BY THE SEA (2015)

November 19, 2015

by the sea Greetings again from the darkness. As a devotee and lover of the cinematic art form, I tend to focus on the positive elements of films, and maintain a near reverent respect for filmmakers who engage in personal projects. Because of this, I typically avoid labels such as “bad” or “good” and instead focus on the experience. Unfortunately, this latest from writer/director Angelina Jolie (billed for the first time as Angelina Jolie Pitt) has delivered a prolonged experience of monotony and misery that can only be described as bad. Or awful. Or even beyond awful.

It’s based in the mid-1970’s and filmed on the island of Gozo in Malta. The setting is stunningly beautiful, and cinematographer Christian Berger captures the essence of this unique spot with naturalistic lighting and plenty of wide shots of the rocky beaches that provide the foundation for a classy and quaint inn run by Michel (Niels Arestrup, A Prophet). Roland (Brad Pitt) and Vanessa (Angelina Jolie) are the epitome of an unhappily married couple … though they are stylishly dressed while driving their 1967 Citroen convertible.

He is a writer who doesn’t write and she is a former dancer who doesn’t dance. While he is not writing, Roland sucks down gin, beer and anything else Michel will serve him. Vanessa mostly hangs out in the room popping pills and watching a fisherman in a row boat. When they are together, they rarely speak except to ensure we viewers understand just how miserable they are … with a lousy reason that isn’t explained until late in the film. Mostly she bats her porn star fake eye lashes while he sports a porn star mustache.

A glimmer of hope emerges when a honeymooning couple takes the room next door. Lea (Melanie Laurent) and Francois (Melvil Poupaud) seem quite happy and enjoy spending time together in bed. We know this because Vanessa discovers a peephole where she can take in the sights. In what is probably the only interesting twist, Lea and Roland are soon sharing peeps … a step that somehow begins the process of rebuilding their relationship. Of course, that doesn’t happen without many more scenes of misery prior to the quite predictable finish.

Angelina is clearly paying tribute to the 1950’s and 1960’s French arthouse films, but having two unlikable lead characters who can’t stand to be in the same room never allows the viewers to connect … though she seizes many opportunities to show off her exquisitely rebuilt breasts. The film is entirely too long – and feels even longer – as it squanders a real chance to explore the second stage of marriage. The beautiful scenery and Gainsbourg songs don’t come close to making this a movie worth enduring.

watch the trailer:

 

 

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Posted by David Ferguson

MY ALL AMERICAN (2015)

November 13, 2015

my all american Greetings again from the darkness. I’m a University of Texas alumnus and have vivid childhood memories of Freddie Steinmark the player, followed by Freddie Steinmark the tragedy, and finally Freddie Steinmark the inspiration. His legacy remains an active part of the Longhorns football program today via the stadium scoreboard dedication and the locker room tribute that is part of every game day in Austin. This is the directorial debut of Angelo Pizzo, who is known for writing two other inspirational sports movies: Hoosiers and Rudy.

It’s difficult not to cringe when the film opens in 2010 with a reporter interviewing legendary and elderly former coach Darrell Royal, who is dementia-stricken and forgetful … until he starts speaking of Freddie. The cringe-inducing part isn’t Coach Royal’s dementia (of which we fans were all aware), but rather the amateurish make-up applied to Aaron Eckhart in an attempt to age him into the 85 year old icon. Fortunately this segment is brief, and we are soon enough picking up a high school aged Freddie as he practices and works out ferociously with his dad in hopes of fulfilling his dream of playing football at Notre Dame.

Finn Wittrock (“American Horror Story”) plays Freddie, and captures the intensity, ambition and goodness of the young man who would galvanize the Longhorns program and end up making quite an impression on those Notre Dame coaches, but for much more than his play on the field. Burned into my memory (and that of anyone who witnessed it) is the shot of Freddie on crutches at the 1970 Cotton Bowl.

