SKATELAND

May 29, 2011

 Greetings again from the darkness. I am a sucker for coming-of-age stories based in the 60’s, 70’s or 80’s. So all it took was seeing the trailer once for me to catch up with first time director Anthony Burns’ film set in 1983 in a small east Texas town. No matter that I spent almost no time in a skating rink growing up. The basic time and place was enough to lure me in.

Pet Peeve Alert: I have stated this many times, but I can never understand why directors feel the need to cast twenty-somethings as high schoolers. Immediately I am on the defensive. That’s not to say that Shiloh Fernandez, Ashley Greene and Haley Ramm aren’t fine actors, because they certainly are. They just aren’t believable as 17 or 18 year olds. Same with Heath Freeman (the film’s co-writer). As Brent, he is cast as the older guy who still parties with the high schoolers when on break from his time as a dirt bike racer. Mr. Freeman is talented, but looks to be pushing 40 years old! Remember Matthew McConaughey in Richard Linklater‘s excellent Dazed and Confused? At least he didn’t look 15 years older than the other kids. There are elements of that film, as well as Almost Famous and American Graffiti, present here. Unfortunately, Skateland never comes close to the detail or emotional strength of any of those three films.

For the first hour, I kept holding out hope that the film would find itself and really present something new and special. It has the look of important commentary; however, it just leaves us holding an empty bag.

Certainly all the pieces are here … wannabe writer, inspirational sister, broken family, rich and poor friends, cool and uncool students, hangers-on, local thugs, etc. Even Skateland itself has a real look and feel. For whatever reason, these pieces never jell … they just lay there expecting us to assemble a meaningful, completed puzzle.

SEE THIS MOVIE IF: you attended high school in a small town in the early 1980’s OR skating rinks hold a special place in your heart

SKIP THIS MOVIE IF: you have the chance to watch American Graffiti instead

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Posted by David Ferguson

EVERYTHING MUST GO

May 18, 2011

 Greetings again from the darkness. Seeing this film back-to-back with Mel Gibson‘s The Beaver was a mistake. Following up manic depression with severe alcoholism and mild depression is just a bit too much weight in such a short time. But I guess that’s the point of this one. Will Ferrell stars as Nick.  He loses his job, punctures his boss’ tire, and finds out his wife not only left him, but also locked him out of the house with all his belongings in the front yard. That’s in the first 8 minutes of the film.

Ferrell proceeds to get drunk … while sitting in his La-Z-Boy in the front yard. He clearly has hit bottom and shows no signs of recovering. At least not until he partners with a lonely, young, bike riding boy named Kenny (Christopher Jordan Wallace, son of Notorious B.I.G.). This partnership consists of Kenny doing most of the work for the yard sale while Ferrell sleeps and drinks.

 Rebecca Hall plays a pregnant woman who is moving in across the street. “What kind of man makes his wife move across country alone?“. That’s the question Ferrell asks Hall … and along with the viewer, these two characters understand the answer would be a man just like Ferrell.

What I like about the film is that there are numerous signs of real human emotion throughout, yet none of the main characters overplay their part. If you are unaccustomed to seeing Mr. Ferrell in anything but slapstick comedies, I encourage you to see Stranger Than Fiction. He really does have dramatic acting skills on top of his amazing comedic talent.

The film comes from first time director Dan Rush and short story writer-extraordinaire Raymond Carver. The script does capture much of the emotion that goes with feeling rejected and searching for numbness in a bottle … or in this case, a Pabst beer can. Supporting work from Stephen Root, Laura Dern and Michael Pena are solid, but the best scenes are between Ferrell, Wallace and Hall. Don’t show up expecting to laugh much. This is a serio-drama that makes you think … there but for the grace of God …

SEE THIS MOVIE IF: you want to see Will Ferrell bring humanity to a gut-wrenching situation OR you are just looking for some ideas on how to live in your front yard

SKIP THIS MOVIE IF: you are expecting Step Brothers or Anchorman

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Posted by David Ferguson

THE BEAVER

May 18, 2011

 Greetings again from the darkness. Clearly, depression is no laughing matter for anyone who suffers from it, or their friends, family or co-workers. But a puppet? Speaking as someone who is not qualified to speak on the topic, I do see how the puppet thing might be good therapy for someone who is depressed and has lost their “voice”. But a movie about it?

