| MPAA Rating R (for pervasive strong brutal violence, and language) Suspense/Thriller Runtime 113 minutes 
2½ stars out of 5
|
There is little complexity in this film. There is no question about who the good guys are, and who the bad guys are, but the testosterone-challenged might have difficulty even though the lines are clearly delineated.
A rich producer, Ian Breckel, (a suitably scummy Robert Mammone) sets up camp on a remote island where he can video ten condemned murderers trying to kill each other. He’s brought them there from all over the globe hoping to get a huge paying internet audience who want to see people hunt and kill each other live. (Unfortunately, this is not as far-fetched as it sounds.) The difference here is that the producer doesn’t hide who he is and justifies the violence by saying he’s giving people what they want (even as he and some of his crew get off on the massacre, too).
Steve Austin plays a bad guy, who’s really a good guy, who can do bad things to people who get him very, very mad. His character here is like early Swartzenegger, or the more recent Dwayne (the Rock) Johnson. They have to look mean and formidable, but really they are heroes who take terrible abuse while remaining stoic. In the end, of course, we’re supposed to admire that he will remain unflappable while giving his all for the cause, like a John Wayne on steroids.
Vinnie Jones as the villain Ewan McStarley brings some credibility as the most evil of the murderers. There are two women murderers out of the ten and physical assault is a factor here as the men try to overpower them. (I can only guess why this choice was made, but I found it unnecessary and disturbing.)
The sets and the overall look of the film are well done. There are more explosions than spurting blood. Although you can see the World Wrestling Entertainment (WWE) influence in some of the fight sequences, it’s not overdone, and some of the killings are mercifully short.
Whether all the blood and gore is justifiable so that you know that good will triumph over evil in the end depends on if you can convince yourself you need to be told that message in this manner, yet again. Review by Ann Marie Oliva
| MPAA Rating PG-13 (for intense sequences of violent action, and some language Action/Sci-Fi/Thriller Runtime 96 minutes
4 stars out of 5 |
“Next” is a movie you don’t want to end, but to tell you why would spoil the fun. It’s enough to say a good time will be had from the opening credits (bits of clocks suggesting bits of time) to those closing the film (nope, won’t spoil that final trick either by telling you).
Nicholas Cage is Cris Johnson a small time magician in Las Vegas, under the name Frank Cadillac, whose true talent (though ignored as evidenced by an almost empty house) is the ability to foretell the future. Wait, let’s be accurate, Cris, in voice over, tells us he can only foretell events two minutes in the future of which he, himself, is a part. A demonstration, and an effective one it is, follows of winning black jack, foreseeing/foiling a murderous robbery, and a futile pursuit by a posse of casino security guards. Convinced of his talent are Callie Ferris (Julianne Moore) a tough, no-nonsense, job-above-all FBI agent and the gang she is pursuing who’ve smuggled a nuclear device into Las Angeles. For his part, Cris is waiting for a woman he’s pictured meeting far beyond his two minute threshold thereby implying she will be the love of his life. And, in the person of Liz Cooper (Jessica Biel), she is. They head out to Flagstaff (her destination) with Ferris and the terrorists close behind even though it’s been repeatedly made clear that with his ability it will be near impossible for Cris to be captured.
Okay, a pause here. “Next” is a mixture of action/science fiction meaning, usually, logic and plot holes will likely, to a greater or lesser extent, be present. However, given the nature of the film – who cares? Does it matter why Liz is going to Flagstaff? Or that Cris for no good reason can’t foresee her capture? Or his own? Again, does any of this matter? After all, it’s the playing out of the premise for which you’ve paid your money and in that regard, “Next” consistently delivers. Director Lee Tamahori expertly leads the charge of David Tattersall, cinematographer, Christian Wagner, editing, William Sandell, production designer, and all the skilled special effects troops.
By the way, Nicolas Cage is one of the producers and, along with his fellows, he wisely cast himself in the lead role. Perfect, as Cage has the slightly off-kilter demeanor making Cris both believable and sympathetic as a man besieged by an ability he possesses but can’t explain or escape. Jessica Biel is not just a lovely paramour, she’s also got some grit (to defy the FBI as an example). As to Julianne Moore, she seems ready to take over the FBI. They’re a terrific threesome and it’d be good to seem them again. In a sequel? There’s a hint in the twist mentioned in the opening above (which still won’t be revealed) and additionally in Cris’ statement he doesn’t want to become a prisoner of the good guys because of his ability. If this is the start of a franchise, and it’s near as entertaining as this one, then by all means please proceed. I can see the title already – “Next II”? Review by Charles Zio
| MPAA Rating PG-13 (for violence criminality, sensuality and language all involving teens) Drama/Fantasy/Mystery/Thriller Runtime 97 minutes
3½ stars out of 5 |
A high school senior golden boy, Nick Powell, (played believably by Justin Chatwin) has a run in with the high school troublemaker, Annie Newton (played sullenly by Margarita Levievaz). After she accidentally kills him, she and her “gang” hide his body in a storm drain. Nick wanders out of the woods the next day and goes to class as usual, but realizes he’s “invisible” since he’s now dead.
Nick aimlessly follows his cowardly best friend, Pete, (well-played by Chris Marquette), his mother (Marcia Gay Harden in a controlled performance), and Annie trying to figure out how he ended up in a nether land limbo, until he realizes he’s not dead – yet, but someone has to find him before time runs out. The rest of the movie is Nick trying to communicate with the living about his predicament.
The contrast between Nick’s privileged, but constrained life, and Annie’s abusive, hard-luck one provides a social context. The parallels show them both “invisible” in different ways. I get it. Where a novel has time to fully develop an idea like that, the film starts to get lost with subplots trying to explain too much. The visual novelty of Nick caught between life and death, and numerous scenes explaining Annie’s back story, begins to drag the film down. After a while it doesn’t illuminate character anymore, it becomes repetitive, losing its initial shocking power.
Life can be harsh and unforgiving for those born into the wrong circumstances, but can lead those with privilege down the wrong road, too. Yet, there is a spark of goodness even in the worst of us, and selfishness even in the best of us. It’s too bad this film took so long to get to the point. Review by Ann Marie Oliva
| Foreign Film UK/Canada USA - not rated Drama Runtime 112 minutes
3½ stars out of 5 |
Briefly, Rickman is Alex Hughes an unhappy man driving to Winnipeg who picks up a hitchhiker, Vivienne (an appealing Emily Hampshire). After she dies in a traffic accident, he feels compelled to visit the young woman’s autistic, though functional and articulate, mother, Linda (Weaver). Reluctantly moving in, Alex’s stay results, thanks to help from a sexy neighbor Maggie (a warm Carrie-Anne Moss), in him “finding his way” and resuming his drive. This synopsis may sound uninteresting, yet, if the script hadn’t gone astray, it would have been compelling. Angela Pell, the writer, respects her characters, giving them depth, and slowly unravels Alex’s secrets. But there’s a shift of focus sabotaging the impact.
Alan Rickman – It’s difficult to think of an actor currently in the business who conveys world-weariness (through a filter of boredom edged with anger) half as well while, at the same time, arousing either sympathy at his inner sadness or curiosity as to its cause. Here, Alex doesn’t want to share his feelings or reveal his past, but when he is ready to do so, he expects an attentive ear, not including Linda, in her own world and dismissive of outside intrusions. Sigourney Weaver, when first seen, is momentarily startling – she’s not, as usual, strong and determined. Instead, tossing aside ego and theatrical tricks, Weaver is believable as a blunt spoken woman living (as her daughter wrote in a scrapbook) neither in past or future but fully, except once, in the present (as exemplified, title-wise, in the supreme pleasure of eating snow). There is chemistry and honesty to Alan and Sigourney’s scenes together and one anticipates that, by tossing the unexpected, each of the characters will be the better for it. Which is why, when Alex turns to Maggie for more than physical relief the movie’s direction goes askew. Despite her understated performance, Moss seems an intrusion, the viewer wants Sigourney back on screen. It’s a mistake from which the movie fails to recover.
On the other hand, writer Pell avoids familiar clichés – Alex and Linda do not fall into bed, Vivienne’s dog is cute but not a carrier of life lessons, her funeral is not an extended romp in pity, and so on. Marc Evans, director, does a commendable job by keeping the movie firmly rooted in its small town atmosphere with events flowing in the low-key fashion one would expect in such an environment. Ultimately, though, the verdict on “Snow Cake” has to be one of disappointment. Review by Charles Zio
| MPAA Rating R (for some strong violence, graphic nudity, sexuality, and language) Drama/War Runtime 145 minutes
3½ stars out of 5 |
It’s doubtful you’ve seen the plight of the Jews and the Resistance in World War II as Paul Verhoeven, director, presents them in “Black Book,” coauthored with Gerard Soeteman in subtitled Dutch, German, English, and Hebrew. Horror and death are ever near but their portrayal is at a remove. That is, the violence seems familiar/overdone/mostly unreal, like something from a low budget old serial or formulaic television movie. In counterbalance, and the reason for the Nazi defeat, is the unceasing bravery and spirit symbolized by an ever-resourceful heroine. Still, if you’d prefer a serious and sober approach to the issues, despite its being based on true events, pass this movie by.