Director Pizzo offers some breath-taking aerial shots of Austin and Memorial Stadium (digitally altered to reflect the late 1960’s), and some impressive sequences of football practices and games. Football fans will have fun spotting former players making appearances including Case McCoy (as Razorback Bill Montgomery), Hays McEachern, Danny Lester, and Luke Poehlmann. You will also note Juston Street plays his father James (mimicking the game face), and Jordan Shipley plays my all-time favorite Longhorn receiver, Cotton Speyrer. Nostalgia flows as the game announcers call some of the greatest college players of the era: Ted Koy, Steve Worster, Jim Bertelsen, Steve Owens, and Chuck Dicus.

“The Game of the Century” is the centerpiece game of the movie, and we actually get a clip of President Richard Nixon arriving to the Texas-Arkansas game of 1969. It turned out to be Freddie’s final football game, but more aptly, a continuation of his influence. However, this is just as much the story of Freddie the individual as it is Freddie the football player. His determination, zest for life and incredible courage are the message here … not tackles and interceptions. Even his relationship with his high school and college sweetheart Linda (Sarah Bolger) seems the stuff of which dreams are made.

In addition to this film, there have been three books written about Steinmark: in 1971 Freddie worked with Blackie Sherrod on an autobiography called “I Play to Win”; in 2011, Jim Dent wrote “Courage Beyond the Game”; and just this year, the University of Texas published a new biography entitled “Freddie Steinmark: Faith, Family, Football” by Bower Yousse (a former friend and teammate). It should also be noted that Steinmark’s battle against cancer inspired Congress to pass the National Cancer Act of 1971, beginning the war on cancer and spurring a jump in cancer research that continues to this day.

It’s a football movie, but also a tearjerker. It’s a profile of an over-achiever, but also the story of a young man who inspired a team, a university and a nation. Every time you think the story is a bit corny, or that Freddie is too good to be true, just remind yourself that despite the cynicism permeating society today, Freddie Steinmark was flesh and blood, with a heart and soul and mentality that refused to surrender.

a picture of Freddie Steinmark:

freddie

 

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Posted by David Ferguson

THE 33 (2015)

November 12, 2015

the 33 Greetings again from the darkness. How do you structure a film based on a true story that lasted 69 days, occurred 5 years ago, and was followed live on TV by half of the global population? Director Patricia Riggen (Girl in Progress, 2012) delivers a film designed to tug on heartstrings, and is based on the book “Deep Down Dark” from Hector Tobar, as well as interviews with the key players.

In 2010, the San Jose copper/gold mine collapsed trapping 33 Chilean miners more than 2300 feet under tons of rubble and an unstable rock that dwarfed the Empire State Building. Through some pretty solid special effects, we are there for the collapse. It’s this segment and the immediate reactions from the miners that provide the film’s best segment. We feel the miner’s sense of panic and doom as they begin to come to grips with their plight.

The film rotates between three struggles: the isolation of the miners struggling to survive, the tent city populated by their families struggling to maintain hope, and the Chilean government struggling with the politics and public relations of a rescue mission. From a character standpoint, each of these three segments is given a face. Antonio Banderas as Mario becomes the focal point of the miners. He searches for an escape route, takes charge of the (very limited) food rations, and acts as referee and light of hope in an extremely volatile situation. Juliette Binoche (yes the French actress) is Maria, the sister of one of the trapped miners and the most assertive of those pushing the government to attempt a rescue. Rodrigo Santoro plays Laurence Goldborne, Chile’s Minister of Mining, and the one who pushes the government to move forward with the costly rescue mission.

Other key characters include Bob Gunton as Chile’s President Pinera, Lou Diamond Phillips as “Don Lucho”, the safety inspector, Gabriel Byrne as the chief engineer, James Brolin as Jeff Hart (leading the U.S. drilling team), Naomi Scott as Mario’s wife, and three of the other miners: Oscar Nunez, Mario Casas, and Juan Pablo Raba.

