Greetings again from the darkness. The best Political crime dramas are complex films with multiple intersecting sub-plots, filled with stylish mis-direction and intense wordplay and back-stabbing between good guys and bad. What doesn’t work is “obvious”. Especially obvious to the point where the audience is way ahead of the earnest, but clumsy protagonist. Luckily for director Allen Hughes (working solo without his twin brother Albert for the first time), he has stacked the film with a wonderful cast which makes it somewhat entertaining despite its major flaws.
Mark Wahlberg plays (what else?) a streetwise guy/cop/detective who tries to do the right thing but always seems to end up with the short straw. Russell Crowe is in fine form (though a bit too tan) as the megalomaniac NYC mayor who plays dirty, but knows how to sell his stuff to the people … even as he schemes to do great wrong. Their paths cross twice and neither time turns out so great for Wahlberg.
As for the rest of the cast, Barry Pepper is miscast as Crowe’s mayoral opponent; Jeffrey Wright is intriguing as the Police Commissioner seemingly playing both sides against the middle; Catherine Zeta-Jones is Crowe’s most unhappy and disloyal wife; Kyle Chandler plays Pepper’s campaign manager (and evidently more); and Griffin Dunne is a rich Crowe supporter and knee deep in the evil scheme. Also interesting is Alona Tai as Wahlberg’s wise-cracking and bright-eyed assistant.
While no details will be spilled here, there is a fun exchange during the debate between Crowe and Pepper, and well, the movie is just at its best when Crowe is on screen. Wahlberg’s character is pretty much the same he has played a dozen times prior, but it seems the real issue is with first time screenwriter Brian Tucker. He is just overrun with ideas and because of that, most go undeveloped. A script clean-up from a screen veteran could have turned this one around. Still, if you have seen all the Oscar nominated films and are looking for a watchable January release, you could do worse. Just try not to think too much!
SEE THIS MOVIE IF: you are caught up on the December rush on late 2012 releases OR you want to see another fine Russell Crowe performance
SKIP THIS MOVIE IF:you get frustrated when a “smart” thriller isn’t so smart
Greetings again from the darkness. Admittedly, I am one of those who take movies very seriously. Good movies make me happy (even the sad ones), and bad movies make me sulk. Every now and then, one comes along that I find myself enjoying despite the warning buzzers blasting in my film snob brain. Such is the latest from director Ruben Fleisher (who also directed the entertaining Zombieland).
“Inspired by true events” should always be interpreted as a disclaimer that the movie will play fast and loose with history and the details of the story. Sean Penn plays Mickey Cohen, a renowned Los Angeles gangster from the late 40’s. Due to widespread police corruption, Police Chief Parker (Nick Nolte) authorized an “off the books” team to take down mob operations (gambling, prostitution, etc). This much was documented in Paul Lieberman’s book. How this story is presented by Fleisher and screenwriter Will Beall (signed on for the Justice League movie) has more in common with a comic book than actual history.
The movie is extremely beautiful to look at. It’s slick and stylish with a glamorous color palette, and the production design is top notch – capturing the look and feel of a booming Los Angeles. If you are expecting the next L.A. Confidentialor even The Untouchables, you will be disappointed. It’s more in line with Dick Tracy, Scarface, and Hoffa. In other words … it looks great and the action, characters and dialogue are all way over the top!
The cast is superb, but most are underutilized. Josh Brolin is the tough leader of the squad that features Ryan Gosling (the token cool womanizer), Robert Patrick (the token dead-eye gunslinger), Anthony Mackie (the innercity, knife-wielding token black cop), Giovanni Ribisi (the token geeky electronics expert), and Michael Pena (the rookie and token Hispanic cop). Unfortunately, my crude descriptions are just about as in-depth as the movie goes with any of them. In fact, Yvette Tucker playing Carmen Miranda, gets almost as much screen time as any of these cops as she sings “Chica Chica Boom Chic”.
The violence is cartoonish in its fervor. The aim of these gangsters is among the worst in movie history, and that’s quite an accomplishment. Using Tommy Guns and pistols, my estimate is that one in every 167 shots actually hits an intended target. Many elaborate set pieces are destroyed in the process. The exception is Robert Patrick’s character, who is actually featured in a detective serial. He never misses … even after being wounded. Penn plays Cohen as a ruthless mob boss, unwilling to accept any failure from his crew. And you know what that means. No pink slips here … just ugly death via power drill, burning elevator or classic car tug-of-war.
