CAPTAIN AMERICA: THE FIRST AVENGER

July 24, 2011

 Greetings again from the darkness. If it seems to you as if the past three years have provided an overload of superhero and comic-based movies, you are absolutely correct. There have been too many. There are a few I would be willing to toss out, but Captain America is not one of them. This ranks right with the first Iron Man as the closest to a real movie … one with a story to go with the action and CGI.

It begins with the present day discovery of an exposed plane wing jutting from the frozen Arctic tundra. The search team quickly finds the Captain America shield visible beneath the ice. Flash back to WWII and we are introduced to a scrawny Steve Rogers (Chris Evans with Benjamin Button FX) who wants nothing more than to fight for his country. Unfortunately, this 90-pound weakling might as well have 4-F stamped on his forehead, as the size of his heart far exceeds the size of his biceps.

His tenacity at trying to enlist is noticed by a powerful scientist named Erskine (played with sheer smirking joy by Stanley Tucci). Erskine happens to be working with Col. Phillips (a perfectly grumpy Tommy Lee Jones) on a secret plan to develop super-soldiers with the injectable cocktail Erskine has invented. As you might guess, the plan is thwarted immediately after scrawny Steve Rogers is transformed into a super soldier yanked from the cover of “Men’s Fitness”.

 Working with Col Phillips and Erskine is Peggy Carter (Hayley Atwell). Her main purpose seems to be adorning the brightest red lipstick and flashing her legs in front of the soldiers. She falls for Rogers and spends most of her scenes staring somewhat scarily into his eyes. Actually, their scenes together are pretty good and her character helps us remember that Captain America is still just a regular good guy … not a Norse God.  It was humorous to watch the early song and dance routines to sell war bonds.  Seeing the super soldier cast as a traveling side show could be seen as a commentary on the military.

 Personally, I thought the movie lagged just a bit in the fight scenes between good and evil. But that doesn’t mean I didn’t find Red Skull (Hugo Weaving) to be a terrific bad guy. Nazi’s still make for the perfect adversary. Although, I found myself laughing on occasion as Weaving’s German accent reminded me of Christoph Waltz in Inglourious Basterds. I was quite impressed with the infamous Captain America shield, though I never quite figured out how he trained it to “return” to him … I am sure this is better explained in the comics.

 What makes this movie work is the fact that Captain America remains Steve Rogers. He is always a good guy wanting to do the right things. He is deeply affected when he thinks his actions may have caused the death of his best friend Bucky. But he also manages to keep his ego in check and his patriotic duty in the forefront. Also, the film is directed by Joe Johnston. If you are unfamiliar with his work, let me recommend two of his earlier films: The Rocketeer and Hidalgo. You are probably familiar with his Jumanji and October Sky. He is a director that creates a specific look and feel to his films, and the texture helps make this one work.

Since this is entitled Captain America: The First Avenger, it is obviously another step towards The Avengers movie slated for 2012. So don’t miss Dominic Cooper as Howard Stark (father of Tony Stark/Iron Man). And don’t miss Samuel L. Jackson as Nick Fury in the odd ending to this film … and the obligatory “bonus” after closing credits.

SEE THIS MOVIE IF: you always viewed yourself as the 90 lb weakling in those old Charles Atlas comic book ads OR you just never miss a chance to see nazi’s get thier asses kicked … especially by a guy in tights.

SKIP THIS MOVIE IF: a comic book flashback to WWII seems about as appealing as having your air conditioner go out during this crazy heat wave

watch the trailer:

 

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Posted by David Ferguson

TERRI

July 21, 2011

 Greetings again from the darkness. Indie films are at a disadvantage on many fronts, not the least of which is budget. That usually limits the indie scene to personal, poignant stories of relationships and self-discovery. Quirky, yet believable characters are often the difference between ho-hum and worth-seeing. Writer Patrick Dewitt and Director Azazel Jacobs definitely provide some curious characters of interest in this Official Selection of Sundance Film Festival.

Jacob Wysocki portrays Terri, an overweight outcast who is often humiliated and bullied at high school. Terri seems to have given up on ever fitting in. The proof is in the pajamas that he has begun wearing to class every day. But as usual with “troubled” teens, there is more to the story. We see his home life which consists of constant care for his Uncle James, who is apparently suffering from dementia. We get no backstory on the missing parents, but it’s clear that Terri’s responsibility at home outweigh his concerns for a missing social life at school.

