THE GODFATHER II (1974) revisited

April 21, 2012

 Six weeks ago was The Godfather in a theatre setting. This time it was the exceptional sequel, which generated an equal amount of movie bliss. Experiencing these two classic movies on the big screen almost 40 years after release reinforces what great films they are … and how few truly great films get made. We are reminded that a powerful well-written story, world class cast, visionary director, brilliant photographer and stunning composer are all necessary components for movie greatness.

This sequel explores three time periods: the journey of 9 year old Vito to the U.S., his rise to power in Little Italy, and Corleone life after Vito’s death. Some find the cuts to varying timelines to be distracting. Personally, I find it fascinating and a very effective way to tell the entire story. Watching an almost mute 9 year old Vito land on Ellis Island and transform into a twenty-something community “leader” is one of the more powerful and unlikely events ever seen on screen. Mixing that with Al Pacino holding little back as a power-mongering Michael is downright frightening. If you doubt this, look at it from the perspective of Diane Keaton‘s May, or John Cazale‘s Fredo.

The film received 11 Oscar nominations and won 6, including Best Picture. Robert DeNiro won for his tremendous turn as young Vito, in a performance with very little English. This is early DeNiro … the Mean Streets, Taxi Driver era. DeNiro and Marlon Brando remain the only two actors to have won Oscars for playing the same character. DeNiro’s Supporting Actor competition came from two other cast members: Lee Strasberg as Hyman Roth (supposedly based on Meyer Lansky) and Michael V Gazzo as Pentangeli. Mr. Strasberg was the famed acting teacher whose prized pupils included none other than Al Pacino (who talked him into taking this role). Strasberg was also bequeathed 75% of the Marilyn Monroe estate and there was much scandal after his death when his widow auctioned off most of it.  Gazzo’s grizzled look and voice dominate his scenes and leave you feeling uneasy about what’s really going on with him.

 Here are a few other interesting points.  Most of this script was original for the film, though the background story of Vito was drawn from Mario Puzo‘s novel. Director Francis Ford Coppola considered casting Joe Pesci as the young Clemenza, but ultimately decided on Bruno Kirby. Dominic Chianese plays Hyman Roth’s right hand man Johnny Ola. Chianese has been recently seen in both The Sopranos and Boardwalk Empire. B-Movie mogul Roger Corman plays one of the Senators on the committee interrogating Michael and Pentangeli. Harry Dean Stanton plays one of the FBI bodyguards, and former heartthrob Troy Donahue plays Connie’s (Talia Shire) goofy boyfriend Merle. One of my favorite characters in the film is Don Fanucci, robustly played by Gastone Moschin. His strutting and preening always creeps me out and makes me laugh.

Besides being the first sequel to win a Best Picture Oscar, The Godfather II is simply one of the finest films ever made. At 200 minutes, it requires both a time and mental commitment, but along with The Godfather, Coppola and Puzo have provided us exemplary story telling through expert filmmaking … and a piece of movie history.

here is a link to my comments on the original: https://moviereviewsfromthedark.wordpress.com/2012/03/03/the-godfather-1972-revisited/

below is a link to the trailer, but be warned … it contains 3 plus minutes of actual footage.  If you have not seen the film, I would not recommend watching the trailer:

 

2 Comments | Classics, Drama | Tagged: , , , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

THE KID WITH A BIKE (2012, Le gamin au velo, Belgium)

April 9, 2012

 Greetings again from the darkness. When Guy (Jeremie Renier) states that he can’t take care of his son Cyril (Thomas Douret) right now, I felt a rush of anger and disgust. Imagine if you were his 11 year old son hearing those words. Young kids should be able to count on their parents for emotional security above all else. There should be no fear of abandonment … those are issues no child should be forced to deal with (barring a natural disaster).

The Belgium writer/director team of brothers Jean-Pierre and Luc Dardenne have a history of taking on parenthood and childhood in a head-on manner. Cyril is dumped in an orphanage by his dad, and is convinced that he is just misplaced, not abandoned. So being the fiercely determined kid he is, he re-traces his steps from coffee shops to bars to their old apartment. Cyril knows with certainty that his dad would never would have sold his treasured bicycle, no matter how desperate for money he was.  It is crushing when Cyril discovers this “certainty” was not so certain after all.