The most bizarre segment comes courtesy of miner hallucinations. It’s a fantasy-infused Last Supper sequence that plays out to the sounds of a Bellini opera, while the food and drink flow and the family members join in the joy. It’s not difficult to imagine the brain taking these poor gentlemen to such places of mental torture.

As if the approach is to make the most viewer-friendly buried miner film possible, we aren’t witness to much underground conflict, and the internal bickering within the Chilean government officials is kept to a minimum. We do get to see the media circus that occurred during the ordeal … of course, most of us witnessed it in real time.

Director Riggen has delivered a film that taps into the multitude of emotions for the different groups of people, rather than concentrating on the miserable situation of the miners. It’s a challenge to keep us interested in a true story of which we all know the ending, but most viewers will stay engaged with the characters. It should also be noted that the minimalistic score is some of the last work from the late, great James Horner.

Watch the trailer:

 

 

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Posted by David Ferguson

SPOTLIGHT (2015)

November 12, 2015

spotlight Greetings again from the darkness. Faith. A word that easily could have been the title of this gripping and heart-wrenching film. Faith can be defined as trust and belief. Faith can also be defined as religion and ideology. Few things are more devastating than broken faith … the core of this “based on actual events” story of The Boston Globe’s exposure of rampant child molestation by dozens of Catholic priests, and the systematic cover-up by “The Church”.

It’s challenging to name a movie that is as well-made as this one, while also being as difficult to watch. We know the story … we even know how it snow-balled globally … but the raw emotions of disgust and sheer anger permeate much of our being as we watch it unfold on screen. Director Tom McCarthy (The Station Agent, The Visitor) co-wrote the script with Josh Singer (The Fifth Estate) and it’s worthy of favorable comparison to other investigative newspaper films like The Insider (1999), Zodiac (2007), and even the granddaddy of them all … All The President’s Men (1976).

The opening scene takes place in a 1976 Boston police station. A priest has been accused of molesting a child. Within a couple of minutes we witness the empty promises, the intimidation, and the cover up. So much is conveyed in this brief opener, not the least of which comes courtesy of the ambivalence of the veteran cop as he shrugs it off as ‘just another day’ in front of an idealistic rookie cop. This is accompanied by Howard Shore’s spot-on score, with the best parts featuring only a piano and bass.

Flash forward to 2001 as we meet the investigative journalist team called “Spotlight”. It’s led by editor Walter “Robby” Robinson (Michael Keaton) and his three reporters: Mike Rezendes (Mark Ruffalo), Sacha Pfieffer (Rachel McAdams), and Matt Carroll (Brian d’Arcy James). They report to Ben Bradlee Jr (John Slattery), whose father was the editor of The Washington Post during the Woodward/Bernstein/Watergate era. New to The Globe is managing editor Marty Baron (Liev Schreiber). Unlike the others, Mr. Baron is neither a Boston local nor a Catholic. In fact, we catch him reading Dan Shaughnessy’s book “The Curse of the Bambino”, just so he can get a better feel for the community and its people.

What is most fascinating about the movie is that it focuses on the investigative aspects – just how diligent the reporters were in putting the story together – and how fluid the process was … the story led them, not vice versa. There was no media agenda to “get” the church. Instead, the reporters experienced natural shock as each piece of the puzzle was discovered. One of their key sources was a priest-turned-psychologist (voiced by Richard Jenkins) who helped them put scope to the numbers. Another was Phil Saviano (Neal Huff), the leader of a victim’s group, who had tried before to provide documentation to the press. Saviano is the perfect example of how someone so passionate about a cause can be viewed with such skepticism … right up to the point when they are proven correct. Three attorneys add perspective to the cover-up. Eric Macleish (Billy Crudup) made a career of settling cases (and silencing victims) for the church. Mitchell Garabedian (Stanley Tucci) is the polar opposite – he fights vigorously to get the victims heard, while Jim Sullivan (Jamey Sheridan) is caught in the middle – settling cases for the church and struggling with his conscience. Other interesting characters include Paul Guilfoyle as Pete Conley, a smooth-talking power-broker for the church, and Len Cariou as Cardinal Law – the man at the top who eventually apologized and was rewarded with a high-ranking position at The Vatican.