 Enter Assistant Principal, Mr. Fitgerald. Played by John C Reilly, Mr. Fitzgerald takes a special interest in the ‘monsters and misfits’. The reason is pretty obvious … he was one himself. His goal, rather his life’s calling, is to encourage these kids to understand that life gets better and that NO ONE really has it figured out. We are just doing the best we can.  Even this well-intentioned man struggles to maintain his relationship with his wife.

 Terri’s world collides with a couple other students. Chad (Bridger Sadina) is so angry at the world that he pulls his hair right out from his scalp – and is quick with a cutting remark, though he clearly just seeks attention and love. Heather (Olivia Crociacchia) is saved from expulsion after a very generous move by Terri. Her world of popularity comes crashing down, but Terri is the presence that gets her through. Watching these characters interact with Mr. Fitzgerald emphasizes how much we all need someone to care … someone to believe in us.

 The film moves at a pace realistic to life. That means it is very slow compared to most movies. The characters are allowed to develop, as are most of the scenes. Jacob Wysocki’s performance can be compared to Gabourey Sidibe in Precious. They are large youngsters who don’t use their size to comedic effect. Instead, they both display humanity and real emotions in a less-than-perfect world.  Uncle James is played very well by Creed Bratton (“The Office”).  If you aren’t familiar with Mr. Bratton, he is not only a fine actor, but also was a member of the late 60’s/early 70’s band The Grass Roots.  He continues to compose music to this day.

Certainly not a movie for everyone, but if you enjoy intimate stories about people just trying to get through life … no special effects, explosions or asinine punchlines … then Terri is worth a look.

SEE THIS MOVIE IF: you enjoy attention to detail afforded by indie film story-telling OR you are intrigued by the similarities to Precious (only not as harsh or intense)

SKIP THIS MOVIE IF:  you believe summer time movies should be light-hearted and filled with crashes, booms and robots/superheroes

Watch the trailer:

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Posted by David Ferguson

PAGE ONE: INSIDE THE NEW YORK TIMES

July 17, 2011

 Greetings again from the darkness. Let me start by saying that you need not be a newspaper expert, reporter or reader to appreciate the points discussed in this documentary from Andrew Rossi. These key points include the battle of print vs social media, the need for true reporting, and the sustainability of the venerable institution that is The New York Times.

There is some argument given towards what constitutes journalism, but for me the real guts of the matter boils down to our absolute NEED for investigative reporting. I have always given value to bulldog reporting as a checks and balances for our system. Maybe, just maybe, our public officials and corporate leaders will toe the line if they are being watched. Sure, we can all rattle off a long list of when that hasn’t been the case, but I truly believe, having reporters following and snooping does make a difference in the actions of those in charge … and even if it doesn’t, it certainly makes a difference in the accuracy and depth with which their actions are written about.

 The filmmaker has been given substantial access to the media desk inside the newsroom. We even get to sit on a portion of the morning meeting where the senior editors decide what the lead stories will be. Personally, I would have loved a couple more hours of just that! But just as fascinating is how Bruce Headlam manages the media news, and in particular, star reporter David Carr. Mr. Carr is a hardened reporter with the spectacular ability to cut directly through to the important point and focus on the details, verify those details, and then summarize in a concise, understandable manner. We see this in full glory with his handling of the crisis and scandal at the Chicago Tribune under Sam Zell‘s banner.

Today, we like our news spoon fed to us in 20 second sound bites. So we find our favorite websites and we scan the headlines, which themselves are scans of news stories. My favorite moment of the movie occurs on a discussion panel when David Carr holds up a printout of the home page of a news “aggregator”. Moments later he makes the point that without real reporters and news teams (like the NYT), this aggregator’s home page would look quite different … he then holds up that same home page with 95% of the stories cut out because their source is a real news organization.

Some attention is paid to Twitter and other social media outlets. This seems to be finally accepted by reporters as being effective for two things: a delivery system for information and a grapevine with lightning speed. Of course, no verification is required for a “news” story to hit Twitter, and therein lies its limitation.

