Category Archives: film

REVIEW: OZ THE GREAT AND POWERFUL (2013)

by mwgerard Posted on April 1, 2013

This movie makes me fear even more for the future of the Star Wars franchise. What has happened to Disney? Instead of inspiring wonder and amusement, they too seem to have gone the way of bland mediocrity, an opiate for the cinematic masses. If it weren’t for Pixar, there would be no creative output from the Mouse’s film vault.

The writing isn’t terrible, but neither is it particularly good. The theme of being the best you can be and being true to yourself is so repetitive as to become nauseating. What really kills this movie is the acting.

James Franco squints his way through, delivering ridiculously bad performances throughout. It’s as if he thinks his mildly decent looks will distract the audience from how wretched he is. Mila Kunis, usually passable if not brilliant, is out of step the entire film. I don’t entirely blame her however — she should have been directed better. Michelle Williams was saccharine and vapid. If I were one of the witchy sisters, I’d try to ruin her too. Rachel Weisz manages to merely nibble at the scenery rather than gobble it, in most scenes. Actually, the best performances are from two CGI characters — China Doll and Finley the Monkey.

It’s sad. L. Frank Baum gave us characters and adventures that are still magical over 100 years later. But even in the hands of the most respected animators in the world, it fails.

The best part of the movie is the brilliant opening credit sequence. It perfectly captures turn-of-the-century circus and magic aesthetic. You can watch it here and spare yourself the rest of the movie:

This steampunky theme returns only later in the movie to great effect. I do wish they had used the simplicity and shabby realism of this style more often.

In short, the movie is terrible. It has no business joining the annals of Oz, nor does it deserve a place on the shelf next to Sleeping Beauty or Toy Story. Like one of the magician’s tricks, this was a cheap illusion to disappear money out of our pockets and into the Disney’s.

Posted in film, review | Tagged great and powerful, james franco, michelle williams, mila kunis, oz, Oz: The Great and Powerful, rachel weisz | Leave a comment

REVIEW: LES MISERABLES (2012)

by mwgerard Posted on January 11, 2013

I was on the fence about whether I was going to see this one until I learned it was directed by Tom Hooper, whose The King’s Speech was stunning. I thought he would be good choice to bring out the subtly of the characters. I also knew he could evoke era and it would be shot beautifully.

In most cases, this is true. In general, the characters are well-drawn. For the most part, I cared what happened to everyone (But I attribute a good deal of that to Victor Hugo as well).

As for the singing… of which 98% of it is… well… it was uneven. Most surprisingly, Hugh Jackman‘s singing was weak. He is in the bulk of the movie, obviously, so the fact that he sings flat most of the time is actually rather painful. I found myself squirming in particular during “Who Am I?” and “Bring Him Home.” His acting is fair, so I suppose if one is tone deaf, one would enjoy him more. And to fans of his performance I say that you are more than welcome to like it/him, but that does not change the sonic frequencies that he emitted. The majority of them were incorrect.

All of the French Revolutionaries (Marius, et al.) are very strong and did not include the annoying Broadway stare mentality I feared. In fact, they were rather inspiring. Unfortunately, Gavroche is irritating. He is too much the little Oliver Twist rather than his own character. Sasha Baron Cohen once again proves that he has real chops as the “Master of the House”. His wife, played by Helena Bonham Carter, sadly does not match up. She is just strange and uncomfortable to watch.

Russell Crowe, though not perfect, was surprisingly good as Javert. He did not play the role as fiercely as I would have liked and his singing voice sounds a bit modern, but he is strong.

The true stars of the film are the ladies playing Fantine and Eponine.

Anne Hathaway is heart-wrenchingly affecting as mother-factory-worker-turned-destitute-street-walker. And just as importantly, in a musical, she is quite literally pitch-perfect. Her voice is unaffected, pure and well under control. It was refreshing and found myself wishing there were more of her character in the show to enjoy.

Similarly strong is Samantha Barks as Eponine. She is sassy, troubled and smart but manages to keep the audience’s sympathy throughout her act. Her singing is also spot-on. I look forward to seeing more of her in the future.

Since these actresses have the two most famous songs from the show (I Dreamed a Dream and On My Own, respectively), it is great that they have the best pipes.

The filming was a bit strange. Nearly all of it (as far as I could tell) was shot with a hand-held camera. Many scenes for shaky and uneven. Perhaps this was Hooper’s attempt to bring the audience in, but after two and a half hours it became difficult to watch. I was even less impressed with the use of the fish eye lens for Fantine’s descent. Yes, I know, he was trying to make it be Fantine’s point-of-view, funhouse mirror style, but it was first-year film student type of stuff. All style and no substance.

The same with the sets. Again, I am sure it was a conscious choice, but the backgrounds were very set-like, rather than realistic. I was hoping that Hooper would have chosen for a more realistic style that film would allow for, a level of detail that isn’t possible on stage.

In general, the film is watchable, but not the perfect masterpiece it could have been.

**Addition**

A reader asked me what I though of Amanda Seyfried, who played the adult Cosette. In truth, I forgot to include her because she was really rather forgettable. Her voice tends to warble but it is on pitch. Though her singing is passable, she is incredibly boring. She has no personality. So little, in fact, that you wish Marius were actually in love Eponine rather than Cosette.

Posted in film, review | Tagged amanda seyfried, anne hathaway, cosette, eponine, fantine, hugh jackman, javert, jean valjean, les mis, les miserables, russell crowe, samantha barks, victor hugo | 1 Comment

THOUGHTS ON “LINCOLN” (2012)

by mwgerard Posted on December 2, 2012

Just about any film will have its strengths and weaknesses, but some of these I never expected from veteran Spielberg.

Its main strength lies in the acting. Daniel Day-Lewis is, unsurprisingly, fantastic as Abraham Lincoln. He humanizes the president that we are all too familiar with as a piece of money or a stone face on a mountain.

daniel-day-lewis-lincoln-sp — Day-Lewis as Lincoln

He shuffles his long, lanky legs uncomfortably, hunches his too-tall shoulders and bears his unmistakable fatigue with grace. In some scenes it appeared that they gave him shirts with sleeves too short to make his hands and arms appear even longer.

In school we learn about Lincoln’s achievements and consider him to be a great man, but I came away from this actually liking Lincoln, as a person. He was not without his faults, certainly, but he came by those faults honestly.

Another of the strong performances comes from David Strathairn, which is again not a surprise. He is always a solid actor and he nails his role as Secretary Seward. He looks uncommonly comfortable in a vest, cravat and brushed forward hair, like he walked out of a painting in the National Portrait Gallery.

Tommy Lee Jones clearly had way too much fun as the bombastic and insulting Thaddeus Stevens. He let fly as the unapologetic Congressman, and the head of the Ways and Mean committee. Indeed he steals every scene he is in, save one with Day-Lewis.

Much has been made of Sally Field and her insistence on being cast as Mary Todd Lincoln. I don’t know who else had been considered but she does a fine job. Mary is a complicated character both in real life and in this film and she deals with it nicely.

Smaller roles for James Spader and Lee Pace are also well-cast and well-acted.

Now for the weaker points. If I had to put into one sentence: This film does not seem like it was directed by Steven Spielberg. Much of the camera work feels like a Ken Burns documentary. Painfully slow zooms don’t constitute cinematography in my opinion and this movie is full of them. There are occasional filmic string scenes but there are not enough. Additionally, there are rookie mistakes. For example, Lincoln and Grant sit on a porch after the South has surrendered. They talk about their ideas for Reconstruction. The shot is an exterior. The sunlight is apparent and coming from behind the actors. Yet there is very bright, very obvious light being shined on the actor’s faces. This is not just ambient light — this is spotlights and reflectors. In fact, it kind of makes the viewer’s brain hurt until you figure out what is going on.

The writing is not strong either. The best parts is the tight dialogue during the debates, both in the cabinet room and on the senate floor. Unfortunately, much of the character dialogue is weak, or just passable.

And as much as I like Joseph Gordon-Levitt, his “storyline” was completely unnecessary and poorly presented. He plays Robert, Lincoln’s eldest son who is insistent upon joining the Union forces. The family strain is clearly evident without this subplot and his scenes just pull the viewer away from the driving force of the movie. Time would have been better spent expanding the story on Gloria Reuben‘s character, Elizabeth Keckley.

As unlikely as it sounds, it also seems like this film was the victim of the dreaded test audience. The film should have ended with a strong shot of Lincoln walking down the hallway at the White House in silhouette. The audience knows he is going to the theatre. It’s effective but subtle. Instead, we have to watch 10 more minutes of stilted dialogue and really cheesy effects. There is even a superimposition shot of a dead Lincoln in bed, surrounded by colleagues, over a gas lamp while they spout bad writing.

Unfortunately, this film is really just a History Channel special for classrooms, with better acting and some better sets.

Posted in film, review | Tagged abraham lincoln, daniel day-lewis, lincoln, mary todd lincoln. sally field, steven spielberg | Leave a comment

BRIEF REVIEW: JANE EYRE (2011)

by mwgerard Posted on July 3, 2012

Director Cary Fukunaga has given a new generation a gorgeous version of this classic tale. Since its publishing in 1847, under the pseudonym Currer Bell, Jane Eyre has fascinated both readers and storytellers. This adaptation is beautifully shot, very well-acted, and enhanced by a stunning score from Dario Marianelli (Atonement, I Capture the Castle). The set of Thornfield is perfect. It’s devastating and romantic and even funny at times.

And until the last third of the movie, I thought someone had finally made a perfect adaptation. But, like Jane, my dreams were dashed, made all the more painful because I had dared to hope at all.

Yes, everyone has a favorite scene that they can’t wait to see on the big screen. Or a line that doesn’t match quite with their imagination. But this goes beyond minuscule details. Even more frustrating, many of these key scenes were shot, but edited out (Luckily you can see them in the extra features).

* Spoilers beyond this point *

There are no scenes that hint at or show Bertha until the failed wedding. Although Bertha does try to set Mr. Rochester’s bed on fire, there are no cackles from the hallway, no unholy screams that keep Jane awake. There is no Grace Poole as a red herring. There isn’t a hint of the supernatural or any idea that something is amiss. Most frustrating, is the lack of the veil shredding scene. It jumps from Adele playing with the veil to Jane and Rochester heading to the church. I think the lack of these scenes undermines Jane’s character and detracts from the richness of the story. The uncertainty, the unsettled atmosphere is key to Jane Eyre. Without it, it becomes little more than a “will they or won’t they” story.

There are also some important elements of Mr. Rochester’s character that are left out. Though shot, but cut, there is a scene in which he describes his connection to Adele’s mother. I found Wasikowska and Fassbender’s chemistry most evident during this scene, but it was inexplicably cut. And Rochester’s speech at the altar? Nowhere to be found. He merely takes the wedding party to his attic, for our first glimpse of a woman who looks methed out.

* End of spoilers *

In short, what IS there on screen, is beautiful and well done. The problem is it leaves what I consider essential scenes out. Do see it; it was very enjoyable. Just know that somethings are missing. I suppose I am only all the more disappointed knowing how very close to perfection they came.

Posted in film, literary, review | Tagged cary fukunaga, charlotte bronte, currer bell, england, jamie bell, jane eyre, judi dench, mia wasikowska, michael fassbender, victorian | 1 Comment

REVIEW: ABRAHAM LINCOLN, VAMPIRE HUNTER (2012)

by mwgerard Posted on June 27, 2012

So, the title tells you just about all you need to know. Knowing the basics, I expected a silly action flick. And it is. The film (and presumably the book, although I haven’t read it) weaves in biographical details about Lincoln into a completely ridiculous tale about vampires.

As a boy, Lincoln’s mother is killed by a ruthless and jealous merchant (who also happen to be a vampire). He vows revenge and gets his chance as an impetuous teenager. Unsuccessful in his vengeance bid, he retreats to study under a more accomplished vampire hunter. After a training montage, he is now ready to smite the undead with his mighty axe.

First, the strong points. The set design and decoration was quite good. From a one room cabin in Indiana to a decrepit mansion in New Orleans to a small dry goods shop in Springfield, Illinois, the production design nailed it. Similarly, the cinematography was very well done. There were plenty of candlelit rooms and moonlit landscapes that must have been difficult to photograph, but they were important for the mood and story.

Now the not-so-stellar points. With few exceptions, the acting was horrendous. Rufus Sewell, who seems incapable of turning in a bad performance, plays a centuries-old vampire who has allied himself with Jefferson Davis and the rebel forces. There the acting accolades end. Anthony Mackie, Abe’s friend Will, Jimmi Simpson, owner of the dry goods store and Mary Elizabeth Winstead, Mary Todd, do well enough to not embarrass themselves. The same cannot be said for Dominic Cooper, Marton Csokas, and unfortunately Benjamin Walker. He brought as much personality to the role of Abraham Lincoln as the marble statue in DC. I’ve not seen any of his other films so I have nothing to compare it to, but this cannot be his best work. He is stilted, wooden and awkward. I don’t even know why Erin Wasson was there. Her character, and her portrayal of it, were useless.

The film is completely lacking in subtlety, though that is hardly a surprise. Other “monster” movies like White Zombie and I Walked With A Zombie explore the idea of slavery and colonialism in various kinds, comparing it to being “zombified”. Here, the film explains it numerous times, and any value the idea had is lost.

The action sequences are nothing special. They are strange mix of Jackie Chan kung fu and 300-style blood splatters. The climactic action scene is on a train, but Buster Keaton did more with less, and 90 years ago.

I wasn’t expecting a masterpiece, but I was hoping for a campy, cult favorite. Something that had just enough good about it that it would be one a 24-hour loop on TBS on February 12th, or be the basis for a new drinking game, perhaps. Unfortunately it fell short of that goal. It tried too hard to be a serious movie, rather than embracing the genre it rightfully belongs in. The result is an awkward identity crisis.

Posted in film, review | Tagged abraham lincoln, axe, illinois, steampunk, vampire, vampire hunter | 1 Comment

REVIEW: THE QUEEN OF SPADES (1949)

by mwgerard Posted on June 21, 2012

A somewhat forgotten film, The Queen of Spades seems to be making a quiet return. Made on a small budget, the film was nominated for a BAFTA (British equivalent of the Oscars) and was screened at Cannes, before dropping off into obscurity.

Based on a novella by Alexander Pushkin, the film follows one man’s obsession for money and control. It is set in 1806 in St. Petersburg, in snowy streetscapes and glittering opera houses. A regiment of soldiers frequents a basement den of iniquity, complete with dancing and singing gypsies, tankards of vodka and gambling. The game of choice is Faro, a simple two-person came of chance. The protagonist, Herman Suvorin (Anton Walbrook) is captain of the engineers, and a German. He does not partake in the revelry, choosing instead to save his money and live fastidiously.

The handsome captain lives in a spare apartment. The bedclothes are modest, the candlestick is well-waxed and It’s clean and everything has its place. He carries no debts and exists simply. And he seems contented, if not entirely ecstatic with his situation. That is until he hears the story of a Countess, who traded her soul for the secret to winning at Faro. That was sixty years ago. She is now an old, embittered woman (Edith Evans) and the secret will soon die with her.

In stark contrast to the captain’s ruthless nature is Lizavetta Ivanova (Yvonne Mitchell). She is a young woman, now the ward of the countess, after she was orphaned. in return for the countess’s magnanimity, Liza is the old woman’s companion. She puts up with her complaints of draughts and impertinent young people, and wishes to be free of the countess’s constraints. Liza has more affection for the servants than her benefactress and sees no use in a frivolous amount of money.

Their two realities meet and a tempestuous relationship begins. They each have something the other wants — the captain wants into her gilded cage, while she wants a way out.

I found myself much more interested in the supernatural intrigue than the love story and I wish the film had focused more on it. A good bit of the middle is melodramatic with love letters and swooning. One of the stronger scenes is all too short (in fact, there is an awkward cut, which makes me wonder if some footage was lost). The captain goes into a used bookstore and stumbles upon a mysterious volume of stories.

It’s telling that the film chooses a German, the home of the Brothers Grimm, to be the one to believe in “fairy tales” such as these. For no sensible Brit or world-weary Russian would consider the stories in this book anything more than a collection to pass the time.

The film is beautifully shot in high contrast black and white, and often in the shadows. It’s reminiscent of the Tourneur/Lewton projects but more classical in style. Austenites will recognize some similarities in the social situations, the dress, and the dancing. Indeed, Liza could well be an Austen heroine herself. Perhaps that is the British film team’s influence creeping in. After all Russia, holds a strange place on the map — not quite the mystical East, nor the civilized West. It’s still long before the Bolshevik revolution, and nearly ten years before Waterloo. There is a sense of wealth that has nothing to do but indulge in decrepitude.

Unfortunately, it does not appear that Netflix carries this title yet (although they do have various ballet versions), so in order to see it you will need to purchase it – which is still a bit tricky in the US. Hopefully, this resurgence in interest will bring it to a wider audience. If you do get a chance to watch it, hang on for the end. Yes, the “love” stuff will feel a bit outdated and overwrought, but the last 15 minutes are stunning and chilling. It’s when all the supernatural buildup comes together.

__________________________

A special thanks to Jim Reed and the Psychotronic Film Society who found and screened this film. I doubt I would have ever seen it otherwise!

