Thursday September 25, 2008
What a mess! The opening sequence is the only recommendation I can give. And with ticket prices averaging around $10 a pop, those 5 minutes are hardly worth your hard earned cash as the remaining 113 minutes of this typical Hollywood dreck looks more like a bad Jerry Buckheimer production (and there a quite of few of those) than Steven Spielberg. Director D.J. Caruso (who did last year's modest winner "Disturbia") crams more car crashes and insane improbability into this monstrosity that you'll laugh out loud so many times those seated around you might think this is a comedy-if they aren't rolling in the aisle themselves. Caruso once again employs rising Hollywood star Shia LeBeouf (whose last film was "Indiana Jones and the Kingdom of the Crystal Skull") as an everyday schmo who is directed by a mysterious female voice over his cell phone to obey her every command or risk instant death. The power behind the voice also has a way to control every electronic device (and even trash compactors!) on the planet allowing every threat to possibly come to fruition. The film utilizes a script by 4 screenwriters, including Dan McDermott (who wrote the story, as well as the screenplay for the "wonderful" 2006 remake of "The Omen"), while including a noisy totally annoying soundtrack by Brian Tyler. And it shamelessly copies from several classics, such as "2001-A Space Odyssey", "1984", and "The Manchurian Candidate", to name just a few. The requisite female companion is played admirably by Michelle Monaghan ("Gone Baby Gone") who is enlisted into the outrageous goings on, with Billy Bob Thornton playing a relentless FBI agent chasing LeBeouf at the same time thinking he is a terrorist. Such suspense, such action, such crap!
"Roman Polanski: Wanted and Desired" *** 1/2 (99 minutes)
Thursday September 18, 2008
It took director Marina Zenovich 5 years to complete this engrossing documentary which focuses mainly on the sensational trial surrounding the unlawful sexual encounter between the famed director and a 13 year old girl in 1977. When it became clear that the judge in this case, Laurence J. Rittenband, would possibly sentence him to jail time instead of granting probation, Polanski decided to flee the U.S. To this day, he has remained in exile in France. Marina has taken great care to present an unbiased work that chronicles the details of, what appears to be, a total travesty of justice. Most people do not know the ins and outs of the sensational trial and many will be shocked to see how one person (Rittenband) could shamelessly put his own ego way ahead of the scales of justice. The appropriate history is presented: the director's life as a French born who grows up in Poland only to have his parents slaughtered during the Holocaust; his early extraordinary success overseas as a director; his U.S. success at the helm of such masterpieces such as "Rosemary's Baby" & "Chinatown"; and, of course, his ill fated marriage to the late Sharon Tate. All this helps to create a certain amount of sympathy for the director who then makes the wrongful decision, no matter what the circumstances, to offer drugs and have sex with the underage girl. What really makes this all so fascinating is the access Marina has to virtually all the principals involved-including the now 34 year old victim. Although Polanski is not interviewed for the film, you won't notice as everyone from the victim, prosecutor, attorneys, to even the court reporter at the time (who astonishingly reveals that, at one point, Rittenband asked him how he should decide Polanski's fate). Correctly, Hollywood chose to honor his brilliance in absentia with the Best Director Oscar in 2002 for "The Pianist". The doc was presented by the filmmaker (brought in by folks at The Maryland Film Festival) who, at the Q & A, when asked if Roman saw it and, if so, what were his comments, said he approved by asking her about her next project. The film was purchased by HBO and was in limited release around the country earlier this year. It has already screened on the network and will show it again sometime in the future. This is an amazing well crafted account of one of the most curious episodes in Hollywood history. In the end, you can't blame Roman for his decision never to step on our soil again.
It took director Marina Zenovich 5 years to complete this engrossing documentary which focuses mainly on the sensational trial surrounding the unlawful sexual encounter between the famed director and a 13 year old girl in 1977. When it became clear that the judge in this case, Laurence J. Rittenband, would possibly sentence him to jail time instead of granting probation, Polanski decided to flee the U.S. To this day, he has remained in exile in France. Marina has taken great care to present an unbiased work that chronicles the details of, what appears to be, a total travesty of justice. Most people do not know the ins and outs of the sensational trial and many will be shocked to see how one person (Rittenband) could shamelessly put his own ego way ahead of the scales of justice. The appropriate history is presented: the director's life as a French born who grows up in Poland only to have his parents slaughtered during the Holocaust; his early extraordinary success overseas as a director; his U.S. success at the helm of such masterpieces such as "Rosemary's Baby" & "Chinatown"; and, of course, his ill fated marriage to the late Sharon Tate. All this helps to create a certain amount of sympathy for the director who then makes the wrongful decision, no matter what the circumstances, to offer drugs and have sex with the underage girl. What really makes this all so fascinating is the access Marina has to virtually all the principals involved-including the now 34 year old victim. Although Polanski is not interviewed for the film, you won't notice as everyone from the victim, prosecutor, attorneys, to even the court reporter at the time (who astonishingly reveals that, at one point, Rittenband asked him how he should decide Polanski's fate). Correctly, Hollywood chose to honor his brilliance in absentia with the Best Director Oscar in 2002 for "The Pianist". The doc was presented by the filmmaker (brought in by folks at The Maryland Film Festival) who, at the Q & A, when asked if Roman saw it and, if so, what were his comments, said he approved by asking her about her next project. The film was purchased by HBO and was in limited release around the country earlier this year. It has already screened on the network and will show it again sometime in the future. This is an amazing well crafted account of one of the most curious episodes in Hollywood history. In the end, you can't blame Roman for his decision never to step on our soil again.