An interesting note is the presence of three actors from recent cult TV shows. Holt McCallany (Lights Out), Mireille Enos (The Killing) and Troy Garity (Boss) all have key roles in the film, as does Jon Polito, whose face and voice make him a must-cast in any gangster film.
If you are able to turn off the logical and reasoning part of your brain … just sit back and enjoy Emma Stone smoking a cig while wearing a red evening gown, an understated Ryan Gosling with an odd speech pattern, Sean Penn wearing a prosthetic nose and spewing hilarious bad guy lines, and the creepy feeling that Josh Brolin is just 25 years away from looking and sounding exactly like Nick Nolte … then hopefully you can take this one for what it is – a guilty pleasure.
**NOTE: the closing credits are a work of art … a tribute to the classic postcards from early Los Angeles
SEE THIS MOVIE IF: you’re up for a rollicking good time … bullets flying, tongue firmly planted in cheek
SKIP THIS MOVIE IF: you expect historical accuracy and pure drama in your gangster flicks
DISCLAIMER:This blog was set up to provide thoughts and commentary on movies through the eyes of someone who loves and appreciates the art of cinema. Most of the time, these comments focus on the positive aspects of each movie, while also mentioning any particular areas which, by opinion, seem to fall short of acceptable. It is rare indeed when a movie is so annoying and lacking in merit that I find myself with mostly negative comments to make. Typically I would just skip the commentary, however, I believe Promised Landdeserves to be exposed for the fraud that it is.
Greetings again from the darkness. On paper, a story about a controversial environmental issue (fracking for natural gas) presented by a respected director (Gus Van Sant) and featuring a strong cast (Matt Damon, JohnKrasinski, Frances McDormand, Rosemarie DeWitt, Hal Holbrook) would be a welcome cinematic contribution, despite an expected slant to the story-telling. Most of us enjoy, or at least accept, a well presented argument that brings light and substance to at least one side of the controversial issue. What no one appreciates is having their time wasted … which is exactly what this ridiculous movie does.
Fluff is fluff, regardless of the subject matter that acts as a backdrop. Matt Damon and John Krasinski combined to write the screenplay based on a story by Dave Eggers. The screenplay is simple-minded, uninformed and amateurish. Did they do any research? It seems more likely they got together a couple of times, sipped a few imports, and threw together an outline. If they had then turned that outline over to a REAL writer, the ensuing mess of a movie could have been avoided. Instead, they somehow tricked Gus Van Sant into becoming the director. This process worked just fine 15 years ago when Ben Affleck collaborated with Damon and Van Sant for the excellent Good Will Hunting. That film shouldn’t even be tarnished by mentioning it here.
There is no shortage of articles available with actual facts on the companies and process involved with natural gas fracking. In 2010, Josh Fox even put together GasLand, a very effective documentary on the subject. So, the idea of formulating a Hollywood dramatic version makes sense. Matt Damon’s name alone ensures better exposure in one week than Mr. Fox’ film has had in two plus years. What doesn’t make sense is a version that is so lightweight and lacking in details, that a convoluted, half-assed love triangle steals the spotlight off what should be the real story.
What is the real story? A fictional $9 billion company with the generic name Global Crosspower Solutions sends their crack closing team of Steve Butler (Damon) and Sue Thomason (McDormand) into rural Pennsylvania to buy up the land leases from the area’s struggling farmers. Somehow we are supposed to believe that Steve, this hotshot rising star, makes two blunders in the first couple of days – allowing the town to vote, and getting blackout drunk in the only town bar. Then, this brilliant executive totally loses his equilibrium when a small time environmentalist (Krasinski) shows up and starts charming the locals with his horror stories of fracking.
Steve walks around telling people “I’m not a bad guy“, McDormand shakes her head at him and says “It’s just ajob“, and Krasinski buddies up with everyone … including local school teacher Rosemarie DeWitt, on whom Damon has a bit of a crush. One of the more ridiculous bits is that Damon’s character supposedly grew up in a farm community just like this and saw it shrivel up when the factory closed. He is probably the only guy to ever grow up on a farm who can’t drive a stickshift and has to be chauffeured around by McDormand. As if all of that isn’t ridiculous and lame enough, here comes the most absurd movie twist of all time. Since the first 2/3 of the movie lacks any sense of realism, the twist is not surprising, but rather just plain ludicrous. It’s a cheap writing device.
