THE GRAND BUDAPEST HOTEL (2014)

March 16, 2014

grand budapest Greetings again from the darkness. Some of the finer things in life are an acquired taste. The exception to that is the film canon of writer/director Wes Anderson. You either “get” it or you don’t. Which side of the line you fall is much more a matter of style and taste than intellect.

This latest from Anderson may be his most visually distinct and stylistic presentation yet. He even tosses in a bit of a plot so that we have more reason to follow the outlandish antics of master concierge (and murder suspect) M Gustave – played with comic verve by Ralph Fiennes. Yes, the Ralph Fiennes known for such comedy classics as Schindler’s List, The English Patient and The Hurt Locker. Admit it, when you need a laugh, you fire up the Ralph Fiennes stand-up routine. OK, so he did have a role in the terrific dark comedy In Bruges, but nothing has prepared us for seeing him in this witty, fast-talking role at the center of Anderson’s wildest ride yet.

As any follower of Anderson films will tell you, there is always fun to be had in picking out the members of his supporting cast. Assisting Mr. Fiennes with this one are Edward Norton, Jude Law, F Murray Abraham, Tilda Swinton (oddly cast after Angela Lansbury dropped out), Adrien Brody, Willem Dafoe, Jeff Goldblum, Harvey Keitel, Tom Wilkinson, Saoirse Ronan, Lea Seydoux, Mathieu Amalric, Jason Schwartzman, and Owen Wilson. Of course, there is also Bill Murray, in his seventh collaboration with Anderson. The most impressive new face is that of Tony Revolori, who plays the teenage Lobby Boy in-training … a role that turns vital when he is befriended by Gustave, and is invaluable in the telling of the story.

None of that really matters though, as the best description I give this is “spectacle”. It’s a whimsical romp with nostalgic tributes throughout. It’s a movie for movie lovers from a true movie lover. You will notice the three distinct aspect ratios used to depict the different time periods, and the music is perfect … from Vivaldi’s Concerto for Lute and Plucked Strings to Alexandre Desplat’s fantastic composition over the closing credits. If you are up for some hyper-stylistic eye candy, this one is tough to beat (especially this time of year).

SEE THIS MOVIE IF: colorful costumes and wild set design combined with oddly humorous deadpan dialogue delivery from the mind of Wes Anderson is something you “get” OR you never miss a Ralph Fiennes comedy!

SKIP THIS MOVIE IF: traditional story telling is your preference for movies

Below you will find two links … one for the trailer and one for the Desplat’s closing credit song.

the closing credit song:

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

the trailer:

http://www.youtube.com/watch?v=1Fg5iWmQjwk

 

 

 

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Posted by David Ferguson

SIDE EFFECTS (2013)

February 11, 2013

side Greetings again from the darkness. Director Steven Soderbergh says this is it. His final film. At age 50, he says he is walking away from making movies. Over the years, he has provided some good and some not so good, but never has he bored us. Movie lovers will always be grateful to him for his 1989 Sex, Lies and Videotape, which single-handedly brought the spotlight back to indie film. While I am quite skeptical of his retirement claim, it’s noteworthy because the absence of one of today’s true auteur’s would be a loss for the art of cinema.

As for this “last” film, it begins as Hitchcock-esque, but concludes as more like Basic Instinct or Dressed to Kill. Put simply, the first half is mesmerizing while the second half devolves into a trashy pulp thrille … which, depending on your tastes, may or may not be a negative.

side2 The first half brought to mind the term pharmacological thriller. It seems as though Soderbergh and frequent writing collaborator Scott Z Burns (Contagion, The Informant!) are making a statement about our current societal trend of seeking answers, and even cures, through medication … despite the risky side effects. We meet Emily and Martin Taylor (Rooney Mara and Channing Tatum) as he is released from prison (insider trading) and she is falling back into her depressive ways. She is soon enough being treated by Dr. Jonathan Banks (Jude Law), a doctor who seems typical in his belief that finding the right pill cures most ills.

Since this is a suspense thriller filled with numerous twists and double, even triple-crossings, it’s impossible to go too deep into what happens without spoilers … something I won’t do here. What can be said is the pharmacological thriller shifts into legal drama and finally a who-done-what kind of conclusion. The solving of the mystery comes courtesy of another oft-used Hitchcock theme: the wronged man seeking vindication.

side3 Rooney Mara and Jude Law are both excellent here and to whatever extent the story works for you, they deserve the credit along with Soderbergh. Ms. Mara was outstanding in the American version of The Girl with the Dragon Tattoo, and Mr. Law continues his transition from lame rom-com’s to quality dramatic actor. The same shouldn’t be said for Catherine Zeta-Jones, who plays Dr Victoria Seibert, Emily’s first psychiatrist. Every scene she shares and every line she speaks just screams “look at me”, not a desired quality for a supporting role.