 We get interviews from both Gay Talese and Carl Bernstein on the importance of news reporting. Evidence is provided through mentions of the Pentagon Papers, Wikileaks and Watergate. Judith Miller and Jayson Blair are topics that embarrassed and did significant damage to the industry … but changes were adopted to (hopefully) prevent re-occurrence. The News of the World scandal is too new to have made the film, but it certainly would have added a fascinating subtext to it.

The bankruptcy trail of so many newspapers is discussed, along with the possibility of this happening at The Times. Personally I wish more detail had been provided on the survival strategy of this institution. Since the release of the film, there has been a change in the Executive Editor position. Bill Keller, who is featured prominently in the morning meetings, has stepped down and been replaced by Jill Abramson. Ms. Abramson is charged with driving and building online presence and revenue. We should all be wishing her success as the world is a better place with The New York Times.

SEE THIS MOVIE IF: you are questioning whether we benefit from news reporters OR you believe Twitter gives you all the scoop you need 

SKIP THIS MOVIE IF: TMZ fufills your need for hard-hitting news

the film’s trailer:

 

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Posted by David Ferguson

JAWS (1975) revisited

July 15, 2011

 Greetings again from the darkness.  Ba-dum.  Two of the more recognizable notes from any movie musical score are courtesy of 5-time Academy Award winner (45 nominations!), composer John Williams.  A truly great score plays a vital role in the emotional connection that a viewer makes with a movie.  In some movies, we barely notice the music.  Not so with the Jaws theme.   In 1975, it signaled an immediate jump in our blood pressure and has since glided right into becoming part of our societal lexicon – musical slang for “danger is on the way”.

You are probably wondering why I am writing about a 36-year old movie … especially one that revolves around shark attacks.  Haven’t we had more than our share of monster and disaster flicks?  Well, my friends, it’s time for you to re-discover the wonderment, joy, anxiety, humor and humanity of Jaws.  I did just that last evening at a screening provided by the Dallas Film Society, Dallas Morning News and film critic Chris Vognar.

 When Jaws was first released in 1975, I saw it three times over three consecutive days.  I couldn’t get enough!  It was, after all, the first “summer blockbuster”.  At the time, I was the ultimate beach lover, and along came a movie that was so frightening, it convinced people to stay out of the water!  Over the years, I have watched it quite a few times on cable/tape/DVD, but not until last evening was I able to re-live that theatrical experience from the summer that changed movies forever.  Last night the theatre was full, and nearly a third of those in attendance claimed to have never before seen the movie.  So my hope is that you will make time for this classic film … whether it’s your first time, or your twentieth.  Introduce it to your kids, grandkids, nieces and nephews (if they are ready).   Talk about what makes it great, and about all the movies it has since influenced.

Rather than “review” the movie, I will point out some interesting details on how it was made, its legacy and even some of my favorite moments from the movie.

Director Steven Spielberg was 28 years old when the movie was released.  He had already made some noise as a filmmaker with Duel and Sugarland Express, but it was the success of Jaws that labeled him wunderkind.  The now-legendary Spielberg went on to direct such classics as Close Encounters of the Third Kind, three Indiana Jones movies, The Color Purple, the first two Jurassic Park‘s, Schindler’s List, and Saving Private Ryan.  He is also listed as Producer on more than 120 other projects.  He is the ultimate ‘mover and shaker’ in Hollywood.   But Jaws was his last movie where the burden of expectations and box office results were minimal.  Jaws went on to gross almost a half billion dollars worldwide … an unheard of level at the time (movie tickets cost about $2.oo each in 1975).

 The story is based on the first novel by Peter Benchley, who would later write “The Deep” and “The Island“.  Mr. Benchley also appears briefly in the film version of Jaws as a reporter on the Amity beach.  The novel was a best seller, but much darker in tone than the Spielberg film.  Spielberg turned the book’s key characters into less abrasive personalities, while maintaining the colorful attitudes.

 Speaking of characters, many people tend to focus on Roy Scheider‘s Martin Brody,  Chief of Police on Amity Island.  He really does a nice job as the no-nonsense non-islander attempting to fit in without poking too much fun at the “problems” of the locals.  Others are drawn to the performance of Richard Dreyfuss as Oceanographer Matt Hooper.  Dreyfuss is far and away the most energetic of the actors, and his cocky, know-it-all, rich boy makes for a terrific contrast with the other more subdued characters.