"Boy A" *** (100 minutes)
Sunday September 7, 2008
The inaugural film opening the 2008 fall series of the Cinema Sundays at The Charles comes to us from Scotland. This tough, in-your-face movie by director John Crowley ("Intermission") is not the kind of flick that will have you dancing in the aisles with joy, to say the least! Anthony Perkins look-a-like, Andrew Garfield ("Lions For Lambs") plays a young man newly released from prison after spending the previous 14 years as a juvenile offender. There to greet him is his caseworker, Terry, played by talented Scot Peter Mullen ("My Name is Joe"), who will help him adjust to his new life. Based on the novel by Jonathan Trigell, the film might bring to mind the case of the 2 juveniles who were seen on a mall video in England leading away a child who was later found murdered. However, when we meet "Boy A" (as the courts referred to him to protect his identity) we see him as an introverted soul who seems soft and kindly. Only later do we learn, through flashbacks to his pre-prison life, how he got involved with "Boy B" and what led to his incarceration. The film raises many questions about how society treats its youthful criminals, if these criminals should be given a second chance, and whether justice is really served in the final analysis. Outstanding performances by the leads (especially Garfield who exhibits a full range of emotions throughout) enhances the utter realism of the proceedings. My main fault is a pet peeve: the decision by the filmmakers not to include subtitles for the dialogue spoken by the heavily Scottish accented cast. However, if you like great acting and films that make you think and debate tough timely issues, be certain to put it on your list.
The inaugural film opening the 2008 fall series of the Cinema Sundays at The Charles comes to us from Scotland. This tough, in-your-face movie by director John Crowley ("Intermission") is not the kind of flick that will have you dancing in the aisles with joy, to say the least! Anthony Perkins look-a-like, Andrew Garfield ("Lions For Lambs") plays a young man newly released from prison after spending the previous 14 years as a juvenile offender. There to greet him is his caseworker, Terry, played by talented Scot Peter Mullen ("My Name is Joe"), who will help him adjust to his new life. Based on the novel by Jonathan Trigell, the film might bring to mind the case of the 2 juveniles who were seen on a mall video in England leading away a child who was later found murdered. However, when we meet "Boy A" (as the courts referred to him to protect his identity) we see him as an introverted soul who seems soft and kindly. Only later do we learn, through flashbacks to his pre-prison life, how he got involved with "Boy B" and what led to his incarceration. The film raises many questions about how society treats its youthful criminals, if these criminals should be given a second chance, and whether justice is really served in the final analysis. Outstanding performances by the leads (especially Garfield who exhibits a full range of emotions throughout) enhances the utter realism of the proceedings. My main fault is a pet peeve: the decision by the filmmakers not to include subtitles for the dialogue spoken by the heavily Scottish accented cast. However, if you like great acting and films that make you think and debate tough timely issues, be certain to put it on your list.
"Righteous Kill" *** (101 minutes)
Wednesday September 10, 2008
Much has been made of Hollywood icons De Niro vs Pacino's brief one scene confrontation in Michael Mann's brilliant 1995 "Heat". Although these 2 living legends had appeared in the same film way back in 1974's "Godfather II", this was the first time they actually shared screen time together. Many wondered why it took them both to be into their 60's before they traded acting chops again but, as the saying goes, better late than never. Director Jon Avnet (whose career took a misstep with one of this year's major flops, "88 Minutes", after showing much promise with his offbeat 2004's "Sky Captain and the World of Tomorrow" and one of my favorite films of 2001, "Things You Can Tell Just By Looking at Her") barely succeeds in this endeavor by devoting almost every scene to the 2 master thespians. And for that alone, this one is worth the price of admission. In fact this would be a mildly entertaining 2 1/2 star flick if it wasn't for their presence. Just sit back and marvel as these 2 deliver the goods as 2 longtime NY detective partners investigating a serial killer/vigilante trying to clean up the streets of the city after the courts repeatedly fail to do so. Method acting is on display in all its glory in this police psychological thriller that has shades of Sidney Lumet all over it. Both actors are in their very comfortable element once again playing detectives in the city that never sleeps, and watching both you will be reminded of previous movies in which they played the same types of characters. But this time the story by 2nd time screenwriter Russell Gewirtz ("Inside Man") puts enough smart dialogue between them to keep the proceedings moving along to keep you interested. Avnet uses some tiresome frantic cutting; and the constant pounding of the soundtrack to signal incessant dread in the action becomes way overused. However, again, its De Niro and Pacino together that makes it all worthwhile.
