft spot it’s for Annie (Kate Mara), the fiancée of Paul’s deceased son. The scene where Annie returns her engagement ring to Paul is one of the movie’s most moving moments.

As would be expected, the film has its fair share of football sequences, which serve as brief respites from the unrelenting, heavy-hitting drama. Thankfully, the film doesn’t get bogged down in the kind of play by play minutiae we’ve seen in some other football movies—the story here focuses on the team and community, not on some glorious championship game. In fact, the movie ends, unconventionally, right after the second game of the ’71 season. Even though writers Jamie Linden and Cory Helms do a good job of balancing game elements with character interplay, the story is still just as predictable as the Power I formation. Further, the movie’s resolution has too much hang time and is overly sentimental, especially for a testosterone-infused gridiron film.

Other fumbles were committed by the technical teams: poor sound mixing, disjointed editing and shoddy direction by McG. On the flip side, the cast does an excellent job in roles that very easily could’ve become stilted. McConaughey steals the show with his portrayal of enthusiastic, dynamic and charismatic Coach Lengyel—nothing seems to get him down and his eternal optimism (like when he asks rival coach, Bobby Bowden, for pointers on how to run the veer) is downright inspiring.

As long as you’re willing to lower your expectations a bit (this isn’t
Rudy or Remember the Titans), We Are Marshall will fill the bill if you need an inspirational sports flick fix. We Are Marshall serves its purpose with solid performances and a faithful script, but would loose by a late touchdown to other top-ranked football movies.

Rating: 2 1/2

The Pursuit of Happyness (PG-13)

tt0454921
Directed by: Gabriele Muccino
Starring: Will Smith
December 2006

“How Determination Overcomes Marginalization”


Peering through the diamond shaped openings of an eight foot tall metal fence, Chris Gardner (Will Smith) surveys the cold, uncaring skyscrapers that have hemmed him into the prison-like confines of a craggy, weed-ridden basketball court. Standing at Chris’ side is his pouting son, Christopher (Will’s real-life son Jaden in his acting debut). Chris turns to his son and, with tension in his voice and tears in his eyes, says, “Hey. Don't ever let somebody tell you... You can't do something. Not even me. All right?”

Never before and never since have I welled up during a movie trailer. I was genuinely moved, not only by the power of the words themselves, but also by the sheer force of conviction that had impelled them. In the margin of my review notes, for whatever movie I was watching that day, I jotted down the movie’s title to make sure I kept an eye out for it. That movie, of course, is
The Pursuit of Happyness, which is based on Gardner’s memoir of the same name and is the latest vehicle for Smith, who turns in his finest performance to date.

The film is based on the incredible true story of how Gardner, a homeless man struggling to raise his son on his own, achieved the impossible by landing a highly competitive internship at Dean Witter with nothing more than the fire in his belly and the clothes on his back. At its heart,
Pursuit is a film about a man desperately trying to do right by his son while attempting to make his way in the world. However, as an under-educated African American man living in the early 80s, Gardner exists in a world where the deck has been cruelly stacked against him. With no backup plan, failing to obtain the apprenticeship simply isn’t an option for Gardner.

The movie is told in chapters, each one narrated by the Smith in a conversational manner that’s often amusing, occasionally heartbreaking, much like the narrative as a whole. Smith begins each section with a common phrase: “Now this is the part of the story where…” This opening remark is reminiscent of the internal monologue employed in many
films noir or the casual conveyance of inner musings on TV shows like Magnum, P.I. (Magnum had a penchant for saying “I know what you’re thinking…”). Though it grants the viewer direct access to Gardner’s thoughts, one wonders if the story would’ve been just as effective sans the narration. Immaterial, I suppose.

There are several standout scenes in the film, ranging from the serendipitous opportunity for Gardner and his son to watch a 49ers game from an exclusive box at Candlestick to the scene where Gardner frantically tries solving a Rubik’s Cube in a matter of minutes to impress an executive at Dean Witter. By far, the most heartrending scene is when Gardner and his son are turned away by a mission and must spend the night in a subway bathroom. The tears that stream down Gardner’s face as people pound on the locked door to get in, vividly reveal the depth of his plight and the extents to which he’ll go to protect and provide for his son.

Despite its status as a three hanky weeper,
Pursuit also has its fair share of comic relief. Case in point: the scene where the nutty homeless guy pilfers Gardner’s bone density scanner and forces Gardner to chase him all over the city to get it back is rather humorous. Though few in number, these instances of levity serve as release valves which vent some of the pressure that’s been building up during the movie’s many Murphy’s Law moments. Without such stress relievers, the movie surely would’ve collapsed under the weight of its own stark reality.

Pursuit is a film that very easily could’ve veered too sharply toward the populist or the melodramatic, but manages to achieve a balanced portrait of Gardner’s turbulent life and career thanks to Gabriele Muccino’s sure-handed direction. Additionally, screenwriter Steve Conrad adroitly negotiates each emotionally charged situation with a parity and panache quite rare among modern “true story” dramas. With its inspirational slice-of-life narrative, which provides a roadmap for how to attain the American Dream the honest way, Pursuit is more salient—and more needed—than ever. Sometimes happiness is the pursuit itself.

Rating: 3 1/2

The Guardian (PG-13)

tt0406816
Directed by: Andrew Davis
Starring: Kevin Costner
September 2006

“Standard Ending Nearly Sinks Heartfelt Story”


“It was the best of times, it was the worst of times…” Dickens’ oft-quoted line from his classic A Tale of Two Cities is an excellent description of the latest Kevin Costner vehicle entitled The Guardian. An obvious promotional piece for the Coast Guard—its riff on Top GunThe Guardian boasts several meaningful scenes, but also contains some elements that are in desperate need of being rescued.

Ben Randall (Costner), a legendary Coast Guard rescue swimmer, was recently traumatized when a rescue mission ended in tragedy, leaving him the only survivor. The mental toll of the ill-fated rescue attempt, compounded with Ben’s recent separation from wife Helen (Sela Ward), forces Capt. Hadley (Clancy Brown) to take Ben off of active duty; Ben is transferred from Barksdale AFB in Kodiak, AK to the Coast Guard training facility in Louisiana. Inspecting the new crop of trainees, Ben sees potential in cocky upstart, Jake Fischer (Ashton Kutcher); a decorated college swimmer, Jake has his sights set on toppling all of Ben’s swimming records. However, as Ben is quick to remind the trainees, there’s more to saving lives than just swimming. Scrapping the traditional PT regimen, Ben initiates a series of unorthodox training sessions; including a one hour endurance test where touching the bottom or sides of the pool means instant disqualification from the program, a hypothermia exercise in an ice-filled pool and a teamwork/breathing exercise where two swimmers must move a brick from one side of the pool to the other, but the swimmers can only come up for air one at a time. Ben’s hard-nosed approach immediately alienates Skinner (Neal McDonough) and makes Capt. Frank Larson (John Heard) wonder if Ben’s cut out to be a drill instructor. These training sequences are the movie’s double-edged sword—some viewers will enjoy the process involved in molding trainees, while others will grow frustrated by the lack of progression and check out somewhere in the middle of the movie.

The film’s structure is basic enough; the beginning and end feature rescue missions, while the middle focuses on academy training. Besides being predictable at every turn,
The Guardian defaults to the standard disaster movie ending where the older man cuts himself free from a safety cord so that the younger man can continue on and, presumably, live a long and fruitful life. We’ve seen this exact ending in Backdraft and Vertical Limit, with Armageddon and Poseidon bearing a close enough resemblance to make it worth mentioning here. This climax must be effective—even though it shamelessly manipulates the audience’s emotions—otherwise it wouldn’t be used with such frequency. But please, Hollywood movers and shakers, no more resolutions of this kind! Next time, maybe the writers can do something different and sacrifice the younger man—it might be politically incorrect, but at least it would contain a modicum of reality and treat the audience to something original.

That is not to say that the movie doesn’t have any touching moments: Ben’s apparent reconciliation with his wife makes his tragic demise all the more painful. Also, when Ben and Jake learn that they both have emotional hang-ups over being the sole survivor of an accident, a connection is made and a friendship begins to form. These episodes, where genuine emotions begin rising to the surface, are few and far between in a movie far more concerned with magnifying the courageous sacrifice of Coast Guard swimmers, as honorable as that is, than with chiseling out three-dimensional characters or crafting dialogue written above a high school level.

As for the acting, Costner is a tad less wooden here than usual, and Kutcher shows early signs of being a decent dramatic actor. What anchors the movie is its excellent supporting cast; especially Heard, McDonough, Ward, Brown and Melissa Sagemiller as Jake’s girlfriend, Emily.

Though some of the sequences involving angry, undulating waves made me seasick, like the ones in
The Perfect Storm, director Andrew Davis (The Fugitive) does a good job of making the action seem realistic. Too bad the script didn’t follow suit.

Rating: 2 1/2

The Prestige (PG-13)

tt0482571
Directed by: Christopher Nolan
Starring: Christian Bale
October 2006

“Are You Watching Closely? You’ve Been Tricked!”


Director Christopher Nolan and actors Christian Bale and Michael Caine were driving forces behind last year’s critically acclaimed, comic book-to-big screen action thriller, Batman Begins. Add to that team X-Men’s Wolverine, Hugh Jackman, and the sultry siren, Scarlett Johansson and you have a surefire hit on your hands…right?

As would be expected, the film opens with a magic show. The magician is assisted by Cutter (Caine) backstage and Robert (Jackman) and Alfred (Bale) who are planted in the audience and selected every night as part of the performance. Robert and Alfred are aspiring magicians, but their association as friends and colleagues abruptly ends when Robert’s wife, Julia (Piper Perabo), drowns in a water tank during an illusion gone wrong. Robert casts blame on Alfred, who always tires to push a trick to the next level and takes unnecessary risks. The balance of the movie deals with Robert’s repeated attempts to avenge his wife’s death, while trying to beat Alfred at his own game.

The game of one-upmanship between the two competing magicians is engaging at first, but the point and counterpoint plot exponentially looses steam as the movie progresses. The movie’s climax is like a chess skirmish where both players trade pieces until one player takes a piece and his opponent can’t counter, producing a clear-cut victor. Trying to figure out who will outthink his rival and deal the ultimate deathblow was clearly intended to be an enjoyable experience, but the volleying storyline, in the end, is more exhausting than exhilarating.

These disparaging comments are in no way an indictment against the director, actors or anyone else involved in the movie’s creative or technical departments, all of whom did an exceptional job of transporting the viewer into this turn-of-the-century period piece. If any area of the movie bears criticism, it’s the prefab plot based on Christopher Priest’s novel. Every magic trick is based on diversion and deception, and the storyline here deals in the same kind of chicanery—the plot is a façade that appears to be an intricately woven yarn, but is simply a hollow attempt at generating Industrial-era intrigue; wowing audiences with its all-star cast, the movie only offers cheap thrills and unfulfilled promises.

At the movie’s midpoint, Robert seeks out eccentric inventor, Nikolas Tesla (David Bowie, in a brilliant piece of surprise casting), who builds Robert a machine that is way beyond today’s technology, much less that of a century ago. As egregious as that is, the final nail in the movie’s coffin is protagonist confusion. Just who are we supposed to root for here? True, the magicians demonstrate their genius over the course of the film, but both men are so riddled with foibles, ranging from self-aggrandizement to an overactive need for vengeance, so as to be flawed beyond recognition as heroes. The person I wanted to come out on top suffers ultimate defeat, but who cares? There’s nothing virtuous about either magician and in the end, it doesn’t really matter who you pull for, they’re both egomaniacs who stop a nothing to produce better illusions than their opponent and, therefore, are utterly despicable. Did screenwriters Jonathan and Christopher Nolan fail to realize that the audience would naturally want to choose sides and that every story must include at least one hero that everyone can cheer for?

I so badly wanted this film to succeed, but alas, the movie falls for its own sleight of hand. If, like me,
The Prestige left you wanting more, check out the other recent magician movie, The Illusionist, starring Edward Norton. Unlike The Prestige, The Illusionist doesn’t waste its or your time on competitive shenanigans or scientifically impossible illusions…there’s nothing hidden up its sleeve.

Rating: 2 1/2

The Illusionist (PG-13)

tt0443543
Directed by: Neil Burger
Starring: Edward Norton
September 2006

“Like Lucky Charms, It’s Magically Delicious”


As I started jotting down notes at a screening of The Illusionist, my pen abruptly died. After exhausting every conceivable strategy of coaxing ink out of the depleted stylus, I settled on an alternate note-taking strategy. I wrote my observations with a firm hand and later retrieved them by rubbing pencil lead over the page, which revealed the text in reverse. When I started writing this review, it suddenly occurred to me that such basic science might be commonplace to you and me, but to a five-year old child it might appear as…magic!

The magic performed by Eisenheim the Illusionist (Edward Norton), however, is a tad more sophisticated than my pencil-rubbing trick. It is said that, as a boy, Eisenheim was inspired by a traveling magician who showed the lad a few illusions before disappearing into thin air. Magic consumed the Eisenheim during his formative years, but his focus expanded the day he encountered the beautiful duchess, Sophie. Despite their disparity in social standing, Eisenheim and Sophie were inseparable growing up; “One day we’ll run away together,” she promised.

As an adult, Eisenheim plies his trade as an illusionist in small, but packed theaters in Vienna, garnering the esteem of many prominent patrons, including the inquisitive Chief Inspector Uhl (Paul Giamatti). During that fateful performance, the magician asks for a volunteer, and, much to his surprise, Eisenheim is reunited with his childhood sweetheart when she glides onto the stage. After the show, Eisenheim learns that Sophie (Jessica Biel) will soon be engaged to Leopold (Rufus Sewell), the crown prince. Sensing the potential threat posed by Eisenheim, Leopold orders Uhl to “shut him down” (surely a common phrase during that period). With Uhl watching his every move and Leopold seeking his life, Eisenheim creates a new show that must confound the audience, foil Leopold’s plans and win back Sophie’s heart before it’s too late.

As the movie’s slogan suggests, “Nothing is what it seems.” This is certainly true as the movie never reveals its hand until the very last scene. Based on a short story by Steven Millhauser entitled “Eisenheim the Illusionist,” writer/director Neil Burger does an excellent job of managing this gothic tale, which certainly would have floundered in the hands of someone less visionary. The costuming, makeup and historic props and sets all exude authenticity and Burger’s use of a sepia-hued palette, aged film stock effects and old-fashioned circle wipes is extremely effective. Also, the revelation scene—where Uhl mentally deconstructs Eisenheim’s ultimate illusion in a montage of shots—is a brilliant way to illustrate the Chief Inspector’s flow of deductive reasoning.

Norton (
The Italian Job) is a bit subdued here, but plays the part of Eisenheim with deftness equal to the skilled magician. Impressively, Norton did most of his own tricks in the movie (with the assistance of magician David Blaine), and what’s more, very few of the movie’s illusions received a CG touch-up.

Biel and Sewell (
A Knight’s Tale) work fine as an improbable couple and their performances, as secondary characters, properly garnish the juicy ménage trios subplot—Biel soars here, leaving behind her 7th Heaven chrysalis. Though all of the actors shine, Giamatti’s performance stands out like a lighthouse beacon on a stormy night. Giamatti’s range is awe-inspiring; I’m thoroughly convinced that if someone put a white, fluffy wig on the actor’s head and said, “Be a Q-Tip,” he would not only pull it off but add unexpected nuance to the part. For The Illusionist, Giamatti adopts a European accent and a resonant baritone; he speaks softly, but with authority. Sporting a full beard and slicked back hair, viewers may fail to recognize Giamatti at first glance. Whereas Norton is the film’s heart and soul, Giamatti is its conscience and backbone…the versatile character actor has turned in yet another memorable performance.

Due to the constraining nature of a period piece featuring a magician, the movie, though entertaining and thought-provoking, is far from Best Picture caliber. However, the movie does boast one of the most satisfying twist endings to come along in quite some time. Anchored by a superior cast,
The Illusionist juggles character development with breathtaking cinematography and an intricate plot that contains just the right amount of romance, political intrigue and brow-furrowing mystery. Now that’s a trick!

Rating: 3

Invincible (PG)

tt0445990
Directed by: Ericson Core
Starring: Mark Wahlberg
August 2006

“Wahlberg Flies Like an Eagle in Inspirational Gridiron Tale”


“Never tell me the odds!” That’s what Harrison Ford’s Han Solo told statistic-spewing robot, C-3PO, in The Empire Strikes Back. I wonder what the odds would be against a thirty-year old Average Joe earning a walk-on spot with an NFL team having only played one year of high school football. Whatever the odds, Vince Papale, a struggling Philly bartender, beat them in 1976 when he achieved the impossible and became a Philadelphia Eagle.

In the movie, Papale is played by Mark Wahlberg, who resembles the physical proportions—if not facial features—of the genuine article. Wahlberg’s performance is efficient, but certainly isn’t flashy; this also seems to mirror the real Papale, who originally was reticent to try out for the team and shied away from media attention…many reporters were all too eager to cover his miracle story.

As the movie opens, Papale is at his lowest point; his wife just walked out on him and his employment as a substitute teacher was recently terminated. New Eagles coach, Dick Vermeil (played with gridiron precision by Greg Kinnear…a touchdown for the casting department), makes an announcement that the Eagles will hold open tryouts at Veteran’s Stadium that Saturday. Vermeil’s pronouncement may have been viewed as a media stunt, but his real strategy was to shake up the entire Eagles organization—which had grown accustomed to loosing—and wake up a city that had fallen into a mental rut concerning their hometown team.

Though Papale’s friends encourage him to try out for the team, his father has a different opinion, “Let this one go; a man can only take so much failure.” Ignoring his father’s advice, Papale finds the nerve to try out, and of the thousands of Eagle wannabes that converge upon the stadium, Papale is the only person asked back to Eagle’s training camp. Spurred on by his dream to play professional football and by his ex-wife’s acerbic departure note (which basically says he’ll never amount to anything), Papale gives it his all during a tumultuous training camp and preseason, and anyone who’s familiar with the story, or who’s seen the trailer, can connect the dots from here. There’s no major twist here; history has already taken away any possibility of a surprise ending.

In the grand tradition of feel-good sports films like
Rudy and The Rookie (whose producers also worked on this film), Invincible carries the “follow-your-dreams” torch with pride and excellence. Though the film’s through line is as straight as a Bradshaw spiral, there are several character-defining subplots that flesh out the movie and broaden our knowledge of the protagonist; such as the Cheers-like moments in the bar, the back lot football games and the arrival of Papale’s new love interest, Janet (Elizabeth Banks), who happens to be a die-hard fan of the rival NY Giants.

From the sets and costumes to the shaggy coifs, every aspect of the movie appropriately fits the period in which it was filmed; the 70’s soundtrack also adds an extra degree of authenticity. And speaking of authenticity, the inclusion of actual game footage, featuring some of Papale’s highlight plays, is a really nice touch.

Invincible is pure, unadulterated inspiration; a poignant reminder to us all that no matter who you are or where you’re from, as long as you have a dream and are willing to contend for it, miracles can happen. This is one of the best films of the year!

Rating: 3

Lady in the Water (PG-13)

tt0452637
Directed by: M. Night Shyamalan
Starring: Paul Giamatti
July 2006

“Shyamalan’s Scary Tale Succeeds by Taking Risks”


The word “narf” effortlessly plopped out of director M. Night Shyamalan’s mouth one evening as he was telling his children a bedtime story. That homespun fairytale soon became the creative fodder for Shyamalan’s latest thrill-fest, Lady in the Water. From the start, Shyamalan made it clear that the movie—an unconventional love story filled with mythological creatures—would be a radical departure from his other films.

The opening narration, conveyed in a series of petroglyphs, provides the particulars of the movie’s myth: Once every eon, an ancient race of humans send an envoy from their water world to meet with their surface-dwelling brethren in an attempt to ignite a great awakening among humans. A water nymph (narf) must find the “vessel”—a person of unique vision—that will usher in the era of peace. Despite repeated attempts throughout history, every narf ambassador has failed in her peace-fostering mission because “man doesn’t listen very well.”

As the story opens, we’re introduced to Cleveland Heep (Paul Giamatti), a tortured soul who manages an apartment complex in Philly. Cleveland’s mundane existence as handyman, exterminator and peacekeeper brings him into contact with many of the building’s colorful tenants, including the Hispanic couple and their five daughters, the Asian college student and her controlling mother, the Indian writer (Shyamalan) and his nagging sister, the eccentric jock who only exercises the right side of his body, the African American father who excels at crossword puzzles and his insightful son, the quartet of freethinking beer buddies and the newest tenant, a haughty movie critic.

It takes a while for Shyamalan to establish all of his characters and their relationships to each other, but when Story the narf (Bryce Dallas Howard) surfaces in Cleveland’s pool, the plot kicks into high gear and a first-rate mystery begins to unfold. Story quickly identifies the “vessel,” but determining the supporting players—the guild, the guardian and the symbolist—proves more problematic. Cleveland and his tenants, now bound by a common purpose, must protect Story from an aggressive, wolf-like creature called a skrunt until the giant eagle swoops down and carries her to freedom.

It all sounds a bit hokey on paper, but Shyamalan does a masterful job of balancing character and plot with the fantastical. In an effort to mitigate the moments of stark terror (which are far fewer and less severe here than in his other movies), Shyamalan has employed more humor this time, which is just a natural byproduct of the multi-layered and multi-cultural characters that populate his story. One of the ongoing sources of amusement is the Asian mother’s reticence to share the narf’s origin tale with Cleveland. At one point, Cleveland must act like a child and have milk and cookies on the woman’s couch in order to receive a short lesson in narf mythology. The arrogant critic also provides unexpected comic relief; his jaded commentary on romance movies and his miscalculation of the danger he’s in at the movie’s climax is highly entertaining.

There’s no doubt that Shyamalan can select stars (like Willis and Gibson) for his projects, but here he’s handpicked an amazing cast, each of whom shines in his or her own way and serves a different function in the director’s visionary yarn. Howard’s fair complexion and ethereal visage lends itself perfectly to the otherworldly Story. The fact that Story doesn’t know a lot about what’s going on makes the movie that much more riveting and satisfying. Giamatti works magic in the title role; his stuttering everyman is extremely likable and accessible—there’s something in his timbre and delivery that reminds me of a younger Richard Dreyfuss. As a reluctant leader, carrying around a Santa-sized sack of guilt from his wife’s death, Cleveland finds a measure of heroism within himself when his paternal instinct kicks in and drives him to protect Story at all costs. Cleveland is captivating throughout and is an excellent character study.

Some, undoubtedly, will find Shyamalan’s avant-garde resolution unpalatable; but you can hardly fault him for breaking with the “big twist ending” motif that’s marked all of his other films. Here, he tries something different, and, for better or worse, I applaud his efforts. Though
Lady in the Water is far inferior to The Sixth Sense, it’s the most human Shyamalan tale to date—by assembling an excellent ensemble of intriguing characters, the auteur has delivered one of the most unique and refreshing movies to come along in quite some time. So, whether or not you buy into narfs and skrunts, know that Lady in the Water has inaugurated a new film genre…high-art fairytale.

Rating: 3

Superman Returns (PG-13)

tt0348150
Directed by: Bryan Singer
Starring: Brandon Routh
June 2006

“Long Overdue, ‘Returns’ is Overly Long and Overstated”


It could have been great!

That was the unsettling and unshakeable thought that kept echoing in my mind as I exited the theater after viewing
Superman Returns. This was the movie I was most excited to see this summer…my prediction for the 2006 box office champ. While the later remains to be seen, the movie is significantly less than I had hoped for; a krypton-infused disappointment that neither hero-friendly director, Bryan Singer, nor newly minted pretty-boy, Brandon Routh, could salvage. Weighing in at an interminable two hours and thirty-four minutes, Superman Returns is a ponderous, somnambulating, seemingly alternate (Elseworlds) Man of Steel chronicle, which frequently parts ways with the continuity established in the previous film series, much to its detriment.

Last seen nineteen years ago in the debacle known as
Superman IV: The Quest For Peace, Superman, one of the most beloved and enduring comic book icons, has finally returned to the big screen after eight attempts to revive the story with a veritable army of A-list directors and actors attached to the various rejected projects. Art imitates life as the story opens with Superman’s (Routh) second coming to earth after a five year trek to his annihilated home planet, Krypton. Things have changed: the world has adjusted to life without Superman. People have changed as well: embittered by Superman’s unannounced departure and extended absence, Lois Lane (Kate Bosworth) has written a scathing, Pulitzer Prize-winning article entitled, “Why the World Doesn’t Need Superman.” As Clark Kent chews on that unsavory morsel, he also discovers Lois is a mother and that the father, presumably, is Richard White (James Marsden of X-Men fame), nephew of redoubtable Daily Planet editor, Perry White (a severely underserved Frank Langella).