Posted in film, review | Tagged alexander pushkin, anton walbrook, boris akunin, card games, edith evans, erast fandorin, fandorin, gambling, queen of spades, russia, st petersburg, supernatural | Leave a comment

REVIEW: SALMON FISHING IN THE YEMEN (2012)

by mwgerard Posted on June 16, 2012

This is the best movie of the year (at least, so far). It’s charming but not saccharine, sweeping but not grandiose. As it is based upon a book, story is paramount. It is from Lasse Halstrom, the director of Chocolat, after all.

Emily Blunt plays Harriet Chetwode-Talbot, a smart, sleek and organized asset manager. Her portfolio of clients includes one very wealthy Sheikh Muhammed (Amr Waked) from Yemen. He has a manor in Scotland where he loves to fish for salmon and wants to bring his passion to the desert. Chetwode-Talbot seeks out the preeminent expert on such things, Dr. Alfred Jones (Ewan MacGregor). The two spar over the ideas that a cold water fish could live in a a place with no water.

Meanwhile, Her Majesty’s government is desperate for a positive news story out of the Middle East. Patricia Maxwell (Kristin Scott Thomas) is determined to spin gold out of straw with this one and insists the project move forward. And so this unlikely trio sets out to do the impossible.

Research takes the team to the Sheik’s estate (also know as Glenbogle from Monarch of the Glen), vast expanses of arid desert, canyons and boring office cubicles. Each location is well-drawn, evoking a very real sense of place. This variation somehow makes the project seem all the more daunting, and more adventurous. Hallestrom uses each of these locations beautifully, including a couple of gorgeous scenes with low lighting.

The score too is very well done. By veteran composer Dario Marianelli (I Capture the Castle, Atonement), it seamlessly blends the music and sounds of all of these locations.

These three main characters are quite well done. Dr. Jones is a brilliant but socially awkward man. He’s very kind-hearted but doesn’t really interact the way most people do. Ms. Chetwode-Talbot seems to cherish British propriety, although she sees her own self fall short. She expects a great deal from herself. Sheik Muhammed is a philosopher who has the means to act upon his ideas. He is not just a rich man with a crazy idea. He wants to bring life and prosperity to his country. Mrs. Maxwell connotes the a turning point of Kristin Scott Thomas’ career, I think. No longer the soft, willowy heroine (English Patient, Horse Whisperer) she bursts onto the screen a la Kay Thompson in Funny Face and fills it in each of her scenes.

Salmon Fishing In The Yemen is funny, wise, sobering and inspiring. It’s not going to make the kind of money that a summer blockbuster will (though it should). But if you see it showing at a theatre near to you, DO see it on the big screen. It’s beautiful and immensely enjoyable.

Posted in film, review | Tagged amr waked, desert, emily blunt, england, ewan macgregor, film, fishing, kristin scott thomas, london, morocco, salmon, salmon fishing in the yemen, scotland, yemen | Leave a comment

REVIEW: THE WOMAN IN BLACK (2012)

by mwgerard Posted on February 6, 2012

A crumbling manor, a mysterious curse, a sea mist and creepy deaths. How could I (of all people) resist? I am completely unfamiliar with the book (of the same name) by Susan Hill, which is rather unlike me. And I was unable to see the staged version while in London this summer. So I came to the film knowing nothing about the story, which was quite an unusual treat for me.

Arthur Kipps (Daniel Radcliffe) is a London solicitor still struggling with the death of his wife. He is now raising his young son Joseph with the help of a no-nonsense and efficient nanny. His boss gives him one more assignment to prove his worth to the firm and sends him to a non-descript village in England’s East coast. His task is to settle the estate of Alice Drablow, formerly of Eel Marsh House. Fans of Dracula will recognize similarities in these opening scenes. The villagers are painfully tight-lipped and Arthur finds just one person who will drive him across the tidal and misty marshes to the entrance of the Drablow estate. Once there, he is abandoned until the tides break once more.

Ensconced in the home and determined to prove himself worthy, he begins his quest through tattered and tanned documents, looking for anything that may shed light on Mrs. Drablow’s final requests. But Arthur gets precious little done as he is continuously interrupted by the sounds of footsteps and a vision of a veiled lady. Confused but unperturbed he returns to the village to ask questions. He is once again told to return to London and leave their town. Only one villager is welcoming – Sam Daily (Ciaran Hinds). He is quick to dismiss the superstitions and ghostly tales of the common townfolk, despite having lost his own son years before… and having a wife who claims to be a medium.

The story pulls from many gothic elements and therefore allows the viewer to fill in the details with their own expectations. At the same time, the filmmakers treated the genre with respect. The set of Eel Marsh House is incredibly lush. Wallpaper patterns, antique toys, and window latches all work to create the atmosphere. At times I wished for a touch more lighting so those details could be better enjoyed.

Still, a hint more of realism would have served the film well. For example, the small family cemetery on the estate looks to be made of foam and borrowed from a Disney ride. And the rusty front gate is propped open almost too perfectly askew.

The sound design is delightful. There is some use of typical creaks and moans, but a great deal of it was original. The scream of the Woman in Black is horrifying and I wouldn’t be a bit surprised if they mixed a recording of nails on a chalkboard in there.

Someone involved in the production design knows their stuff. There is a wonderful blend of the modern versus tradition at play. Sam drives a car, which is instrumental in the resolution of the story, while Keckwick (Daniel Cerqueira) drives a horse and carriage. Telephones exist, but the village doesn’t have one. And as Arthur rides the train, we see him notice a story on theosophy and mediums, a very popular subject at the time. It even gives a nod to Sir Arthur Conan Doyle, himself a proponent of theosophy in later years.

The story occasionally plods, but it does allow the audience to catch its breath after a scare or two. I would have liked to see even more detail and background about the Drablow family and ‘what really happened’ through the archival material that is found. Or perhaps in stories from a townie. Although we basically piece it together, a bit more detail would have helped fill it out. Without giving anything away, some motives are less than clear.

Lastly, as an ardent fan of the Grenada version of Sherlock Holmes, I was delighted that David Burke (the earlier of the two Wastons) had a small role as PC Collins. I desperately tried to find a screenshot of him, but to no avail. Please send a link if you find one! (This is he as Watson.)

This is an enjoyable ghost story with plenty of scares for teenagers who want to see Harry all grown up, and plenty of suspense for adults who like to solve a mystery.

** If you have the option, do see it in 35mm. **

________________________________________

Rated PG-13. 95 minutes. Hammer Films. Released Feb 3, 2012 (US)
Official site: http://www.womaninblack.com

Posted in film, review | Tagged ciaran hinds, daniel radcliffe, david burke, film, ghost, gothic, scary, sir arthur conan doyle, susan hill, the woman in black, theosophy, victorian, watson | Leave a comment

Thoughts on Harry Potter and the Deathly Hallows, Part 2 (2011)

by mwgerard Posted on July 20, 2011

I am not a Potter nerd. I’ve read the books, and I saw most of the movies. They’re fine. Fun for the most part. But I’d never stand in line for one, or join a uberfan club in order to get my own Quidditch stick. So I hope fans and non-fans alike will take this list in the manner in which I intend it — good fun and with a bit of humor. Or humour, if you prefer.

Things I Noticed Upon Viewing the Final Installment of Harry Potter

- Harry, it’s time to get some laser eye surgery. (Or as my husband suggested, get someone to do a little occulum repairum or something).

Is that Hogwarts? Nope, it’s Coventry Cathedral after the bombing.

- Yep, I got it. Potter World = Blitz-era London and England. (see: rubble strew ruins; dour-looking nurses in makeshift field hospitals; Neville as the anti-Neville Chamberlain; sending the kids off to the country; Potter as Churchill post-Coventry; everything begins and ends in a rail station). Please lift the obviousum spell.

- Voldemort seriously needs some lotion.

- Potter and Voldemort are NOT Sherlock and Moriarty at Reichenbach Falls. Stop it.

- Maybe someone should get the students to help hold off the evil army, rather than run up and down lots of stairs.

- Seriously guys. Spit it out! You don’t have time to be dramatic, speak in riddles or dance around the issue.

- The Room of Requirement would be a fantastic yard sale.

- A new hairstyle doesn’t make you look 19 years older.

- Snape, you’ve got helmet hair. Someone had to tell you.

- Maggie Smith rules, no matter what.

Posted in film, filmic, review | Tagged deathly hallows, harry potter, harry potter 7, maggie smith, moriarty, neville, part 2, reichenbach falls, Sherlock Holmes, snape, voldemort | Leave a comment

REVIEW: GLORIOUS 39 (2011)

by mwgerard Posted on June 24, 2011

Glorious indeed. This is a wholly original, impeccable new film from writer/director Stephen Poliakoff. A stunning cast illuminates a finite moment in English history — the summer of 1939, on the eve of the unthinkable.

The story centers on the Keyes family, and is told from the point of view of the eldest daughter, Anne (played by the incomparable Romola Garai). The Keyes patriarch is a well-respected Minister of Parliament and of minor aristocracy. Anne and her brother and sister throw their beloved father (Bill Nighy) a birthday party, which devolves into a political debate that rankles the family.

Intelligent, strong and curious, Anne begins to question England position of Appeasement and the wisdom of Neville Chamberlain. A busy, popular film actress, she has to return to set, but cannot shake the suspicious things she begins to notice. Then, when friends begin dying under mysterious circumstances, she starts to fear the worst. Glorious 39 explores perception versus reality and how it affects day to day life.

I desperately do not want to give away too much. I knew very little when I saw it and its deliberate unfolding is intense. While it features historical figures and issues, it is at its heart an incredibly suspenseful movie. The viewer learns things as our heroine does, and thus we are just as much in the dark. And just as wonderfully, Anne’s character is anything but useless. She is smart, spunky, and vigorous. Garai absolutely nails this character and her performance should be lauded. This is the second time that Nighy has played her father and their pairing is so special. I’d be hard-pressed at this point to believe anyone claiming to be Garai’s actual father.

Nighy and Garai – a father daughter moment.

Suspense, intrigue, mystery, fantastic writing, beautiful photography and lovely performances all converge here. Look also for supporting roles with Julie Christie and Christopher Lee, both legends of the screen as well. It may not be your typical period piece, but it is an amazing piece of filmmaking. Add it to your list.

——

As far as I know, it never enjoyed a theatrical release in the US. It has only just been released on DVD and is available on Netflix.

Posted in film, review | Tagged 1939, bill nighy, christopher lee, england, glorious 39, jeremy northam, julie christie, mystery, romola garai, stephen poliakoff, suspense | 2 Comments

MESRINE: Parts Un et Deux (2008)

by mwgerard Posted on January 24, 2011

Part 1 – Killer Instinct
Part 2 – Public Enemy No. 1

I have rarely been so entranced by what is primarily an action movie. So far-reaching is the protagonist’s mayhem that it took two full length films to show just pieces of his exploits. There could easily have been a third.

The saga begins in the early 1960s when Jacques Mesrine (Vincent Cassel) struggles with his post in Algeria. He is assigned to rout out revolutionaries in Algiers and punish with no mercy (these scenes harken back to the equally suspenseful Battle of Algiers). Clearly conflicted, he returns home – to live with his parents. His disillusionment is not unlike those returning from World War I, confused by their elders’ insistence that war is honorable, as is a quiet home and a respectable job.

Home life doesn’t agree with Mesrine, but he finds that bank robbing holds a thrill, and a paycheck, he can’t resist. He becomes more embroiled in the criminal underworld and his “legitimate” life begins to crumble. His wife and kids suffer from his short temper and angry outbursts. He is finally apprehended and jailed for a number of years before he manages to escape (the first of many times). The mood slowly morphs from bebop-infused heists (in which Mesrine insists no one is hurt and only the thieving banks suffer) to dark, solemn, psychologically-disturbed crime.

Cassel very expertly draws this enigmatic character. He will wink and give a half smile that elicits a chuckle, then scrunch up his nose in a sneer that is frightful. Though Mesrine has no problem shooting police officers and stealing money, he is also incredibly charming, a stalwart friend and a fantastic cook. He has never gone back on a promise and never hurts an innocent bystander. The gendarmerie have labelled him Public Enemy #1, but the public are not so quick to condemn. He is a modern Robin Hood.

By the second film, Mesrine (that’s MAY-reen) is struggling with this public image. At once admired and reviled, he begins to lash out at those who try to quell his ideas. He attempts to develop his stance as a revolutionary — fighting against inhumane treatment in prison (like those he suffered), in addition to bringing attention to unfair banking practices and those who control them.

Yet he can never quite reconcile himself with the absolute ruthlessness needed to achieve widespread change. He has a tender side, which he often has trouble dealing with. It’s as if two halves are constantly battling one another — and it’s devastating, yet incredible, to watch. We too, as the audience, are at the same time intrigued and repulsed by the outlaw. Perhaps the only thing that is clear is that the ineffectual Paris police force (portrayed as little better than a team of Inspector Clouseaus) caused an unfair end to Mesrine.

The Mesrine Saga is a taut and exciting portrait of a man who really existed. It is a fun crime thriller to be sure, but it also explores what is means to “exist” and the idea that exterior perception can affect interior reality.

____________________

Many thanks to Psychotronic Films for screening these movies, and to Muse Arts Warehouse for hosting.

View trailers of the films here.

Posted in film, review | Tagged crime, france, jacques, killer instinct, mesrine, paris, public enemy, vincent cassell | Leave a comment

REVIEW: RARE EXPORTS (2010)

by mwgerard Posted on December 19, 2010

There is plenty to be frightened of this Christmas. At least in Finland. In the world’s farthest reaches of desolation, it gets dark by mid afternoon — and Krampas can come out to play. A father and son manage a meager existence as reindeer ranchers. This year, however, something has affected their normal migration pattern. He and fellow villagers suspect the disturbances on the Korvatunturi mountains may be the culprit, nor are they convinced that the project is only seismic testing when they find explosives and a nearly bottomless pit on top of the mountain.

Piertari (Onni Tommila), the son, is young enough to still believe, and old enough to research the dark folklore, to realize the drilling company is releasing Santa Claus. But this is no “Coca-Cola Santa”, he explains. Krampas was an angry old demon who kidnapped and whipped children when they were bad. The Sami people of Finland became tired of this man, so they lured him out on to the ice, where he fell in. As the lake began to thaw, they cut out the block of ice, carried it to the mountains and packed it in several feet of sawdust, to ensure it would never melt and their children would be safe. From then on, only the benevolent Saint Nicolas would bring the festivities of Christmas. When potato sacks, radiators and children start disappearing, Piertari takes charge and must convince the adults he knows how to save the town.

While there are many scary moments, this is not a horror movie. The elves are rather like zombies, the father is a butcher, the bad corporate guy looks just like the short Nazi from Raiders of the Lost Ark, and people are disappearing, but there is no gore. It is suspenseful but not gruesome. That is what makes this film work. It takes itself seriously and doesn’t become a silly slasher film. That’s not to say it doesn’t have it’s extremely funny moments.

The child is a great actor with surprising ability. He reminds me of Bruno from the Bicycle Thief. He carries this movie, much as he carries the survival of his town on his shoulders.

Kudos to the Helander brothers, the writers of the film who not only told an engaging story, but included numerous small details that made it possible to believe Krampus might be real.

Adding to the suspense is our own non-understanding of Finnish culture, particularly in their day to day life. The audience’s lack of knowledge of what is “normal” makes the simplest things eerie and unsettling.

I let you discover the amazing ending for yourself, but do add this to your annual Christmas movie list.

Official site: http://www.rareexportsmovie.com/en

Thanks to Jim Reed and Psychotronic Films for showing it in Savannah.

Posted in film, review | Tagged bicycle thief, christmas, finland, Helander brothers, krampas, onni tommila, rare exports, sami, santa claus | 2 Comments

Most Underrated Films of the Decade: Part 1

by mwgerard Posted on December 15, 2010

I Capture the Castle (2003)

Romola Garai stars in I Capture the Castle

It has all the elements of a fantastic film — an all-star cast, fabulous production design, a gorgeous score (from Dario Marianelli) and a script based on a book by famed author Dodie Smith (she also wrote 101 Dalmatians). Told from the point of view of the middle child, Cassandra, as she writes in her diary, we see a struggling author and father wrestle his demons and attempt to save his crumbling family. Set in 1930s England, the family lives in a castle ruin that leaks, has draughts and empty cupboards. Yet they manage to scrape by with a forgiving landlord and a fairly productive garden.

The girls fall in and out of love, explore the metropolis, struggle with growing up, and get caught in adventures. Sweet, but not saccharine; funny, but not hilarious; poignant, but not didactic; this adaptation settles and hits a stride nicely. I watch it at least twice a month, if I can. Now available on Netflix Instant. Its R rating is one of the mysteries of the MPAA. It should easily by a PG-13, if not a PG.

The cast includes the brilliant Romola Garai (Atonement, Scoop), the stalwart Bill Nighy, Marc Blucas (of “Angel”), Henry Thomas (E.T., Legends of the Fall), handsome Henry Cavill (The Count of Monte Cristo) and a handful of other faces familiar to watchers of BBC.

A perfect movie for a rainy afternoon. Make a pot of tea and enjoy.

___________________

The Orphanage (2007) / El Orfanato

I was raised on scary movies. I actually wore out the tapes my parents had made of Rear Window, Vertigo and North by Northwest. I remember begging them to not turn the channel when Poltergeist came on. I was four. So it’s hard to surprise me (or scare me) with modern movies. They generally have nothing new to say and I’ve figured out “whodunit” before the opening credits are over. The Orphanage is a refreshing wind that shakes the trees and makes the door creak.

