THE UPSIDE (2019)

January 11, 2019

 Greetings again from the darkness. Frequent movie goers often complain about the lack of originality in American movies. It sometimes seems as if most are sequels, remakes or reboots, or simply pulled from the panels of a comic book. There is another source that is particularly irksome to yours truly, and that’s the Americanization of an outstanding film from another country – World Cinema, if you will. Seven plus years ago, while watching the crowd-pleasing (though not so critically acclaimed) and exceptionally performed 2011 French film THE INTOUCHABLES, there was little doubt that it would, at some point, be subjected to an American “enhancement”. Sure enough, director Neil Burger (THE ILLUSIONIST) perfectly captures why this transition is sometimes so painful to see.

Based on a true story, filthy rich quadriplegic widower Phillip Lacasse is played by Bryan Cranston, while Nicole Kidman (her 4th film in 8 weeks) plays Yvonne, Phillip’s wound-too-tight, ultra-loyal chief of staff (she handles his many business affairs and calendar) with an obvious ulterior motive. Kevin Hart (he of recent Oscar-hosting drama) plays Dell, an unemployed ex-con street hustler. While searching for employment to appease his Parole Officer, Dell stumbles into a Park Avenue penthouse where Phillip and Yvonne are conducting interviews for a full-time caregiver to Phillip. Though he is woefully unqualified, and Yvonne protests mightily, Phillip chooses Dell. The undercurrent here is that Dell’s self-centeredness corresponds nicely to Phillip’s DNR and lack of will to live since his wife’s death from cancer.

The opening sequence has Dell racing through downtown, evading police, while driving a Ferrari with Phillip in the passenger seat. This is followed by a promising “6 months earlier” flashback introducing us to Dell’s ex-wife (Aja Naomi King) and their teenage son Anthony (Jahi Di’Allo Winston), both of whom are fed up with the lack of support and trustworthiness of Dell. Basically, Dell is a deadbeat dad with little ambition – other than to avoid returning to prison.

The tone of the film changes once Dell has the job as Phillip’s carer. The bulk of the remaining run time (which is 20 minutes too long) becomes a comedy skit showcasing the punchlines of Kevin Hart. Mind you, the full house I watched the screening with seemed to love every bit, as laughter filled the theatre. For me, I could only long for the soul and spirit of that beloved French film from years ago … and the amazing chemistry between the charismatic Omar Sy and the talented Francois Cluzet. This version isn’t about chemistry – it’s about comic timing. The only real exception to that is a terrific and psychologically deep scene with Julianna Margulies playing Phillip’s pen pal, as they meet for the first time over lunch. The scene is played beautifully, but is a complete tonal change from what comes before and after. Contrasting this scene with Kevin Hart’s over-the-top antics in the high-tech shower, magnifies the contrast in concepts.

Jon Hartmere is credited with the screenplay based on the original film’s screenplay by Eric Toledano and Olivier Nakache. For some reason, Phillip Pozzo di Borgo’s autobiography doesn’t make the credits for this version. A bit more attention to Dell’s ex and son could have worked to humanize him, and soften the caricature on display. This comes across as an interracial odd-fellow buddy flick, where yet another black man (often in a subservient role) rescues an entitled white person (even if they’re disabled) from lack of hope and leads them to a life worth living. Is it possible to make a movie based on race and class, and even romance, and still offer no real insight? Apparently the answer is yes, if one chooses to go for easy laughs. Perhaps you’ll join the audience in rolling along with Dell’s first trip to the opera, or the disrespect to art collectors – or that seemingly never-ending catheter scene. Or perhaps you can be persuaded to track down THE INTOUCHABLES for a more emotional and inspirational telling of this story.

***NOTE: I should also mention that one of my Top 5 movies of 2018 has already been targeted for an American remake starring Jake Gyllenhaal.  Boo. Hiss.

watch the trailer:

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Posted by David Ferguson

ISLE OF DOGS (2018)

March 29, 2018

 Greetings again from the darkness. It’s referred to (sometimes affectionately, sometimes not) as Wes World. Many directors have their own style, though few are as immediately recognizable as a film by Wes Anderson. THE GRAND BUDAPEST HOTEL, MOONRISE KINGDOM, FANTASTIC MR FOX, THE ROYAL TENNEBAUMS, and RUSHMORE all share a tone and style … a cinematic personality, if you will, that places them squarely in Wes World. Beyond the similarities, there is also a level of innovation and creativity in each of his projects. He consistently delivers a “Wow” factor, or in the case of his latest, a “bow-wow” factor (my one and only pun, I promise).

