STEVE JOBS remembered

October 6, 2011

 When writing about movies, I will sometimes use the words “genius” and “brilliant” to note a particularly standout acting performance, script writer or director.  The use of those same two words to describe Steve Jobs seems almost comical.  He truly was a GENIUS and a BRILLIANT man.  He was transcendent for our time.  He has been labeled a modern-day Thomas Edison, and such a claim doesn’t even raise an eyebrow. 

Mr. Jobs’ legacy at Apple is well documented and widely known.  The iPhone is a staple of everyday life and Mac users go way beyond brand-loyal.  But what of his impact on movies?  Are you aware?  In typical fashion, Jobs never really discussed his impact on Pixar.  The studio began as a division of LucasFilm, the production arm of George Lucas’ movie world.  In 1986 Jobs acquired Pixar and quietly began changing the way movies get made.  His time away from Apple allowed him to assemble an amazingly talented team and work diligently to push the envelope on technological capability.

 In 1995, after much success with experimental short films, Pixar released its first full length feature.  Perhaps you have heard of it … Toy Story.  The story of Woody and Buzz was a hit with kids and adults and went on to gross $360 million.  And that was just the beginning.  Pixar continued to produce top quality, highly creative, and incredibly entertaining films that were a visual feast.  In 2001, a new Academy Awards category was created … Best Animated Feature.  Since then, Pixar has taken home the Oscar in this category SIX times and their 12 features have taken in over $7 billion worldwide!

In 2006 Jobs sold Pixar to Disney for $7.4 billion and he became the largest single shareholder for Disney.  As he re-immersed himself in Apple, his influence on Pixar was lessened, but his impact was clear and lasting.  John Lasseter, the famous Pixar producer, writer and director stated that the single most impactful directive that Jobs left at Pixar was “Make it Great”.  Whether phones, portable music, computers or movies … Steve Jobs strove for greatness and showed us the true meaning of Genius and Brilliant.

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Posted by David Ferguson

Last Chance to VOTE – Baseball Movies

October 5, 2011

 We baseball fans take the American Pastime very seriously.  That is especially true every September when we hold our collective breath in hopes that our team doesn’t join the 1964 Philadelphia Phillies as infamous chokers.  Baseball movies are an entirely different world for us.  We are forced to flip off the swich to the portion of our brain that instantaneously and simultaneously calibrates the pitch count, number of outs, who’s warming in the bullpen, positioning and arm strength of the outfielders, and the speed of the runner on second base.

 Over the years, baseball movies have subjected us to such cringe-inducing moments as Jimmy Stewart pitching, John Goodman swinging a bat, Shoeless Joe Jackson hitting right-handed, Robert DeNiro’s throwing motion, and walk-off home runs by the visiting team.  Yet, we continue to give most every baseball movie a chance because the magic of baseball can only be rivaled by the magic of movies.  Every so often we are rewarded with a perfect moment such as James Earl Jones‘ eloquent soliloquy or catcher Crash Davis mentoring Nuke on dealing with reporters … and all is right with field and film.

 September has passed and October baseball is here.  Moneyball has entered baseball movie discussions during this year’s playoff series.  The Red Sox and Braves have now joined the ’64 Phillies in the lore of historic collapses.  The dreams of their fans were sufficiently deflated and Late Night jokes aplenty.  It seems the perfect time to elicit responses for your favorite baseball movies of all time.  Since there are more than 200 baseball movies, I have tried to jog your memory by listing about 40 of the most famous.

Please VOTE for your 3 favorites in the COMMENTS section below.  Write-in votes are welcome and please send this to your friends and any baseball fans you know … results will be announced during the World Series.  If you ever doubt the emotion and life lessons of baseball, just watch Steve Martin in this clip from Parenthood:

A League of Their Own (1992)           Amazing Grace & Chuck (1987)

Angels in the Outfield (2000)                  Babe (2000)

The Babe Ruth Story (1948)                    Bad News Bears (1976)

Bang the Drum Slowly (1973)              Baseball: by Ken Burns (1994) 

Bingo Long & Traveling All-Stars (1976)       Bull Durham (1988)