As for positives, it’s always a joy to watch 88 year old Hal Holbrook on screen. More attention to his character could have saved the movie …he is far and away the most intelligent and interesting character. Also, Damon’s character goes on a heartfelt rant towards some drunken rednecks. It’s his only scene that works and ends, logically, with a punch to nose. Titus Welliver, Scoot McNairy and Lucas Black all have moments of support that deserve a better movie. The same can’t be said for Damon, Krasinski and Van Sant … the blame and embarrassment falls at your feet, gentleman.
SEE THIS MOVIE IF: you shut your eyes and plug your ears for all except Hal Holbrook’s scenes
SKIP THIS MOVIE IF: you prefer not to reward a couple of Hollywood stars for their lackadaisical efforts
Greetings again from the darkness. Director Juan Antonio Bayona and writer Sergio C Sanchez reunite for a much different film than their taut thriller The Orphanage(2007). What separates this from the long list of disaster films is that it’s exceedingly well made, it’s based on a true story, and it puts a young actor in a role vital to the connection with audience.
The real life Belon family from Spain have for some reason been presented here (by Spanish filmmakers) as the British Bennett’s with Ewan McGregor and Naomi Watts (as Henry and Maria). They are on vacation at a beach resort with their three boys Lucas (Tom Holland), Thomas (Samuel Joslin), and Simon (Oaklee Pendergast). In the beginning the resort plays like paradise. Unfortunately, this is Thailand in 2004 when one of the worst natural disasters of all-time hits … a Tsunami with enormous force and monstrous waves.
Filmed with remarkable intensity, we see Maria and Lucas (separated from the others) struggle mightily to survive and stay together. This 10 minute sequence leaves the audience spent and gasping for air. Rarely do we witness such realistic near-drownings on screen. The film soon breaks into two simultaneous acts: the fight for survival by Maria and Lucas; and the quest to find them by Henry, Thomas and Simon.
The first half of the film is the strongest portion and it deals with the storm and it’s aftermath. The second half is very emotional and focuses on the courage of Lucas and the strength of Maria. It’s one of the most unique combination tales of survival and family love that we’ve seen. The filmmakers wisely choose to let the story follow the family and not throw in cheap parlor tricks like TV newscasts. We all remember those reports, and the actual film does a terrific job of recreating the frightening images. There is also a short, but sweet (almost mystical) scene featuring Geraldine Chaplin (daughter of Charlie) contemplating the stars.
Acting by the leads take this to elite status. Ewan McGregor turns in what is his best performance in quite some time. His phone call home scene is excruciating to watch. Naomi Watts delivers what is likely an Oscar nominated performance, despite being almost unrecognizable while laying in a hospital bed during much of the film. The real star and soul of the film is Tom Holland as the youngest son. His performance recalls those of Hailee Steinfeld in True Gritand Shailene Woodley in The Descendants… two of the best ever child performances.
Be forewarned. This one is a true tearjerker … especially if you are a parent or grandparent. Keeping in mind that it’s the true story of one family’s ordeal makes a few scenes almost impossible to watch clear-eyed. The film ends with a photo of the Belon family … perfect.
SEE THIS MOVIE IF: you enjoy a good tear-jerker, especially if based on a true story OR you want to what terrific filmmaking in a disaster movie looks like OR you need proof that it is possible to make Naomi Watts look unattractive.
SKIP THIS MOVIE IF: watching the trailer eclipses your preferred public display of emotion
Greetings again from the darkness. Kathryn Bigelow entered the realm of elite directors when her war thriller The Hurt Lockerexploded onto the Oscar scene a few years ago. Once again she proves why the critics adore her, and the movie going masses stay away. She is an expert filmmaker, a brilliant technician, though not much into the whole entertainment scene.
We always try to label films and this one doesn’t quite fit as thriller or action, or even war genre. It’s really a tense, procedural drama focusing on the behind-the-scenes CIA hunt for Osama bin Laden. In fact, it’s mostly the story of one obsessed CIA agent’s research and un-wavering pursuit of the one most responsible for the tragic events of 9-11-01 (as well as many others).
The film started out as a story of the nearly decade long pursuit and the failure to find him. Everything, including the movie, changed on May 2, 2011 when Navy SEAL Team Six pulled off the daring and historic mission to kill bin Laden. The book “No Easy Day” by Mark Owen (pseudonym for real life SEAL Matt Bissonnette) was released and many of the details became public. Bigelow and her writer Mark Boal (former journalist) went even deeper into research mode and now the film has instigated Congressional hearings in regards to some of the scenes.
