THE WOLFMAN (2010)

February 14, 2010

 Greetings again from the darkness (and fog). OK, I admit it. I love this stuff. As a kid, I watched Frankenstein, Dracula and Wolfman movies again and again. The 1941 version with Lon Chaney Jr as the Wolfman is classic horror. Of course, the film itself wasn’t really so scary … instead, it’s the possibility of the transition from man to monster and then back again! Director Joe Johnston (Hidalgo, The Rocketeer) stays true to the original story and shows us how far stunts, special effects and make-up have come in the last 69 years. Add in another terrific score from Danny Elfman and you get a few good jumps in your movie seat.

Benecio Del Toro and Anthony Hopkins are absolutely perfect casting for the cursed father and son. Their transformations work well given their “natural” features … especially Del Toro, who looks as though he was born for the role.

Emily Blunt is the token eye candy, and Hugo Weaving (The Matrix) is the Scotland Yard detective on the hunt. Neither are really given much to do, but it doesn’t matter. The fun starts when the full moon arrives.

The down side is that the CGI are a bit weak when the creature is on all fours running, jumping and leaping tall buildings. But that’s a minor quibble when you consider the set design is breath-taking. Horse and carriage, cozy English pub in a quaint town, and a run down-once majestic castle that houses Mr. Hopkins and family.

I applaud the director for remaining true to the roots of the story and not “updating” it ala Twilight to show high school students in 21st century NYC as werewolves. Go in with the right attitude and this one will make for a fun Valentine date.

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Posted by David Ferguson

VALENTINE’S DAY (2010)

February 13, 2010

 (2-12-10) Greetings again from the darkness. Really no need to offer commentary on the story. If you have seen the preview (how could you have missed it?), you know it’s a major chick flick with a long list of Hollywood celebrities who come together and display the trials and tribulations that we have come to celebrate as Valentine’s Day – surely a concoction born of greeting card companies, florists and confectioneries.

For most of the movie, one song kept popping in my head – Marilyn Manson’s “The Beautiful People”. I have never seen so many beautiful people in one film. As you have noticed, the word “actor” has purposefully been avoided – celebrities and beautiful people are a more accurate description of what director Garry Marshall has delivered.

Thankfully, he tossed in Hector Elizonda, Shirley Maclaine and George Lopez or the movie might have done for plastic surgery what Urban Cowboy did for C&W dancing. On top of the beauty, we are subjected to an endless stream of downright SKINNY people! Everyone has noticed Taylor Swift is rail thin, but she doesn’t even stand out here. Jessica Biel, who once had a real-life body, looks cadaverous. Even her character exists on candy and treadmills. Throw in Ashton Kutcher, Topher Grace, Jennifer Garner and Jessica Alba, and one can make the argument that the cost for this cast was offset by the lack of necessity for an on-set lunch buffet.

Look, I realize this is just a chick flick comedy that is designed to poke a bit of fun at our need to love and be loved … or rather just not be alone. But a touch of reality could have helped. Raise your hand if you believe Julia Roberts might be miscast as the soldier returning home on leave from the front lines of war. Or that a brilliant doctor (Patrick Dempsey) might be a little more careful in covering his tracks of indiscretion? Or that Anne Hathaway couldn’t find a slightly more rewarding way to earn a living than her “phone entertainer” job?

Couldn’t help but notice the Pretty Woman connections with Garry Marshall, Julia Roberts, Hector Elizando and Larry Miller. Ms. Roberts even gets in a funny little jab over the closing credits. Some attempt was made to interconnect the multiple story lines and I do appreciate the struggle to show intimacy in the mess of Los Angeles … just too many obvious skits and stereotypes to make this anything more than a half-hearted effort by all involved.  And by “all”, I am including the 10-12 other “stars” that I have not named here.

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Posted by David Ferguson

THE LAST STATION (2009)

February 13, 2010

 Greetings again from the darkness. Have been hearing so much about the performances of Christopher Plummer and Helen Mirren, that I couldn’t wait for this one to finally hit town. They are both nominated for Oscars (somehow, his first), though neither appear to be a front runner.

Based on Jay Parini’s novel, director Michael Hoffman (One Fine Day) brings us a look at the last year in the life of Russian novelist Leo Tolstoy, who wrote two of the finest of all-time (War and Peace, Anna Karenina). Unfortunately, I am not sure of the point of the film. We are provided a glimpse into the marital challenges faced by Tolstoy and Sofya, but more of the story seems to be devoted to the scheming of Chertkov (Paul Giamatti) who wants the copyrights turned over to the Russian society … he is a very strong believer in Tolstoy’s newfound disgust with personal possessions (among other things).

James McAvoy is hired to be Tolstoy’s personal assistant slash double agent. He is to report to Chertkov all that goes on, and in a twist, he is to report the same to Sofya, who fears that the “new will” shall leave she and the family destitute.