Cobb (1994)                                                       Damn Yankees (1958)

Death on the Diamond (1934)                     Eight Men Out (1988)

The Fan (1996)                                               Fear Strikes Out (1957)

Fever Pitch (2005)                                           Field of Dreams (1989)

For Love of the Game (1999)                         Game 6 (2005)

The Heckler (1940)                           It Happens Every Spring (1949)

Little Big League (1994)                                        Long Gone (1987)

Major League (1989)                                            Mr. Baseball (1992)

Mr. Destiny (1990)                                                Mr. 3000 (2004)

Moneyball (2011)                                                  The Natural (1984)

The Pride of St. Louis (1952)           The Pride of the Yankees (1942)

The Rookie (2002)                                      Rookie of the Year (1993)

Safe at Home (1962)                                            The Sandlot (1993)

The Scout (1994)                                                       61* (2001)

The Stratton Story (1949)                                    Sugar (2008)

Up for Grabs (2004)                                  The Winning Team (1952)

Check back during the World Series for the results and an article on baseball movies.  Just click on “Leave a Comment” to type in your 3 favorite baseball movies (in order)!

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Posted by David Ferguson

THE HEDGEHOG (Le Herisson, Fr.)

October 1, 2011

 Greetings again from the darkness. The directorial feature debut from Mona Achache is based on the French bestseller “The Elegance of the Hedgehog” by Muriel Barbery. The meticulous pace masks whirlwind of emotion and thought occurring in the three key characters. Three characters whom each of us might be guilty of overlooking on a daily basis.

For those who don’t know, the film defines a hedgehog as a prickly-on- the-outside, cuddly-on-the-inside critter that is often misjudged. Our three characters all fit this description in some manner. Paloma (Garance LeGuillermic) is an 11 year old artistic and observant girl who plans to kill herself on her 12th birthday because no one understands her.  Her life is filled with what are the minor inconveniences of being an 11 year old – her mother talks to plants more than she talks to her, her father is a distracted workaholic, and her self-centered teenage sister is, well, a self-centered teenager. Madame Renee Michel (Josiane Balasko) is the building’s caretaker. Self-described as old and ugly, she lives the life of quiet desperation, hiding with her cat and massive library of books and chocolate. The building’s new tenant is Kakuro Ozu (Togo Igawa), a mysterious and elegant man who immediately sees through Madame Michel’s prickly exterior.

 Paloma spends much of her day documenting by video camera the goings on in her life and of those in her building. She often adds her insightful and humorous narrative to the scene as it occurs. Her view on life and its possibilities begins to change as she observes and gets to know Madame Michel and Mr. Ozu, and more importantly, observes their interactions.

 The underlying storyline of an 11 year old girl contemplating suicide can be quite disturbing, but director Achache never really lets that occur. Instead we focus on very simple acts of kindness and subtle smiles and gestures that indicate life can be rewarding and worthwhile. I also found Madame Michel’s surrender to the state of invisibility to be quite disturbing, but her awakening to be fascinating. She had not been rejected by society as much as simply overlooked.

Unlike many French movies that bombard us with rapid fire, overlapping exchanges, this one instead relies on patience and a sharp eye … think of it as the slight squeeze while holding a loved one’s hand.

SEE THIS MOVIE IF: you are intrigued by a subtle intersection of three seemingly unrelated characters who happen to live in the same building and are brought together by a cat, goldfish, chocolate, books and a video camera.

SKIP THIS MOVIE IF: just the thought of a slow moving character drama in French with subtitles makes you yawn.

see the trailer:

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Posted by David Ferguson

BELLFLOWER

September 19, 2011

 Greetings again from the darkness. This film is for all you kids out there who fantasize of a post-apocalyptic world in which you rule thanks to your killer muscle cars, hand-crafted flame throwers and total lack of dependence on society. You also treat bourbon as a major food group. If this describes you, please stay away from me … and rush out to see this Sundance Festival favorite.