It doesn’t take long for Superman to leap back into action…Lois is onboard a malfunctioning jet that is rapidly plummeting toward Metropolis; unbuckled from her seat, she’s tossed around for most of the sequence and should be dead several times over, but the laws of physics and gravity, apparently, are different in Superman movies. Superman has super strength, but not super intelligence; this is evidenced in his futile attempt to slow the jet’s screaming descent by pulling back on one of the wings…the wing rips right off with him attached and he has to catch up to the plane. Learning from his mistake, Superman gets up under the nose of the craft and pushes with all of his preponderant might; stopping the plane just a few feet above ground, he gently brings the fuselage to rest upon the infield of a baseball stadium. The awestruck crowd wildly applauds his heroics…Superman has returned! The scene is a tad cheesy, but is well-executed and sets the stage for the rest of the movie…which brings us to Lex Luthor (Kevin Spacey).

I have a great deal of respect for Gene Hackman as an actor, but I never felt he struck the right cord with Lex in the earlier Superman movies…Lex’s brilliance was questionable, at best, and the character simply wasn’t menacing enough. Spacey wholly inhabits the nefarious billionaire and approaches the lofty bar for insidious villains set by Jack Nicholson, whose tour de force performance as the Joker
made the 1989 Batman movie. In the same respect, Spacey, who rightfully receives top billing here, makes Superman Returns fly. Spacey’s Lex is well-dressed, well-educated and is surprisingly understated in most instances; he tiptoes along the edge of insanity, but never quite crosses the line. It’s amusing to observe Lex’ survival instinct kick in any time something threatens to go south: watch him in the model room before the power goes out.

Spacey’s contribution to the film cannot be understated or underestimated. If his performance could be distilled into a credit card commercial, it would say: “
Superman Returns tickets: $10. Lex Luthor’s wig: $90. Lex’ witty banter with ditzy assistant, Kitty Kowalski (Parker Posey)…priceless!” You can tell the writers had a ball crafting dialogue for him; Lex has the best lines in the movie. “Didn’t your father ever teach you to LOOK BEFORE YOU LEAP?” Lex yells as he kicks the snot out of our severely weakened hero—krypton runs in veins through the crystalline surface of Lex’ New Krypton, formed by a stolen crystal from Superman’s lair.

Lex’ scheme to create new continents, and thereby kill billions of people, is a bit far-fetched…yes land is a valuable commodity, but as Lex himself states, the crystalline fortress he creates lacks warmth and looks alien. Who would want to live there? Would there be a Luthor’s Supermarket nearby? How would people walk or drive over the rugged surface? The demise of New Krypton (Superman thrusts it into space) reveals another nitpick…when Superman lifts the crumbling island, he’s out in the middle of the ocean, but when he falls back to earth, he lands in Metropolis’ version of Central Park.

If it hadn’t been for such super-sized plot holes, the unsatisfactory non-resolution of the movie’s tepid love triangle and a butt-numbing, half-hour dénouement, the movie might have been resplendent instead of merely decent. Though most of the movie plays like a highlight reel of the earlier films, it’s, ironically, Superman himself that is the film’s biggest liability. To be sure, Routh’s performance pays homage to the more endearing nuances of Reeves’ Superman while adding a modern twist, but some of Singer’s choices for this Man of Steel are questionable and controversial. Superman’s homoerotic appearance aside, Singer’s Kal-El is a voyeur who eavesdrops on Lois’ family. Interestingly, though Superman can hear millions of distinct voices from space, he has diminished auditory capacity when listening through the walls of Lois’ house.

One of the movie’s “big” scenes is where Superman catches the Daily Planet globe, which has fallen from the top of a skyscraper. Superman actually struggles with the globe before depositing it on a nearby car. Reeves’ Superman would have replaced the globe and soldered it with his ocular laser beams in three seconds flat. Though admittedly cornier at times, I miss the old Superman…he, at least, had some panache. The new Superman seems more concerned with Lois than anyone else…he flies out to rescue her from a flooding boat while abandoning the imperiled citizens of Metropolis—surely his services are still required in a city reeling from a seismic event.

As I involuntarily fidgeted in my theater seat, I began to wonder why I wasn’t enjoying the movie more. After all, the film is masterfully directed, well-acted and is a visual marvel. After some reflection, I’ve come to an inescapable conclusion…Singer has too much admiration for the source material. Singer tries too hard to impress; his painstaking efforts to create a signature film actually prevent the movie from achieving its maximum potential. His direction can’t be faulted, but he should have pared down the script…Singer crams two movie’s worth of material into one, and, for a film of this ilk, there are too many drawn-out conversations and too few all-out action scenes.

However, there are some great moments in the film, not the least of which is the scene featuring stock footage of Marlon Brando as Superman’s father, Jor-El and John Ottman’s rousing score that includes many of John William’s iconic themes—both of these memorable elements pay fitting tribute to Richard Donner’s landmark 1978 film.

In the final analysis,
Superman Returns would have been far better if the ménage trios concept had been jettisoned, the Superboy storyline had been aborted and the death of Superman subplot had been scrapped. The movie would have been much stronger if the last twenty minutes had been excised…I really didn’t need to hear Superman’s tacky line, “I’m always around,” one more time. Singer’s Superman is a solid hit—a ground rule double—but is nowhere close to being a home run. No one can question that Superman Returns is good, but the realization that continues to vex me is…it could have been great!

Rating: 2 1/2

Click (PG-13)

tt0389860
Directed by: Frank Coraci
Starring: Adam Sandler
June 2006

“Not Even Remotely Entertaining”


The word tripe, as defined by Merriam Webster, is: something poor, worthless, or offensive. This definition more than adequately describes Adam Sandler’s Click. Finding even one redeeming quality in the movie would make hunting for a needle in a haystack an enjoyable pastime. Many of the movie’s themes and gags are abhorrent (i.e., the family dog repeatedly humping a large stuffed duck), and potty humor runs rampant throughout this severely modernized and significantly dumbed-down variation on Charles Dickens’ classic A Christmas Carol. Click, much to its detriment, suffers from the same brand of lowbrow idiocy that seems to plague the majority of Sandler’s films.

The story focuses on one man’s struggle to juggle the various aspects of his life; family, work, recreation, hobbies, etc. Michael Newman (Sandler) just can’t seem to get it right; the more he tries to organize his life, the more he falls behind and the angrier he becomes. But everything changes the day he falls asleep on a demo bed in a Bed, Bath & Beyond store. Waking up, Michael sees a door marked “Way Beyond.” Opening the door, Michael enters a gigantic warehouse filled with crates, a la
Raiders of the Lost Ark, and meets eccentric scientist, Morty (Christopher Walken). Morty has the solution to Michael’s chronic busyness; a remote control that can control Michael’s life…remotely.

At first, Michael has so much fun with the remote control—he pauses a conversation with his boss (David Hasselhoff) and gives the man a migraine by slapping him silly, adjusts the color to make himself look like the Hulk and fast-forwards through whole arguments with his wife—that he fails to see its detriments. As time continues flying by and the remote’s preference mode skips ahead to major events in his life, Michael realizes he’s missing out on meaningful moments with those he holds most dear.

Though I can appreciate the film’s
carpe diem sentiment, I just can’t abide Michael’s selfish preoccupation and obnoxious behavior; both character flaws are off-putting and significantly undermine Michael’s status as protagonist. While the movie’s moral is universally relevant, the story’s execution is ill-conceived and overly pedestrian. Still, the greatest narrative crime committed in the remedial screenplay, written by Steve Koren and Mark O’Keefe, is the utilization of the notorious “it was only a dream” twist…we can forgive Dickens for using it, but no such grace can be extended here.

Click passes up on a prime opportunity to tell a truly poignant tale and also squanders quality supporting performances by Kate Beckinsale, Sean Astin and Henry Winkler. Some will consider Click quality entertainment, but for me, I’d rather change the channel.

Rating: 1 1/2

The Lake House (PG)

tt0410297
Directed by: Alejandro Agresti
Starring: Keanu Reeves
June 2006

“Timeless Romance with ‘Speed’ Stars”


This type of movie has been done before, most notably in Frequency (2000), which starred Dennis Quaid and a pre-Jesus Jim Chaviezel as father and son separated by time but able to communicate via a HAM radio, which receives an ethereal signal boost from unusual solar flare activity in both time periods. At one point in that movie, Quaid, living thirty years in the past, places a wallet in a Ziploc bag and hides it under a loose floorboard, telling his grownup son in the future where to find it. Chaviezel immediately retrieves the wallet and uses it as a clue to track down a serial killer.

Mailing across time is taken to a whole new level in
The Lake House, director Alejandro Agresti’s temporal romance starring Speed duo, Sandra Bullock and Keanu Reaves. Kate Forrester (Bullock) is a doctor at a large Chicago hospital; seeking refuge from the frenetic pace of city life, Kate moves into a lake house on the north shore. Once settled in, Kate finds a forwarding note from the previous tenant, Alex Wyler (Reaves), inside the mailbox (which becomes the focal point of the movie and the conduit through which the characters communicate with each other). Mistaking the note as a prank, Kate writes a response to Alex, sets the letter inside the mailbox and raises the flag. As soon as Kate turns to go, the flag drops. Inside the mail box is another message from Alex, ardently claiming veracity on his part and belying any notion of a practical joke. As Kate and Alex continue exchanging notes over the next few days, they make an astonishing discovery—though Kate and Alex inhabit the same physical space, they exist in two different times. Kate lives in the present day (2006), but Alex is writing her from 2004.

Though the movie’s plot is a little too convoluted at times, it’s a tight yarn with an interesting character study, particularly in Kate’s case. At some point, Kate realizes she’s falling for a man she can never have; a bitter reality that exemplifies her life and ongoing struggle to find fulfillment. One of the finest scenes in the movie is when Alex takes Kate on a virtual walk with the assistance of a map and prerecorded cassette tape; Alex’ commentary is conveyed in a series of voice-overs, and, as an architect, he describes some of Chicago’s landmark buildings in great detail. It’s a touching moment, but when complications surmount and a relationship with Alex seems more and more impossible, Kate severs all communication with Alex. Kate concludes that Alex was “just a beautiful fantasy where time stood still,” and decides to move on by letting go of the past.

The movie’s unconventional resolution caps off a moving, thought-provoking love story that succeeds by placing emphasis on plot and character and not on a contrived or commonplace romance…the fact that the leads barely encounter each other aids the movie in subtle yet powerful ways, producing yearning in the characters as well as the audience. Some mysteries remain unexplained, however; such as how the couple can communicate in the first place. It may seem coincidental that both Kate and Alex have the same pet, a female dog oddly named Jack, but I believe the canine is the key to their ability to communicate with each other across time. Jack barks and runs away when Alex’ friend, Mona, makes a pass at him and the dog leads Alex to Kate’s birthday party where couple first meet. At times, the dog almost seems sentient. Could it be that Jack (an alien or supernatural being in disguise) is orchestrating events to bring the lovelorn couple together? It’s as good an explanation as any, I suppose.

Though the pacing is slow at times, the movie has great atmosphere—Agresti makes excellent use of the breathtaking lake house set, built, according to the story, by Alex’ absentee father, Simon (Christopher Plummer). Simon’s discourse on the proper use of light in architecture is memorable, though not necessarily crucial to the story. As for Bullock and Reaves, their acting isn’t memorable in the least, but that’s exactly what the script requires…less-nuanced performances would have overpowered the plot and distracted the audience from what turns out to be a first-rate love story, garnished with a sprig of suspense and seasoned with a sci-fi paradox.

Jane Austen’s
Persuasion is referenced on several occasions in the movie and that novel’s themes of waiting for the right time and receiving a second chance find modern expression in The Lake House.

So the next time you go outside to mail a letter, if your mailbox flag suddenly drops after you raise it, it’s probably just a loose screw, the pull of gravity or a stiff breeze. But just in case, check it anyway.

Rating: 3

A Prairie Home Companion (PG-13)

tt0420087
Directed by: Robert Altman
Starring: Lily Tomlin
June 2006

“Fitting Tribute to Keillor’s Off-Kilter Variety Show”


My first exposure to Garrison Keillor was in the early 80s when I watched his “A Prairie Home Companion” variety show every Saturday night on the Disney Channel. As a teen I thought GK (as Keillor is frequently referred to in the movie) was dry and boring, and yet I found myself frequently chuckling at the exploits of the down-home folk of fabled Lake Wobegon, MN, where “the women are strong, the men are good-looking and all the children are above average.”

Much like the actual show, Robert Altman’s
A Prairie Home Companion is a bizarre effort. The movie centers on the program’s final show, which is broadcast over the radio and also performed in front of a live audience at the F. Scott Fitzgerald Theater in downtown St. Paul, MN. The film’s synergistic appeal is due largely to the variegated acts that take place on stage as well as the wonderful character moments behind stage and in the dressing rooms, all of which unfurl in real-time.

Take security man Guy Noir (Kevin Cline) for instance; all of his bits are fittingly shot in a film noir style as if he’s a kind of backstage detective. And then there are the Johnson sisters, Yolanda (Meryl Streep) and Rhonda (Lily Tomlin), who very nearly steal the show with their witty, fast-paced dialogue and amusing anecdotes. Yolanda’s daughter, Lola (Lindsay Lohan), has a few scenes, but doesn’t really factor into the story in any significant sense. Two singing cowboys, Dusty (Woody Harrelson) and Lefty (John C. Reilly) bring the house down with their naughty, bawdy, rip-roaring song, “Bad Jokes.” The Academy will officially put the T in travesty if “Bad Jokes” isn’t nominated for an Oscar—the song is the undisputed highlight of the film.

Tommy Lee Jones plays Axeman, the stiff suit sent to shut down the show after its final performance. Axeman is the closest thing the movie has to an antagonist, but other than providing occasional reminders about the show’s demise, the character doesn’t add much to the film. The most avant-garde element in the movie is the mysterious appearance of The Dangerous Woman, played by the lovely Virginia Madsen. Living up to her name, the blonde, white-gowned beauty is a major departure from the traditionally-drawn grim reaper with dark robe and scythe. The Dangerous Woman will claim someone’s life by the end of the night, a dreadful realization that creates ample tension while raising the question: Which character will become her unwitting victim?

Altman (
Nashville) was a natural choice to helm this project; few directors can rival his attention to detail and character or approach his genius at taking everyday situations and presenting them as new, unique or quirky reflections of reality. A Prairie Home Companion, like many of Altman’s films, is a cinematic odd bird, but it’s also charming and inspiring in subtle ways. Due to the movie’s singular focus, limiting locale and real-time narrative, some spectators might get antsy toward the middle of the film. Though most of the vignettes are entertaining, the movie has an accumulative resonance, the full impact of which can only be experienced when reflecting on the film as a whole.

A Prairie Home Companion succeeds at honoring Keillor’s variety show while wistfully whisking us back to the mythical and magical days of early Americana; where neighbors were neighborly, deals were made with a handshake and families sat around a box to be entertained at night: Radio, not TV. Keillor’s eclectic program will forever be remembered as a conduit to an earlier, simpler time when folks lived, loved and died...somewhere out on the prairie.

Rating: 3

Poseidon (PG-13)

tt0409182
Directed by: Wolfgang Petersen
Starring: Josh Lucas
May 2006

“Mayday…Our Screenplay Has Capsized!”


With some movies, you can just tell going in that it’s destined to be a disaster. When you have that premonition during an actual disaster movie, it’s like adding salt (water) to an open wound. And, when that floundering disaster movie is a remake of a mediocre original, you know it’s time to refill your popcorn, because it’s going to be a long two hours.

Poseidon, the follow-up to Irwin Allen’s 1972 thriller dubbed The Poseidon Adventure, is such a movie. The original starred Gene Hackman, Ernest Borgnine, Red Buttons, Roddy McDowall and Shelley Winters. The update stars Josh Lucas, Kurt Russell, Jacinda Barrett and Richard Dreyfuss. Clearly the original cast edges out the new crew, but special effects honors go to the new movie. And if eye-popping FX were the only criterion on which a movie is judged, Poseidon would be up for a Best Picture Oscar this year. Fortunately, spectators are also looking for something called plot, a structure quickly jettisoned with the flotsam after the cruise ship is capsized by a rogue wave (okay!) and a handful of brave passengers embark on a dangerous journey through flooded decks and ventilation shafts (one of the only genuinely terrifying moments in the movie) to reach the top of the ship, which is now the bottom.

The exterior and interior design of the Poseidon cruise ship is radiant and elegant…it’s too bad we never have a chance to stretch our legs a little (as was masterfully accomplished in
Titanic), before the disaster occurs. The movie wastes no time on character development…the ship is upturned near the twenty minute mark, long before we learn that Robert Ramsey (Russell) was a firefighter (Backdraft flashback) and, more importantly, former mayor of NYC. Robert is overprotective of his daughter, Jen (Emmy Rossum); she and her beau are joined at the hip on the ship, but they never find the right time to inform dad that they’re engaged before their lives are turned upside down, literally. There’s a potty-mouthed poker player named Lucky Larry (Kevin Dillon), who could have been a decent antagonist. Unfortunately, he’s killed off before we really even have a chance to start loathing him…another snafu with the script’s cursory attention to character and detail.

Dreyfuss, fittingly, plays Richard, an architect who serves as set-dressing and the movie’s token gay person. Lucas’ character is a card hustler named Dylan. Dylan seems to know everything about the ship—he guides the group each step of the way and seems to have the answer for every challenge (he’s even a step ahead of Robert in detecting the effects of a flash fire). Dylan takes a leadership role even though he claims to be a lone wolf…by the end of the movie he learns some teamwork skills, but does anyone care? As the picture’s supposed hero, Dylan fails miserably—the character isn’t noteworthy in any respect and his supreme confidence is off-putting (this is just another in a long string of uninspired performances turned in by Lucas…he’s no leading man).

However, in all fairness to Lucas, his performance isn’t what ails the movie the most; after all, the story is nothing more than one imperilment after the next and the dialogue is as leaden as the ship’s hull. Case in point: Dylan has a Eureka moment and proposes that the survivors exit the ship via the propeller shaft, stating, “The only thing between us and the outside is nothing!” (Did Yoda write the screenplay?)

Spoiler Alert: What’s supposed to pass as a major twist near the movie’s end is merely a rehash of Bruce Willis’ heroic demise in
Armageddon…Robert sacrifices himself so that Jen and her new fiancé can have a chance to live. It’s ironic, but Robert’s struggle to find the emergency shutoff button, while his body spasms from the lack of oxygen, is the highlight of the movie—Russell delivers the finest underwater death scene I’ve ever witnessed in a film.

The movie’s paint-by-numbers conclusion is predictable and unsatisfactory in every way (i.e. there’s a handy raft nearby and the rescue helicopters arrive within minutes). A more interesting climax would have shown the survivors being eaten by some famished sharks…at least that would’ve provided us with some drama.
Poseidon is a listing, floundering affair that comes complete with deep water and shallow characters. It works as mindless entertainment, but fails to live up to the original and doesn’t even belong in the same category as director Wolfgang Petersen’s previous sea-faring films: Das Boot and The Perfect Storm. There’s little adventure in this Poseidon!

Rating: 2

Akeelah and the Bee (PG)

tt0437800
Directed by: Doug Atchison
Starring: Keke Palmer
April 2006

“This Bee Might Not Sting, but It Sure Inspires”


In many ways, young Akeelah Anderson (Keke Palmer), eleven year old African American student at south LA’s Crenshaw Middle School, is a living, breathing indictment against our education system. Brilliance so often goes unnoticed in overcrowded classrooms with beleaguered teachers destined to languish in a system that frequently fails to cultivate genuine talent, but rather, funnels students into the same general education model that’s endured for centuries.

Perpetually feeling out of place, Akeelah is bored to tears at school—she only turns in half of her assignments. For extra credit, Akeelah enters the school’s spelling bee and draws the attention of her principal and Dr. Joshua Larabee (Laurence Fishburne). Impressed by her raw talent, both men encourage Akeelah to enter the regional spelling bee. Akeelah initially resists, but after some minor cajoling from her elders she accedes and shows both her inexperience and potential at the competition.

Soon after, Larabee (can writer/director Doug Atchison’s play on words
bee any more obvious?) becomes Akeelah’s coach and he immediately establishes some ground rules: jive talk is out; learning the roots and origins of words is in. Among the many challenges the word wizard faces is Akeelah’s toe-in-the-dirt demeanor, which comes complete with poor eye contact and church mouse decibel speech. Larabee instructs the youth, “You can’t be a shrinking violet.”

As Larabee continues broadening Akeelah’s understanding of the power of language, Akeelah’s overprotective mother (played to perfection by Angela Bassett) catches wind of her daughter’s extracurricular activities and forbids Akeelah’s participation. This subplot reminds me of a similar scenario in
Sister Act II when Lauryn Hill’s controlling mother prohibits her from singing. Fortunately, the story doesn’t get bogged down over this plot point but focuses more on the stimulating practice sessions and nail-biting competitions. Though much of the narrative is predictable up until the Scripps National Spelling Bee, the finale showcases some excellent acting and an unpredictable, wholly satisfying surprise ending.

In its broad strokes,
Akeelah reminds me of the similarly themed family film Searching for Bobby Fischer (1993). Both movies feature a prodigious youth attempting to advance amid fierce competition, a tough yet caring tutor, a heart-stopping finale and a memorable supporting performance by some guy named Fishburne. The young phenoms in both movies also exhibit humility and good sportsmanship…refreshing qualities to see in young people even if they are merely projections on a screen.

Akeelah is the first movie co-produced by Starbuck’s Entertainment…yep, the coffee juggernaut isn’t satisfied with simply serving millions of lattes and getting filthy rich off of people’s hijacked taste buds. Now they must make movies too…so that people have something to do while drinking more of their product. Oh, I know a word for that: I-N-S-I-D-I-O-U-S.

Despite its dubious production company,
Akeelah is an inspirational movie for all ages and subtly drives home the importance of community, friendship and perseverance. Akeelah is a feel-good, follow-your-dreams film that manages to keep the schmaltz factor to a minimum while delivering a heartfelt message one carefully chosen word at a time. So, if you have a penchant for hearing preternatural preteens promulgating pulchritudinous profundities, Akeelah is the movie for you. Word!

Rating: 3

Eight Below (PG)

tt0397313
Directed by: Frank Marshall
Starring: Paul Walker
February 2006

“Standard Arctic Survival Tale Will Leave You Cold”


Most desktop publishing applications for computers come with templates or wizards—quick helps that allow the user to customize pre-existing models, often in order to save time and effort. When it comes to storytelling, there are a limited number of plots (templates), but what makes each story unique is the location, the execution of the plot, the different types of characters and how those characters interact with each other.

In the case of Disney’s new “based on a true story” family film,
Eight Below, the writers and producers—in what they probably thought was a low-risk, high-profit move—have simply given us the template itself. Arctic (or Antarctic) survival stories have been done so many times that anyone attempting such a project should approach it with a great deal of caution and trepidation…and more than just a few original ideas. Unfortunately for Eight Below (which is really a misnomer—eight refers to the number of sled dogs, but the temperature dips well below minus fifty degrees in the movie), it offers nothing new, but banks on cute dogs and maudlin moments to bail out the unoriginal screenplay and uninspired performances.

Jerry Shepard (Paul Walker) and his colorful companions, motor-mouth, Charlie Cooper (
American Pie’s Jason Biggs) and Native American hottie, Katie (Moon Bloodgood), work at a base at “the bottom of the world.” Jerry, an experienced survival guide, begrudgingly transports American geologist Davis McClaren (Bruce Greenwood) to nearby Mt. Melbourne, where meteorites from Mercury have reportedly landed. Along with his team of well-groomed, well-trained dogs, Jerry totes McClaren and his equipment across the frozen, Antarctic plain, which is filled with bottomless crevasses, patches of thin ice and frightening leopard seals. The expedition is cut short when a massive snow storm moves in; the race home nearly costs McClaren his life (I wish I had a dollar for every time he falls in the movie) and Jerry’s fingers to frostbite. The base is evacuated and the dogs are left behind with the intention of immediately returning for them, but the severity of the blizzard prohibits any flights from returning to the base until the next spring. What ensues is tantamount to The Incredible Journey as the dogs break free from their chains, work together as a team, and feast on seagulls and a beached killer whale (the best visual in the movie) until they’re rescued by Jerry and his reassembled team…some 180 days after being stranded.