The good news … IF I were going to make a movie about a depressed dude who talks through a puppet, I would cast Mel Gibson. If the premise is ever going to be believable or watchable, Mel is the man to make it happen. Director Jodie Foster fully understood this and was willing to take the financial risk of having PR-nightmare Gibson attached.

 The frustrating part is that he almost pulls it off, despite the fact that he is TALKING THROUGH A PUPPET most of the movie. We get to see a puppet co-star in a heavy-handed drama, not a comedy like what would come to your mind when you think of a puppet movie. This puppet shares family meals, board meetings, and love-making. Yep, really.

Mr. Gibson proves again what a terrific actor he can be, though at times, I had difficulty not thinking of his real life personal escapades as the on screen drama was playing out. The opening shot of a beleaguered Gibson adrift in a pool makes it impossible to separate fact from fiction. Plus I found Gibson’s choice of mimicking Ray Winstone‘s voice for the puppet to be quite distracting.

 I actually found the sub-plot with the oldest son, played by Anton Yelchin (Star Trek) to be far more interesting. His rogue business and pursuit of cheerleader/valedictorian Jennifer Lawrence (Winter’s Bone) was very intriguing. Ms. Foster not only directs, but also plays the wife/mother who provides far more patience and trust than her husband probably deserved. 

Seeing this movie back-to-back with Everything Must Go just about sent me into depression overload. All the puppet movie really showed me was that Gibson can still act and that Foster is still a fine actress and director, despite the material … and a puppet.

SEE THIS MOVIE IF: you are fascinated by the train-wreck known as Mel Gibson OR you have a “thing” for puppets

SKIP THIS MOVIE IF: you think the movie MUST be better than it looks in the trailer OR you can’t wait to see a puppet teach some manners to Mel.

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Posted by David Ferguson

CHINATOWN (1974) revisited

May 13, 2011

 Greetings again from the darkness. The latest of the monthly 1970’s film screenings hosted by Dallas Film Society and The Dallas Morning News was the classic Chinatown.   It was shocking to see 35-40% of the hands go up when host Chris Vognar asked how many had never seen the film.  I felt a combination of guilt, pride and envy since my viewings number approximately 15 or 16, not counting “pit stops” while channel surfing.  This is truly a classic film that should be seen by all lovers of movies.

This is a chance to see the work of three film greats at their absolute peak: Jack Nicholson, Roman Polanski (director) and Robert Towne (writer).  I have previously discussed Nicholson’s work in the 70’s (Five Easy Pieces, The Last Detail,Chinatown, One Flew Over the Cuckoo’s Nest).  He is so confident and assured and expert in his manner and delivery.  It is so much fun to watch the perfect actor in the perfect role.  Regardless of what you may think of Roman Polanski the man, he is unquestionably an excellent director (Rosemary’s Baby, The Pianist, The Ghost Writer).  His visual flair is on full display with cars, wardrobe, colors, and camera angles.  It is obvious he adores the source material.  Robert Towne has some terrific screenplays on his resume (The Last Detail, Shampoo), but none better than this one.  Along with Network (Paddy Chayefsky), this is one of my two favorite screenplays of all-time.  It is outstanding!

 Some people refer to this as “the Nose movie”, thanks to the scene where Polanski, in a cameo as a tough guy, teaches Nicholson a lesson about sticking his nose where it doesn’t belong. What I love about the story and the movie is that we are along with Gittes (Nicholson) for the whole thing.  There are no shortcuts … no narrators … no flashbacks … we get to solve the mysteries right along with him.  Too many movies make it easy for the viewer.  I prefer to work a little.  And trust me, this one makes you work.  Is it a whodunit?  Is it a kidnapping?  Is it a political power play for control of water?  Is it just outright corruption?  The answer is YES to all of these!