It’s Holland, 1944, and Carice van Houten plays Rachel Stein who adopts the name Ellis after being forced from her hiding place (a farm), her family (fleeing on a barge) are killed by the Gestapo, and she joins the Resistance. Carice gives a strong and stirring performance as a former singer who retains a sense of performance to the extent that, careening from one menace to another, she never loses her head or cool. And dangers there are – ambushes, escapes, playing a dead typhoid victim, sneaking radio equipment through a train search, seducing a Nazi commandant, eavesdropping, and so on. Surrounding Ellis is a skilled supporting cast – Resistance members, fearless Hans Akkermans (Thom Hoffman) and the older, de facto leader Gerben Kuipers (Derek de Lint); relentlessly evil Gestapo leader Gunther Franken (Waldemar Kobus), the collaborator Ronnie (Halina Rejn), and Ludwig Muntze (Sebastian Koch) as the Nazi who the heroine comes to love. Though Ellis is warned against trusting, the deceit and betrayal inherent in wartime cannot be avoided, with the villain revealed, via the titled Black Book, near the film’s end.
The production values (photography, editing, historic design) are high, but it’s Verhoeven’s treatment of the subject matter that is unexpected. For instance, while the violence isn’t minimized, for Ellis it is self-protectively kept at a distance (she remarks on her inability to cry for her family), but then breaks down for her Nazi lover, who is portrayed as a sensitive victim. Ronnie, the seemingly mindless and loose woman at headquarters turns out to be resourceful and a true friend. Ellis, for her part, is quite free sexually and drops her clothes without any hesitation. When liberation comes, some of the legendarily fair and tolerant Dutch behave with hardened brutality. All of which is not to say “Black Book” does not have its faults (as examples – to long a string of perils for Ellis, too many false endings). But, from first to last, if should you be inclined to think anew about subjects you consider familiar, this just might be the movie. Review by Charles Zio
| MPAA Rating PG-13 (for some suggestive language) Drama Runtime 97 minutes
3½ stars out of 5 |
Peggy’s life has a dull sameness as she thinks she has to please people by being a doormat: bringing donuts for her co-workers, gifts for her brother’s kids every time she sees them, listening intently to her boring boss and her outsize co-worker played with finesse by Regina King.
Peggy’s downward spiral begins when her beloved dog, Pencil, dies unexpectedly. John C. Reilly (in a good turn) as her neighbor, Al, tries to be helpful, even asking her out on a date. But no one seems to understand the depth of her grief except Newt, a worker at the vet’s office, played wonderfully by Peter Saarsgard. He talks Peggy into taking a troubled dog that would otherwise be euthanized. That she ignores that the dog is not a suitable pet shows how desperate her alienation has become, and how strained her hold on reality.
This is a drama but there are moments of dry humor, mostly as superficial, self-centered people in Peggy’s life talk at her, rather than to her, exposing their flaws. Shannon plays it serious, not showing us any of her outlandish characters from Saturday Night Live.
The straight-on camera shots begin to wear thin and feel claustrophobic. Likewise, Peggy’s flat affect and speech make me want to see something more lively and interesting.
Okay, so the people in her life are not perfect, neither is Peggy. People let each other down all the time, it's called l-i-f-e. While I start out feeling sympathy for Peggy and her heartfelt love of dogs, I tire of her persona before it's over. The slow pace doesn't help. The justifications for some of her actions later in the movie are weak. Animal rights are important, but when does a committed, fully invested animal lover cross the line to intrude on the rights of human beings? Slipping into an animals-only world to avoid real issues one needs to address as an individual, is not a solution. Can someone get this woman some therapy? Review by Ann Marie Oliva
| MPAA Rating PG-13 (for sexual contact, thematic elements and language) Comedy/Drama/Romance Runtime 97 minutes
3½ stars out of 5 |
Since Cater is a writer I suppose it’s not too surprising that there are many earnest conversations. His girlfriend in LA has dumped him and broken his heart, so Carter decides to go to Michigan and stay with his grandmother who isn’t doing too well on her own. He becomes involved with the women who live across the street. Meg Ryan plays the mother Sarah, and Kristin Stewart is her daughter Lucy. There begins a tangle of friendship, support, hurt feelings, jealousies, anger, and misunderstandings.
The illness portrayed in the film is handled sensitively and realistically, and brings some needed focus to the storyline. Although it’s not difficult to figure out where the script is going, the film shows potential as an interesting early effort by the young writer/director. Review by Ann Marie Oliva
PRIVATE PLACES |
FOREIGN FILM France/Italy Drama Runtime 120 minutes
3½ stars out of 5 |
It’s not a profound insight to say it’s a cold world for the lonely. The director Alain Resnais makes that point literal in “Private Fears in Public Places” with snow falling on Paris and, further, as a transitional motif between scenes. The delicacy of the flakes echoes the melancholy of the characters in the script by Jean-Michel Ribes (in French, English subtitles) based on a play by Alan Ayckbourn. It’s a bittersweet world, and often sad, but one can, and must, keep trying to bond with another.
The need to connect, and our inter-relatedness, is presented through the stories of six Parisians (six degrees of separation?). The film opens with Nicole (Laura Morante), chic and confident, describing an apartment as “tiny” (the world of this film is small) to her real estate agent Thierry (André Dussollier), older and eager to please, who himself lives with his sister Gaelle (Isabelle Carre), a young woman going out night after night (a red flower on her lapel) hoping to meet Prince Charming. Nicole repeats to Thierry the requirement for a study for her fiancée Dan (Lambert Wilson) who, resentful of an army discharge for dereliction of duty, avoids searching for a job by passing most of his time drinking at a hotel bar. Listening to his woes is the bartender Lionel (Pierre Arditi), patient and somber and burdened by his cantankerous bed ridden father who is being difficult to a religiously prim substitute care giver, Charlotte (Sabine Azéma), who is Thierry’s assistant at the real estate firm.
Though the settings, starting with the overhead shots of snow covered streets and buildings, are sterile (the real estate office), impersonal (the cold hotel bar/restaurant), or barren (the empty apartments), all of the characters are warm and appealing. You’re rooting for links to be made. But, as in life, the inability to reveal one’s inner self (private fears) openly (public places) leads to missed opportunities in linking with others. Nicole and Dan, already a couple, can’t maintain their relationship. Dan meets Gaelle and the early promise is lost to misunderstanding. Thierry’s crush on Charlotte isn’t reciprocated and hers on Lionel is misplaced. How can we not watch with regret at the missed chances? And applause to the ensemble of actors who beautifully capture the humanity, decency (yes, even risqué Charlotte), and worthiness of their characters.
Alain Resnais gives us a movie that’s a pleasure to look at and a pleasure to contemplate. Like the world around us, the movie follows its own rhythm, but one you might be willing to share. As a poet once said, the saddest words are “it might have been.” Still, as Charlotte avers, struggles are meant to be overcome and there is the belief these characters, despite failed attempts, are not ready to give up yet. Review by Charles Zio
| MPAA Rating R (for language and some violent content) Thriller Runtime 112 minutes
3½ stars out of 5 |
Some pictures are enjoyable overall while being less than memorable specifically. That is, there are movies like “Fracture” which get all the elements right and yet, while being recalled later as enjoyable, will be hard to cite in much detail. But, hey, it’s okay. You’ve still gotten your money’s worth.
The opening credits of “Fracture” are a clue. The visual is of an elaborate contraption composed of numerous ramps and circles down which metal balls roll. Right, the shiny and obvious is composed of twists and turns. Further, the names of cast and crew “bleed” and separate to indicate appearances will break apart and truth will out. Epitomizing the cold, clever, and devious as hinted in the opening sequence is Ted Crawford (Anthony Hopkins with his skillfully patented blend of supremely amused confidence and devilish menace), a rich aeronautical engineer who shoots his straying wife, not dead but into a coma. Crawford devises for the body to be discovered by Detective Rob Nunally (Billy Burke convincing as the anguished, bewildered adulterer) and, with his confession, it seems an open and shut case. Enter Willy Beachum (Ryan Gosling believably ambitious/callous/arrogant) as an assistant DA handed the case, his last, as he prepares to leave for a financially lucrative and socially upscale corporate law firm. Willy, pleased with his success and distracted by his new boss Rosamund Pike (Nikki Gardner, suitably brittle and predatory) who beds him almost immediately, doesn’t take Crawford (defending himself) seriously and is promptly outsmarted and the guilty man walks free. Does Willy have a conscience? Will he sell out? Does he listen to the wisdom offered by the good guys? Does justice promise to triumph? Yeah, no, yeah, yeah.
Greg Hoblit, the director, has delivered a polished, professional, and entertaining movie competently written by Daniel Pyne (based on his own story) and Glenn Gers, with clean photography by Karmer Morgenthau, efficient editing by David Rosenbloom, and slick production design by Paul Eads. The acting, as mentioned, is a pleasure. Hopkins, with his sense of one-upmanship, and Gosling, whose slickness initially trumps his smarts, are fun to watch as they spar and switch attitudes. Both are most ably supported by Rob Nunally (touching as a man overwhelmed by loss), David Strathairn (dedicated DA), Cliff Curtis (hard working detective), and Fiona Shaw (capable judge). All in all, “Fracture” is like a fine meal – you’ll remember it tasted good even if you can’t recollect every bite. Review by Charles Zio
| MPAA Rating R (for brutal violence and terror, brief nudity and language) Horror/Thriller Runtime 85 minutes
3 stars out of 5 |
The only reason to jump out of your seat at this movie is to leave the theater. It sure ain’t because it’s scary.