Whatever confusion and hostility that you think Cyril might experience, once he confronts his dad, the filmmakers display it in the rawest possible form. Cyril is a symbol of need, hiding behind a wall of rebellion. A chance encounter with Samantha (Cecile de France) leads to weekend visitations and the start of an awkward quasi-family life for both of them. Cyril tests Samantha and all other authority figures in every possible manner, often to the breaking point.  It’s not difficult to imagine most giving up on him, but Samantha doesn’t.

 As a parent, it’s easy to spot the vulnerabilities that a child faces before they have the maturity to handle it. We see how easily Cyril falls in with the wrong crowd and how quickly things can get really bad. Luckily for Cyril, Samantha doesn’t abandon him. She answers “I don’t know” to his question of why she let him stay with her. Although, the filmmakers never let us in on her deepest thoughts, we suspect she was once not all so different than Cyril, and someone stepped up for her.

This film won the Grand Jury Prize at Cannes in 2011 and it’s easy to see how. It shows how difficult and messy ordinary life can be, yet things often turn out OK, though rarely perfect. Film lovers will recognize Cecile de France from her many films, including the recent Hereafter and the excellent Mesrine.

SEE THIS MOVIE IF: you need a quick lesson in how a kid reacts to abandonment

SKIP THIS MOVIE IF: someone told you this is the best bicycle movie since Pee-Wee’s Big Adventure (2005)

watch the trailer:

 

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Posted by David Ferguson

TITANIC (1997, 3D-2012)

April 8, 2012

 Greetings again from the darkness. Of course I saw this one a couple of times when it was first released in 1997. Having only watched it once since, I was happy to hear it would get a re-release on its 15th anniversary … even if the marketing hook was the post-production 3D. My thought was with James Cameron working his technical magic, the 3D would be fine, and maybe even add to the spectacle of the sinking ship. After all, he was the mastermind behind Avatar, which with Hugo, are the only two films (in my opinion) that haven’t been weakened with 3D technology.

Unfortunately, I can’t overstate my disappointment in the 3D for Titanic. The colors and lighting are destroyed. When we first see young Rose (Kate Winslet) arrive to board the majestic ocean liner, her lavender hat appears almost gray through the 3D glasses. And later, the stunning crimson Renault, where Rose and Jack (Leonardo DiCaprio) get to “know” each other, appears dull and darkened. Additionally, so many face shots are darkened, rather than illuminated by the beautiful fixtures that adorn Titanic. I was so saddened to see such dullness on top of such greatness. Sure, there were a couple of times where the 3D gave a boost to a special effect, but the film is so beautifully made and such a technical marvel, that the impact is minimal to the positive.

What I will say is that despite my frustration with the technology, I do hope a new generation is introduced to the film. Personally, I am no fan of the love story between Jack and Rose. However, it is such a delight to see the young, eager versions of Little Leo and Kate as they go about their antics. They were 22 and 21 respectively during filming, and we now know them as mature actors and major movie stars. That wasn’t the case when Titanic first premiered.

The real genius of this film is two fold: the story-telling and the technical achievement. Gloria Stuart stars as 101 yr old Rose and she is used to perfection in telling the personal story of Titanic. Her love story with Jack allows director Cameron to show off the amazing ship from all angles … first class, third class, dining rooms and engine rooms. She also allows the viewer to connect with the characters on a personal level. The technical aspect is even more astounding. Sets, models, CGI, and documentary footage are all blended to form a cohesive presentation of one of the most dramatic events of the past 100 years.

Here are a few notes of interest regarding the movie and those involved. The movie was number one at the box office for 15 consecutive weeks and grossed more than $1.8 billion … a record that stood until Cameron’s Avatar eclipsed it. Cameron was already an established sci-fi director with Terminator I & II and Aliens, but he almost had the plug pulled by the production company due to cost overruns. Matthew McConaughey was the producer’s first choice for Jack, but (fortunately) Cameron held firm for DiCaprio. The elderly couple hugging each other in bed as the ship sinks were based on the Strauss’ who owned the Macy’s department store chain. And yes, there were Astor’s and Guggenheim’s onboard when it went down.  Kate Winslet (Best Actress) and Gloria Stuart (Best Supporting Actress) received nominations for playing the same character (Rose). If you have seen the movie before, pay particular attention to the secondary characters … the wardrobes and acting are tremendous: Frances Fisher as Rose’s mother, Kathy Bates as the “Unsinkable” Molly Brown, Billy Zane as the fiancé, David Warner as his henchman, Bernard Hill as the Captain, Victor Garber as the architect, and Jonathan Hyde as the sleazy ship owner. Also catch Suzy Amis in one of her last acting jobs before becoming Mrs. James Cameron … she plays the granddaughter to “old” Rose.