In the old days of radio, college stations would play what were known as “deep cuts”. These songs were treats for the biggest fans of that artist and allowed everyone else to get a taste of a song that wasn’t created to be a hit single. Bellflower is the movie equivalent of a deep cut … filmed on a (broken) shoestring budget with driving force Evan Glodell as writer, director and lead actor. Glodell has a real feel for visual statements, but I so hope his outlook on life is much brighter than his film project.

 Woodrow (Glodell) and Aiden (Tyler Dawson) are best friends and transplants to L.A. from Wisconsin. They come across as having ceased psychologically maturing at about age 15, though they are in their 20’s now. Their whole world is tied to this poor neighborhood where they waste each day by boozing incessantly and planning their next flame thrower or souped-up muscle car. This is done with the intention of protecting themselves should the world turn into the deserted landscape seen in the Mad Max movies, which they admit to having seen way too many times.

As destructive plans are apt to do, theirs hits a speed bump when Woodrow meets Milly (Jessie Wiseman) during a cricket eating contest. What a lovely story to tell your grandkids! Anyway, Milly and Woodrow seem to be soul mates initially, but then things get complicated. Aiden is a very loyal friend and quite charming when he sets his mind to it. He stands by his friend through some staggeringly bad luck.

 This isn’t a movie that necessarily follows a traditional story arc. Heck, it begins by showing a scattershot montage of things to come (we assume) and none of it is particularly cheery. The ending is such that it’s a web of “maybe” endings that allow us to guess just where the visions end and reality takes over.

It’s no mystery why critics were so enamored with this one at Sundance. At times it plays like a student film project for a young Quentin Tarantino. Or maybe an early Kevin Smith movie, if he were ever enamored with explosions. That is meant as a compliment. Continuity is lacking on purpose, and the rawness of the production comes across quite clearly and with power. Mr. Glodell will undoubtedly be given a budget larger than a credit card next time to see just what he is capable of. I for one, will be rooting for him … just keep him away from me please!

WATCH THIS MOVIE IF: your fantasy is becoming a real life Mad Max OR you want to see a Sundance Festival deep cut adored by critics (and few others)

SKIP THIS MOVIE IF: building your own flame-thrower seems silly OR bourbon for breakfast strikes you as poor nutrition

watch the trailer:

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Posted by David Ferguson

STRAW DOGS (2011)

September 18, 2011

 Greetings again from the darkness. If you have seen Sam Peckinpah‘s classic 1971 original with Dustin Hoffman and Susan George, it is impossible to watch this remake without comparing the two films. Because of that, these comments will include some comparative notes. After all, it’s been 40 years and most people watching this new version have never seen the original, though I highly recommend it.

Director Rod Lurie follows the Peckinpah version pretty closely with the obvious changes being a move from the English countryside to the deep south (Mississippi), and the main characters are now a screenwriter and actress instead of mathematical whiz and … well, whatever Susan George’s character was in the original. Those are the obvious changes, but not the most significant. I really missed the subtlety and psychological trickery delivered by Peckinpah, especially in the relationship between David and Amy.

 Lurie chooses to take advantage of the physical screen presence of Alexander Skarsgard (“True Blood”) as Charlie, the local stud and Amy’s ex. Charlie’s past exploits on the football field and his creepy leadership skills with his posse of thugs, provide the yin of physical strength to the yang of David’s intelligence. It’s interesting to note that this version spells out Sun-Tzu’s description of “straw dogs” while Peckinpah left his audience to fend for themselves. But, of course, what the story boils down to is just how far can a civilized person be pushed … and how far is the bully willing to go?

 James Woods is a welcome and terrifying addition to the new version. Since it is based in the small town south, high school football must play a role. Woods is the former high school coach who is now a violent drunk, and still leader of his former players. He is a sadistic type who picks on Jeremy Niles (Dominic Purcell), the slow-witted brother of Daniel (Walton Goggins) and constantly accuses him of inappropriate behavior with his 15 year old cheerleader daughter.

 James Marsden (Hairspray) and Kate Bosworth (Remember the Titans) play David and Amy. They come back to Amy’s childhood home so she can rest and David can have some peace and quiet while writing his screenplay on the Battle of Stalingrad. Well, we couldn’t really have him writing a rom-com, could we? From Day One, the peace and quiet is clearly missing and Lynyrd Skynyrd wins out over Bach in the battle of radio volume. Tension builds and David is tested daily over what it means to be a man … tested by the local hicks and doubted by his lovely wife.