The guy to really watch in this movie is the great Robert Shaw as Quint, the crusty local fisherman who vows to kill the shark for a huge fee.  Spielberg originally wanted Lee Marvin for the role, but it’s difficult to imagine anyone other than Shaw as the tough-as-nails Quint.  His sililoquy regarding his USS Indianapolis ordeal is mesmerizing and fascinating … and that scene alone should have won him the Best Supporting Actor.  Yet somehow, he wasn’t even nominated in the year that had, yes, George Burns winning for The Sunshine Boys.  Shaw’s character comes across as true salt of the sea, and watching him co-exist on a small boat with Scheider and Dreyfuss for the entire second half is movie-watching glory.  As they compare scars and enjoy an adult beverage, we are afforded a brief laugh outloud moment.  And don’t miss Scheider giving momentary consideration to flaunting his appendix scar.

 Much has been written over the years about the animatronic shark.  It was nicknamed Bruce, after Spielberg’s attorney.  Bruce gave the filmmakers a great deal of trouble and, because of that, the film works even better.  We don’t glimpse the shark until well into the movie, giving tension and anticipation much time to build.  Until the last few minutes, we really don’t get a full-on view of the shark, but it SEEMS like we do!

The Mayor of Amity is played by Murray Hamilton.  Mr. Hamilton is well remembered as Mr. Robinson … husband to THAT Mrs. Robinson … in The Graduate (1967).  In that movie, he refused to shake Dustin Hoffman‘s hand.  Here, he refuses to close the beaches, for fear of losing tourist revenue.  He only has a hand full of scenes in Jaws, but each is quite memorable.  Watching him speechify to the cameras, politicize to the citizens, and nearly break down while smoking in the hospital, adds depth and intensity to the film.

The trivia associated with Jaws is abundant.  What’s really important is that this is an incredibly well made movie that holds up extremely well today.  When you watch it, notice how you immediately understand the feelings of the locals at the town hall meeting, the desperation of the deputy, the shame of the Medical Examiner, the bravado of the fishermen and the confusion of Brody’s wife.  Notice the camerawork as it varies between the viewpoint of the shark, the viewpoint of a character, or interested onlooker to the beach happenings.  Check out the masterful film editing with three characters battling for space aboard the Orca.  Great stuff.

Jaws was nominated for Best Picture, but lost out to One Flew Over the Cuckoo’s Nest.  It did win for Best Editing, Best Sound, and Best Music (score).  Its lasting impact includes the genius of Spielberg, turning Summer into Movie time, and that iconic score.  Ba-dum.  Stay out of the water!

Check out the original trailer from 1975:

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Posted by David Ferguson

ZOOKEEPER

July 11, 2011

 Greetings again from the darkness. We are all fine with the endless stream of animation featuring talking animals. The rules change a bit when the movie is live action … and the animals still talk! Not only do they talk, but they are giving lessons in love to zookeeper extraordinare Griffin (Kevin James) ala Dr. Phil.

Personally I think Kevin James is more suited to television, but it’s hard to argue with the huge box office success of Paul Blart Mall Cop. This movie isn’t quite as creative as that one, but for mindless summertime fun in an air-conditioned environment and a kid-friendly theme, it’s passable.

 The kid-friendly theme is somewhat misleading. To me, it’s the greatest flaw of the movie. It can’t seem to decide if it wants to be a kids movie or a “clever” film for kids that adults will enjoy. I don’t think most adults will enjoy it much, and I think most kids will be confused and bored by the adult plot of helping Kevin James land the girl and discover his true self.  But for kids, the animal scenes should sustain them.  I am not sure that TGI Fridays is enough for adults.

If you are going to have talking animals these days, you must have high priced voices … even though you can’t recognize them. Some of the vocal talent on display includes Sylvester Stallone and Cher as lions, Nick Nolte as the gorilla, Jupp Apatow as an elephant, producer Adam Sandler as the monkey (“throw poop”), Faizon Love and Jon Favreau as arguing bears, Maya Rudolph as an off-key giraffe, and Don Rickles as a frog.