This is an historic film version of an historic event and should be seen by all movie lovers. Some of it is a bit hokey, but if you doubt the technical achievement, compare it to A Night to Remember, the 1958 version of the Titanic story.  And depending on your taste, crank up the closing credits and listen to Celine Dion belt out the Oscar winning Best Song.  She is, after all, “the greatest singer in the world” (an SNL gag).

watch the trailer for “the ship of dreams”:

 

3 Comments | Classics, Drama | Tagged: , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

THE HUNGER GAMES (2012)

April 3, 2012

 Greetings again from the darkness. Having not read the Young Adult novels of Suzanne Collins, my comments will be limited to the movie only and not a comparison to the books. The screenplay was a joint affair courtesy Ms. Collins, Billy Ray, and director Gary Ross (Seabiscuit). Whether or not you read the books, you surely know that this has been an anticipated film version in the vein of Twilight and Harry Potter. My analysis is that it falls short of Harry and is superior to the vamps.

What this film definitely is … proof that Jennifer Lawrence is for real. She burst onto the scene in her Oscar nominated turn in Winter’s Bone and once again, her squirrel recipes come in handy. Lawrence plays Katniss Everdeen, a tough as nails and very resourceful resident of the dirt poor District 12. She provides for her little sis and their emotionally vacant mother, and does so by honing her bow and arrow skills hunting in the vast woodlands.

 Without going into too much detail, the dystopian world of Panem is divided into 12 districts and a Capitol. As a combination entertainment and price for previous rebellion, an annual lottery is held to select a boy and girl from each district … “tributes” to their community. Those drawing the proverbial short straw are entered into a brutal fight to the death, where 23 are to be killed and one left standing. In the 74th annual Hunger Games, Katniss volunteers to take the place of her little sister. So she and Peeta Mellark (Josh Hutcherson, The Kids are All Right) are whisked away to the Capitol to meet their mentor, Haymitch Abernathy (Woody Harrelson), a one time winner who now celebrates daily by downing as much booze as possible.

 In stark contrast to the hopeless community from which they arrive, the Capitol is a gleaming, bright-colored land of enchantment filled with wildly costumed residents seemingly bored by the atrocity of the annual event. Seneca Crane (Wes Bentley, American Beauty) is the man in charge of staging and manipulating the event for the highest possible ratings and entertainment value. He carries out his duties while sporting a very unique satanic beard, unlike you have seen before.

After prepping from a futuristic Tom Ford named Cinna (Lenny Kravitz), the tributes appear in front of a futuristic Ryan Seacrest played by the flamboyant Stanley Tucci. His Caesar Flickerman is charged with interviewing so as to help the audience make a connection. Nothing like humanizing the prey.

 It takes a full hour, but the actual Hunger Games finally begin. Quickly the faceless characters disappear and the game of brutality and brains begins. Lawrence is truly a standout here since she has tremendous ability as an actress, and sells her athletic ability quite well. I can’t say I was as taken by Mr. Hutcherson, who spends most of the film looking like a wounded puppy.

While the PG-13 rating keeps it from becoming a gore fest, I found the action sequences to be quite entertaining. More interesting to me was how the story and characters are posed so that a viewer might interpret meaning in just about any manner one cares to twist. There are political views and human nature traits and commentary on the Reality TV world that are primed for claiming … regardless of one’s opinion. To me, that’s a weakness. I would rather the story take a stand and make a statement. But then I remind myself that this is the first in a trilogy of Young Adult stories. It’s not designed for deep thought. The movie succeeds in reaching the goal of producing a strong young female character in a world run amok.