The first half of the film belongs to Plummer, who refuses to go overboard playing Tolstoy as the great man, not just great writer, that so many see him as. I doubt any of us today can really appreciate how this man was worshiped at the time, though the paparazzi and tears at the end give us some indication. The second half is Mirren’s as she copes with being shut out, while still in a lifelong love.

I would have preferred more insight into Tolstoy the man, rather than the Tolstoyan movement, of which I found little interest. We certainly get a more defined character in Chertkov, but the maturing of McAvoy’s character helps offset the harshness.

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Posted by David Ferguson

KILLING KASZTNER (2008)

February 9, 2010

 (2-9-10) Greetings again from the darkness. The best documentaries provide both (or more) sides of the story, show the conflict, allow the emotions to speak and inspire the viewer to decide or research further. Director Gaylen Ross does just that with this terrifying tale of truth … a truth left open to interpretation.

Rezso Kasztner arranged for the rescue of 1684 Jews. That much is known. The bone chilling debates occur when one views him as a hero and the other views him as a traitor – a collaborator with the Nazi’s (specifically Adolph Eichmann). Kasztner has been referred to as the Jewish Schindler, but also as the man who sold his soul to the devil.

Ms. Ross provides us access to many sources including his probable assassin! When this admitted killer sits down with Kasztner’s family, it proves the adage that truth is stranger than fiction. Kasztner’s family, especially his daughter, are on a mission to see him portrayed as the hero they see. The problem is that many, including some of those he rescued, see him as a Nazi collaborator and are unable to forgive.

So many fine moments and interviews in this one that it actually left me wanting more. Somehow we never really got to know Kasztner as a man, but I do walk away admiring his daughter and granddaughter for working to get their side of the story out, and even more amazingly, having a touch of pity for the assassin.

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Posted by David Ferguson

THE YOUNG VICTORIA (2009)

February 8, 2010

 (2-8-10) Greetings again from the darkness. Emily Blunt would have stolen The Devil Wears Prada if not for the queen of screen, Meryl Streep. Here she competes with no one and does a nice job of carrying this film based on the early years of Queen Victoria. If you are rusty on your British sovereign history, she ruled from 1837-1901.

For 20 of these years, she was married to her true love, Prince Albert (played well by Rupert Friend). While the two meet as youngsters, the bond between them comes from their letters … an early precursor to eHarmony?? We know Victoria mostly from royal portraits, so it’s nice to see her as a rebellious youngster trying to learn the tricks of the trade, even while being manipulated like a pawn by her mother (Miranda Richardson) and her mother’s lover (Mark Strong). We get to see her tenacity blossom as she matures and literally grows up into the monarchy.

While Ms. Blunt’s performance is strong, Julian Fellowes’ writing is not at the level of his previous work in Gosford Park. We do get some of the same power plays, but it is missing the nuances of that much better film.

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Posted by David Ferguson

A SINGLE MAN (2009)

January 31, 2010

 (1-31-10) Greetings again from the darkness. World famous fashion designer Tom Ford (YSL, Gucci) dives head first into the movie world as writer (screenplay) and director of this one. As expected, the visual details are impeccable – from the “glass house” to the color scheme to the set design to the wardrobe and make-up. All that is missing is a character we care about.

Colin Firth has been nominated for many awards for his performance as George, the grieving professor, who in 1962 lost his partner of 16 years. Not even sure grieving is the correct word. Mostly, George has just given up on life. He gets up every morning and puts on his facade and begins the false-front that is his day.

We see, in flashback/daydream form, Mathew Goode as George’s partner. They seemed to have been very happy together. We also see Julianne Moore as George’s neighbor and long ago shot at a “real” relationship (her words). Ford has a nice touch showing Ms. Moore applying make-up as she puts on her best front for an evening with her grieving friend, George. It’s all a bit pathetic actually.

Anyway, here it is 8 months after his lover’s death and George has apparently decided to end his misery. We are locked in to his preparations, which are every bit as fastidious as his morning routine. My favorite parts were when George gets shocked out of his little world and has to interface, even briefly, with a colleague or neighbor’s kid. The way he maintains his front is the key to what’s ticking.

Overall, it is impossible to argue with the praise being heaped upon Mr. Firth for his fine performance, but this film is really pretty shallow and gives us nothing to ponder. Maybe the Christopher Isherwood novel (source material) is better. Evidently the subject matter clicked with Mr. Ford … too bad he wasn’t successful in sharing his connection.

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Posted by David Ferguson

EDGE OF DARKNESS (2010)

January 30, 2010

 (1-30-10) Greetings again from the darkness. Of course, we never expect much from January films – especially Rom-Coms or Action films. Sad to say, the stereotype fits Edge of Darkness like a glove.

Held out some hope for a pleasant surprise when Mel Gibson returned to acting with Casino Royale director Martin Campbell at the helm. Unfortunately, so little effort was put into the script, that it gives the appearance of a story being made up as filming occurs.