Expanding on the stop-action animation he used in FANTASTIC MR. FOX, director Anderson also plays homage to Japanese filmmaking – especially the animation of Hayao Miyazaki and the cinematic legend Akira Kurosawa. The film’s prologue, “The Boy Samurai” is a Japanese fable and sets the stage for a futuristic Japan where the Mayor of Megasaki, Kobayashi (voiced by Kunichi Nomura), has decreed that all dogs should be banned from society due to dog flu, snout fever and canine saturation. Kobayashi (an embittered politician who looks eerily similar to Japanese acting legend Toshiro Mifune) even ships off his nephew’s beloved Spots (Liev Schreiber) to Trash Island. In Part 1 “The Little Pilot”, that nephew, Atari (Koyu Rankin) crash lands his plane on Trash Island while attempting to rescue Spots.

Part 2 (“The Search for Spots”), Part 3 (“The Rendez-Vous”), and Part 4 (“Atari’s Lantern”) break the story into segments, but the real fun here is in the visual effects and the banter amongst the dogs. The five main dogs we follow are Chief (Bryan Cranston), Rex (Edward Norton), Boss (Bill Murray), King (Bob Balaban), and Duke (Jeff Goldblum). Chief is a stray dog who is the group skeptic and doesn’t hesitate in greeting most anyone with “I bite”. We know this because director Anderson explains “Barks are rendered in English”.

While assisting Atari with his search, the five dogs alternate between gossiping and decision-making by committee … spouting one-liners that are consistently funny and incisive. Anderson co-wrote the script with Roman Coppola and his frequent collaborator Jason Schwartzman. Kunichi Nomura provided expertise to ensure the Japanese segments were accurately portrayed. The usual Wes-style droll humor is evident throughout, though viewers must make sure their hearing is fined tuned to catch some of the wise-cracks that almost seem like background noise at times.

In addition to the humor, political corruption and conspiracies are at the core of what could be described as an animated rescue adventure comedy. Narrator Courtney B Vance ensures we are following along with the story, although the artistic beauty of Trash Island – a garbage strewn wasteland – is enough to hold our interest. Keeping track of the homages is challenging enough, but we also get Haikus, Puppy Snaps, and Yoko Ono as a scientist. Greta Gerwig voices Tracy, an idealistic Foreign Exchange student who recognizes a corrupt politician when she sees one, and there are a couple of brilliant noirish scenes between Chief and Nutmeg (Scarlett Johansson). A recurring visual of dogfights in a cloud of dust harken back to the days of classic cartoons and the unbridled violence that we’ve always found so comical in animation.

It’s a dystopian tale … well it is if you happen to be a dog. Cat lovers probably view this as paradise. An all-star cast of voice actors keeps us interested even when the story bogs down at times, although the look of the film always seems to be priority one. It’s such an easy movie to respect, however, one that’s a bit more difficult to speak passionately about. This review doesn’t address the ever-present complaints from those looking to create a race or nationality based scandal. To me, the film is creative and appears to be against unkindness and discrimination and corruption. Perhaps that message overrides some easily ruffled feathers.

watch the trailer:

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Posted by David Ferguson

LAST FLAG FLYING (2017)

November 8, 2017

 Greetings again from the darkness. Apprehension and trepidation are the emotions that strike whenever anyone compares a movie to the classic 1973 Hal Ashby/ Jack Nicholson film THE LAST DETAIL. That holds true even if the novel the film is based on was written by the same author (Darryl Ponicsan) who wrote “The Last Detail” (1970), and even if the new film is directed by one of the finest directors working today – Richard Linklater. This latest doesn’t play like a true sequel, but the reuniting of three men who served together in Vietnam does hammer home a couple of interesting statements while also delivering the type of dramedy that 2017 audiences tend to connect with.

Larry “Doc” Shepherd (Steve Carell), a former Navy medic, has had the type of year that no one deserves. It’s 2003 and he has just been notified that his Marine son was killed in action while on duty in the war in Iraq. This comes only a few months after Doc lost his beloved wife to breast cancer. It’s too much for him to handle on his own, so he embarks on a mission to ask his Vietnam buddies from three decades prior to accompany him to claim his son’s body at Arlington National Cemetery.