The film is so well crafted and acted that it features more than a few “best scenes”. Sacha has a brief encounter with a former priest on his front door stoop. The priest freely admits to molesting kids and his rationalization will certainly deliver chills to most any viewer. Since this is Boston, it makes perfect sense for the reporters to be so distracted by the story, that it supersedes the Red Sox game they are attending at Fenway Park. Being that the investigation lasted well into 2001, it’s quite informative to watch a news agency shift directions for the September 11 tragedy, and along with the nation, put all else on hold. Finally, there is a point in the movie where we as viewers have just about had our fill of extreme emotions – we either need to hit something or throw up – and reporter Rezendes comes through with exactly what is needed: an emotional outburst and release of exasperation rivaling anything previously seen on screen. It’s a wonderful moment for Ruffalo as an actor, and a peak moment for viewers.

The story hit the front page of The Boston Globe in January 2002. The paper won a Pulitzer Prize in 2003 for its superlative investigative journalism. The report vindicated so many who had been taken advantage of, and exposed the colossal arrogance of the church. The innocence of a child vs the power of God. The story broke the faith that so many once held, and started a global (as evidenced by the closing credits) reckoning and awakening that was desperately needed. The film offers a line of dialogue, “It takes a village to raise a kid … or abuse one.” In other words, it took the often silent actions of so many to allow this despicably evil horror to continue. In a tribute to the newspaper profession, it took a small group of dedicated reporters to pull back a curtain that should never again be shut. Let’s have faith in that.

watch the trailer:

 

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Posted by David Ferguson

MISS YOU ALREADY (2015)

November 5, 2015

miss you already Greetings again from the darkness. The theatre was filled with the sounds of sobbing. And by sobbing, I mean bawling … not the typical post-movie sniffles. While I was a little confused on just where my fellow movie watchers thought this story was headed, it’s understandable that sometimes a dark theatre is simply the best place to have a good cry. Director Catherine Hardwicke and screenwriter Morwenna Banks deliver an unfettered look at friendship, sickness and loss … and a reason to bring tissues.

Tearjerker movies have quite the history of success. Some of the more popular sob fests include: Love Story, Brian’s Song, Terms of Endearment, Beaches, Steel Magnolias, and The Notebook. This latest is probably most similar to Beaches in that the focus is on two lifelong female friends (polar opposites in personality) who ride the rollercoaster of life together – through good times and bad.

Milly (Toni Collette) and Jess (Drew Barrymore) meet in elementary school and experience many of life’s “firsts” together. We know this because the film begins with a bit of a clumsy flashback sequence that shoots us through their high school years, heavy partying, and finally picks up after they are married.

There are many mysteries of the female gender that those of us with Y chromosomes will never comprehend. One of those is the close friendship between the vain, center-of-attention type, and the always supportive enabler. Milly is the classic taker, while Jess is a giver. Milly is the high-flying socialite who dresses flashy and draws a crowd, while Jess is the dependable sidekick, always there to make sure Milly is never alone. It’s confounding and a bit sad to those of us who view friendship as something much different.

Both Ms. Collette and Ms. Barrymore are strong in their performances, though Collette has the much meatier role. What’s impressive about the movie is how it takes head on the horrific travails of those with breast cancer. The emotional and physical and medical aspects are all dealt with no compromise. Some of it is tough to watch, but admirable in its directness. Milly’s breast cancer takes center stage, while Jess’ struggle to get pregnant is low-keyed. Fitting for their personalities, but each based in real life sagas. Milly’s husband Kit (Dominic Cooper), and Jess’ husband Jago (Paddy Considine) both provide understandable reactions to the obstacles faced by their spouses. Add in a bleached blonde Jacqueline Bisset as Milly’s eccentric mom, and the five lead actors each contribute a relatable element to the story.