Much has been made of Hollywood icons De Niro vs Pacino's brief one scene confrontation in Michael Mann's brilliant 1995 "Heat". Although these 2 living legends had appeared in the same film way back in 1974's "Godfather II", this was the first time they actually shared screen time together. Many wondered why it took them both to be into their 60's before they traded acting chops again but, as the saying goes, better late than never. Director Jon Avnet (whose career took a misstep with one of this year's major flops, "88 Minutes", after showing much promise with his offbeat 2004's "Sky Captain and the World of Tomorrow" and one of my favorite films of 2001, "Things You Can Tell Just By Looking at Her") barely succeeds in this endeavor by devoting almost every scene to the 2 master thespians. And for that alone, this one is worth the price of admission. In fact this would be a mildly entertaining 2 1/2 star flick if it wasn't for their presence. Just sit back and marvel as these 2 deliver the goods as 2 longtime NY detective partners investigating a serial killer/vigilante trying to clean up the streets of the city after the courts repeatedly fail to do so. Method acting is on display in all its glory in this police psychological thriller that has shades of Sidney Lumet all over it. Both actors are in their very comfortable element once again playing detectives in the city that never sleeps, and watching both you will be reminded of previous movies in which they played the same types of characters. But this time the story by 2nd time screenwriter Russell Gewirtz ("Inside Man") puts enough smart dialogue between them to keep the proceedings moving along to keep you interested. Avnet uses some tiresome frantic cutting; and the constant pounding of the soundtrack to signal incessant dread in the action becomes way overused. However, again, its De Niro and Pacino together that makes it all worthwhile.
"Hamlet 2" ** 1/2 (92 minutes)
Thursday August 21, 2008
After taking an unexpected month off from my cinema viewing duties, I'm back on the scene and raring to go taking in this indie comedy that sold for a (surprising) 10 mil at this year's Sundance. The posters hints at a pedigree that looks appealing: "from the co-writers of South Park Bigger Louder Uncut and Team America World Police". Unfortunately, as it turns out, these are just mere words. Starring England's Steve Coogan (currently making the rounds in "Tropic Thunder") and co-starring an impressive cast (Catherine Keener, David Arquette, Amy Poehler, & Elizabeth Shue), it only occasionally amuses as it tells the tale of a failed commercials actor who sets up residence as a drama teacher in a Tucson high school. About to be canned, Coogan comes up with one last ditch performance for his thespians: an original play loosely based on "Hamlet" (verrrry loosely based) that proceeds to raise the ire of most of the community before it even hits the stage. Coogan's endless buffoonery is ingratiating but, ultimately, tiring as you watch him lose his wife, job, and self-respect, only to win out in the end. Director Andrew Fleming ("The In-Laws") throws everything against the wall trying to get something to stick and, as I stated, is occasionally successful (I did enjoy Keener & Poehler and wished they had more screen time) but, in the end, the whole affair becomes a near miss for me.
After taking an unexpected month off from my cinema viewing duties, I'm back on the scene and raring to go taking in this indie comedy that sold for a (surprising) 10 mil at this year's Sundance. The posters hints at a pedigree that looks appealing: "from the co-writers of South Park Bigger Louder Uncut and Team America World Police". Unfortunately, as it turns out, these are just mere words. Starring England's Steve Coogan (currently making the rounds in "Tropic Thunder") and co-starring an impressive cast (Catherine Keener, David Arquette, Amy Poehler, & Elizabeth Shue), it only occasionally amuses as it tells the tale of a failed commercials actor who sets up residence as a drama teacher in a Tucson high school. About to be canned, Coogan comes up with one last ditch performance for his thespians: an original play loosely based on "Hamlet" (verrrry loosely based) that proceeds to raise the ire of most of the community before it even hits the stage. Coogan's endless buffoonery is ingratiating but, ultimately, tiring as you watch him lose his wife, job, and self-respect, only to win out in the end. Director Andrew Fleming ("The In-Laws") throws everything against the wall trying to get something to stick and, as I stated, is occasionally successful (I did enjoy Keener & Poehler and wished they had more screen time) but, in the end, the whole affair becomes a near miss for me.
