THE SECRET IN THEIR EYES (El secreto de sus ojos, Arg., 2009)

May 30, 2010

 Greetings again from the darkness. I was a bit miffed when this film beat out both A Prophet and The White Ribbon for the Best Foreign Language Film at the 2010 Academy Awards. Since then, I have been anxious to see this “upset” winner. It is with great pleasure that I state my faith in the Academy voters is restored. This is a staggeringly wonderful film!

Based on the novel by Eduardo Sachesi, it is written and directed by Juan Jose Campanella, who also directed Argentina’s 2001 Oscar entry Son of the Bride. Mr. Campanella also has quite a resume of U.S. television in addition to his film work. What really stands out in “Secret” is the multitude of story lines and character development, none of which are cheated … yet each which could have carried their own as a film. This is terrific film-making with rare balance between comedic dialogue, a full-fledged crime drama, unrequited love and nasty politics.

The excellent script is helped along with fine acting by the key players: Ricardo Darin as Esposito, Soledad Villamil as Irene, Guillermo Francella as Sandoval, Pablo Rago as Morales, and Javier Godino as Gomez. Each actor has physical features that play well with the film’s title.

I certainly don’t wish to give away much of the substance of the film, but it mostly revolves around the investigation by Esposito and Sandoval into the brutal rape and murder of Morales’ young, beautiful wife. Esposito works for Irene and they have “eyes” for each other, and Gomez is the key suspect despite all the political maneuvering designed to throw the investigators off track.

There are a few outstanding scenes and two of my favorites were an incredibly intense elevator ride, and a fascinating crowd scene at a soccer/futbol game (including the year’s best single, long take). As you might guess, there are innumerable close-ups for a clear eye-level shot and the film bounces back and forth between 1974 and 2000, so we must adjust to the weak make-up.

For anyone who enjoys fine film-making and isn’t afraid of 2 plus hours of subtitles, you will surely be satisfied and impressed at the quality of this film.

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Posted by David Ferguson

HARRY BROWN (2009)

May 27, 2010

 Greetings again from the darkness. Michael Caine (at age 77) is like a favorite blanket … it just feels good to have him around. He always delivers a fine performance, and sometimes he puts it all together to provide proof of just what an outstanding actor he really is. Harry Brown is one of those films.

Some will take this as a revenge story in line with Bronson’s Death Wish, but I see it more in the vein of Gran Torino.   A “British” Gran Torino.  Caine’s Brown is not just after revenge for his buddy Leonard’s murder, but more importantly, he is trying to make a stand – to take back his neighborhood stolen by drug dealers and vicious punks.

Unfortunately for the film, a first time director (Daniel Barber) and a miscast Emily Mortimer don’t have the strength to keep up with Mr. Caine. Mortimer plays her detective role as if she is more of a social worker. It is actually painful to watch her. On the other hand, Ben Drew has a key role as Noel, a sinister punk lacking a conscience. His scenes with Caine are pretty intense.

The best scene of the film is when Harry Brown ventures inside a drug dealer’s lair to purchase a gun for his crusade. Caine must pull off the necessary subtlety and play it close to the vest in this quite volatile situation. Of course, not everything goes to plan and Caine’s character really takes off from there.

We are treated to the expected police department politics and the back-stabbing/not-who-I-thought-you-were character, but mostly this is one man’s mission to make things right and better. Who better than Michael Caine for that job?

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Posted by David Ferguson

ROBIN HOOD (2010)

May 20, 2010

 Greetings again from the darkness. Hard to argue with the box office success when director Ridley Scott teams up with Russell Crowe (Gladiator, American Gangster). Can’t really challenge the resume of writer Bryan Helgeland (Mystic River, L.A. Confidential) or the acting chops of Cate Blanchett, Max von Sydow or William Hurt. And only the most cynical would deny the appeal of the Robin Hood legend … stealing from the rich to give to the poor. So why is it that I feel so cheated and let down by this version?

First of all, it is presented as a prequel to the legend. This is the story of how Robin and his band of merry men (and Maid Marion) came to be united. If it is a prequel, why then is Robin (Russell Crowe) so darn old? There is even a line in the film noting the advanced age of King Richard the Lionheart being 40 or even more! For the times, this was considered old, yet somehow Robin is ready for a career change.