 If you have seen it before, watch it again and pay attention to the absolutely perfect mood score from Jerry Goldsmith.  Check out the wardrobe – the number of suits worn by Nicholson is crazy.  The same holds true for Faye Dunaway’s dresses.  Pay attention to the multiple “eye” references right up to the final two … Dunaway in the car and John Huston shielding his “granddaughter” from the grisly scene.  You may have missed the supporting work from John Hillerman, Diane Ladd, Rance Howard (Ron’s dad), Burt Young (Paulie in Rocky) and James Hong.  James Hong?  If you are a “Seinfeld” fan, you’ll recognize him from the Chinese Restaurant scene where he pages “Cartwright”.  Especially pay attention to the powerful performance of John Huston as Noah Cross.  And no matter how many times you have watched it, the “nose” scene will still make you cringe.

If you have never seen the film, I urge you to set aside some time to watch this classic.  Don’t allow yourself to be distracted.  Take it all in and then … “Forget it Jake.  It’s Chinatown.”

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Posted by David Ferguson

IN A BETTER WORLD (Haevnen, Denmark)

April 26, 2011

 Greetings again from the darkness. As is customary, the Oscar winner for Best Foreign Language film finally makes it to Dallas in April, AFTER the awards show is long forgotten (well, except for the half-assed hosting job by James Franco). Denmark’s entry, directed by Susanne Bier (Things We Lost in the Fire), is overflowing with every human emotion one can imagine. However, the battle between two specific emotions is most prevalent: misplaced revenge and forgiveness.

At it’s core, this is a story of two fathers and two sons. The presentation is quite odd in that it tries desperately to tie in all spectrum of human emotion and economic standing. Anton (Mikael Persbrandt from the excellent 2008 Everlasting Moments) travels back and forth between an African refugee camp where he serves as a doctor, and his upscale Denmark home where he is separated from his wife and trying to set a good example for his son Elias (Markus Rygaard).

 The other father is Claus (Ulrich Thomsen) whose relationship with his son Christian (William Johnk Nielsen) is flat out terrible. Christian’s mother recently lost her battle with cancer and it has caused a rift between these two … and lit one heck of a fire of anger in young Christian.

Soon enough Christian stumbles upon Elias being bullied at school. His flaming temper sets the bully straight with a violent act, creating a bond between Elias and Christian. Sadly Christian continues to spin off axis and he drags Elias along.

 As a doctor in the camp, Anton constantly strives to repair the truly despicable acts of the local town bully. This is used to contrast with what’s going on with his own son at home. There are many parts of the film that are difficult to watch, especially as Christian just loses his grip on reality.

While I certainly see the excellence in the film, I believe the filmmakers tried too hard to stage the contrast. The story of the boys was plenty powerful enough to carry a film. Also, the doctor in the camp could have made a chilling movie on it’s own. Instead we gets bits of each and that’s fine … just not what it might have been.

SEE THIS MOVIE IF: you just haven’t seen enough struggling marriages or lousy father-son relationships OR you would like to witness what may be the longest list of human emotions ever seen in one film

SKIP THIS MOVIE IF: you believe horrible acts of human nature should be confined to the local and national news and that movies are purely for entertainment purposes.

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Posted by David Ferguson

CERTIFIED COPY (Copie Conforme, Fr)

April 26, 2011

 Greetings again from the darkness. OK, I feel terrible. This movie is a darling of the critics. Juliette Binoche won the highest acting award at Cannes for her performance. It’s the first film from outside of Iran by legendary writer/director Abbas Kiarostami (Under the Olive Tree). It is a technical masterpiece filled with various philosophies on art, love and life. It’s filmed in one of the most beautiful and historic areas in the world. The one thing it didn’t do very well was capture my interest. I know … I feel terrible.

In my defense, this is a very odd film. Is it about two people courting each other? Is it about two people role-playing? Is it about two people trying to re-capture or deflect a previous relationship? Is it all of those things? To make matters worse, it plays a bit like a grown-up Before Sunrise or Before Sunset. Brace yourself … I didn’t much like either of those Richard Linklater classics. Again, I feel terrible.

 Pretty much everything I have to say about this movie is positive. Ms. Binoche is outstanding and captivating. William Shimell is a long way from his British Opera fame, but does an admirable job as the less-than-enchanting writer and object of Ms. Binoche’s attention. The quaint Tuscan town of Lucignano comes off beautifully as the locale that newlyweds flock to for romance and photo ops. The sound editing is spectacular: birds chirping and flapping, water dripping from fountains, footsteps clattering … all of these make up the realistic backdrop for the barrage of verbal tangling. Even the camera work is expert. Sometimes we are POV with one of the  characters, while other times we are the eyes unto which they gaze. Both effects are startling.