It is the debut outing of Spanish director of Juan Antonio Bayona, heavily supported by producer Guillermo del Toro. Laura (Belen Rueda) purchases the orphanage where she grew up, until being adopted. Married and a mother, she decides to reclaim the crumbling but comforting building and open it once again, this time as a home for children with various disabilities. But when Simon, her son, disappears during the grand opening, she makes every effort to find him – even asking for help from the ghosts of her childhood playmates.

The first time you watch this, you will be frightened and emotionally exhausted. But when you look back on its various moments, you will realize you were only scared because their meaning was unknown. The subtitles are no problem. In fact, the use of the Catalan dialect only enhances the mystery.

Do not watch alone.

___________________

Mrs. Henderson Presents (2005)

Based on a true story, this lively and sweet tale is not to be missed. Mrs. Henderson (Dame Judi Dench) purchases an abandoned London theatre on the eve of WW2. When the English are searching for any sense of levity while under attack from German Luftwaffe raids, The Windmill Theatre puts on spectacular revues — some of them nude. Faced with begin shut down for indecency, Mrs. Henderson instead creates tableaus where the girls do not move and can therefore be considered stationary art.

Dench and Bob Hoskins make a charming and winning couple as they attempt to keep the theatre afloat. Christopher Guest is an unlikely but great choice for Lord Cromer, responsible for giving the Crown’s approval (or denial) of the theatre’s standing. As funny as it is affecting, it is a reminder of the human spirit’s determination to make life worth living. Mrs. Henderson herself might have been the inspiration for the unused poster of England.

Enjoy in good health, among friends.

Posted in film, review | Tagged bob hoskins, dodie smith, guillermo del toro, i capture the castle, judi dench, mrs henderson presents, orphanage, spain, underrated | 2 Comments

REVIEW: THE CONSPIRATOR (2010)

by mwgerard Posted on November 7, 2010

Robert Redford is usually an immaculate storyteller but this film was far too caught up in political history lessons to really find an emotional center. The story is an engaging one. Sadly the screenwriter is no better than the writer of the book Manhunt. The research writer managed to make the 12-day chase for Lincoln’s assassins a wooden and stilted story. This screenwriter did the same. (Ironically, their names are James Swanson/Solomon). The few scenes with believable dialogue were mostly in the courtroom, which I presume were written primarily from trial transcripts.

James McAvoy, who is generally a very strong actor, underplayed the role. His character is supposed to be a naive, reluctant and novice lawyer, assigned an impossible case, but his moral conviction comes on too late, and far too softly. He would be fiance, played by Alexis Bledel, wears the clothes well, but has no depth whatsoever. If she were truly concerned with, or even confused by the trial, she only acted petulant and shortsighted. No intelligent lawyer would have been with her.

The best performance is delivered by Robin Wright who inhabits the persecuted Mary Surratt, rather than plays her. Accused of treason for her part in harboring the assassins in the Lincoln – Seward attacks, she is made a sympathetic character. Throughout the trial, the audience begins to doubt her complicity in the national tragedy, even if her jury does not. The evidence brought forward certainly brings up some ideas that she may not have known about the plot that was brewing in her own boarding house parlor.

Redford made a misstep in trying to “youthen” the cast with Justin Long and Bledel. They did not blend into the ensemble or seem realistic for the time period. Long gave it a try but he is simply too goofy-looking and Bledel doesn’t have the chops to hold her own. Evan Rachel Wood on the other hand gave the most honest performance of the hodgepodge cast. Her quiet stubbornness came from within and she was far more convincing as a defiant but restrained Confederate daughter. Small parts for Tom Wilkinson and Kevin Kline are also not enough carry the weight of others.

The most relevant theme is certainly the treatment of accused enemies of the state. No one wanted to defend the poor woman. It was assumed she was guilty and to defend her was career suicide. Yet there was a case to be made and she deserved to have a proper defense under the American Constitution. The arguments surrounding the most basic of rights is clearly meant for modern audiences faced with foreign enemies of state.

As a resident of Savannah, it was fascinating to see the homes and streets I know so well look transformed. And I was excited to watch a scene knowing that I was standing just around the corner, in the shadows as they shouted, “Action.” But all of that isn’t enough to make the film truly great. Lighting was uneven and relatively poor. Costumes were rather stagy. And the CGI (limited, thankfully) was obvious. It was a rather uninspired attempt to tell an otherwise fascinating tale from American history.

Posted in film, review | Tagged alexis bledel, james mcavoy, lincoln, mary surratt, robert redford, robin wright, savannah, the conspirator | 2 Comments

REVIEW: BLACK SWAN

by mwgerard Posted on October 31, 2010

Do not bother to see this movie. If you want to know why, read on. If not, I don’t blame you. I don’t want to revisit it either.

Darren Aronofsky revitalized his career, along with Mickey Rourke’s, with The Wrestler. This film relies on many of the same themes, mainly an examination of a human’s willingness to hurt themselves in order to achieve an ideal. There is no stronger example of this obsession than in ballet. These dancers endure significant pain, bordering on self-mutilation, in order to be the best at what they do. This film also tries to explore the mental anguish and psychological toll such pursuits cause.

Natalie Portman fears the reflection of her own self.

Sounds good, right?

Additionally, the genre of backstage dramas are (usually) fertile soil for intense relationships, obsessions, hidden motives, and false backgrounds.

Even better.

Sadly, Aronofsky doesn’t draw on this. Instead, he resorts to overly obvious symbology and foreshadowing. It seems as though he is trying to channel The Red Shoes, but there is none of the soul or depth of that classic. This is partially the fault of a film that is a jack of all trades. It cannot decide what it is, and therefore never truly achieves, anything. Drama? Horror? Thriller?

Natalie Portman manages to carry the film most of the time, but too be fair, too much is placed on her shoulders. Mila Kunis is her on/off friend, and sometimes foil, who tries to convince her it’s ok to relax once in awhile. She too gives a fairly stable performance, but her role is relatively small. The only actor to be completely consistent is Vincent Cassell, as the artistic director of the ballet company. His ruthlessness and passion as a director was multi-layered and well-tempered.

The gasp of surprise that Aronofsky was looking for was not heard. A sigh, perhaps, but no gasp. The only emotional response to be heard is the self-congratulatory applause at the end of the ballet, which he used as the closing credits soundtrack. Tragically, this was a waste of an interesting film idea.

Posted in film, review | Tagged ballet, black swan, darren aronofsky, natatlie portman, red shoes, vincent cassell | Leave a comment

REVIEW: THE WOLFMAN (2010)

by mwgerard Posted on June 19, 2010

Note a completed Tower Bridge in the background

Remakes, in general, are a bad idea… and this was a remake of a B-film. Perhaps Universal, the owners of the franchise, were looking for a way to extend their copyright on their classic horror film. The shoot itself seemed to be cursed with uncomfortable costumes, short-tempered actors, alternate endings and multiple rewrites. Of course all of this might point to the extreme efforts by many to actually make a good film out of a cheesy if beloved precursor. Regardless, the result is an uneven product.

This version weaves father-son tension, filial jealousy and uxorcide into the often gory scenes. While these themes are clearly there to “explain” a son’s fear and hatred of his father and a penchant for roaming, no one element is ever fully explored. This lack of completeness lands the film on the wrong side of the tracks, I’m afraid. Rather than lend credibility and convince the audience that this film was taken seriously; it merely reveals that it only wanted us to think it was being taken seriously.

Someone in the production team (it’s nearly impossible to divine who) actually has a penchant for Victorian-era philosophy and social constructs. The underlying details are quite thoughtful. Colonialism, Orientalism, Freudian scholarship, gothic literature, Darwinism, and the crumbling aristocracy are touched upon. Sadly, none is ever followed through. The biggest miss is most certainly the story of Singh, the father’s valet from India. Yet, for all this research and attention to detail there a glaring mistake. The film is supposedly set in 1891, as announced in the opening moments. But, a completed Tower Bridge is spanning the Thames in two specific shots (the bridge was opened in 1894).

Thankfully, the “monster” scenes are few. The fur and makeup were not convincing, or even very frightening. They are gory, but in a drive-in movie sort of way. Anthony Hopkins brings just a smidgen of Hannibal back to the screen and plays his shallow role with as much professionalism as an Oscar-winning role. Benecio del Toro is less satisfying. He is more emo than angsty. Emily Blunt is lovely and superb. I look forward to watching her in years to come. But it is Hugo Weaving as the Scotland Yard inspector who steals every scene. He full embodies every Lestrade, Whicher, and Japp ever played.

The strongest part of the film is the cinematography by Shelly Johnson. Every shot is gorgeous and ethereal. Lowlight, candlelight, moonlight, fog, lantern – you name it, he can shoot it. It is clear that he too has read his Sherlock Holmes and studied his Caspar David Friedrich. Without his rich vision, the film would have been entirely unwatchable. In fact, look for a shot the looks just like this painting by Friedrich.

Two Men Contemplating the Moon by C.D. Friedrich

Posted in film, review | Tagged anthony hopkins, del toro, emily blunt, england, freud, friedrich, hugo weaving, shelly Johnson, sherlock, the wolfman, universal | Leave a comment

REVIEW: THE DARK CORNER (1946)

by mwgerard Posted on April 12, 2010

I’ve truly been enjoying the discovery of Lucille Ball films that pre-date her more famous comedienne years. I stumbled upon an early Douglas Sirk melo-noir called Lured that has somehow slipped through the cracks (my review here). Where that was decidedly dark and broody, The Dark Corner is a classic private detective noir. It isn’t the fast-talking slapstick of a Thin Man, it is more fast-paced and light than, say, The Big Sleep. And very well-written.

Private Eye Bradford Galt (Mark Stevens) is being followed by a ghost form his past. When a hooligan turns up dead, the police look to him for answers. When they find no other suspects, their attentions turn to Galt — but his witty secretary (Ball) takes his side and helps him find the real killer.

Ball plays her character with a combination of sassy yet vulnerable that other famous noir bombshells didn’t manage to achieve. Perhaps it was the exacting director, Henry Hathaway, that brought out the best in her, and the rest of the cast, including post-war regular William Bendix. Hathaway (himself underrated) has a list of noir thrillers that stand out above the genre, including 14 Hours and Niagara. This film revels in deep-focus photography (see above) making the entire city and its inhabitants a part of the unfolding mystery. Passersby by are part of the scene, not movement in the background. These extra layers make The Dark Corner gritty, lively and more realistic.

Posted in film, review | Tagged hathaway, lucille ball, noir, the dark corner, william bendix | Leave a comment

REVIEW: ALICE IN WONDERLAND (3D)

by mwgerard Posted on March 30, 2010

I put off writing this one for a few reasons. In fact, it may be too late to influence anyone, but the irritation I felt still lingers.

Burton did Alice a disservice. There I said it.

I wanted to like it, I really did. I had been excited to see it from the day I heard Time Burton was taking the classic out-of-body tale on. Until the day I saw the first trailer. It looked nothing like what I had expected, but Burton was fresh from Sweeney Todd, which I found brilliant, so I hoped that perhaps it was a just an unfortunate edit. But doing a little non-spoiler research, I learned that the story was completely made-up – a sequel to Alice’s first well-known trip. Yet I pressed on, setting aside my usually-vehement protection of literary sources to see if this reimagining could deliver.

It delivered numerous sighs, forehead-to-palm slaps and a headache (not caused by the forehead slapping).

An older Alice (Mia Wasikowska) finds herself being forced into a society marriage with a useless fool and in a fit of fear, she runs off and follows a rabbit (Michael Sheen) down a hole. She meets a string of familiar characters, but doesn’t remember that this is her second trip to Wonderland (actually, Underland, we come to find out). The Red Queen (Helena Bonham Carter) is still impetuous and the White Queen (Anne Hathaway) is useless and she needs the help of Alice to restore her to the throne — and she can’t do it without also saving the Mad Hatter (Johnny Depp).

None of these seasoned actors manage to bring anything inventive, though they are not at fault for following Burton’s direction. It all starts to feel vaguely like a Narnia story (human girl must save the magical land, talking animals, good and bad royalty, Quixotic yet wise creatures) that we have seen before. With all the characters of Wonderland and Burton’s imagination, this should have been something incredible. Sadly, it is as if Tarantino did a fairy-tale in gothic style (not a complement). It is flat, story-less and boring.

Little good stands about the animation and effects either. The Knave (Cripsin Glover) is half-CGI, half-actor and he never looks right. The Red Queen’s floating CGI head is too disturbing and distracting to be effective. They use cheap 3D tricks like a Atlantic City amusement park. The opening (and closing) sequences, set in the English countryside, are the only convincing minutes. Here we see what Burton is truly gifted at. His Todd-styling is in full swing and there is a subtlety to the characters that is lost everywhere else.

Only the animation of the Chershire Cat (Stephen Fry) is enjoyable. Whoever was in charge of his creation has a cat – and did their homework. I’m sorry to see this film raking in so much at the box office. Though I can’t really blame the ticket-buying public. I was sucked in, and fell down the rabbit hole myself. But all I was left wondering was why they couldn’t manage to get this right.

Posted in film, review | Tagged alice, alice in wonderland, burton, cheshire cat, classic, disney, johnny depp, stephen fry, sweeney todd | Leave a comment

REVIEW: SHERLOCK HOLMES (2009)

by mwgerard Posted on December 30, 2009

I grew up on Sherlock, quite literally. I grabbed my dad’s heavy volumes and looked at the original Strand etchings even before I could read the complicated stories. And Jeremy Brett IS Sherlock Holmes. Doyle himself couldn’t have a qualm with that casting. So I was initially thrilled when I heard of the pairing of Robert Downey, Jr and Jude Law as the storied sleuths. Then I saw a trailer and felt betrayed. Since when was Sherlock an action hero? And Watson a slimy-looking ingrate? I even get annoyed at the Basil Rathbone films when Watson is portrayed as a bumbling fool. He is an doctor! It was explained to me that this film was being based on graphic novel, not the stories, but I wasn’t satisfied. Sherlock is great – why mess with it?

Then post-Christmas ennui set in and as the family sat around eating leftovers for dinner we contemplated our entertainment options (As funny as the word “squeakquel” is, we weren’t going to sit through a story about hip-hop rodents). We agreed (amazingly enough) on seeing Sherlock Holmes, all with the understanding that it not be compared to any other adaptations, or even the writings, really. I chose to think of it as a guy in Victorian London who gets involved in sci-fi adventures.

I am not an easy convert, but Sherlock ended up being a fun film and much more literary than I anticipated. The “case” was not taken from any story I am aware of, but had elements of Holmesian problems. Indeed, the consequences for not solving it in time were much more monumental than anything that Sherlock faced, except maybe the Naval Treaty.

It employed an interesting device, that was thankfully not overused, of letting us in on Holmes’ thoughts and reasoning before seeing him carry it out. It works, particularly by being introduced in a boxing match, that no Guy Ritchie movie can be without.

Downey, Jr. brings a nice levity to the character, and clearly was inspired by Brett’s facial tics and idiosyncrasies. Jude Law does well as Watson, but the character itself doesn’t quite find its footing. I don’t blame Law, but rather the storyline. It uses him as a soundboard for Holmes, which he often is, but it falters when it tries to give him his own backbone.

The heroine, if she can be called that, is played by Rachel McAdams. She too is passable, has a few scenes in which to shine, but her talent is underutilized. Her character is also the only one that drops the ball in terms of production design. Her frocks are ridiculous and hot pink. Not a good idea. The rest of the set design was superb. 221b is a fabulous mess, one can almost smell the stench of the Thames, and the villain’s lairs reek of turn-of-the-century nostalgia (I am fairly certain they used the same prison yard and warehouse in Nolan’s The Prestige. And I think Watson wears the same jacket as Branagh’s Hamlet. This jacket.

The face off with the bad guy got a bit long, and the “girl” isn’t all that, but overall, the movie was very enjoyable, even for a stalwart Holmes fan. There is plenty to make a fan smile, and enough to keep a general viewer engaged. The clues were dropped is a smart way, something not often seen anymore. They weren’t overt and obvious. There is nothing more annoying than knowing the answer to the mystery but having to wait 2 hours for everyone around you to figure it out. Not the case here. Ideas were subtle enough to be mysterious yet visible enough to avoid the cliche it-was-the-guy-you-never-saw-who-did-it-the-whole-time (i.e. Bone Collector).

In short, go see Sherlock Holmes, even if you think you won’t like it. It won’t be like any Sherlock you’ve seen before – but it won’t be unrecognizable.

Posted in film, review | Tagged doyle, guy ritchie, holmes, jude law, london, robert downey jr., sherlock, watson | Leave a comment

REVIEW: UP IN THE AIR (2009)

by mwgerard Posted on November 29, 2009

I truly wish the TV commercial for this movie did not tout it as being the “from director of Juno.” That is selling it short. Or worse. Juno was self-conscious in almost every aspect. Up In The Air, however, is anything but that. It is fresh, funny and touching — and probably marks (I hope) a new epoch in George Clooney‘s somewhat uneven career (What was Leatherheads, anyway?)