The best parts of the film are the amazing sets and pieces – both the villages and the boats. And we all know that Mr. Scott can film a massive battle scene! There is a touch of Gladiator, Saving Private Ryan and Braveheart in many scenes. All fine, but what I really missed was the flirtatious banter between Robin and Marion. Maybe I am biased, but a Lorena Bobbitt threat doesn’t strike me as light-hearted bed chamber conversation.

My biggest complaint is with the script. It just felt clunky and messy. A couple of scenes were apparently included just so Mark Strong could scowl … and he has a great scowl! Other scenes and lines were seemingly included just to give the film a complex feel. Probably too complex for what it really is.

Oscar Isaac as Prince John was the funniest and most interesting character in the film. The preview made him look like a buffoon, but the film gave him more depth … and a couple of great lines. Danny Huston as Lionheart, Mark Addy as Friar Tuck and Matthew Macfadyen as the Sheriff of Nottingham all add to the luster, but remember this is prior to Robin’s ongoing battles with the Sheriff.

Be cautious with younger kids as it is a strong PG-13. The battle scenes are entertaining, but this is one legend that did not need its roots exposed.

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Posted by David Ferguson

THE JONESES (2009)

April 17, 2010

 Greetings again from the darkness. Don’t really have much to offer on this one other than it would have been more current in the mid-90’s. A statement on overindulgence and consumerism during a recession comes across as lame and not particularly funny or poignant.

The con is simple. Demi Moore, David Duchovny, Ben Hollingsworth and Amber Heard pose as the “it” family unit whose sole purpose is to be the coolest people with the coolest toys, clothes, furniture and cars. First of all Hollingsworth and Heard (from Zombieland) are 25 and 24 respectively, and do not look like high school students (a movie pet peeve). Secondly, NO ONE would ever believe one family could possibly have ALL of this stuff.

The script is all over the place trying to make commentary on the morals of what this grift does to the participants … both those on the inside and the targets themselves. David Duchovny, to his credit, has a couple of decent scenes, but Demi Moore just comes across as trying way too hard.

It was nice to see Lauren Hutton and Gary Cole have somewhat important roles and I did enjoy looking at the great house and cars. But never did I buy into the story or the self-marketing. Nice idea that would have complimented the original Wall Street movie back in the day.

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Posted by David Ferguson

CITY ISLAND (2009)

April 4, 2010

 Greetings again from the darkness. I am always amazed, amused and somewhat satisfied when a writer gathers up multiple stereotypes, massages the conflict and dialogue, and emerges with a script that captures interest and holds attention. Writer/director Raymond De Felitta has done just that with working class Italian New Yorkers.

All story lines revolve around the secrets each of the family members keep from the others. Sure, we all understand that two-way communication and trust create a much stronger and healthier family, but sometimes, it’s just not that simple.

Andy Garcia plays the head of this secretive bunch and he sets the stage with two whoppers. The first is his slinking off to acting classes while chasing his lifelong dream of becoming an actor – like his inspiration, Marlon Brando. To cover this one up, he tells his wife (Julianna Margulies) that he is off to another poker game, unaware that she interprets this as code for his having an affair.

They have a daughter (Dominik Garcia-Lorido) who has lost her college scholarship and is saving money to re-enroll by working (secretly) as a stripper. Guess what?  Her parents don’t know.  Their odd ball son (Ezra Miller), who believes he is too smart to attend classes, develops an online fetish habit that ends up VERY close to home.  Again, his parents are oblivious.

In most films, this would be plenty of ammunition to create havoc among the players. Not here. Garcia’s second, and much larger secret, throws this dysfunctional family into a tailspin – and he somehow is the last to realize. Emily Mortimer, Steven Strait and Alan Arkin all provide strong support to the story and this “family”.

Mr. De Felitta explored some of these family topics in The Thing About My Folks, but here he is working with his own script. The balance between comedy, conflict and insight is actually very good; though, the New Yorker habit of loud mealtime conversation is somewhat discomforting for this southern boy. Still, I have nothing but positive things to say about how the stereotypes end up providing self-realization to each of the characters, and even more importantly, an understanding of what their family really is. Good stuff here.