All those pieces are very well done and technically expert. The two characters are interesting enough on their own, but the “story” or approach of having these two play-pretend just didn’t grab me. Yes, Yes, Yes … I feel just terrible about it.

SEE THIS MOVIE IF: you enjoy the endless jabbering between two people like what we heard in Before Sunrise and Before Sunset … only these two don’t play nicely.

SKIP THIS MOVIE IF: a beautiful Tuscan setting is just not quite enough for you.

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Posted by David Ferguson

WATER FOR ELEPHANTS

April 23, 2011

 Greetings again from the darkness. Everyone loves the circus (except those who are scared of clowns). Everyone loves trains (except those who are scared of wrecks). Everyone loves performing animals (as long as they are a safe distance). Combine those elements with a best-selling novel, three popular actors and a twist on Titanic and you end up with a very watchable, though slightly mundane dramatic love story.

You are probably wondering where I came up with the Titanic reference. Allow me to explain. The story begins with an old man caught in a rain storm. We quickly find out Hal Holbrook is playing the Robert Pattinson character as an old man. Mr. Holbrook’s character corresponds to Gloria Stuart‘s character in Titanic. Both provide flashback detail to a love story engulfed in tragedy. On top of that, both have twinkly blue eyes! Paul Schneider is in the Bill Paxton role … trying his best to get the secrets of what really happened so many years ago.

 The story is based on Sara Gruen‘s best selling novel and is set in depression-soaked 1931. Jacob (Pattinson) is sitting for his Cornell veterinarian finals when he is notified of a family tragedy. He promptly sets out on the road and jumps a train. Not just any train … the Benzini Brothers Circus train! He is taken under the wing of Camel, the old timer played well by silky-voiced Jim Norton. Soon enough he is summoned to meet the circus owner. A brief meeting leads first to the order to toss Jacob off the train, but he is saved by his knowledge of animal medicine – a valuable commodity in the circus world.

Now is as good of time as any to let you know that the great Christoph Waltz plays August, the circus owner. As in his Oscar winning role for Inglourious Basterds, Waltz’ August is alternatingly charming and chilling. He is a ruthless circus owner who values no man or animal. He values only making money and his star attraction and wife, Marlena (Reese Witherspoon). Oh, and just because he values her, doesn’t mean he treats her well. He is near-psychotic when he goes off on her or anyone or anything else. Pause … then a few minutes later, he is back to his charming self. Very frightening stuff.

Of course, it’s not surprising that Jacob is enchanted with Marlena (a bareback rider) or that she returns the affection. What is surprising is that they continue to push the boundaries of good sense while within the confines of the circus group – and August. You can imagine the confrontations and situations that arise, but Marlena’s insistence that no life exists for her outside the circus is a head-scratcher.

 The story really picks up when the struggling circus purchases a performing elephant named Rosie. It didn’t take me long to figure out that Rosie may be the smartest character in the film. She is certainly the most crucial for Marlena and Jacob.

The screenplay is from Richard Gravenese who has a track record with this type of story. He was also responsible for The Horse Whisperer and Bridges of Madison County. What’s surprising is the director is Francis Lawrence, previously known for I Am Legend and Constantine. This movie has (thankfully)no resemblance to those films and his cast and crew obviously help him adjust to a more melodramatic storyline.

What I like about the film are the realistic characters and the setting. The trains, big top, circus performers and workers all seem real, as do the few circus scenes presented. Without the Christoph Waltz character and performance, this film would be truly just a run-of-the-mill dramatic love story. His element and the realistic circus life make this one worthwhile.