Things turn from bad to worse when the locals invite David to go hunting with them. What happens with Charlie and Amy during this time changes everything. This sequence was the key to the controversy of the original and what caused it to be banned in many cities and countries. Lurie chooses to handle it in a very straightforward manner – plus, times and mores have changed quite a bit in the last 40 years.

For me, the Peckinpah original remains a classic film with brilliant psychological undertones which left me feeling very uncomfortable and questioning what I might do in this situation. Lurie’s new version offered little of that but does work fine as a straightforward suspenseful thriller.

SEE THIS MOVIE IF: you would like to compare original vs. remake OR you want to see a very creative use of a bear trap OR you want a close up view up Kate Bosworth’s heterochromia (one brown eye and one blue)

SKIP THIS MOVIE IF: you are devotee to Peckinpah’s version OR you prefer your thrillers have little violence

watch the trailer:

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Posted by David Ferguson

DRIVE

September 17, 2011

 Greetings again from the darkness. An art-house crime drama. That’s the best description I can come up with. Danish film auteur Nicolas Winding Refn takes the James Sallis novel and presents it like an art gallery opening … with operatic tendencies … and electronic music thumping straight out of the 80’s. Confused yet? My apologies, but I am trying to make the point that this one is different. No wonder it got such a strong reception at Cannes, where creativity has always been rewarded.

 Ryan Gosling stars as the nameless driver. He is a movie stunt driver by day and hired lead foot in his spare time. He partners with hustler Bryan Cranston (“Breaking Bad”) for the odd-jobs and they both dream of going straight by entering the racing world. To do that, they need a capital infusion from bad guy Albert Brooks. Yep, I said BAD GUY Albert Brooks. We all know Mr. Brooks as the wry comedian who makes us laugh at the world. However, trust me when I say he plays a really bad man. If you have seen Out of Sight, you have seen this side before. If not, you will be shocked.

 Gosling’s character is quite the loner, but he falls for his neighbor played by Carey Mulligan, who has a cute young son. Gosling’s dream of normal include not only racing, but also a domestic home life with these two. Small obstacle: Mulligan’s husband (Oscar Isaac) is getting out of prison in a week. When he arrives, Gosling agrees to help him square a debt with some bad guys. Things don’t go so well and Gosling’s dream of domestic bliss goes straight to Hades. Well, actually not all that straight.

As they tend to do, the bad guys (including Ron Perlman) run a double-cross and things get really messy. The middle 60% of this movie is as intense and thrilling as you could ever ask. Some terrific driving stunts as expected, but also some very nice “little” scenes as these most interesting characters try to make sense of many tattered loose ends. Refn’s camera work and lighting are very stylish, providing a noir look and the perfect feel.

 My mind was racing as I watched this oddly paced, minimal dialogue, intense story unfold. A few films flashed in my mind and I have decided there are elements of each: Bullitt (1968, Peter Yates), The Driver (1978 Walter Hill), Thief (1981 Michael Mann), To Live and Die in LA (1985 William Friedkin), and Heat (1995 Michael Mann). Additionally, Gosling’s character shares some traits with Clint Eastwood’s ‘Man with No Name’. Now I am sure you are confused. How about one more: Gosling wears a jacket similar to Kurt Russell‘s Stuntman Mike in Death Proof, only this one has an embroidered scorpion and sure enough, we get the scorpion and frog story.

 Gosling gives a very solid strong, silent type leading man performance, and Mulligan has very little to do. Albert Brooks will probably get some well deserved attention at Oscar time. There are a couple of scenes that more and make this one worth seeing. One is the fantastic chase scene after the pawn shop robbery and the other is the most beautifully choreographed and violent elevator scene ever filmed, complete with mood lighting!

This one will be loved or hated by those that see it. Hard to imagine it falling in the gray area. If you are up for a twist on the traditional approach to crime dramas, and can handle some brutal violence, I would encourage you to check it out.