Bigelow presents this as old school, hard core males vs the intellectual, instinctive and brazen Maya, played by Jessica Chastain. In the book, she is referred to as “Jen”, but her name matters not. What’s important is her laser-like focus for almost 10 years, despite the numerous attempts by her superiors to ignore her theories.
Much of the film deals with the group meetings and presentations to CIA mid-managers, who either don’t trust her or refuse to put their own careers on the line. Maya remains relentless. She finally gets a audience with CIA Director Leon Panetta (played by James Gandolfini) and introduces herself as “the M*****F****R who found this place, sir”. This comes across as confident, not disrespectful.
Bigelow and Boal refuse the temptation of providing any real backstory or personal life on these characters. We do learn that Maya was recruited right out of high school, so we can assume she wasn’t a typical 18 year old. The only thought of a romantic interlude is quickly shot down by Maya proclaiming (in so many words), she’s not that kind of girl.
Most of the men in the film are presented as near Neanderthals. Jason Clarke is the old school field agent who has mastered the use of torture, water-boarding and humiliation to gain information from detainees. The “60 Minutes” clip of Obama saying that America will no longer utilize torture is one of the few tips to national politics that the film offers up. The only other politics are those played by station chief Kyle Chandler, who is protective of his job, and Mark Strong, who seems relatively helpless without the support of his superiors. All the while Maya keeps pushing and pounding for action.
The Langley desk jockeys vs actual Field work provides a distinctive line in the sand between the two worlds, and emphasizes just how easy it is to make a mistake in judgment. What if we had been wrong on the location of bin Laden? What if the “fortress” had belonged to a drug dealer instead and the SEAL team had invaded a private home within the boundaries of our supposed ally Pakistan? Jessica Chastain is believable and tough in her role, and Jason Clarke dominates the screen in his early scenes. Other fine support work comes courtesy of Edgar Ramirez, Mark Duplass, Harold Perrineau, and Jennifer Ehle. When we finally get to the strategy session for the mission, we meet SEAL’s played by Chris Pratt and Joel Edgerton. The 25 minutes or so dedicated to the helicopter mission are filmed as if we are wearing the same night-vision goggles worn by the brave souls storming the castle. It’s a very impressive sequence.
If you enjoy the details of a procedural drama, then you will find much to like here … knowing the ultimate outcome doesn’t affect the suspense one bit. However, if you seek an entertaining respite from your daily grind, this one will offer no assistance … despite another excellent and minimalistic mood score from Alexadre Desplat.
SEE THIS MOVIE IF: you get a kick out of the details involved in a CIA procedural OR you enjoy expert filmmaking, regardless of entertainment value OR you need further proof that Jessica Chastain is a major star OR you want to see Mark Strong’s best impersonation of Alec Baldwin from Glengarry Glen Ross.
SKIP THIS MOVIE IF: it’s still too soon after the actual event OR you can’t stomach the thought of torturing detainees
Greetings again from the darkness. Well, after two viewings and endless analyzing, it’s time to commit thoughts to the page. Over the years, it has become very clear that a Tarantino movie generates a first reaction, and then proceeds to slither through your mind and morph into something else entirely. It would be very easy to accept this latest as an outrageous peek at slavery disguised as a spaghetti western. For most filmmakers, that would be plenty. The “whole” here is exceedingly impressive, but the real joy for cinephiles is in the bits and pieces.
One need not be a Quentin Tarantino expert to enjoy his movies, but there are a couple of things that help. First, he is at heart, a true lover of cinema and quite the film historian, showing sincere respect to the pioneers of this art form. Second, he loves to bring visibility to issues (large and small) by poking a bit of fun at the evil doers who wield unnecessary influence and control over weaker parties. Morality, vengeance, revenge and come-uppance invariably play a role in his story-telling … a bonus this time is the inclusion of the Brunhilde/Siegfried legend from Norse mythology and the Wagner operas.
In his two most recent films, QT has been on a kick for creative revisionist history. Inglourious Basterdsmade a strong statement against the Nazi’s, while this latest goes hard after slave owners. As you might expect, historical accuracy is less important to him than are the characters involved and the tales they weave. And to that point, it seems quite obvious that where in the past, Tarantino would center his attention on crackling dialogue and searing one-liners, he now offers up much more complete characterizations … these are people we understand, even if we don’t much like them.