The movie and story seems a mash-up of The Running Man (1987) and Japan’s Battle Royale (2000), but do deliver some other interesting characters, notably Donald Sutherland as the viscious President, Elizabeth Banks as the colorful PR expert Effie Trinket.  T Bone Burnett teams with James Newton Howard for the music, and the Tracker Jackers will definitely cross your mind the next time you have a wasp nest to deal with.  The missed opportunities with political commentary and a more in-depth love story do not harm the entertainment value here, and the box office success guarantees we will see “Catching Fire” and “Mockingjay” to finish out the trilogy.

SEE THIS MOVIE IF: you read the books (haha … like you haven’t already seen the movie at least twice) OR you want to follow the career of Jennifer Lawrence (super star in the making)

SKIP THIS MOVIE IF: you are expecting an incredibly intense, socio-political commentary OR a satanic looking beard could cause nightmares

watch the trailer:

 

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Posted by David Ferguson

FOOTNOTE (Hearat Shulayim, Israel, 2011)

April 2, 2012

 Greetings again from the darkness. In the United States, we typically get limited access to the films of Israel. In recent years, there have been two that I like very much: The Band’s Visit, and Waltz for Bashir. Written and directed by Joseph Cedar, Footnote was nominated for the Best Foreign Language Academy Award. It’s a very creative and insightful story utilizing slight comedic elements to show the destructive forces of petty professional jealousy within a family.

Most parents wish for true happiness for their children. If the professional success of their offspring far exceeds their own … it is a reason to swell with parental pride. But what happens when father and son choose similar career paths? What happens when animosity builds as the father’s life work (30 years of research) is deemed unnecessary and irrelevant? What happens when the son becomes publicly revered and adored for his populist writing? Well, in the case of father Eliezer (Shlomo Bar-Aba) and son Uriel (Lior Ashkenazi), we get strained relations and a thesis on the pitfalls of pride and ego.

 All of that is sufficiently fascinating for a story, but here we get an even more severe test of human nature. The father is erroneously informed that he has won the prestigious Israel Award, providing vindication and meaning to his work and well, his being. See, the award was supposed to go to the other Professor Shkolnik … yes, his son. This much is shown in the trailer, but the true guts of this story is what happens after this mistake.

There are a few impactful scenes in the film, but two really jumped out for me. In a very early scene, the son is receiving yet another reward and he is attempting to provide some credit for his father’s inspiration. However, the words seem to add credence to his irrelevancy instead. The best part? The camera never leaves the face of the father as he sits quietly listening in immeasurable pain. The other scene takes place in a beyond cramped meeting room for the Award committee to discuss the mistake with Uriel. The manner it is filmed and the choreography more than make up for the fact that the group of brilliant academics never thought to find a more suitable meeting place.

The score of the film is one that I would appreciate more without having the film playing. The music is wonderful, but often distracting to the moment. It is interesting to note how it changes along with the posture and walking pace of Eliezer after he is informed of his award. One need not be an academic researcher or writer to understand the damaged relationship between father and son … and how it has impacted wives, mothers and sons. That’s a story that is painful in any language.

SEE THE MOVIE IF: you want to see an insightful Israeli film exposing the dangers of misplaced ego and pride within the family circle.

SKIP THE MOVIE IF: selfish parents or competitive contempt are subjects you prefer to avoid … in any language

watch the trailer:

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Posted by David Ferguson

BEING FLYNN (2012)

March 27, 2012

 Greetings again from the darkness. Having done no research to determine how closely Nick Flynn’s autobiography/memoirs entitled “Another Bull**** Night in Suck City” follows his real life, it is safe for me to say that there is some pleasure to be had from a movie that lacks the traditional Hollywood ending of redemption for rotten souls. We do know that in real life, as in the movie, Nick met his long-lost father while working at a homeless shelter. This happened after Nick’s mother committed suicide.  Not exactly the most cheerful start, eh?

This story will strike a familiar chord with anyone who has experienced abandonment by a parent (or two). Hopefully, your personal story doesn’t also include the alcohol and drug abuse, as well as the guilt of believing you were responsible for the loving parent’s suicide. Nick’s story does.  He makes no apologies for the behavior of himself or either of his parents.  He just lays it out for us to see.

Nick is played well with an almost detached passive aggressiveness by Paul Dano. He seems constantly numbed by the situation life places him in. Astonishment kicks in when he comes face to face with his father Jonathan, a self-proclaimed brilliant writer, but also con artist and racist. Jonathan, played by Robert DeNiro, is first seen as a taxi driver. Yes, Robert DeNiro as a taxi driver, almost 40 years after his iconic turn in Taxi Driver! It’s a startling image for a movie lover, but one that doesn’t last long. Jonathan loses that job as he has lost everything else.