Support work is provided by Polly Draper, Mamie Gummer (Meryl Streep’s daughter), Vinessa Shaw, Peter Friedman, Laila Robins, and Ann Dowd. Soderbergh does not disappoint from a technical aspect. His odd camera angles and unique shots are quite impressive and effective in sustaining the mood, even as the story spirals towards far-fetched. If it’s truly his swan song, it seems appropriate that we see both the highs and lows of director Soderbergh. Here’s hoping he returns very soon to the medium where his impact is needed.  If not, the side effects aren’t pretty.

**NOTE: If you look quick, there is an advertising poster featuring Julia Roberts. (Ms. Roberts is a Soderbergh favorite from films such as Erin Brokovich)

**NOTE: Soderbergh does have a TV project set to air later this year.  Behind the Candelabra is the story of Liberace starring Michael Douglas and Matt Damon

SEE THIS MOVIE IF: you believe it’s Steven Soderbergh’s final movie OR you enjoy a pulpy thriller

SKIP THIS MOVIE IF: you prefer psycho-thrillesr that avoid the slide towards trash-pulp

watch the trailer:

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

 

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Posted by David Ferguson

ANNA KARENINA (2012)

December 9, 2012

anna Greetings again from the darkness. We are all familiar with the phrase “All the World’s a Stage”, and director Joe Wright and writer Tom Stoppard twist the phrase into “All the Stage is the World” in their re-imagining of Leo Tolstoy‘s literary classic. With a bold and ambitious vision, the story plays out mostly within the confines of a theatre … utilizing not just the stage, but the rafters, backstage and all nooks. This is pulled off in a most operatic manner with heavy production, remarkable sets and costumes, and the use of curtains and doors for a change of scene. Additionally, most of the actors move like dancers and, at times, the dialogue delivery borders on musicality.

Tolstoy’s story has been adapted for the screen in more than two dozen versions, including two from screen legend Greta Garbo (1927, 1935). Who better to take on the role of Anna than Keira Knightley, the ultimate period actress of our generation. It’s her anna2third film with Joe Wright (Atonement, Pride and Prejudice) and by far, the least traditional in presentation. This version focuses on the affair between Anna and Vronsky (Aaron Taylor-Johnson from Kick-Ass), and her resolve in tossing aside her standing in Russian high-society … and even giving up her son.

We do gets bits and pieces of the other story lines: Oblonsky (Matthew Macfadyen) provides some comic relief from the start despite his extra-marital wanderings from his wife (Kelly Macdonald); the stoic determination of the bureaucrat Karenin (Jude Law) as he insists on maintaining the proper illusion; and the down-to-earth landowner Levin (Domhnall Gleeson, Brendan’s son) with his pursuit of perfect farming and the beautiful Kitty (Alicia Vikander). Some viewer anna4disappointment creeps in when we realize that Levin’s story is minimized here for the torrid love affair of Anna and Vronsky. Levin’s story is allowed to sneak outside the theatre setting … presumably since he is the only character living in the real world.

Tolstoy’s powerful story is stymied to some degree by the lack of sympathy we feel for Anna … while we certainly understand her lack of connection to the cold Karenin, we never sense more than a physical attraction and unreasonable wish between she and Vronsky. The strength of the story stems from Anna’s knowing willingness to surrender her anna3place in society for the sake of what should interprets as true love. When one of the society ladies states she could forgive Anna for breaking the law, but not for breaking the rules, we fully comprehend what a ridiculous state those in high society exist.

It’s difficult to imagine a wide acceptance of this unique presentation; however, the technical aspects of the film deserve much Oscar consideration – cinematography, set design, costumes, etc are all first rate. And Keira Knightley proves again that costume dramas are where she is at her best.

SEE THIS MOVIE IF: you thought all possible presentations of literary classics had been explored OR you need further proof that no actress today seems more natural in the unnatural costume dramas than Keira Knightley

SKIP THIS MOVIE IF: film interpretations of the elite literary classics leave you with an empty feeling

watch the trailer:

http://www.youtube.com/watch?v=rPGLRO3fZnQ

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Posted by David Ferguson

SHERLOCK HOLMES: A GAME OF SHADOWS

December 17, 2011

 Greetings again from the darkness. Normally if a sequel shows up a mere two years after the original, we would have good reason for low expectations (ie, The Hangover). However, director Guy Ritchie is back and just as importantly, Robert Downey Jr and Jude Law reprise their roles as Sherlock Holmes and Dr. Watson. Adding a few twists to the successful template provided by the original, the team delivers one that is sure to keep fans happy.