 The story is this: Kevin James is a nice guy zookeeper who is loved by the animals, but spurned in marriage proposal by his girlfriend Leslie Bibb, who wants him to make more money. He works with nice gal Rosario Dawson who likes him so much that she agrees to help him get the shallow Bibb back. Other zoo co-workers include Donnie Wahlberg and Ken Jeong, who must be in every third movie released this year. Yada, Yada, Yada … animals give advice, Kevin James learns about real love, gorilla learns some people can be trusted, they all live happily ever after. I don’t consider that a spoiler.

The movie is produced by Adam Sandler and directed by his buddy Frank Coraci. Coraci also directed a comedy I kind of like (The Wedding Singer) and a couple I absolutely couldn’t stand (Click, The Waterboy). Anyway, if you are looking for mindless fun with the family, this one is safe though not inspired.

SEE THIS MOVIE IF: you don’t believe anyone (including a gorilla) can have fun at TGI Fridays.

SKIP THIS MOVIE IF: a step down from Night at the Museum is a step you prefer not to take

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Posted by David Ferguson

A BETTER LIFE

July 9, 2011

 Greetings again from the darkness. Surprisingly, this movie doesn’t choose sides in the political hot potato that is immigration reform. Instead, it plays as an intimate story of hope and desperation centered around the daily life of a father and son.

The father is Carlos (played by veteran actor Demian Bichir), an undocumented worker in Los Angeles who scrapes by working as a gardener and landscaper for another illegal immigrant. Carlos is raising a 15 year old son who was born in the U.S. They are alone because the mother bolted after discovering the high life available in this great country. Carlos, on the other hand, believes in work ethic and the bond of a handshake. His son Luis (Jose Julian) is fighting the daily battle of the streets – whether to join a gang for respect. Luis shows little outward respect for his hard-working father, who comes home sweaty and exhausted every day of the week.

 When Carlos’ boss approaches him about buying his truck and tools, Carlos first balks because he simply has no money, and he is intent on remaining “invisible”. In his case, a simple traffic stop would mean deportation and the loss of his son. After a night of pondering, he borrows the money from his sister and buys the truck. Carlos tells his son that things will soon be better – better house, better school, etc. Luis is dubious and offers little support.

The story takes a turn when the truck is stolen by a day worker whom Carlos was trying to help. If you have ever seen Vittorio de Sica‘s The Bicycle Thief, you will recognize some similarities. Father and son grow closer as they hunt for the thief. Luis sees his father’s thoughtful actions and has trouble processing his calculated methods. The youngster is more about lashing out to show power. It’s the only method he has seen at his school. Father knows best comes into play here.

 The film is interesting enough and the scenes with both father and son are exceptional. As a whole, the film seems a bit lacking as we really only get glimpses of the desperation and confusion that these two face every day – in completely different ways. It’s directed by Chris Weitz, who has an unusual resume which includes both Twilight: New Moon and About a Boy. His newest film really just reiterates what we already know about illegal immigrants. Some are here to milk the system, while others are here for ‘a better life’.

SEE THIS MOVIE IF: you are up for a nice little story about a single dad and his struggle to provide a future for his son

SKIP THIS MOVIE IF: you are looking for a fight on the topic of immigration reform.

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Posted by David Ferguson

2011 – FIRST HALF RECAP

July 4, 2011

Greetings again from the darkness.  Yep, it’s mid-year again.  So you can stop holding your breath waiting for me to recap the movie year thus far!  You will also get a glimpse into what’s coming up in the next 6 months.  Even in a year like this, when the overall film quality has been mediocre at best, I always hold out hope for an exciting second half … and this year is no different.

Let me remind you that it will be next January before I publish my list of favorite films in order.  What I provide below is groupings of what I think are the best so far.  Some of these may make the year-end list, while most will not.  Just for fun, I also include my list of most disappointing movies through June.  As always, these represent my opinion and may or may not be aligned with your tastes, beliefs or standards.

 So, as usual, let me start by contradicting what I just said.  Far and away my favorite cinematic experience in 2011 has been Terrence Malick‘s The Tree of Life.  It also happens to be one of the most divisive films of the year.  People either connect with it or they walk out absolutely frustrated and annoyed.  Some theatres have taken to posting a warning to patrons that the film does not follow a typical Hollywood narrative or story arc.  Mr. Malick’s latest work is either inspiration for introspection or it’s motivation to request a refund.  I understand both reactions.