 Nick’s internal battle is obvious. He doesn’t want to be his father, but constantly sees glimpses that they are more similar than he would prefer. Nick manages to mess up a good thing with his co-worker played by the terrific Olivia Thirlby. She experiences the frustration of trying to save someone who doesn’t really want to be saved.

Strong support work comes from Wes Studi, Dale Dickey, William Stadler, Lili Taylor (Nick Flynn‘s real life wife) and Julianne Moore. Ms. Moore plays Nick’s mother, but really has little to do. Though she provided a strong foundation for Nick, this is really the story of Nick and Jonathan. It’s DeNiro’s best dramatic work in years and is a reminder that he is capable of more than the “Focker” movies (Paul Weitz actually directed Being Flynn AND Little Fockers, as well as About a Boy and American Pie.  This one can’t be termed enjoyable, but it is an interesting look at “real” life without a Hollywood twist.

SEE THIS MOVIE IF: you have forgotten (or never knew) that Robert DeNiro is an accomplished dramatic actor

SKIP THIS MOVIE IF: bleak, dysfunctional family dramas are not your preference for springtime fare

watch the trailer:

4 Comments | Drama | Tagged: , , , , , , , , , | Permalink
Posted by David Ferguson

SALMON FISHING IN THE YEMEN (2012)

March 25, 2012

 Greetings again from the darkness. This is one of those times where I am going to be somewhat critical of a movie that is based on a book I haven’t read. That doesn’t change my belief that this movie is stuck in the gray area between romantic drama and comedy, and because of it, comes across as just a lightweight film with no real message or emotion. For this, the director Lasse Hallstrom gets the accusatory glance. His history with Chocolat and Dear John are examples of how his fondness for all things mushy gets in the way of real story-telling.

The best parts of this movie are the comedic elements. Stuffy British fish expert Ewan McGregor has some really funny deadpan moments and his inner office battles with his boss wreak of truism. Same with Kristin Scott Thomas, who plays the Prime Minister’s Press Secretary as if she were told this was a screwball comedy. She is funny and over the top, and was probably horrified when she saw the final version of the movie.

 The story is quite creative and interesting – a Yemeni Sheikh (Amr Waked, Syriana) has a vision of creating a vast green-land around a man-made freshwater river where Salmon spawn and feed the community. Unfortunately, the story leaks to the locals that this Sheikh with too much money is playing God just to satisfy his fishing hobby. Local rebels get involved in trying to stop the Sheikh and the project. Meanwhile, this Sheikh spouts off wisdom and advice as if he just finished reading the greatest hits of Confucious.

To bring this fishy project to fruition, the Sheikh enlists the British government’s help and that’s how Ms. Thomas, Mr. McGregor and a wonderful Emily Blunt get involved. We see early on that McGregor is stuck in a loveless marriage to a witch (figuratively speaking) played by Rachael Stirling (who may have the deepest voice of any actress since Lauren Bacall). Blunt’s character is a bit desperate for love and falls quickly for a soldier (Tom Mison) who is shipped off to war. So when Blunt and McGregor first meet … it seems destiny that these two opposites will attract.

 The scenery here is pretty impressive – especially the Scottish castle that houses the team for a brief period. I was just continually frustrated that more insight wasn’t provided into what makes this Sheikh tick. Is he truly the visionary he claims? If so, why? What did the locals really think of the project and was any effort made to deliver the long term vision? If not, why? Why did Blunt fall so quickly for this soldier? Just because they had fun in bed? Seems a bit shallow for someone who can peer into the soul of a nerd like McGregor. And why did McGregor ever fall for this ice-queen he married? Makes no apparent sense.

Simon Beaufoy‘s screenplay of Paul Torday‘s novel delivers a few good chuckles, but mostly leaves us wanting a real direction for the story and bit more depth of character. It’s always frustrating when a promising premise leaves us fighting so hard to swim upstream … just like the salmon and characters of the film.