The reason so many Sir Arthur Conan Doyle loyalists dismissed the first film is that the frenetic pace and towering action sequences seem to go against what made the original stories so great. So what does Mr. Ritchie do? He goes BIGGER and FASTER! There are three extended action sequences that are mind-boggling to watch. They work because the plot is so elementary, my dear. Professor Moriarty (Jared Harris) is out to cause a war from which he can personally profit. His plan involves guns, bombs and assassinations. Only our heroes can possibly stop him.

 Much of the odd-ball bromance from the first movie has been toned down here, and we get not only the return of Irene Adler (Rachel McAdams) and Watson’s new wife (Kelly Reilly), but also the introduction of a third female character – a gypsy fortune teller, Madame Simza (the original The Girl with the Dragon Tattoo, Noomi Rapace). Of course, McAdams character doesn’t last long, Reilly gets tossed from a moving train, and Rapace is given a few lines and a couple of sprinting scenes. There may be more women, but this is still a man’s world.

 The vision for this franchise is an updated version that encourages discovery of Holmes by a new generation. And while Downey is excellent, it’s difficult not to notice the similarities to Captain Jack Sparrow. Also, Professor Moriarty is very much a Bond-type villain. None of that matters too much as the rapid-fire dialogue between Holmes and Watson, and the crackling chemistry between Downey and Law, make this a fun time at a huge holiday movie. An added plus this time is a brilliantly written and executed chess match between Moriarty and Holmes. That scene fed my need for the more brainiac Holmes that I so adore.

It seems odd that the release date for this one is so close to that of the new Mission:Impossible, but they both deliver what the fans want and hopefully find their audience. Even if you aren’t a fan, the fabulous sets and various world filming locations will keep you interested, even as you dodge giant explosions.

note: this is the first English-speaking role for Noomi Rapace

SEE THIS MOVIE IF: while watching the first one, you thought to yourself “too bad there aren’t more explosions and fight scenes” OR you enjoy the test-pilot speed at which Guy Ritchie and Robert Downey Jr so excel

SKIP THIS MOVIE IF: you prefer the traditional, methodical pace of the Doyle books OR watching a wife get thrown out of a moving train might motivate you to action

watch the trailer:

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Posted by David Ferguson

HUGO

November 29, 2011

 Greetings again from the darkness. This latest from Martin Scorsese can be fitted with multiple labels and each would be correct: a tribute to the birth of movies, a case for film preservation, a children’s fable, a special effects/3D extravaganza, a family movie with touches of Dickens. Very few directors would tackle such an ambitious project and succeed in producing such a magical experience.

Based on Brian Selznick‘s (relative to the film giant David O. Selznick) children’s book “The Invention of Hugo Cabret”, this is a story of redemption and fulfillment. Asa Butterfield plays Hugo, made an orphan when his watchmaker father (Jude Law) dies in a fire. Hugo gathers up the project he and his dad had been working on, and  moves in with his drunkard Uncle Claude (Ray Winstone). They live in the walls of a 1930’s Paris train station and maintain all the clocks, ensuring accurate time for travellers. When his uncle disappears, Hugo carries on the daily mission unseen by passengers and station staff. He steals the occasional croissant and milk to survive, all while continuing the mission of repairing the fantastic automaton his dad salvaged. Hugo is convinced there is a hidden message from his father that will be revealed when the automaton is fully functioning.

 Hugo gets cross-ways with a station toy vendor named Georges, played by Sir Ben Kingsley. Georges is a bitter old man and has no time for Hugo the urchin. Chloe Moretz plays Isabelle, a ward unto Georges, and she and Hugo strike up a friendship. Hugo introduces Isabelle to the world of cinema … previously off-limits to her thanks to Georges. She returns the favor by awakening Hugo to the power of books in a store run by the mysterious, and always great, Christopher Lee. All this is happening while Hugo tries to evade the grasp of the oddly dedicated and slightly twisted station inspector played by Sacha Baron Cohen.

 The kids’ research and automaton revealed hint lead them to a film history book written by Rene Tabard (Michael Stuhlbarg). It’s here that they discover Georges is really George Melies, the famous pioneer of film who developed the first special effects and studio system. If you know much of film history, then you recognize Melies as the one who brought us the 1902 A Trip to the Moon. It is here that Scorsese delivers a quick recap of the origination of film, including the Lumiere Brothers, the famous clock stunt by Harold Lloyd and other silent film classics like Buster Keaton and Charlie Chaplin. The best portion is dedicated to recreating the creative community  used by Melies to produce films with his wife in a make-shift studio.