The obvious love he has for Sergio Corbucci and Sergio Leone, the driving forces behind spaghetti westerns, is plastered on the screen. We even get the beautiful camera work through the snow as a tribute to Corbucci’s The Great Silence(1968). While this is not a remake or sequel or prequel, Franco Nero’s “I know” response to “The D is silent” generates a laugh and memories of a 25 year old Nero in the titular role of Django (1966). The Blaxploitation genre plays a significant role here as well since JamieFoxx plays Django, a freed slave who buddies up with a German dentist-turned-bounty hunter, so that Django can get revenge on those responsible for the torture and mistreatment of his wife.
The details of the stories will not be exposed here, however, I would encourage you to pay close attention to the moments of film brilliance. There is a running gag with townspeople and slaves alike struggling to accept the sight of Django on a horse. You’ll laugh again when Django is offered the opportunity to pick out his own clothes and we next see Foxx in a velvet Little Lord Fauntleroy outfit straight out of The Blue Boy painting from Gainsborough. There is hilarious banter between Big Daddy (Don Johnson) and Betina as he tries to give guidance on how to give Django a tour of the plantation. The phrenology sequence is not just unusual, but an incredibly tense scene and fun to watch. Watching the final shootout reminds me of Peckinpah’s The Wild Bunch… only ten times as violent!
Some of the best moments occur when we recognize the actors in the vital foundation scenes. Don’t miss: bad guy Bruce Dern, Don Stroud (the drummer in The Buddy Holly Story) as the ill fated sheriff, Tom Wopat as a patient Marshal (“Dukes of Hazzard”), father and daughter Russ and Amber Tamblyn, Jonah Hill who struggles with the eye holes in his “bag”, the eyes of Zoe Bell, Ted Neeley (Jesus Christ Superstar), “Dexter” dad James Remar in two roles, Walton Goggins as a gunslinger, Michael Parks (multiple roles in Kill Billand Grindhouse), and of course, Mr Tarantino himself (as an explosive cowpoke from down under).
While each of these provide wonderful moments, the real bingo occurs courtesy of the main performances of Jamie Foxx (Django), Christoph Waltz (Dr King Schultz, bounty hunter), Leonardo DiCaprio (Calvin Candie, plantation owner), and Samuel L Jackson (Stephen, Candyland house slave). Any combination of these characters in any scene could be considered a highlight. It’s especially enjoyable to see DiCaprio cut loose after so many uptight characters recently. Samuel L Jackson has long been a Tarantino favorite, and his delivery as the diabolical Uncle Tom house slave who has some secrets of his own, will bring the house down when he first sees Django and, in a much darker way, when his suspicions are confirmed. Power is a big player in the story, and even as a slave, Stephen knows what to do with power when he has it. Mr. Waltz won an Oscar for his Inglourious Basterdsperformance, and his dialogue here is every bit as rich. It’s obvious how much Tarantino enjoys hearing his words spoken by Waltz. Foxx’ performance could be easily overlooked, but it’s actually the guts of the film. He is quiet when necessary and bold when required.
We must also discuss the soundtrack. Franco Migiacci‘s original “Django” theme is featured, as are classics and a new song from the great Ennio Morricone. If you doubt the originality of the soundtrack, try naming another western that utilizes a mash-up of James Brown and Tupac Shakur. How about a spot-on use of Jim Croce’s “I’ve Got a Name”? The film is beautifully shot by Robert Richardson, and Fred Riskin takes over for Tarantino’s long-time editor Sally Menke, who sadly passed away in 2010.
It should also be noted that the script puts hip-hop to shame by using the “N-word” more than 100 times. It is a bit disconcerting, and you can google Spike Lee’s comments if you care to read more on the topic. Otherwise, dig in to the latest gem from Tarantino and appreciate his approach and genius … either that, or stay away!
**NOTE: I have purposefully avoided the scandal associated with the film. If you are interested in reactions from the African-American community, there is no shortage of published reports on those who support the film and those who are outraged.
Greetings again from the darkness. Director Jacques Audiard offers up a much different story than his previous film, the powerful A Prophet. Audiard co-wrote the screenplay with Thomas Bidegain based on a short story from Craig Davidson, and the result is a quasi-love story with very little traditional romance.