Mel Gibson stepped away from acting for awhile to concentrate on directing (Apocalypto and Passion of the Christ) … oh yes, and carousing. His face readily displays the stress of both. This is not to say he can’t generate some fine dramatic moments, but mostly, the rust shows and he is unable to lift the weak story.

In support we have Ray Winstone (very good in The Departed), Bojana Novakovic as Gibson’s slain daughter, and Danny Huston, who might as well wear a name badge that says, “Hello my name is BAD GUY”. While not the fault of these actors, a film like this desperately needs a few standout secondary characters. Here we have none, so the story is pretty simple with little tension … not a good thing for a “thriller”.

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Posted by David Ferguson

THE LOVELY BONES (2010)

January 23, 2010

 (1-23-10) Greetings again from the darkness. With the uproar from fans of Alice Sebold’s novel, I am actually glad I have not read it yet (though I will). I found director Peter Jackson’s take to be interesting, attention-grabbing and well filmed, though at times a bit sloppy in story structure.  The fact that the actual murder and rape are not shown did not affect my ability to connect.

Certainly not a who-dunnit, the viewer instead is exposed to the many forms of grief after a family tragedy. I found myself quite angry at Rachel Weisz (the mom) for deserting her kids, though I understand the clash with Mark Wahlberg’s (the dad) approach. Not only was I angry at her as a parent, but as a viewer, her running away meant more screen time for Susan Sarandon, which is rarely a good thing.

Saoirse Ronan (excellent in Atonement) plays Susie, the victim of neighbor Stanley Tucci’s crime. Tucci is my favorite kind of movie villain … non-descript and blends right in. I find that to be the creepiest possible monster – the one that lives amongst us. Some of Jackson’s camera work with Tucci is fascinating and frightening, especially around the dollhouse. We can’t wait to see this guy burn.

Again, I consider myself lucky in that I can appreciate the film for what it is rather than comparing to a great book. Oh, and don’t miss Peter Jackson as the customer playing with the video camera in the store when Wahlberg picks up the first roll of developed film.

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Posted by David Ferguson

THE IMAGINARIUM OF DR PARNASSUS (2009)

January 22, 2010

 (1-10-10) Greetings again from the darkness. Mention to me that Terry Gilliam has a new film and I can’t help but chuckle and wonder what his mind has dreamed up this time. His past films include Brazil, The Fisher King and the underrated Adventures of Baron Munchausen. One thing I know, he will challenge beliefs and remind me that my imagination pales in comparison to the master.

Even Mr. Gilliam was challenged this time as filming was halted due to the death of the imensely talented Heath Ledger. A very imaginative tweak to the script allows Johnny Depp, Jude Law and Collin Farrell to sub in so the film could be completed. The solution is a bit odd and disjointed, but of course, fits right in with the rest of the film.

Christopher Plummer, smack in the middle of a career re-birth, plays Dr. Parnassus, the spiritual leader of an oddball traveling sideshow. Dr. P’s mirrored portal “invites” guests to discover their own imagination in a wicked choice of morality and greed … a twisted good vs. evil that exists in us all. Of course, all this comes after Plummer struck a deal with the devil (terrific Tom Waits) over his immortality and the soul of his first born child … played well by Lily Cole.

Plenty can be interpreted from all that occurs inside the mirror. It is a fascinating world and has some touches of Mr. Gilliam’s Monty Python roots. Don’t expect a traditional Hollywood film, but enjoy the visuals and the many messages offered … even if some are presented in a somewhat messy format.

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Posted by David Ferguson

THE BOOK OF ELI (2010)

January 18, 2010

 (1-16-10) Greetings again from the darkness.Yet another in a string of post-apocalyptic films showing Hollywood has little hope for our future.

The Hughes Brothers (Menace II Society) deliver a western/samurai tale of a man (Denzel Washington) walking west because voices in his head told him to. Those voices also told him to protect the book he is carrying (a King James Bible) and go full out Bruce Lee on anyone who tries to stop him (OK, I made that part up … but he sure does). Oh, and the man (Eli) has been walking west for THIRTY-ONE years! The real point seems to be Gary Oldman’s character (Carnegie) controls one shabby little town, but dreams of real power. The kind of power that the book can bring. Ding Ding! Religious power! He wants to be a post-apocalyptic tele-evangelist, sans TV. He just knows he can control the masses with the message of the bible. I don’t think I am giving anything away here. Good vs Evil. Just like all the great westerns.

The Hughes brothers assemble a nice supporting cast with Mila Kunis, Jennifer Beals (her mom in the film), Tom Waits, Michael Gambon and Malcom McDowell. Kunis has by far the most screen time and the final shot of her is really the only humor I found in the film … though, not even sure it was supposed to be funny.

We get a pretty bleak, yet coherent, film for the first 65%. Then it just turns unbelievable. The Shyamalan twist is downright ridiculous due to what we have been watching for the previous 90 minutes. And as much as it pains me to say, Oldman’s character is just too low rent to provide a real worthy adversary for Eli. So while the film has an interesting look, it just lacks real guts.

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Posted by David Ferguson

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