Director Frank Marshall does an adequate job with mediocre material; a script suggested by the real life Japanese expedition to Antarctica in 1957. Unfortunately, Marshall doesn’t receive any assistance from his gelid, no-name cast, and in the end, it’s only the sled dogs that are remotely memorable (Mya in particular). Some would argue that this formula still works, judging from the sniffles heard among the audience at tear-inducing moments, but this brand of sentimental survival tale reached its height somewhere in the late 70’s with the Robert Logan pictures. Suggested improvements for the sequel: have the dogs deliver the lines and let the leopard seal eat McClaren.

Rating: 2

16 Blocks (PG-13)

tt0450232
Directed by: Richard Donner
Starring: Bruce Willis
March 2006

“Dark and Gritty, But Not Sin City


In Richard Donner’s 16 Blocks, Bruce Willis plays Jack Mosley, a haggard, beleaguered NYPD detective who drinks on the job and hobbles around on a bum leg—in other words, the very antithesis of John McClane from Willis’ Die Hard movies. And yet, this is one of Willis’ most refreshing roles in ages; by playing against type, he may have just rejuvenated his career…at least until the release of Die Hard 4.

The movie’s premise is basic enough—Jack must transport a witness, Eddie Bunker (Mos Def), sixteen blocks to the courthouse so that Eddie can testify and bring down six bad cops—but hit men and Jack’s crooked ex-partner, Frank Nugent (David Morse), make the sixteen blocks a serpentine maze of high stakes and narrow escapes. The time constraint (Jack must get Eddie to the courthouse in less than two hours) amps up the drama and a nicely executed twist near the movie’s climax hoists the movie to a level just above the standard action/thriller.

Though the bus sequence reminded me too much of
Speed, some of the other action scenes were exceptionally well-crafted; like the hit on Jack’s car while he’s in the liquor store, or the stand-off in the bar or the shoot-out behind the restaurant, which is preceded by an intense verbal sparring match between ex-partners (Frank implores Jack to look the other way and hand over the kid).

Bullets are cheap in the movie, but between pulse-pounding action sequences a fair amount of attention is given to character analysis; such as Eddie’s perpetual death grip on his notebook. We eventually learn that the book is full of recipes—Eddie’s dream is to open a bakery where “every day is a birthday.” Eddie’s nasal delivery gets old after five minutes and his obnoxious blustering gets old even quicker; there’s only one instance in the movie where his effusive small-talk comes in handy…the rest of the time it nearly gets him and Jack killed. At times, you have to resist the urge to yell, “Shut up, already!” at the screen (a fellow spectator remarked, “The trick is to keep him from being killed without killing him.”). Perhaps Jack said it best, “Life’s too long and it’s people like you that make it longer.”

Jack is a fascinating, multi-layered protagonist: he tells Eddie, “I’m not a good guy,” yet when he tape records his last will and testament Jack claims that he’s “trying to do a good thing,” and certainly follows through with that intention at the movie’s climax. One thing I don’t like about the movie (other than Eddie’s excessive chin-wagging) is Jack’s change of heart—it’s a good twist and makes for a pseudo-happy ending, but it lifts the lid on the pressure cooker, effectively letting out any steam the movie had been building. If Jack had come to his senses and decided to change his ways earlier, Eddie would have been imperiled far less and fewer casualties would have been suffered along the way…in essence, Jack’s reformation makes all of the bullet showers and, in fact, Eddie’s very presence in the movie, utterly unnecessary.

Eddie’s parting encouragement to Jack, “People can change,” is a bit maudlin, but the point is well-taken; especially for typecast action stars desperately in search of a hit.
16 Blocks is a gritty urban drama that will satisfy hard-core action fans but will probably loose the rest of its audience somewhere between the precinct and the courthouse.

Rating: 2 1/2

Joyeux Noel (PG-13)

tt0424205
Directed by: Christian Carion
Starring: Diane Kruger
March 2006

“Inspiring True Account of History’s Most Miraculous Truce”


Based on the incredible true story of the night peace and good will visited the trenches of French, Scottish and German soldiers during WWI, Joyeux Noel (aka Merry Christmas) chronicles the events surrounding history’s most astonishing ceasefire. On Christmas Eve, 1914, a German tenor started singing “Silent Night” and, upon recognizing the sacred Christmas carol, French and Scottish soldiers added their voices to the multicultural chorus from across the blood-soaked, corpse-littered battlefield. A miraculous event transpired when white flags ascended and soldiers from both sides descended upon the soiled plain; soon mortal enemies were communicating with each other (with only gestures in some cases), trading valuables and proudly showing off pictures of loved ones.

At the conclusion of a solemn Latin mass officiated by a Scottish priest, the three leaders had a summit and mutually agreed to lay down arms and sort out the fallen soldiers the next day. On Christmas day, one soldier ironically observed, “We’re burying the dead on the morning when Christ was born.” The day after Christmas presented a perplexing challenge as many of the soldiers on both sides struggled with resuming combat—men with whom they had played a friendly game of kickball the day before were now lined up in their crosshairs. Having seen the face of the enemy, many were reticent or flat-out refused to fight.

The irony of the story is how perspective can paint or taint our reality. For many of the soldiers, once the floodgates of friendship and mutual understanding had been flung aside, there could be no going back to the clear-cut, good guys/bad guys patriotism that prevailed in their home countries. The repercussions of treating the enemy with the tiniest shred of humanity were severe—most of the soldiers were sent home in disgrace, branded as traitors and replaced by fresh troops who were all too eager to raise the Sword of the Lord against the unholy hoard that was the German army. Though this makes for a bittersweet ending,
Joyeux Noel, as a whole, is uplifting and inspirational, and the movie’s salience, in light of current events, is profound.

Despite the exemplary effort exhibited by the costuming, props and art departments, the movie suffers from slow pacing and static direction from writer/director Christian Carion, especially in the early goings. The only familiar face among the cast is Diane Krugger (
National Treasure), who plays Anna Sorensen, an opera singer and wife of the German soldier who initiates “Silent Night.” The rest of the cast is comprised of foreign actors who adequately inhabit their roles with three standout performances: the singing German soldier, the French commander and the Scottish priest, who is the beneficiary of the best lines in the movie.

Joyeux Noel will undoubtedly find its place among the vast catalog of seasonal treasures, but the movie will be remembered more for its political commentary than for its Christmas-related story elements, which, though vitally important, comprise a very small part of the overall plot. They say music is the universal language, and if sworn enemies can find fellowship and common ground in the midst of the hellish realities of war, the adage is supremely accurate.

Rating: 3

The World’s Fastest Indian (PG-13)

tt0412080
Directed by: Roger Donaldson
Starring: Anthony Hopkins
February 2006

“High-octane Biopic is Built for Speed”


The true story of intrepid Kiwi motorcycle racer, Burt Munro, is an inspiring journey of courage, determination and unyielding passion in the face of persistent adversity. Pushing his heavily modified, highly-experimental 1920 Indian Scout bike to insane velocities, Burt was built for speed. He tells Thomas, the neighbor boy, “You live more in five minutes on a bike going flat out than most people do in their lifetimes.”

Known about town as an eccentric hermit, Burt uses a power sander to file his toenails and an acetylene torch to heat a kettle of water for tea. He also pees on his lemon tree to help it grow. When Thomas’ father implores Burt to mow his lawn because it’s a disgrace to the community, Burt douses the ankle high grass with gasoline and sets it on fire. Some might mistake Burt’s quirky insouciance and hermit-like lifestyle for xenophobia, but nothing could be further from the truth. Burt’s the type of person who can make friends with anyone, anywhere, at any time. Individuals in pursuit of a dream generally attract a following, and so it is with Burt, who’s aided by a vast array of individuals as he makes his way from Invercargill, New Zealand to the Bonneville Salt Flats in Utah.

The culture shock Burt experiences when he reaches the US is poignant in an amusing way. Rude cabbies and soliciting prostitutes soon pale in comparison to the hotel clerk he encounters in Hollywood, a cross-dresser named Tina. Burt purchases a car from Fernando, who nearly has a coronary on the test drive when Burt drives on the wrong side of the road. When Burt’s jury-rigged bike hitch looses a wheel, a Native American named Jake helps with repairs and also gives Burt something to help with his failing prostate (a powder made from ground up dog testicles). Despite considerable and frequent setbacks Burt never once looses his sense of humor—his strength of will and persistence of vision fuel his drive to fulfill a lifelong dream.

Although it’s been said a dozen times before, this is one of Anthony Hopkins’ finest performances. Hopkins wholly inhabits Burt and endues the dotting daredevil with a dignity and morality that’s quite refreshing. Tour de force doesn’t even come close to describing Hopkins’ masterful turn; not only does he anchor the film, as the only marquee name in the cast, he
is the film.

The World’s Fastest Indian is a gem of an indie flick that comes with a heartening reminder that it’s never too late to pursue a dream. The reason why Hollywood has been so heavily criticized for the frequently lacking body of work it produces? It doesn’t make enough movies like The World’s Fastest Indian. The film is a rare cinematic treasure that you’d do well to rush out and see.


Rating: 3 1/2

Last Holiday (PG-13)

tt0408985
Directed by: Wayne Wang
Starring: Queen Latifah
January 2006

“Delightful and Inspirational Carpe Diem Comedy”


“There are always possibilities,” or so the saying goes. Retail worker for Kragen department stores, Georgia Byrd (Queen Latifah), has an album full of dreams, labeled Book of Possibilities. In it are favorite recipes of foods she can’t eat, brochures to vacation spots she can never afford to visit and cut and paste fantasy wedding pictures of her and her hunky co-worker, Sean Matthews (LL Cool J). Georgia takes a picture of the meal she just created while watching her idol, Emeril Lagasse, on TV, pastes it in the album and wistfully dreams of all the things she could experience, if only…

One day at work, while trying to impress Sean, Georgia accidentally bumps her head and is taken to a nearby clinic. A CAT scan reveals that Georgia has multiple brain tumors…she’s given three weeks to live. After leading her congregation in a rousing, impromptu gospel song entitled “Why me, Lord?,” Georgia cashes in her bonds, heads for the Czech Republic and stays at Hotel Pupp (pronounced like the stuff dogs leave on lawns). While checking in, Georgia overhears that a big business meeting will take place at the hotel between corporation owner, Matthew Kragen (Timothy Hutton), his paramour, Ms. Burns (Alicia Witt), a congressman and the senator of Louisiana. At dinner, Georgia breezes into the hotel restaurant wearing a dazzling European dress and commands the attention of every waiter when she orders all four specials, which further elicits the attention of world-renowned Chef Didier (Gerard Depardieu), who immediately takes a liking to Georgia and later allows her to create meals in his kitchen. Assuming Georgia comes from money, the business party befriends Georgia and includes her in such activities as skiing, base jumping and gambling; Kragen tries competing with Georgia and ends up looking like a fool in each instance. While Georgia continues spending money, enjoying life and making new friends, Kragen, pays off a housekeeper to discover the secret to Georgia’s real identity.

A remake of Alec Guinness’ 1950 movie of the same name,
Last Holiday features memorable performances from an assemblage of journeyman actors (and cameos by Emeril and Smokey Robinson) and a heart-warming story that analyzes the brevity of life without waxing preachy. In the history of cinema, there have been plenty of three-weeks-to-live plots, but none have been delivered with this much insouciant charm. Queen Latifah’s performance is remarkable as Georgia Byrd, a woman you just can’t help but admire for her spunk and new-found lust for life; emboldened by her terminal illness, Georgia tells another character, “I wasted too much of my life being quiet.” There’s a wonderful scene where Georgia looks into the mirror and tells herself that the next time “we will laugh more, love more, see the world…we just won’t be so afraid.”

From the colorful characters to the inspirational story to the on location footage shot in a cozy European village, there isn’t a single misstep in director Wayne Wang’s (
Because of Winn-Dixie) feel-good flick. Last Holiday is an amusing tale wrapped around a subtle reminder to make the most of every moment. And to always get a second opinion!

Rating: 3

Glory Road (PG)

tt0385726
Directed by: James Gartner
Starring: Josh Lucas
January 2006

“Inspirational Basketball Formula Still Works”


Last year’s model was Coach Carter, a “based on a true story” project spotlighting basketball coach Ken Carter’s extreme measures to build men of character out of his troubled inner-city players; a story that made national headlines in 1999. This year’s model, presented by Buena Vista studios and director James Gartner, chronicles Don Haskins’ (one time woman’s basketball coach and later Hall of Fame basketball legend, played here by an even-keeled Josh Lucas) visceral and controversial decision to start all black players in a championship game—something that, to that point, had never been done before. You don’t need a magnifying glass to see the movie’s social commentary with regard to racism, and its similarity to other sports films, Remember the Titans in particular, is an inherent weakness in the plot. However, it’s the strength of the story alone that salvages this familiar recipe (i.e. an underdog team that wins the championship) and bails out Lucas’ uninspired performance.

What bothered me more than Lucas’ flaccid acting, however, was Haskins’ lackadaisical leadership style (my interpretation of Haskins is strictly based on how the movie portrays him). Haskins, apparently, had none of the fire that Gene Hackman’s Coach Norman Dale had in
Hoosiers (the quintessential film on the subject); far too often in the movie Lucas capitulates to his players, and though he preaches the fundamentals of the game (solid defense and no showboating), his overall lack of leadership presence was a constant irritant to me. The line, “They’re not going to give you anything…you’ve got to go out there and take it,” made memorable by the trailer, is one of the only instances in the movie where Lucas shows emotion of any kind. In fact, the only coaching acumen I detected in the movie was when Lucas taunts his players with various negative headlines written about his team as a means of getting them fired up for the big game.

Emily Deschanel (TV’s
Bones), who plays Haskins’ wife, is nothing more than set dressing in the movie and Derek Luke (Antwone Fisher), who plays Haskins’ star performer, does a solid job with a two-dimensional character. The only standout performance in the movie is Jon Voight’s portrayal of revered and feared University of Kentucky coach, Adolph Rupp. Only eagle-eyed viewers will recognize Voight at first glance due to a nose appliance; the veteran actor, once again, proves that he can play anything.

Glory Road, the true story of how downtrodden Texas Western University won the NCAA championship game in the mid-sixties, is uplifting if not particularly original. The main problem here: after the goose bumps fade so will any memory of the film.

Rating: 2 1/2

Memoirs of a Geisha (PG-13)

tt0397535
Directed by: Rob Marshall
Starring: Ziyi Zhang
December 2005

“Finely Mounted Retrospective of Oriental High Art”


Essentially an Asian Cinderella, Memoirs of a Geisha, based on Arthur Golden’s bestselling novel of the same name, is a visual masterpiece; effectively combining authentic sets, vibrantly colored costumes and sweeping cinematography that literally can take one’s breath away, the movie transports spectators into the brutal, yet exhilarating world of a young girl living in a Japanese fishing village on the eve of WWII.

The movie opens with blue-eyed waif, Sayuri (Ziyi Zhang), being sold into slavery and separated from her sister, Pumkin. Just like the downtrodden step-daughter in
Cinderella, Sayuri is blamed and punished for every familial mishap and has no purpose in life or hope for the future until she’s sold to Mameha (Michelle Yeoh), a stern matriarch who sees the young girl’s potential and trains her to be a geisha.

Though the movie’s earlier stages are plodding, the training sequences are extremely engaging and serve as a window into mid-twentieth century Japanese mores and customs. In a scene reminiscent of the horserace in
My Fair Lady, Sayuri must prove herself as a full-fledged geisha by catching the eye of a prominent chairman (Ken Watanabe) at a sumo match; selling herself to the highest bidder is how a geisha earns her stripes.

The movie takes an abrupt left turn with the onset of WWII; the effects and ramifications of the war, as seen through the eyes of Sayuri and the other geisha girls, affords the audience a unique perspective on the war and the turbulent rebuilding process. This dark time—when geishas, accustomed to the perks of high society, find themselves working in the rice fields in order to survive—is one of the more interesting chapters in the film.

The word geisha means artist, and geisha girls are judged as moving works of art; in addition to extensive training in dance and creative movement, an experienced geisha will also have the ability to stop a man dead in his tracks with just one look. It’s fitting that a story so focused on art should excel at acting, directing, set decoration, costuming, makeup and cinematography. Also, John Williams’ oriental-flavored score perfectly accents the gorgeous, finely crafted film, and is worthy of Oscar consideration.

Though the movie suffers from slow-pacing and is, perhaps, a bit too long, it approaches high art with all the grace and elegance of a highly-skilled geisha thanks to an excellent script by Robin Swicord and superlative direction by Rob Marshall (
Chicago). Memoirs of a Geisha is a touching story of integrity amid fierce rivalry and is a visual spectacle unlikely to be surpassed in the near future.

Rating: 3

The Family Stone (PG-13)

tt0356680
Directed by: Thomas Bezucha
Starring: Dermot Mulroney
December 2005

“Diamonds Are Forever…Dysfunctional Dramedies Aren’t”


If Meet the Parents was recast and rewritten as a drama, the result would be The Family Stone, director Thomas Bezucha’s bittersweet Yuletide portrait of the pun intended Stone family. Though the gags here aren’t nearly as plentiful or outlandish as those seen in Meet the Parents, there are some humorous lines and situations sprinkled in among the hard-hitting, issue-driven narrative.

The entire plot hinges on the relationship between Meredith Morton (Sarah Jessica Parker) and Everett Stone (Dermot Mulroney). Meredith is on the stiff and stuffy side, whereas Everett and his entire family, consisting of dad, Kelly (Craig T. Nelson), mom, Sybil (Diane Keaton), sister, Amy (Rachel McAdams) and brother, Ben (Luke Wilson) are on the spontaneous, accepting and fun-loving side of the spectrum. So when the Stone’s find it difficult to accept Meredith, there’s big trouble for Meredith and Everett’s relationship, a problem that continues to intensify with each additional faux pa (like when Meredith shows her true, perfectionist colors during a game of charades), misunderstanding or ideological difference.

The crux of the movie, as one would gather from the title, is the Stone family wedding ring which has been passed down as an heirloom for generations. Cybil is reticent to hand over the ring because she isn’t convinced that Meredith is “the one” for her son. Everett comes to the same conclusion when Meredith insists on sleeping in a separate room from him and when he later develops feelings for Meredith’s sister, Julie (Claire Danes). Cupid throws another relational curveball when Ben gets Meredith drunk at a bar and the couple is discovered in bed together the next morning.

Further spiking the eggnog is an incendiary subplot involving the Stone’s adopted son, Thad (Tyrone Giordano), who, in addition to being deaf, is also gay. At the dinner table, Meredith recklessly walks into a lion’s den when she asks Cybil if she ever wished her son wasn’t gay…to spare him any psychological discomfort or social stigma. Meredith, oblivious to the growing hostility around her, persists in pushing her values on the Stones until red-faced Kelly explodes in anger and storms away from the table. The scene seems utterly unnecessary and is too politically-charged for i7ts own good; but I suppose the writers felt it necessary to add this incident to the ever-growing list of grievances the Stone’s hold against Meredith.

Therein lies the movie’s greatest miscalculation; as a main character, the audience is inclined to like Meredith, but the script requires her to be at constant odds with the Stones. Since the film has no antagonist (its most glaring deficiency) Meredith, with her air of superiority and annoying throat-clearing tick, is made villain by default.

I have no qualms with the acting, directing or other production values in the movie, but the story’s pacing is nearly catatonic at times, even when compared to other dramedies of this kind. To its detriment,
The Family Stone focuses too much of its attention on issues and not nearly enough of its time on the peripheral characters. Whether The Family Stone becomes the next Christmas classic remains to be seen, but its status as a run-of-the-mill drama is secure.

Rating: 2 1/2

King Kong (PG-13)

tt0360717
Directed by: Peter Jackson
Starring: Naomi Watts
December 2005

“Lots of Art, Not Much Heart”


Peter Jackson’s King Kong in a word? BIG! There’s nothing small about the movie…the scope, scale and vision are unparalleled, save for Jackson’s The Lord of the Rings trilogy. The movie is a dazzling spectacle, a modern masterpiece and a throwback to Hollywood’s Golden Age all wrapped up in one hairy, king-sized package.

I suppose the prevailing question surrounding the high-profile, highly-anticipated film is, “Why another remake of the B tier creature-feature, first released some seventy-two years ago?” The quick answer is that Jackson fell in love with the original as a wee lad; it was his profound admiration for the clunky stop-motion classic that inspired him to become a motion picture director. The real answer is…who’s going to deny Jackson anything? After sweeping all eleven statuettes at the 2004 Academy Awards ceremony for the final
LOTR installment, The Return of the King, Jackson could film a blue screen for three hours and we’d still watch it.

While surveying the well-established, highly-eclectic cast, the biggest surprise (and bone of contention among pre-premier fans) was the decision to tap slapstick comedy actor, Jack Black (
School of Rock), for the title role. After viewing the film, however, most people probably will agree that Black does a superb job of fleshing out the young, brazen film director, Carl Denham. The ambitious auteur, as drawn by Jackson and Black, is frighteningly similar to a young Orson Welles; and you can be sure that such similarities aren’t lost upon either director or actor. Denham’s narcissism drives him to lie, cheat and cajole in order to get his picture made. The character possesses an eerie brand of fearlessness…even with dinosaurs charging toward him, Denham keeps the camera rolling, and it’s ultimately Denham who throws the bottle of chloroform that KO’s the angry gorilla. Denham is devastated when his camera is destroyed, but shows no remorse, whatsoever, for his fallen comrades. So severe is his megalomania and so entrenched is his need to be loved by the masses (Citizen Kane), that Denham revels in the opportunity to showcase the gigantic gorilla in an exhibition when they arrive back in NYC; taking credit for capturing the ferocious beast whenever he can, of course. Denham’s unbridled ambition and lust to provide his audience with a spectacle is a fascinating character study; in this memorable turn, Black is flawless.

Adrien Brody is adequate as renowned playwright, Jack Driscoll, but it’s Naomi Watts, in the pivotal role as struggling actress, Ann Darrow, who really steals the show. Though she never threatens to dethrone Fay Wray, Watts does an excellent job of emoting only when necessary. There’s a wonderful scene where Ann performs dance movements for Kong to entertain him (and keep him from eating her)—Kong soon grows bored and knocks her down to amuse himself. After repeatedly being shoved to the ground, a furious Ann strikes back at Kong, pricking his finger with a branch. Kong goes berserk and nearly destroys everything around him until a boulder falls on his head and dazes him. In that moment, the beast realizes the beauty isn’t afraid of him…an emotional bond forms between them. This touching moment, like the sad goodbye before Kong tragically plummets to his death, allows a ray of humanity to break through the cloud of CGI. Sadly, these intimate segues are few and far between in the film.

Andy Serkis (who makes a cameo as the ship’s cigar-chomping cook) is masterful as Kong. He brings the full gamut of motions, emotions and facial expressions to the colossal gorilla—in the same way he did for
LOTR’s Gollum—by donning the blue sensor suit that’s become a second skin to the actor. Serkis will go down in motion picture history as the CG man…a truly unique and unsung talent.

The excellent performances bring the movie to life and the script (slightly tweaked from the original) is engaging, but it’s clearly the special effects that drive the film. Jackson earned the title “FX Wizard” while working on the
LOTR movies, but in the words of Emeril Lagasse, he’s “kicked it up a notch” for King Kong, unleashing the creative masterminds from his Weta Workshop upon his dream project (many of the skilled artisans have worked with Jackson for the past decade now).

The iconic battle between Kong and the fighter planes atop the Empire State Building has received a facelift here, but seems like a no-brainer to storyboard. More impressive are the scenes involving the natives kidnapping Ann, the dinosaur stampede, Kong overturning the giant tree bridge and the scene where colossal slugs and bugs attack the explorers (easily the most disgusting tableau I’ve seen in a non-horror movie for quite some time—a full four minutes of creepy-crawly nastiness). One of the most deftly executed action sequences ever to grace the silver screen occurs near the movie’s midpoint…Ann desperately tries to escape the reckless pursuit of three Vastatosaurus Rex’ (think T-Rex with acne and bad dental work), faux dinosaurs dubbed by the clever minds at Weta. The sequence where Kong takes on all three Rex’ while tossing Ann from hand to foot, etc., is pure kinetic euphoria, and the scene where they all fall though the vines (Ann comes within inches of a Rex’ snapping jaws) is the creative high point of the film. There’s a great moment at the conclusion of the fight when Kong separates the Rex’ jaw from its head and beats his chest in defiance. Take that, you overgrown iguana!