Two other actors make an impression: Frances de la Tour as a wise and direct wig-maker, and Tyson Ritter (front man for The All-American Rejects) as a free-spirited bartender who may or may not be a good influence on Milly. Even though Jess is the heart of the story, it’s Milly who dominates … just like their friendship. Green vs glamour.

Director Hardwicke will always hold a special place in my movie memories thanks to her sparkling 2003 debut Thirteen. She and writer Banks clearly understand women, and believe it crucial to show the courage required in the fight against breast cancer. Fortunately, their main character is funny and spirited, and pals around with someone we would all be proud to call a friend. And that’s nothing to cry about.

watch the trailer:

 

 

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Posted by David Ferguson

SUFFRAGETTE (2015)

November 5, 2015

suffragette Greetings again from the darkness. Most “issues” movies go big in their approach to society-changing events and those that led the charge. Director Sarah Gavron (Brick Lane, 2007) and writer Abi Morgan (The Iron Lady, 2011) instead show us one little corner, a building block if you will, of the larger movement towards gaining women the right to vote in the UK. By focusing on the efforts of a small group of working class women in 1912, the struggle becomes one of flesh and blood, rather than granite statues.

Carey Mulligan stars as Maud Watts, a manual laborer at a commercial launderer. Her character is a composite of working class women of the time, and we come to appreciate her strength and the incredible sacrifices she makes for the greater cause. Maud seems to be a simple woman. She works hard, loves her son and is loyal to her husband Sonny (Ben Whishaw). When first exposed to the civil disobedience of the suffragettes, Maud is caught in the crossfire of a rock-throwing frenzy. She recognizes faces and becomes intrigued with the mission. At first, Sonny tries to be supportive, but soon enough, he is confused, embarrassed and finally forced to take extreme measures. After all, no self-respecting man of the time could allow his wife to sneak about town throwing rocks, setting off bombs, and attending secretive meetings … all for the sake of some ridiculous notion of equality for women!

Helena Bonham Carter appears as the neighborhood pharmacist who is a key cog in the local movement – a movement that had been ongoing peacefully for decades. What’s interesting about her appearance is that Ms. Bonham-Carter is the great-granddaughter of H.H. Asquith, the Prime Minister of UK from 1908-1916. He was an outspoken opponent of the suffragette movement during its most critical time. Her appearance and role in the film is a bit of redemption for the actress and her family.

Deeds not Words. This became the rallying cry for these women thanks to their leader Emmeline Pankhurst. Meryl Streep makes an all-too-brief appearance as Ms. Pankhurst, but it’s a key moment in the film as it solidifies the cause for this group of women who needed to believe that they could make a difference.

Gender inequality seems such an insufficient term for what these women endured. Sexual abuse, domestic violence, unequal pay, hazardous work environments, and almost no child custody rights in disputes with men … these were all commonplace at the time, and the film does a terrific job of making the points without distracting from its central message. Director Gavron’s subtle use of differing color palettes is effective in distinguishing the man’s world from that of the women.

It’s clearly a snapshot of a society on the brink of a revolution, and a grounded yet emotional glimpse at those foot soldiers in the war on injustice. Though this story focuses on the UK, the end credits remind us that in the U.S., it took until 1920 to ratify the 19th Amendment giving women the right to vote; and even more startling, Switzerland took until 1971 and the women of Saudi Arabia only this year obtained voting rights. The movie is a powerful personal story, and also an effective history lesson on the irrationality involved in bringing about humanistic change.

watch the trailer:

 

 

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Posted by David Ferguson

STEVE JOBS (2015)

November 5, 2015

steve jobs Greetings again from the darkness. Does it take the smartest guy in the room to write about the smartest guy in the room? Probably not, but as Aaron Sorkin shows in writing about Steve Jobs, it can’t hurt. It’s an impressive filmmaking team that, in addition to Sorkin, includes director Danny Boyle, and a cast of Michael Fassbender, Kate Winslet, Jeff Daniels, Michael Stuhlbarg, Katherine Waterston, Seth Rogen, John Ortiz and Perla Haney-Jardine … that’s a lot of talent, prestige, and award-winners.