Clooney’s character, Ryan Bingham, acts as the narrator for a simple tale of a man who finds contentment in what others would consider drudgery. He spends as much of his time in planes, airports, hotels and rental cars as work will allow. He is precise and committed (as we are shown this through Wright/Pegg-like editing as he packs his suitcase, goes through security, etc.). If he were a hue, he would be a comfortable, unoffending grey. He uses this muted personality to deliver pink slips to employees at companies around the country. It becomes clear that while he doesn’t enjoy the job, he knows that he is good at it, or as good as anyone can be, and finds comfort in the idea that he is at least trying to lessen the blow.

Young whippersnapper Natalie Keener (Anna Kendrick) joins the firing firm and announces that the company could save significant funds by laying off employees via teleconference. Horrified at the insincerity of this change, and what it means for his own way of life, he convinces boss Jason Bateman to let him go on one last trip to show Keener the tricks.

Now confronted with a loneliness he has not experienced, and the possibility that he may never meet up again with his airport fling, Alex (Vera Farmiga), he returns to the job with a new intensity.

The movie is very witty, sharp, wry and funny. It is also genuine and touching. The punches are not pulled, even if they are somewhat expected. The setups are not so overwhelming obvious that the audience is just waiting for their fulfillment. The ride is actually interesting and enjoyable. Clooney is channeling someone from his father’s era with Cary Grant-like goofy expressions (see Charade, 1963), and he is comfortable in it.

Kendrick plays an overeager overachiever well. She brings enough naivete to the role to make her vulnerable and therefore sympathetic. Farmiga‘s range in this role is stunning. She and Clooney have an unmistakable chemistry that is a joy to watch. So much so that when she displays a coolness, it makes the audience squirm. It is convincing and unnerving at once.

Aside from the nauseatingly obvious and repetitive product placement of one of the major airlines, Up In The Air has much to recommend it. Finally, someone decided to just tell a good story. And they made it very enjoyable.

Posted in film, review | Tagged airports, anna kendrick, edgar wright, george clooney, jason bateman, jason reitman, juno, simon pegg, up in the air, vera farmiga | 1 Comment

REVIEW: YOUTH IN REVOLT (2009)

by mwgerard Posted on November 13, 2009

Like most of America, I first became aware of Michael Cera with the all-too-short-lived comedy Arrested Development. Since his stint as the awkward George Michael Bluth, he has branched out to playing a slightly older but still awkward teenager looking to find his way in the adult world.

Youth in Revolt is a similar picture. Sweet and shy, Nick Twisp narrates the pitfalls of his first romance (ostensibly, passages from his “diary” , which is really the book that the film is based on). Sheeni Saunders (Portia Doubleday) is the young woman whose affection he pines for. Like a knight on a quest, he traverses rickety mobile homes, stoned older brothers (Justin Long), a set of trailer-trash parents AND a set of Bible thumping parents to win the love of his lady. And typical, predictable humor ensues.

The more interesting twist to the tale is the inclusion of “Francois”, a devil-may-care French alter ego who Nick seems to have no control over. It is Francois who has the courage to say daring things and commit felonious acts. And Cera gets this part to a tee.

There is reference made to the Godard classic Breathless – Sheeni’s posters on the wall, the mention of running away together like outlaws – but for film geeks it never pans out. There easily could have been a shot of Francois, leaning up against a lamppost with a newspaper, planning to rob a bank just before the accidental arson, to give those who get it a chance to exercise their now sleeping braincells.

And what ever happened to his friend who helped him sneak into the dorm? We don’t see him again until the end credits. In fact, there was an audible “oh yeah…” from the crowd when he popped up.

Youth in Revolt is amusing. If you like this kind of film. Think Superbad with less weed, or fewer cops. And no Seth Rogen (thank goodness). Sheeni is wholly unlikable, to the point that you don’t really want him to get the girl. There are admirable appearances by Jean Smart, Steve Buscemi, and Zach Galifinakis.

Overall, it just feels unfinished. Or confused. It could have been a truly unique version of the genre. Instead, it is of the genre, with a minor gimmick.

Posted in film, review | Tagged jean smart, justin long, michael cera, nick twisp, outlaws, portia doubleday, romance, superbad, youth in revolt | Leave a comment

REVIEW: THE MEN WHO STARE AT GOATS (2009)

by mwgerard Posted on November 4, 2009

Seriously. They actually do. This title is not a metaphor.

Like The Informant!, though less subtle, the film is adapted from a book by Jon Ronson, which is supposedly a collection of mostly true stories, and instead of saying “Based on a True Story” the opening credit leads with “More of this is true than you would believe.” And they are probably right, but it is a fun romp for all of that.

Ewan MacGregor acts as the narrator and guide on this strange journey. He is a troubled reporter in Ann Arbor Michigan who decides to prove himself by following up on a story of ridiculousness of enormous proportions. His initial source claims to be part of an elite unit that was trained to use various psychic powers against the enemy. He travels to Kuwait, waiting for a chance to cross the border into Iraq to find more trainees. As luck would have it, he finds Lyn Cassady (George Clooney) in the hotel lobby and the story only gets weirder.

The movie is full of Family Guy-esque flashbacks (some almost non sequitur) featuring Jeff Bridges as the progenitor of the movement (in tripping Lebowski style), Kevin Spacey as the unamused and mediocre physic, now private contractor and Stephen Lang as a goofy, grinning BG Hopgood.

Clooney‘s character seems to span all the slices of time we are privy to, and as such he vacillates between looking like Dennis Farina, Tom Selleck and James Taylor circa 1971. He brings back a bit of the goofy seen in O, Brother but seems to have aged into this role a bit more thoughtfully. There is a sincerity underlying the crazy. We are sucked into believing him, like the reporter, even though what he describes is utterly nuts. It is a fun ride, like letting go on a roller coaster.

In the end, the film isn’t about much. The only truthful moment is when Cassady and an Iraqi national assure one another that not everyone from their country is not a terrorist, or an idiot. If there is anything to take away from it, it is that it ok to laugh at the inanity of war sometimes.

Posted in film, review | Tagged book, dennis farina, ewan macgregor, george clooney, goats, james taylor, jeff bridges, jon ronson, men who stare at goats, military | Leave a comment

REVIEW: THE YOUNG VICTORIA (2009)

by mwgerard Posted on November 4, 2009

The Brits have a love/hate obsession with their royals that is still somewhat a mystery to Americans. We have our celebrities that we love to hate but rarely, if ever, do we follow their story from birth to death. The young princes William and Harry have been speculated about since before they were born. For England, it has been true since the monarchy was installed. And as Americans, we have a limited, cursory view of the woman whose name inspired an era synonymous with propriety and staid relationships.

Seeing Academy Award winning screenwriter Julian Fellowes tender dramatization of Queen Victoria’s early years was refreshing, lovely and often amusing. He interpreted a time in her life before she had become comfortable with power. Having been groomed to be nothing but a figurehead, she defied numerous pressures to take her place as the longest reigning English monarch to date.

Emily Blunt (who looks more than a little like Her Majesty) brings an understated, light honesty to the role. She manages to show Victoria’s humor, stubbornness, strength, compassion and uncertainty. Rupert Friend takes on the awkward but sweet and sincere Prince Albert of Saxon-Coburg. Their onscreen chemistry enhances the flirtatious nature of their courtship.

Most striking about the film’s presentation is how accessible it is. Despite the depictions of excessive wealth, power, inane protocol, the audience is constantly aware that these are just people. It is more than a costume drama. It makes one of history’s most notable love affairs as simple as a college sweetheart romance. They are nervous, excited, and have fights, just like any couple. The audience was actually cheering when the two finally become engaged — even though we all knew the Victoria and Albert were a couple.

Additionally, Jim Broadbent‘s boisterous King William is very funny, and again underscores that everyone has an ungrateful aunt, a difficult uncle or an annoying cousin. Families will be families, no matter how blue their blood.

The Young Victoria bases itself on true events, including Sir John’s vehement wish for a Regency, the attempt on Victoria’s life and Victoria and Albert’s adjoining desks. Of course, much of the dialogue is speculation, but Fellowes embeds so much that we cannot help but fall in love with the royals, just like any Brit.

Posted in film, review | Tagged albert, british, emily blunt, england, jim broadbent, julian fellowes, royals, the young victoria | Leave a comment

REVIEW: THE INFORMANT! (2009)

by mwgerard Posted on September 23, 2009

Based on a memoir/novel/autobiography of a whistleblower at a large chemical company, The Informant! is a quirky comedy that avoids the pitfalls of most similarly-tilted films. Matt Damon plays the protagonist, Mark Whitacre, an uncomfortable chemist at Archer-Daniels-Midland (ADM). He is working to solve a problem with one of their components when he stumbles upon evidence of a price-fixing scheme. He reports his suspicions to the FBI and agrees to spy in order to gather actionable proof.

The casting of this movie is impeccable. Damon draws on the awkwardness (and frightening intelligence) of Tom Ripley, the paranoia of Jason Bourne and the deadpan comedy of the Ocean’s franchise to sketch this absurdly funny character. Melanie Lynskey is his sweet, trusting and naive wife with a cutesy voice and perky smile. The combination is so saccharine that if it weren’t tongue-in-cheek it would be sickening. There are several character actors and recognizable-but-not-too-famous faces in the group, but the most brilliant piece of casting is Scott Bakula. He plays the (un)lucky FBI agent who picks up case. His portrayal of an overworked, under-appreciated g-man who hates wearing a suit but loves catching bad guys is spot-on. Additionally, the very funny Joel McHale, as Bakula’s partner, makes a great foil to the disillusioned agent.

In fact helmer Steven Soderberg manages to make a style out of the hideous Federal office buildings that cropped up in the late 60s and early 70s. Indeed, the film, at times, seems set in the 70s rather than the mid-90s. Decorative cinder blocks, translucent window inserts, floor tiles that look like pebbles were rolled into cement and then cut flush, and molded plastic chairs with uneven feet create an atmosphere of alternate reality in these government buildings. For an Illinoian, one of the most incredible details was the inclusion of Abraham Lincoln in every office interior of the movie. As any native knows, Illinois calls itself the Land of Lincoln and touts this honor with great pride.

This movie is fresh, funny, and quirky – without being full of self-referential insider humor that is too busy being proud of itself to tell a good story.

Posted in film, review | Tagged ADM, chemical, comedy, illinois, informant, jason bourne, lincoln, matt damon, spy, steven soderberg, tom ripley | Leave a comment

REVIEW: INGLORIOUS BASTERDS (2009)

by mwgerard Posted on September 6, 2009

Quentin Tarantino‘s most recent outing is, well, Tarantino. He was both writer and director for this one and it is entirely referential of something else, but never anything original. Some think this makes him genius. Most find this to be proof that he is actually incapable of entirely creative thought and devoid of the ability to bring anything new to cinema. And, as if that weren’t bad enough, he is now selling his film as something other than what it is. Anyone who saw a trailer, clip or poster would think this film was going to be a bloodbath of vigilante Nazi killings, complete with gore and sound effects to make an audience squirm (think Grindhouse and the jar of eyeballs). Instead, there is very little Nazi scalping to be found. The film is more of a spy drama, with two plots set to converge at a small movie house.

We are introduced to Brad Pitt‘s crew of cutthroats, but then the plot veers away and follows a young woman (who narrowly escaped the clutches of the Holocaust) who now runs a theatre in Paris. When the Germans hire the hall to show their latest propaganda film, Melanie Laurent sets about to bring down the Third Reich. Sadly, although her character looks the part, she has little passion to back it up. Her acting does not carry the coldness well. Cold should not come across as bored.

Simultaneously, Pitt’s men go undercover to make contract with an Ufa actress turned British spy in a ratskeller. Unfortunately, this scene, like most scenes, drags on interminably. It seems like it was supposed to heighten tension, but it was ineffectual. And Diane Kruger, accomplished though she is, could not carry the scene either. It was simply too long and too dry for anyone to save.

Brad Pitt is a caricature of a staunch American that thinks the bad guys get what they deserve. He has no qualms and no reserve. The annoying part is his accent and carriage. It doesn’t fit. He looks awkward and stilted — much like John Wayne in an old Western. Unless Tarantino was referencing that too.

The best thing about the film by far is the superb performance by Christoph Waltz, as Col. Hans Landa. He is extraordinarily frightening as the Nazi operative who finds hiding Jews. The opening scene, which could easily be too long, is held together quite adeptly by his metered portrayal of a patient and exacting hunter. He manages to be cold, without being bored, or boring. He is so believable and scary. The very sound of the creaking of his leather jacket sends up chills.

If Tarantino wanted to make a nazi slasher movie, he should have done that. If he wanted to make a taut spy drama, he should have done that. Instead, he tried to put the two together and both halves suffered for it. To be fair, no matter what he might have done to pare it down would have only helped in the slightest, because what you are left with is still trite, annoying, transparent and vain.

Posted in film, review | Tagged christoph waltz, cinema, inglourious basterds, nazis, quentin tarantino | Leave a comment

REVIEW: THE GOODS (2009)

by mwgerard Posted on September 5, 2009

This silly movie is pretty much what you expect from it. James Brolin owns a used car lot but is having trouble moving the merchandise. He brings in a team of ringers to help his clear the stock. Jeremy Piven, Ving Rhames, David Koechner, and Kathryn Hahn round out the cast of itinerant hucksters.

There is very little surprising from this comedy. Each character is crass in their own way. They elicit chuckles and a bit of pity for their sad lives but not much happens in their lives. Even the subplot of Piven and the love interest is terribly predictable. What it does have going for it, is a quick pace that rarely lets up. Probably the most brilliant thing the film did was jump into the comedy immediately out of the gate. Within the first 90 seconds, the tone and pace are set before the audience can catch its breath. By keeping the audience in its toes, we aren’t able to notice the rather loose plot or details.

The other rather fun surprise were the cameos that appeared out of the blue. Will Ferrell (who also produced) and Alan Thicke being the most funny.

The Goods is amusing and good for a few laughs. There are a couple of good “take home” lines, and make sure you stay through the credits for a odd but laughable detail. But it is not something you will want to watch over and over. Enjoy it for what it is, but don’t expect more. I have a feeling they weren’t trying to make anything more either.

Posted in film, review | Tagged alan thicke, cameos, jeremy piven, the goods, used cars, will ferrell | Leave a comment

REVIEW: PUBLIC ENEMIES (2009)

by mwgerard Posted on July 6, 2009

What was Michael Mann thinking? He had a great story, good actors, a budget and the interest of the audience — but he squandered it with confusing storytelling, an underused cast, and strange cinematography. It all added up to a jolty, disjunct, and uncomfortable film.

Johnny Depp plays the charming bank robber John Dillinger who knocked over financial institutions in the midwest, got arrested, broke out, and did it all over again. Along the way, he picks up the affections of Billie Frechette, the adorable coat check girl played by Marion Cotillard, and the attentions of the overeager J. Edgar Hoover (Billy Crudup) and hungry bloodhound agent Melvin Purvis (Christian Bale).

If it was attempting to tap into the gangster drama of the early 30s (which we know people in a recession go for), it fell short. If it was trying to remake the genre for a modern audience, it was more annoying that fruitful. We like Dillinger, but only because we know we are supposed to. His character is not particularly likable or despicable. His motives are largely unknown or understood. Boredom, perhaps? Dillinger was loved by the public for his ability to stick it to “the man.” He did what they couldn’t. There is one scene, the prison transfer, that shows this charm, but surely that was not enough to win over the sympathies of a nation? His wily nature is only sometimes evident, as in the squad room scene.

Cotillard did the best she could with what she was given. She shines in her main scene, when she protects Dillinger. Elsewhere she is almost annoyingly ditzy. Bale, too, has little to recommend him. His best scene is when we first meet him, hunting down Pretty Boy Floyd. He is stoic, assured and cold.

Overall, the best scene may be the ending, when a Myrna Loy montage peppers an intense sequence.

Lastly, and most annoyingly, was the camera work. It is almost all handheld, shaky, and tightly zoomed. When it isn’t that, it is some sort of digital HD that makes it look like a History Channel re-enacted special on mobsters. Here’s the thing — “old-timey” movies don’t work with a high-tech look (See: Beowulf by Robert Zemeckis). Public Enemies would have benefitted greatly from a least one Panavision with breathing 35mm film. That and another re-write to smooth out the bumps between video-game violence and a director who could have brought out the best in his actors.

Posted in film, review | Tagged billy crudup, chicago, christian bale, gangster, john dillinger, johnny depp, marion cotillard, midwest, Myrna Loy, public enemies | 2 Comments

REVIEW: THE BROTHERS BLOOM (2009)

by mwgerard Posted on June 25, 2009

I saw this film by accident. I hadn’t seen a poster, a commercial or a trailer. I didn’t see an ad or a review. My boyfriend and I were looking to see what was out and saw it listed on one screen in the entire city. We looked it up, watched the preview and thought it seemed like great fun and far better than any of the other offerings.

The film opens with the brothers as children. It sets up their dynamic wonderfully, and we are off on the adventures with them. They have perfected the art of the con, able to weasel just about anything out of anyone. The older brother, played by Mark Ruffalo, is obsessed with the perfection of the scheme, while the younger, Adrian Brody, is growing tired of the game. He wants something in his life to be real, rather than arranged.

With the promise that it will be the last, they embark on a con of international proportions, with the help of explosives expert “Bang Bang” (Rinko Kikuchi) The mark is Penelope, Rachel Weisz, a spoiled, sheltered very wealthy girl, who shares the same desire for a “real” experience.