His two buddies are former Marines Sal Nealon (Bryan Cranston) and Richard Mueller (Laurence Fishbourne). Sal is a washed out dive bar owner and Mueller is now the Reverend at a small church. The three men share the burden of a war secret that each has tried to forget, and they begin what’s basically a road trip movie of middle aged men bonding during what is the absolute low point in life for one of them. Simultaneously, it also seems like an opportunity for all three to rejoin the living.

Lost idealism is the shared trait now among the three men, though their levels of cynicism vary. Edwin Starr sang it, and the characters in this movie openly question: War … What is it good for? Doc, Sal and Mueller have separated themselves from memories of war in three distinct ways – family, booze, and God. It’s only by reconnecting with each other that they begin the long overdue process of reflection. TV’s are tuned to the capture of Saddam Hussein from the spider-hole, and the similarities of the Vietnam and Iraq wars are contemplated. These are patriotic men who once trusted the government, but are now so disenchanted they ask “what’s the point?”

Mr. Cranston has the showiest role, but it’s Mr. Carell who shines as the still-in-shock father. J Quinton Johnson also excels as the young Marine charged with accompanying the gentlemen, and the best scene of the film features Cicely Tyson as the mother of a long ago fallen soldier who crossed paths with the three leads. As you might expect in a Linklater movie, the musical choices are unusual and spot on. Bob Dylan (“Not Dark Yet”), Neil Young (“Old Man”), Eminem (“Without Me”), and Levon Helm (“Wide River to Cross”) are all included.

The film is certainly an unusual blend of comedy, tragic drama, and contemporary political commentary. Unfortunately, the contrivances are too many and too frequent to allow the film and characters to breathe and achieve the greatness of a true message movie. It teases us with flashes us brilliance and then pokes us in the ribs with another goofy sidebar as if to say “just kidding”. It seems this would have been better served as an intimate portrayal of these three aging men who were willing to die for their country than as a giant political anti-war statement and an accusation of how evil the government is. The ultimate message Linklater drills home: be a good friend, and be a good person. We can never have enough of those.

watch the trailer:

 

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Posted by David Ferguson

WAKEFIELD (2017)

May 18, 2017

Dallas International Film Festival 2017

 Greetings again from the darkness. Oscar nominated for her screenplay to The Curious Case of Benjamin Button (2008), Robin Swicord’s directorial debut of The Jane Austen Book Club (2007) was not particularly impressive. However, she bounces back nicely with this Bryan Cranston vehicle and one of the more creative scripts featuring internal dialogue that’s ever hit the silver screen. Cranston is showing a knack for selecting interesting projects, and he excels here as the high-powered attorney who spontaneously decides to drop out of society in a most unusual manner.

There is a ton of social commentary on display here with targets including married life, suburban living, career pressures, and self-doubt … substantially summed up with a line from Cranston’s character, “Who hasn’t had the impulse to put their life on hold?” As he proceeds through his new ‘unshackled’ and ‘primal’ lifestyle while observing the world unnoticed through the small window in his garage attic, much of his focus seems to be on discovering just who he is at his core, and what is the truth behind his relationship with his wife (Jennifer Garner). It’s as if he is asking “What am I?” while clinging to his previous life in a voyeuristic way.

Ms. Swicord’s screenplay is adapted from E.L. Doctorow’s short story and it’s sneaky in the way that it questions how we go about our daily life, and how one can “snap” emotionally if feeling unappreciated. It’s a showcase for the other side of upper middle class white privilege, as well as suburban alienation that is so prevalent (and ignored) today. By dropping out but staying close, Cranston’s character actually pays more attention to his family than he usually would if sitting next to them at the dinner table.