For all of its technical achievement, however,
King Kong misses the point by missing the human element of the story. Character development is inexcusably cursory in the film (which weighs in at 3 hours and 7 minutes) and everyone except for Denham and Darrow is overpowered by the movie’s unrelenting, mind-blowing effects. Though the story is a bit plodding before the Venture reaches Skull Island, the action achieves break-neck pace on the island, leaving little room for meaningful conversation unless you consider screams of terror to be finely-crafted dialogue.

Maybe we’ve come to expect too much from the story in the first place. The notion that a gigantic simian can fall in love with a woman (and a knock-out at that) will always remain a silly one, but
King Kong, somehow, makes that improbability feasible and accessible with convincing performances and skilled direction. Jackson’s King Kong is finely-mounted, keenly-focused and larger than life in most respects. Whether or not it captures the heart and soul of the original is up to personal opinion. One thing is for certain, however, Jackson’s take on the classic story doesn’t monkey around.

Rating: 3

Rent (PG-13)

tt0294870
Directed by: Chris Columbus
Starring: Taye Diggs
November 2005

“525,600 Reasons to Love This Multifaceted Musical”


Based on Puccini’s opera “La Boheme” and Jonathan Larson’s Pulitzer and Tony award-winning musical, Rent, which follows the lives of a group of friends in N.Y.C. over the course of one year, has finally made its way to the big screen. Many members of the original Broadway cast appear here, including show-stoppers Anthony Rapp (A Beautiful Mind) and Idina Menzel (“Wicked”).

The movie is a rock opera that focuses on the various aspects of struggle—the struggle to find love and acceptance, the struggle to overcome prejudice and loss and the struggle to make rent while trying to stay warm in a drafty East Villiage flat during the frigid winter months. Interspersed among the exceptional musical numbers are dramatic vignettes involving some very human, and therefore, very messed up characters. Take roommates Mark (Rapp) and Roger (Adam Pascal), for example. Mark is an aspiring movie director, whose ex-girlfriend, Maureen (Menzel), left him for another woman. Roger is numb from a recent loss and has a hard time opening up and letting anyone into his wounded heart. African American computer whiz, Tom Collins (Jesse L. Martin), faces the bitter reality that his cross-dressing lover, Angel (Wilson Jermaine Heredia), will soon die of A.I.D.S.

Though some of the subject matter is unabashedly adult in tone and content,
Rent is an excellent window into the turbulent realities of inner-city life. Director, Chris Columbus, who’s known more for his family-friendly fare (Home Alone, Mrs. Doubtfire), stays true to the overall feel of the play, while skillfully translating it to the silver screen. Borrowing talent from the Broadway musical was a stroke of genius by the casting department—chemistry is hard to manufacture and the Rent ensemble is simply astounding. Besides the exceptional vocal performances, the movie also boasts brilliantly choreographed sequences, which really amp up the movie’s frequently somber storyline.

When all is said and done, the opening number “Seasons of Love,” by itself, is worth the price of admission. So, if you didn’t get a chance to see the movie in the theater, you owe it to yourself to go out and
Rent it.

Rating: 3

Pride & Prejudice (PG)

tt0414387
Directed by: Joe Wright
Starring: Keira Knightley
November 2005

“Carried By Source Material if Not by Leads”


When I saw the trailer to this newest big screen foray based on Jane Austen’s timeless novel Pride and Prejudice, my reaction was, “Why do we need another one of those?” Having seen the 1940 B&W masterpiece with Sir Laurence Olivier and the 1995 sprawling, yet engrossing, five hour mini-series starring Colin Firth, I saw little reason, much less room, for yet another film on the subject. For the most part, my initial reaction was allayed by a movie that entertains while upholding the artistic integrity intrinsic in the source material.

There’s no doubt that the acting and creative elements in the movie are superb (a finely-crafted update of Austen’s classic romance, to be sure), but the apparent chink in the proverbial armor here is the story’s abridged content and rapid pacing—anyone familiar with the novel or previous movies will feel like this version is permanently stuck on fast forward. But, perhaps leaner is better…the main thrust of the story remains intact without the usual afternoon teas that drag on ten minutes or the extensive character development of peripheral players. What, at first, appears to be a drawback might actually be the finest attribute of the film—a streamlined plot.

Keira Knightley is certainly the most comely Elizabeth Bennett ever to grace the silver screen and her acting, arguably, is tantamount in distinction. On the flip side, Matthew Macfadyen is the most lacking Mr. Darcy yet…but in all fairness, he had some colossal shoes to fill. Macfadyen’s Darcy is more dour, distant and miserable than the previous interpretations of the character and if his performance succeeds at any point it’s the movie’s excellent (adapted) dialogue that allows him to accomplish this more than any other single factor. The character’s thinly-veiled sarcasm isn’t rocket science—when Elizabeth asks Darcy if he dances, any decent actor could have pulled off the sardonic retort, “Not if I can help it.” Donald Sutherland’s Mr. Bennett is more aloof and less quarrelsome with his wife here and, unfortunately, is a virtual non-factor in the movie.

As mentioned before, the movie’s costumes and sets are Oscar-caliber and the choreography for the dance sequences is absolutely brilliant. Like two ships of the same era firing cannonballs at each other, Elizabeth and Darcy speak in short phrases—incisive jabs shrouded in civility—as they pass each other in the dance line…one of the movie’s most amusing sequences.

This
Pride and Prejudice may not measure up to previous efforts with the same title, but it’s still a literate and artistic film that appropriately updates Austen’s supreme romance and certainly will stand the test of time…at least until the next movie arrives.

Rating: 3

Walk the Line (PG-13)

tt0358273
Directed by: James Mangold
Starring: Joaquin Phoenix
November 2005

“Honest, Accurate Portrait of the Man in Black”


Following up last year’s smash-hit biopic, Ray, would be a daunting task for any movie, but Walk the Line, the tumultuous story of Johnny Cash’s passions and pitfalls, holds its own with remarkable performances and a screenplay that exudes authenticity thanks to its source material—Cash’s autobiography—and input from son and co-producer, John Carter Cash. Ray is referenced here because there are striking similarities between both movies, similarities that beg a closer examination.

Both Ray Charles and Johnny Cash were artists who not only rose to the highest pinnacle of the music industry, but also redefined their respective genres with charisma, innovation and sheer honesty born of tragedy. Both men battled infidelity on the road and both struggled with their addiction to drugs. Most strikingly, however, is that both men shared the same traumatic childhood event—through inaction, both Charles and Cash lost their brother to a senseless accident. It could be argued that the guilt and self-recrimination they experienced drove both men to drugs as a way of sublimating their emotional pain.

The events of Johnny Cash’s life certainly are powerful and dramatic, but the script is constrained by the need for veracity: what the story gains in authenticity, it looses in spontaneity, especially for those already familiar with the ups and downs of Cash’s career. In that regard, the movie would be easy to forget if not for the stellar performances delivered by the cast in general and the leads in specific. Reece Witherspoon is amazing as June Carter and Joaquin Phoenix is astounding as Cash—both portrayals are made all the more extraordinary by the fact that both actors did their own singing for the movie (like in
Ray, musical interludes form the timeline and structure of the story and are enjoyable and memorable excursions from the film’s dramatic episodes). Witherspoon’s experience with playing upbeat debutantes really serves her well here, and Phoenix’s dramatic training on Gladiator and the Shyamalan films has clearly paid dividends in what is arguably the stand-out performance of the year.

Though his acting is fine, I just can’t bring myself to accept Robert Patrick as Johnny’s father, Ray Cash. About a year ago, I saw Patrick and Phoenix together in
Ladder 49, and though Patrick is clearly the older of the two, he seems more like an older brother or uncle to Phoenix than a father figure. Further, I don’t feel the make-up department did a very good job of aging Patrick, especially in the final scene.

Stand-out scenes are plentiful in the movie and are certainly not limited to these: Cash auditioning with a local record producer who challenges Johnny to write songs that can change people’s lives, Cash’s ongoing struggle with substances climaxing with his meltdown and collapse on stage, Carter being verbally pummeled in a general store by a local woman who disapproves of her recent divorce, Cash’s manic attempt to free a brand new tractor from a mud pit only to land it and him in a nearby lake, Cash’s legendary concert at Folsom Prison where he makes a crack about the yellow water, and any scene that has the phrase “Where were you?” in it.

Director James Mangold (
Identity) does an adequate, if not excellent, job with the paint-by-numbers script—Cash walking down the same dusty road as a boy and later as a man is a nice touch—but one wonders what the movie could have been with a more established/renowned auteur at the helm. The film runs a bit too long—the coda is unnecessary other than to show a mending relationship between Cash and his father. Mangold would have done better to freeze-frame the embrace between Cash and Carter—after Cash finally wears Carter down and she agrees to marry him in front of a live audience—and include a line about Cash’s reconciliation with his father in the concluding footnotes.

Walk the Line should receive numerous Oscar nods: besides excellent performances, the movie is inspirational in its offering of hope to anyone who, like Cash, has made some poor choices in life (who among us is immune to this condition?). Johnny Cash may have hurt himself and others in his lifetime, but he also found redemption in his later years and will be remembered for his humanness and musical brilliance for decades, and hopefully centuries, to come. Who said good guys never wear black?

Rating: 3

Good Night, and Good Luck. (PG)

tt0433383
Directed by: George Clooney
Starring: David Strathairn
November 2005

“Literate and Intensely Focused Reflection on the McCarthy Era”


This is one of those rare films (and not just because it was shot entirely in B&W) where historical accuracy and artistic license beautifully meld into an engaging narrative so taut, so terse and so poetic that it transcends the medium to become something far grander than just a movie.

Two insights struck me as I took in the experience that is
Good Night and Good Luck, director, co-writer and co-star George Clooney’s incisive treatise on the U.S. during the McCarthy Era: 1. The more people change, the more they stay the same. That is to say, it’s easy to play armchair historian and pass judgment on our American forebears, circa early 1950’s, for their rampant hysteria over rumored Communist spies in high governmental positions (Jr. Senator from Wisconsin, Joseph McCarthy, and his minions believed that our country was contaminated by Communists and took it upon themselves to ferret out and/or blacklist said individuals from every strata of society). The names, faces and headlines have changed over the decades, but have we truly evolved past our petty prejudices, bigotry and racial profiling (in the wake of 9-11, for instance)?

2. What happened to our education system? The mode of speech employed by all of the characters, and CBS news reporter Edward R. Murrow (David Strathairn) in particular, is at a far superior level to anything you’d hear in the media today, much less in casual, everyday conversation. Much more than just a list of SAT words, the movie’s dialogue is permeated with abstract concepts, euphemistic jabs, figurative descriptions, satirical quips and quizzical notions. Continually catering to the lowest common denominator has clearly taken a toll on our education system and the citizens of our nation by extension.

Lending the movie a sense of time and place is the preponderance of cigarette smokers; roiling wisps of smoke can be seen throughout the movie and at times the cloud of carcinogens was so dense on-screen that I had to hold my breath for fear of inhaling second-hand smoke. Another historical tidbit presented in the movie (which may be a curiosity to younger viewers) is the much stricter policies regarding fraternization in the 50’s workplace, as is poignantly demonstrated by married couple Joe and Shirley Wershba (Robert Downey, Jr. and Patricia Clarkson).

Social commentary aside (if that’s possible with a movie of this ilk),
Good Night and Good Luck is a masterwork that seamlessly blends actual footage of McCarthy with Strathairn’s ardent recitation of Murrow’s actual monologues. Recitation is a heinous disparagement of Strathairn’s scintillating performance—the actor so perfectly captures Murrow’s mien and nuances that he could teach Shirley MacLaine a thing or two about channeling. Anchored by Strathairn and Clooney (who plays intransigent producer, Fred Friendly), the cast is a virtual directory of A-list actors: Jeff Daniels as the reticent office manager, Sig Mickelson, Frank Langella as the beleaguered studio executive, William Paley, Ray Wise as the troubled newsman, Don Hollenbeck, along with the aforementioned Clarkson and Downey Jr., are all pitch perfect under Clooney’s prescient direction.

Although I don’t believe there’s such a thing as a flawless film,
Good Night and Good Luck comes exceptionally close to that lofty mark. Moments of stark intensity, like the heated debate over editorializing or the moral dilemma over always posing two sides to every story, are properly balanced with guffaw-inducing sidebars like the exchange between Murrow and Liberace…the only time Murrow is left speechless in the entire movie. Another brilliant touch is Clooney’s use of mock recording sessions from neighboring Columbia Records as musical segues between dramatic sequences; adding some much needed variety, they prevent the movie from collapsing under its own weight.

Serving as bookends for the movie is Murrow’s speech at a banquet thrown in his honor in 1958: in it he warned against complacency—which was already brewing in our country—and that television, as a terribly powerful medium, must not be used for frivolous entertainments. I wonder what Murrow would think about Reality TV?

Whether or not the movie is so honored,
Good Night and Good Luck is the best picture of 2005…and good luck to anyone who gets in its way.

Rating: 4

Dreamer: Inspired By a True Story (PG)

tt0418647
Directed by: John Gatins
Starring: Kurt Russell
October 2005

“Emotional and Inspirational Horse Tale”


If watching a movie could be like slipping on a pair of worn-in boots, Dreamer would definitely be that movie. You already know the ending when you see the trailer (movie, not horse), but there’s still something reassuring, comforting and inspiring about a story where someone dreams big and wins, especially if it’s based on a true story. Especially if it features Hollywood’s youngest starlet, Dakota Fanning (who, according to a recent EW article, has outperformed every other adult female actor—including Julia Roberts—at the box-office this year).

Ben Crane (Kurt Russell) is a weather-worn horse trainer who struggles to connect with his distant daughter, Cale (Fanning), beleaguered wife, Lilly (Elizabeth Shue) and estranged father (Kris Kristofferson), while contending with his racist boss (David Morse), who fires Ben and gives him a Philly with a broken leg as severance pay. Ben nurses Sonador (Spanish for Dreamer) back to health—with the additional aid of Cale, who sneaks out of the house late at night and feeds the horse popsicles—and the horse is soon racing along the countryside. Ben sees the horse’s breeding potential, but Cale steadfastly holds to the silly notion that Sonador will race again and begs dad to let her keep the horse.

Cale is given ownership of the horse and after winning a few small-time races, she sets her sights on the Breeder’s Cup. Everyone thinks Cale is overly idealistic, but when Sonador clinches the final spot on the Breeder’s Cup roster, the family is faced with the next colossal challenge—coming up with the formidable entry fee. Beyond that seemingly insurmountable obstacle is the unsettling knowledge that Sonador has never been in a race this big and is predicted to finish last (lingering concerns as to stability of Sonador’s leg also throws a pal over the horse’s chances of finishing favorably). In this seething cauldron of doubt and dream-shattering circumstances, Cale’s courage primes the pump of the impossible; not just reconciliation between Ben and his family, but also a goose-bump raising finale that rivals
Seabiscuit’s harrowing climactic race.

The lines on Russell’s face are showing through the make-up more these days, but like fine wine, his performances are improving with age (
Miracle). There’s a bit of dream casting in the movie; Russell and Kristofferson look like real-life father and son, and the interplay between these big-screen veterans is a real treat. Superlatives always seem to fail when describing cherubic Fanning, and frantically flipping through a thesaurus to find that choice adjective seldom works either. Suffice it to say, Fanning has turned in another precocious performance here and is rapidly becoming the queen of the silver screen…at age ten.

From the opening sequence to Bethany Dillon’s uplifting, tear-jerking song accompanying the end credits,
Dreamer is one hundred percent inspiration—a family-friendly, fun-filled tale that reminds us to pay heed to the dreamer inside.

Rating: 3

Elizabethtown (PG-13)

tt0368709
Directed by: Cameron Crowe
Starring: Orlando Bloom
October 2005

“Interminable Dramedy Is Nothing to Crowe About”


Every once in a while, a movie comes along that you really want to like, but you just can’t. The acting, directing, etc. is fine, but the sum of the movie’s parts leaves you dubious, disappointed or downright confused.

Speaking of confusion, the “Huh?” factor is ubiquitous in the latest five-course banquet served up by writer/director Cameron Crowe (
Jerry Maguire). Dubbed Elizabethtown—a sprawling, writhing piece of dramatic/romantic yarn that tells an involved tale with little lasting value—the movie features some amusing vignettes, but ultimately neglects to provide an overarching theme.

Sneaker designer, Drew Baylor (Orlando Bloom), has created a new, cutting-edge tennis shoe that’s been rejected, en masse, by the shoe-buying public, causing the company he works for to eat a million dollars. Drew is in the process of attempting suicide when his frantic sister calls—Drew’s father has died. Volunteered by his immediate family to make the funeral arrangements, Drew catches a red eye flight to Lexington. An ebullient stewardess, Claire (Kirsten Dunst), befriends (virtually stalks) Drew, tries out some pop psychology on him and gives him a map of Kentucky and her phone number as he debarks the plane.

Drew experiences severe culture shock when he arrives in Elizabethtown: his entire extended family envelops him, each relative brimming with colorful stories about his deceased father whom he hardly knew. Drew is soon drawn into the middle of a heated debate regarding his father’s upcoming funeral: should his father be buried or cremated? Amid the craziness, Claire pops up again, but only to string Drew along some more until she finally deals with her commitment issues and allows the bud of her romantic feelings for Drew come into full bloom.

After two hours (which feels like two days), the movie, at last, brings us to the long-awaited and unconventional funeral, which features a swooping, flaming boar and a head-scratching tap dance by Drew’s mother, played by Susan Sarandon (I nearly checked out here). Most of the funeral belongs in a slap-stick comedy and feels incongruous with the rest of the movie.

When the funeral finally, mercifully concludes (my friend turned to me in the theater and whispered, “As far as I’m concerned, it’s not over.” He was right. The movie drags on for another half hour), Drew undertakes a journey of self-discovery and emotional healing—which is what the movie should have been about from the very beginning. As Drew drives across the central U.S., following clues that Claire has placed for him in advance, he works things out with his dad; talking, laughing and yelling at the ash-filled urn sitting in the passenger seat. This sojourn is the most enjoyable part of the movie, but, unfortunately, it can’t bail out the previous two hours, which are filled with exhausting character development of shallow lives and events both random (Chuck and Cindy’s wedding) and commonplace, all of which brings the viewer to a mental state similar to Drew’s before his sister calls.

Elizabethtown is an insipid comedy, a dense drama, a frequently aimless character study and a plodding quagmire of subplots all rolled into one—there’s no clear sense of place or purpose until the very end. Crowe’s direction is ponderous and the overall effect of the film is like a shot of Novocain in the brain—the numbness eventually wears off, and in a few hours, the spectator has no recollection of the movie whatsoever.

Bloom is fairly convincing and Dunst does her giggles and dimples best, but their solid performances fail to elevate the superfluous storyline and leaden dialogue, which is an amalgamation of the worst B-movie lines ever written. The most distracting element in the movie (besides Dunst’s atrocious Southern accent) is the voluminous soundtrack; a veritable Time Life collection of pop tunes that can be heard at regular intervals (generally every two to five minutes) throughout the film, the music feels less like a score and more like a juke box with a broken record.

In short,
Elizabethtown is an utterly meaningless film that’s entirely too long (like this review). But, hey, it could be worse…the first cut of the film was eighteen minutes longer.

Rating: 2

Flightplan (PG-13)

tt0408790
Directed by: Robert Schwentke
Starring: Jodie Foster
September 2005

“High-Flying Thriller Fulfills All of Its Plans”


Ever noticed how movies on a similar theme always end up being released in pairs? Hollywood catches wind of a hot-button topic or finds a bandwagon to jump on and at least two studios go head-to-head to be the first to capitalize on the subject. Invariably, one will gain supremacy (whether in quality, critical recognition or box-office success) over the other.

Clint Eastwood’s award-winning, paradigm-shifting western,
Unforgiven (1992), prompted Buena Vista’s Tombstone (1993) and Warner Bros.’ Wyatt Earp (1994). Scientists predicting a catastrophic event from an asteroid collision informed Paramount’s Deep Impact (1998) and Buena Vista’s Armageddon (1998), while predictions of a manned-mission to Mars within the next thirty years gave us Buena Vista’s Mission to Mars (2000) and Warner Bros.’ Red Planet (2000).

So now Hollywood’s on an aviation kick, perhaps spurred on by last years’
The Aviator, with Dreamworks’ Red Eye and Touchstone’s Flightplan, two high altitude thrillers released a month apart. With Jodie Foster onboard, an airtight script by Peter A. Dowling and Billy Ray in the cargo hold and taut visioneering by director, Robert Schwentke, in the cockpit, this jumbo-jet really soars and is certainly the better of the two recent plane thrillers.

The movie opens with jet designer, Kyle Pratt (Foster), coaxing her six-year old daughter into boarding a new 474 double-decker jet headed from Berlin to N.Y.C. Also onboard, stored in the lower cargo section of the craft, is a casket containing Kyle’s recently-departed husband—he fell out of a window (uh, huh!).

Exhausted from recent events, Kyle dozes off… Three hours later, turbulence jolts Kyle from her respite and she discovers Julia is missing. At first, Kyle is merely worried when no one in her section remembers Julia boarding the plane—even the obnoxious kids sitting directly in front of them. After searching the entire plane, Kyle goes into panic mode and asks to see the captain. Captain Rich (Sean Bean) is at first sympathetic, ordering a full search of the plane, but when the stewardesses fail to turn up anything, the captain becomes cynical, even adversarial. Matters go from bad to worse when he learns that, according to the passenger manifest, there never was a Julia Pratt aboard. While the crew believes she’s hallucinating or suffering a mental breakdown from the loss of her husband, Kyle starts to wonder if she’s loosing her mind until she finds a piece of undeniable evidence that proves Julia is on the flight.

What begins as a run-of-the-mill “missing person” tale upgrades to a first-rate, edge-of-your-seat thriller, complete with terrorist activity, racial commentary and feral maternity. Foster is magnificent in her portrayal of a mother pushed to the edge—this is a brilliant, multi-layered character study, flawlessly conveyed and wholly believable. Like the gradual intensity of a sunrise or the steady temperature increase of a pot of water set to boil, Foster seamlessly morphs from concerned to alarmed, to panicked, to frenzied, to hysterical. These emotional gradients are masterfully executed by this veteran A-list actress, who is undoubtedly in her power-house prime.

The only noteworthy supporting players are Bean and Peter Sarsgaard, both of whom, ironically, have a fear of flying in real life. Bean’s Captain Rich stays just on the fringes of becoming a central character—his part is serviceable but certainly not noteworthy. Sarsgaard’s duplicitous air marshal is a more fleshed-out auxiliary player, but he falls just shy of being a memorable villain—Cillian Murphy’s antagonist in
Red Eye was much more effective.

Besides some minor plot holes (i.e., why would hijackers kidnap the daughter of a woman who designed the plane?),
Flightplan is a riveting thriller, made memorable by a solid script and Foster’s mesmerizing performance. Now, when can we book a flight on that new jet?

Rating: 3

Batman Begins (PG-13)

tt0372784
Directed by: Christopher Nolan
Starring: Christian Bale
June 2005

“The Dark Knight’s Sordid Origins Are Finally Revealed”


I was never a fan of the campy 60’s TV series, but I’ve read my fair share of Batman comic books. I saw the Dark Knight’s theatrical hat trick in the 90’s, and though I enjoyed moments of those Gothic tales (except for Schumacher’s debacle), I’ve always been a proponent of Batman: The Animated Series and have contended since its inception that any of those brilliant, half-hour episodes are better than the movies…until now.

Director, Christopher Nolan, has returned Batman to his essential and elemental roots in the globetrotting origins tale appropriately dubbed,
Batman Begins. From the opening sequence, where young Bruce Wayne falls into a pit teeming with squealing bats, to the final scene where Batman (Christian Bale) and Lieutenant Gordon (Gary Oldman) discuss a clue that will lead them to next movie’s villain, this is the movie I, along with countless millions, have been chomping at the cowl to see…the birth of Batman.