The two lead performances are simply outstanding. Marion Cotillard plays Steph, a free-spirited Orca trainer at a Sea World type facility, who becomes a double amputee after a freak work site accident. Matthias Schoenaerts (Bullhead) is Ali, an emotionally stunted single dad who has all the qualifications of a big time loser … though with a glimmer of goodness. Their two lives intersect when Ali is working as a bouncer at a nightclub, and then again after Steph’s accident.
It’s very interesting to see how this story is treated by a French writer/director as opposed to how it might have been handled by a US filmmaker. Audiard allows much quiet simmering by the two lead actors as they both work through their own disabilities – hers physical, his emotional. They both straddle the fine line between human frailty and internal strength, often with the help of the other. It’s not difficult to imagine an American take on this story focusing on the Steph’s painful rehab and struggle to adjust, while also zeroing in on Ali’s physicality as a street brawler and sex machine.
Cotillard is a true movie star and Schoenaerts soon will be. It’s so rare these days to see two strong talents in such a “little” movie, especially one in which neither character comes close to approaching glamorous – and Ali is not even likable most of the time. This is a well written, well acted character study that points out how a good soul can often save another who might not even care to be saved.
Alexandre Desplat provides yet another strong score – this one complimented by many familiar songs. For those who tend to spend there movie time with only American films, this is one that will provide proof of just how different the view can be through the same camera lens.
**NOTE: very effective CGI allows for many intimate scenes featuring Steph after the amputations
Greetings again from the darkness. I would venture a guess that most are as uninformed as I about this brief, but altogether impactive and fascinating period of history in Denmark. The story is bookended with the (late 17th century) letter that a seriously ill and deposed Queen Caroline sent to her children, the eldest who would later become King Frederick VI. Director Nikolaj Arcel co-wrote the script with Rasmus Heisterberg (the two also collaborated on the original The Girl with the Dragon Tattoo), and present insight into a most bizarre love triangle andpolitical power struggle that instigated national change … and then a severe reversal … and then change again.
We meet the luminous Caroline (Alicia Vikander from Anna Karenina) as she is traveling from England for her initial meeting with her new husband, King Christian VII of Denmark. Unfortunately, this intellectual and talented woman is stuck with a mentally unstable and childlike spouse. Once she fulfills her duty by delivering a son, the chamber visits are cut off and the two live mostly separate lives. The king is manipulated and controlled by the court and mostly just does what he is told to do, and signs what he is supposed to sign. This keeps the aristocracy fat and happy, while continuing the harsh policies against the poor peasants.
A local doctor is arranged for the king’s European tour and we discover that this doctor has learned how to co-exist and gain the trust of the odd king. What few know is that this doctor … Johann Struensee is a revolutionary thinker and follower of Voltaire and Rousseau. He seeks social reform in Denmark and soon schemes with the idealistic queen to use Christian as their mouthpiece and gain control of the court.
It’s not long before Caroline and Struensee are sharing much more than ideas, and the big question is … will their downfall be their ideas for enlightenment or their dangerous love affair? Speaking of the love affair, it bears mention that this is one of those rare, believable stories of true soul mates. Most movies, especially costume dramas, have us believe that soul mates are created by an exchange of glances across a crowded room. Here, the love between these two grows in step with their ideas for social reform. In other words, there is more than lust between Caroline and Struensee.
Sometimes the story gets a bit muddled between the love affair and the political maneuvering, but it’s not difficult to imagine that these conflicts actually occurred during this period. These are real people with real issues and it’s a pleasure to watch the tangled web.
Mads Mikkelsen is known to most as the villain Le Chiffre in Casino Royale. Here he captures the nuances of Dr Struensee as both a revolutionary figure and an illicit lover. Alicia Vikander is clearly on the verge of stardom and is wonderful as the complex Caroline. The real scene stealer here is Mikkel Boe Folsgaard as Christian. This key role could have easily spoiled the film in the wrong actor’s hands. Instead he balances the mental issues with enough doubt that we viewers are left wondering how much is illness and how much is insecurity … just how much did he understand?
This is a very well crafted, if somewhat conventional film that tells a remarkable story from a turbulent time in Denmark. It’s a story that deserves a greater audience … despite it’s lame title … and this Oscar contender (Foreign Language category) should provide just that.
SEE THIS MOVIE IF: you are fan of costume dramas, especially when steeped in historical accuracies
SKIP THIS MOVIE IF: you believe all things are rotten from Denmark (see what I did there?)