Convinced that she is in on the scheme, the set out to purchase a rare book on the black market to resell it to a collector in Mexico. They traipse through Greece, Prague, New Jersey, Russia and the Atlantic before all is said and done.

It is a charming movie. The characters are cheeky and endearing, if eccentric. The romp is fun, and often funny. It uses its quick pace to its advantage, for the most part. The production design is divine, for the most part, but it can be confusing. Most of the costuming and sets would suggest the tale is set in the 20s or 30s, yet there is modern technology and cars. Although Rian Johnson (director and producer) is astute in thinking that the style should fit the “old-timey” look of the turn-of-the-century, it can be a bit jarring at time. Still, it is mostly well-integrated. Wit and dialogue abound, but for a film about perfection, it fails to hold itself to the same standard. Some plot details are missing, or unexplained, and it is not clear that it was done on purpose or if it was the casualty of the cutting room.

Overall, it film is well-acted, and enjoyable. It is a shame it didn’t have more publicity behind it. It is fun to watch, and I want to see it again. Perhaps the disappointment I felt lay in the fact that it could have been a stunningly excellent film, and it was instead a very good movie.

Posted in film, review | Tagged adrian brody, brothers bloom, prague, rachel weisz, ruffalo | 3 Comments

REVIEW: ANGELS AND DEMONS (2009)

by mwgerard Posted on May 19, 2009

A follow-up to The DaVinci Code, Ron Howard‘s latest outing features fun locations and gritty violence. This installment (which mentions Langdon’s past run-ins) pits science against religion, or more precisely, religious tradition. The Cern collider has managed to capture anti-matter, which was quickly stolen by an evildoer. Meanwhile, the Pope has died and the college of cardinals is about to go into conclave and choose a new leader. On the eve of the conclave, the preferiti, the favorite four choices, are kidnapped and the bad guy threatens to blow up the Vatican — in prose, of course. His communications are “dense” and so a Vatican police officer swoops in and grabs Harvard professor Robert Langdon (Tom Hanks) for help. His sometimes-sidekick is revealed to be the lovely Italian scientist who headed up the physics experiment gone haywire.

The two run around Rome, trailed by various levels of police/guards/henchmen, with time ticking away. They have to beat the assassin to the punch, by following clues left by Galileo and his ilk — aka the “Illuminati.” Langdon uses this to get into the Vatican archives (access that has so far been denied) by gaining the confidence of the Camerlengo (aptly played by Ewan MacGregor).

My problems with this movie are more to do with the story, than the filmmaking. I didn’t read this book (I read The DaVinci Code before that film came out) but it doesn’t hang together nearly as well as the first movie. There are too many lucky happenstances and not enough mystery-solving. It’s too bad, because the premise was interesting. Even if it were “legend” versus “real” history, it can still be fun to immerse yourself in. But the Bourne Identity-like camerawork and sometimes-graphic violence overtake the heart of the story-telling details. It seems too preoccupied with pulling the wool over the eyes of its audience. We are supposed to suspect one person, then another, then look away and miss the truth but it doesn’t really work. And the poor CGI boom shots of various locations do not help. I can’t believe Ron Howard couldn’t get permits to shoot in Rome. The shell game distracts from what could be a fun quest movie. It has a great cast — including Armin Mueller-Stahl and Stellan Skarsgard — and they are all admirable but they can only lift it to a certain point. If you ever needed the definition of the difference between a “movie” and a “film,” Angels and Demons is the perfect example.

Posted in film, review | Tagged angels and demons, armin muleller-stahl, davinci code, ewan macgregor, galileo, illuminati, langdon, pope, rome, ron howard, stellan skarsgard, tom hanks, vatican | Leave a comment

REVIEW: CHANGELING (2008)

by mwgerard Posted on April 24, 2009

I was conflicted about seeing this film. I almost always like Clint Eastwood‘s directing style, but I almost never like Angelina Jolie. Eastwood’s view through the camera lens is clean and pure. It is like looking up from a book when you have been reading all day, and suddenly all the words that have been swimming in front of your eyes are gone. Jolie, in most of her films it seems, is either a caricature or empty (See my review of Wanted). But Eastwood manages to sand down the rough edges. In fact, even-handedness is the word of the day with the film.

Changeling begins in 1920s Los Angeles, an idyllic, bygone existence. Mrs. Collins is a single mother of a nine-year old boy, Walter. The two have carved out a simple, if predictable, life together. It then chronicles the horrific serial killer that is uncovered while investigating the child’s disappearance. His mother (Jolie) is adamant that they boy returned to her by the insistent LAPD is not her son. Afraid to be further reviled and embarrassed the force seeks to subvert Mrs. Collins’ protestations — first by threat, then by committing her to an insane asylum. Using the excuse of her delicate femininity and the stress of losing her only son as an excuse, they inflict rigorous physical and emotional torture. Their object is either to break her will, or keep her in the sanitarium — either way, she is prevented from speaking to the press or being believed. Finally, an astute (and not corrupt) detective takes an interest in the case and the pieces start to make sense.

Eastwood’s steady direction makes this film work. It easily could have become a vehement, man-hating manifesto. Instead it lands as an anti-corruption treatise and interesting historical chronicle of a story lost to time. It encourages the spectator to rethink what is “crazy”, what we believe in ourselves and of others. It encourages the audience not to give up. Although she is “saved” by a man, it is not because he is a male figure that he helps. He is a character who believes in fairness. And, in fact, she was just as tormented by women in her stay at the asylum. It is the detective’s fairness, and Eastwood’s attempt at fairness, that allows the film to stand as a fully-explored tale. It also deftly handles what is an awful series of murders. Eastwood puts across the terror of his victims and the helplessness of their situation without making a gory mess of things.

As usual, Eastwood’s art direction brings to life a Los Angeles of the past — one that is so important to understanding the context of the story (the color choices alone warrants an article). It also features a typically-simple musical motif. Changeling is not ground-breaking, or even surprising, but it is solid filmmaking with an interesting story to tell — which is hard enough to achieve anymore.

Also starring Jeffery Donovan, John Malkovich, and Michael Kelly.

Posted in film, review | Tagged 1920s, angelina, changeling, clint, eastwood, jeffery donovan, john malkovich, jolie, los angeles, walter collins | Leave a comment

REVIEW: LURED (1947)

by mwgerard Posted on April 7, 2009

This fascinating, well-paced and superbly-acted film has somehow managed to slip away unnoticed in the annals of classic film. It stars a young and cheeky Lucille Ball as an American chorus girl/hoofer in 1940s London. Her best friend disappears after answering an ad in the personal section. While questioning the spunky Sandra, Scotland Yard enlists her help to find the poetic killer who lures young girls with his unusual writing. She answers the ads, under the watchful eye of the detectives, and tries to ferret out the murderer. Her adventures lead her to meetings both frightful and funny.

Along the way, she bumps into the ever-charming George Sanders, man-about-town. They find romance but as the net closes in around the culprit, she begins to suspect her fiance may be out to get her.

Ball is gorgeous, stunning and is wielding her own brand of sass in this film. It is a brilliant example of what she could do, without the pratfalls and slapstick of 1950s television. Sanders is as devastatingly suave as ever. He gleefully combines the sophistication of his role in Dorian Gray, the stoic mind of his doctor in Village of the Damned and his slightly sleazy charm from Rebecca to create his most well-rounded character to date. Charles Coburn is delightful as the reliable chief inspector at Scotland Yard. There is a lovely, funny and slightly off-balance small role for Boris Karloff, as a mad fashion designer. He seems to be thoroughly enjoying the chance to be completely off-the-wall. Also enjoyable is the slow character arc displayed by Cedric Hardwicke as Sander’s secretary. This cast is perhaps so vibrant due to the even-handed direction by Douglas Sirk.

Fans of Sirk may feel a bit uneasy about seeing a film of his in black and white, and a suspenseful noir to boot. But only his touch could have made this what it is.
It is beautifully shot, taking full advantage of light and shadow, black and white, and all the greys inbetween. The dark, sinister London nights are crooked and winding, to be sure, but we are led there by a shining, innocent (but hardly naive) red-head. There we meet interesting characters and almost forget we are on the trail of a killer.
Luckily, this film was recently released on DVD by Kino Video – no excuse in waiting until it comes on TCM again to check it out.

Posted in film, review | Tagged douglas sirk, george sanders, karloff, london, lucille ball, lured, noir, red-head, scotland yard | Leave a comment

REVIEW: STRAIT-JACKET (1964)

by mwgerard Posted on March 1, 2009

William Castle took over (unofficially) for Curt Siodmak in the campy horror genre in the late 1950s. Castle directed such pictures as 13 Ghosts, Mr. Sardonicus, and The Tingler. All his films of this type were alike in that they featured some sort of audience participation gimmick. 13 Ghosts was shown in something called “Illusion-O”, a sister to 3-D, that required flimsy glasses to create the desired effect. Patrons of The Tingler no doubt remember being “pinched” by the specially installed seats, made to make the audience yelp during the film.

Strait-Jacket seems to be an attempt to make legitimate fare out of clearly gory thriller elements (although patrons were given cardboard axes to swing during the movie). Joan Crawford, having just come off of Whatever Happened to Baby Jane?, signed on to work with Castle on this picture. She retained most of the control, however, getting final cast and script approval, and bringing her own light crew and hair and makeup department.
The story revolves around Lucy (Crawford) who finds her no-good husband (Lee Majors, uncredited) in bed with another woman. Overcome with anger, she grabs a wood axe and chops them to pieces while they sleep. Her daughter Carol (Diane Baker), about age 7, witnesses the gruesome scene. After her mother is sent to an asylum, she goes to live with her aunt and uncle in the country. 20 years later, Lucy is released and goes to live with the happy three on the farm. Not surprisingly, Lucy has trouble adjusting to society, particularly to her daughter’s soon-to-be fiance, Michael, and his family. Then, people start dying and disappearing and Lucy is suspected.

Anyone who has seen Hitchcock‘s Psycho will recognize this contains similar tropes — because it shares the screenwriter. Dr. Anderson (Mitchell Cox, president of Pepsi at the time), her rehabilitation specialist, is just like Detective Arbogast. Michael is similar to Janet Leigh‘s boyfriend. Even Carol resembles Vera Miles in her gentle, sweet demeanor. Down to the last moment, with the tacked-on clumsy, expositional ending, it echoes of Psycho. But the quietness of Hitchcock‘s film is nowhere to be found. Strait-Jacket is choppy, brazen and ragged. Out of place theremin music punctuates at odd moments – as if the sight of Crawford’s falling face, starkly lit, wielding an axe needed accentuating.

As much as this film pretends to be a gore fest, it is really about people desperately clinging to something that is slipping away. Carol is holding onto the idea of a lost mother, and her chance of happiness with her fiance. The aunt and uncle want to see life continue as it was before Lucy arrived. Michael’s parents are determined to keep their son away from such a low-brow family. Lucy is trying to cling to her last bit of sanity, and hope for a normal life.

Most of all, it is clear that Joan Crawford is clinging to a level of stardom that began to crumble as her age began to creep across her face. She is desperate to prove her staying power as an A-list actress in a B movie. She brings the same gravity that she showed in Mildred Pierce and Harriet Craig. But in her eyes, the frailty is not just her character’s. Her struggle and determination are evident. Strait-Jacket is an enjoyable, is not perfect, picture — for its campiness and to see Crawford fighting to stay on top.

Posted in film, review | Tagged arbogast, axe, gory, hitchcock, janet leigh, joan crawford, pepsi, psycho, siodmak, strait-jacket, theramin, vera miles, william castle | Leave a comment

REVIEW: GRAN TORINO (2009)

by mwgerard Posted on February 27, 2009

It seems every year the Oscars get further and further from the most deserving movies.

Clint Eastwood directed, starred, and co-wrote the theme song in this quietly growling, gritty film. He plays the grumpy old widower Walt who is a hold out for his way of life.

Often seen sitting on his porch, cracking a beer and petting his dog, he simply wants to be left alone. He still takes immaculate care of his home and yard, while the neighborhood disintegrates around him. He owns a mint Gran Torino, that sits in his garage while he drives a beat-up old truck. He is a contradiction to himself. Yet, his own strict moral code prevents him from standing by when he witnesses neighborhood violence. Despite himself, he gets involved — and begins to care. He finds purpose, even with the recent death of his wife and the distance of his children.

Eastwood could have easily made this character gruff and uninteresting. Instead he found the layers embedded in the script, and pieced together a complicated patchwork of elements. Walt is gruff, but he is more than that. He is tender, stubborn, frustrated, tired, soulful, exacting, and determined. One can’t help thinking of it as a bit of an elegy for Eastwood himself – marrying his own sentiments with the rough and tumble characters he has portrayed.

The otherwise rookie cast holds their own, particularly the neighbors. In fact their relative anonymity is essential to the palpable realism they create.

Eastwood has mentioned this will be his last acting gig, but let’s hope this is not his last outing as a director. He delicate touch, even with violent topics, is a welcome sight in a glut of flashy Hollywood products.

Posted in film, review | Tagged academy award, clint, eastwood, gran torino | 2 Comments

REVIEW: DEFIANCE (2009)

by mwgerard Posted on February 19, 2009

This Edward Zwick film bases its main details on the true stories of the Bielski brothers. The Jewish family lived in Poland in the late 1930s and was terrorized by the SS. This particular chapter chronicles their decision to live in the forest (again) but this time as a community. They take in stragglers, older folks, and children. The struggle comes not just in their survival, but the difference of philosophies among the brothers. Tuvia (Daniel Craig), is the oldest and clearly demands the most respect. This films portrays him as a general who must make difficult decisions that may mean hardship, but also means the best chance for enduring. They building homes and defenses, and learn to shoot. Just one of the many such images that stands out is Craig, slumped with illness and hunger, atop of a white horse in the snowy woods. No presence is more commanding, except perhaps Washington at Valley Forge.

In addition to his responsibility to his wards, he must also look after his younger brothers, both more hot-headed (and idealistic) than he. Zus (Liev Schreiber) has a more hardened approach to dealing with the strenuous circumstances. Never thinking they do enough to make the Germans hurt, Zus leaves the forest and goes to fight with the Russian resistance. Schreiber portrays this ambivalence well. He is caught between his family and his principles (which makes it all the more stunning when he makes a final stand).
The most implusive of all is Asael (Jamie Bell). Seeing this youngest brother and parents get killed, he is the most angry. From his anger, and naivete, comes courage that proves invaluable.
Defiance does a very fine job of displaying a portrait of life. Of being forced to live in the woods or face certain death, Tuvia says, “We may live like animals, but we will not become animals.” The film, brilliantly acted, certainly shows this to be true, despite the many hardships. The brothers, and other characters are constantly tested. Their morals, their convictions, and their humanity are always being tried.
Ultimately, the film is about balance. When do you stay, and when do you go? When to you risk all for the temporary safety of the few? When do you run and when do you fight back? When do you cross your own line and how do you come home?

Posted in film, review | Tagged Bielski, daniel craig, defiance, edward zwick, escape, forest, jews, liev screiber, nazis, poland | Leave a comment

REVIEW: DELGO (2009)

by mwgerard Posted on January 15, 2009

This bumbling feature barely qualifies to be called a “film”. It is an animated tale about lizard-like people whose two races (one with wings and one without) have declared war on one another. It’s kinda like Pocahontas & John Smith meets Star Wars, with a little Lord of the Rings mythology mixed in. (And if you are going to yank from Star Wars, why do you include Jar-Jar Binks?) But for all its liberal borrowing (some might say stealing) it shows none of the heart, depth or even interest of any of these classic stories. The plot is Saran Wrap — transparent and disposable — but less reliable. It would seem that since there was no effort spent on dialogue or character development, someone would have had time to notice the giant holes.

Perhaps it was due to the several years (I’ve heard anywhere between 6-15) in production but the animation is well behind the times, worse than films made 10 or 15 years ago. It makes Betty Boop cartoons look ground-breaking. It would be barely be a passable video game. If only the animators had opted for hand drawing style featured in the final credits.

There are two things that make Delgo of note, however. One – how they ever managed to get such a long list of notable voice actors is a miracle. The cast includes Freddie Prinze, Jr., Jennifer Love Hewitt, Anne Bancroft, Chris Kattan, Val Kilmer, Malcolm McDowell, Louis Gossett, Jr., Michael Clarke Duncan, Eric Idle, Kelly Ripa, and Burt Reynolds. I wonder how many of them even got the entire script, or saw a frame of the finished animation.

Secondly, Delgo has the distinction of being the worst-performing wide release ever. Opening in 2160 screens, is barely broke half a million dollars. Since the next-worst opening record was $2 mil, they should have this record in the bag for a long, long time.

Posted in film, review | Tagged delgo, lord of the rings, pocahontas, Star Wars, worst box office | 1 Comment

REVIEW: THE CURIOUS CASE OF BENJAMIN BUTTON (2008)

by mwgerard Posted on January 3, 2009

If you’ve read the classic short story by F. Scott Fitzgerald, be warned. The wit and charm (and the major plot points) are missing from this melodramatic adaptation. The story was inspired by Mark Twain‘s comment that youth is wasted on the young. Fitzgerald took the idea and ran with it, and the film shares the same central idea. A baby is born as an old man, then grows younger as time passes, until dying as a baby.