Avoiding the pitfalls of the past (i.e. psychedelic neon lights or nippled Bat-suits), screenwriter, David S. Goyer, has drawn fully realized characters in real life situations…no oversized props or larger-than-life villains here. Goyer clearly did his homework for this project, researching the Dark Knight’s haunted past and neurotic present—he masterfully cuts back and forth between Bruce Wayne’s boyhood tragedies and adult struggles with fear and injustice. There’s a fair amount of social commentary in the movie that, thankfully, never comes across as stilted: themes of government corruption, societal degradation and terrorist infiltration of our infrastructure run rampant throughout the film. Besides a powerfully gripping and salient story with finely chiseled characters, Goyer’s dialogue is witty, incisive and delightfully variegated (though Gordon’s reaction to the new Batmobile, “I’ve gotta’ get me one of those,” was a bit much).

Nolan has assembled a dream cast headlined by Bale, whose previous movie,
The Machinist, called for a severely emaciated insomniac—the Welsh thespian gained 100 pounds in six months to adequately fill out the Bat-suit. Bale just might be the best big-screen Batman ever—he perfectly captures Keaton’s brooding melancholy and exhibits more humanity and vulnerability than either Kilmer or Clooney. Bale’s gravelly baritone is more menacing than any previous, live-action actor (no one will ever eclipse The Animated Series’ Kevin Conroy) to don the cape and cowl.

Aside from
Crash, Batman Begins boasts this year’s finest supporting cast of A-list actors, including: Michael Caine, Liam Neeson, Katie Holmes, Oldman, Cillian Murphy, Tom Wilkinson, Rutger Hauer, Ken Watanabe and Morgan Freeman. In an ironic turn, Neeson plays Ducard, Bruce’s Jedi-esque instructor, whose seemingly limitless knowledge veils a dangerously misguided soul. Murphy is pitch-perfect as the chillingly calculated Dr. Crane/Scarecrow, and Caine is the anchor and conscience (not to mention comic relief) of the film as the staid butler, Alfred—the scene where he struggles to get unconscious Rachel (Holmes) into the backseat of a car is uproariously funny.

Nolan’s bold vision has reinvented and reinvigorated a comatose, left-for-dead movie series. For legions of hopeful fans, or snake-bitten skeptics, who desperately want to believe that Batman is still a popular and profitable property, this movie should assuage any lingering doubts as to the Dark Knight’s appeal and potential—the franchise has faced its darkest fears and overcome them in grand, heroic fashion (much like our redoubtable protagonist). With Bale already onboard for a sequel and Nolan hinting at a trilogy, Batman’s screen future seems as secure as a lodged Batarang.

I’m extremely stingy when it comes to handing out perfect scores, but my only snafu with
Batman Begins is that Gotham City is Chicago, not New York as I prefer—and that’s pretty picayune. The only trouble the series now faces is a name for the sequel…Batman Continues?

Rating: 4

The Interpreter (PG-13)

tt0373926
Directed by: Sydney Pollack
Starring: Nicole Kidman
April 2005

“A Highly Involved Thriller That’s Hard to Interpret”


The Interpreter should have been great. With two powerhouse actors in Sean Penn and Nicole Kidman, an A-list director in Sydney Pollack and a solid yarn spun from storywriters Martin Stellman and Brian Ward, and screenplay writers Charles Randolph, Scott Frank and Steven Zaillian, The Interpreter should have been the thriller of the year. Instead, it’s simply a good movie that features fine performances and a plot that is fairly relevant in our terror-wracked world.

Silvia Broome (Kidman), a skilled U.N. interpreter, returns to work late one night to retrieve a bag and overhears a whispered conversation detailing plans to assassinate a despised foreign leader, Zuwanie, in two days hence. Enter Tobin Keller (Penn), a member of the secret service, who is commissioned to investigate Silvia’s claim and verify her veracity or verisimilitude. At first, Silvia and Tobin’s conversations play out like a series of chess moves, but they gradually develop a tenuous friendship after opening up about their painful pasts. Some of the movie’s standout events are: a bus bombing, a man in a mask standing outside Silvia’s window on the fire-escape, and, of course, the climactic assassination attempt on the foreign terrorist’s life.

The Interpreter is engaging, if not a bit plodding at times, and spins elaborate webs of political intrigue, dark motives and sordid pasts. However, there’s so much going on in the movie, that the multitude of players and situations actually becomes a deterrent to the movie’s accessibility and enjoyment. What’s more, the end is patently predictable and there’s no real emotional payoff in the film.

Penn is solid, but he certainly isn’t stellar, and we’ve seen Kidman in meatier roles (
The Hours), as well. The scene where Tobin tells Silvia that his wife died only twenty-three days earlier is the emotional core of the movie, but the meaningful interplay, like a New York minute, is over far too quickly and we’re back to muddy narrative and impotent action sequences. It’s a shame these two award-winning actors weren’t given the kind of material that would properly showcase their exceptional talents.

One gratifying aspect of the movie, however, is the extensive filming inside the U.N. building—this is the first movie to be accorded such a privilege (Hitchcock’s 1959 opus,
North By Northwest, received no such dispensation, but the genius auteur grabbed a shot of Carey Grant climbing the steps of the U.N. building from across the street).

In the end,
The Interpreter translates into an underachieving thriller that will soon blend in with all the other mediocre suspense films at Blockbuster.

Rating: 2 1/2

Millions (PG-13)

tt0366777
Directed by: Danny Boyle
Starring: Alex Etel
April 2005

“Smart and Stylish: The Next Generation of Family Film”


Damian (cherubic Alex Etel) and Anthony (Lewis McGibbon) are seven and nine year old British boys, respectively, who have recently lost their mother—and to add insult to injury, their father moves them to a new neighborhood and school. Damian is a dreamer with a truly beautiful and innocent mind; a young man who can rattle off statistics about Catholic saints faster than any priest this side of the papacy, and who is oft visited by such venerated figures in his fertile and impressionable imagination. Damian builds an elaborate cardboard fort near some train tracks and fancies himself an astronaut when the train rumbles past—the raucous rumble of boxcars, the strident sound of wheels on steel and jostling vibrations that threaten to topple the makeshift shelter all simulate a lift-off sequence, and in his mind, Damian is launching into space.

On one fateful day, a duffel bag flies free from the train and flattens a section of Damian’s ramshackle fortress: curious, Damian opens the overstuffed bag to discover bundles of cash. Damian confides in Anthony and the two are soon building towers out of money stacks in their room. Replacing the cash and hiding the bag under their bed, they vow not to tell their father.

Damian consults his imaginary companions for guidance on how best to use the money: the saints suggest giving a portion to the poor, which he does without a moment’s hesitation. Whereas Damian’s motives are honorable, Anthony uses the money for personal gain—he hires bodyguards to protect him at school and buys friends by handing out bills.

Inevitably, word gets out that the boys are wealthy and they attract unwanted attention; a problem not aided by Damian’s impulsive acts of altruism, i.e.: dropping cash down the mail slot of a poor man’s door and tossing a bundle into the collection bucket for a school charity. The boys’ delirium over finding the cash is quickly replaced by guilt, fear and paranoia, especially when the money’s rightful owner shows up—a creepy drifter whose attempts at manipulating Damian amps up the thriller section of the movie. Another effective story device that adds tension to the more intimate and pedestrian moments in the movie is the conversion of currency to the Euro. With the deadline drawing closer and the shady man scheming for the money, Damian and Anthony turn to the only person they can trust…their father.

Millions is worth every penny of its namesake and has affectively ushered in a new era of family-friendly films—sophisticated and stylish, the movie embraces the Nickelodeon bunch without alienating the adult set. It’s ironic that this vanguard in family pictures comes from such and unlikely director, Danny Boyle (Trainspotting), but the auteur has crafted an exquisite film both in character and creativity. The time-lapse sequence at the beginning of the movie—an entire sub-division springs to life before our very eyes—is absolutely brilliant. The cell phone scene is also wildly imaginative: the brothers, sitting side-by-side on top of a hill, carry on a conversation with each other and two red, vertical lines reaching toward the sky represent the satellite link between them.

As young Damian, Etel is a revelation in pure, unadulterated innocence—his childlike wonder is truly the highlight of the film. Damian asks every imaginary saint he meets if they’ve heard of a new arrival named Saint Maureen, but none of them have. The movie’s emotional payoff comes near the end, when Damian is reunited with his departed mother (the saint he’s been inquiring about) in a tender vision—the moment of poignant closure allows the young boy to finally move past his mother’s untimely death.

The only scene I could have done without is the controversial depiction of St. Peter. Here, the disciple is a swearing, smoking, heresy-espousing figure with a tilted halo and a humanistic account of Jesus’ miracle of feeding the 5,000. Unfortunately, this brief exchange stands out as an unseemly tear in an otherwise beautiful tapestry woven by skilled screenwriter, Frank Cottrell Boyle.

Destined to become an annual favorite at Christmas time (the movie’s climax takes place during the Holiday season), as well as a chart-topper on family film lists for years to come,
Millions is a rare breed—entertaining on many levels and salient for every generation, the movie is truly one in a million.

Rating: 3 1/2

Melinda and Melinda (PG-13)

tt0378947
Directed by: Woody Allen
Starring: Will Ferrell
March 2005

“A Tale of Two Fillies”


The seminal master of cinematic high art, Woody Allen, is back, and his unequalled prowess at helming both drama and comedy has come to bear upon the ingenious dramedy, Melinda and Melinda.

The movie opens in a New York café, where two playwright friends are discussing the various virtues of their work…one is adept at crafting comedic scripts, the other excels at plumbing the depths of the human condition in dramatic vignettes. The drama playwright begins telling a story about a young couple hosting a dinner party in their New York flat; as the husband schmoozes a potential employer, a high school friend of the wife’s shows up unannounced. The storyteller’s scene-setting words soon transform into a voice-over as we’re drawn into the actual events of the drama. After that scene plays out, we’re back in the café and the comedic writer spins his own yarn involving similar situations with different people. The one commonality between both narratives is nubile debutante Melinda (Radha Mitchell), a thirty-something free spirit who disrupts the marriages in both stories.

Once both sets of characters are introduced and both plots are established, the remainder of the movie plays out like a vigorous match at Wimbledon—bouncing back and forth between the two stories with no discernable segues and no apologies to those who can’t keep up, the movie could have degenerated into a jumbled mass of faces and places in the hands of a mere mortal, but Allen’s deft direction, along with an engaging storyline and actualized characters, prevents the film from faulting. With
Melinda and Melinda, Allen has pioneered a new movie format; it will be interesting to see if this innovative split story technique will inaugurate a new movement in Hollywood or if the complexity of such a plot construct will scare off all but the most daring producers.

There’s no question that
Melinda and Melinda boasts superlative directing, but the A-list ensemble of actors is equally impressive. Performances by Chloe Sevigny, Amanda Peet, Jonny Lee Miller and Chiwetel Ejiofor bolster the twin tales, but it’s really Mitchell and Will Ferrell who steal the show. Ferrell demonstrates considerable dramatic range here and has Allen’s vocal cadence and comedic timing down to a science—some scenes are downright frightening when it comes to Ferrell’s ability to emulate the director’s vocal and physical characteristics.

Melinda and Melinda is a fresh approach to filmmaking and is thoroughly entertaining despite its various ménage a trios and sordid trysts. Sustaining interest with focused narrative, crisp dialogue and believable characters, Melinda and Melinda is a refreshing piece of filmic art.

Rating: 3

Because of Winn Dixie (PG)

tt0317132
Directed by: Wayne Wang
Starring: AnnaSophia Robb
February 2005

“Simple, but Touching Family Film”


A star is born! If you were to look up the word “adorable” in the dictionary, next to the definition would be a picture of AnnaSophia Robb in all of her angelic innocence. As indicated in the title, the movie (based on a Newbery award-winning kid’s book by Kate DiCamillo) is about Winn Dixie, the smiling mutt that exhibits more personality than the average canine, but it’s really Robb’s winsome purity that steals the show.

Robb’s character, India “Opal” Buloni (name change, please!) is introduced to the stray in—of all places—a Winn Dixie market, where the shaggy dog is demolishing end caps while evading capture. Amused by the comical pursuit, Opal, in a snap decision, claims ownership of the dog when it’s finally cornered. Opal’s father, Pastor Buloni (whose sermons are full of it), is less than thrilled when Opal brings the mangy mutt into their trailer. “The Preacher” (Jeff Daniels) ultimately gives in to Opal’s pouting—besides making a face no one could refuse, she plays the, “But I have no friends!” card and wins.

The Buloni’s are new to fictitious Naomi, FL, a sleepy Southern burg complete with a rustic library, a closed-down candy factory and nary a stop light—the preacher’s congregation meets in an old convenience store. Father and daughter tote around sacks filled with sorrow—Opal’s mother left them when she was only three—but Winn Dixie is the catalyst for open communication between the two (the “ten things about mom” scene is endearing and deeply moving).

As Opal explores the new town, she makes friends with the spinster librarian, Miss Franny (played by the ever-charming Eva Marie Saint), who regales glorious stories of the past, and Gloria Dump (Cicily Tyson), a near-blind, recovering alcoholic who teaches Opal how to see others with her heart. She also encounters the stubble-faced drifter, Otis (Dave Matthews, in his big screen debut), the interim manager of a pet shop, who offers Opal a part-time job and plays his guitar to soothe the animals.

There are plenty of funny scenes in the film, like when Winn Dixie recklessly pursues a church mouse, providing the parishioners with more entertainment and joy than any sermon in recent history. However, it’s the subtler moments that have more lasting impact; like the Litmus Lozenge tale or Mrs. Dump’s explanation of the “failure tree” and her admonition to “hold on to love while you have it.” Embedded in the movie’s overarching silliness are themes of forgiveness, hope and the need for community.

What easily could have degenerated into another
Beethoven cheese-fest, is actually a funny, feel-good, family film…and it’s all because of Winn Dixie! By the way, isn’t it poor form to start a title with “because”? Woof!

Rating: 2 1/2

Hotel Rwanda (PG-13)

tt0395169
Directed by: Terry George
Starring: Don Cheadle
February 2005

“Emotionally Fraught Survey of Modern Tragedy”


Hotel Rwanda easily could have fallen into the mold of other pseudo-documentaries, but two factors alleviate this creative threat. First, the story is accessible because it focuses on a man, his family and many others his life touches. Second, the story revolves around one place—the hotel is the focal point of the story, and even though characters come and go, the genocide is seen through the lens of the hotel and the activity that swirls around and through it. We catch glimpses of the atrocities that were committed by the rebel army (the scene with bodies strewn on the road is particularly haunting), but these tableaus are neither sensationalized nor sanitized and hermetically sealed in a documentary vault.

Don Cheadle, in his inspired portrayal of everyman-turned-hero, Paul Rusesabagina, expertly draws the audience into the story—we’re transported right into the middle of the turbulent events—via his truly captivating performance. It was just a month ago that I saw the actor portraying a British-speaking thief in
Ocean’s 12, and I can’t help thinking to myself, “What an amazing range!” Other actors could have filled the role, but Cheadle imbues the reluctant hotel manager with the perfect blend of courage, compassion, conviction and command as he evades, bribes and deceives the rebel guards in order to save 1,200 refugees.

Sophie Okonedo is marvelous in her supporting role as Paul’s wife, Tatiana, and Nick Nolte turns in one of his finest performances in recent years as beleaguered U.N. Colonel Oliver, a man who sympathizes with Paul’s plight but has his hands tied behind his back by the bureaucracy. Though his presence is barely felt in the movie, the American cameraman, played by Joaquin Phoenix, has the most memorable line in the film: when asked by an enthusiastic Paul if images of the heinous murders will goad America and other countries into sending additional aid, the cameraman bitterly replies that most Americans would say, “‘Oh my God, that’s horrible,’ and go on eating their dinners.”

Some, undoubtedly, will see this somber indictment as a stilted sermon, but the facts speak for themselves: the 1994 genocide in Rwanda resulted in the slaughter of a staggering one million people. The conflict between the ruling Hutu’s and rebel Tutsi’s went largely unnoticed by the rest of the world and aid from U.N. peacekeeping forces was woefully inadequate. Whether viewed as a political platform or not,
Hotel Rwanda has finally brought the events of this modern tragedy into the mainstream media, and the fact that it also entertains is so much the better.

Rating: 3 1/2

Million Dollar Baby (PG-13)

tt0405159
Directed by: Clint Eastwood
Starring: Hilary Swank
January 2005

“Exceptional Cinema with Powerful, Emotional Punch”


Million Dollar Baby is triumphant in its delivery, masterful in its subtlety, exceptional in its artistry and potent in its poignancy. At the sake of sounding cliché, Million Dollar Baby lands all of its punches, and just like in a real-life fight, it’s the ones you don’t see coming that impact you the most. I have to admit, I didn’t see the movie’s major twist coming, nor did I expect the gut-wrenching ramifications of that event to affect me so deeply. The buzz on the street is that Million Dollar Baby has a controversial climax, and while that may be very true, it’s impossible to walk away from the theater without being emotionally impacted, one way or the other. Like a ghost image of the soul, the movie’s haunting dénouement leaves you with brutally introspective questions such as, “what would I have done in the same situation?”

Clint Eastwood, clearly a grand master of his craft, is pitch perfect as both actor and director—there’s no doubt that he’s still in his prime or that he’ll be contending for several Oscars this spring. Eastwood’s curmudgeonly boxing trainer, Frankie Dunn, is a marvelous character; Frankie’s rough exterior is like a suit of armor, but the chink is his tender spot for Maggie Fitzgerald (Hilary Swank), a struggling young waitress who insists on calling him “boss” and hangs around the run-down gym until Frankie gives in and finally agrees to manage her. Frankie’s assistant is former boxing legend, Eddie “Scrap-Iron” Dupris (Morgan Freeman at the top of his form), the man who looks after the gym with his one good eye and helps out hard luck cases, like Maggie, with quiet dignity.

There’s a wonderful scene where Frankie gives Eddie a hard time about his “holey” socks. The scene, by itself, is superfluous, but it’s this attention to creating three-dimensional characters that elevates
Million Dollar Baby above the myriads of shallow scripts that have deluged Hollywood in recent years. Since the movie actually takes the time to invest in character development, the payoff is much greater than if they had settled for the standard, cursory attempt to give the audience a passing familiarity with the characters or to simply gloss over the whole works with snazzy special effects.

Million Dollar Baby is the story of a determined young woman with an unwavering desire to fulfill a dream, and the grim reality that life can drastically and tragically change in an instant. It’s the touching tale of a young woman who never really had a father and a man who comes to love that woman as his own daughter. There’s a million reasons why the movie is a brilliant example of high art, and at least a billion reasons why Million Dollar Baby should be the screen champion this year.

Rating: 3 1/2

In Good Company (PG-13)

tt0385267
Directed by: Paul Weitz
Starring: Dennis Quaid
January 2005

“Lighthearted Dramedy is Good, But Not Great”


The changing face of corporate America! That pretty much sums up the plot to In Good Company. Oh, and never date the daughter of a man you just demoted.

Neither an all-out comedy, nor a full-on drama,
In Good Company won’t be mistaken as a barnburner, but it certainly isn’t a bad way to spend two hours. Dennis Quaid plays Dan Foreman, veteran ad man at Sports America magazine; husband to Ann (Marg Helgenberger) and father to Alex (Scarlett Johansson). The company that owns the periodical is sold to a rival corporation and callow upstart, Carter Duryea (Topher Grace) is sent to head up the advertising department where he promptly supplants Dan and fires half the staff.

Carter relies heavily upon Dan, his “wing man,” for marketing advice, because he’s way out of his depth: the only thing Carter knows how to do is talk—his improvised motivational speeches and ad hoc solutions get him out of one jam after the next. Being a quick thinker and fast talker has always gotten him by in the past, but Carter quickly realizes he’s a sham; his recent divorce from his wife (Selma Blair) makes that painfully obvious (now he sleeps on a couch at work). After his promotion, Carter buys Porsche, but gets in an accident the moment he drives it off the lot (he doesn’t even know how to use a stick shift), presenting the image of a man so driven by the need to succeed that he’s never taken the time to learn anything on the way up.

A word that pops up a lot in the movie is “synergy,” and while the film’s pacing often lacks it, the incisive commentary on the capricious nature of the business world is amusing and didactic. Revered financial maven, Teddy K. (Malcolm McDowell), delivers a sermon on synergy at a staff meeting and uses an array of high-sounding words to mesmerize a pack of “yes men” at the office, but Dan isn’t bamboozled and stands up to the blathering businessman. This risky move results in Dan getting his old job back and Carter and his cronies getting fired. Though his failed relationship with Alex provides him with some clarity, it’s Dan’s firm hand (and right cross) of guidance that brings Carter to a place of self-discovery. In the end, poetic justice is served—the young man so bent on getting ahead in life, ends up with nothing.

Morality lesson aside, the movie has some great character moments—like when Dan and Carter first meet and compare ages, or when Carter invites himself over for dinner. However, for some inexplicable reason,
In Good Company never fully realizes its potential, despite excellent performances and a decent storyline. Like it claims in the title, the movie isn’t great, nor is it poor—it’s simply “good.”

Rating: 2 1/2

Coach Carter (PG-13)

tt0393162
Directed by: Thomas Carter
Starring: Samuel L. Jackson
January 2005

“Inspiring, but Derivative Hoop Tale”


Call it Hoosiers in the Hood,” Coach Carter is based on the true story of an extraordinary Southern California basketball coach who inspired his players to greatness on the court and in the classroom. Ken Carter’s (Samuel L. Jackson) hard-nosed style of coaching landed him in hot water with parents and the school board at Richmond High: his players had previously signed an agreement that they would maintain a 2.3 GPA, but when they failed to uphold their end of the bargain, Carter locked the gym, effectively forfeiting several games. Due to Carter’s radical measures, the story gained national attention in 1999 and is now presented by director, Thomas Carter, and MTV Films.

The facts are staggering: only 50% of the student body at Richmond graduate, and of those students, only 6% go on to college. Coach Carter is quick to quote these statistics to his players—a bitter reality pill that jolts them into hitting the books. But academic reformation proves a challenge for many of the players, especially those with sordid pasts or turbulent family situations.

Take laconic Kenyon (Rob Brown) for instance; his life takes an unexpected turn when his girlfriend reveals she’s pregnant with his child. With his dreams of playing college ball hanging in the balance, his girlfriend makes a drastic, and life-altering, decision. This subplot is poignant and controversial, but also severely underdeveloped.

The movie’s tragic figure is Timo Cruz (Rick Gonzalez), a talented player whose involvement with drugs and gangs haunts him with every step—even after he determines to clean up his act. A tragic street shooting sends the frightened youth back to Coach Carter and the team, but there is a price for rejoining the squad…1,000 push-ups, which Cruz must complete by Friday night in order to play in the game. In the movie’s most touching scene, Cruz’ teammates pitch in and help the wayward player meet his quota, a teambuilding exercise secretly engineered by Carter.

Though the drills and strategies used by Carter mirror those employed by other coaches from a dozen other sports movies, Carter’s unswerving devotion to developing student athletes is still a refreshingly admirable aspect of the story. His formations, named after his seemingly endless supply of sisters, add levity to the movie’s dark moments, which unflinchingly display the grim reality of life on the streets.

Carter’s rousing speech before the big game is a definite high point, but it’s the movie’s unconventional ending that really stands out as “something different.” The rap/hip-hop soundtrack adds another level of gritty realism to the movie’s urban aesthetic.
Coach Carter scores big with memorable performances and an edifying true story: it’s a winner despite missing a few free throws.

Rating: 2 1/2

The Aviator (PG-13)

tt0338751
Directed by: Martin Scorsese
Starring: Leonardo DiCaprio
December 2004

“A Modest Triumph in Retro-Cinema”


The Aviator is finely mounted, well crafted and star-studded, but it fails to attain its desired status as modern epic. Martin Scorsese and Leonardo DiCaprio have reunited (Gangs of New York), presenting a soaring biopic of billionaire, industrialist and playboy, Howard Hughes. There’s no doubting the skill set of every person in every department that toiled on this film or the talent of the vast array of A-list actors that appear here, and yet, there’s still something lacking.

Perhaps it’s a matter of identification: how many of us have experienced the pressures of being a billionaire or struggled with the extreme mental aberrations Hughes dealt with on a daily basis? Perhaps it’s the preponderance of narrative or the scarcity of action sequences? Perhaps its film’s length—
The Aviator weighs in at three hours and five minutes—or some other, intangible, factor.