 It is here that we are allowed to remember just how magical movies can be and how the best ones fill us with a sense of wonderment. The lines between what we feel and what Scorsese is showing us becomes so blurred it no longer matters. As Isabelle is overwhelmed in the theatre, that same feeling sweeps over us. How interesting that Scorsese’s first special effects film features the man who originated film special effects. We even get a re-creation of the famous Lumiere Brothers’ oncoming locomotive clip that caused audiences to jump. We get it in 3D in Hugo’s own station!

 I have been extremely critical of 3D and its misuse in movies these past couple of years. It rarely adds to the movie and always dims the colors and brightness. Scorsese is a firm believer in the technology and set out to show what can be done and how it can compliment the story. While more impressive than any 3D since Avatar, I still have my doubts about the benefits. What I do know is that if you can overlook the story that drags a bit and the possibly unnecessary 3D effects, you will probably find the film to be extremely entertaining and fun to watch. Howard Shore‘s score plays a vital role and supporting work comes from Emily Mortimer, Richard Griffiths, and Helen McCrory. It’s not for the youngest kids, but it will make you feel like a kid … while reminding you that movies are the stuff that dreams are made of.

Note: with a budget of almost $170 million, there is almost no chance that this film turns a profit, but for full effect, I would encourage you to see this on the big screen.

SEE THIS MOVIE IF: you can enjoy a tribute to film history wrapped in a family film designed to flaunt the power of 3D OR you have a pretty smart kid aged 8 or older who could appreciate the most impressive movie prop of the year (automaton).

SKIP THIS MOVIE IF: you lean towards a cynical mindset and are unlikely to open up for a big budget children’s fable making a case for film preservation

watch the trailer:

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Posted by David Ferguson

CONTAGION

September 10, 2011

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

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

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

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

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

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

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

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

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

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

watch the trailer:

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Posted by David Ferguson

REPO MEN (2010)

March 22, 2010

 Greetings again from the darkness. A sci-fi action thriller set in the near future, the film is based on the novel by Eric Garcia. It stars Jude Law and Forest Whitaker as organ repo men. No, not Wurlitzer pipe organs … artificial body organs. The idea is that any vital body organ can be replaced for a price. Just make sure to read the fine print in the repo clause before signing anything!

Liev Schreiber is the supervisor of Repo Men at The Union. Judging from the size of the building and the mass of the lab, business is booming in the artificial organ transplant business. And who could be surprised? The Union sales team has a perfect sales pitch – sign here or die. And actually, they don’t expect you to stay current on your payments, hence the Repo crew.

I never did figure out if this was supposed to be a comedy/satire or dramatic thriller. The actors seem to play it straight, but that actually adds to the humorous moments. Despite some fine and interesting songs on the soundtrack, the film is a bit of a mess at times … though there are also some fun action scenes. The warning must go out that gore abounds and the actual repo scenes are a bit squirm-inducing.

1 Comment | Sci-Fi, Thriller | Tagged: , , , | Permalink
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

SHERLOCK HOLMES (2009)

January 3, 2010

 (12-27-09) Greetings again from the darkness. Great literature seldom makes for great cinema. The mediums are vastly different. However great literature, in the right hands, can make for very entertaining cinema. Such is the case with Guy Ritchie’s interpretation of Sir Arthur Conan Doyle’s greatest character.

Mr. Ritchie provides us with quite a departure from the Basil Rathbone and Nigel Bruce “Holmes and Watson”. Here we get dazzling special effects and near super-human feats and stunts. Another twist is that this Holmes here is no meticulous, fastidious bore in real life. In fact, he lives more like a frat boy or rock star – replete with trashed room and bouts of isolation.

What is not missing is Holmes’ world class attention to detail. The story here is multi-layered and actually very interesting, if not a bit high-minded and high-concept. The still-under-construction Tower Bridge plays a role in the film and the bleakness and gray of London is captured perfectly.

Of course, I won’t reveal any details of the story other than to say the “good” guys are out to get a real bad guy here … wonderfully played by the always solid Mark Strong, who may or may not be dead. That always makes for an interesting case! Support from Rachel McAdams and Eddie Marsan are fine, but Robert Downey Jr and Jude Law are the real stars as Holmes and Watson. As odd as it seems, they really do have a buddy factor that works well on screen. Downey’s physicality has always set him apart from many contemporary actors … he moves like a dancer and fights like a champion. Jude Law is often too pretty-boy for me, but he really does a nice job of capturing the reluctant sidekick with complimentary skills.

This is a BIG movie! It is made to be a rollicking good time with tons of popcorn munched. Smaller kids will not be able to follow the story, but anyone who has read a Holmes story (and isn’t against a little artistic license) should see the film. It is extremely entertaining and fun to watch.

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Posted by David Ferguson

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