Luke Wilson and Kate Beckinsale are an unhappy married couple planning on getting divorced (unconvincing reference is made to a lost son) who are driving somewhere in California (presumed from their license plate), along an unlit deserted mountainous road at night. It’s supposed to be a shortcut. The car develops trouble. They stop at a gas station, catching the attendant before he’s leaving, who says they should be able to reach the next town. What’s that visible in the background? Yes, it’s a motel, the “Pinewood” by name, and the couple returns to it after their car inevitably comes to a halt down the road. The slightly creepy manager, played by Frank Whaley, informs them the nearest garage won’t open till the next morning and suggests they take a room. No surprise, the motel hasn’t any other guests as its seedy and dirty. Plus the television doesn’t receive any stations. There are, though, some videos atop the set laden with scenes of two masked men murdering men and women in, GASP, the very room in which Luke and Kate have become guests! Throw in door poundings, attempted escapes, near misses, crying, panic, close calls, false heroes, dead rescuers – you know, all of the stuff you’ve already seen in other, much better, movies (however, to its credit, the violence in this film is not graphic).
Needless to say, credibility is strained throughout, take an encounter with an assemblage of rats in an underground tunnel. Rather than menacing, the rodents are clean and well behaved, neither running nor attacking, as the couple supposedly crawls through them (the rats now being out of sight on the screen). Only a bit more preposterous is the stabbing victim who survives for hours even though his stomach has been cut open.
It must be said Wilson and Beckinsale do their best and Whaley adds some juice as he grows progressively more insane. It isn’t that the director, Nimrod Antal, does a bad job (the tech - design/editing/photography, even music, are competent and professional). It’s far worse. Minus any thrills and chills, it’s plain old mediocre. Review by Charles Zio
| MPAA Rating R (for strong, graphic, bloody violence and gore, pervasive language, some sexuality) Action/Crime/Horror/Sci-Fi/Thriller Runtime 191 minutes
4 stars out of 5 |
There was a time, decades ago, when seedy theaters or drive-ins featured exploitation films – low budget, technically shaky, amateurishly plotted, sex and violence prone, literally titled movies with virtually no redeeming value. Don’t snicker and dismiss too quickly. Robert Rodriguez and Quentin Tarantino’s film wouldn’t be successful if many elements of the old genre hadn’t been incorporated, and become familiar, in movies fans line up for today. Plus, if you’re a willing passenger, “Grindhouse” is an affectionate nod and, also, a clever, entertaining ride.
From the start, an effort is made to duplicate the viewing experience of a disreputable double feature. The opening frames display the grainy, lined texture of a reel played too often and carelessly and threatening to snap or melt at any moment, which in fact will happen. The preview of a coming attraction “Machete,” with over-the-top prose, ominously voiced, and its promise of unrelenting violence accurately hints at the mayhem to come. And come it does, full on with little pause, in Robert Rodriguez’s “Planet Terror,” an inane zombie movie. Of course, there’s sex, lead by Rose McGowan (named Cherry Darling which indicates the mind set) pole dancing through the opening credits and mostly half dressed thereafter but, due again to (fabricated) technical difficulties, the film never even graduates to soft core. The same restraint does not apply to the violence of which there is an ample, ceaseless, and gleeful amount courtesy of mindless creatures and their good guy adversaries lead by Freddie “I Never Miss” Rodriquez and a seemingly endless arsenal of guns and knives. And yet, you won’t be squirming in your seat as part of the fun is the pizza-ingredients-gone-wild makeup of the infected and their demise in outrageously unreal can-you-top-that spurts of blood and guts. To be sure, there’s one cameo sequence with Tarantino that’ll elicit a reaction, but you’re likely to find yourself chuckling afterward at how well you’ve been manipulated. Already mentioned, McGowan and Rodriquez are dandy as reluctant heroine and fearless hero admirably matched by a lineup of actors (A and B list) skillfully sincere amid the raging absurdity and explosions.
Following more bogus (and humorous) previews, the second feature, “Death Proof” by Tarantino, arrives focusing on two assortments of attractive women engaged in conversations sexually suggestive and/or explicit. While the dialogue in the two films, typical of the genre, is replete with wit, insults, rejoinders, asides, and the occasionally obvious or dumb line (often funny for lack of embarrassment at being so), there’s no denying Quentin’s is the better written (of course). Though going on a bit long, his dialogue manages to arouse Kurt Russell as Stuntman Mike (whose recitation of his credits to several young girls unfamiliar with the actors/movies/television shows he mentions is a pointed commentary on celebrity and age). Being a professional, Kurt has equipped his car to be impervious to destruction and for use as a weapon of revenge. Precisely why he’s impelled in this direction is left unexplored, but in this type of film characters are clearly and simply good or bad and one-dimensional. Why let Russell’s prominent facial scar pretend to serve any purpose beyond marking him as a villain when more important matters await? Like, a car chase, an exploitation favorite. “Death Proof” has two and though it takes awhile getting to both and the first is a set up, the second is a doozy – an extended, car wrecking, table turning, violent finale. The acting is fine by all, especially Kurt Russell who nails his role (there’s no doubt he savors ever minute setting up and following through on his rampage) and Rosario Dawson and Sydney Tamilia Poitier are intriguing and appealing along with their fellow actual and would-be victims.
What makes “Grindhouse” commendable is Rodriguez and Tarantino’s faithful reproduction of the genre’s technical lapses (sloppy editing, sound glitches, etc.) and ignoring film basics (plot, continuity, character, etc.) while still retaining its good-natured spirit. “Grindhouse” is worth a visit for raising the tacky, cheap, irrational and, yes, the exploitative, to a level of appreciation lacking in the early days of Samuel Arkoff at AIP and the rightly hailed Roger Corman. And a tip of the hat to the technicians for pulling it off – photography by Messrs. Rodriguez and Tarantino (in addition to writing and directing!); editing by Rodriguez (yet more!) and Sally Menke; production design by Steve Joyner and Caylah Eddlebutte. You can count the ways, and members of Hollywood (say, Jack Nicholson), in which this once disdained format has influenced and contributed to the evolution of movies as we know them today, but leave that to ponder, if you care to, for another day. For now, pretend it’s a Saturday, you’ve ducked inside a tacky theater, and taken a seat in the dark. A clicking sound and projected on the screen are frames looking much the worse for wear. Who cares? Just enjoy. Review by Charles Zio
| MPAA Rating R (for language) Comedy/Drama Runtime 115 minutes
3 stars out of 5 |
Ever heard the saying about someone being too smart for his own good? An example would be the writer Clifford Irving who managed to fool a number of intelligent people with a fabricated autobiography of Howard Hughes to the tune of a million dollars. Sound like an intriguing tale? Could have been, but the movie fails to reach its promise.
Clifford Irving, in the turbulent 1970s, was an author on the lookout for his next book after the modest sales of one, “Fake” about a counterfeit painter (prophetic?), and the rejection of his latest as a rip off of Philip Roth. After promising a blockbuster to his editor, Andrea Tate (Hope Davis skillfully balancing sympathy with self-preservation), he stumbles (literally) on the idea of an autobiography of Howard Hughes. Irving’s initially bravado evolves into self-confidence as he meets every potential challenge to his credibility with increasing ease to the point where he comes to believe his own story. By that time his friend/researcher/fellow writer, David Suskind (Alfred Molina, engagingly entertaining as he alternates between delight and dread) has been drawn full force into the ruse. As has his wife Edith (Marcia Gay Harden whose intensity and accent would be fine, but in some other movie) who, despite a mistrust of her husband after a former betrayal with a starlet, lends unexpected financial expertise. In retrospect, it’s surprising how many clever, savvy people (convincingly acted by all) were fooled or did their desire to believe finally overcome their better judgment? Irving, of course, had chosen the perfect subject in Howard Hughes, the increasingly phobic and eccentric recluse with legal problems precluding his appearing in public (even after, when he might have, he chose never to be seen again). But out of sight didn’t mean out of mind as Hughes went along with Irving’s scheme for his own purposes. Ultimately, as skilled a con artist as Clifford turned out to be (and he was a natural), the house of cards had to eventually fall as he later related in his confessional book after which the movie is named.
So what went amiss with this movie? The script by William Wheeler is coherent and suspenseful. Richard Gere is believable and convincing as a writer whose creativity, resourcefulness, and sheer nerve result in fictions that prove to surpass reality. On the other hand, the movie seems too talky and Gere too understated. Both of which lead to the director, Lasse Hallstrom. Pacing is an important element in the construction of any form of entertainment and, therefore, in its entertainment value. Film, being a visual medium, movement is emphasized although this doesn’t mean dialogue must always be short and clipped. If it’s well written, a viewer will gladly listen. But when a viewer senses too much talk, the characters going wordily on and on, it’s more than likely the director should have cut sooner. Despite the action in “The Hoax,” and it’s there in the verbal and physical mechanics of the scheme, there’s no denying the feeling of “listening” equal to, or more than, “seeing.” The same applies to acting where underplaying is not necessarily a fault (it can be true to character or the tone of a film). Yet, if the viewer finds it unacceptable (for whatever reason), there will be squirming in the seats. In sum, slow pacing inevitably gives the experience of a movie being loooong and the responsibility for the perception lies with the director. This is the case with “The Hoax.” If you’re aware of, and/or interested in the subject, you might have the patience to feel rewarded sitting through the movie. Otherwise, you could read the book. Review by Charles Zio
| MPAA Rating R (for sexual content nudity, some disturbing violent images, and language) Drama/Suspense/Thriller Runtime 1 hour 49 minutes
2½ stars out of 5 |
The most disturbing thing about this film is that it’s not suspenseful, or thrilling. The biggest problem is that the main character Rowena (Halle Berry) doesn’t come across as a real person, self-righteous or otherwise.