SEE THIS MOVIE IF: you are a fan of any of the movies I listed above OR you want to see Albert Brooks’ Oscar worthy performance as one really bad man

SKIP THIS MOVIE IF: anything described as an art house crime drama prompts an eye-rolling OR you think the hoodlum movie genre should have died off in the 70’s

watch the trailer:

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Posted by David Ferguson

MONEYBALL

September 15, 2011

 Greetings again from the darkness. While reading “Moneyball: The Art of Winning an Unfair Game” by Michael Lewis, I never once considered what it might look like as a movie.  And I am the kind of guy who looks at a mailbox and wonders if a movie about a mailman might be interesting (Costner proved me wrong).  If you are a baseball fan, you should see this movie. If you are not a baseball fan, the movie works very well as a metaphor for any business maverick who takes a risk and analyzes their company or industry from an entirely new perspective. The game of baseball was over a hundred years old when Oakland A’s GM Billy Beane and friends turned the institution on its ear.

Mr. Lewis spent most of the 2002 season with the Oakland team and had full access to GM Billy Beane, Asst GM Paul DePodesta, and their process in putting together a team that would contend for the American League title … all under the severe handicap of ridiculous salary constraints placed by team owners.

 In this movie, Brad Pitt is spot on as Beane – the cocky, tobacco spitting former jock trying desperately to put his stamp on the institution of baseball. Due to some lawsuit of which I know nothing, the DePodesta role is renamed Peter Brand and is played by Jonah Hill, who looks absolutely nothing like Mr. DePodesta (who played baseball at Harvard). Despite this, Mr. Hill does an terrific job of becoming the statistical whiz who can analyze data and place value on players … a skill he is obsessed with even 10 years later.

 Watching Beane trying to communicate the point of change to the old school scouts is simply priceless and painful. Years of scouting based on body type and girlfriend ranking is replaced by statistical data spit out by Brand’s computer. The real fun comes when the team’s field Manager, Art Howe (Philip Seymour Hoffman), flashes his bah-humbug attitude, bucks Beane’s system and continues coaching old school … from the gut. It’s not until Beane takes away all other options that Howe is forced to follow the new plan.

Baseball fans know that Bill James is the godfather of sabermetrics in baseball. I was happy to see him receive props in the movie.  For years his formulas and calculations were ignored and scoffed at by owners, managers and scouts. Thanks to the A’s success, ALL teams now utilize some form of sabermetrics combined with old fashioned scouting. Every measurable event in a game is tracked and results are analyzed. Many fans say it has sucked the joy out of the game. Others say it has provided opportunities for players previously ignored. I prefer to look at it as the same in any industry … everyone looks for a competitive advantage. Never ignore a tool or approach that can make your company more profitable or your team more competitive.

Being a long time Texas Ranger fan, I must mention some of the ties to this story. The Rangers current manager, Ron Washington (portrayed by Brent Jennings), was an infield coach on those Oakland A’s and gets a few scenes. Grady Fuson was the Head Scout for the A’s and later came to the Rangers as co-GM or Asst GM (depending who you ask) but had a very limited stay. Mike Venafro was a relief pitcher for the A’s who gets traded in 2002 so they can pick up a more valued reliever to take his spot (Rincon). It should also be noted that current Rangers GM Jon Daniels and his talented staff have a place for sabermetrics and their formula has worked.

The director of the movie is Bennett Miller, who was responsible for the excellent Capote, which also starred Phillip Seymour Hoffman. Bennett’s DP here is Wally Pfister, who works frequently with the great Christopher Nolan. Pfister’s camera work is superb. The amazing writing team of Steve Zaillian and Aaron Sorkin provide a script with sharp dialogue and just enough baseball lingo so that everyone can follow. Supporting actors include: Chris Pratt (“Parks & Recreation”) as Scott Hatteberg, poster child for sabermetrics; Robin Wright as Beane’s ex-wife; and fantastic writer/director Spike Jonze (came0) as Wright’s zenned-out new husband and the polar opposite of Beane.