The film explores the idea that the certain advantages of having the wisdom of age in your youthful years are far outweighed by disadvantage of never being headed the same direction as those you love. A somber Brad Pitt plays the mysterious Benjamin Button. He trips and stumbles through hardships, outlined by major historic events, like a Forrest Gump tag-along, if more effectively. Crossing his path is the beautiful (as always) Cate Blanchett, a snobbish, vapid ballet dancer whose siren red hair awkwardly harkens back to Moira Shearer’s The Red Shoes. The two attempt, in fits and starts, to form a relationship despite their different lives.

The film uses small details fairly well, like the evolution of the retirement home where Button grows up and the ballet revue of Carousel. But where it matters, it doesn’t quite rise to the occasion. Pitt and Blanchett show some sparks of natural chemistry at times, but it is inconsistent. Pitt’s character is flat, and nearly opaque. We are given little to go on in terms of his feelings, or the knowledge and experience he is gaining. Blanchett’s character is so selfish through most of the film that it is hard to imagine Button being so head over heels. Mostly, it seems impossible that their relationship would have taken the arc it did — if we all want to find the love of our lives, how could we possibly let it go when we do? There is little to redeem their selfish actions.

The minor helps, like the senile man who likes to tell stories about getting hit by lightning, the nod of the scars of WWI’s need for a useable past, and the sly appearance of Tilda Swinton, attempt to level out this overall heavy-handed film — all the more disappointing because of the enormous potential.

Posted in film, review | Tagged benjamin, brad pitt, button, cate blanchett, curious case, fitzgerald, mark twain, shearer | Leave a comment

REVIEW: THE CLASS, OR ENTRE LES MURS (2008)

by mwgerard Posted on November 15, 2008

The first French film to win the Palme d’Or at Cannes since 1987, this raw tale of a school year in Paris’ inner city pulls no punches. Francois Begaudeau penned the novel, the screenplay and played “himself” as the teacher, under the direction of Laurent Cantet.

Filmed with real students, not actors, it exposes with frankness the day-to-day challenges, and successes, of life within the walls. It also managed to show a wider view of Paris that enamored foreigners rarely see — racial division, Muslim populations, and formerly colonized African descendants all in the same room. Kids will be kids, but these kids have it tough and are fighting tooth and nail to be heard over the din of street violence, iPods and aggressive parents.

Lengthy scenes add to the realistic feel, letting the audience feel like it is sitting in on class. Interjections and giggling seem spontaneous. Interruptions remind us how hard it is for the teacher to keep things on a single track. What makes this teacher so endearing is his willingness to let them drive the direction. He winds up their curiosity and lets them go, almost so they won’t know that they are learning.

There is much to glean from the few scenes with administration as well. Their callousness toward the students we have spent class with is cold and shortsighted. We feel the urge to yell at the screen, “But you weren’t there! You don’t understand! If you would just listen!”

Somehow, the story comes full circle. It’s neither happy nor sad. It’s Sisyphus. Another school year is over. People move on. He’ll have a new class next year. And maybe these kids will be the ones to get something out of it.

Certainly he will.

Posted in film, review | Tagged administration, cannes, francois begaudeau, paris, school, teacher, the class | Leave a comment

REVIEW: THE BURNING PLAIN (2008)

by mwgerard Posted on October 30, 2008

Guillermo Arriaga’s last project was the highly acclaimed “Babel”. On that, he was the screenwriter. His latest foray (after public disputes with “Babel”‘s director) was his directorial debut — ”The Burning Plain.” Much in the style of his other works, this one plays more with time and linear storytelling than with disparate tales.

Set alternately in Seattle, Albequrque and Mexico, it marries the meandering tales of a cropduster and his daughter, a young teenage girl and her adulterous mother, and a beautiful young woman overcome by depression and self-loathing. Told in a parallel manner (and therefore concealing everyone’s connection until later), it explores how deeply we affect others and the ripples of consequences we cause.

The interweaving lines are well connected and repeating symbology (scars, for example) are carried out. Arriaga’s weakness, or at least not his strength just yet, is getting great, vibrant performances from his actors. Kim Basinger plays the mother of three who is stepping out on her trucker husband with a handsome Mexican who makes her feel like a woman again. Basinger’s performance is good, but there is no strength behind it. The same is true of Charlize Theron‘s lead. She does a perfectly fine job — dark set eyes, emptiness behind them — but there is no soul. It is because the characters are well-written and played that it all hangs together.

All in all, this is a fine, well-crafted debut for Arriaga behind the camera. Ultimately, he needs to find a verve, an energy that propels the film to add to his other obvious assets.

Posted in film, review | Tagged babel, burning plain, charlize theron, guillermo arriage, kim basinger | Leave a comment

REVIEW: NEVER APOLOGIZE (2008)

by mwgerard Posted on October 28, 2008

The younger generation probably knows Malcolm McDowell from his villainous roles in the last 10 years – Star Trek, Heroes, Superman and Rob Zombie’s Halloween. A handful might know he was in the freaky classic, A Clockwork Orange. But before all that, McDowell was the it-boy of English film, starring in Cannes Palme d’Or winners and charming the pants of his audience.

In Never Apologize, a tribute to director and dear friend Lindsay Anderson, McDowell relays stories of that experience in such a fashion that you feel as though you’d run into him at a pub. he stands, in mostly black, on a mostly dark stage with just a table set for two) and a podium with a small reading lamp. His simple tales are those of Richard Harris, Sir John Gielgud, Sir Lawrence Olivier, Bette davis, Lillian Gish, and John Ford. Yet they were not the tabloid fodder gossip about people we’ll never meet. Instead, McDowell, through recollections, letters and diaries, convinces us they are our friends. They are humanized, real. They are funny and tragic. And a reminder of the importance of the influence, and importance, of friends in our lives.

An afternoon’s luncheon with the royalty of English theatre in the 60s & 70s is a lightly sketched Shakespearean scene — a misunderstanding among gods. A description of Lillian Gish is starkly contrasted with the riotous Bette Davis — who is exactly what we’d all expect.

And a dying John Ford’s brief conversation is only a prologue to the loss of Anderson himself.

McDowell deftly pulls us in. He reads and speaks with simultaneous vigor and tenderness. It says as much about McDowell as it does about Anderson.

Posted in film, review | Tagged clockwork orange, if, lindsay anderson, malcolm Mcdowell, never apologize | Leave a comment

REVIEW: APPALOOSA (2008)

by mwgerard Posted on October 10, 2008

Based on Robert Parker novel, this Western manages to use the tropes of its genre mostly to its advantage. Ed Harris (who also directed) stars as the no-nonsense gun-for-hire Virgil Cole, brought to town to quell the unruly Bragg clan. His right-hand man, Everett Hitch (Viggo Mortensen) slings an 8 gauge better than anyone and the two are hired to restore peace to the fledgling town of Appaloosa — governed by a limp mayor and council.

None of these basic plot points fall outside the typical Western tale, nor does the appearance of the coy mistress, Mrs. French (Renee Zellweger).

What makes Appaloosa special are the subtleties. The partnership between the two gunmen is simple and deep. Their trust extends beyond just “he saved my life” scenario, though there is that too. They trust each other in life. They give and take advice. When Cole, an avid reader, is stuck trying to come up with a ‘big word’, he turns to his confidant Hitch – always solid and never failing. When the traveling party is threatened by Apache, it is Hitch whose cool head prevails. And when the frolicsome Mrs. French bounces between lovers, it is Hitch whose even keel directs Cole. Indeed Mortensen steals the show. Harris is solid but it is all about the wit in every detail Mortensen brings to the screen. The smaller role of Jeremy Irons as the terrorizing Bragg is also strong.

But there were problems with the film as well, not the least of which was Zellweger. In addition to looking horribly puffy and unattractive, her acting fell far short — and it was painfully noticeable among such giants. She lacked the depth that others brought to their characters, something important in a genre film.

There was also an unevenness of pace throughout. It wasn’t fatal, just a bit tiresome at points. Still a good job for Harris’ second attempt behind the camera. To his credit, he did manage to find some interesting photography in a generally worn out setting. But there was still a little too much clunk-of-the-boots-on-the-porch-with-jangle-of-the-spurs sound and the score made little sense. Composer Jeff Beal was clearly trying for the Lalo Schifrin strains of spaghetti westerns but they fell flat. Even his musical joke surrounded Chin the innkeeper was poorly timed and clunky. Lastly, Harris also should have cut the bookend narration at appears only briefly at the beginning and end of the film. It did not fit, wasn’t necessary and sullied Mortensen’s performance.

Ultimately, the film is perfectly enjoyable to watch. Mortensen is particularly fun to see. It’s just a bit disappointing to see it lack a few details that could have made it a great film, instead of a good film.

Posted in film, review | Tagged appaloosa, ed harris, jeremy irons, renee zellweger, robert parker, viggo mortensen, virgil cole, western | Leave a comment

REVIEW: TROPIC THUNDER (2008)

by mwgerard Posted on August 15, 2008

There may have been a layer of unexpectedness which enhanced my enjoyment of this film, but I must admit it was highly entertaining. A little bit of Borat-type humor (“That is so wrong…”), Hot Shots goofiness, and well-planted dialogue combine to make a very silly movie.

Hollywood makes fun of itself, on every level, as the plot centers around big budget (and over-budget) action film shoot turned disaster. Rookie director, played by Steve Coogan, struggles to control a roster of varying personalities. Ben Stiller is the pretty boy action star, Robert Downey, Jr. is the extreme method actor with more awards than fingers, and Jack Black is the king of fart jokes and fatty suits. All three have an entirely skewed version of reality, which is counterbalanced by Brandon T. Jackson and Jay Baruchel, as the celebrity trying to prove his acting chops and the newbie looking for a breakthrough, respectively. The five represent the gamut of ‘types’, perhaps even, the evolution of a celebrity and lead the way through film’s quest for footage (literally) and maturity (figuratively).

Ben Stiller shares writing credit on this with Justin Theroux and Ethan Coen. It quickly becomes clear which scenes were invented by whom, but the mixture works. Stiller (think Zoolander as “stupid-funny”) seems to rely on the abject absurdity of a situation and Coen infuses the repartee with smart dialogue befitting the characters.

Much as been made of two aspects of the film which some find (or fear will be) offensive. Downey, Jr.’s character undergoes plastic surgery so he can play an African-American character. Much is made of this irony throughout the movie and in so doing the silliness of it comes blatant. By taking it to the edge, it reminds the audience of how ridiculous Hollywood can be.

A smaller stink was made of the “don’t go full retard” speech. Again, at first glance, it seems insensitive but after thinking on it for a moment it becomes clear that beneath the joke lies a truth that should embarrass the establishment.

Yet there are more subtle jabs at the likes of Mel Gibson when Downey, Jr. sheds his disguise and resumes his impossibly blue eyes and Australian accent.

Overall, Tropic Thunder is rife with “I can’t believe they just said that” moments as well as a few highlights from Matthew McConaughey, Tom Cruise (with cringe-inducing chest hair), and Bill Hader. It’s a funny film that should be taken as satire, not as a literal version of what it mocks.

Posted in film, review | Tagged black, coen, coogan, cruise, downey jr, hader, mcconaughey, nolte, stiller, thunder, tropic, vietnam | 2 Comments

Two Classic (and somewhat unknown) Gems

by mwgerard Posted on August 10, 2008

TO BE OR NOT TO BE (1942) with Jack Benny and Carole Lombard

Decades before Mel Brooks’ “The Producers”, Ernst Lubitsch directed this backstage comedy about Nazi-occupied Poland. Not your typical idea for a light-hearted comedy, especially in 1942 (production hadn’t even quite finished when Japan attacked Pearl Harbor). But Lubitsch (a German-born Jew who came to Hollywood in 1922) brings out the inanity of it all with subtle, sly humor.

The film is not a spoof or screwball but a quiet undermining of the ridiculousness of Fascism.

It revolves around a theatre troupe rehearsing a play in which they mock Adolf Hitler (his entrance line is “Hail me!”). During dress rehearsal they learn the the Nazis have begun an invasion of Poland. The government makes them halt the production of the play and they extend the run of their current offering, “Hamlet”. Lombard, a famous stage actress out of job once the theatre is bombed, takes on a little light espionage. With Jack Benny, couple of fake mustaches and some gullible Nazis, she leads the mission to prevent information from getting into the wrong hands.

Both stars are incredibly charming, using their talents in the art of understatement. The last film Lombard made before dying in a plane crash, it is easy to see how she won the heart of William Powell, Clark Gable and American film goers.

ANOTHER LANGUAGE (1933) with Helen Hayes and Robert Montgomery

TCM featured Robert Montgomery a couple of months ago and I Tivo’d several for their offerings. I already knew I enjoyed him, having seen him in “Night Must Fall”, but I did not realize the breadth of his work. In addition to acting as the President of the Screen Actors Guild and joining the Navy to rise to the rank of Commander, he also became a successful director (and the first to use 1st person camera angles for the length of a film – Lady in the Lake 1947).

One of the titles TCM chose to show did not display his usual whimsical self. Another Language follows the first three years of newlyweds played by Montgomery and Lombard. Giggly, romantic and newly-eloped the Mr. and Mrs. Victor and Stella Hallam return to everyday life the moment they disembark the ship and Stella quickly learns about Victor’s overbearing mother and snarky family.

Over time she notices that Victor no longer stands up for her. The give and take is gone. rather than go quietly into oblivion, she fights for the relationship they used to have. She refuses to let Mother Hallam guilt her, or take to heart the slicing comments of her sisters-in-law. She even refuses the sincere advances of her new nephew – an easy escape from staid Victorian family to those butterflies-in-the-stomach courting days.

The film was released just 6 months before the Hays Code began to be enforced. Baby Face (1932) with Barbara Stanwyck is often credited with being the film that pushed censors over the edge but Another Language is just as pointed. The loose lifestyle in Baby Face was shocking and lurid but this film is much more grounded in reality. It bears great weight and the ups and downs of this marriage are expertly performed. Montgomery manages to slough off his usual happy-go-lucky attitude and portray a basically good man who has allowed himself to be controlled by others. His habits and attitudes are so ingrained that when his wife lands outside the boundaries he is lost. Even his eyes look empty in this film. Lombard plays a strong, but loving woman. She has no hysteria and she is not of loose morals. She loves her husband very much and makes a play to rescue the man she married from being lost in outdated, suffocating habits. Certainly, an assertive woman who stood up to her husband’s family, would have raised a few eyebrows at the MPPDA.

Posted in film, review | Tagged ernst lubitsch, hamlet, hays code, helen hayes, jack benny, lombard, nazi, Robert Montgomery, theatre troupe | Leave a comment

REVIEW: THE X-FILES – I WANT TO BELIEVE (2008)

by mwgerard Posted on August 4, 2008

SOME SMALL (THOUGH NOT EXTREMELY IMPORTANT) DETAILS ARE DISCUSSED.

As a gawky teenager, with few friends and awful braces, there was little hope for me to find anything to even talk about in 8th grade. Then the adventures of Mulder and Scully appeared on Friday nights — when I was home. Alone. In the middle of nowhere. I lived a half-an-hour away from town and I couldn’t drive yet anyway. So I settled in for an evening of Due South and X-Files. (By the way, Due South was written and produced by Paul Haggis, who went on to write/adapt such films as Million Dollar Baby, Crash, Flags of Our Fathers, and Casino Royale. I had the nose even then…)

My overactive imagination and photographic memory finally afforded me a chance to speak to the cool kids who also watched this show. It wasn’t much, but it was something. I don’t pretend that television is all-important, but it can give you a helping-hand from time to time.

I watched, and re-watched, regularly until Mulder left. I tried to continue but it wasn’t the same without him. I can’t say I blame Duchovny, really. See, there are two kinds of episodes: the monster/ghoulie/phenomena of the week and the government conspiracy updates. Early seasons kept the gov’t stuff to a minimum, inserting it for occasional mysterious overtone. It mainly focused on these to unlikely heroes checking into weird stuff. As time went on, that balance was destabilized and it all became about secret organizations, double-crosses, and government cover-ups (as if this government could ever be so streamlined and efficient).

So I was glad to see a trailer that looked as though the team had taken a more episodic approach – some mystery that warranted a bit more than TV’s 42 minutes to uncover.

X-Files: I Want to Believe is along those lines. It follows the case of a missing agent, whose last few moments were seen by a psychic with an unsavory past. Mulder, who is essentially a recluse, and Scully, now a prominent surgeon, are called in by the special-agent-in-charge (Amanda Peet) to assist, due to their experience dealing with psychics. Another woman goes missing, under similar circumstances and the two find themselves investigating alongside the FBI — and still battling their own demons (Always in the snow…).

Although somewhat limp, there was an attempt to weave themes across the simultaneous story lines. Scully is trying reconcile her beliefs along with her desire to push science to the limits. And how does her willingness to use radical, experimental treatments while the villains they are after do a cruder version of the same? Does Mulder’s determination to “believe” become a detriment to finding the truth? Can a man with a sketchy past still be a harbinger of truth?

Unfortunately this promising episodic style film leaves itself behind in the last few minutes with the “reveal.” Their attempt to create an “I didn’t see that one coming” moment backfires – all the way back to dreadful 1950s drive-in movies now featured on MST3K. They should have gone back to the modest budget, high-creativity, somewhat gritty early X-Files for inspiration. Maybe they did, and they are too far beyond where they started to go back.