We are accustomed to a mid-life crisis involving a sports car, marital affair or sudden career change. It’s highly unusual for someone to actually “disappear”. It’s at that point where the narration really shines … it’s insightful, observational and thought-provoking. Beyond that, the comedic edge is laden with sadness. The story humanizes this pretty despicable guy – or at least a guy who does a pretty despicable thing. The score is in the style of a 1980’s Brian DePalma movie, which just adds to the unique cinematic experience. This is one to see for Cranston’s performance, as well as for Ms. Swicord’s commentary on today’s way of life.

watch the trailer:

 

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Posted by David Ferguson

DIFF 2017: Day One

April 2, 2017

The 2017 Dallas International Film Festival runs March 30-April 9

 The usual excitement of festival Day One was tempered somewhat by this incessant cough that I can’t seem to shake, and the realization that I will be a nuisance to others in the theatre. However, my goal of 30 movies in 10 days will not be stopped so I loaded up on Robitussin, cough drops and a giant bottled water, and headed off to my first scheduled movie. Of course, it was Friday afternoon so Dallas traffic forced me to into a fall-back plan before I had even seen one movie. Pulling off to the Angelika rather than continue creeping on Central expressway towards the Magnolia ended up as a fortuitous turn of events. The three movies I watched are recapped below.

WAKEFIELD

While I wasn’t a big fan of Robin Swicord’s directorial debut (The Jane Austen Book Club, 2007), she bounces back nicely with this Bryan Cranston vehicle with one of the more creative scripts featuring internal dialogue that I’ve ever seen. Cranston is showing a knack for selecting interesting interesting projects, and he excels here as the high-powered attorney who spontaneously decides to drop out of society in a most unusual manner.

There is a ton of social commentary on display here with targets including married life, suburban living, career pressures, and self-doubt … substantially summed up with a line from Cranston’s character, “Most everyone has had the impulse to put their life on hold.” As he proceeds through his new ‘unshackled’ and ‘primal’ lifestyle while observing unnoticed through the stained glass window in his garage attic, much of his focus seems to be on discovering just who he is at his core, and what is the truth behind his relationship with his wife (Jennifer Garner). It’s as if he is asking “What am I?” while staying close to his previous life in a voyeuristic way. The score is in the style of a 1980’s Brian DePalma movie, which just adds to the unique cinematic experience.

 

TOMMY ‘S HONOUR

Jason Connery (Sean’s son) directs this story about old Tom Morris and his son Tommy written by Pamela Martin from the book by Kevin Cook. It’s a bit surprising that the story focuses as much or more on the melodrama and personal story of the younger Tommy than the historical influences, but there is links action to give us a feel for the times.

Jack Lowden and his dimples portray Tommy, while Ophelia Lovibond plays his love interest Meg. Their relationship drives the story, and we are reminded that small-minded people were every bit as prevalent 140 years ago as they are now. Tommy’s mother, their community, and even the minister of the Church pass harsh judgment on Meg and her unfortunate past. Combine that with the element of “Gentlemen”, which are anything but, and we get an understanding of how Tommy’s actions changed not just the game of golf, but also influenced the softening of the class difference. His push to bring respect and fairness to professional golfers erased the similarities with how race horses and golfers were treated the same from a wagering perspective.

This was the time of the original “13 Rules of Golf”, and when rowdy crowd hovered right next to the golfers as they played. Other than the closing credit graphics, Old Tom Morris (Peter Mullan) isn’t really given his due as a course designer, but this is really the story of his son, and though the film is a bit too long, it’s a story that deserves to be told.

 

CITY OF GHOSTS (documentary)

Oscar nominated director Matthew Heineman delivered the stunning documentary Cartel Land in 2015, and here he once again proves his expertise as the messenger of important stories that need to be told.

The film begins in the Syrian city of Ragga in 2012, and we see the beginning of the revolution against the Assad regime. The sayings “Death is Death” and “Danger has a special taste” come into play, and by the end of the film, there is a clarity that is devastating.

The courageous and dedicated Citizen Journalists are divided into two groups: the internal who risk their lives in Ragga uploading news stories and videos of ISIS actions and, the external who are based in Turkey and Germany and post regularly to social media outlets. Their combined efforts and risk taking allow the real story to be told from their home city mostly cut-off from the outside world – as evidenced by the satellite graveyard.

RBSS (Ragga is Being Silently Slaughtered) is the movement spreading the truth about ISIS atrocities – including public beheadings, shootings, and bombings. It’s a terrifying story, never more so than during the professionally produced recruiting ISIS videos featuring young children. These brave folks have had friends, family and neighbors slaughtered which inspires them to continue fighting the guns and bombs with the power of words. It’s breathtaking.