In fact, all the women in this film are extreme, either saints or sinners, (mostly sinners) which leaves Rowena to carry the torch of the idealistic, down-to-earth breathtaking goddess. And she certainly looks the part. Berry is a beautiful woman, no doubt, but this film is out of kilter and I can’t help feeling it has something to do with the fact that it’s written from a male viewpoint. Thus, we get many shots of Berry’s lovely face and figure in clinging outfits, but only the most superficial, out of left field answers as to why she’s so driven.
After Rowena’s failed attempt to bring down a hypocritical, high-powered gay senator, she quits her job as a journalist. Soon after, a childhood friend is found dead. She gave Rowena information about a married sex addict ad executive, Harrison Hill (Bruce Willis in a surprisingly stilted performance), with whom she had connected online and spent a wild weekend of sex. This turns out to be Rowena’s next campaign. She infiltrates his company as a temp trying to prove he killed her friend. She does this with the help of her creepy, smarmy, computer geek friend from her former job, Miles (Giovanni Ribisi).
The characters in this movie as a whole are some of the most unlikable, uninteresting people I’ve seen in a long time. Even unlikable people, though, can be entertaining, riveting, noteworthy, compelling or original creations; but not these folks. I didn’t feel a connection or develop empathy for any of them, especially Rowena. The plot is hollow because the back story is not developed enough to make me care. The payoff is a letdown. Review by Ann Marie Oliva
| MPAA Rating R (for violence, disturbing images and some sexuality) Horror/Thriller Runtime 96 minutes
2 stars out of 5 |
Katherine agrees to go to the town with her assistant Ben (Idris Elbs) to uncover the real reasons behind the supernatural episodes. Since she believes all strange occurrences can be explained by physical phenomena, she is quite surprised to find that, yes indeed, the river water has turned to human blood. In the meantime, things get curiouser and curiouser as the Ten Plagues begin to be visited upon the seemingly happy residents. The object of the town folk’s wrath, the young wild child, Loren McConnell, (AnnaSophia Robb) is blamed as the culprit for starting all the trouble since they say she killed her brother by the river (although there wasn’t a mark on him).
Katherine is at a loss as to what is really going on as she can’t deny what’s happening right before her eyes; the water turning to blood, the mad cows, the maggots, lice, and flies, etc. Father Cositgan calls from time to time to advise her, but he’s really a device to impart some angst and biblical admonitions. This keeps him emotionally inaccessible to the audience, even for the able Stephen Rea.
Problem: why does Katherine keep making decisions that put her in danger? The audience snickered several times when she just determinedly goes off on her own to investigate. Why doesn’t she wait for her assistant, or Doug, the tall guy that recruited her? I can only suppose several choices: 1) she feels so guilty about talking her family into going to the Sudan and getting her husband and daughter killed, that she refuses to endanger anyone else, 2) she has no fear because the worst has already happened to her, 3) she’s not too bright, 4) the filmmakers need to get her alone in these situations to scare the audience.
Problem: the religious explanations behind all the goings on in the town seem purposely convoluted rather than enlightening, even at the end. Her assistant, Ben, who is religious can’t quite to get a grasp on it, either, so even those who have a familiarity with the Bible, shouldn’t feel so bad. I’m sure it makes perfect sense---if you’re the writers, but watching it unfold is another story. Yes, twists and turns are expected in this genre, but can also be problematic if the audience gets lost in a maze of pseudo-religious manipulations.
On the plus side, the special effects are very good, the cinematography interesting, there are parts of the film that are actually frightening, and Hilary Swank is pretty, watch able, and more expressive than unusual, if not always totally believable. The rest of the acting is adequate, but more stereotypical than not. If I’m left to determine too much about what the film ultimately means, I just might decide it’s too much trouble. Review by Ann Marie Oliva
| PEACEFUL WARRIOR | MPAA Rating PG-13 (for sensuality, sex references, and accident scenes) Drama Runtime 120 minutes
4 stars out of 5 |
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It starts with the disturbing dream of an athlete shattering his leg, but this is more than a sports movie. Although, that’s the basis for this autobiographical story inspired by Dan Millman’s book “Way of the Peaceful Warrior.” Dan, played convincingly by Scott Mechlowicz, is a selfish, arrogant, champion gymnast who has one goal—--making it to the Olympics.
It’s here, early on, that the film takes a mystical turn when Dan can’t sleep one night and finds himself at a gas station at three in the morning. He meets an enigmatic gas station attendant, played by the raspy-voiced Nick Nolte, who he calls Socrates, for his inscrutable persona as he parcels out new-age wisdom. Intrigued, Dan goes back again and again as life gives him more and more challenges. At this point, the out of body experiences, the mind-bending phenomena, the hyper-reality starts to take over as Dan’s old way of coping is no longer adequate to meet the challenges life throws at him. Frustrated with the mindless chores that Socrates says will help him develop as a “warrior,” Dan decides to go his own way.
Then the worst happens. Dan suffers a career-ending leg injury. He can only look longingly as his team runs by while he is on crutches. At his lowest point, Dan contemplates suicide in yet another time/space warp scene where he fights with himself. Ultimately, Dan goes back to Socrates who tells him not to give up his dream. He starts to train again.
The director, Victor Salva, and screenwriter, Kevin Bernhardt, have taken good care with the pacing. Even though the film is two hours long it doesn’t seem stretched since we want to know what’s coming next. The character of Dan is initially somewhat unlikable, but it’s easy to warm to him, feeling caught up in his story. The cinematography, slow motion and otherwise, of the gymnastic routines gives the sense of strength, will, and fortitude it takes to be a champion. The acting is commendable, especially by Scott Mechlowicz. He and Nolte, in a controlled performance, play well off each other.
The buzz words and phrases such as: live in the moment; it’s not the destination, it’s the journey; act, don’t react; you have no control; very familiar now, were newer decades ago. The recent group of sports films, including “Remember the Titans,” We are Marshall,” and “Pride” among them, have uplifting stories about overcoming the odds. In new-age speak, though, you might phrase it as it’s less about winning (although that’s important), and more about taking risks and “doing” and by doing, proving you have courage to win or lose. That certainly applies to this film. They took a risk, and won.
Review by Ann Marie Oliva
| MPAA Rating R (for language, some violence, and sexual content) Crime/Drama/Thriller Runtime 99 minutes
3½ stars out of 5 |
A high school jock showing off to his prom date and some friends causes a fatal car accident. Four years later, Chris Pratt (Joseph Gordon-Levitt) is dealing with the aftermath. Two friends die at the scene, his date is living with her losses, and he is dealing with the result of a traumatic brain injury. His symptoms include cognitive deficits: poor short term memory, trouble concentrating, social inappropriateness such as impulsive talk about sex, poor reasoning ability and language difficulties. Not to mention anxiety and depression for which he seems to be taking medication.
He attends a rehabilitation center, lives with a smart-mouthed blind man (Jeff Daniels) in a seedy apartment, and has an evening job as a bank janitor. His guilt, loneliness, and lack of prospects make him an easy target for Gary Spargo (Matthew Goode), an ex-con three years older who remembers him from high school. He draws Chris in by pretending to offer friendship, and hooking him up with a girl for sex. Since Chris’ judgment is not very sharp, he lets himself be manipulated into taking part in a bank robbery.
Joseph Gordon-Levitt does an excellent job portraying the sad result of one teenager’s foolish moment that changes everything. His understated performance is most powerful in the quiet moments of realization that his life, once so promising, is now so limited. The details are achingly realistic: when he has to write notes on a small pad so he won’t forget, when he can’t remember what a can opener looks like, when he repeatedly locks his keys in his car, when he tells about calling tomatoes lemons knowing that’s wrong. He so inhabits the role that empathy comes easily for Chris’ predicament. Also excellent is Matthew Goode as the sociopathic hot-shot Gary. He sets Chris up as an easy mark, but he resents and envies what Chris’ wealthy family represents, wanting to bring him down to the gutter with him. Jeff Daniels adds a quality characterization of the older blind roommate who tries to be Chris’ friend and mentor, “seeing” more clearly than Chris. He’s had some experience with criminal types and is also living with the result of his mistakes. His outsize personality provides some needed comic relief from the unrelenting dreariness of their constricted lives.
Writer/director Scott Frank gets good performances out of his cast. The winter setting, older decaying buildings, and dark sets help sustain the mood. The problem comes with some gaps in believability, especially in relation to the bank robbery. For instance, one character’s demise is telegraphed way before the actual event. The slow pace is another problem. It works in the beginning when the focus is on Chris’ adjustment to his limitations, but takes too long to get to the “crime” part of the movie. The ending ties up a bit too neatly. Overall, though, this is a good attempt at an original premise, with some fine acting on display. Review by Ann Marie Oliva
| MPAA Rating PG-13 (for crude and sexual humor language, a comic violent image and some drug references) Comedy/Sport Runtime 93 minutes
3½ stars out of 5 |
Simply put, we are presented with two champion men’s single skaters who are diametric opposites. Will Ferrell is the show-him-a-vice-he-doesn’t-like, rock n’ roll, sex addict, Chazz Michael Michaels. His rival Jon Heder, Jimmy MacElroy, is innocent, technically gifted, obedient, and tagged as effeminate. Ferrell has perfected the distracted (by naiveté and/or self-involvement) persona who, at the same time, remains likable. Heder matches him as an appealing, less geeky version of “Napoleon Dynamite” (his star turn). After jointly winning a gold medal, Michaels and MacElroy get into a scuffle earning them a permanent banishment from singles competition. Three years later, MacElroy’s stalker fan, points out a loophole allowing him to skate in doubles. Continuing the painless strain on credibility, Michaels ends up as his partner. Uh-huh, the first male-male team.