The film is based on the terrific authorized biography written by Walter Isaacson (which I recommend). Rather than tackle the entirety of the book or Jobs’ life, a theatrical approach is taken with three distinct acts covering 16 years centered on product roll-outs: Macintosh, 1984; NeXT, 1988; and iMac, 1998. You might notice that two of those products are considered major flops, but the focus is on the persona of Jobs, not the performance of the products. Director Boyle makes his presence felt by filming appropriately in each of the segments: 16mm for 1984, 35mm for 1988, and digital for 1998. He also brings a sweeping beauty to the visuals … whether it’s Jobs storming through a hallway, or the maze of activity backstage at each roll-out.

In today’s world, it’s humorous to witness the cult-like atmosphere that develops around Apple products, and it’s equally comical to see the small-minded types who refuse to credit Jobs or Apple for catapulting consumer technology ahead by decades, and for achieving levels of financial success never before reached. Although it’s difficult to separate Jobs from Apple, Sorkin and Boyle are very clear in their focus on the man. In fact, the movie could be viewed as a kind of dysfunctional family – both genetic family and work family.

Rogen plays Steve Wozniak and Stuhlbarg plays Andy Hertzfeld, both part of the original Apple team with Jobs. There are some pointed exchanges between these three characters, with the most eye-raising being when Woz asks Jobs, “What do you do?” It’s the best display of what makes Jobs different than others, and his answer is one of the most disheartening compliments ever heard. There are multiple extended sequences with Jobs and his quasi-father figure John Sculley (Jeff Daniels). These two rip through Sorkin dialogue the way Michael Jordan once sliced through defenses. Most cruel are the exchanges between Jobs and Chrisann Brennan (Ms. Waterston) – the mother of his daughter Lisa (though he refused to acknowledge being her father).

For those familiar with the role of Joanna Hoffman in Jobs’ career, you will be duly impressed with the performance of Kate Winslet … playing the only one who could consistently stand up to the relentless pressure and lofty expectations.

There are soft references to (future) iPods and iPads, and Jobs’ break-up with Apple is dramatized, but it’s the individual scenes of interaction with others that makes this entertaining and challenging to watch. There is nothing likable about Steve Jobs the man, but Fassbender’s fine performance does allow glimpses of humanity beneath the God-like aura Jobs presented. Was Jobs a genius? Was he an extreme social misfit?  Was he a cruel family man due to his botched adoption as a kid? Regardless of where you place him in the realm of technology development, it’s difficult to argue with Woz’s proclamation that one can be “decent AND gifted”. It’s not binary.

watch the trailer:

 

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Posted by David Ferguson

BURNT (2015)

October 30, 2015

burnt Greetings again from the darkness. This one is not just for all you foodies out there – though there is plenty to digest for those who fancy themselves as some hoity-toity chef to the rich and famous. Don’t go in expecting a “How to Cook” seminar. Instead, simmer down and prep yourself for a serving of massive ego topped with arrogance and a side of narcissism. Blend those ingredients into one character, and this chef somehow remains likable … when played by Bradley Cooper.

Enough with the cooking terms, but let’s heap more praise on Mr. Cooper. When first we meet his character Adam Jones, he is readying himself to bounce back after self-destructing his career as a two-star Michelin chef in Paris. He simply walks out the door of the Louisiana diner where he has been serving his self-imposed penance … shelling 1 million raw oysters, each one recorded in his pocket notebook. This provides our first glimpse into the obsessive-compulsive personality of Adam, and helps explain how he has managed to kick his drug, alcohol, and women addictions. Feeling refreshed and on a mission to garner that rarified third Michelin star, Adam begins assembling his team in London and encouraging his old co-worker Tony (Daniel Bruhl, Rush) to entrust him with his restaurant.