Greetings again from the darkness. Lee Child has written 17 Jack Reacher books since 1997, and it’s a bit surprising that it took Hollywood this long to latch on to this enigmatic lone wolf drifter who doesn’t so much care about laws as he does right and wrong. Fans of the books were outraged when it was announced Tom Cruise would play the 6’5 hulking Reacher, as much of the character’s appeal stems from his ability to physically dominate a situation while using very few words.
Unfortunately I can’t ease the minds of those fans of the pulpy series, but rather to encourage them to give this a shot. Author Child was probably ecstatic when Mr. Cruise took an interest in the character, despite the obvious conflicts. Very few actors can command screen presence like Cruise, especially in action sequences. That’s where this gets a bit dicey. This is not an action movie. It’s an investigative mystery thriller that includes 3-4 action sequences.
The film has a real 1970’s feel to it along the lines of Billy Jackor Walking Tallmixed with Dirty Harryand numerous westerns with strong, silent types, and of course, the timeless pulpy detective stories. See, Reacher is a former military investigator with a mind that is always a step or two ahead of everyone else. He looks at the obvious evidence and immediately notes a list of doubts where none previously existed. So, he is smarter than you. He can fight better than you. And he is travels much lighter than you.
A seemingly random sniper attack is a bold way to begin a movie given recent real-life events, but the opening sequence is executed with methodical precision and daring so that we can quickly believe in Reacher’s conspiracy theories. In the blink of an eye, Reacher has appeared out of nowhere (his usual address) and is in the middle of the investigation being conducted by the lawyer of the wrongly accused James Barr (Joseph Sikora). The defense lawyer is played by Rosamund Pike, whose character is the daughter of the District Attorney (Richard Jenkins). The police detective is played by David Oyelowo and it’s easy to tell something isn’t completely right within the walls of city hall.
Reacher roams the beautiful city of Pittsburgh asking questions and piecing together the puzzle left behind by creepy villain The Zec (Werner Herzog) and his henchman Charlie (Jai Courtney). We get three Reacher fistfights, a Bullit type car chase in a muscle-bound 1970 Chevelle, and some military sharp-shooting from the depths of a quarry. What we don’t get is the Hollywood tradition of a Cruise sprint. Not once do we see his trademark all-out dash to or from something. In fact, his attempt at moving like a larger man often reminded me of his Stacee Jaxx strut from the recent musical Rock of Ages.
Director Christopher McQuarrie won an Oscar, and my ever-lasting respect, for his The Usual Suspectsscreenplay. This story is infinitely less-complicated, but it does offer some fun moments thanks to the Reacher character. Maybe things would be a little better if a guy like Reacher really existed … totally off the grid and taking down the bad guys that the cops can’t quite catch. Sounds a bit like “Dexter”, only Reacher’s code includes doling out physical pain and then moving on to the next town … with a new set of Goodwill duds and a fresh toothbrush.
Caleb Deschanel (Director of Photography) provides a really sharp look to the film and, thankfully, doesn’t cheat on the action scenes. Herzog (a highly respected director) has a great look for a bad guy, but is painfully under-utilized here. Rosamund Pikemay simply be my least favorite actress working today. Bug eyes and long legs do not an actress make. Even Reacher had little “interest” in her. Robert DuVall makes a colorful appearance as the late-arriving character that breaks open the case, and he seems to relish the reunion with his Days of Thunderco-star. The most interesting character and actor to me was Jai Courtney (pictured, left), who will be seen next as Bruce Willis’ son in A Good Day to Die Hard.
If you haven’t read the Lee Child books, you will probably readily accept Cruise as Reacher. If you are a fan of the franchise, your eyes and brain will have massive conflicts for the first hour, but then acceptance creeps in, and you’ll probably agree that it’s a simple, effective piece of entertainment … far superior to most Nicolas Cage movies these days!
**NOTE: don’t miss Lee Child as the policeman who releasaes Reacher’s personal items back to him.
SEE THIS MOVIE IF:you are a fan of investigative thrillers that are sprinkled with actions scenes and car chases OR you just want to see and hear a very cool ’70 Chevelle
SKIP THIS MOVIE IF: you are such a devoted fan of Lee Child’s books that you refuse to accept the 5″7 Tom Cruise as the 6’5 Jack Reacher OR like me, you hope the kidnappers had struck much earlier on Rosamund Pike’s character.