Whatever the reason, the movie succeeds as a work of art, but fails to entertain in any significant way: when Hughes repeats “The wave of the future” like a skipping CD right before the final fade, have we really been impacted on an emotional level or do we just pity the man in the mirror?

DiCaprio does a superb job of bringing Hughes’ passions, foibles and eccentricities to life and Cate Blanchett turns in a marvelous performance as Katherine Hepburn: their best scenes together are the golf game, Hughes teaching Hepburn how to fly, the meet the parents debacle and their fulminating breakup. Two foils for Hughes in the movie (other than his O.C.D. and fits of hypochondria) are Juan Trippe (Alec Baldwin), owner of rival Pan Am Airlines and Senator Brewster (Alan Alda in an Oscar-worthy performance), a crooked politician bent on destroying Hughes in a sure-fire trial that turns into a media circus.

The rest of the cast reads like a SAG roll call: Jude Law (as Errol Flynn), Kate Beckinsale (as Eva Gardner), Gwen Stefani (as Jean Harlow), John C. Reilly, Edward Herrmann, Willem Dafoe, Ian Holm, Brent Spiner, the list goes on and on.

I have to admit that
The Aviator is a lavish spectacle featuring a powerfully moving, human story, but its sheer size and power left me a little overwhelmed—it’s so overstuffed and top heavy that it collapses under its own weight. All the movie’s bells and whistles seem to cry, “Look at me. Look at what an exceptional film this is.” Some may buy into the movie’s sizzle, but the meat I crave is of a different ilk. In the end, The Aviator has Hughes-sized ambitions that render the film a high-powered oddity.

Rating: 2 1/2

Flight of the Phoenix (PG-13)

tt0377062
Directed by: John Moore
Starring: Dennis Quaid
December 2004

“Like the Plane, Stays Grounded Most of the Time”


What you have here is your basic airplane crash/survival/rebuild the plane story with few original elements and even fewer surprises. A remake of the 1965 movie starring Jimmy Stewart, The Flight of the Phoenix is basically a Dennis Quaid vehicle picture, and even though he turns in his normal, polished performance, it’s still not enough to salvage this floundering premise.

Captain Frank Towns (Quaid) is the cargo plane pilot assigned to pick up the crew and equipment from a recently closed mine in Mongolia. As fate would have it, the mother of all sand storms (al a
The Mummy and Hidalgo) assails the craft and violently forces it off course. The best effect in the film shows the left propeller spinning forward off its mount and slicing into the metallic hull just behind the cockpit. After an intense crash sequence, the survivors are faced with a dire tableau; the plane is half buried in the ubiquitous sands of the Gobi desert. To make matters worse, their water reserves and supplies are frighteningly low and the desert heat is unbearable.

Somewhere along the way, they decide to rebuild the plane with the guidance of weasel-eyed Elliot (Giovanni Ribinsi from
Sky Captain and the World of Tomorrow). To add spice to the manual labor section of the film is an electrical storm, a mutiny and a run-in with the local nomads.

The only part of the movie that had real potential was the conflict between Frank and Elliot, who develops a God complex: after all, he knows how to build planes (toy model planes, it’s later discovered), and immediately takes to ordering everyone around. The most gratifying scene in the movie is when Frank hauls off and knocks Elliot on his butt. That scene, the Clinton-style pre-flight check and a few other random jokes are the only elements that make the movie even remotely memorable.

The movie’s resolution is particularly predictable and ends much too abruptly. So much is left unresolved in the film, like, how much gas do they have? And, are they going to fly all the way strapped onto the wings (and wouldn’t four people on one wing and two on the other imbalance the jury-rigged plane?). And are they going to kill Elliot when they get back or just loosen his straps and let gravity do the job? Actually, that would make for a more interesting story than the one presented here.
The Flight of the Phoenix is one movie that shouldn’t have been resurrected from the ash heap.

Rating: 2 1/2

Finding Neverland (PG)

tt0308644
Directed by: Marc Forster
Starring: Johnny Depp
November 2004

“Magical Retelling of Tired Tale”


Based on the real life trials and successes of playwright, J.M. Barrie, the visionary who brought us Peter Pan, Finding Neverland is a moving film, rich in character and imagination. Finding Neverland is pure drama, so viewers looking for anything else will be sorely disappointed (like those two, giggly teenage girls who sat right behind me). The movie really delivers emotionally, revealing the human condition at its best and worst—its brightest and darkest.

Johnny Depp (Pirates of the Caribbean) is brilliant as Barrie and pulls off a surprisingly authentic Scottish brogue. Showcasing his expansive range, Depp masterfully reveals just how adept he is at being serious or silly and how skillfully he can morph from one into the other.

In the midst of a failing marriage, mediocre theater attendance and scathing reviews for his plays, Barrie escaped into the realms of his fertile imagination and created Neverland, a magical world, but what’s more, a guiding philosophy for his life. It’s this philosophy of optimism that anchors Barrie during the storms that incessantly assail him…the theater owner (a very un-Hook-like Dustin Hoffman) is pressuring him to produce a hit, his wife leaves him for another man, rumors of inappropriate activity surround his friendship with the newly widowed Sylvia Davies (Kate Winslet) and her four sons (two of them named Michael and Peter), the palpable disdain and disapproval he receives from Sylvia’s controlling mother (Julie Christy) and Sylvia’s untimely death from an unknown disease.

Winslet plays the beleaguered-but-not-showing-it single mother to the hilt; Barrie is a breath of fresh air to her lonely life, a touch of freedom and spontaneity to banish the doldrums of her regulated existence. The Davies children were excellently cast; their appearance, accents and attitudes are appropriate to the milieu and add to the movie’s emotional impact in small, but crucial ways…especially tenderhearted, teary-eyed Peter.

Dustin Hoffman’s appearances are infrequent, but his portrayal of the laconic theater owner is touching in an impersonal way—he genuinely believes in Barrie’s talent and is willing to put his money, reputation and career on the line for the young playwright. Together, they’re a potent team: one has the vision to fill theater seats and the other has a driving passion to fill people’s hearts with adventure and wonderment.

This account depicts Barrie as the quintessential gentleman, and the movie, itself, is a gentle thunder that doesn’t “wow” you, but has a lingering quality that lasts long after you’ve left the theater.
Finding Neverland is magical cinema that transports the viewer to a place of hope and beauty that resides somewhere between our hearts and the second star to the right.

Rating: 3

Ray (PG-13)

tt0350258
Directed by: Taylor Hackford
Starring: Jamie Foxx
October 2004

“Touching Tale Leaves Ray on Our Mind”


Ray Charles was one of the greatest singer/songwriters of our time. He was also a womanizer and a heroine addict. To its credit, Ray doesn’t gloss over these sordid details but exposes them for what they were…every star has foibles.

The movie begins with Ray getting on a bus and heading out to join a band in Seattle. As his career progresses, so does his back-story, which is revealed a chapter at a time in dreamy flashback sequences.

Reared in veritable poverty—in a sweltering Florida slum—Ray Charles had a fairly happy childhood playing games with his kid brother and terrorizing his hardworking mother. One day, Ray’s brother, while playing near a brimming washtub, slipped and drowned. Ray could have prevented the tragedy, but he just stood there, completely frozen in the oppressive heat. He blamed himself for decades after the incident, and his guilt created the pattern of self-destructive behavior that plagued him for most of his adult life.

Another retrospective segment reveals the time when Ray’s vision began to worsen. One of the most powerful scenes in the movie depicts the agony his mother endured as she resisted the urge to help Ray navigate around the various obstacles in their house. His mother instilled in Ray a dogged resolve, warning him that no one would pity him because of his handicap and that he needed to stand on his own two feet.

Ray took those words to heart by accepting small-time gigs and eventually working his way up to touring with a band and finally becoming a solo artist. Ray’s business sense served him in good stead (he required payment in dollar bills), as did his ability to negotiate (he once charmed his way into retaining his masters).

The story is a tragedy, but also a triumph; and after enduring a tumultuous season in rehab., Ray never went back to drugs. Also, he was honored by the state that had previously banned him when that state adopted “Georgia on My Mind” as its state song.

Jamie Foxx’s portrayal of Ray Charles is simply astounding; he comes as close as anyone ever has as to perfectly capturing the nuances and soul of the real-life person they’re playing. An Oscar nod for Foxx is a foregone conclusion—his performance is a revelation of Herculean proportions (and I don’t suppose it hurt that Foxx had the opportunity to meet and study the music legend before his untimely passing earlier this year).

Regina King, who plays Ray’s feisty paramour, excels as a triple-threat fly girl; she stands out as the only supporting character that holds her own against Foxx’s overpowering performance.

Ray is an emotional journey that takes the high road of veracity in a market replete with embellished versions of “true stories.” We miss you already, Ray.

Rating: 3

Ladder 49 (PG-13)

tt0349710
Directed by: Jay Russell
Starring: Joaquin Phoenix
October 2004

“Moving Tribute to Fallen Heroes”


We’ve had our share of movies like Backdraft and Frequency, but Ladder 49 is a different breed of firefighter film. Not to take anything away from the character development or emotional impact of those other films, but Ladder 49, to an even greater degree, reveals the often gritty and grim profession that firefighting can be, while also humanizing the characters…showing them at their best and worst.

Joaquin Phoenix is fast becoming one of Hollywood’s most promising up-and-coming stars. Fresh off his turn as a hapless victim in M. Night Shyamalan’s
The Village, Phoenix has taken on a different kind of role this time around—the everyday man.

As the movie unfolds, Phoenix’s character, Jack Morrison, has fallen down several stories inside a fire-enveloped building. As he’s lying in rubble and inhaling stifling smoke, Jack begins to ruminate on his life and the events that brought him to this place. What ensues is a series of flashbacks that flesh-out Jack’s back-story: his first day as a firefighter, the day he met his future wife, the day they married, the day he learned he was going to be a father, the day he lost a friend in a fire, etc. And that’s the gist of the plot…pretty straightforward.

Even though
Ladder 49 has some TV drama qualities, the ingredient that prevents the story from degenerating into a documentary on firefighting is the relationships between the firefighters and their unique way of dealing with work-related stress. The “initiation” scenes are some of the most memorable in the movie, as are the extreme pranks they pull on each other: the goose in the locker and the “baby shower” are two prime examples. Running jokes like Lenny Richter’s (Robert Patrick) admission that he’s getting too old for the job also lighten the mood in what ends up being a pretty somber tale.

John Travolta’s presence as fire chief Mike Kennedy isn’t felt very strongly in the film, but his character’s leadership and guidance is: besides his two-hanky speech at the end of the movie, his best monologue comes when his team nearly breaks down (and nearly breaks each other’s skulls) after the death of a fellow firefighter. With great conviction, and perhaps a few too many expletives, he gives his despondent and blame-seeking team a swift kick and tells them to get back on the horse…er, engine.

Newcomer, Jacinda Barrett, turns in a touching performance as Jack’s reserved wife: the expression on her face when she sees her greatest fear through the kitchen window stands out as one of the movie’s most unforgettable scenes.

Despite a fairly predictable plot,
Ladder 49 succeeds in paying tribute to the men and women who risk their lives every day to protect the citizens of this country from life-threatening infernos. The story portrays firefighters less as heroes and more like real people who care for the welfare of others, and in this age of average Joe’s and reality shows, this aspect of the movie should really resonate with the masses.

If
Ladder 49 does have a flaw, it’s that the firefighters respond to one too may fires (we get the idea already—this line of work is dangerous). But, ultimately, the movie is about people, not fires, and how we deal with life and death, triumph and tragedy. Ladder 49 is one of those rare movies that entertains, but also inspires: the sad, yet uplifting dénouement reveals a degree of panache sadly missing from most scripts these days.

Rating: 3

The Forgotten (PG-13)

tt0356618
Directed by: Joseph Ruben
Starring: Julianne Moore
September 2004

“Solid Start, Forgettable Ending”


For three quarters of the movie, I was utterly gripped by the intriguing scenario and rampant paranoia that courses through this unconventional thriller. The film is made even more powerful by believable performances from Julianne Moore, Gary Sinise, Anthony Edwards and Alfre Woodard. Unfortunately, acting is the only element that is believable in the movie, as the story takes a significant left turn near the coda, destroying any momentum established in earlier acts.

Telly Paretta (Moore) lost her pre-teen son, Sam, in a plane crash and hasn’t been able to move past said traumatic event ever since that fateful day. Her memory of her son hasn’t faded one iota since his passing, but every item (picture, articles of clothing, etc.) of Sam’s has begun vanishing…one piece at a time. She accuses her husband (Edwards) and her shrink (Sinise) of conspiring to erase all traces of Sam’s former life. According to the two men, Telly never had a son, a revelation that becomes even more disturbing when she finds no records of the plane crash at her local library. Telly confronts her neighbor, a middle-aged drunk (Dominic West) and helps him remember his daughter that was also on the same plane. Together, Telly and her newfound friend seek to uncover this sinister plot that’s wiped away all physical evidence of their children’s existence. These events set up an interesting question in the viewer’s mind: is Telly crazy, or is some outside agency seeking to discredit and/or mentally destroy her?

Such an intriguing notion should have led to a riveting climax, but instead, the balloon deflates when an otherworldly twist is introduced into the plot. The children were abducted by aliens? This was all one big experiment to test the depths of the maternal instinct?? Even by its own rules, the “alien” subplot doesn’t hold up under scrutiny. How can aliens—with the ability to abduct a plane full of children, erase people’s memories, “beam” people up to the mother-ship and, indeed, even put events back to the way they were before the incident—be hampered by a time constraint on their test? If they can manipulate time, shouldn’t they be able to run the same test on the same person indefinitely? Time is relative, after all.

Therein lays the problem with
The Forgotten. Tough hackneyed, a government conspiracy or scientific cover-up would have been a much more satisfying conclusion to such a solid foundation. Even though the special effects are few, they’re groundbreaking and breathtaking. Those scenes, combined with fine performances are the only things that keep the movie from becoming utterly forgettable.

Rating: 2 1/2

The Village (PG-13)

tt0368447
Directed by: M. Night Shyamalan
Starring: Sigourney Weaver
July 2004

“It Takes a Village…To Scare You Senseless”


M. Night Shyamalan’s fourth chill-fest is both better and worse than his previous cinematic offerings (The Sixth Sense, Unbreakable and Signs). Shyamalan should be lauded for breaking with his usual formula and milieu, while maintaining strong character vignettes and intensely frightening situations. If possible, his directing here is even tighter than in the earlier trilogy and his clout has surrounded him with a stellar cast this time around—his first ensemble piece.

Joaquin Phoenix is back from Signs, and plays Lucius Hunt, a fearless and laconic young man who has a secret love affair with Ivy (Bryce Dallas Howard, Ron’s daughter). Ivy is the blind daughter of village elder, Edward Walker (William Hurt), a reserved man who speaks in nineteenth century English with interminable pauses in each line. Rounding out the cast is Lucius’ mother, played by Sigourney Weaver and the slow-witted Noah Percy (Adrien Brody), who is also secretly in love with Ivy.

The movie sets up a bit slowly, but strikes a crescendo near the midpoint. It isn’t until about three fourths of the way through that tensions mount and events escalate, paving the way for a nail-biting climax and the patented Shyamalan surprise ending.

With
The Village, it’s clear that Shyamalan has moved into the upper echelon of Hollywood directors; his craft is well honed and he evoked excellent performances from his actors, especially Phoenix, Howard and Brody—the twisted ménage a trois. It’s a lot easier to create scary scenes at night, but the lion-share of the frightening scenes in The Village are filmed during the day—right out in the open. This is just another testament to Shyamalan’s directorial prowess (I’m gonna’ film it at day and I’m still gonna’ scare the @*!/ out of ya’).

But a nagging question hovers just this side of the dread-inducing forest, is
The Village as good as its predecessors? The answer is no, but it’s still a quality thrill-o-rama. Problem: Shyamalan has painted himself into a corner now that everyone is anticipating a trick ending each outing. His big screen sleight of hand will become exponentially harder to pull off now that the audience has become wise to his styles and tactics (I figured out the twist ending halfway through the movie).

James Newton Howard’s score adds another dimension of creepiness to the movie, as well as some early American-flavored cues. The costumes and sets are exceptionally well crafted and lend the movie another degree of authenticity. So, what have we learned from
The Village? Stay away from the bad color, avoid mentioning “those we don’t speak of” and hope for a better movie the next time Shyamalan directs.

Rating: 3

King Arthur (PG-13)

tt0349683
Directed by: Antoine Fuqua
Starring: Clive Owen
July 2004

“Disney Revises History…Again”


The opening of the movie posits the notion that King Arthur was alive during the twilight of the Roman Empire and that he was half-Roman and half-Briton.  This historical twist is based on newly discovered documents (okay!) that reveal Arthur was alive earlier than generally supposed, as much as a thousand years before the medieval period.  Who knew?

The story follows Arthur and his band of scrappy warriors as they fight for their lives and their freedom from Rome; they have one final assignment and then they will receive their papers, but the simple mission goes south when an army of nasty Saxons shows up.  A portion of the army chases Arthur, his men and some villagers across an icy lake, and as fate and Hollywood would have it, the ice breaks and swallows most of the Saxons and none of Arthur’s men...or the scantily-clad Guinevere (Keira Knightley), who seems unaffected by the arctic conditions (more on her later).

There's a final standoff between the main Saxon army and Arthur, who rides onto the battlefield alone (he has a host of primitive Ewoks, I mean, Woads waiting in the forest under the command of non-magical Merlin).  The climactic battle goes through the motions and tries to wow the audience with gee whiz effects, but the action is static and turns
King Arthur into just another excuse to update a classic tale with modern special effects, just because we can.

Even despite the historical paradigm shift, there are way too many anachronisms in
King Arthur that detract from the overall purpose of the movie and distract the audience with unnecessary silliness.  Take potty-mouthed Sir Bors (Ray Winstone), for instance.  Although he provides some much-needed levity, his speech and mannerisms don't match a man of that time period, especially one of Arthur's handpicked champions.  Or how about the witch-doctor version of Merlin, who leads a band of hairy, wild Woads (Caucasian aborigines) into battle beside Arthur?  And what about Guinevere?  In this version of the Arthurian legend, she's less like the traditional princess and more like an Amazon woman, adorned with one, narrow strip of leather across her chest.  Are we sure these newly discovered historical documents aren't really Xena re-runs?

Other than Knightley, the only other familiar name in the cast is Clive Owen (
Beyond Borders).  Owen's Arthur is a courageous man of faith, but sometimes his delivery is too stuffy and dispassionate.  All in all, King Arthur will be an epic disappointment to anyone who isn't a Knightley fan.

Rating: 2

The Terminal (PG-13)

tt0362227
Directed by: Steven Spielberg
Starring: Tom Hanks
June 2004

“Soars, Despite Being Grounded”


Tom Hanks and Steven Speilberg have become an unstoppable duo at the box office, and every time they collaborate on a film, their mastery of craft and vision increases exponentially (and let's not leave multiple Academy award-winning composer, John Williams, out of the equation; Williams turned in a wonderful, Baltic-flavored score for The Terminal).

Though the premise of the film is quite simple—Krakozhian citizen, Viktor Novorski, is trapped in J.F.K. because his country is at war and the U.S. won't recognize his passport—but it's Viktor's spirit of determination and decency, and the friendships he makes at the terminal, that really gives the movie wings.  Viktor is a survivor, he creates a makeshift bedroom in an old, unused airline gate, learns how to speak passable English, learns how to make a living so that he can eat and helps out a lot of people along the way, who, in turn, help him.

One of these friends is Enrique (Diego Luna), a love struck errand boy who agrees to feed Viktor in exchange for information about the beautiful, vibrant immigration agent Viktor sees every day.  Viktor is a go-between and, after some time, delivers a ring to the young woman with instructions to join the man of her dreams at the Sbarro pizza joint in the terminal.  She meets her secret admirer and the couple is soon married—in the terminal, of course.

Admittedly, this is a little far-fetched—and if there’s an Achilles Heel to this wonderfully endearing tale it's that, despite the veneer of fully realized characters and events, the entire script is fictitious.  Everything in the film is well crafted and well acted, but the underlying lack of authenticity makes the story, as a whole, hard to buy.

Take the failed romance between Viktor and "cheating" stewardess, Amelia (Catherine Zeta-Jones), for instance.  The writers employ the old apple on a string routine by building up a potential relationship between Viktor and Amelia, but in the end, they yank back the string, and all you're left with is a mediocre, under-developed subplot to close out the movie.  Granted, the end of the movie is uplifting—Viktor finally gets out of the airport, and the twit-in-a-suit, head of airport security (Stanley Tucci) fails in his attempt to contain Viktor—but Viktor’s victory in securing the final autograph of a jazz musician for his deceased father is hardly the expected or desired payoff for the film.

Despite its slow pace and utter lack of action,
The Terminal is a feel-good drama recommended for anyone who doesn't get claustrophobic.

Rating: 3

Godsend (PG-13)

tt0335121
Directed by: Nick Hamm
Starring: Robert De Niro
April 2004

“Disturbing for the Sake of Being Disturbing”


This is a hard movie to rate. On the one hand, Godsend is an excellent movie when it comes to acting, directing and screenwriting. However, it’s so dark and disturbing, and devoid of any kind of virtue or edification, that the natural tendency is to grade down. This isn’t the first time a movie of this genre has been produced, and there certainly have been finer examples, (i.e. The Sixth Sense and What Lies Beneath), but the fresh angle here is the salient topic of cloning and genetic manipulation.

If there’s any saving grace to
Godsend, it’s that it paints a graphic picture of the potential terrors that await us as scientists continue flirting with genetics. Whereas Jurassic Park was frightening because it revealed the dangers of cloning dinosaurs, Godsend is even more terrifying because it deals with re-creating a human being.

Here’s the scenario: Paul and Jessie Duncan (Greg Kinnear and Rebecca Romijn-Stamos) loose their eight-year-old son, Adam (Cameron Bright), in a car accident. At Adam’s funeral, Dr. Richard Wells (Robert DeNiro), approaches the Duncan family and offers them a chance to get Adam back through a cell cloning process he has recently perfected. Reticent at first, the Duncan’s break down and ultimately agree to go through with the process. Eight years later, after the second Adam (the symbolism is as subtle as a 2X4 to the head) grows past the experiences of his predecessor, new memories and behaviors begin to emerge. It’s later discovered that the new personality comes from Dr. Wells’ deceased son—Wells introduced some of his son’s D.N.A. into Adam’s—who just happened to be homicidal and suicidal (he burned a school to the ground around him along with other students and teachers). The ending doesn’t really resolve anything and leaves everything wide open to individual interpretation, making it the weakest link in an otherwise thought-provoking script.

The first half of the movie is a bit slow, but does a good job of painting the main characters, their dilemma and their fateful choice. But, the second half of the film is little more than a horror movie in the vein of
Bad Seed or The Good Son. Godsend services the audience by presenting a human cloning experiment gone horribly wrong, but it does a disservice by remaining morally ambiguous—presenting a case where cloning was bad “in this instance” because of D.N.A. tampering. It’s one thing to clone an animal and quite another to clone a human, or to put it a different way, we can clone a body, but can we clone a soul? This is the kind of moral/religious question the movie conveniently avoids, and maybe the safer route is the better one—after all, it’s just a movie.

Godsend is anything but, and manufactures goose bumps with haunting dream sequences, musical flourishes and things that jump at the camera. It’s a wild ride, but certainly isn’t for the faint of heart.

Rating: 2 1/2

Bobby Jones: Stroke of Genius (PG)

tt0375104
Directed by: Rowdy Herrington
Starring: Jim Caviezel
April 2004

“Inspiring, True Story is a Hole in One ”


Football has Remember the Titans and Rudy. Basketball has Hoosiers and Space Jam. Hockey has Miracle and The Mighty Ducks. Baseball has The Rookie, The Natural, The Sandlot, Bull Durham, Field of Dreams, A League of Their Own and too many others to mention here. Now golf has Bobby Jones: Stroke of Genius, the definitive film on the subject.

Bobby Jones was arguably the greatest golfer to ever play the sport—he’s the only person in history to win all four major golf tournaments (the Grand Slam) in the same year. He was sickly as a child, but fell in love with golf at an early age, watching many golf legends play at nearby St. Andrews Golf Course in Scotland. By age fourteen, Bobby was a golf prodigy, but he retired at twenty-eight due to continued failing health and his desire to start a family.