We can’t actually taste the magnificent food that’s served on screen, but the colors and textures are a kaleidoscope to our eyes. The movie is beautiful to look at. The restaurant dining rooms are showplaces, the kitchens are pristine, and the customers are mostly dressed like runway models. On top of that, Bradley Cooper and Alicia Vikander (in a small role) are two of the grand champions in the gene pool sweepstakes. All of that beauty is balanced out by the quest for perfection and lack of interpersonal skills displayed by Chef Adam. It’s not until his star pupil Helene (Sienna Miller) shows him another way, does Adam even start to resemble a human being.

Drug dealers, old flames, a therapist (Emma Thompson), an arch rival (Matthew Rhys, “The Americans”), an unrequited one-way love, a deceased mentor, a ridiculously cute kid (Lexi Benbow-Hart, sporting hair that would make Julia Roberts envious), and a wronged co-worker (Omar Sy) combine to add plenty of action. Even the quick cut shots in the kitchen manage to make grilling onions and carving a fish interesting.

Never digging too deep, director John Wells (August: Osage County) delivers an entertaining movie with wide appeal, and a message of teamwork and family. The story is from Michael Kalesniko and the script from Steven Knight (who also wrote last year’s Michelin star-centered The Hundred-Foot Journey). The dialogue is sharp enough to deliver some laughs, though the element of danger doesn’t really work, and a couple of times it teeters on gooey melodrama. It doesn’t reach the level of Mostly Martha (2002), and is a tick behind last year’s Chef (Jon Favreau), but it may offer the most creative lesson yet in how best to serve a dish of revenge. It’s a tasty enough treat for those in the mood for an entertaining movie and an endless stream of pretty things to look at.

watch the trailer:

 

 

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Posted by David Ferguson

OUR BRAND IS CRISIS (2015)

October 29, 2015

our brand is crisis Greetings again from the darkness. The world of political campaigns and elections is a never-ending treasure trove of material for movies. It’s a subject ripe for parody, satire, comedy, suspense and documentaries.  Need proof?  How about this widely varied list: The Manchurian Candidate, Bob Roberts, Wag the Dog, Bulworth, Welcome to Mooseport, and The Ides of March.  Director David Gordon Green has a resume equally as varied, ranging from Pineapple Express (2008) to Manglehorn (2014).

This wide spectrum of possibilities seems to have confused screenwriter Peter Straughan (the excellent Tinker Tailor Soldier Spy) who used Rachel Boynton’s 2005 documentary of the same name as inspiration. It seems to be both a comedy that’s not too funny and a drama that not very dramatic. Casting Sandra Bullock in the lead probably created a certain feeling of security with the filmmakers, as they assumed audiences would laugh along at such creative moments as her predictable pratfall from a private jet, the sunglasses-on-the-nose look of consternation, and the rah-rah speech given to a group of campaign volunteers who don’t speak English. Even fans of Ms. Bullock will recognize the laziness.

Alvin Lee and Ten Years After delivered the anthem “I’d Love to Change the World”, and never before this movie had I placed it in such a negative manner … how the United States sticks its nose where it doesn’t belong in international elections. Ms. Bullock’s character Jane is a political strategist brought out of self-imposed exile to run the campaign of Bolivia’s former President (played by Joaquim de Almeida). See he is far behind the leader in the polls – a progressive candidate whose campaign is being run by Bullock’s long-time rival Pat Candy (played by Billy Bob Thornton). Let the juicy rivalry games begin!

The only problem is … it’s a wasted rivalry filled with mostly lame games and it’s often quite plodding (just like real politics!). The character of Jane is based on the real life efforts of James Carville to influence South American elections, and yet it’s Pat Candy who sports the look of Carville. The supporting cast is filled with talent: Anthony Mackie, Ann Dowd, Scoot McNairy, and Zoe Kazan, yet none are given much to do other than play second fiddle to Bullock.