Now that I cheated at my own game … here is the best (so far) of 2011, by category … and notice, they are in alphabetical order:

COMEDY

 Bridesmaids – raunchy women’s comedy that even men can appreciate

Cedar Rapids– underrated script with laughs and a message

Midnight in Paris– Woody Allen’s terrific homage to literary giants

Rango – animated hilarity and genius (for all ages)

DRAMA

 Beginners – touching story showing it’s never too late to love

The Conspirator – historical drama around Lincoln assassination

Hanna – action thriller that defies description

Jane Eyre – expert version of the iconic novel

Win Win – terrific script highlighting doing right by others

DOCUMENTARY

 Bill Cunningham New York– NYC fashion through a brilliant man’s eye

Buck – Cowboy zen

Hot Coffee – things you don’t know about the justice system

 

 

OTHER

 Barney’s Version – cynical dramedy with Paul Giamatti at his best

In a Better World – stark drama from Denmark

Pirates of the Caribbean: On Stranger Tides – Captain Jack is back

Source Code – thrilling and humanistic sci-fi from son of Bowie

Super 8 – nostalgic Speilberg courtesy of JJ Abrams

MOST DISAPPOINTING

Atlas Shrugged: Part 1 – embarrassingly bad version of classic novel

The Greatest Movie Ever Sold – not Morgan Spurlock’s best work

The Hangover Part II – same jokes, different city

Larry Crowne – a thesis on bland and generic moviemaking

Sucker Punch – should have been greatness

Now, let’s look ahead at the second half “Coming Attractions”.  Here are a few movies that have piqued my interest.  They are separated by wide release films versus independent or smaller budget types that may only receive limited release.

Big Budget Releases:

 Captain America: The First Avenger – will the next Superhero come on down!

Contagion – Soderbergh sci-fi with Kate Winslet and Matt Damon

Cowboys & Aliens – James Bond and Indiana Jones, together at last

Dream House – newlyweds Daniel Craig and Rachel Weisz

The Girl with the Dragon Tattoo – Fincher re-do of Swedish cult classic

Harry Potter and the Deathly Hallows – JK Rowling may have to get a job

 The Help – film version of best seller featuring Emma Stone

The Ides of March – Dirty politics with Clooney, Giamatti, PS Hoffman, Gosling

The Iron Lady – Meryl Streep as Margaret Thatcher

Moneyball – Baseball, Oakland A’s style

Wanderlust – raunchy comedy with Paul Rudd and Jennifer Aniston

War Horse –  Steven Spielberg WWI Oscar entry

 

Independent Films/Limited Release:

 Attack the Block – Sundance favorite as London teens battle alien invasion

The Descendants – Sideways director is back w/ Clooney as mourning dad

The Devil’s Double – chilling story of Saddam Hussein’s son

Drive – action film with Ryan Gosling and Carey Mulligan

Page One: A Year Inside the New York Times – doc on print v. social media

The Rum Diary – Johnny Depp in Hunter S Thompson story

Sarah’s Key – Kristin Scott Thomas solving puzzle of Vel d’Hiv

While it will be 6 months before we know how many of these actually make their mark, let me know which were  your favorite and least favorite movies of the first 6 months.  I see a lot of movies, but I don’t see everything … so let me know what I missed!

See you at the movies!!

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Posted by David Ferguson

LARRY CROWNE

July 3, 2011

 Greetings again from the darkness. I view Tom Hanks as one of the all-time giants among movie actors. He is true Hollywood royalty. When I heard he was producing, directing, co-writing and starring in a new film (his first directorial outing since That Thing You Do), I assumed it was his first step in becoming the new Clint Eastwood. Sadly, Mr. Hanks broke the number rule of movie-making: have a point to make or a story to tell. What we get is a time warp when mainstream movies could be successful just by putting nice people on screen.