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Posted by David Ferguson

GREENBERG (2010)

March 29, 2010

 Greetings again from the darkness. Warning: this is one of the artsy-fartsy type movies that bore many, but energize me.  Noah Baumbach wrote and directed the excellent The Squid and the Whale, and it is with Greenberg that he really makes a statement as an independent filmmaker to anticipate. The second gem is always the most elusive. That said, I am not sure I can recommend this movie to very many people, despite all the good things I am about to write.

This is the first Ben Stiller role that actually seems to fit him. His typical role is as a punchline. Here, as Greenberg, he is not one bit likable.  He plays a guy who recently suffered a nervous breakdown and is now house-sitting for his rich brother, who is on a family vacation in Vietnam. Throughout the movie, Greenberg states he is concentrating on doing “nothing” right now. Of course, that is his defense mechanism for being unable to connect or communicate with any real person. Yes, that sounds bleak … and it is. Yet, it is also fascinating and thought-provoking.

Despite Stiller’s strong turn, Greta Gerwig (as Florence) proves to be the heart of the story. She is the family assistant to Greenberg’s brother and finds herself oddly attracted to Greenberg’s vulnerable state. This is my first exposure to Ms. Gerwig and I find her fascinating as an actress. She has a natural openness on-screen and is certainly no glamour-gal. Instead she comes across as a very real 25-year-old trying to make sense of life – especially her own.

In addition to Ms. Gerwig, Rhys Ifans provides outstanding support work as Greenberg’s long ago band mate. This is the polar opposite of Ifan’s character in The Boat that Rocked as here is just a guy putting together a grown up life for himself. He struggles with the adjustment, but accurately depicts how our daily choices can make or break us.

I am not sure whether to categorize this as a character study or just an exquisitely written series of scenes that hit the nail on the head. One of the best scenes of the film is when Stiller meets up with Jennifer Jason Leigh (Baumbach’s real life wife) and she immediately rebuffs his reconciliation attempts. They had been a couple briefly 15 years ago and she has obviously moved on, while he has not. Excellent film-making.

The best way I can describe Greenberg the character is that he is a compilation of the dark thoughts that we all experience from time to time … a desire to do nothing, wanting to be blunt and direct, dreams of recapturing the magic of youth, and of course, writing complaint letters for everything wrong in the world. Obviously, most of us spend very little real time on these things, but that is the Greenberg character. Let’s keep an eye on Mr. Baumbach – he may just be the real deal.

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Posted by David Ferguson

THE RUNAWAYS (2010)

March 20, 2010

 Greetings again from the darkness. Getting dragged back to the mid-70’s can be quite fun, especially when the topic is rock ‘n roll. Based on lead singer Cherie Currie’s autobiography, this film provides an overview of the formation, sudden fame, and equally sudden dismantling of the first all-girl’s rock band, The Runaways.

Joan Jett was the heart of the band, but it took oddball music producer Kim Fowley to put the band together and get the recording deal. Fowley may be the most interesting character in this story. Here he is played with force by the very talented Michael Shannon (Revolutionary Road).

Instead, the story focuses on Cherie Currie and Joan Jett, mostly Currie, since it is her book! Dakota Fanning plays Cherie Currie as a confused 15 year old with a messed up family life. The family includes a mom, played by Tatum O’Neal, who announces she is getting married and moving to Indonesia. Currie’s dad is a very sick alcoholic, so she is an easy recruit for Fowley and Jett. Jett is played balls-out by Kristen Stewart. Yes, Kristen Stewart from Twilight. Here she shows much more of the talent we saw prior to the Twilight series. She captures the fire and spirit of Joan Jett and leaves little doubt she will pursue her dreams despite all obstacles.  For a touch of trivia, note that Cherie’s sister Marie is played by Riley Keough … granddaughter of Elvis Presley.  It’s her big screen debut.

Overall, the script comes up short and provides us little more than headlines and a quick glimpse. Would have expected much more on talented guitarist Lita Ford, who continues to work today. For a quick intro to the story of The Runaways, this one is fine. Just don’t expect much depth.