While the script offers no real surprises or twists, and the forced “message” at the end could be guessed by most any viewer 10 minutes in, it’s the amateurish ploys that make this one score high on the annoyance scale. Having Ms. Bullock sport the only blonde follicles in Bolivia, the over-use of super slow-motion to create some unnecessary effect, and using the word “crisis” the way Tarantino uses the f-word, all combine to give the film a very cheesy look and feel … and we aren’t even rewarded with a single memorable exchange between Bullock and Billy Bob. One thing for sure … this is not the garden spot of Bolivia.

watch the trailer:

 

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Posted by David Ferguson

TRUTH (2015)

October 29, 2015

truth Greetings again from the darkness. The film is based on the book written by Mary Mapes, “Truth and Duty: The Press, the President, and the Privilege of Power”, and plays like a desperate attempt at rationalizing the actions of a TV producer, a TV news icon, their team of reporters and researchers, and the endless drive for ratings by a network news organization. Telling only your side of the story when a significant conflict is involved, does not encourage thinking people to take up your cause.

In 2004, Mary Mapes brought in her team to dig into the rumors that President George W Bush had received preferential treatment in military assignments and that his military service records were either incomplete, had been altered, or proved that he did not fulfill his service requirements. Ms. Mapes professional relationship with Dan Rather allowed her to bring him into the fold, and resulted in significant air time on CBS and “60 Minutes”. Most of us know how this saga ended … Mapes and her team were let go, and Mr. Rather’s time as the network news anchor was unceremoniously ended. While there may very well be substance to the story they were chasing, both the book and the movie act as Ms. Mapes defensive pleas of innocence.

In the film, Cate Blanchett plays Mary Mapes, and Robert Redford plays Dan Rather. Ms. Blanchett, as usual, is exceptional; and Redford is solid in capturing the essence of Rather (though the hair color variances are distracting). The other key players are: Topher Grace as reporter Mike Smith, Dennis Quaid as researcher and former Marine Lt. Colonel Roger Charles, Elisabeth Moss as Lucy Scott, Bruce Greenwood as Andrew Heyward (President of CBS News), Stacy Keach as Mapes source Lt. Colonel Bill Burkett, and Dermot Mulroney as CBS attorney Lawrence Lampher. The film is well cast, but it’s not enough to make up for the weak script and the less-than-stellar direction from first timer James Vanderbilt (who did write the screenplay for Zodiac, and is the great-grandson of Albert G Vanderbilt).

Rather than provide any proof that the story was properly documented and confirmed, Mapes and Rather decry the loss of reporters who ask the “tough” questions. Their defense seems to be that they were brave enough to chase the story and ask questions. A sequence is included that positions these two as the last bastions for true news reporting, and that these days news organizations are more concerned with profits and ratings, than breaking a story. This argument conveniently omits the fact that information flows much more freely today than in “the good old days”. The actions of politicians and industry leaders are constantly being questioned and scrutinized by the endless stream of bloggers and reporters – both amateurs and professionals. There is no shortage of questions being asked, and the ease with which accusations are leveled actually fits right in with the Mapes approach.

The frustrating part of the movie is that it’s a missed opportunity to detail how “legitimate” news organizations go to extremes to document and verify their information and sources, and this is where Ms. Mapes’ team fell short. Without intending to, the film plays more similar to Shattered Glass (2003) than All the President’s Men (1976) … getting a story being more important than proving a story. We are left with the feeling that Ms. Mapes believes asking a question is more important than proving the facts. The cringe-inducing shot of Dan Rather’s final broadcast leaves the viewers with the impression that the objective of the film was to place Mapes and Rather on a pedestal of righteousness. The only thing actually confirmed here is that heads rolling at CBS was the right (and only reasonable) call.

watch the trailer:

 

 

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Posted by David Ferguson

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