Under the tutelage of Coach (Craig T. Nelson, an inside joke and fitting homage after playing in the admirable “Coach” for years on television) the enemies develop mutual respect and brotherly feelings. They also turn into a dynamic team enraging the brother-sister champs, Stranz (Will Arnett) and Fairchild (Amy Poehler) Van Waldenberg who, among other villainies, enlist the aid of their sister Katie (a sweet Jenna Fischer) who is both a plot device as well as MacElroy’s love interest. Of course, the good guys win. Movie over.
Again, this is a pleasant movie. First, Ferrell and Heder play well off, and with, each other. Arnett and Poehler though SNL-level heavies and one dimensional (who isn’t in this film), they easily fulfill their function as obstacles. The humor (in the form of smiles and laughs, falling out of your seat is doubtful) is in the ribbing of the often too solemn ice skating world. Personages from the sport are on hand for cameos – Brian Boitano, Sasha Cohn, Nancy Kerrigan, etc. The costumes are heightened to over-the-top glittery and the choreography is knowingly witty (kudos to Sarah Kawahara) accompanied by gushing television commentary (Scott Hamilton, Jim Lampley). The directors, Will Speck and Josh Gordon, are to be commended for not descending (at least not totally) to the obvious, cheap shot. If anything, they could have upped the ante for even more pointed fun. Still, the movie will do if you’d just like to idle away some time. Speaking of Idols, the title tune is sung very well by Bo Bice and, while he does so, keep an eye out for a bit by the stalker fan midway through the lengthy credits (due to naming all the skilled special effects technicians). Review by Charles Zio
| SHOOTER | MPAA Rating R (for strong graphic violence and some language) Action/Drama/Thriller Runtime 124 minutes
3½ stars out of 5 |
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An action film whose hero is named Bob Lee Swagger seems to assure the genre’s conventions will be followed. To the extent they are, fans will be happy. On the other hand, the variations on familiar elements might appeal to those who only occasionally frequent such films. The director, Antoine Fuqua, deserves a pat on the back for taking a chance in trying to appeal to both audiences. Though neither will be totally satisfied, if one goes with it, the film can be a pleasurable and enjoyable experience.
To begin, Mark Wahlberg (as Swagger) gives another fine performance relaying his ferocity not with the more common glare, sneer, knowing smile, icy composure, or taunts, but with the calm, unemotional stare that conveys total confidence in his abilities. Swagger may be presented at first as a military sniper, but it’s shortly evident he is more - a brilliant sharp shooter who never misses by virtue of analyzing every facet bearing on a bullet’s path, including the curvature of the earth.
After the opening betrayal in Ethiopia, wherein his partner is killed, Bob Lee resigns from the military and retreats to a mountain hideaway. Three years later, Colonel Isaac Johnson (Danny Glover, ever effective) appears and appeals to Swagger’s patriotism (his soft spot) to use his expertise in foiling an attempt on the President’s life by anticipating the site and circumstances. Of course - Bob Lee has been set up. To his aid comes a neophyte in the FBI, Nick Memphis (a convincing Michael Pena), who is, refreshingly, quick on the learning curve and becomes a useful right hand. Lending further support is Sarah Fenn (Kate Mara, smart and tough) who operates on Bob Lee’s wounds and, because he has deliberately knocked himself out, we’re thankfully spared shots of her admiration while he grimaces bravely. There’s the usual chemistry, minus an easy tumble into bed or clever romantic banter (there’s work to be done).
Yes, there’s explosions galore and bodies and blood and more betrayals and politics (these can be ignored if they don’t match yours since, anyway, they’re a pretext for the action). So good acting (those named above and all others on the credits), clean/clear photography including sweeping mountain vistas photographed by Peter Menzies, Jr., and an efficient script from Jonathan Lemkin (based on “Point of Impact by Stephen Hunter). Again, Antoine Fuqua, acquits himself reasonably as director, and if the movie doesn’t triumph in the genre, at least it tries to be intelligent and break new ground. Review by Charles Zio
| REIGN OVER ME | MPAA Rating R (for language and some sexual references) Drama Runtime 124 minutes
3½ stars out of 5 |
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There is such a thing as a Never-Ending-Movie. That is, a movie that ends . . . and ends . . . and, maybe, even ends again. In this instance, Mike Binder’s script is too long. I’d say an hour and a half would have sufficed. On the other hand, he directs capably. Since he succeeds in only one regard, the film is left wanting.
“Reign Over Me” is basically a movie about control. Alan Johnson (Don Cheadle who never hits a wrong note in any film) is a man adrift. An affluent dentist, he is resentful of the partners in his practice, dogged by an unstable female patient, burdened by his parents, and enduring a faltering connection with his wife Janeane (played by Jada Pinkett Smith with a deft combination of hardness and affection).
Rescue comes in the person of Charlie Fineman (Adam Sandler) his college roommate suffering from post traumatic syndrome after the death of his wife and children in one of the planes that crashed into the WTC on September 11. Charlie frees Alan from his rut and Alan tries to reciprocate by helping his pal remember and master his seeming amnesia concerning his family. It does not go smoothly to say the least.
How does Adam Sandler acquit himself? Very well, though he tends to veer between spacey and outraged, he is primarily believable and touching in his confessional moments. The smaller roles are nicely handled by all (Liv Tyler as a psychiatrist trying to do her job, Saffron Burrows as the aforementioned stalking patient attempting to get her life in order, Melinda Dillion and Robert Klein as Charlie’s devastated in-laws, and Donald Sutherland as a no-nonsense judge, etc.). Applause to Pipo Winter as production designer for excellent work.
The ultimate symbol of freedom and control is the electronic scooter Charlie uses to traverse up and down the streets of Manhattan (most appealing shot by Russ Alsobrook). Who wouldn’t want to hop aboard? Trouble is, even the best of rides can prove tedious when, as Binder directs it, the journey is overladen with lessons and ends tied up too neatly. Review by Charles Zio
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TMNT TEENAGE MUTANT NINJA TURTLES |
MPAA Rating PG (for animated violence, some scary cartoon images, and mild language.) Animation Runtime 87 minutes
3 stars out of 5 |
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The plot gets somewhat complicated, but not so much that it can’t be followed. A great warrior from the past finds a portal that gives him immortality, but it releases thirteen monsters on the world and turns his generals to stone. In the guise of a modern entrepreneur he hires a force of ninjas as protection. The TMNT are in chaos but with the help of their ninja sensei, Master Splinter, (a dignified rat?) they work as a team, defeat evil, and save the world.
The animation is sophisticated and interesting to watch. Several times the voices of the turtles got confusing, but generally all the voice actors are easy to distinguish and credible. The colors tend to be, well, green hues like the turtles themselves, and dark. This is New York City at night, and evil lurks everywhere. The TMNT hop, swing, and jump around from building to rooftops to streets. This is definitely a boy’s movie, especially with the storyline and one brother fighting the other for leadership of the turtle clan.
The few female characters, though they can match the guys for expertise and bravery, look like variations of Barbie dolls with beautiful faces and overly curvaceous figures. There are some glib lines such as, “And I thought Girl Scouts were pushy...” when one of the turtles and one human are trying to hold a door closed against their adversaries. Comparing Girl Scouts to hulking monsters?
It is also overly violent even though there are no graphic “deaths” or blood, yet the kids in the audience did not have difficulty telling the difference. I suppose they know a cartoon when they see it. The ones I spoke to declared the movie “cool” on the way out of the theatre. Review by Ann Marie Oliva
| PREMONITION | MPAA Rating PG-13 (for some violent content, disturbing images, thematic material and brief language.) Drama/Thriller Runtime 110 minutes
2½ stars out of 5
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Those who don’t tolerate ambiguity well will not be satisfied with PREMONITION. As other films like MEMENTO have done, PREMONITION takes the main character Linda Hanson (Sandra Bullock) out of linear time. Where MEMENTO goes backward to forward, PREMONITION goes back and forth in time during a week when her husband Jim (Julian McMahon) is killed in a car accident. Thus, she wakes one day and he’s dead, the next morning he’s in the shower, etc., until she puzzles out the week’s sequence of events.
Not all of these events make sense. Do they really happen, or do they happen only if Linda can’t figure out the clues? The main issue seems to be the estrangement of Linda and Jim, parents of two young daughters. At times, parenthood seems to be the only thing they have in common. They have lost their emotional connection. This is painful for both of them; common enough, but people in stale marriages don’t usually have this kind of extra-sensory experience. That’s why it’s called a thriller, except it’s not that thrilling.
Sandra Bullock is the everywoman that audiences like to see on camera. Apparently, so does the director, Mennan Yapo, since we get multiple close-ups of her. Yet, the part doesn’t call for much range, and Bullock is capable of much more. Julian McMahon does an adequate job as her husband. (He’s good looking, but I couldn’t stop staring at his eyebrows; rather unusual.) As Linda’s mother Joanne, Kate Nelligan, an accomplished actor, adds solidity and substance to the movie even in her supporting role.