 I need to make a point about the performance of Jonah Hill. His movies Superbad and Get Him to the Greek are not my type of movies so I was never a big fan. That changed when I saw Cyrus last year. During the Q&A after this screening, Mr. Hill pointed out that Cyrus was the bridge that allowed him to be cast in this movie … his bridge to drama. He went on to state that his acting heroes are Dustin Hoffman and Bill Murray because they have had successful careers in both comedy and drama. I can honestly say that it is easy to see Jonah Hill having a Bill Murray type career, especially since he has now lost so much weight – a significant weight loss after the filming of Moneyball. He is no longer the funny fat guy. He is a talented actor.

SEE THIS MOVIE IF: you are drawn to movies about visionaries OR you are a baseball fan and/or business person

SKIP THIS MOVIE IF: you are looking for over-the-top action sequences or a pure baseball flick

watch the trailer:

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Posted by David Ferguson

WARRIOR

September 12, 2011

 Greetings again from the darkness. It’s always a bit thrilling when a movie catches us off-guard and is much more than expected. Walking in, I was all set for a testosterone fueled fight fest featuring BS bravado and mounds of machismo. While that element is abundantly present, writer/director Gavin O’Connor wraps the fighting around a pretty interesting story about family, bravery, desperation, pride and forgiveness.

The story begins with the convergence of a broken family – two brothers and their father. The split occurred many years ago, and without the details, we are able to piece together that dad (Nick Nolte) was a violent drunken ex-Marine and the mother planned to take the two boys and run. One of the brothers (Joel Edgerton) had fallen in love and decided to stay with dad. The younger brother (Tom Hardy) went with mom and even nursed her through her final days of cancer prior to his joining the Marines. The three men have been incommunicado for years, until one day Tommy (Hardy) shows up on Nolte’s doorstep.

 What sets this one apart is the details of each of the brother’s stories, very little of which I will discuss here. There is a terrific scene on the Atlantic City beach where their demons confront each other and we see that so much pain and bitterness exists despite their having been teenagers at the time of the split. They each felt abandoned by the other. Now one is an angry ex-Marine and the other is a desperate physics teacher with a family. This story couldn’t possibly end any place other than smack in the middle of an MMA (Mixed Martial Arts) cage fight!

 Their Dad (Nolte) had trained the boys as youth wrestlers and now a giant $5 million tournament is being held. Both brothers are carrying secrets and need money to solve their problems. Their secrets drive them to risk life and limb in the cage of this most brutal activity. To best describe these characters, Tom Hardy has the presence and physique of the guy you would never consider confronting in a bar fight. Joel Edgerton is the kind that your buddies would egg you on thinking you could probably take him. Instead you would end up in the back of an ambulance.

 As expected, and shown in the trailer, the MMA tournament ends with the two brothers facing off and guilt-riddled dad watching from the crowd. Despite the rowdiness and violence of the fighting, very little blood is shown. That’s not what this movie is about. Instead we get many adrenaline-rushes from the spectacle of the fights, plus a split-screen montage of the training leading up to the big moment. This is a crowd-pleaser in the vein of The Fighter, but not quite as mainstream given the MMA element.

 The two leads were each on my list of favorite movies last year. Joel Edgerton was in the excellent and under-the-radar Animal Kingdom, while Tom Hardy was in the mega-hit Inception and will play Bane in the upcoming Batman film. In this film, Edgerton has more freedom with his character, but Hardy does a wonderful job of capturing the quiet intensity followed by roid rage in the ring. Most surprising is the fine job turned in by Nick Nolte. He really showed up for this one. Other support work comes from Jennifer Morrison, Kevin Dunn and Frank Grillo. We also see former Olympic wrester Kurt Angle as the terrifying Russian MMA machine Yoba, and writer/director Gavin O’Connor as JJ Riley, the millionaire sponsoring the tournament.

There will be comparisons made to both Rocky and The Fighter, and both make sense. It is not quite at that level, but don’t mistake this as some dumb fight movie made for teenage boys. There is a story and it provides further proof that men, no matter how hard they try, manage to screw up the whole family thing more often than not … but in the end, they do try their best to make things better!