"The Dark Knight" *** 1/2 (152 minutes)
Wednesday July 16, 2008
Next February, they can toss The Oscar into his casket. And not because Hollywood was in love and is still mourning the loss of one of it’s fiercest rising stars. No, it’s because he richly deserved it, bringing total poignancy and sadness to the proceedings when Heath Ledger becomes the 2nd posthumous recipient to receive an Oscar (the first being Peter Finch when he won the Best Actor award for his role in the 1977 masterpiece “Network”). His performance is so powerful and charismatic, and so utterly unforgettable (I wrote the same thing in an earlier post about Daniel Day Lewis after screening “There Will Be Blood”) that the film actually suffers slightly when he's not on the screen. Christopher Nolan directs the wildly entertaining follow-up to his 2005 “Batman Begins” with Christian Bale (Batman), Morgan Freeman, and Gary Oldman repeating their roles (the great Maggie Gyllenhaal has taken over the role formerly occupied by Katie Holmes), while adding veteran indy actor Aaron Eckhart, veteran everything actor Michael Caine, and longtime character actor Eric Roberts as a mob boss. What a cast, what a story, and what a movie! From the opening 10 minute bank robbery to the incredible climax where 2 boatloads of people have to decide which one is going to blow the other one up first, you won’t have time to check your clock to see when it all will end-or want to for that matter. And what really sets this one apart from most of the other comic book/superhero flicks is the wonderful script by Christopher and his sibling Jonathan that allows Hedger to sink his nuanced chops into a character that will catapult him in filmdom lore forever. The bare bones plot: The brooding Bruce Wayne/Batman is having second thoughts about being the person to erase crime from Gotham City once and for all. Better to pass the task to someone else. His selection is none other than the handsome DA, Harvey Dent (Eckhart). Totally smitten by Batman’s previous love interest (Gyllenhaal), Dent reluctantly proceeds to try and become Gotham’s #1 hero while simultaneously trying to win over his assistant-who is still in love with Batman. Lurking behind all this is Hedger’s Joker who throughout the film is continuously creating chaos by playing the good guys against the bad guys-and against each other. The result: turning good guy Dent into one hideous looking bad guy-turning the plot on its ear over the final 45 minutes of playing time. I realized after the film ended that, for all of its, excuse the expression, comic book violence, there is barely any blood visible during the entire 152 minutes. The score by 2 of Hollywood's finest, Han Zimmer and James Newton Howard, is nothing short of spectacular and only adds to the mix. The only fault I had was that I was disappointed in Maggie’s part. She does the best with it, but, after finally landing a huge non-indy role, her character is not the memorable one she is capable of delivering (rent “Sherrybaby” to see one of the best performances by an actress in any year). I met Christopher Nolan in 1999 when he was present in a small screening room on Main Street in Park City at the Slamdance Film Festival (the alternative Sundance Film Festival) where his inaugural film "Following" had just won the Black & White Award. (Rent it! The film is wonderful!!) Since then, he has gone onto to become one of the planets most successful and talented filmmakers. This noir masterpiece will only add to an already glowing resume.
Next February, they can toss The Oscar into his casket. And not because Hollywood was in love and is still mourning the loss of one of it’s fiercest rising stars. No, it’s because he richly deserved it, bringing total poignancy and sadness to the proceedings when Heath Ledger becomes the 2nd posthumous recipient to receive an Oscar (the first being Peter Finch when he won the Best Actor award for his role in the 1977 masterpiece “Network”). His performance is so powerful and charismatic, and so utterly unforgettable (I wrote the same thing in an earlier post about Daniel Day Lewis after screening “There Will Be Blood”) that the film actually suffers slightly when he's not on the screen. Christopher Nolan directs the wildly entertaining follow-up to his 2005 “Batman Begins” with Christian Bale (Batman), Morgan Freeman, and Gary Oldman repeating their roles (the great Maggie Gyllenhaal has taken over the role formerly occupied by Katie Holmes), while adding veteran indy actor Aaron Eckhart, veteran everything actor Michael Caine, and longtime character actor Eric Roberts as a mob boss. What a cast, what a story, and what a movie! From the opening 10 minute bank robbery to the incredible climax where 2 boatloads of people have to decide which one is going to blow the other one up first, you won’t have time to check your clock to see when it all will end-or want to for that matter. And what really sets this one apart from most of the other comic book/superhero flicks is the wonderful script by Christopher and his sibling Jonathan that allows Hedger to sink his nuanced chops into a character that will catapult him in filmdom lore forever. The bare bones plot: The brooding Bruce Wayne/Batman is having second thoughts about being the person to erase crime from Gotham City once and for all. Better to pass the task to someone else. His selection is none other than the handsome DA, Harvey Dent (Eckhart). Totally smitten by Batman’s previous love interest (Gyllenhaal), Dent reluctantly proceeds to try and become Gotham’s #1 hero while simultaneously trying to win over his assistant-who is still in love with Batman. Lurking behind all this is Hedger’s Joker who throughout the film is continuously creating chaos by playing the good guys against the bad guys-and against each other. The result: turning good guy Dent into one hideous looking bad guy-turning the plot on its ear over the final 45 minutes of playing time. I realized after the film ended that, for all of its, excuse the expression, comic book violence, there is barely any blood visible during the entire 152 minutes. The score by 2 of Hollywood's finest, Han Zimmer and James Newton Howard, is nothing short of spectacular and only adds to the mix. The only fault I had was that I was disappointed in Maggie’s part. She does the best with it, but, after finally landing a huge non-indy role, her character is not the memorable one she is capable of delivering (rent “Sherrybaby” to see one of the best performances by an actress in any year). I met Christopher Nolan in 1999 when he was present in a small screening room on Main Street in Park City at the Slamdance Film Festival (the alternative Sundance Film Festival) where his inaugural film "Following" had just won the Black & White Award. (Rent it! The film is wonderful!!) Since then, he has gone onto to become one of the planets most successful and talented filmmakers. This noir masterpiece will only add to an already glowing resume.