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Posted by David Ferguson

THE INFILTRATOR (2016)

July 13, 2016

infiltrator Greetings again from the darkness. The war on drugs has become a bit of a punchline in the real world, but has proven to be fertile ground for filmmaking: Sicario (2015), American Hustle (2013), Traffic (2000). Additionally, the popular Netflix show “Narcos” takes on the same Medellin drug cartel as this latest from director Brad Furman (The Lincoln Lawyer, 2011). The movie is based on the true events of Robert Mazur’s book “The Infiltrator: My Secret Life Inside the Dirty Banks Behind Pablo Escobar’s Medellin Cartel” (a title that’s very descriptive, if a bit long).

Bryan Cranston continues his impressive Hollywood run this time as Robert Mazur, the man who goes undercover to expose the money-laundering system of the cartel. His flamboyant alter-ego is known as Bob Musella, a character that allows Mazur (and Cranston) to show a side not typically seen. His antics get him inside Columbian Drug Lord Escobar’s organization in the mid-1980’s.

When Mazur realizes the traditional method of chasing the drugs isn’t working, he decides the age-old idiom “follow the money” might be a better approach. This takes him inside the world of international money laundering, and he learns that banks and governments are quite dependent on this huge business of drug money movement.

There are specific groups of people here: the government agencies, the small task force, the corrupt (and appreciative) bankers, the various levels within the cartel, and even Mazur’s family … all these forces intertwine to make life difficult for Mazur and his team, and provide a glimpse into the complexities of undercover work.

In addition to stellar work from Cranston, the cast is terrific. John Leguizamo plays Mazur’s motivated partner Abreu; Diane Kruger plays his undercover fiancé; Juliet Aubrey is Mazur’s real life wife who doesn’t much appreciate his declining the early retirement offer; Olympia Dukakis provides a dash of comedy relief as Mazur’s Aunt; Yul Vasquez is the creepy money manager for Escobar; Benjamin Bratt plays Roberto, Escobar’s right-hand man and the key to Mazur’s case; and Elena Anaya (The Skin I Live In, 2011) is Roberto’s wife. Also present are Amy Ryan, Jason Isaacs and the always great Michael Pare.

There are a couple of standout scenes – one involving chicken and voodoo, and another with a briefcase mishap, but my favorite is the Happy Anniversary cake scene in the restaurant where Mazur flashes his alter-ego Musella for his real wife to see … and she is understandably stunned.

The movie does a nice job of capturing the look and feel of the era (30 years ago), but it’s somehow missing the elevated suspense it portends to drag us and the characters through. Some elements seemed impossible to believe – why would Mazur risk his family’s safety? The timeline was a bit muddled. We aren’t sure how much time has passed, but there certainly don’t seem to be enough interactions before Roberto is telling Mazur he is “like family”. It plays a bit like those romance movies where the two leads are head over heels in love after a conversation or two. An element is missing and it affects the level of tension throughout the film. And that’s something even a Leonard Cohen song (“Everybody Knows”) can’t fix.

watch the trailer:

 

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Posted by David Ferguson

TRUMBO (2015)

November 19, 2015

trumbo Greetings again from the darkness. For an industry that thrives on ego and self-promotion, it could be considered surprising that more movies haven’t focused on its most shameful (and drama-filled) period. The two Hollywood blacklist films that come to mind are both from 1976: Martin Ritt’s The Front (starring Woody Allen) and the documentary Hollywood on Trial. There are others that have touched on the era, but director Jay Roach and writer John McNamara (adapting Bruce Cook’s book) focus on blacklisted writer Dalton Trumbo in a film that informs a little and entertains a lot.

Director Roach combines his comedic roots from the “Austin Powers” and “Meet the Parents” franchises with his more recent politically-centered HBO projects Recount and Game Change. His subject here is the immensely talented writer Dalton Trumbo, whom Louis B Mayer signed to the most lucrative screenwriting contract of the 1940’s. It was soon after that Trumbo’s (and other’s) affiliation with the American Communist Party came under fire by the House Un-American Activities Committee headed by J Parnell Thomas. The divide in Hollywood was clear. On one side were the staunch Patriots like John Wayne (David James Elliott) and the Queen Muckracker, gossip columnist Hedda Hopper (Helen Mirren); on the other were “The Hollywood Ten” … those accused of being traitors simply because they stood up for freedom.