James Caviezel (
The Passion of the Christ) plays Bobby Jones, and his pitch-perfect performance reveals Jones’ many passions…both good and bad. Jones’ biggest detriments on the fairway were his explosive temper and potty mouth, both of which became manifest every time the ball went somewhere he didn’t want it to go. As a means of dealing with his debilitating condition, Jones also consumed great amounts of alcohol, which, of course, produced many additional problems. On the flip side, Jones was a decent and fair man, sometimes to a fault…at one tournament, he called a penalty on himself.

The supporting cast in the movie is exceptionally strong. Claire Forlani (
Meet Joe Black) plays Jones’ supportive wife, Aidan Quinn (Practical Magic) portrays one of Jones’ golf heroes, and Malcolm McDowell (A Clockwork Orange) is Jones’ mentor (think Obi Wan with a golf club). Also appearing in a cameo role is well-known evangelist, Alistair Begg, who plays Stanley, friend of the family and a great golfer in his own right.

Stroke of Genius is a straightforward drama film that has little action, and, therefore, will seem boring to some moviegoers. The plot contains no major twists but does posit a tidbit of social commentary; Jones’ mentor makes the assertion that money is ruining amateur sports. In recent years, we’ve seen just how prophetic that statement was. Bobby Jones: Stroke of Genius is entertaining and heartwarming, but it certainly won’t go down as the greatest sports movie ever made.

Rating: 3

The Alamo (PG-13)

tt0318974
Directed by: John Lee Hancock
Starring: Dennis Quaid
April 2004

“Memorable Remake of Historic Tale”


Billy Bob Thornton as Davy Crockett? Dennis Quaid as Sam Houston?? No major female actor anywhere in the cast??? On the face of it, this modern take on the centuries-old massacre seems a bit underpowered and a tad ill timed. Amid the deluge of epic pictures this last fall (The Last Samurai, and The Lord of the Rings: The Return of the King), The Alamo was pushed back to this spring. Unfortunately for The Alamo, fervor for epics has sublimated a great deal since December, but will undoubtedly be rekindled with the upcoming Troy and King Arthur. It’s too bad that The Alamo was released during the lull period, because it is a solid effort.

There’s very little departure from the actual, historical events, which is a blessing and a curse. The blessing is that
The Alamo isn’t “cutesy” and doesn’t succumb to radically re-writing history like so many other modern “period” pieces. The curse is that the movie feels like a glorified History Channel special; a sterile, stagnant time capsule, not a living, breathing entity. The movie stays on the fringes of the action and never really accesses the visceral emotions of the tragedy. What made blockbusters like Titanic and Pearl Harbor successful is that they introduced original characters into the action and we, as the audience, experienced the historical event through the eyes of these fictitious characters. This made us feel as if we were right there with them, becoming a part of history in a very exciting and frightening way. This storytelling style has a bigger emotional payoff if it’s executed properly, but also runs the risk of being rejected by the public and lambasted by critics.

For better or worse,
The Alamo remained faithful to the original cast of characters, without introducing any new ones. The advantage to this approach is name recognition: we’re all familiar with names like Davy Crockett, James Bowie (Jason Patrick) and Gen. Santa Anna (Emilio Echevarria). The disadvantage is that there’s very little character development that can be presented outside of what we’ve already learned in history books. In the movie we see Bowie proudly display his patented knife and hear Crockett play a fiddle, and that’s nearly the extent of all character development in the picture. The only real character growth involves a lesser-known character, Lt. Col. William Travis (Patrick Wilson), who comes of age after being christened the new fort commander.

All in all,
The Alamo is entertaining and is a great reminder of the sacrifices that were made so that we can enjoy freedom today…especially in the Lone Star state. However, it remains to be seen if audiences and critics will remember The Alamo.

Rating: 3

The Passion of the Christ (R)

tt0335345
Directed by: Mel Gibson
Starring: Jim Caviezel
February 2004

“The Most Graphic Story Ever Told”


The Passion of the Christ
is the most powerful and controversial movie ever made. What makes the film powerful is an engaging script, emotional performances and inspired direction; it’s the first “Jesus” movie that’s ever depicted the Savior with more than just a trickle of blood flowing down His brow. It’s controversial because of the graphic scenes surrounding Christ’s torture and crucifixion and due to charges of anti-Semitism.

POWERFUL:
Beyond the scourging and crucifixion,
The Passion of the Christ is powerful because of the humanness of the characters and the horrific situations they find themselves in. Take Pilate (Hristo Naumov Shopov), for example; reticence is written all over his face as he presents Jesus to the seething mob. Whether filled with compassion or dispassion, it’s very clear that Pilate feels trapped and just wants to rid himself, one way or the other, of “the king of the Jews.” And then there’s Mary, mother of Jesus (Maia Morgenstern). As Jesus stumbles down the Via Dolorosa, toting the cross on His back, He falls to the ground and Mary has a flashback to when Jesus tripped and scraped His knee as a boy. Who will ever forget the look on her face? Or who will ever be able to forget Jesus’ anguish in the garden or the scourging or the crucifixion as a result of James Caviezel’s Oscar-caliber performance? Or the downright creepy portrayal of Satan by Rosalinda Celentano?

CONTROVERSIAL:
Is
The Passion of the Christ anti-Semitic? Pilate washes his hands of Christ’s blood, so that would seem to place bloodguilt on the Jewish people. And yet, it was the Romans that nailed Him to the cross. I think the point is clear: we are all guilty. It was our sin that nailed Christ to the cross; that’s why none of the faces of the Roman guards are shown. It’s almost as if director, Mel Gibson, is saying, “insert your face here.” As has been well publicized, it was Mel’s hands that were shown hammering the nails into Christ’s hands and feet in the movie—we must all take responsibility for the weight and consequences of our sin. That’s the message of the movie, not that the Jews were solely at fault.

The film is also controversial in some Protestant circles, as Gibson textured the movie with many added or contrary elements borrowed from Catholic mystic, Anne-Catherine Emmerich. At first glance, the aberrations from the sacred text simply seem to be stylistic embellishments, but upon further scrutiny, these altered scenes would certainly smack of heresy in the Protestant mind.

Here are just a few prime deviations from scripture: 1. Satan tempts Jesus in Gethsemane, 2. Jesus is lashed thirty-nine times on the front and back, 3. Pilate’s wife gives Mary some towels, 4. Mary and Mary Magdalene wipe up Jesus’ blood after the whipping, 5. A crow pokes out the eye of the unrepentant thief and 6. Roman soldiers take Jesus off the cross (the Bible claims that Joseph of Arimathaea and Nicodemus took Him down).

Whether you view the movie as controversial or whether you even believe the story is presents, there should be no doubt in anyone’s mind that this is a stupendous achievement…a superior piece of cinema. With A-list acting, directing, writing and scoring,
The Passion of the Christ is an illumined effort, divinely crafted with images and events that won’t soon be forgotten.

Rating: 4

Miracle (PG)

tt0349825
Directed by: Gavin O’Connor
Starring: Kurt Russell
February 2004

“Real Story with Real Heart”

Acting:
This is a defining role in Kurt Russell’s career—ironic since he got his start doing cornball movies for Disney in the sixties. Russell’s portrayal of coach Herb Brooks is natural and believable, especially his Minnesotan accent. Brooks was equal parts coach, motivational speaker and psychologist and Russell melds all three seamlessly. Patricia Clarkson (Far From Heaven) plays Brooks’ wife, a woman who grapples with her distant husband’s other love—hockey. In the end she decides to stand by her man through the stormy moments of their marriage—something that happened far more frequently in 1980 than in the present day. Noah Emmerich (Frequency) is Brooks’ loyal assistant coach, an underserved character that has more whistle blows than lines in the movie.

Costumes:
Nice checkered wool pants!

Screenplay/Story:
Miracle is based upon the true story of the gold-medal winning U.S. Hockey team at the 1980 Olympic winter games in Lake Placid, N.Y. A total David and Goliath scenario: a newly assembled American team of young college players defeats a veteran Soviet Union team which had won every gold medal in their event for the last twenty years. There’s no surprise ending here—the story of this “miracle” team and its exploits have been touted as one of the greatest moments in amateur sports for the last twenty-four years. What makes Miracle worth seeing is not so much the end result as the journey that got them there. Brooks’ unorthodox coaching strategies and the personal stories of the young men on the team create the backbone of the story—without these ingredients, the movie would be little more than a glorified sports documentary. And speaking of documentary, the historical footage that peppers the new scenes really gives the movie a proper sense of context and provides a great deal of authenticity.

Final Analysis:
Miracle is an inspirational movie the whole family can enjoy and imparts a sense of pride and patriotism. The movie is a testament to the fact that miracles can still happen with focus, determination, teamwork and good old-fashioned hard work—an important reminder to a generation that has faced very little adversity…lest we forget.

Rating: 3

Big Fish (PG-13)

tt0319061
Directed by: Tim Burton
Starring: Ewan McGregor
January 2004

“Fanciful Tale that Flounders at Times”


Bizarre. It’s the only word that seems to fit this lavishly mounted, finely crafted, yet strangely avant-garde effort.
Touted as Tim Burton’s masterpiece and a modern
Wizard of Oz, and seemingly falling short on both counts, Big Fish is, however, a wildly imaginative romp through the mind and memories of Edward Bloom (Ewan McGregor and Albert Finney), a man of unique vision and singular purpose.

Through a series of flashbacks—which contain elements of truth but come off like tall tales—the aged Edward regales stories of love and war, mysteries and misadventures to his estranged son, Will (Billy Crudup). Giving color to the vignettes is a diminutive circus master who becomes a wolf at night (Danny DeVito), a poet turned bank robber (Steve Buscemi), and a beautiful young blonde (Helena Bonham-Carter), who also appears as a frightening witch; if you stare into her blind eye, you will see the moment of your death.

For all of its strangeness, however, there’s an underlying humanity that shines through and anchors the more whimsical elements of the film. The movie finally finds its voice near the end when Will, normally embarrassed by his father’s flamboyant stories, comes to understand their purpose and honors Edward with an embellished version of his father’s final moments. It’s at this point that you realize the movie hasn’t been about far-fetched tales at all, but about the characters in the story. This is nowhere more vividly displayed than at Edward’s funeral; all of the fanciful figures in his stories are in attendance—though far less outlandish in real life.

Due to its excessive ambiguity and multi-faceted storyline, there are many philosophical nuggets to be unearthed here—some of which are buried quite deep. There’s a parallel between the pristine town of Spectre and the U.S. in the 50s: the supposed Golden Age of American history. When Edward returns to the little slice of paradise later in his life, he is shocked to find the burg in shambles. This might be a representation of present day (or post 9-11) America. Of course, this is one possible interpretation of the movie, and that’s what makes
Big Fish so intriguing and endearing. What is the truth and what does it mean in a subjective sense?

Big Fish asks more questions than it answers, but it does entertain and features fine performances by McGregor and Finney. In the end, it remains somewhat of an oddity, but it’s certainly a better catch than the normal fish story.

Rating: 2 1/2

Master and Commander: The Far Side of the World (PG-13)

tt0311113
Directed by: Peter Weir
Starring: Russell Crowe
November 2003

“Intelligent Adventure on the High Seas”


In addition to having a long title, Master and Commander is a lengthy film, but is well worth the voyage. The movie is adapted from the first and tenth books in a twenty book series written by Patrick O’Brian, and stars Russell Crowe, who plays Captain “Lucky” Jack Aubrey. Set in 1803, during the Napoleonic Wars, the story captures the gritty realism of life and death on the high seas when naval vessels determined the fate of king and country.

Aubrey, commander of the H.M.S. Surprise, receives orders to pursue and sink the French frigate, Acheron, a vessel with double the hull thickness as the Surprise, which can also outrun and outgun Aubrey’s ship. In an ironic twist, the Surprise is caught off-guard in the movie’s prologue. What ensues is a borderline-obsessive pursuit of the French ship and its wily captain. Several unexpected twists lead up to the battle royal, which decides the outcome of Aubrey’s hell bent mission.

Crowe excels in his portrayal of Captain Aubrey, a character who could easily have been painted with broad, Ahab-like strokes, but remains wholly human—almost vulnerable at times. It has been said that command and compassion is a fool’s mixture, but Aubrey balances both of these attributes in an effective manner: he is honor-bound and resolute, but he also has a wonderful sense of humor and a great camaraderie with his crew.

In assessing Crowe’s performance, the word “natural” immediately comes to mind. Crowe has the uncanny ability to take the leading role in any of these modern epics (
Gladiator) and make it his own—seamlessly merging his personality with that of the character he portrays. Joining him on the cruise is Dr. Stephen Maturin, played by Paul Bettany, who also portrayed Crowe’s imaginary roommate in the Academy Award winning, A Beautiful Mind. Maturin is the constant voice of reason in the film and he is both friend and foil to Aubrey. Among the other faces in the crew is Billy Boyd (The Lord of the Rings trilogy), whose turn as a scarred and weatherworn sailor is quite a departure from his role as Pippin the Hobbit.

One of the major driving forces behind
Master and Commander is director Peter Weir (Dead Poets Society and The Truman Show), who also co-wrote the screenplay and co-produced the movie. Weir does a wonderful job of capturing the flavor of the early 1800s, while steering clear of any anachronisms—elements out of place or time that seem to mar every other period film that comes out of Hollywood these days. The soundtrack by Iva Davies, Christopher Gordon and Richard Tognetti is sweeping and elegant, brilliantly weaving classical standards into their original score.

The only downside to the film, is that it drags on a bit at times and gradually induces seasickness in the viewer—it isn’t until about the two hour mark that the crew finally steps onto dry land (the pristine Galapagos Islands).
Master and Commander is a mature and intelligent sea battle film that, thanks to great acting and directing, is shipshape and Bristol fashion.

Rating: 3

Radio (PG)

tt0316465
Directed by: Michael Tollin
Starring: Cuba Gooding, Jr.
October 2003

“A Triumph of the Human Spirit”


Using the word triumph to describe Radio is no overstatement. Radio delivers on everything it promised in the emotional trailer, plus a great deal more. It’s a genuinely touching story that boasts Oscar-caliber performances by Oscar-winning actors, Cuba Gooding, Jr. and Ed Harris.

The plot isn’t complicated, flashy or filled with mind-blowing twists, but its straightforward simplicity is its greatest attribute. The story is pure and innocent, qualities the title character can readily identify with.

The story takes place in 1976 in a small town in South Carolina, where head football coach, Harold Jones (Harris) spots an odd young man (Gooding, Jr.), who pushes around an old shopping cart that contains various collected items (including a football belonging to Jones’ team). Jones takes interest in the young man and enlists his help on the football team, much to the disapproval of the team, school and community. Jones stands his ground and, over time, becomes a surrogate father for the mentally handicapped youth, whose infectious affection for all styles of music earns him the nickname, “Radio.” What ensues is a journey of self-discovery for both men in this heart-warming tale of human kindness, based on a true story.

Though sports have an important role in the film, this isn’t
Remember the Titans or Hoosiers. Whereas sports is the vehicle for telling the story, Radio is all about the flesh and blood characters that breathe life into what otherwise would have been just another modernized re-telling of a glorious championship season of the past.

The pacing of the film is a bit slow at times, but this effect lends itself to the sleepy burg atmosphere of the southern town, and other than this aspect, the directing and writing is very solid. For
Radio, James Horner has churned out an original score that is more original than his usual, cookie-cutter drivel (Sneakers, Bicentennial Man and A Beautiful Mind are all virtually the same score), while employing the same ethereal voices in certain motifs.

Radio is a winner because it refuses to lampoon the disability of the mentally challenged lead character, but instead, shows how, in many ways, he is more human than the rest of us “normal” people. Showing clips of the real-life Radio and Coach Jones at the end of the movie was a very nice touch. Radio is an inspiring film that is definitely worth tuning into.

Rating: 3

Runaway Jury (PG-13)

tt0313542
Directed by: Gary Fleder
Starring: John Cusack
October 2003

“Taut Thriller with a Good Moral”


Runaway Jury is the latest in a series of John Grisham novels adapted for the silver screen. Runaway Jury is every bit as intense as The Firm and The Pelican Brief, and, like its predecessors, boasts an all-star cast. The word that best sums up the movie is “paranoid.” Everyone in the film seems to be paranoid, and that persistent, pervading emotion soon rubs off on the viewer; you’re never quite sure who is on what side until the very end, which makes Runaway Jury a Grade A legal thriller.

The story begins with a disgruntled employee, recently terminated, returning to his workplace and opening fire on all of his former co-workers. Flash forward to the trial: Wendell Rohr (Dustin Hoffman) is the prosecutor for the plaintiff, a woman widowed by the shooting. Assisting the defense is Rankin Fitch (Gene Hackman), a no-nonsense, self-assured agent who is in league with the gun company that made the weapon used in the shooting. The gun company pays off Fitch to buy a verdict, so he immediately goes to work in his underground intelligence complex, where a full-time staff of highly-trained individuals utilizes high-tech equipment in order to spy on potential jurors. Based on profiles and other Intel, Fitch guides the defense attorney through the jury selection process, weeding out anyone who might be a threat to the verdict they desire. The jury is selected, but unbeknownst to Fitch, someone knows what he’s up to and has placed a wild card in the jury, someone with enough influence and charisma to swing the jury one way or the other. The wild card is Nicholas Easter (Jon Cusack), and his girlfriend, Marlee (Rachel Weisz), is the one who is throwing a monkey wrench into Fitch’s plans. She presents a deal to Rohr and Fitch—a promise to swing the jury their way for a price. Rohr has integrity and refuses the deal, but Fitch, hell-bent to win at any cost, agrees to pay Marlee. This decision sets a series of events into play that leads to a major twist and unexpected verdict.

Runaway Jury is a riveting tale that owes a lot to its rich source material. Beyond the intricate plot, the acting is nothing short of stellar and features the first big screen appearance of long-time friends, Hackman and Hoffman. The scene they share is absolutely electrifying; both men engage in a war of words that is unrivaled in recent motion picture history. Cusack is very good in his everyman role as Nicholas Easter and the rest of the supporting cast does a phenomenal job, especially Jeremy Piven as Rohr’s assistant.

There’s a great David vs. Goliath moment at the end of the film, where men and women of good conscience stand up to the greedy gun company. The movie has a good moral and a great message, but the jury is still out as to how well it will do at the box office.

Rating: 3

Out of Time (PG-13)

tt0313443
Directed by: Carl Franklin
Starring: Denzel Washington
October 2003

“Thrill a Minute With a Touch of Humor”


Denzel doesn’t disappoint. Not much of a revelation, I know, but you would think that somewhere along the way, the Academy award-winning actor would trip up and select a project that would miss its target. In the early stages of the film, I thought this might be just such a time; the movie was very slow out of the starting blocks and featured Denzel, playing the chief of police in a small, shoreline town in Florida, in the throes of a divorce while messing around with another man’s wife—very uncharacteristic of the actor who’s brought us so many heroic roles in the past (Crimson Tide, The Pelican Brief, Remember the Titans and Antoine Fisher just to name a few).

Denzel’s Matt Whitlock makes one bad choice after another in the film’s prologue; he plans to steal away with his steamy paramour—who claims to be the victim of both an abusive husband and a fatal form of cancer—by using evidence money from a recent drug bust that had elevated his status to local hero. When Whitlock’s mistress and her husband are killed in an arson fire—and he’s spotted at the scene of the crime, events spiral downward at an alarming pace.

Putting out one brushfire after the next, Whitlock attempts to discover who framed him, while keeping his own police department and the feds. off balance just long enough for him to find the evidence that will exonerate him. After a series of nail-biting episodes in which Whitlock’s indicting affair is nearly revealed, and several genuine, on-the-edge-of-your-seat action sequences, Whitlock discovers the mastermind behind the elaborate trap and realizes that he may have committed one mistake too many.

As mentioned, Denzel is pitch-perfect as the protagonist, but he is surrounded by some wonderful talent, not the least of which is Dean Cain (Lois & Clark) as the rival husband, Sanaa Lathan as Whitlock’s mistress, Eva Mendes (2 Fast 2 Furious) as his estranged wife and his delightfully quirky side-kick, played by John Billingsley (Star Trek: Enterprise), who delivered the most memorable line in the movie, “A beer in hand is worth two in the fridge.”

It probably won’t go down as movie of the year in any category, but
Out of Time is a great popcorn flick that entertains and raises the blood pressure all at the same time.

Rating: 3

Under the Tuscan Sun (PG-13)

tt0328589
Directed by: Audrey Wells
Starring: Diane Lane
September 2003

“Average Romance Shot in Timeless Tuscany”


Under the Tuscan Sun is a heartwarming romance that, mercifully, balances out the love story with artistic and dramatic panache, along with touching moments of genuine humanity. The movie’s success can be attributed to Diane Lane’s wonderfully organic performance and to the awe-inspiring Tuscany countryside which serves as breathtaking backdrop and nonhuman star in the film. Audrey Wells directed the movie and also wrote the screenplay, which is based on the memoirs of Frances Mayes.

Recently divorced, Frances (Lane) gets a wild hair and decides to relocate to Italy. Purchasing a modest home in a Tuscany villa, Frances finds the time for artistic pursuits as well as hosting parties when not renovating and maintaining her casa. After her heart has had the proper time to heal, Frances visits the coast and finds the man of her dreams—but even the perfect man, Frances learns, has his share of sordid secrets.

The movie’s pacing can make an insomniac drowsy, but Lane skillfully chews enough scenery to hold the audiences’ attention; the unconventional love story further aids in sustaining viewer interest.
Under the Tuscan Sun is made memorable by the stunningly scintillating location work, but also by the uplifting story about a courageous young woman who ends one chapter of her life and boldly begins a new chapter on a different continent. Hope springs eternal…especially in idyllic Tuscany.

Rating: 2

Secondhand Lions (PG)

tt0327137
Directed by: Tim McCanlies
Starring: Haley Joel Osment
September 2003

“Come See This Comely Coming-of-Age Tale Firsthand”


Secondhand Lions, a lighthearted tale of self-discovery, focuses on prepubescent Walter (Haley Joel Osment) and his two eccentric uncles, Garth (Michael Caine) and Hub (Robert Duvall).

The movie opens with Walter’s promiscuous mom (Kyra Sedgewick) dumping him off at his uncles’ farm for the summer while she goes off to “get a job” (translation: have a wild time) in Vegas. Garth and Hub’s daily routine involves sitting on a porch swing with rifles and taking potshots at any salesperson bold or foolish enough to approach their farmhouse. Appalled by their declared open season on salesmen, Walter challenges his uncles to find out what the peddlers are selling before filling their britches with buckshot and to spend some of their rusting fortune on items of interest.

Taking Walter’s advice, Garth and Hub purchase a secondhand lion, which they intend to hunt in a nearby cornfield. When the lion arrives, however, they discover that this king of beasts is docile and has one paw in the grave. Dispirited, the aging men feel even more obsolete than before; hunting a lion would have transported them back to the glories of their youth when they fought in wars and lived life on the edge. By summer’s end, Walter’s uncles teach him how to become a man and Walter teaches his uncles how to enjoy life again by being more spontaneous.

Caine and Duvall deliver superlative performances and Osment continues to amaze with the depth and maturity of his craft for one so young. Though Josh Lucas, as the adult Walter, looks nothing like Osment, the movie’s wrap-up is heartwarming and has an excellent payoff.
Secondhand Lions is a family-friendly drama that deals with coming-of-age and old age in a meaningful, yet whimsical, manner. It’ll probably fly under the radar, but this is one film that shouldn’t be missed.

Rating: 2 1/2

The Fighting Temptations (PG-13)

tt0191133
Directed by: Jonathan Lynn
Starring: Cuba Gooding, Jr.
September 2003

“A Class Act, But No Sister Act”


Darrin Fox (Cuba Gooding, Jr.) is a fast talker who manages to work his way up the ladder to an enviable position at a marketing firm in New York City. Just when things are going great in his life, Darrin receives news that his beloved aunt has passed away. Returning to his hometown of Montecarlo, GA—the quintessential southern burg—Darrin is reunited with friends and family, whose speech, clothing and habits throw him into immediate culture shock; his roots have come back to haunt him.

Darrin stands to gain a great deal of money from his aunt’s will, but her dying wish contains one condition—Darrin must conduct the Baptist choir and win the annual music contest in order to receive his inheritance. Darrin, who knows next to nothing about music (but can fake his way through anything), is dealt a bad hand from the start; the choir contains half a dozen average vocalists, a wizened organ player and a controlling pastor’s wife who resists him at every turn.