"Up The Yangtze" (***) (95 minutes)
Wednesday July 9, 2008
Back to reality to screen Chinese-Canadian director Yung Chang’s reflective film on the effect that the massive Three Gorges Project is having on the thousands of people being displaced along the Yangtze River by the world’s biggest hydroelectric dam. This quiet documentary reminded me of Franny Armstrong’s powerful 2004 “Drowned Out” which dealt with the travesty of India’s Sardar Sarovar Dam which stripped generations of Adivasi from their land. More quiet in its pronouncement, ”Up The Yangtze” mainly focuses on 2 young individuals whose lives are being directly affected by the change being forced on them by the government project. They are working on a cruise ship that continuously travels The Yangtze catering to the whims of mostly Western tourists. The trip reveals the changes that are taking place along the river banks as Chinese residents are slowly being displaced before the river rises up to 175 meters above its normal depths. The director adds a sparse narration to the proceedings offering his commentary on how the region has changed since he was a youth, while cutting back and forth from the cruise ship to the family of one of the principals to see how they are coping with the displacement about to take place. The filmmaker allows the camera to quietly observe the proceedings in such a way that you feel almost voyeuristic as you watch the tourists relaxing unaware of the devastating situation facing many of the Chinese citizens along the Yangtze. I would have preferred more information as to the displacement process as it involves the general population but, as presented here, the film is an effective testament to an historic change that makes one wonder if "progress" is worth the effect it is ultimately having on the humans and environment directly in its path.
Back to reality to screen Chinese-Canadian director Yung Chang’s reflective film on the effect that the massive Three Gorges Project is having on the thousands of people being displaced along the Yangtze River by the world’s biggest hydroelectric dam. This quiet documentary reminded me of Franny Armstrong’s powerful 2004 “Drowned Out” which dealt with the travesty of India’s Sardar Sarovar Dam which stripped generations of Adivasi from their land. More quiet in its pronouncement, ”Up The Yangtze” mainly focuses on 2 young individuals whose lives are being directly affected by the change being forced on them by the government project. They are working on a cruise ship that continuously travels The Yangtze catering to the whims of mostly Western tourists. The trip reveals the changes that are taking place along the river banks as Chinese residents are slowly being displaced before the river rises up to 175 meters above its normal depths. The director adds a sparse narration to the proceedings offering his commentary on how the region has changed since he was a youth, while cutting back and forth from the cruise ship to the family of one of the principals to see how they are coping with the displacement about to take place. The filmmaker allows the camera to quietly observe the proceedings in such a way that you feel almost voyeuristic as you watch the tourists relaxing unaware of the devastating situation facing many of the Chinese citizens along the Yangtze. I would have preferred more information as to the displacement process as it involves the general population but, as presented here, the film is an effective testament to an historic change that makes one wonder if "progress" is worth the effect it is ultimately having on the humans and environment directly in its path.
"Journey To The Center Of The Earth 3D" **1/2 (89 minutes)
Monday July 7, 2008
After screening 21 documentaries in 8 days, it was back to the summer circuit. It was time to ditch reality for fantasy and the latest in a long parade of mostly lame Hollywood "Summer Blockbusters"-the term that was born with the June 1975 release of the great "Jaws". Rookie director Eric Brevig delivers the special effects in spades (maybe not that surprising considering his only other previous screen credit was for special effects in Arnold's enjoyable 1990's "Total Recall" & his work on "Pearl Harbor"). Warner Brothers/New Line is releasing this one in 3D (now labeled as "Real D") which earned it at least a 1/2 star in my final 2 and a half total. At a brisk 89 minutes, this "remake" of the 1959 original starring Pat Boone and James Mason based on the Jules Verne classic, moves nicely along and isn't a total failure mainly due to the pleasant personalities of Brendan Fraser, newcomer Michelle Pfeiffer look-a-like, Anita Briem, and veteran young actor, Josh Hutcherson ("Bridge To Terabithia"). Not a remake in the strictest sense of the word, the film asks the question: "What if Jules Verne was right-that there was, indeed a pathway to the center of the earth instead of being just a fantasy in the mind of the great novelist?" Fraser plays the science professor who theorizes that Jules was right. When his sister drops off her son (Hutcherson) and several of her late husband's belongings (he happened to be lost trying to prove Verne's theory was fact), before you can say "let's get to the center of the earth already" the 2 are off to Iceland to find a scientist who may have discovered Verne's entrance to the earth's depths. Instead, they find his (of course) beautiful live alone daughter (her dad died 3 years earlier), who agrees (for 5 grand an hour) to lead them to the entrance. The implausibility of all this is so freakin' ridiculous that you have to laugh at it all-along with the (intended) light humor of the script. It's almost a guilty pleasure as you watch these 3 maneuver their way through the abyss for most of the running time. I've seen 50's B movies more believable than this, and your eyes will roll so often that you'll end up missing a lot of the 3D effects. But, then again, you were expecting "War and Peace" here?