SEE THIS MOVIE IF: if your favorite movie genre is non-descript love stories OR you have been anxiously awaiting a film with a lead character who is a fish expert

SKIP THIS MOVIE IF: you are looking for an expert comedy or an expert love story

watch the trailer:

7 Comments | Comedy, Drama | Tagged: , , , , , , , | Permalink
Posted by David Ferguson

JEFF, WHO LIVES AT HOME (2012)

March 18, 2012

 Greetings again from the darkness. Jay and Mark Duplass (The Duplass brothers) were responsible for a terrific, creepy little comedy called Cyrus. It dealt with a dark, strange relationship between a mother and her grown, stay at home and do nothing son. The Duplass mumblecore beginnings often used familial relationships to find those moments of discomfort and comedy. Their latest movie brings all of that together as they examine multiple relationships within a family, and the possible role destiny plays.

Jeff (Jason Segel) is an unemployed, 30 year old, childlike pot-head who lives in his mother’s (Susan Sarandon) basement and watches the M Night Shyamalan movie Signs so often that he is convinced there are no “wrong numbers” in life … everything is a sign leading us towards our destiny. After the latest “sign” (phone call for an unknown Kevin), Jeff heads out to complete a simple task for his disenchanted mother. He gets sidetracked by his quest for Kevin, and stumbles into his brother Pat (Ed Helms).

 By this time, we have seen Pat interact over breakfast with his wife Linda (Judy Greer). Note to guys: serving breakfast to your wife will not neutralize your surprise purchase of a Porsche. These two people have clearly lost whatever bond they once shared. One thing leads to another and we are soon watching Jeff and Pat stalk Linda and her male lunch friend … or is he more? While this amateur detective work is playing out, Sharon (their mother) discovers she has a secret admirer at work. Her spirits are immediately lifted as she has pretty much given up on a personal life since the death of her husband years ago. Her friend Carol (Rae Dawn Chong) helps her be receptive to the idea, and this story line provides a nice Duplass twist.

 Despite the fact that none of the characters are extremely likable: Jeff is borderline goofy, Pat is kind of an ass, Sharon and Linda just seem frustrated … the story moves along so that each of them grows a bit and their relationships evolve. The ending is a perfect cap and provides meaning, though initially quite a shock to the system after first three-quarters of the movie.

The Duplass directing style utilizes micro-bursts of quick zoom in many scenes, giving this a quasi home-movie feel at times. As for the acting, I can’t imagine another actor than Jason Segel could have pulled off the role of Jeff. In lesser hands, he would have come off as mentally unstable or just a total loser. Segel’s sweetness pays off. It’s always great to see Rae Dawn Chong back on screen, and I didn’t even hate Susan Sarandon! Judy Greer’s scene in the hotel room is so well played, it’s a reminder of what a terrific and under-utilized actress she is. Don’t expect a laugh outloud comedy, as this is more drama than comedy, though the smiles and chuckles occur in the moment.

* note: the name Kevin plays a part in this story, and it’s also the name of a new documentary short from the Duplass brothers on Austin musician Kevin Gant

SEE THIS MOVIE IF: you want to see Jason Segel and Ed Helms inch towards dramatic roles OR you have missed seeing Rae Dawn Chong on screen as much as I.

SKIP THIS MOVIE IF: you have a deep affection towards Porsches

watch the trailer:

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Posted by David Ferguson

GAME CHANGE (2012)

March 13, 2012

 Greetings again from the darkness. One sided films can be made about race, gender, religion, occupations and hobbies. One sided films about politics, however, tend to wreak as much havoc as the actual politics. HBO’s latest from director Jay Roach and writer Danny Strong (the team behind Recount) is based on the bestseller from political writers Mark Halperin and John Heilemann. Just as the book did, the film will bring enjoyment and confirmation to the left wingers and much pain and anger to the staunch right wingers … at least those who are unable, even 4 years later, to view the story with a hint of objectivity.

I am not here to debate the political sides of the story, but rather to address how it is presented. The thing that really stands out are the Emmy-caliber performances of Ed Harris (as John McCain), Julianne Moore (as Sarah Palin) and Woody Harrelson (as Steve Schmidt). McCain comes across as a man with true ideals and integrity, who gets caught up in the ambitious push to become President. Palin is presented as the “high risk, high reward” gamble that initially pays dividends, but ultimately backfires. Schmidt is really the key to the story as the campaign strategist who accurately reads the climate, but then fails to do his homework before turning in his assignment.