Darrin enlists the help of his childhood sweetheart, Lilly (Beyonce Knowles), who has the voice of an angel, but according to the pastor’s wife, sings the devil’s music in the local bar. This is just the first of many obstacles Darrin must hurdle in order to build a choir and get it ready for the competition. When circumstances go from bad to worse, Darrin tucks tail and heads back to his comfortable life in the Big Apple. But he soon realizes it’s not about the money anymore; it’s about the relationships he’s built with his choir and the commitment he made to them and his departed aunt. Darrin returns with a newfound passion and leads his group in a rousing number at the competition. If you’ve seen
Sister Act, you can guess the end from here.

And speaking of
Sister Act, there are more than just a few similarities between that breakout blockbuster and The Fighting Temptations, but this new version of the “average church choir wins the big music competition” plot doesn’t hold a hymnal to the Whoopi Goldberg comedy classic. Cuba Gooding Jr. is believable in the way he gradually comes around, leaving behind his big city attitude and reverting to the caring and honest person he was in his youth. Beyonce Knowles hits her marks and says her lines, but it’s clear that her incredible voice is the only reason she’s in the movie.

There are some wonderful cameos in the film: Steve Harvey’s radio D.J. provides several moments of hilarity and the Rev. Shirley Caesar and rapper T-Bone lend their talents to the final show-stopping number. And let’s not forget the men in the orange jumpsuits—the inmates that Darrin recruits for his makeshift choir. Some of the movie’s funniest moments involve these upstanding (though cuffed) choir members.

The Fighting Temptations isn’t the greatest movie of its kind, but it is inspiring and features some toe tapping, head-bobbing and smile-raising Gospel music.

Rating: 2 1/2

Seabiscuit (PG-13)

tt0329575
Directed by: Gary Ross
Starring: Tobey Maguire
July 2003

“A Truly Inspirational Triumph”


The only word that readily comes to mind when reflecting upon Seabiscuit is “exquisite.” This is an exquisitely crafted, directed, acted and written film. Based upon the true story and the popular book by Laura Hillenbrand, Seabiscuit tells the story of three individuals and how their lives eventually intersect in wonderful, and sometimes unexpected, ways.

The story picks up in 1910, a time of prosperity for Charles Howard (Jeff Bridges), entrepreneur and car salesman. Life suddenly takes a left turn when his young son drives one of his cars off the cliff and his wife leaves him a short time later. Charles looses nearly everything when the Great Depression hits—no one can afford to buy cars anymore.

But, Charles’ luck changes when he takes a vacation to Mexico; he meets a new woman at the horse races and wins her heart along with a lot of cash. Charles’ life is forever changed when he meets hotheaded jockey, Red Pollard (Tobey Maguire) and an old, eccentric horse trainer, Tom Smith (Chris Cooper), outside the horse track. Converting his car shed into a stable, Charles forges ahead in a new business venture and begins racing Red on a horse named Seabiscuit. They win some small-time races, but Charles has his sights set on bigger prey; he baits the owner of War Admiral, one of the fastest horses in the country, into racing against Seabiscuit—the contest is akin to David and Goliath (or the Tortoise and the Hare). So Charles enters the high-stakes race with a horse that’s too short, a jockey that’s too tall and a trainer that’s too old. The race is one for the history books…truly inspiring.

The writing and directing is exceptional in
Seabiscuit, but the acting is nothing short of stellar. Jeff Bridges plays salesman Charles Howard to the hilt; the man is so charismatic and charming, he could probably sell a rancher his own cow. The speeches he delivers are so rousing and ennobling that you have to resist the urge to jump up in the theater and yell in agreement.

Chris Cooper (my vote for best supporting actor-2003) is so natural, so likeable and so pitch-perfect in his performance, that it’s impossible to see any other actor in his role. His character is the sage in the movie, delivering didactic delicacies like, “Just because something’s broken doesn’t mean you throw it away.”

If Cooper represents the movie’s wisdom and experience, Tobey McGuire is its heart and soul. Fresh off his
Spider-Man high, McGuire’s turn as the tortured jockey is believable and touching. Horse and rider both know a thing or two about pain and that background of brokenness is the common bond between man and animal. It’s this brand of empathy that makes the pair so in tune with each other and so formidable on the track.

The quirkiest, most hilarious character in the movie, undoubtedly, is William H. Macy’s radio announcer, whose flair for mile-a-minute speaking, incisive one-liners and variety show sound effects really lightens the otherwise somber and serious tone of the film. Though his screen time is limited, Macy’s performance is also worthy of Oscar consideration.

Framing the movie historically are snippets of David McCullough’s
Seabiscuit documentary for PBS. These historical vignettes, interspersed throughout the movie, serve as segues but also give the film added depth and authenticity. A finely crafted film, Seabiscuit is an emotional journey well worth taking.

Rating: 3 1/2

Bruce Almighty (PG-13)

MV5BMTYwMTUyNzAxMF5BMl5BanBnXkFtZTYwMDYwOTY3._V1_SX214_
Directed by: Tom Shadyac
Starring: Jim Carrey
May 2003

“A Comedy That’s Heaven Sent”


What would you do if you were God for a week? This is the lofty question posed by the mildly irreverent, wildly entertaining Bruce Almighty. Bruce Nolan (Jim Carrey) is a disgruntled news reporter (the one who gets all of the boring human interest beats) who suffers one personal tragedy after the next. In one ill-fated day, Bruce looses his job, is beat up by a street gang, has a major fight with his girlfriend and wraps the front end of his car around a light post.

In an animated tantrum right out of the Carrey vault, Bruce takes out his frustrations on the Almighty, yelling at the sky such aspersions as, “the only one around here not doing his job is you.” Next day, Bruce is summoned to an abandoned factory and encounters God (Morgan Freeman), who gives Bruce His job. Bruce can do whatever he wants, but there is one catch: he can’t affect free will.

At first, Bruce takes devilish delight in paying back his enemies and using his newfound powers for personal gain, but he soon discovers that being God—even over a small section of Buffalo, New York—is a much bigger responsibility than he had previously imagined. In the end, Bruce surrenders to God’s will for his life and hands over the reins. Everything returns to normal; he gets his job and girlfriend back, but Bruce has gained a new perspective on life.

Though over-the-top in some instances, Carrey’s performance strikes an emotional chord in this film; he balances comedic silliness with some moments of genuine compassion and sympathy. Morgan Freeman is convincing in his portrayal of God (if not a little laissez faire), and Jennifer Aniston’s performance as Bruce’s girlfriend, Grace, serves as an anchor to the zany protagonist.

Bruce Almighty is a twist on It’s a Wonderful Life (a small clip of the classic movie even appears here), and presents a “what if” scenario that is quite engaging. What could have been a sacrilegious debacle is actually a faith-friendly flick in most respects and actually supports, rather than slams, a Judeo-Christian worldview. Bruce Almighty is a positive and entertaining movie experience; fun and faith affirming is a heavenly combo.

Rating: 2 1/2

Holes (PG)

MV5BMTg0MTU5ODkwM15BMl5BanBnXkFtZTYwMzgxNzY3._V1_SY317_CR0,0,214,317_
Directed by: Andrew Davis
Starring: Shia LaBeouf
April 2003

“Disney Digs up a Gem”


Every once in a while, Disney produces an entertaining, clean, live-action film that makes a hole in one. Though dissimilar in theme, last year’s, The Rookie, would certainly fit into this traditional, inspiration movie mold. This year’s model, Holes, is definitely something new under the sun; and in a summer swarming with sequels, it’s nice to see something fresh and innovative.

Based on the teen novel by Louis Sachar, Holes features an array of new talent, most notably, Shia LaBeouf as Stanley Yelnats and Khleo Thomas as Zero. There are also some other, more recognizable names here, like Sigourney Weaver as the camp warden and Jon Voight as the trigger-happy, sunflower seed gulping, Mr. Sir. The film is also bolstered by a solid screenplay and deft direction by Andrew Davis (The Fugitive).

Men in the Yelnats (Stanley spelled backwards) family have endured a curse for several generations. Young Stanley is in the wrong place at the wrong time and ends up a Camp Greenlake, a juvenile detention facility. To build character, these young men must dig holes all day in the oppressive desert heat, while avoiding snakes, scorpions and the deadly yellow-spotted lizard.

While digging, Stanley discovers an artifact that has an intricate and sordid past—a past that is fleshed out in several historical vignettes that occur at irregular intervals during the middle of the story and serve as an intriguing subplot. Stanley must unravel the mysteries of the past in order to break the familial curse and clear his name.

Holes doesn’t take itself too seriously, and yet, you don’t have to suspend your disbelief to dizzying heights in order for the fictional elements to make sense or feel like they fit in with the overall plot. The movie has a surprisingly solid storyline, and for a movie geared for teens, has far fewer plot holes than most adult movies.

Holes is as refreshing as a rain shower on a hot summer afternoon—an image not lost on the movie—and is a feel-good family flick that anyone can easily dig.

Rating: 3

Gods and Generals (PG-13)

MV5BMTU1NzExNjU3OF5BMl5BanBnXkFtZTYwNzc0MDg5._V1_SX214_
Directed by: Ronald F. Maxwell
Starring: Stephen Lang
February 2003

Jeff Daniels, Stephen Lang, Robert Duval, Mira Sorvino, Kevin Conway, C. Thomas Howell, Bruce Boxleitner, Billy Campbell; the list of fine actors in the excellent ensemble cast goes on and on and on…much like the movie itself. Weighing in at three hours and forty-five minutes,
Gods and Generals is, perhaps, too painstaking in its attention to historical detail—the pacing is a somnambulating lumber and huge sections of the story consist of exceedingly dry narrative. Under Ron Maxwell’s direction, the movie feels like a high-dollar documentary, lacking any kind of synergy; even the paint-by-numbers battle sequences are static (the only exception is when Daniels’ Lt. Col. Chamberlain is prone on the battlefield, frozen in fear as cannon balls and wounded soldiers fall around him all night long). All of Ted Turner’s money (and even a cameo by the financial mogul) couldn’t hoist the movie out of the slough of mediocrity. By movie’s end, I didn’t care which side won the battle; I just wanted a good, long stretch and some fresh air.

Rating: 2

The Recruit (PG-13)

MV5BMjE5MDMzOTk3MV5BMl5BanBnXkFtZTYwNTE0NTg2._V1_SY317_CR0,0,214,317_
Directed by: Roger Donaldson
Starring: Al Pacino
January 2003


The Recruit
is a solid spy movie that utilizes action sequences and plot twists to the hilt, while leaving the characters a bit underdeveloped. Pacino and Farrell are believable, if not amazing, in their roles. The only downside to the climax is that it leaves you scratching your head on the way out of the theater.

Rating: 2 1/2

The Hours (PG-13)

MV5BMTY4MDQyNjM2OF5BMl5BanBnXkFtZTcwMjQxOTAzMw@@._V1_SX214_
Directed by: Stephen Daldry
Starring: Meryl Streep
January 2003

Based upon the life and works of Virginia Woolf,
The Hours focuses on the themes freedom and love and the issues of suicide and homosexuality. Under solid direction, Kidman, Moore, Streep and (especially) Harris are absolutely brilliant, but the movie is so moody and depressing, it fails in its attempt at being life-affirming.

Rating: 2 1/2

Antwone Fisher (PG-13)

MV5BNzQ4MjI1ODI0NF5BMl5BanBnXkFtZTcwMjA0MTQyMQ@@._V1_SX214_
Directed by: Denzel Washington
Starring: Derek Luke
January 2003

Denzel Washington’s directorial debut is—was there any doubt—a great piece of cinema. Based on a true story of the title character’s life,
Antwone Fisher reveals the challenges of dealing with a painful past and the courage one can find when confronting those issues. Despite some heavy subject matter, Antwone Fisher is a triumph.

Rating: 3

Evelyn (PG)

MV5BMTYwNjUwNTkxOF5BMl5BanBnXkFtZTYwMzA1MDg5._V1_SX214_
Directed by: Bruce Beresford
Starring: Pierce Brosnan
March 2003

Amid the deluge of effects-heavy pictures, comes little
Evelyn, which marches up to those other movies like David accosting Goliath—an image not lost on this true story of a courageous father who took on the Irish Supreme Court to regain custody of his three children. Brosnan is wonderful in this family affirming and heartwarming tale.

Rating: 3

Catch Me if You Can (PG-13)

MV5BMTY5MzYzNjc5NV5BMl5BanBnXkFtZTYwNTUyNTc2._V1_SX214_
Directed by: Steven Spielberg
Starring: Leonardo DiCaprio
December 2002

The opening sequence is absolutely brilliant—a throwback to a sixties spy flick.
Catch Me if You Can is highly entertaining and Hanks and DiCaprio are spot-on. Catch Me if You Can is so unbelievable at times, that occasionally you have to stop and remind yourself that this actually happened.

Rating: 3

Far From Heaven (PG-13)

MV5BMTE5ODI3MTM4OV5BMl5BanBnXkFtZTYwNjE5OTg2._V1_SX214_
Directed by: Todd Haynes
Starring: Julianne Moore
December 2002

Some heavy issues are explored in
Far From Heaven, which are dealt with in a very realistic manner; no fairy tale ending here. Julianne Moore is simply astounding and Elmer Bernstein’s score perfectly captures the wistful mood of a forbidden love that can never be realized.

Rating: 2 1/2

Solaris (PG-13)

MV5BMTQyNzI3MzMyNF5BMl5BanBnXkFtZTYwNDAyNzk2._V1_SX214_
Directed by: Steven Soderbergh
Starring: George Clooney
November 2002

It’s not often that I utterly despise a sci-fi movie, but here’s the exception. Dark, claustrophobic and static (not to mention, boring), the movie has no redeeming qualities.
Solaris is pure, mind-numbing existentialism.

Rating: 1

The Emperor’s Club (PG-13)

MV5BMzcwMjEwMDQzNV5BMl5BanBnXkFtZTcwODEzOTgxMQ@@._V1_SY317_CR3,0,214,317_
Directed by: Michael Hoffman
Starring: Kevin Kline
November 2002

As I walked out of the theater with a good friend of mine, he said, “Finally something with some meat.” I couldn’t have said it any better if I tried. An engaging and heart-warming story with an Oscar-worthy performance by Kevin Kline,
The Emperor’s Club easily earns my highest recommendation.

Rating: 3 1/2

The Four Feathers (PG-13)

MV5BMTYzOTMxNzg0MV5BMl5BanBnXkFtZTYwMjQwMDQ3._V1_SY317_CR4,0,214,317_
Directed by: Shekhar Kapur
Starring: Heath Ledger
September 2002

This movie could have been so much more. Besides fudging on the history lesson,
The Four Feathers failed to deliver on the emotion front. Static directing and uninspired acting add to the film’s malaise and render it mediocre at best.

Rating: 2 1/2

Signs (PG-13)

MV5BNDUwMDUyMDAyNF5BMl5BanBnXkFtZTYwMDQ3NzM3._V1_SX214_
Directed by: M. Night Shyamalan
Starring: Mel Gibson
August 2002

From the writer/director/producer of
The Sixth Sense, Signs is a taut thriller that delivers on its promise to keep you on the edge of your seat. Hitchcock would be proud of this effort, which harkens back to V and War of the Worlds, yet maintains its own identity. Signs has a great twist ending and a faith-affirming moral.

Rating: 3

K-19 The Widowmaker (PG-13)

MV5BODM4NDI2NDE1MF5BMl5BanBnXkFtZTYwMjU2OTc5._V1_SY317_CR5,0,214,317_
Directed by: Kathryn Bigelow
Starring: Harrison Ford
July 2002

A Cold War sub flick with Ford and Neeson is a sure-fire winner, right? Star power couldn’t keep
K-19 afloat due to a plodding plot and static directing. This true story wasn’t all that entertaining and doesn’t hold a rudder to U-571.

Rating: 2

The Sum of All Fears (PG-13)

MV5BMTIwMTEyNDQ2MF5BMl5BanBnXkFtZTYwMzcxNjc5._V1_SX214_
Directed by: Phil Alden Robinson
Starring: Ben Affleck
May 2002

A taut action thriller,
The Sum of All Fears had a riveting set-up, but lost all credibility with its abrupt ending. Affleck and Freeman are good, but really aren’t given much to do in the film. I’m afraid it doesn’t measure up to the other “Clancy” movies.

Rating: 2 1/2

The Rookie (G)

MV5BODYzNTYzNTA3MF5BMl5BanBnXkFtZTYwMjE0MjQ3._V1_SY317_CR0,0,214,317_
Directed by: John Lee Hancock
Starring: Dennis Quaid
March 2002

It’s been a long time since I’ve been in an audience that clapped at the end of the movie. It’s been a longer time since I’ve cried while watching a movie.
The Rookie is simply the most inspiring movie I’ve seen in a very, very long time.

Rating: 3

John Q (PG-13)

MV5BMTcxNTQ1MzAyOF5BMl5BanBnXkFtZTYwNDg0ODk4._V1_SX214_
Directed by: Nick Cassavetes
Starring: Denzel Washington
February 2002

An emotionally taut thriller,
John Q is held back only by a predictable plot. Denzel Washington delivers an Oscar-worthy performance and the supporting cast is exceptional as well; especially Robert Duvall, James Woods, Anne Heche, Ray Liotta and Eddie Griffin—the “Slapaho” guy.

Rating: 3

I Am Sam (PG-13)

MV5BMTg4Nzg0MDg4N15BMl5BanBnXkFtZTYwNTAxMzU5._V1_SX214_
Directed by: Jessie Nelson
Starring: Sean Penn
January 2002

Michelle Pfeiffer is solid. Dakota Fanning is an angel. Sean Penn is sensational. The story is good; but I wasn’t overly thrilled with the ending. After two and a half hours of fairly good entertainment,
I Am Sam failed to resolve to my satisfaction.

Rating: 2 1/2

The Count of Monte Cristo (PG-13)

MV5BMTg2MTQwMDk4OF5BMl5BanBnXkFtZTYwNzM4NTA5._V1_SY317_CR7,0,214,317_
Directed by: Kevin Reynolds
Starring: Jim Caviezel
January 2002

A faithful re-telling of Dumas’ classic novel,
The Count of Monte Cristo was one of the biggest underachievers on the big screen this year. Every aspect of this film was finely crafted, and yet, it was overlooked by the Academy and millions of moviegoers alike.

Rating: 3

A Beautiful Mind (PG-13)

MV5BMTQ4MDI2MzkwMl5BMl5BanBnXkFtZTYwMjk0NTA5._V1_SX214_
Directed by: Ron Howard
Starring: Russell Crowe
January 2002

A truly exquisite film—and would you expect any less from Ron Howard? Cerebral and convoluted (much like a brain),
A Beautiful Mind is a powerful true story of love and courage, compellingly brought to life by Crowe and Connelly.

Rating: 3 1/2

K-PAX (PG-13)

MV5BMTIzMDY0MzUxOF5BMl5BanBnXkFtZTcwNDE2NjkxMQ@@._V1_SY317_CR2,0,214,317_
Directed by: Iain Softley
Starring: Kevin Spacey
October 2001

K-PAX
is a slightly off-kilter movie that's enjoyable just for that reason. Bridges and Spacey deliver fine performances and the plot is engaging enough to keep you guessing until the emotional climax. The message K-PAX leaves you with is powerfully poignant.

Rating: 3

The Musketeer (PG-13)

MV5BMTIxOTUxMDk1MF5BMl5BanBnXkFtZTcwODA2MDQyMQ@@._V1_SY317_CR1,0,214,317_
Directed by: Peter Hyams
Starring: Justin Chambers
September 2001

I was pleasantly surprised by this one.
The Musketeer has a halfway decent storyline, action sequences that stay just inside the boundaries of believability and boasts the best villain I've seen this year. The set design is Oscar-worthy.

Rating: 2 1/2

A.I. Artificial Intelligence (PG-13)

MV5BMTMwNDI0NjU1NF5BMl5BanBnXkFtZTcwNTcwOTI3MQ@@._V1_SY317_CR0,0,214,317_
Directed by: Steven Spielberg
Starring: Haley Joel Osment
June 2001

Two diametrically opposed directing styles collide in
A.I., producing a moody, avant-garde film. Every aspect of the movie soars except for the story, which makes the movie memorable for its unfulfilled potential. Osmet is a gem.

Rating: 2 1/2

Finding Forrester (PG-13)

MV5BMTk5MjQ4MjcyOF5BMl5BanBnXkFtZTYwNTMzODg2._V1_SX214_
Directed by: Gus Van Sant

Starring: Sean Connery
January 2001

Sean Connery plays agoraphobic William Forrester, renowned author of two best-selling novels, who entered seclusion at the height of his success and now exists as a curmudgeonly recluse in the Bronx. Enter Jamal Wallace (Rob Brown), a gifted writer who Forrester reluctantly takes under his wing (after the teen breaks into his apartment on a dare), teaching him the finer points of how to craft the Great American Novel. Jamal’s impressive grades pave the way for him to attend an upper crust school, where he makes friends with Claire Spence (Anna Paquin), but one of his teachers, Prof. Henry Crawford (F. Murray Abraham) has it in for him, claiming the young African American student is plagiarizing other famous works. The climactic scene, where Forrester visits Jamal’s class and reads one of his protégée’s works, is the moment of the film, very gratifying. There’s nothing revolutionary about
Finding Forrester, but as a character study and a tale of self-discovery and friendship, the movie passes with flying colors.

Rating: 3

Unbreakable (PG-13)

MV5BMTQ5MzkyMjk2Nl5BMl5BanBnXkFtZTYwOTAxOTE3._V1_SX214_
Directed by: M. Night Shyamalan
Starring: Bruce Willis
November 2000

David Dunn (Bruce Willis) has never been sick, never broken a bone and has walked away from a train wreck where he was the sole survivor. Elijah Price (Samuel L. Jackson) is the fragile art collector who tests Dunn’s special abilities and, in the process, discovers his own true nature. Despite an intriguing premise, forensic-level direction by M. Night Shyamalan and a wonderfully nuanced performance by Willis, the movie topples like a stack of comic books near the climax, when the auteur unleashes his unconventional, twist ending. There’s no doubting the movie’s status as a fine film, but it doesn’t take a sixth sense to divine that this second Shyamalan thrill-fest isn’t as good as the first.

Rating: 3

What Lies Beneath (PG-13)

MV5BMTI5NjkwNDMwN15BMl5BanBnXkFtZTYwMzY2Nzg4._V1_SY317_CR6,0,214,317_
Directed by: Robert Zemeckis
Starring: Harrison Ford
July 2000

Just this side of a horror film,
What Lies Beneath is a thriller wrapped in a mystery. The movie is brimming with spine-tingling scenes that make you want to jump out of your skin. Though a radical departure from the director’s staple, Robert Zemeckis does a fine job of building suspense and waiting until the perfect moment to have a door slam, a picture frame fall or a corpse appear in the bath tub (easily the freakiest transformation I’ve witnessed in a very long time). Michelle Pfeiffer delivers the most convincing performance I’ve seen this year and Harrison Ford keeps you guessing which side he’s on until the bitter, fateful end. What Lies Beneath is a finely crafted tale of dark secrets and hidden transgressions, presented with harrowing intensity.

Rating: 3

Frequency (PG-13)

MV5BMTI4NTgyOTIxN15BMl5BanBnXkFtZTYwMTUwODY3._V1_SY317_CR0,0,214,317_
Director: Gregory Hoblit
Starring: Dennis Quaid
April 2000

What a great movie!
Frequency has a riveting, pulse-pounding plot and excellent performances by Dennis Quaid and James Caviezel as a father and son duo separated by time, but mysteriously connected by a HAM radio. Every time they alter history, a new set of variables come into play, creating more problems and ratcheting up the tension. This Murphy’s Law scenario is wildly entertaining—if not a bit far-fetched—and the ending twist makes you want to stand and applaud. The most enjoyable movie I’ve seen this year.

Rating: 3

Bicentennial Man (PG)

MV5BMTczMzQyNTgxMF5BMl5BanBnXkFtZTYwMDY5MzI5._V1_SY317_CR3,0,214,317_
Director: Chris Columbus
Starring: Robin Williams
December 1999

Bicentennial Man
is a touching tale, which chronicles the decades-spanning journey of a robot in his quest to become human. Based on a story by Isaac Asimov and played to perfection by Robin Williams, the movie’s only downside is that it runs about twenty minutes too long. Sam Neill, Oliver Platt and Embeth Davidtz contribute excellent supporting performances.

Rating: 2 1/2