What’s interesting here is that despite the dark subject matter, the film has an enormous amount of humor … including multiple laugh out loud moments. This happens because most of the focus is on Trumbo the family man and Trumbo the justice fighter. Of course, as a writer, Trumbo does his best fighting with words … words whose message is “they have no right” to question the thoughts and beliefs of individual citizens. The committee’s mission was to prove treason by linking to the Russian agenda, but in reality these folks were mostly supportive of labor rights … most assuredly not a crime. The investigations, such as they were, seemed to prove the gentlemen were more Socialist than Russian – which makes an interesting contrast to modern day where we have an admitted Socialist running for President. The Hollywood Ten stood their ground, served jail time, and were either forced out of the industry or forced to go “underground” using pseudonyms. Trumbo, while unceremoniously writing under other names, won two Best Writing Oscars – one for Roman Holiday and one for The Brave One.

Bryan Cranston delivers a “big” performance as Dalton Trumbo. Everything is big – the glasses, the cigarette holders, the mustache, and definitely the personality. He does his best writing in the bathtub, and is never without a quick-witted comeback … whether sparring with The Duke or the committee. Unfortunately, Hedda Hopper does her most effective work in undermining the rights of Trumbo and his cohorts, including Arlen Hird (Louis CK) and Ian McClellan Hunter (Alan Tudyk). We also see how Edward G Robinson (Michael Stuhlbarg) quietly supports the cause, while also trying to salvage his fading career.

Trumbo is by no means presented as a saintly rebel with a cause. Instead, we see him as a loving yet flawed father, husband and friend. Once released from prison, he is so focused on writing and clawing his way back, that his relationships suffer – especially with his eldest daughter Nikola (Elle Fanning) and loyal wife (Diane Lane). It’s the King Brothers Production Company led by Frank (John Goodman) and Hymie (Stephen Root) who give Trumbo an outlet for writing and earning a living. Most were schlock movies, but there were also a few gems mixed in (Gun Crazy). However, it’s Kirk Douglas’ (Dean O’Gorman with an uncanny resemblance) courageous stand for his (and Stanley Kubrick’s) movie Spartacus, and director Otto Preminger (Christian Berkel) and his film Exodus, that put Trumbo’s name back on the screen, effectively ending Ms. Hopper’s crusade.

The ending credits feature clips of the real Dalton Trumbo being interviewed, and it brings clarity to Cranston’s performance, while more importantly relaying some incredibly poignant and personal words directly from the man … maybe they really should be “carved into a rock”. It’s an era of which Hollywood should not be proud, and it’s finally time it was faced head-on … and it’s quite OK that they bring along a few good laughs.

watch the trailer:

 

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Posted by David Ferguson

GODZILLA (2014)

May 18, 2014

godzilla Greetings again from the darkness. Sixty years after Godzilla made his initial screen appearance, we get a full blown Hollywood special effects blockbuster version that will eclipse the $100 million mark in its first weekend. This is director Gareth Edwards’ second feature film (Monsters, 2010) and he juggles the modern day re-imagining with the Japanese roots and a hand full of other tributes throughout.

The cast seems impressive: Bryan Cranston, Juliette Binoche, Elizabeth Olsen, Sally Hawkins, Ken Watanabe and David Strathairn. Unfortunately, most of these fine actors have little to do, and instead the dominant human presence (most every scene) is Aaron Taylor-Johnson (Kick-Ass) who somehow keeps getting gigs despite lacking even a dollop of screen presence or acting ability. Of course, this movie is supposed to belong to Godzilla, and even he is usurped on screen time by two nuclear-feasting praying mantis creatures that share some attributes with the classic “Alien”. These screen hogs are called MUTO’s (Massive Unidentified Terrestrial Organisms) and are quite substantial … crushing skyscrapers by landing.