The ending gives a feeling of resolution to Linda, apparent comfort to her children, but leaves the audience to draw their own conclusions about what it all means. Review by Ann Marie Oliva
| 300 | MPAA RATING R (for graphic battle sequences througout, some sexuality and nudity) Action/Adventure/Drama/History Run Time 117 min
4 stars out of 5 |
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300, made from the graphic novel by Frank Miller, about the three day ancient Spartan Battle of Thermopylae in 480 BC is an exciting, visual and special effects spectacle of a movie. It actually looks like a comic book come alive. The cinematography by Larry Fong, along with the set and production design, captures the essence of the graphic novel.
Much of the history appears to stay intact, from the ignoble tradition of allowing only healthy babies to live so they can become citizen-soldiers and defend Sparta, to the intense training of young boys. Leonidas’ own trial in the wilderness before he becomes king proves he is a worthy and brave leader. The prelude to the battle where the backstabbing political intrigues first take place help make sense of Leonidas’ determination not to lose Sparta to “the Asians.” Leonidas’ wife, Queen Gorgo, is a strong presence, unusual in the ancient world except for Sparta, who tries to protect her husband’s interests.
When Leonidas learns that Xerxes’ massive Persian army is invading Greece he takes 300 Spartans who “prepare for glory” to fight and hold off the intruders at the mountain pass at Thermopylae, knowing they will probably never leave there alive. Once at the pass, Xerxes sends emissaries and is baffled that the Spartans with so few resources will not surrender. The battle scenes with stop motion sequences are exhilarating. It is bloody, but because of the look of the film, it seems comic bookish rather than realistic, so not as gruesome. Xerxes, portrayed as a giant god-king pretender decked out lavishly with jewelry is visually compelling as are the hordes of soldiers and huge animals that come to kill the Spartan soldiers when they continue to fight back.
Although character development is not at the forefront here, Gerald Butler as King Leonidas is well-cast. He is not only physically imposing, but believable as a leader of the finest and bravest soldiers. (There are times, however, when his Scottish accent slips out.) Also notable are Lena Headey as the elegant Queen Gorgo, Dominic West as Theron, David Wenham as Dilios, Andrew Tiernan as the humpback traitor Ephialtes, and Rodrigo Santoro as Xerxes. The cast of Spartan soldiers, whether enhanced or not by special effects, are slightly clad, well-muscled specimens with quite a bit of skin on display.
Films are made less often these days about honor and the surety of death for principle or country. This is ancient history; it is more like myth which makes it perfect for this kind of storytelling. 300 then might be more palatable to those who are not interested in or have an aversion to violence, war, or bloody battle scenes, but who might be more drawn to epic battles of larger than life heroes. Fans of graphic novels will be beside themselves with delight. Review by Ann Marie Oliva
| MPAA RATING PG-13 (for crude and sexual content, and some violence) Adventure/Comedy Run Time 99 min
2 stars out of 5 |
This film is mostly underwhelming. Although you’d think it might, the collective star power of Tim Allen (Doug), John Travolta (Woody), Martin Lawrence (Bobby), and William H. Macy (Dudley) doesn’t create anything out of the ordinary, exciting, or hilarious. They play four middle-aged guys who need to break out of the confines of their lives for various reasons. The characters are variations on egotistical glamour boys, nerdy intellectuals with social anxiety, or incompetent dads on sitcoms. Because they meet once a week to bond and ride motorcycles, they decide they need a cross country trip to revitalize themselves.
They are not exactly “bad” even with a name like the Wild Hogs. Their “adventures” and I use the word loosely, are calculated and lame, mostly centering on how wimpy they are or how they are mistaken for being gay. It doesn’t get remotely interesting until they get to a small town outside Las Vegas where they make their final stand against the Del Fuego motorcycle gang who bullied them earlier at a broken-down bar.
It’s difficult to say why Allen, Travolta, and Lawrence don’t generate much excitement. Were they trying too hard not to outdo each other, or did the director give them too much leeway? Only Macy as the milquetoast computer programmer, Dudley, brings anything appealing to his part. Marisa Tomei does the best she can with the supporting role of a diner owner, and she works well with Macy as his love interest. Ray Liotta is another bright spot as Jack the nasty gang leader although it’s a broad characterization.
When they make their final stand against the gang because friends don’t desert each other, it’s a far cry from "Butch Cassidy and the Sundance Kid." It’s been predictable from the start. But just because a film is a comedy doesn’t mean it can’t be interesting, original, or better than mildly amusing. Review by Ann Marie Oliva
OF SACAJAWEA |
Independent Film a Documentary by Beverly Penninger and Alyson Young Not Rated |
Kudos to the Light Factory for creating a remarkable event--hopefully not the last of its kind in the McGlohon Theatre (a converted church with stained glass windows and wonderful acoustics). The Light Factory not only presented a fascinating and surprisingly humorous film about the Native American woman, Sacajawea, who enabled Lewis and Clark to map the new territories of the United States 200 years ago. The organizers of this event also gave the audience, as a prelude to the film, a Native blessing of the McGlohon by Barbara Locklear. And then, the soundtrack composers for the film, drummer Jim Brock and flutist Mary Youngblood, both Native Americans, performed an intoxicating series of duets on drums of various sizes, other odd instruments, including a gourd-shaped pot, and finely carved wooden flutes.
The film itself, which will be broadcast eventually on PBS, presented the story of Sacajawea through various historical perspectives. It focused initially on the dispute between the Lemhi Shoshone and Mandan/Hidatsa tribes, with representatives of each claiming that Sacajawea was kidnapped from the Shoshone as a child and then reunited with her people by the Lewis and Clark expedition (as supported by their journals) or that she was born Hidatsa instead. The tribes even debate the spelling and pronunciation of her name--though the tone of the representatives interviewed for the film also involved some dry wit that brought laughter from the McGlohon audience. The film then explored distinctive episodes in Sacajawea's amazing journey with Lewis and Clark. Having just given birth for the first time, this teenager walked with a baby on her back for much of 1805, from Fort Mandan in North Dakota to the Oregon coast, as commanded by her French fur-trapper husband, also a member of the expedition. She saved their journals from being lost, when washed overboard during part of the river voyage. She became deathly ill during the portage around the Great Falls of the Missouri River, but survived to reunite later with her Shoshone tribe, finding that her brother had become its chief. Also, according to the expedition's journals, she expressed her determination to see the ocean and a dead whale on the beach in Oregon. And she probably saved the expedition members from being attacked by various tribes, which respected the white men's peaceful operation, and even helped them to survive, at least partly due to the Native woman and child in their company. She then returned to North Dakota with the Discovery expedition and her husband and son in 1806.
Like Ken Burns recent PBS documentary about Lewis and Clark, this film provides much insight about the initial meeting of Europeans and Native Americans across the new territories of the Louisiana Purchase--using interviews, the expedition's journals, and fantastically beautiful scenery. Yet, unlike the broad scope of Burns's work, this film offers a more focused and nuanced view. It gives multiple, conflicting interpretations, through the evidence and intriguing mysteries of one historical figure, a young Native woman who has achieved mythic dimensions, in many ways, for various people today--and in being minted in 2000 on the "Golden Dollar" coin. If you missed this film in its Charlotte Light Factory premiere, don't miss it again when it appears on TV. Review by Mark Pizzato
THERAPY |
Independent Film Written and directed by Sam Post Run time 85 Minutes Not Rated |
This set-up works surprisingly well. The film is reminiscent of early Woody Allen with some of Kevin Smith's CLERKS tossed in (particularly a scene in which customers come in and ask for "organic free-trade coffee" - very funny!)
The performances are strong. Hank West is wonderful as the Woody Allen type. He has Allen's strong grasp on playing neurotic but is much more cuddly and boyish than Allen would dream of being. Erin Fanelly brings a gentle quality to Corrie, Darnell's wife, a role that could have easily been played (and less effectively) as a shrew. Most of the rest of the cast double up in multiple roles. Of particular note is Beth Porter as Darnell's mostly silent employee, Nellie. She gets more play out of an eye roll than a lot of actors do monologues. Dana Boggess is hilarious as Dr. Freebacker, one of Darnell's therapists. I just loved her lip twitch! Also of note was Douglas Welton's performance as another therapist. His genteel southern accented Dr. Smithbar is very funny. Finally, Mary Ann McCubbin's performances as Dr. Winkerbloom and Darnell's Grandmother are also laugh inducing.
Production-wise the film looks great and is very well lit. The sound is solid, particularly the sound effects (and smoke effects) of the bong smoking scene, a nice detail indeed. Speaking of sound, the soundtrack is mostly jazz pieces (another Woody Allen reference) by the Firecracker Jazz Band and is very effective.
The only two criticisms of the film are that there are not enough outside shots to establish a sense of where this is all taking place (possibly because of time and budget restraints) and the fact that Darnell wears the same outfit in every scene. Perhaps Post is making a statement about his character being stuck in a rut, but it becomes a little distracting.