 And nice people is what we get. Tom Hanks plays the ultimate nice guy as Larry Crowne. Crowne is the type who attracts nice people and makes them even nicer. Even when he loses his job, we never doubt that this nice guy will land on his feet and even be better off eventually. Oh no you don’t … stop trying to guess the ending! Other nice people are … EVERY STUDENT in the speech class taught by Julia Roberts, the L.A. scooter club that recruits Crowne, the Marine owner of a diner who hires Crowne, the lottery-winning neighbors of Crowne and the dean of students at the community college. The nicest one of all is Talia, played delightfully by Gugu Mbatha-Raw (from the awful “Undercovers” show that lasted less than one season).

The closest thing to a bad guy is Roberts’ husband played by Bryan
Cranston (“Breaking Bad”). His fault? He is a bit lazy (after writing two
books) and he likes to look at swimsuit models on the internet. Sure,
when the movie starts, Ms. Roberts character is at her lowest. She
clearly drinks too much to mask her misery, though it’s never obvious
just why she is so miserable.

But this is not a movie about conflict or tension or anything not nice
… even though it begins with a nice guy getting laid off from his
job. The story and screenplay are co-written by Hanks and Nia Vardalos.
You will remember her as the creative force behind the gem My Big Fat
Greek Wedding. Unfortunately, this film is nowhere close to the level
of that one (conflict with Greek traditions).

 If Mr. Hanks’ goal is to become an important filmmaker in the vein of Clint Eastwood or Frank Capra, he will need to study the films that have made him rich and famous. Or at least study the best screwball comedies or rom-coms. A good story must have CONFLICT! There needs to be something that creates interest for the viewer. Even children’s books give us something – a mean raccoon, a wicked witch.  Simple, bland, generic, nice, likable and swell can all play a part … but they can’t be EVERY part! My two favorite things about the film are George Takei and Gugu Mbatha-Raw. Mr. Takei (of “Star Trek” fame) provides some of the few laughs in the film as a very meticulous Economics professor. His voice and mannerisms inspire us to smile and ultimately laugh outloud. Gugu is just terrific as the idealistic free-spirit who transforms Crowne and lights up her every scene. Can’t wait to see what she does next.

 As you might expect, supporting actors lined up to work with Hanks and Julia. Among those not mentioned above are Cedric the Entertainer and Taraji B. Henson (Crowne’s neighbors), Wilmer Valderrama (Gugu’s boyfriend), Rita Wilson (the mortgage officer), Pam Grier (professor), Grace Gummel (Meryl Streep’s daughter as the ‘pasta’ speech student), and it’s always nice to see Bob Stephenson on screen. He is one of the more underutilized deadpan comedic talents around.

There is little doubt that this film will find an audience. An audience
that demands little from a movie. There is nothing wrong with two hours
of back-slapping and giddy smiling … as long as you get a story to go
along with it.  The best way I can describe this movie is that it’s like looking at a family photo album.  Everyone is smiling.  Everyone looks happy.  But nothing is really happening.

SEE THIS MOVIE IF: you believe thinking and movie watching should remain separate activities OR you simply want to see a lot of nice people onscreen for two hours

SKIP THIS MOVIE IF: you believe filmmakers owe us something and shouldn’t cash in on their reputation … even if their name is Tom Hanks.

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Posted by David Ferguson

TRANSFORMERS: DARK OF THE MOON

July 2, 2011

 Greetings again from the darkness. I pride myself on being a fan of many different types of films – everything from World Cinema to Super Heroes.  However, it would be unfair to analyze, critique or compare a Transformers movie to any “normal” movie. Being somewhat limited in scope by the source material, director Michael Bay, delivers what the fan of the series want … full scale noise and all-out action.

While Mr. Bay admitted that part two of this trilogy was lacking much (an understatement), it appears his efforts to improve part three come not from a script doctor, but rather by tossing in some familiar Hollywood faces: John Malkovich, Frances McDormand, Patrick Dempsey and Ken Jeong. Oh, and we also get Bill O’Reilly, an odd sequence with legendary Apollo 11 astronaut Buzz Aldrin (the second man to walk on the moon), and the best surprise – Leonard Nimoy voicing Sentinel Prime.

 Most of the same key players are back: Shia LaBeouf as Sam (friend to Optimus Prime), John Turturro (having cashed in on his 10 min of fame), Josh Duhamel and Tyrese Gibson as soldiers, and Kevin Dunn and Julie White as Sam’s parents in a couple of throw away scenes that cost much less than the CGI that dominates the movie.