SEE THIS MOVIE IF: you are up for a high intensity male-centric family drama with an abundance of testosterone OR you want to see the best Nick Nolte performance in years

SKIP THIS MOVIE IF: you prefer slow, weepy family dramas rather than the simmering explosions of male communication OR simply watching MMA is more violence than you care to take on

watch the trailer:

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Posted by David Ferguson

September 11: In Remembrance

September 11, 2011

 This is a movie blog, so it seemed appropriate to honor the World Trade Center with a short video of the 700 or so movies that have featured the towers.  I did not make this video, but found it interesting to see just how often the stunning towers played a role … and just how for granted I once took their presence.

 

 

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Posted by David Ferguson

CONTAGION

September 10, 2011

 Greetings again from the darkness. Fellow germophobes beware: the first few minutes of this movie will have you reaching for disinfectant and a surgical mask. Just remember – it’s only a movie. The scary part is that we have already experienced much of the terror that the film presents. We have seen first hand the effects of Swine Flu and Asian Bird Flu. We understand the fear of uncertainty and helplessness. It’s important to note that a virus is a living element capable of mutating and spreading … it looks for a way to get stronger and survive.

 The movie goes for the gut punch in the first few minutes. We see Gwyneth Paltrow returning home to hubby Matt Damon after an overseas business trip. We immediately know she is sick, but we aren’t sure of the source … though the film provides many source possibilities. Simultaneously we are shown numerous people with the Paltrow symptoms all over the world, and quickly understand that these are related and the “monster” is spreading quickly.

 Cut to Dr. Cheeve (Laurence Fishbourne) and his team at CDC. He partners with Dr. Orantes (Marion Cotillard) of the World Health Organization and Dr. Mears (Kate Winslet) from the Epidemic Intelligence Services. We are left to fill in the blanks on how these organizations work together to study and interpret the source and danger of an outbreak.

 The true heroes of science are those in the labs. Here we have Dr. Hextall (Jennifer Ehle, from The King’s Speech) and Dr. Sussman (Elliott Gould). We understand that these are highly talented people with the very specific skills needed to save the planet.

From a movie making perspective, the film is technically fine. The camera work and acting are all excellent. Director Steven Soderbergh is a superstar director and well-respected. Writer Scott Z Burns has quite an impressive resume. The cast is as deep and spectacular as any you will see this year. Then why am I in such a funk about this film? It disappoints me to say that the film plays like a disjointed mess. We get bits and pieces of numerous stories throughout, but never do we really connect with a single character. Matt Damon and Lawrence Fishbourne have the most screen time, but neither are accessible or give us any reason to believe we know them … only their desperation. Jude Law plays a super-blogger who teeters between exposing governmental conspiracies and his own insider trading for personal gain. There are subplots with Marion Cotillard, Jennifer Ehle and Laurence Fishbourne that all could have been intriguing, but we get the glossy outline version, rather than an actual story.

 The film focuses not on the personal side of the outbreak, but rather the process of damage control, scientific research and lab work for a vaccine. But we only get scattered bits of any of this. Same with the political side. We see a “world” teleconference with the CDC and leaders from many countries, but never an explanation on why they are all looking to the U.S. for a miracle cure. It would have been fascinating to see how or if the experts from Japan, China, India and the U.S. work together in times of a global epidemic. Instead, we get thoughtful poses from Mr. Fishbourne. What a waste.

Despite the potential for greatness, this film is neither thrilling or dramatic or informative. Mostly I wondered how much time the endless stream of movie stars actually spent on set. It appears Mr. Soderbergh now enjoys hanging with an all-star cast more than really making a statement with a movie. Additionally, I found the quasi-Techno soundtrack to be distracting and annoying. There are numerous virus outbreak movies that are superior to this one.

Whether you see this movie or not … remember to wash your hands!

SEE THIS MOVIE IF: you want to play “spot the movie star” OR world epidemic movies are your guilty pleasure

SKIP THIS MOVIE IF: you believe a thriller should be thrilling OR you agree that an endless checklist of partial subplots can be annoying

watch the trailer:

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Posted by David Ferguson

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