After screening 21 documentaries in 8 days, it was back to the summer circuit. It was time to ditch reality for fantasy and the latest in a long parade of mostly lame Hollywood "Summer Blockbusters"-the term that was born with the June 1975 release of the great "Jaws". Rookie director Eric Brevig delivers the special effects in spades (maybe not that surprising considering his only other previous screen credit was for special effects in Arnold's enjoyable 1990's "Total Recall" & his work on "Pearl Harbor"). Warner Brothers/New Line is releasing this one in 3D (now labeled as "Real D") which earned it at least a 1/2 star in my final 2 and a half total. At a brisk 89 minutes, this "remake" of the 1959 original starring Pat Boone and James Mason based on the Jules Verne classic, moves nicely along and isn't a total failure mainly due to the pleasant personalities of Brendan Fraser, newcomer Michelle Pfeiffer look-a-like, Anita Briem, and veteran young actor, Josh Hutcherson ("Bridge To Terabithia"). Not a remake in the strictest sense of the word, the film asks the question: "What if Jules Verne was right-that there was, indeed a pathway to the center of the earth instead of being just a fantasy in the mind of the great novelist?" Fraser plays the science professor who theorizes that Jules was right. When his sister drops off her son (Hutcherson) and several of her late husband's belongings (he happened to be lost trying to prove Verne's theory was fact), before you can say "let's get to the center of the earth already" the 2 are off to Iceland to find a scientist who may have discovered Verne's entrance to the earth's depths. Instead, they find his (of course) beautiful live alone daughter (her dad died 3 years earlier), who agrees (for 5 grand an hour) to lead them to the entrance. The implausibility of all this is so freakin' ridiculous that you have to laugh at it all-along with the (intended) light humor of the script. It's almost a guilty pleasure as you watch these 3 maneuver their way through the abyss for most of the running time. I've seen 50's B movies more believable than this, and your eyes will roll so often that you'll end up missing a lot of the 3D effects. But, then again, you were expecting "War and Peace" here?
AFI SIVERDOCS FILM FESTIVAL-Day 8 & Final Thoughts
Monday June 24, 2008
Silverdocs expanded to 8 days this year for the first time allowing additional screenings. When the festival first started in 2003, the opening night was on a Tuesday and the award winners played on the following Sunday. This year, opening night was last Monday, with the awards ceremony held on Saturday. The winners, as well as "back by demand" films, are now playing on Monday. So, off I went to explore 2 of the major winners.
First up was the Sterling U.S. Documentary feature award, "The Garden" (****). Scott Hamilton Kennedy ("OT: Our Town") masterfully chronicles the rise and fall of the largest urban farm in the U.S. Arising from the ashes of South Central L.A. after the 1992 riots, the community garden was tilled by mainly poor Latinos who turned the blighted 14 acre lot into a place of beauty, pride, & sustenance. For 11 years, the tenants were allowed to work rent-free on the city-owned property until, in 2003, they a received notice of eviction from the original owner-who had re-obtained the land from the city. And what was this owner planning to do on the land? Why-build a soccer field and warehouses! To make matters worse, the film reveals that the reacquisition by the owner was as a result of a sleazy deal perpetuated by the City Council. The tenants proceeded to enlist the aid of attorneys to fight for their right to stay-a fight which would last 2 1/2 years and would eventually include the financial backing of Hollywood celebrities and organizations-all to no avail. Once again the poor cannot compete against the immoral political and financial powers that, unfortunately, all too often determine their fate. The proceedings are effectively told using interviews and stock footage as it dramatically reveals the injustice perpetuated upon a group who were able to produce something beautiful in the most unlikely of places and is well deserving of the Sterling Award!
My final screening was the great Witness award winner, "Pray The Devil Back To Hell" (****). A phenomenal way to end the festival was this stunning story by Emmy winning ("Ladies First") and Academy Award nominated (for her short "Asylum") Gini Reticker who seems to be drawn to the role of women in war-torn, politically charged countries. The Devil in this story is the head of Liberia, Charles Taylor. Coming to power in 1997, he proceeded to plunge the country into a 2nd civil war in which over 250,000 were killed and a million people displaced. Tired of seeing this happening to her country once again, it took a Martin Luther King-like dream by Leyman Gbowee to be inspired with a plan: enlisting the aid of the women to end a war started and maintained by men. Not only did they accomplish the astonishing feat, but the result of the first democratic election was won by Ellen Johnson-Sirleaf-Africa's first female woman elected head of state. The film maker wisely includes subtitles to accompany the heavily English accented Liberians (a process I'd wish some famous Irish and Scottish directors would utilize!). Gini's superb storytelling and the utilization of an amazing soundtrack combine to tell one of the most inspiring stories of our time.