Greetings again from the darkness. It’s a bit of a curiosity why the only four-times-elected US President has been portrayed so few times on screen. Without putting much thought into it, the most memorable non-documentary occurrence may have been by Jon Voight during Michael Bay’s Pearl Harbor. Bring on Bill Murray as Franklin Delano Roosevelt during the 1939 first ever US visit by British monarchs … King George VI(“Bertie” played by Samuel West) and Queen Elizabeth (Olivia Colman) … and the stage is set for a behind-the-scenes political tale of the “social” meeting that led to the US and England joining forces in WWII. Unfortunately, that’s not really what we get.
Director Roger Michell (Morning Glory, Venus) and noted playwright and screenwriter Richard Nelson (Ethan Frome) just can’t seem to make up their mind which story they want to tell. Is it the historical meeting between FDR and the King? Is it the fling between FDR and his 6th cousin Daisy (Laura Linney), whose relationship was uncovered through the diaries and letters left behind when she passed in 1991? Is it the ongoing manipulations by Mrs Roosevelt (FDR’s mother, played by Elizabeth Wilson) and the cagey Eleanor (Olivia Williams)? Is it a political statement that all powerful men have insecurities and needs? The film is narrated and mostly told through the viewpoint of Daisy, a local 47 year old spinster, who gets dragged wide-eyed into the FDR mayhem. Mrs Roosevelt, Eleanor and FDR’s assistant Missy (Elizabeth Marvel, The Bourne Legacy) all understand the President’s reason for allowing Daisy into their inner sanctum. Daisy, a bit slow on the take, learns why once FDR stops the car in a meadow during one of their private, scenic drives. The running story of Daisy is probably the least interesting within the film, and it often deflates whatever momentum might get started.
The best and most interesting portion involves the private meeting between FDR and the King that takes place in the study after hours. The two bond as men who are in positions of power, share the same insecurities, and who both curse their afflictions … the King and his stuttering, and the President with his polio. The best line of the film occurs during this meeting when the President asks “Can you imagine the disappointment when they find out what we really are?” It’s a reminder that all great men are just that … men.
This barely qualifies as a historical drama, and the far more interesting personal topic (rather than Daisy) would be the ongoing power struggle between Eleanor and Mrs Roosevelt. FDR does have to remind them that HE is the President! There is acknowledgment of Eleanor’s sexual preference, as well as her acceptance of FDR’s extra-marital desires and needs.
Much is made of the famous American picnic where the King and Queen are served hot dogs, and this story highlights the Queen’s paranoia that this is yet another slap in the face meant to dishonor their presence. In fact, it is presented as a shrewd move by FDR to introduce the British royalty as people to be embraced by the American public.
It must be noted that though the film plays much like a made for TV movie, Bill Murray does a solid job portraying FDR as a man filled with humor, mischief and in full command of the burden he carries. His need for “me” time is understandable and his agreement with the press photographers explains why so few pictures exist of his wheelchair or other challenges in living with the polio. Unfortunately, the film just doesn’t keep up with Murray’s performance or with the powerful subject he portrays. Sound familiar Mr. Voight?
**Note: stay for the credits and see footage of the infamous “hot dog picnic”
SEE THIS MOVIE IF: you enjoy Hallmark-style movies dwelling on interpersonal relationships OR you still need proof that Bill Murray is a legit actor.
SKIP THIS MOVIE IF: you are looking for a historical drama centered around Franklin Delano Roosevelt
Greetings again from the darkness. The best Political crime dramas are complex films with multiple intersecting sub-plots, filled with stylish mis-direction and intense wordplay and back-stabbing between good guys and bad. What doesn’t work is “obvious”. Especially obvious to the point where the audience is way ahead of the earnest, but clumsy protagonist. Luckily for director Allen Hughes (working solo without his twin brother Albert for the first time), he has stacked the film with a wonderful cast which makes it somewhat entertaining despite its major flaws.
neither time turns out so great for Wahlberg.
While no details will be spilled here, there is a fun exchange during the debate between Crowe and Pepper, and well, the movie is just at its best when Crowe is on screen. Wahlberg’s character is pretty much the same he has played a dozen times prior, but it seems the real issue is with first time screenwriter Brian Tucker. He is just overrun with ideas and because of that, most go undeveloped. A script clean-up from a screen veteran could have turned this one around. Still, if you have seen all the Oscar nominated films and are looking for a watchable January release, you could do worse. Just try not to think too much!
Posted by David Ferguson 
Movie Reviews from the Dark 