SEE THIS MOVIE IF:  you are fan of the circus or the book or the three lead actors OR you thought Mr. Dark from Something Wicked This Way Comes was the creepiest Ringleader ever

SKIP THIS MOVIE IF:  you can’t handle a bit of melodrama with your trip to the circus OR a performing elephant who understands Polish is just a bit too far outside the comfort zone

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Posted by David Ferguson

THE CONSPIRATOR

April 21, 2011

 Greetings again from the darkness. While not a historical expert, I commend writer James Solomon for his years of research into a fascinating, yet quite dark moment in America. Many have attempted to couch the film as presenting Mary Surratt as an innocent bystander. I would argue that the film is much less about her innocence or guilt, and much more about the state of our country’s leaders and the judicial system at the time of Lincoln’s assassination.

I found the two strongest elements of the film causing quite an internal conflict as I watched. First, the film is simply gorgeous. Costumes, props, sets and lighting all lead to a texture that puts the viewer right into the mid 1860’s. Second, the courtroom (and backroom) procedures generate a feeling of disgust. Although, we have had very recent examples of less-than-stellar judicial process in the U.S., we Americans still hold on to the belief that ours is the best and fairest system in existence.

 It was very interesting to see Kevin Kline as War Secretary Edwin Stanton. Stanton was the guy calling the shots during this time and evidently had quite a power hold on the military, as well as the government. His viewpoint that the country needed a swift and decisive conclusion to this tragedy makes absolute sense … unless you happened to be one of the accused, or their legal counsel.

The lead actors in the film do a very nice job of capturing their characters and holding us in time. In addition to Mr. Kline, James McAvoy plays Frederick Aiken, the Union war hero and reluctant defense attorney for Mary Surratt. Tom Wilkinson plays Senator Reverdy Johnson who, as Aiken’s mentor, recognizes all elements of the procedures. Evan Rachel Wood portrays Anna Surratt, Mary’s daughter. She has few scenes, but each is quite powerful. Danny Huston is Joseph Holt, the prosecuting attorney, who clearly has free reign to do whatever is necessary to ensure a guilty verdict. Other supporting work is provided by Toby Kebbell (John Wilkes Booth), Norman Reedus (from Boondock Saints), Stephen Root, Johnny Simmons and Colm Meaney. The two miscast roles are courtesy of Alexis Bledel and Justin Long.

 I found Robin Wright‘s stoic portrayal of Mary Surratt to be quite mesmerizing. Her strength and motherly insistence on protecting her son was absolutely believable. In my opinion she should gather consideration for an Oscar nomination when the time comes. This is not a showy performance, but rather the foundation of the story.

Lighting of the time was thanks to candles and lanterns, and director Robert Redford masterfully captures that on film. We are always hoping for a bit more light on the characters or in the courtroom. Instead we get the feeling of being present. I did find some of the “buddy scenes” to be unnecessary, but the scenes with Wilkinson and Kline more than offset this weakness.

This is the first film from The American Film Company, whose mission is to present historically accurate films on American history. If their initial entry is an indication, we anxiously await their next projects.

SEE THIS MOVIE IF: you are in the mood to be transported back to 1865 and come as close as possible to experiencing the conflict and grief of the young country just out of civil war.

SKIP THIS MOVIE IF: you find it difficult to see the flaws within what is basically a very strong and judicious system

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Posted by David Ferguson

ATLAS SHRUGGED: Part 1

April 16, 2011

 Greetings again from the darkness. Seeing this film on opening day means you are sitting in a theatre with other aficionado’s of Ayn Rand‘s novel published more than 50 years ago. I just finished my third reading (spread over 20+ years). The argument could be made that the readers of the novel make up the only real audience for the movie … and that’s purely from curiosity after so many “almost” projects over the years.

I won’t sugar-coat this. The movie has the production value, look and feel of a TV movie. Obviously much money was saved by going with a third-tier cast. Sure, many of the faces are recognizable, but what is lacking is screen presence. This is a story of corporate mavericks vs. big time government sleaze-bags. Neither side is powerful enough to generate sufficient heat, friction or conflict worthy of the fabulous source material. The special effects of the initial run on Rearden Metal had some nice moments, but with so much back story lacking, I can’t imagine anyone really understanding the movie if they had not already absorbed the book.  The original director abandoned the project on the eve of shooting and actor Paul Johansson (who plays John Galt) took over.  That may explain much.