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Posted by David Ferguson

A PROPHET (Fr.,Un Prophete, 2009)

March 13, 2010

 Greetings again from the darkness. This was France’s entry, and one of the odds-on favorites to win Best Foreign Language Film at this year’s Academy Awards (it did not win). Director Jacques Audiard brings us the gritty realism of power within the walls of a prison. We even get a glimpse into how power inside the walls translates into power in the outside world.

Tahan Rahim stars as Malik, a young, shy, weak boy (apparantly) wrongly sentenced for striking a police officer. Malik is quickly abused and taken advantage of by the stronger, seasoned convicts. Ahh, but young Malik is a quick study and is dragged under the control of the powerful Corsican group led by Cesar Luciana (played with fire by Niels Arestrup). He studies Cesar’s process and moves and quickly learns to run his own side businesses by walking a fine line between the various groups in prison.

See, Malik is a French born Arab who becomes a trusted adviser to the Corsican crime boss. Although, the Corsicans call him a dirty Arab and the Arabs don’t trust him because of his affiliation with the Corsicans. What a mess for Malik. But he is quite the opportunist and makes the best of his situation.

Some of the story lines are brutal, while others are quite clever. This adds to the realism and makes this an intense story to follow. Jacques Audiard also directed the fine The Beat that My Heart Skipped and that film also featured Niels Arestoun, who flashes some evil eyes and plays his low key power to the hilt. He is great fun to watch here.

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Posted by David Ferguson

BROOKLYN’S FINEST (2009)

March 6, 2010

(3-5-10) 

 Greetings again from the darkness. Ever since Training Day became a hit, director Antoine Fuqua has been one of the director’s that escape harsh criticism from the Hollywood elite. He is a master of intense moments in time, but I believe many of his movies lack continuity to the point where the story seems to come second to adrenaline rushes. Brooklyn’s Finest is no exception.

The film follows the unconnected stories of three cops. Richard Gere is the stereotypical veteran cop who is one week from retirement, and begins the film with a gun in his mouth. Ethan Hawke is the desperate young cop whose family just keeps growing (his wife Lili Taylor is pregnant with twins) and he longs to provide better living arrangements. Don Cheadle is the undercover cop who, if he hasn’t already crossed the line, is dangerously close.

The best scenes are with Cheadle and Wesley Snipes, who plays a just released from prison hardened criminal. Their dialogue rings true for an undercover cop trying to play both sides and hold on to what’s “right”. If not for Ellen Barkin‘s histrionics, the worst scenes would be watching Richard Gere show off his full repertoire of three different facial expressions. Poor Ethan Hawke looks like no one let him eat or shower for 2 months prior to filming. The boy looks sad.

Even though we know it’s coming, the final act where the three stories intersect is pretty interesting and make for a satisfying shoot-em-up ending. Brace yourself for some hardcore street violence and language and a meandering soundtrack.  The film seems to funnel to the point that there is a very fine line between right and wrong for those in law enforcement.  I prefer to cling to the belief that this is a serious exaggeration.

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Posted by David Ferguson

THE WHITE RIBBON (2009)

February 21, 2010

(2-20-10)

 Greetings again from the darkness. There have been many films with troubled communities: The Village, Wicker Man, Children of the Corn, and Stepford Wives to name a few. None of these compare to the pre-World War I rural German village that director Michael Haneke plops us into.

Haneke is the master of keeping the viewer guessing and never really allowing us a clean solution to the mysteries he presents. Did you figure out what motivated the cruelty from the boys in Funny Games? Did you ever really figure out who or why the family was being videotaped in Cache? The same holds true here.  Haneke seems to be obsessed with evil and ambiguity … two very intriguing subjects for film.

The story is told by the voice-over from the school teacher many years later. We only see the village and the residents as “things” happen – through the recollections of the teacher. Haneke presents many suspects, but no answers to all of the “accidents” and foul play that occurs. We witness only the aftermath and the distrust of the close community.

The film is up for Best Foreign Film and the stark, bleak, black & white look will put you on edge and create a feeling of discomfort, even in the somewhat happiest moments of the film. No doubt it will frustrate those who need a clean wrap-up, but those who enjoy discussion and debate will need an extra cup of coffee afterward to go through all the what-ifs.

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Posted by David Ferguson

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