COFFEE THERAPY is a very engaging comedy that takes a look at the sometimes ridiculous world of psychotherapy. It reminds us that in the end maybe we don't ever get the answers to all of our little neuroses, and maybe that is not such a bad thing. Review by Tom Ollis
OF JUSTICE |
A Documentary Film by Melissa Mummert Screened at The Light Factory February 10, 2007 Not Rated |
The Light Factory believes in film’s ability to make a positive impact on the world, and they proved this on Friday by hosting the world premier of "Perversion of Justice. "
Reverend Mummert’s 30 minute documentary follows the unjust and ongoing story of Hemedah Hasan, an African-American woman serving two life sentences on drug conspiracy charges. Although she was a first time offender, and her involvement in the conspiracy was less than minimal, (she watched children, wired money, and on a few rare occasions held the drugs) the law required she serve the harsh mandatory minimum sentence as a co-conspirator. The judge himself believes her sentence to be unfair and has worked—sadly to no avail—to get it repealed. Since beginning her sentence in 1993, Hemedah has struggled to maintain a loving and close relationship with her three daughters, the youngest of which was born while Hemedah was in prison.
The film combines artistic values with a mission to educate audiences. Mummert manages to reveal the history behind mandatory minimums while bringing the story of Hemedah and her daughters to life. The cinematography is excellent, and Mummert keeps audiences riveted with stylistic techniques like juxtaposing close up shots of the documents outlining Hemedah’s sentence with emotionally charged scenes depicting her daughters’ struggle through life without their mother.
While doing an internship in a women’s prison in 2000, Mummert knew that she needed to give a voice to people like Hemedah, who have none. In "Perversion of Justice" Mummert has unquestionably, poignantly done just that.
Mummert and the Light Factory followed the screening with a sentencing reform panel and an opportunity for the audience to take action on Hamedah’s behalf and sign petitions in support of a Presidential Commutation of her sentence. Review by Erin Pushman
| PRIDE | MPAA Rating PG (for thematic material language including some racial, epithets, and violence) Drama/Sports Runtime 104 minutes
4 stars out of 5 |
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It is announced immediately that this film is “inspired by true events” which is the simplistic answer as to why it feels so real. Yet it’s not easy to do without seeming clichéd, but director Sunu Gonera and credited screenwriters Kevin Michael Smith, Michael Gozzard, J. Miller Goodloe, and Norman Vance, Jr. have devotedly crafted a gritty communiqué to those in search of self-respect.
Sports dramas are best when one feels like he/she has been through the wringer with the characters, and that’s exactly what happens in PRIDE. Terrence Howard is the real deal; an actor who doesn’t have one false note in his performance as a lonely, troubled man who has to endure one humiliation after another until the kids he coaches help him get his life back.
Howard plays Jim Ellis, a talented swimmer who faces discrimination in 1960’s North Carolina. His anger gets the better of him and he makes a mistake that costs him dearly. After graduating from college and kicking around, he finds himself at a broken-down Philadelphia recreation center set for destruction in several months. Here he is confronted by the none too friendly maintenance man, Elston (Bernie Mac in a good turn). Hostility is rampant from all sides, but he opens the swimming pool at the center and entices some of the neighborhood kids to cool off. Before long, they think they’re hot stuff and talk Ellis into a swim meet where both their behavior and swimming is embarrassing.
This is the place in most sports films where you can practically write the coach’s speech, design the quick cuts of each character’s personal story and training, and take it home to winning the trophy. But this film keeps you enthralled. Along with Howard, the excellent cast allows the sense of anticipation to stay edgy, especially Nate Parker as Hakim, Evan Ross as Reggie, and Kevin Phillips as Andre, the angry, younger version of Coach Ellis himself.
The community and team’s pride in each other and themselves is uplifting, but of even greater consequence is the self-respect and empowerment each earns by virtue of hard work and determination alone. That’s something an individual can take with him/her no matter what. As the movie ends, we have several stills of Coach Ellis himself beaming at the camera. PRIDE indeed. Review by Ann Marie Oliva
I LOVE MY WIFE |
MPAA Rating R (for pervasive language and some sexual content) Comedy/Drama/Romance Run time 90 minutes
3 stars out of 5 |
Chris Rock co-wrote, stars in, and directs this remake of a French movie called CHLOE IN THE AFTERNOON. The plot concerns a bored married man, Richard Cooper (Rock) whose friend’s long-ago ex-girlfriend Nikki Tru (the stunning Kerry Washington) works her way into his life. Nikki is all-out sexy and beautiful. Richard convinces himself that it’s alright to become involved with her because they were “friends” once. Back at home, he feels ignored by his also beautiful wife, Brenda (a convincing Gina Torres), who works full-time as a teacher and also has to deal with their two young kids.
In some ways this is a very honest movie, obviously from the male perspective. There is no doubt that men often do feel trapped and bored just at the point when everything they have worked for is finally right in front of them. It also exposes the self-centered and childish behavior that it causes along with heartache and possible divorce. Richard focuses on the lack of sex in his marriage, but it’s just a symptom of his disconnect in his relationship with his wife and his own moral values. Success for men often gets translated as entitlement, except they forget to let their wives know.
There is shot after shot of sexy, beautiful women who tempt Richard and will appeal to the male audience. The attempted seduction takes way too long. It’s obvious from the start what Nikki is after. Can Richard really be that dense, is he fighting that hard not to give into temptation, or is it an excuse to stretch the movie out to 90 minutes?
Rock directs better than he acts (there’s a natural, unfussy look to the film) yet he is often surprisingly stiff himself. Even though the character pays penance and redeems himself in the end, there’s not much new to learn from this film. Men can be dogs.
Review by Ann Marie Oliva
| MPAA RATING R (for strong sexual content, language, some violence and drug use) Drama/Romance Run Time 116 min
3½ stars out of 5 |
As Rae and Lazarus’ bond grows, the chains are removed. He helps her believe she is worthwhile, and she encourages him to find the music he has left behind. Rae’s boyfriend Ronnie (Justin Timberlake) who spends all of one week in the military and is discharged because of an anxiety disorder comes back, only to find her missing.
Although the film does move along, the pacing is inconsistent. The richness of the setting, almost another character here, is not fully explored. The writer/director Craig Brewer and the actors obviously care about these people. Samuel L. Jackson, an actor who always allows the humanity of his characters to come through, is most compelling when Lazarus comes back to the music he loves, where his healing begins. (The title comes from a song by Blind Lemon Jefferson recorded in 1927.) Christina Ricci continues to grow as an actress, but the script limits her range. Interestingly, her finest moment comes when she is (dressed) confronting her mother. Also noteworthy are S. Epatha Merkerson and Justin Timberlake whose performances are more subtle and therefore work better against the emoting of the others.
Yes, less sophisticated, educated, country people do have a certain pragmatic wisdom that city people may lack. They know each other's sorrows, their town well; they manage under difficult circumstances with the few tools available to them. The biblical references, the big emotions are heavy-handed and would be more affecting if the characters didn’t come so close to sainthood, but were rather a reminder that the decency of compassionate people can go a long way in giving the simple but profound gift of caring. Review by Ann Marie Oliva
| MPAA RATING R (for some strong kills, language, drug material and brief sexual images) Crime/Drama/Thriller Run Time 158 min
4 stars out of 5 |
James Vanderbilt’s screenplay, based on books by Robert Graysmith, has skillfully condensed details of twenty plus years of the case and distilled them into a coherent timeline. David Fincher directs with efficiency and fluidity presenting (abetted by cinematographer Harris Savides) a California, not of sunny nostalgic optimism, but of shadowy washed out color with a sense of isolation. Those most alone, even if married or with families, include Robert Downey, Jr., as a self-assured and self-destructive reporter for the San Francisco Examiner, Mark Ruffalo as a dedicated and persistent police detective and, as they are forced to abandon the chase, Jake Gyllenhaal, a cartoonist, who becomes the most quietly obsessed of them, ultimately tracking down (with the unofficial help of Ruffalo among others) the prime suspect.
This trio of fine performances is matched by a uniformly excellent cast (lead secondarily by Anthony Edwards as Ruffalo’s skittish police partner). Those who enjoy watching or solving puzzles (like Gyllenhaal’s real-life Graysmith) will undoubtedly find ZODIAC gripping and highly safisfying. Even those not fans of the genre may discover themselves more engrossed than they expected. The truth of ZODIAC remains – there are those with dark thoughts committing brutal acts. Fortunately, the determination of those arrayed against them has never diminished. Review by Charles Zio
MPAA Rating R for violence
Drama/Mystery/Thriller
Runtime 95 minutes
3 out of 5 stars
THE NUMBER 23 doesn’t add up. Jim Carrey earnestly plays an “everyman” (Walter Sparrow) whose wife, Agatha played by Virginia Madsen, just so happens to buy him a used book called, “The Number 23” as she’s waiting for him to pick her up after work. It isn’t long before Walter becomes obsessed with the book and the number, seeing the number 23 everywhere, and making connections between himself and the characters in the book.
The director, Joel Schumacher, has several storylines going as Walter imagines himself as “Fingerling” the detective and Agatha (what’s with the names?) as his girlfriend “Fabrizia” in the book’s chapters on noir comic books. Walter becomes convinced the book is about him. Jim Carrey must like these kind of mind-bending plots, but unfortunately, this screenplay is no “Eternal Sunshine of the Spotless Mind.”
Carrey’s acting carries the movie. Virginia Madsen is also persuasive as the attractive, steady wife, a part she seems to be playing of late, but at least she gets to vamp a little as Fabrizia, looking good as a dark-haired seductress in a black slip. Danny Huston as family friend Isaac French and Dr. Miles Phoenix provides good support, as does Logan Lerman as Walter and Agatha’s teenage son, Robin.