 There aren’t many page-turners that are 1200 pages strong. Ms. Rand’s novel is one of them. It deserved better than this after so many years. The decision to place the film 5 years in the future and then shoot it like it’s still the 1950’s makes for an odd look. Additionally, the shadowy John Galt figure seems stilted and amateurish.

 Taylor Schilling (from TV’s “Mercy”) as Dagny Taggart and Grant Bowler as Hank Rearden are in most scenes. I didn’t find much chemistry between them … heck, I didn’t see much EFFORT from either of them. These are supposed to be two very strong and intelligent people. As they say their lines, they give the impression of not understanding the words being said. Matthew Marsden as Dagny’s brother James does not posses the acting chops to pull off this difficult and crucial role. On the other hand, Jsu Garcia might just have the presence to nail the crucial Francisco D’Anconia character.

 The independent producers have already stated that parts 2 and 3 are contingent upon a strong showing from this opening act. Unfortunately, I doubt the Rand followers will see the film multiple times and the weak production value make me doubt whether anyone “new” will discover it. Ayn Rand’s words always makes me think. I shudder to think what her reaction to this would have been after fighting so many times to have the film made “her way”. Even though I am a movie addict, I will state unequivocally that if you are to choose between seeing this movie and reading the book … choose the book.

SEE / SKIP THIS MOVIE: If you have read the book, you probably feel indebted to see the movie.  If you have not read the book, its 1200 pages are really worth the effort, while the movie is really not.

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Posted by David Ferguson

WIN WIN

March 28, 2011

 Greetings again from the darkness. Thomas McCarthy‘s first two directorial outings were excellent: The Station Agent, The Visitor. This is his third and it seems clear the first two were not flukes. He is a filmmaker who knows what he is doing and is attracted to real people in real life situations. All three films feature the reactions and adaptations when strangers collide and a family-like atmosphere is created.

In this film, Paul Giamatti plays a struggling lawyer who also coaches the local high school wrestling team. Times are tough for Giamatti’s practice and when he stumbles on a chance for some “easy” money, his wrestling match with his conscience doesn’t last too long … even though it is not in the best interest of his client. By taking the easy way out, his elderly client is moved out of his home and into a long-term care facility. Giamatti knows his decision isn’t right, so he hides it from his wife, the talented Amy Ryan. Their home life seems very typical until the Giamatti decision leads to further complications … the client’s long-lost grandson shows up.

 The kid turns out to be quite perceptive and fits right into the Giamatti/Ryan family … especially when it is discovered that he is a top notch high school wrestler. Newcomer Alex Shaffer was cast because of his wrestling skills, but shines in the film due to his ability to come across as a real kid in real world conflicts. There are times his actions and decisions are more adult than the adults.  An interesting running theme throughout the film is “whatever it takes” … sometimes this is used for good, sometimes things are a bit gray.

The grandfather client is played by Burt Young, who was Paulie in the Rocky movies. Giamatti’s best friend is played by Bobby Cannavale, whose character is going through marital hell, and whose lively spirit and outspoken tendencies provide many of the laughs in the film. Cannavale shines in this film, much as he did as the slightly desperate vendor in The Station Agent.

 Things are going along pretty well for the new “family” until Shaffer’s mother (Melanie Lynskey) is released from the drug clinic and she shows up to re-claim her son and her share of grandpa’s wealth. She and her attorney (another nice role for Margo Martindale) expose Giamatti’s earlier unethical decision and force his hand. The strength of the family is severely tested.

What I really like about this and the two previous McCarthy films are that no  Hollywood tricks are used. He hits situations head-on with realistic levels of comedy and uncomfortable people who are just trying to get along in life. In Win Win, the stellar cast brings life to these characters and draw us right in to their attempts at conflict resolution. Even though the theme is not too far removed from that of The Blind Side, Mr. McCarthy provides us with characters who could be from our own lives or even our own families. That makes all the difference.

SEE THIS MOVIE IF:  real characters dealing with real life situations create the type of com-dram you enjoy OR you just want to see a movie with high school students who actually look like high school students (not 28 yr old actors) OR you want to see the power of a strong ensemble cast

SKIP THIS MOVIE IF: The Blind Side was as realistic as you prefer movies to get OR you want to avoid the sight of Paul Giamatti jogging or unclogging a toilet

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Posted by David Ferguson

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