The 1954 original film was an anti-nuclear statement, though the re-edited U.S. version replaced the political statement with Raymond Burr. Mr. Burr also appeared in the 1984 sequel which included a storyline of feeding off a nuclear plant (borrowed in this year’s version). This film’s prologue featuring Bryan Cranston working at a 1999 nuclear plant is an unmistakable nod to the recent Fukushima disaster, and sets the stage for the collision of science (Watanabe) and military (Strathairn). Director Edwards clearly enjoys his Jaws-like teasing of Godzilla, who finally shows up after almost an hour. And despite the Jurassic Park roar by our titular monster, this doesn’t hold a candle to Spielberg’s 1993 classic. We do get the quite familiar shots of bystanders running down the street, glancing back in fear – a must for any monster movie, and it should be noted that Godzilla films have a legacy of multiple creatures, as well as the man versus nature theme.

Having seen this one in 3D, I’ll mention again that the enhanced effects offered by this technology do not offset the darkened, dulled look. Add that to the almost total lack of color – it’s borderline Black and White – and there are simply too few breathtaking visual moments to consider this a monster classic.

SEE THIS MOVIE IF: you are a monster movie fan or a follower of the Godzilla legacy OR you need proof that a lead actor can be less engaging than Matthew Broderick was in the 1998 Godzilla film.

SKIP THIS MOVIE IF: you believe technological advances should produce a more visually stunning film than Jurassic Park from 21 years ago OR you happen to be a huge Juliette Binoche fan and expect to see her in a lead role.

watch the trailer:

 

 

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Posted by David Ferguson

ARGO (2012)

October 15, 2012

 Greetings again from the darkness. “Based on a true story” is always a bit unsettling to see at the beginning of a movie. There are so many degrees to truth (especially when told by Hollywood), that we are never really sure how big the dosage might be. With this film, we get the inside track on the all-too-familiar Iranian hostage situation that began on November 4, 1979 and ended 444 days later with the release of 52 U.S. Embassy workers. The story within that story is the focus … six escaped as the Embassy was being seized.

The film begins with a Cliff’s Note history lesson on the fall of the U.S.-backed Shah of Iran and the assumption of power by Ayatollah Khomeini. The six who escaped were welcomed into the home of the Canadian Ambassador Ken Taylor (played with grace by Victor Garber). Of course, this had to be kept secret or a terrible situation could have taken a turned much worse.

 This story really takes off when the CIA gets involved and drums up a scheme to extricate the six in hiding. Ben Affleck stars as Tony Mendez, the real life CIA Agent, who uses the international fascination with movies to create a plan that involves making a fake Star Wars rip-off with the help of award winning make-up artist John Chambers (Planet of the Apes) and a long-time and old school Hollywood producer named Lester Spiegel. These two inject the film with humor and positive energy as played by John Goodman and Alan Arkin. Their levity is much appreciated given the unrelenting tension delivered by the rest of the story.

 This is extraordinary filmmaking thanks to the script from Chris Terrio, realistic camera work from Rodrigo Prieto and top-notch directing by Ben Affleck … yes, the same Ben Affleck who stars in the film. The team creates a period piece that has not just the look and feel of 1979-80, but some of the most gut-wrenching on screen tension since Three Days of the Condor or Munich. Many thrillers utilize car chases and gunfire. Here, we get personal tension thanks to politics and real life unknowns.

The film is perfectly cast and strong support work is provided by Bryan Cranston as the CIA chief, Kyle Chandler as Hamilton Jordan, Bob Gunton as Cyrus Vance, as well as Chris Messina, Zeljko Ivanek, Richard Kind, Clea DuVall and Tate Donovan. There are also brief appearances by Philip Baker Hall, Adrienne Barbeau and the great Michael Parks.

There are only two negatives to the film. First, Ben Affleck is miscast as Tony Mendez. The closing credits show what a perfect job they did with the rest of the cast, but to have a superhero looking American walking around Iran is certain to draw attention where it’s not wanted. Plus, as director, Affleck suffers from Warren Beatty syndrome. He LOVES seeing his face on screen. The number of Alleck close-ups has to push 20. It’s too much too often. Secondly, the final escape scene at the airport is just a bit too Hollywood and really stands out from the rest of the movie. There was no shortage of tension and the Armageddon style chase just looked cheesy.  However, I will admit, the audience with whom I watched, reacted quite emotionally when the race ended how it must.

 Those two things noted, this is Oscar material for sure. If you remember this era, the yellow ribbons and news clips featuring Cronkite, Koppel and Brokaw will bring back a frustrating time in U.S. history. If you are too young to remember, this acts as a reminder of just how powerful and quiet the CIA can be when it is doing its job properly.  Plus it’s nice to see the CIA doing something right, instead of being the bad guys from the Bourne movies.  Alexandre Desplat delivers a fine score, but the story provided plentiful suspense, so the musical guidance wasn’t as crucial.