Final Thoughts
-This amazing festival only seems to get better and better each year. From the opening in 2003 with the presence of Geraldine Chaplin presenting Richard Schickel's heartwarming film about her father: "Charlie: The Life And Times Of Times Of Charles Chaplin", to the conclusion this year where 97 full length films representing the best in documentary films from all over the world were presented, it is quite clear that Silverdocs is becoming one of the most important and influential platforms for the genre.
-The expansion to include the category of World Feature is a welcome addition to the awards process, as is the newly created Writers Guild of American Documentary Screenplay Award.-The first class treatment of all who attend the festival by everyone from the organizers, film makers, down to the multitude of volunteers is to be commended.
-This was the first time in all the festivals that I've attended that EVERY screening started on time with NO technical glitches! BRAVO! to everyone involved in this feat.
-The additional two days made more films available to the public and the showings at the state of the art AFI Silver Theater results in the absolute best presentation for each film.
-This was clearly the best year yet for Silverdocs. Festival directors, Patricia Finneran and programmer Sky Sitney are to be applauded and should be proud of the work they have done to bring this elite festival to fruition.
Silverdocs expanded to 8 days this year for the first time allowing additional screenings. When the festival first started in 2003, the opening night was on a Tuesday and the award winners played on the following Sunday. This year, opening night was last Monday, with the awards ceremony held on Saturday. The winners, as well as "back by demand" films, are now playing on Monday. So, off I went to explore 2 of the major winners.
First up was the Sterling U.S. Documentary feature award, "The Garden" (****). Scott Hamilton Kennedy ("OT: Our Town") masterfully chronicles the rise and fall of the largest urban farm in the U.S. Arising from the ashes of South Central L.A. after the 1992 riots, the community garden was tilled by mainly poor Latinos who turned the blighted 14 acre lot into a place of beauty, pride, & sustenance. For 11 years, the tenants were allowed to work rent-free on the city-owned property until, in 2003, they a received notice of eviction from the original owner-who had re-obtained the land from the city. And what was this owner planning to do on the land? Why-build a soccer field and warehouses! To make matters worse, the film reveals that the reacquisition by the owner was as a result of a sleazy deal perpetuated by the City Council. The tenants proceeded to enlist the aid of attorneys to fight for their right to stay-a fight which would last 2 1/2 years and would eventually include the financial backing of Hollywood celebrities and organizations-all to no avail. Once again the poor cannot compete against the immoral political and financial powers that, unfortunately, all too often determine their fate. The proceedings are effectively told using interviews and stock footage as it dramatically reveals the injustice perpetuated upon a group who were able to produce something beautiful in the most unlikely of places and is well deserving of the Sterling Award!
My final screening was the great Witness award winner, "Pray The Devil Back To Hell" (****). A phenomenal way to end the festival was this stunning story by Emmy winning ("Ladies First") and Academy Award nominated (for her short "Asylum") Gini Reticker who seems to be drawn to the role of women in war-torn, politically charged countries. The Devil in this story is the head of Liberia, Charles Taylor. Coming to power in 1997, he proceeded to plunge the country into a 2nd civil war in which over 250,000 were killed and a million people displaced. Tired of seeing this happening to her country once again, it took a Martin Luther King-like dream by Leyman Gbowee to be inspired with a plan: enlisting the aid of the women to end a war started and maintained by men. Not only did they accomplish the astonishing feat, but the result of the first democratic election was won by Ellen Johnson-Sirleaf-Africa's first female woman elected head of state. The film maker wisely includes subtitles to accompany the heavily English accented Liberians (a process I'd wish some famous Irish and Scottish directors would utilize!). Gini's superb storytelling and the utilization of an amazing soundtrack combine to tell one of the most inspiring stories of our time.
Final Thoughts
-This amazing festival only seems to get better and better each year. From the opening in 2003 with the presence of Geraldine Chaplin presenting Richard Schickel's heartwarming film about her father: "Charlie: The Life And Times Of Times Of Charles Chaplin", to the conclusion this year where 97 full length films representing the best in documentary films from all over the world were presented, it is quite clear that Silverdocs is becoming one of the most important and influential platforms for the genre.
-The expansion to include the category of World Feature is a welcome addition to the awards process, as is the newly created Writers Guild of American Documentary Screenplay Award.-The first class treatment of all who attend the festival by everyone from the organizers, film makers, down to the multitude of volunteers is to be commended.
-This was the first time in all the festivals that I've attended that EVERY screening started on time with NO technical glitches! BRAVO! to everyone involved in this feat.
-The additional two days made more films available to the public and the showings at the state of the art AFI Silver Theater results in the absolute best presentation for each film.