Posted in film, review | Tagged amanda peet, anderson, billy connelly, duchovny, fbi, mst3k, mulder, paul haggis, scully, x-files | Leave a comment

REVIEW: THE THIEF OF BAGDAD (1924)

by mwgerard Posted on July 26, 2008

This one finally landed on the top of my Netflix list and I had a chance to watch it last night. Made during the height of the “Orientalist” craze, this must have been the Lawrence of Arabia of its time.

It begins like most silent films of the era – a downtrodden fellow looking for luck and finding love. There is great gesturing, a little comedy and some archaic phrases on the quaint title cards. But after about the first 15 minutes, the story really got rolling and the hero (Douglass Fairbanks) shows off some great athletic skill. He is like watching a cartoon character. His demonstrative gestures and bouncy demeanor seem unreal. Yet he is strangely captivating. Somehow his aggrandized characterization does not seem over-the-top or out of place.

The story follows very closely the tale of Al-addin in 1001 Arabian Nights. He is a likable scoundrel who contrives Wile E. Coyote-like pulleys and traps to climbs walls and pick pockets. Using the rope trick one night, he gains entrance to the palace and is about to make off with a great deal of treasure, when he sees the innocent and lovely princess sleeping and falls in love. When the princess announces that she will choose a suitor to marry from the princes of the East, Fairbanks must disguise himself as a royal to gain admittance. Choosing him from the lineup of stuffy rajahs and khans makes the others jealous. They expose him as a fraud and break the princess’s heart. Wishing to buy time for her rescue she sends the suitors off on a quest to find her the more rare of all treasures. When they return, she will marry the one whom she finds to be the best. Fairbanks sets off on his own magical quest to beat them all.

What makes this film so special are the sets and camera tricks. The movies are still so young at this point in history that seeing this as a member of the audience must have been stunning. The sets were enormous – probably 70-80 feet tall, using the scale of a person standing at the bottom and estimating. Everything is decorated with scroll work and carved in minarets. And although it doesn’t approach a sense of realism, it is one purpose. It favors a stylized version of things, making it all the more a moving picture of a storybook illustration.

The magical special effects are surprisingly good as well. They convincingly pull off the rope trick, a cloak of invisibility, underwater sea monsters, and a flying carpet. All of these are shot beautifully.

The final scene on the flying carpet is so well done that it is not immediately obvious how it was shot. Remember, there are no green screens and CGI at this time. As they leave over the palace walls and across the city, a shadow of the carpet is visible over each individual minaret – meaning that something really was suspended over the set, and each tower was separate and three-dimensional.

In addition, even though this was shot in black and white, each scene was hand-tinted – so, at night the palace has a blue hue, the princess’s bedroom is rose, the garden is green, the streets are yellow.

Clocking in at about 2 hours and 15 minutes, this was truly an epic production. I highly recommend the film, especially if you want something a little different. Maybe by watching this you will see where all the fancy blockbusters of today got their ideas.

Posted in film, review | Tagged arabia, bagdad, baghdad, fairbanks, magic, nights, orientalist, silent film | Leave a comment

The Dark Knight as Neo-Noir Spoiler Alert

by mwgerard Posted on July 22, 2008

THIS REVIEW IS NOT A SUMMARY BUT DETAILS ABOUT THE FILM ARE DISCUSSED.

Of all the styles in film history, film noir is one of the most far-reaching and and hard to pin down. A few of the things critics and historians have agreed on are these:

1. Abject social degeneration which forces those who still believe in “the good” to grapple with their own alienation.

2. A tragic protagonist who must delve into the dark side to bring light back to the world – to the detriment of his own happiness.

3. Low-key lighting, and droll dialogue rife with double-entendre and life philosophies.

4. Gangster/criminal/seedy character (with a troubled past, perhaps even sympathetic) who corrupts a dark, claustrophobic cityscape.

5. Femme fatale character, with varying degrees of self-reliance and/or sexual magnetism.

Christopher Nolan‘s latest installment of the Batman saga, The Dark Knight, employs all of these with a new, modern layer. Since we left him standing in the embers of Wayne Manor at the end of Batman Begins, Bruce Wayne/Batman (Christian Bale) has had relative success cleaning up the streets of Gotham. He now has the backing of hard-nosed D.A. Harvey Dent (Aaron Eckhart) and the under-the-table trust of Lieutenant Gordon (Gary Oldman). The criminal element is finding it harder to do business and they are forced to take bigger risks and seek the help of others. Gotham’s most heavyweight cri

me bosses find themselves in cahoots with The Joker (Heath Ledger), someone just crazy enough to get the job done.

So, Points #1 & 2. This gets moved forward to the 21st century by the fact that the social degeneration has been contained, albeit concentrated, into Batman’s arch-nemesis. And it seems that that Joker is targeting Batman alone, by threatening those he cares about. Batman is forced to see himself as apart from the public (and apart from Bruce Wayne) and try to determine whether he should hang up his bat-cape and let Dent continue the work above-board. In the end, Batman/Wayne gives up reputation and happiness for the betterment of Gotham.

#3. It is nearly always nighttime wen the characters are outside. The only daytime exterior scene is an overcast afternoon. Otherwise, it is inside with few windows or outside at night, lit by street lamps, apartment windows, and the bat signal. Characters make witty remarks and deep observations. The Joker’s entrance scene features such a line (“Would you like to see a magic trick?”) – ironic and disingenuous. Lucius Fox (Morgan Freeman) and Alfred (Michael Caine) are ever the voices of reason, levity and wisdom.

#4. In this episode, The Joker is the villain of the hour but he is complimented by a crew

of unsavory characters – both in henchmen and cohorts. They are like-minded ne’er-do-wells that are inspired by the Joker’s ability to get things done. And Joker’s stories of mutilation are tragic. Even if they cannot be believed, for moment, the hearer feels sorry – horrifies that a human could go so low. After all, that is the heart and soul of Gotham’s struggle. Gotham City itself is represented by Chicago, used for its Art Deco architecture – angular, linear, chrome, glass, steel. Cold. There is no softness, or comfort here.

#5. This femme fatale would normally be someone like Catwoman but she is not present in The Dark Knight. It might seem then that the task is left to A.D.A Rachel Dawes (Maggie Gyllenhaal), as the only major female character in the film. She does display a few of the traits. She is quite beautiful. She is sassy, with a mind of her own. She is the object of affection for more than one man and her association with them puts her in harm’s way. But, unlike the femme fatale, she does not use her influence to affect the hero. Not on purpose, anyway.

Instead, the Joker picks up many of the negative characteristics of the femme fatale. He goads Batman, forces his hand and gets under his skin. He manipulates people by finding their weaknesses, by poking and twisting. He hides behind makeup and costuming. He does it all in style, with something that keeps you from looking away. Nolan pushes this fatale type even further by putting The Joker in woman’s clothing for the scene in which he pushes the pure, chaste hero to the other side. Exactly the job for the femme fatale.

This telling of the Batman tale is extraordinary. All these fantastical themes, characters and situations are made entirely plausible. It is taken seriously, and from there the filmmakers stitch it into a flashing reality that resembles our own.

The very object of film noir.

The Dark Knight is well-done all around. The acting is superb – from everyone. It was great to see the drab Katie Holmes replaced with the extremely talented Maggie Gyllenhaal, although she is not really given a chance to show her acting chops. As expected Heath Ledger is brilliant as the Joker. He absolutely created a unique character that will be impossible to replace. Any attempt will only seem to be an impression. No complaints here. A thoroughly enjoyable and finely crafted film.

Posted in film, review | Tagged aaron eckhart, alienation, batman, chicago, christian bale, Christopher Nolan, cityscape, dark knight, gary oldman, gotham, heath ledger, maggie gyllenhaal, michael caine, morgan freeman, noir | 2 Comments

REVIEW: WALL-E (2008) AND PIXAR

by mwgerard Posted on July 18, 2008

Toy Story, Bug’s Life, Monster’s Inc., Toy Story 2, Finding Nemo, Cars, The Incredibles, Ratatouille and now WALL-E. The folks at Pixar have figured something out. They have managed to recapture an audience that was starving for the simplicity and humanity found in the cartoons of 40 years ago. Cartoons had devolved into flashing whizbang, bubblegum storylines, and whining characters all aimed at selling cereal and figurines. Not that you can’t buy a Mike and Sully doll at Disney World, but the story is first. Pixar has succeeded in mirroring the Warner Brother and Hanna-Barbara toons that had something for children and adults. There were always two (or three) levels one could watch Wile E. Coyote on — sly jokes that no six year old could get. Pixar became the modern home of this wit and added technical know-how to slicken the deal for those who are accustomed a polished product.

With WALL-E, Pixar returns to its roots by animating a mechanical, inanimate object. (Their first output was a short called Luxo, Jr., which featured a rambunctious swivel lamp.)

WALL-E is the last of a group of robots left on an abandoned earth. Hi job is to consolidate the massive heaps of trash into cubes and stacked into skyscrapers of junk. There’s just one thing — this robot has developed a personality, and he’s lonely in the vastness of space. Then another robot (Eve) lands and his life changes.

It is amazing how many subtleties are entirely understandable from a little box and few squawks and chirrups. WALL-E proves to be a nice a being as there could be. He is incredibly sweet to others, generous, curious and heartfelt. He is not perfect and sometimes his remarkable sincerity gets him into trouble. But it is these pitfalls of the naive that make him all the more sympathetic. And lovable.

WALL-E manages to steer away from overt sentimentality, for the most part, and focus on the characters. The only slight weak point of the film is a somewhat overly simple plot. After WALL-E boards the Axiom spaceship in search of his love, Eve, and we learn that Earth has been abandoned there is a lag in the storytelling. The good guys run from the bad guys, then get caught, then escape and try again — one too many times. There were a few minutes where plot movement seemed suspended before it picked up again for the adventurous ending.

They did a fine job, however, balancing the clear environmental message / warning with humor and innocence.

Pixar has also resurrected the tradition of showing animated shorts before their features. The one accompanying WALL-E, “Presto” is their best since “Birds on A Wire.” It’s frantic, energetic and very funny.

Posted in film, review | Tagged axiom, bugs life, cars, cartoons, disney, finding nemo, incredibles, luxo jr., monsters inc, pixar, presto, ratatouille, toy story, toy story 2, wall-e | Leave a comment

The Power of Audrey Hepburn and "Sabrina" (1954)

by mwgerard Posted on July 11, 2008

I haven’t made it to the theatres for a couple of weeks so I decided to review a classic – one that I found deserved revisiting.

It’s true that every time we show an Audrey Hepburn film at the theatre, we get at least 100 more people to show up. It’s such a drastic increase that we have considered (and only half-jokingly) making it the Audrey Hepburn Film Society instead. As it is, we are determined to include at least one of her films in each series. Not that I mind. As a girl who spent her teen years awkwardly skinny and aloof, I clung to people like her. Billy Wilder himself said, “Audrey Hepburn will single-handedly make bosoms a thing of the past.” She gave us gangly things hope – an ounce to possibility that someone would find us gamine and irresistible too. All was not lost.

Though I enjoyed Sabrina (1954), it was never my favorite of her films. I detest Humphrey Bogart‘s acting. I think he is dry, completely non-captivating, and not enjoyable to look at or watch. His voice is grating and you have to translate his horrible speech patterns. So it was always difficult for me to understand how he got the girl, especially Hepburn. I understand they needed someone less dashing than William Holden, but I still find Bogart an irritant to watch.

I think this dynamic was my main problem with Sabrina. I loved her “ugly duckling” transformation and her dress when she enters the party is stunning (I still want to find one like it to get married in someday). John Williams, (not the composer) who plays her father, and the rest of the staff are very funny but I still didn’t rank it as high as other classic films.

Then we booked it for our summer film series, and as predicted, it was the best selling film of the series so far. I didn’t get to watch all of it but slipped in for a few minutes and Hepburn’s magic was unmistakable. She made the film breathe. Suddenly, Bogart wasn’t as annoying. Watching her, 25 feet tall, in a room with more than 300 others just as captivated, made me realize the true power of stardom. And she had it. Yes, she was beautiful, but it a way, she was a bit funny looking. Unusual. No one watched, or watches her, for her beauty. It’s for something else. Something much more ethereal. It’s because she’s not curvaceous that we like her. We want to see her because she’s kinda funny, a little self-conscious, and a bit naive.

Cary Grant said, “All I want for Christmas is another movie with Audrey Hepburn.”
Me too.

Posted in film, review | Tagged audrey hepburn, billy wilder, cary grant, dress, edith head, film society, humphrey bogart, john williams, sabrina, theatre, william holden | 2 Comments

REVIEW: WANTED (2008)

by mwgerard Posted on June 30, 2008

To be sure, the setting in which I viewed this formulaic film (a nearly sold-out stadium seating screen with teens who also managed to simultaneously carry on full-volume conversations and text absent friends) did not help my opinion of it. There were actually elements that made me think at some point a real writer had his hands on the script. (There are three credited – which could mean several more who were not). I cannot decide whether it began as a fairly good script and was stripped or if a writer was brought in to stitch some dangling pieces back together. If the former is the case, it would explain how they signed Freeman and McAvoy to the project. But it seems more likely that the latter is true, since the basis is rather silly to begin with.

In true Star Wars rip-off fashion, the audience is introduced to nihilistic father who has a son he’s never known. The two lead opposite existences – The father as cutthroat assassin and son as a account management specialist with a hungry cat and an annoying girlfriend. His father is killed on a rooftop ambush and the league of assassins to which he belonged recruits his son, played by James McAvoy. The lure is his father’s assets, which are quite substantial, and the sultry stare and tattooed arms of Angelina Jolie, who looks pretty much like a Gap ad the whole time (white shirt, khakis, too much eyeliner).

Morgan Freeman plays the head of this secret society, which has its roots in the ancient Weavers clans from 1000 years ago. Then the attempts to tie this story together can no longer hold. It turns out that these assassins are working on the information given to them by the “Loom of Fate”, a giant machine of Industrial Revolution era that is fed by a web of strings from somewhere in the ether. This loom produces a coded message, hidden in the patterns of weave which equal 1s and 0s – a binary code – which when translated equals a person’s name, who is next on the list to be killed.

There is training and heartache and distrust and learning and all the feel-good things that go along with being thrown into a new environment. The only thing that makes these standard scenes watchable is McAvoy. He stunningly manages to find footholds in the precipitous script. Yet even he cannot save the last of many Star Wars scenes badly referenced. McAvoy learns the true identity of his father too late and after dangling by one hand, chooses to fall down a massive chasm rather than face the lie. Really, we had to go to Empire Strikes Back for this? He does as the script insists, but I couldn’t help but notice a hint of reluctance.

Posted in film, review | Tagged angelina, assassin, Empire Strikes Back, father, freeman, james mcavoy, jolie, morgan, son, Star Wars, wanted, weaver, writer | Leave a comment

REVIEW: THE HAPPENING (2008)

by mwgerard Posted on June 18, 2008

Try to forget what you already know about M. Night Shyamalan. Forget his tropes, his types and patterns. Look at this film on the face of it. Like any horror movie, “the terror” is a simple, basic thing, with consequences that affect humanity. But the presentation of the ‘facts’ is muddled, and the intelligence of the main characters is questionable. Mark Wahlberg plays a high school science teacher who is among the first to deduce the source of the lethal ‘happening.’

With his wits about him, he traverses the Pennsylvania countryside, managing to make correct decisions that keep him and his wife (Zooey Deschanel) and friend’s daughter alive. Yet when the three of them have survived over 24 hours in this increasingly hostile environment they throw it away for one last quick hug (they have been separated by this point, but can speak to each other) so that they die in each other’s arms (they don’t die, after all). A romantic notion, perhaps, but completely unrealistic for these characters. After fighting tooth and nail for survival, there is no way they would give up in their current circumstances. They were safe, they had food and/or water, and they could communicate. If it had been weeks in that situation, maybe, but not after only a couple of hours.

As you may have guessed from the previews (like I did), or from Wahlberg’s non-veiled comments on Conan O’Brien, The Happening refers to a simultaneous release of plant and tree spores with neurotoxins that are detrimental to humans. This is in reaction to pollution and population density and is centered in the northeastern states. Actually, this is plausible enough with scientific details based in fact. What gets a bit out of hand is that this neurotoxin doesn’t just cause brain damage or kill the inhaler. It causes you to 1) repeat yourself; 2) halt then walk backwards a few steps; and 3) kill yourself in some horrifying and unimaginable way.

Here is where Shyamalan’s past belies this film. He hit the jackpot, not only financially but with audiences when he told the story of a little boy who could talk to ghosts. The scares of The Sixth Sense were not based in gore or cheap thrills. Instead he took a minimal approach of suggestion. In the first major fright of the film he has three shots in succession: a scared boy standing at the end of a hallway, a thermostat drop temperature quickly, and a housecoat flap by. It was at this point I left my skin, and my seat, along with the two friends I was with.

The Happening using none of this economy of image. Shyamalan decides to show a girl puncture her neck with her own hair stick, a man fly through a windshield and splat on the ground, and a man turn on a lawnmower and lay down in front of it. Perhaps he was relying on the fact that these are uncommon paths to destruction and therefore more meaningful to view. Perhaps he intended to shock the audience into the horror that awaits humanity if they refuse to alter their ways. If so, he missed the mark. It made the film more schlocky, unrealistic. It took it out of the realm of believable and into the world of cheap zombie flick.