Don’t miss the final credits as we hear Jimmy Carter narrate his memories as President, and we see real life photos of the six escapees.

SEE THIS MOVIE IF: you wish to see one of the finest Political thrillers in years OR you need proof that the CIA can be the good guys

SKIP THIS MOVIE IF: the Iranian hostage ordeal is still too fresh

watch the trailer:

http://www.youtube.com/watch?v=w918Eh3fij0

 

2 Comments | Action, Drama, Thriller | Tagged: , , , , , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

ROCK OF AGES (2012)

June 17, 2012

 Greetings again from the darkness. A few upfront disclosures are in order: I spent quite a few evenings on the Sunset Strip during the era of this story; I had no idea who Diego Boneta was and only vague name recognition of Julianne Hough when I walked in; and I never saw the hit Broadway production. These points may help explain my reaction to the movie.

The opening sequence immediately informs us that we are in for something different. Aspiring singer Sherrie Christian (Ms. Hough) is running from her backwoods Oklahoma life to the bright lights of fame offered by Hollywood. While on the bus, we get the first of an endless stream of staged karaoke routines … “Sister Christian” (get it??). Once on Sunset Boulevard, she is quickly mugged and then comforted by Drew (Mr. Boneta), an aspiring singer and current barhop at The Bourbon, an obvious nod to such hallowed rock ground as Whisky A Go Go and Roxy.

 No need to spend much time discussing plot. There is a muddled love story filled with teenager dreams and miscommunication, and a financial crisis at The Bourbon, thanks to back taxes owed by manager Dennis Dupree (Alec Baldwin), and a political backlash against the club thanks to the Mayor’s wife (Catherine Zeta-Jones), who has a not so secret desire for revenge. The only way to save the club is for rock idol Stacee Jaxx (Tom Cruise) to play a gig. The only way to save the love story is to write it out of the film all together. The political agenda is simply an excuse to add two more excruciating karaoke numbers.

 What little fun there is in the movie is thanks to Cruise, Baldwin and Russell Brand, who plays Baldin’s sidekick and confidant. Cruise jumps into the Jaxx role with both feet and seems to understand that a parody should be fun. Being a rock idol isn’t far removed from being the biggest movie star on the planet, so Cruise blends Axl Rose and Bret Michaels to create Jaxx … throw in a pet baboon, two He-men bodyguards, an endless train of groupies, and a dragon codpiece … and you get Stacee Jaxx, legendary rock star and savior to The Bourbon.

 If one is going to make a rock ‘n roll movie, it either needs to be played straight (Almost Famous) or as a head-on parody (This is Spinal Tap). What it can’t do is celebrate the dead zone of lameness: lame music covered by lame singers playing lame characters. No amount of star power actors can overcome material that doesn’t capture the power and passion of the music. And we aren’t even talking real rock n roll here … this is glam rock, stadium rock, big hair bands. Yet, the movie still falls incredibly short of making a statement or providing insight or even entertainment. This one has quite a bit in common with Burlesque (except Christina Aguilera is a terrific singer).

 Cruise’s performance generates some laughs, as do Baldwin and Brand. However, Hough and Boneta aren’t even cringe-worthy. They have zero screen presence and neither belong in a rock movie. The sub-standard singing becomes quite apparent when Mary J Blige belts out her first song.  That is a real voice on a real singer. Maybe the real problem is that most of the songs in the movie have survived these 25 years despite mediocrity … they can easily be sung while intoxicated. Evidently that’s not enough for a decent movie.  I have long been a fan of movie musicals. The ones that work feature good singers with acting ability singing good songs in a way that advances the story.  Rock of Ages misses on all of those points.

note: check for cameos by Eli Roth, Sebastian Bach, Debbie Gibson, Kevin Cronin, and a Lita Ford poster

SEE THIS MOVIE IF: your musical tastes lean towards late 80’s rock OR you want to see Tom Cruise mega-movie star evolve into Stacee Jaxx mega-rock star

SKIP THIS MOVIE IF: you relate a night at the karoke bar to a dentist appointment

watch the trailer:

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

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