While I remain an avid opponent to 3-D, this film offers a few of the best uses since Avatar. Unfortunately the dimmed coloring offset the benefits and continue to annoy me. Just remove your glasses periodically and you can easily see how much brighter the colors are without the 3-D muting. Such a shame.

 Michael Bay knows explosions. And there is no shortage on display here. We get plenty of rock ’em sock ’em action and the military is on full display, especially with some pretty cool skydiving tactics. Heck, we even get Frances McDormand as a power-hungry bureaucrat. For those who know Chicago, the familiar sights abound. The Wrigley Building plays a vital role, though it still bothers me a bit to see a skyscraper destroyed. I will say the tilted office is not even close to the cool factor of the rotating hallway of Inception, though the effort is appreciated.

 The battle of the robots is what (lots of) people pay to see and the 40 plus minute final battle is something to behold, even if it drags on entirely too long. And I can’t fail to mention that the lack of presence of Megan Fox‘ character is explained a couple of times as having “dumped” Sam. Sam has rebounded nicely with Carly, played by supermodel Rosie Huntington-Whiteley, who looks just fine in a $200,000 Mercedes, a slim white dress or conversing with an injured villainous robot. Yes, one must maintain a sense of humor during this movie.

The use of slo-motion, the ties to the space program, and the connection to Chernobyl are all a bit heavy-handed, but this is a Transformers movie, not a documentary. And the actual transformation of these guys is still one of the coolest on screen moments you can find … even if the story and dialogue will have you desperate for brain resuscitation when the movie finally ends.

SEE THIS MOVIE IF: you are a fan of Bay-splosions!

SKIP THIS MOVIE IF: you just can’t believe the same guy (Peter Cullen) who voices Optimus Prime, also voice Eeyore of Winnie the Pooh fame

Leave a Comment » | Action, Fantasy, Sci-Fi | Tagged: , , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

CAVE OF FORGOTTEN DREAMS

June 27, 2011

 Greetings again from the darkness. This time it’s the darkness of Chauvet Cave in southern France, which was discovered by accident in 1994 by three spelunkers, including the cave’s namesake. Discovering a “new” cave must be incredibly thrilling. But what about one that houses the earliest human cave drawings ever found?

The French government quickly recognized the importance of this find and installed an electronic metal door to seal off the cave to all but a few scientists who spent years carefully mapping every square inch of the cave. Protecting the air and the type of intrusion will, hopefully, protect the 400 or so wall drawings. These drawings are beautiful and cause the imagination to run wild. We see animals similar, yet different than those we know today. Why is there a difference? Well these drawings have been dated to 32,000 years ago! Thousands of years prior to any other human drawings previously discovered.

Director Werner Herzog and his crew are given limited access and are severely limited on the type of equipment they can use. They are confined to a very narrow walkway and are not allowed to touch the drawings. In fact, these limitations work to provide an ethereal look and feel … it’s as if the flickering torches of the original artists are guiding us.

Mr. Herzog is well-known for his unique voice and approach to filmmaking. If you have seen his Fitzcarraldo or his documentary Grizzly Man, you understand what I mean. Here, he spends much time narrating what could have been, speculating on the inspiration, and wondering why so little proof of humans exist here. We see a footprint and some palm prints, but really the drawings are the only sign of human intrusion. Instead fossil remains of cave bears and other wildlife are present. Then again, it has been at least 20,000 since the cave was sealed by a natural rock-slide.

 I am sure this will show up on the History Channel and an argument could be made that TV would have been the proper display for this piece. I will say that the big screen does allow for greater appreciation of the artwork, even if some of the interviews come across as filler and the pacing is quite slow. As for the epilogue featuring a French nuclear reactor and and the introduction of warm waters perfect for breeding mutant albino alligators that “may someday reach Clauvet Cave”, I say … oh, Werner.

SEE THIS MOVIE IF: you are a dedicated anthropologist, archealogist, paleantologist, spelunker OR would like a glimpse into an ancient world that you will probably never see first hand.

SKIP THIS MOVIE IF: you appreciate the historic significance of this find, but would just as soon check out the website

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

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