 The story follows the evolution of the Palin story. McCain’s campaign needs a “WOW” factor and the Alaska Governor provides an energetic, charismatic woman who quickly captures the imagination of the public and media. She then fades under the pressure of being separated from her family, having family secrets publicized, and most crucially, her lack of depth on basic foreign and domestic issues. The note-card budget for this movie must have set a record.

We get a peek behind the curtain of a Presidential campaign, and see the shock on the faces of Schmidt and Nicolle Wallace (played by Sarah Paulson) as they realize too late just what they are dealing with in Palin. It was painful enough to watch what was presented to the public during this actual campaign, but to see what was going on behind the scenes is pure agony.

 Where the movie does its best work is in capsulizing what really happened in this 2008 campaign. We hear Schmidt ask, do you think the people want a “Statesman” (McCain) or a “Celebrity” (Obama)? That really is the key observation on the race. One candidate lacked real a connective personality, but fought for his country and served more upon his return. The other had few accomplishments, but had a dynamic personality that drove him to quickly become one of the most recognizable faces on the planet. McCain mentions “the dark side of the American populism“.  Schmidt understood the need for celebrity and poof … Palin appeared!

The last segment of the film provides a glimpse into the power-hungry, or at least celebrity-enjoying phase of Sarah Palin, and it looks like that persona is still going strong four years later. Even at this stage of the primaries, she mentions that she is open to being President.  The film does provide some insight into the pressures of managing a campaign on the highest stage and I found it quite interesting … even though I had to relive the chagrin I felt as each layer was peeled back on Palin in 2008.

watch the trailer:

Leave a Comment » | Drama | Tagged: , , , , , , | Permalink
Posted by David Ferguson

FRIENDS WITH KIDS (2012)

March 12, 2012

 Greetings again from the darkness. Evidently this is a movie for thirty-somethings who need more ammunition to defend their decisions to avoid marriage and parenthood. At least that’s the best case I can come up with … otherwise it’s just a bitter, caustic view of those two topics. It’s pretty obvious from the opening scene where the relationship story is headed, but it’s not an easy road for us viewers.

This movie belongs to Jennifer Westfeldt. She wrote the script, directed the movie and stars as the woman who decides to have a baby with her platonic friend (Adam Scott). These two are part of a group of six close knit friends in Manhattan who start out doing everything together and telling each other everything. One of the couples (Maya Rudolph and Chris O’Dowd) announce “We’re pregnant” and promptly move to Brooklyn. The other married couple (Jon Hamm, Krisen Wiig) start out by attempting to break all Guiness records for sex, and end up evolving into something a bit less exciting.

 The two platonic friends decide to “beat the system” by sharing parenting responsibilities while pursuing separate dating lives until they find “the right person”. Westfeldt has a Lisa Kudrow quality about her that doesn’t play well with me. She was the star and writer of Kissing Jessica Stein, and has been in a relationship with Jon Hamm since 1998.  Here she comes across as insecure and awkward, and not nearly as smart as she would like to believe. Adam Scott (brilliant on “Parks and Recreation“) is quite the ladies man and also views himself as smarter than the masses. Westfeldt finds a “perfect” guy in Edward Burns, and Scott finds happiness with Megan Fox. Of course, you still know where all of this is headed.

 What struck me throughout the film was how every scene and every character was just a bit off. Nothing really worked. Jon Hamm has one really nice scene where he is intoxicated and really stirs the pot at a group dinner. Kristen Wiig has very few lines and spends the movie sulking. Maya Rudolph and Chris O’Dowd have a couple of decent scenes, but mostly the film has little insight to offer and no characters with whom you would like to connect. 

*note: Some critics think more highly of this movie than I, and have even compared it to Woody Allen‘s best work.  As always, the opinions expressed above are my own, and your actual mileage may vary.

SEE THIS MOVIE IF: you want to watch a group of friends who don’t get along so well OR you seek further justification for you decision to avoid marriage and/or parenthood

SKIP THIS MOVIE IF: you have already discovered that, contrary to the movie’s poster tag, that maturity dissolves the need to pick two from: Love, Happiness, Kids

Watch the trailer:

Leave a Comment » | Comedy, Drama | Tagged: , , , , , , , | Permalink
Posted by David Ferguson

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