But there is a difference between an intricately plotted mystery, and too much coincidence and convenient facts revealed at opportune moments. Aspects of the film are interesting and well done, but ultimately, the plot is an overly-contrived disappointment; the answers are not really all that mysterious or gripping. Review by Ann Marie Oliva
MPAA Rating PG
Adventure/Family/Drama/Fantasy
Run time 95 min
Opened February 16
4 stars out of 5
There are good reasons the book, BRIDGE TO TERABITHIA, is a classic, and thankfully this Disney film does it justice. That may have something to do with one of the screenwriters, David Paterson, being the son of the Newbury Award winning book’s author, Katherine Paterson. It is a poignant story loosely based on an incident from his childhood. Even though much cannot be included, the film is true to the essence of the narrative.
Jesse (Josh Hutcherson) is a lonely 5th grader. The middle of five children, and the only boy, he’s dreamy and sensitive, secretly draws, and longs for his father’s attention. He’s also the object of some bullying at school. Leslie (AnnaSophia Robb) a free-spirited newcomer, and neighbor, herself an outcast, manages to break through his protective shell. The two form a bond and create a magical world only they can see in a wooded area near their homes. As artistic and imaginative as they both are, the woods are soon filled with fantastic creatures. The special effects here are quite good, but not overdone. Naturally, they are the heroes who must save “Terabithia” from these threats. What is satisfying about the film is the progression of Jesse and Leslie’s characters. They give each other friendship, confidence and a sense of belonging. As the more perceptive of the two, when Jesse is feeling down, Leslie is there to help him put things into perspective.
The casting is well done. Josh Hutcherson has a soulful look, and is quite believable as the introverted young artist. AnnaSophia Robb is a good match as the self-assured, but slightly off-centered Leslie. Zooey Deschanel as the music teacher, and object of Jesse’s admiration, Ms. Edmonds, strikes the right note of caring. Bailee Madison is engaging as Jesse’s little sister, May Bell. Robert Patrick gets to show some versatility as Jesse’s father. Seen through the eyes of an eleven year old, he seems angry and impatient all the time, but he comes through and is tender and thoughtful when Jesse needs him most.
This is not a movie for young children because of the turn it takes toward the end. It doesn’t try to give easy answers or explain the unexplainable. It allows the characters the room to mourn their losses, as children and adults would need to do in real life. And as in reality, healing takes place when one learns to build bridges from the past to the present and move on to brighter days. Review by Ann Marie Oliva
MPAA Rating PG-13 (for violence, sexual content, and language)
Drama/Thriller
4 stars out of five
Why did he do it? The announcement is made right from the beginning of BREACH that Robert Hanssen, played masterfully by Chris Cooper, spied for the Russians during his almost 25 years at the FBI and created “possibly the worst intelligence disaster in US history.” There are subtle hints along the way as Hanssen’s actions and thought processes are revealed in the film through his interactions with Eric O’Neill (Ryan Phillippe), a young, ambitious FBI surveillance operative who has been assigned to monitor Hanssen. O’Neill buys the story at first that he’s watching a “sexual deviant” as Hanssen is described by Kate Burroughs (Laura Linney), the agent who oversees his covert job.
What O’Neill sees is: a devout Catholic who goes to Mass every day; a devoted family man with a loving wife and children and grandchildren; a smart, knowledgeable agent who knows all the ins and outs, and the politics of the FBI. The real tension begins when Burroughs tells O’Neill the real reason he has been assigned to the case. Yes, he is a sexual deviant, but that’s the least of it. The pace starts to pick up from this point as O’Neill must lie to almost everyone in his life, including his wife, Juliana (Carolina Dhavernas). He also has to start gathering more tangible information in order for the FBI to nab Hanssen who is set to retire in two months. Because Hanssen knows the workings of the FBI so well he has been very, very careful to “cover his tracks.” The tension in some of these later scenes is palpable even though we know how the story turns out.
The pace of the movie is a bit slow, but director Billy Ray does a good job recreating the buttoned-up atmosphere of the FBI, and getting good performances from his actors. They all do an excellent job. Ryan Phillippe is surprisingly affecting as the young innocent who begins to feel the heat of double-crossing his boss. Laura Linney is interesting as always, as the agent who sacrifices a personal life for something she believes to be more important. But it is Chris Cooper who is outstanding as the sociopathic Hanssen. It is through his streamlined characterization that the cracks in the façade of the overly-controlled Hanssen begin to show.
So why did he do it? There is a scene about halfway through the movie where Hanssen reveals to O’Neill that his father made sure he failed his driver’s test. The father thought this would “build character.” It appears instead that Hanssen covers up his feelings of inadequacy by developing a rigid, controlling, judgmental, arrogant, narcissistic personality, with a sense of entitlement and a great need, not only to be feel superior and be admired, but to have that superiority acknowledged as well. When the FBI fails on that count, Hanssen is furious and makes them pay.
Of course, only one man knows the exact reasons for sure, and he sits in a maximum security prison in solitary confinement 23 out of 24 hours a day, and he’s not talking. Review by Ann Marie Oliva
MPAA Rating PG for thematic material,
peril and language
Drama
Runtime 104 minutes
3½ out of 5 stars
This is a Syrup Movie, with a capital “S” for Sentiment, the success or failure of which depends on how thick and wide the emotion is spread. Too heavy a hand and the sweetness turns distasteful. “The Astronaut Farmer” opens by laying on the sugar with a steam shovel.
Charlie Farmer, a space program drop out is building a rocket, from scraps no less, in his Texas barn. His family is a fully functional one with an indulgent, loving wife (Virginia Madsen), a responsible, smart teenage son, and two adorable and adoring young daughters, not to mention his Mexican farm hand. Even his father-in-law (Bruce Dern, refreshingly not a psycho) is supportive. Also in attendance, one assumes on his side from a human interest angle, are a herd of reporters.
There are obstacles, but more benign than ominous: cynical townies (who really do like Farmer), the local bank (with multiple extensions on a $600,000 debt), and, of course, the U.S. Government in the person of two hovering FBI agents (amusing in their humorlessness) and a discouraging, though impressed, representative of NASA (yes, the astronaut Bruce Willis). At a hearing (in the school gym) Farmer declares, you guessed it, that without a dream, a person has nothing and then proves his dedication to the proposition by blasting off ahead of schedule despite a questionable fuel source. After this initial failure (the rocket stays horizontal), the turning away of any supporters, and Charlie’s own self-defeatism, his perfect wife affirms he can’t give up and with her inheritance (her father has conveniently passed away) funds and re-inspires her man. AND THEN, without noticing it coming on, you suspend your disbelief and discover yourself rooting for the American virtues of the individual, the little guy against the big, as well as intelligence, initiative, and that old standby, guts. For the rest of the movie you’re on Farmer’s side as he pursues his dream. It’s still a bumpy ride, but is there any doubt of success? Naw. Of course there’s a happy ending. This is a fantasy. And, yeah, it feels good. Review by Charles Zio
| MPAA Rating PG Biography/Drama Run time 117 min
4½ stars out of 5 |
AMAZING GRACE is a film not to be missed. Based on the life of William Wilberforce (Ioan Gruffudd), it is the moving story of one man’s personal and political struggle to lead the abolition movement in Britain in the late eighteenth and early nineteenth century. Wilberforce is admirable, not simply because he endures years of resistance and disappointment, but because he does it with integrity within the political system of his times. It’s what we used to call “character.” If there is such a thing as a kinder, gentler revolutionary, it is Wilberforce, who though desperate and frustrated at times, can not let go of his sense of right and wrong and ultimately perseveres.
What is truly amazing, though, is that the director, Michael Apted, shows restraint and neither panders to, nor sensationalizes the subject of slavery. It would have been easy to incite emotions by showing ships filled with sick and dying slaves. (There is one short flashback with a rather abstract view of children working in sugar cane fields.) The strength of the directing, acting, and writing, however, make that unnecessary. Although the pace may seem slow at times, the screenplay provides a complicated subject matter with signposts. The director creates images that relate feelings without crowding out the words, which are important in this film. Relevant to today’s world is the extravagance and haughtiness of the upper class, as compared to the misery of the poor. Following the money allows people to act in their own self-interest over their conscience, politicians especially.
Welsh actor Ioan Gruffudd gives an intelligent, convincing, controlled portrait of a man of great faith who is also vulnerable and real. Some of the other outstanding performances are: Benedict Cumberpatch as his Prime Minister and good friend William Pitt; Romola Garai as his compassionate wife, Barbara; Jeremy Swift as Wilberforce’s butler and friend; Rufus Sewell as supporter Tom Clarkson; Michael Gambon as the sly Lord Fox; and Grammy winning Senegalese singer Youssou N’Dour as Olaudah Equiano, a former slave. Then there is Albert Finney. He is powerful as Wilberforce’s minister, John Newton, a reformed slave ship captain who wrote the hymn “Amazing Grace.” He obviously has a great impact on Wilberforce, and his repentance is clear, but more Finney (as Newton) would have added more of a connection to the song.
The set design, costumes, cinematography, score, all add to the believability factor. The makeup is especially good as the characters age over several decades. All the elements draw the viewer in and help create an inspiring film about a man whose impassioned but quiet voice changed a nation. Review by Ann Marie Oliva