-This was clearly the best year yet for Silverdocs. Festival directors, Patricia Finneran and programmer Sky Sitney are to be applauded and should be proud of the work they have done to bring this elite festival to fruition.
AFI SIVERDOCS FILM FESTIVAL-Day 7
Sunday June 22, 2008
A relatively light day today with only 2 screenings. I started it off with the U.S. premiere of "Letter To Anna: The Story Of Journalist Politkovskaya's Death" (***) which chronicled the events surrounding the assassination in 2006 of the Russian investigative newspaper reporter. A fearless, relentless journalist, she knew her days were probably numbered as a result of her writings about Chechnya and the Putin administration and the enemies she created along the way. (She was nearly poisoned to death in 2004 while on her way to Beslan to help in the school hostage crisis.) Director Eric Bergkraut ably describes the dangerous political climate in Russia where she and over a dozen other journalists have now lost their lives since 2000. My main fault with the film was the monotonous manner it was presented as was the narration from Susan Sarandon and the filmmaker himself (necessary when he revealed during the Q & A that Richard Gere backed out of the project at the last minute). However, the documentary did convey the bravery of the slain writer and her heroic attempts to report on the continual injustices in and around Russia. (Bergkraut stated in the Q & A that Anna's killers have recently been arrested-but, so far, not the people who were behind the killings.)
It was finally time for something light-hearted and no better way to satisfy that urge than the east coast premiere of "Hi My Name Is Ryan" (***). Directors Paul Eagleston and his first cousin Stephen Rose, give us a unique portrait of the 19 year old Phoenix native who conquers his insecurities stemming from his upbringing and hypopituitarism (which stunts his growth and gives him the appearance and voice of a pubescent teenager) by becoming an over the top performance artist. As a result, he has become somewhat of a local living legend among those who have witnessed all the various incarnations of his acts. And what are these acts? Well . . . that is really hard to define in this space. You are witness to a barrage of videos of Ryan in action and, although you are laughing at him at times, you'll eventually be won over by his will to overcome his physical deficiencies and the absolute sincerity in his performances. Then, at the height of his popularity, he reveals that he is ending it all so that he can spread the Mormon gospel! The film makers revealed at the Q & A that they only had a week and a half to film Ryan but were blessed with the existence of videos of him in actions, which they were successfully able to weave into the story. The addition of a hilarious running dialogue by Wayne, his main protagonist in Phoenix who constantly puts Ryan down but only serves to make himself look foolish, adds greatly to the fun. A sweet profile about someone you are not likely to forget after the lights come up.
(Note: "I.O.U.S.A." was shown today and my review can be read in my May 2nd post of The Maryland Film Festival)
A relatively light day today with only 2 screenings. I started it off with the U.S. premiere of "Letter To Anna: The Story Of Journalist Politkovskaya's Death" (***) which chronicled the events surrounding the assassination in 2006 of the Russian investigative newspaper reporter. A fearless, relentless journalist, she knew her days were probably numbered as a result of her writings about Chechnya and the Putin administration and the enemies she created along the way. (She was nearly poisoned to death in 2004 while on her way to Beslan to help in the school hostage crisis.) Director Eric Bergkraut ably describes the dangerous political climate in Russia where she and over a dozen other journalists have now lost their lives since 2000. My main fault with the film was the monotonous manner it was presented as was the narration from Susan Sarandon and the filmmaker himself (necessary when he revealed during the Q & A that Richard Gere backed out of the project at the last minute). However, the documentary did convey the bravery of the slain writer and her heroic attempts to report on the continual injustices in and around Russia. (Bergkraut stated in the Q & A that Anna's killers have recently been arrested-but, so far, not the people who were behind the killings.)
It was finally time for something light-hearted and no better way to satisfy that urge than the east coast premiere of "Hi My Name Is Ryan" (***). Directors Paul Eagleston and his first cousin Stephen Rose, give us a unique portrait of the 19 year old Phoenix native who conquers his insecurities stemming from his upbringing and hypopituitarism (which stunts his growth and gives him the appearance and voice of a pubescent teenager) by becoming an over the top performance artist. As a result, he has become somewhat of a local living legend among those who have witnessed all the various incarnations of his acts. And what are these acts? Well . . . that is really hard to define in this space. You are witness to a barrage of videos of Ryan in action and, although you are laughing at him at times, you'll eventually be won over by his will to overcome his physical deficiencies and the absolute sincerity in his performances. Then, at the height of his popularity, he reveals that he is ending it all so that he can spread the Mormon gospel! The film makers revealed at the Q & A that they only had a week and a half to film Ryan but were blessed with the existence of videos of him in actions, which they were successfully able to weave into the story. The addition of a hilarious running dialogue by Wayne, his main protagonist in Phoenix who constantly puts Ryan down but only serves to make himself look foolish, adds greatly to the fun. A sweet profile about someone you are not likely to forget after the lights come up.
(Note: "I.O.U.S.A." was shown today and my review can be read in my May 2nd post of The Maryland Film Festival)
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