Neither did Shyamalan get the usual performances out of his actors. He discovered Haley Joel Osment, revived the career Bruce Willis and showcased Bryce Dallas Howard and Paul Giamatti. Here, Mark Wahlberg is not up to snuff, and neither is Deschanel, who are both very capable actors. Leguizamo plays a smaller role and is even more sniveling than usual. There is some nice camerawork by veteran DP Tak Fujimoto and moments where Shyamalan’s old stuff shines through (i.e. when the camera is trained on two, peaceful old trees while we hear toxin victims shooting themselves one by one).

This is not a great film by any standard and is certainly no where near Shyamalan’s best.

Posted in film, review | Tagged conan, deschanel, hair stick, happening, leguizamo, M. Night, neurotoxin, pennsylvania, plants, shyamalan, sixth sense, wahlberg | 2 Comments

REVIEW: SON OF RAMBOW (2007)

by mwgerard Posted on June 9, 2008

This little gem will sit and rot out in the multiplex for a week before being swept aside for the next big blockbuster. But if it came to your town, do go see it.

It’s a sweet, nostalgic tale of childhood, imagination and growing up. Set in 1980s Britain (rural, not London) two school boys become unlikely chums. Lee Carter is a clever troublemaker, and Will is quiet and helpful — and forbidden to watch TV, along with other strictures due to his neo-Puritan upbringing. Quite by accident, Will sees Rambo: First Blood and is completely enchanted with it. Lee, who had already decided to enter something into the BBC’s young filmmaker’s contest, pairs up with Will and the two make their our version of the action classic, dubbing it Son of Rambow.

The film follows the ups and downs of friendship between the two unlike companions, but more impressively, it views the world from a child’s perspective without reducing it to naivete. Both of these characters are dealing with very stressful situations in their family life and do so with admirable maturity. The film also weaves subtle details into the plot which surround a child’s imagination. Things mentioned earlier, arrive later, in a more colorful and outrageous form. As it should, it reminds one of their own childhood and the strange things they used to do to amuse themselves.

The only shortfall is about three-quarters of the way into the film when Lee and Will’s friendship is on the rocks. There are three contiguous scenes which deal with one apologizing to the other and vice versa. Theses are strung together with nothing in between where we might understand what was being apologized for, or what had transpired to induce the other to seek forgiveness. It does pick itself up and get back on track, however, for a lovely final scene.

Both young men are very good actors and the supporting cast was also very strong. If only there were more films like this, to remind us of ourselves when we had no idea how to be embarrassed or afraid of being thought silly.

Posted in film, review | Tagged 1980s, bbc, britain, childhood, england, imagination, rambo, son of rambow | Leave a comment

REVIEW: INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL (2008)

by mwgerard Posted on May 24, 2008

** This review will contain information that you may want to preserve for the film.**

It is great to see Indy again. It is so strange to realize that at one time there was no Indy. What dark days they must have been. And so it was with relish that I looked forward to seeing the rumpled old fedora and leather coat. Sadly, even Spielberg couldn’t save this one. It opens with long crane shots of 50s drag racers in the Nevada desert, leading us to (where else?) Area 51. It is here that our government has been warehousing secret treasures (we even get a glimpse of the Ark in its crate). It is also where we meet the villianess, Cate Blanchett, who could not look any more dowdy if she were in one of those mumu dresses all the girls are wearing these days.

So ensues the first action sequence as Indy escapes from the evil Commies who want American technology. It was in this fight scene that the first hint of anything like our old Indy is seen. There are those little moments of humor that sneak into the almighty battle between good and evil — that I recognized.

Still there was FAR too much that they asked us to believe. There has always been a small element of the supernatural that Indy has to contend with, which is fine. This time it was the power of a crystal skull that supposedly was able to grant those who could connect to it psychically, great knowledge. This is plausible enough since it’s true that both Soviet and American intelligence bureaus researched and tested the possibilities of psychic ability. They thought if they could perfect such a skill, spies would no longer need to travel abroad to gain secrets — it could all be done at the office. But not only did we have to believe in this skull’s power, we also had to believe it was alien and that the Peruvians who built the Maskelines were descended from aliens. And also, that a giant spaceship was buried in Peru.

I am sure you have guessed by now, but yes, Shia LeBeouf is Indy’s son. His entrance into the film is enough to make you hurl. He is a talented enough kid but I am already tired of him being stuffed down my throat. I didn’t like him before and I’m not going to. Stop forcing the issue. Since it’s 1957, he has a lovely pompadour styling that he is always fixing with his backpocket comb (a move that is played for laughs far too many times). But when he enters, it is on his pride and joy Harley, wearing a black leather jacket and a captain’s hat. It’s as if Spielberg were telling us all that he has found the next Brando and we should all be grateful. It was arrogant, patronizing and had no place in an Indy movie. Furthermore, we are to believe that because he can wield a switchblade and took

a class that was barely alluded to, that he can hold his own against an army-trained Ukrainian fencer. Then, the worst scene this summer (yes, worse than Susan kissing Caspian), Shia goes Tarzan in the Amazonian rainforest. During a MUCH too long action sequence (which has more holes than the ozone), Shia is caught and tangled in some hanging vines. While up there he sees some monkeys. Awwww. But then, he watches them use the vines as a means of transportation! Eureka! And off Shia flies and swings and floats through the jungle, just like a monkey. I still haven’t figured that one out.

It was good to see Marian again, as well (yep, she is Shia’s mom). She still had the spunk and their chemistry still came through. It was one of those few moments when it felt like Indy again. Which they promptly ruined by asking us to believe that the crew could tumble over a waterfall not one, not two, but three times (the last being twice as big as Niagara) and literally just walk out of the water. Oh, and then there is the time Indy hides in a lead-lined refrigerator to survive a nuclear testing – at the epicenter. It blew him a half a mile a way but he was fine. Also, when they caught their flight to Peru, the familiar image of a Pan-Am plane was superimposed over the map and we watch as they make refueling stops along the way. Guess where you can’t land in 1957 if you are an American? Cuba. Guess where Indy had a lay-over? Havana.

There were too many mistakes and too many things out of place. And the good Indy quest kind of things were glossed over. The great part about 1 & 3 was that we knew what the clues were and we were looking too. This time, Indy mentions them once, too quickly for us to learn, and then next thing, he’s opening a secret cave. We don’t really get to play along.

Occasionally it would fall into a rhythm and I would start to feel like they have caught the Indy groove, but then something would jar it back into stilted dialogue world. I wanted so much to like it. In fact, Im sure if it had been anything but Indy, I would have hated it. Instead, I’m sad. And I can’t decide whether I want them to make a 5th or not. Will they learn like they did from Temple of Doom, and make another in the line of Last Crusade? Or was it lightning in a bottle? They had 20 years to write #4. They could have done better in the 7300 days we were waiting. We didn’t want whiz-bang or aliens or a snotty teenager. We wanted our backyard friend, Indiana Jones.

Posted in film, review | Tagged 4, allen, blanchett, crystal, harrison ford, indiana, jones, karen, lebeouf, maskelines, shia, skull, spielberg, tarzan | Leave a comment

REVIEW: PRINCE CASPIAN (2008)

by mwgerard Posted on May 20, 2008

I am a great lover of literature. I am also a great lover of these books, these tales. They are a modern “1001 Nights”, born of a war-torn society with Blitzkrieg ringing in their ears, and Coventry freshly wounded. “The Chronicles of Narnia” reflect British pride yet give away a certain sense of doubt and skepticism. These stories encourage a fight against evil, despite the odds of winning. It is the fight that is worth it.

The first cinematic installment of these fantastic tales remained greatly faithful to CS Lewis‘s original book (with only one fabricated scene – on the icy river escaping from the wolves). It answered to some of the current trends in blockbuster film-making but it still managed to retain some soul.

Prince Caspian also remains fairly faithful to the book. Some elements are glossed over or “sped through” to get to the lavish battle scenes. I would have enjoyed seeing a young Caspian with his tutor on the parapets at night as so vividly described in the book. Instead, it was only alluded to in the film.

Crossing the Fords of Beruna was also severely truncated and the fact that the non-talking bear that was slain they actually butchered and carried with them for the couple of days they trekked through the woods.

However, plenty of attention was given to the two main battles – at Miraz’s castle and at the ruins of the Stone Table. Both were well rendered, if a little too long.

It’s as if the producers decided that the story is only there to lead up to the battle, and the battles are what sell the movies. I have 60 years of history that say otherwise, but I am not a profit-driven entity in the art business. The greatest atrocity was saved for the last three minutes. In a flagrant disregard altogether, some genius decided that it would be a great idea to have Susan (just as she is able to jump back into England forever, never to return to Narnia ever) turn back and kiss Caspian. And as if that wasn’t painful enough, their lips touching cued a trashy, t-weeny, Hannah Montana song with even worse lyrics. It was so bad that everyone in the theatre either laughed or threw up their arms in disgust.

Disney/Walden Media/Adamson need to realize that these stories are already popular. We are going to the movies to see the books we read come to life, not some numbers-crunching producer who never read them (let alone under the covers with a flashlight because you couldn’t sleep without knowing what happened next) version of what will sell adjunct merchandise.

They had better be careful. If they wish to make the entire series of 7, they better not break the trust of those who love Narnian lore.

Posted in film, review | Tagged beruna, book, british, caspian, chronicles, cs lewis, narnia, ninabrick, prince, reepicheep, tales | Leave a comment

REVIEW: THE DEVIL WEARS PRADA (2006)

by mwgerard Posted on May 11, 2008

I finally rented this movie a couple of nights ago. I suppose that makes me behind the wave, but I think perhaps it gave me more perspective than those who raved about its fantastic clothing and fast-paced lifestyle portrayal of the fashion industry.

I found very, very little redeeming in this poorly cobbled-together script. Anne Hathaway plays a young woman who lands a highly coveted internship with a fashion magazine (like Vogue or Elle). This is despite her bookish looks and dowdy clothes. She struggles with the incessant psychic perfectionism her vindictive boss (Meryl Streep) demands, then finally decides, with the help of Stanley Tucci, to give herself a makeover and succeed in her position. Her newfound enthusiasm gains her points at the office but upsets her boyfriend and comrades.

All predictable in its own way but it fails. The friends, in the same scene, are both excited when she brings them swag from work (a $1900 purse, etc) and then they mock her. She gets mad and leaves but she never truly stands up for herself. She doesn’t remind them that the whole point of this internship to gain the experience she needs to land the job of her dreams.

The characters don’t make sense. They have inconsistent moralities. They are upset and react to the wrong things, and skip what they ought to be worried about. Clearly, their lines and actions are only there to move the plot to a pre-determined ending. Tucci is the only one who manages to find a character buried in there and brings it out as best he can.

And all those clothes? There aren’t that many. There is one short scene at a fashion show.
Streep wears nothing particularly stunning. Hathaway’s office-mate looks like a tramp who has been made over by a gang of angry raccoons. As for Hathaway‘s “make-over”, she looks ridiculous, like she has been playing in her mother’s closet. One dress, that she wears for the benefit at the end, finally looks nice. But we are so abandoned by her character that it doesn’t really matter. Her supposed change of heart, too, comes far too late and is half-hearted at best.

It doesn’t achieve satire. It doesn’t present any extremes, good or bad. It just kinda lays there, like a thrown-together ensemble splayed on the bed.

Posted in film, review | Tagged blunt, devil, devil wears prada, fashion, hathaway, prada, streep, wear | Leave a comment

REVIEW: NO COUNTRY FOR OLD MEN (2008)

by mwgerard Posted on May 9, 2008

By far, the most over-rated film of the year, this offering from the Coens brings nothing to the world of cinema worth noting.

The best I can say is that it is consistent — consistently empty. It is devoid of all the elements that make up narrative film.

To start with, Javier Bardem‘s character, a ruthless bounty hunter, is supposed to be terrifying. He is creepy, I suppose, but there is nothing for us to be scared of. Anthony Perkins used his innocence, his little boy face. Anthony Hopkins was refined and cultured. This guy is…well, nothing. Fear is grounded in the unknown, but we have to be aware of what it is that we don’t know. Therefore, I found little to fear, and even less, a desire to understand him.

Josh Brolin plays the quarry of Bardem‘s hunt and I think we are supposed to identify with him and his plight. We’re supposed to wonder what we would do if we found a suitcase full of money. But we don’t. Although his performance is commendable, his character is a sleazy ne’er-do-well, whose childish gyrations belie his supposed intelligence and maturity. Anyone worth their salt would have fled the country (permanently), with or without sadistic killer on their tail. I mean, you just found a suitcase full of money! You can afford the firt plane out of there, long before he knows it’s gone. And there is no sub-story where Brolin is attempting to find the rightful owner or wrestling with his own conscience. No, he fully intends to keep it, but is somehow going to wear out his pursuer by bouncing for roadside motel to hovel in generic bordertown, Texas.

Tommy Lee Jones is cast as the sheriff (what else?) as the third player in the string of pressboard-door busting-down scenes. He floats in and out of the loose narrative, just missing one or the other of them, until he ends the movie with a milquetoast soliloquy. Just when someone is finally revealing a bit of humanistic character, the splicer comes down and credits roll. I can only hope that does not signal any kind of sequel.

I truly question those who found this to be the best film of the entire year. Sometimes I like a movie, sometimes I appreciate it, but I had no affinity, personal or academic, for this piece. And I tried. I have pondered what it was that made the critics rave. I fear that they were duped by a project which, from the outset, tried to make a ‘deep’, ‘important’ and ‘controversial’ film. Effort in any line of work is appreciated but in art there is such a thing as trying to hard — when it creates a fabricated intent.

Posted in film, review | Tagged academy award, anthony hopkins, bardem, brother, coen, javier, josh brolin, no country, old men, oscar, perkins, texas, tommy lee jones | Leave a comment

REVIEW: ATONEMENT (2008)

by mwgerard Posted on May 2, 2008

I admit to being wary of this film. I generally find the “toast of the Oscars” films to be less than satisfactory as a complete package. That buzz coupled with the two headline actors – Keira Knightley and James McAvoy – caused yet more trepidation. And as if that wasn’t enough, I was also doubtful of helmer Joe Wright, whose Pride and Prejudice was too fast and held neither of the delightfulness or the gravity of the Austen story.

Wright returns to a period piece, very definitely English, but he chooses the 1930s this time. It evokes the fragile years between the wars as its own character. Those who are to the manor born may have escaped the immediate calamity of shell-shocked, damaged population and the downward spiral of economies across the world but the devil-may-care attitude they still engender does catch up with them. Old houses and sultry summer afternoons in a quiet countryside are not innocent, and neither are their upper crust residents. This slightly Gothic, Daphne du Maurier world is paired with the point of view of a little girl. The opening act seems to use some sort of slip time mechanism that allows the viewer to see these events from alternating angles, and these scenes carry with them the immensity of spirit of each character.

Its main plot point – a precocious but angry Briony at age 13, lies about something of grave magnitude – brings to mind how easily the balance is set off-kilter, how little it takes for the entire direction of life to change.

This fragility, underscored by the delicateness of 1930s England, is expertly conveyed in Atonement.

The performances of all the characters are superb. Knightley‘s spoiled, privileged character is underpinned with a sympathy not easy to accomplish. McAvoy, too is able to affect the audience with more than a little puppy-dog look so often found in romance movies. This film never stoops to that level. Its power is real. Watch for a lovely but short performance by Romola Garai as Briony age 18. Stunned almost silent by her own guilt she resorts to working as a nurse in bomb-raided London, in an attempt to do penance. The last and oldest iteration of Briony is played by the eternal Vanessa Redgrave. Maybe the finest casting of an aging character I’ve ever seen. All three displayed incredible depth – and each carried enormous continuity through. (In this final scene, Briony’s interviewer is the late Anthony Mingella.)

Also of note is the 5:30 single shot on the shores of Dunkirk. Extraordinarily effective. Gorgeous cinematography and set/costume design all around.

130 minutes. Based on the novel by Ian McEwan. Won Academy Award for Best Score. Nominated for Best Picture, Cinematography, Art Direction, Adapted Screenplay, Costume Design and Supporting Actress.

Posted in film, review | Tagged academy award, atonement, dunkirk, england, film, james mcavoy, keira knightley, minghella, oscar, redgrave, romola garai, wright | Leave a comment

The Impetus

by mwgerard Posted on May 1, 2008

For as long as I can remember, I’ve loved movies. I love their power, vision, simplicity and their complications. I wanted to direct (don’t we all) but was discouraged from such a profession by others who cited it to be too cutthroat. They were probably right but I still feel like a part me got left behind that day. I’ve been trying to catch up ever since.
I still love movies. I love discovering old flicks or terrible camp films; so much so that in my “spare time” I curate a film series and I’m earning a Masters (very slowly) in Cinema Studies.
The latest blight on real film criticism these days are the dying newspapers and periodicals. It used to be commonplace for a publication to have at least an arts reviewer who also took the time to see some movies. The few that are left are under the guillotine daily and to answer to the pressures of a populist demand write fewer and fewer real criticisms. Their reviews consist of summaries with a comment or two about a particular performance or a costuming choice. Yes, these things are important and all go to the mise en scene of the film.
But a more thorough reading, or look at least, of some films is deserved. I hope to be able to provide a little bit of this, but have no intention of single-handedly filling the ever-increasing gap. I just want to get my thoughts out there and hope a few like-minded individuals will enjoy it and engage the conversation.

Posted in film | Leave a comment

Category Archives: film

Me, Elsewhere

Twitter

Films

Books

Photography

Tumblr