Sunday October 26, 2008
Off to the AFI Silver Theater for another great members-only event: the pre-release screening of Mark Herman's ("Brassed Off" & "Little Voice") film based on John Boyne's award winning children's novel of the same name-attended by both author and director. Screenwriter/director Herman tells this Holocaust fable mainly through the eyes of a German child about a German family who uproots from their posh surroundings when the patriarch (David Thewlis) is placed in charge of a Concentration Camp. His wife, ably played Vera Farmiga ("The Departed") , and his 2 children (Asa Butterfield & Amber Beattie) are initially kept under wraps about what lies just beyond the fringe of the "estate". Bored out of his wits, 8 year old Bruno starts to explore his surroundings and ends up meeting another 8 year old clothed in "striped pajamas" (Jack Scanlon) on the other side of the fence encircling what he believes is a farm. Meanwhile, his 12 year old sister (Amber Beattie) is slowing being indoctrinated into the Nazi mindset by their tutor and her attraction for a cruel German Soldier (Rupert Friend), who is housing his own secrets. Lacking anyone else he can relate to, young Bruno starts to closely bond with his new friend. Herman has used excellent production values to recreate the Nazi milieu. The cinematography and set design are top notch (the film was shot in Hungary), as is award winning composer James Horner's haunting soundtrack. My main problem: the use of distinguished British actors to play the German characters. It was hard to wrap my head around watching the Nazi monsters speaking in proper English accents. During the Q & A, Herman said he had no problem not using German dialogue with subtitles since the book itself was translated worldwide. I agree that the fable is universal and that it doesn't matter what language is on the printed page. It was just difficult matching that to the visual realism on the screen. And how often do you have a novelist and a screenwriter appearing together for a Q & A? Boyne said that, even though the screenplay was written by the Director, he revealed that Herman forwarded all the drafts to him for input. Boyne also noted that though the ending was slightly different, he wished he had written the scene when Bruno discovers a collection of naked dolls from the Jewish children inmates piled high in the basement of the house. I asked the filmmaker whether he considered filming in black and white. He responded that he did indeed consider it but nixed the idea stating that it has been done that way before. Herman tells the story with great economy as he effectively covers arcs of great emotion in a little over an hour and a half.
"Pride and Glory" *** 1/2 (125 minutes)
Monday October 20, 2008
Gritty-the first word that comes to mind to describe the latest by director/co-screenwriter Gavin O'Connor. I loved his first indie work, 1999's "Tumbleweeds" (in which Janet McTeer earned a well deserved Golden Globe Best Actress award, as well as noms from the AA and Screen Actor's Guild) which I screened at Sundance. Here he teams with screenwriter Joe Carnahan (who wrote another powerful indie police tale "Narc") and employs a top notch cast to tell this tale that begins with the ambush of four of NY's finest during a drug bust. All are from the same unit, headed by Noah Emmerich, whose father (Jon Voight) is his superior. Noah's brother (Edward Norton) is brought into the investigation by his father to investigate, who soon discovers that the killer was tipped off by another cop. Colin Farrell is the brother-in-law in the same unit and we quickly learn he is not one of NY's finest, to say the least. The film is effectively shot in stark muted tones by veteran cinematographer, Declan Quinn (DP for the currently well received "Rachel Getting Married") and has a nice companion score by vet Mark Isham ("Crash"). The dialogue, action scenes, and acting are very realistic and, even though the story is familiar, it will hold your interest to the end.
Gritty-the first word that comes to mind to describe the latest by director/co-screenwriter Gavin O'Connor. I loved his first indie work, 1999's "Tumbleweeds" (in which Janet McTeer earned a well deserved Golden Globe Best Actress award, as well as noms from the AA and Screen Actor's Guild) which I screened at Sundance. Here he teams with screenwriter Joe Carnahan (who wrote another powerful indie police tale "Narc") and employs a top notch cast to tell this tale that begins with the ambush of four of NY's finest during a drug bust. All are from the same unit, headed by Noah Emmerich, whose father (Jon Voight) is his superior. Noah's brother (Edward Norton) is brought into the investigation by his father to investigate, who soon discovers that the killer was tipped off by another cop. Colin Farrell is the brother-in-law in the same unit and we quickly learn he is not one of NY's finest, to say the least. The film is effectively shot in stark muted tones by veteran cinematographer, Declan Quinn (DP for the currently well received "Rachel Getting Married") and has a nice companion score by vet Mark Isham ("Crash"). The dialogue, action scenes, and acting are very realistic and, even though the story is familiar, it will hold your interest to the end.
"W." ** 1/2 (129 minutes)
Tuesday October 14, 2008
The trailer had me expecting an SNL-like satiric biopic of our lame duck pres. Knowing full well director Oliver Stone's liberal political leanings only enforced this expectation. So, I was genuinely surprised to, instead, view something quite different. Stone has been known to inflict his own agenda and realities into previous presidential films ("JFK" and "Nixon") so I thought he would come to this project a tad differently considering that the topic deals with a sitting president (the first such movie to do so). Indeed, I read that all the "conversations" are based on documented "facts" so I was curious to see how Stone would approach current history. The fact that he quickly put it all together (he began filming in May) so it would be released before next month's election, would indicate that he would somehow try to influence moviegoers with his antiwar philosophies by putting our distinguished President in as unfavorable light as possible. The result: an uneven account into the psyche of our 43rd president. Stone flips back and forth in time to show how this dimwitted dude, shown early on during a drunken initiation to join his college fraternity, could ever become President. Specific periods of his life depicted include how he met future First Lady Laura, his bouts with drinking, his born again conversion, his runs for The Senate and then as Governor of Texas. However, a good deal of the film deals with the period after 9/11 and how he involved us with the Iraq war and the subsequent revelation that no WMD's were ever found. Interspersed are his dealings with his inner circle as well as the elder Bush with the revelations that both he and mom Barbara considered him inferior to brother Jeb. All of these periods are just snippets which seemed hastily thrown together to disturbingly reveal a dude who is no more qualified to be the leader of the free world than . . . well, you can fill in the blanks on this one. Screenwriter Stanley Weiser (who also co-scripted Stone's "Wall Street") does include some humor, but, in the end, it is more a drama than comedy that ultimately left me feeling ambivalent, sad, and angry that this country elected a guy who has plunged our economy down the tubes, and has involved us in another insane war for all the wrong reasons. That being said, the main reason to recommend it is the acting by Josh Brolin-who is creating quite an impressive catalogue of work. His W is absolutely amazing. More than an impersonation, it is worth the price of admission to see how much he embodies him. Other acting notables are Richard Dreyfuss (Chaney), Jeffrey Wright (Colin Powell), Scott Glenn (Donald Rumsfeld), Toby Jones (Karl Rove), James Cromwell (George Bush, Sr), Elizabeth Banks (Laura Bush), a wild turn by Ellen Burstyn (Barbara Bush), and an unrecognizable Thandie Newton as Condi Rice. However it is Josh Brolin who really pulls it off-whose physical and vocal mannerisms brings W to life to such a degree that you will be counting down the days to when the prefix "ex" is attached to W's presidential moniker.
The trailer had me expecting an SNL-like satiric biopic of our lame duck pres. Knowing full well director Oliver Stone's liberal political leanings only enforced this expectation. So, I was genuinely surprised to, instead, view something quite different. Stone has been known to inflict his own agenda and realities into previous presidential films ("JFK" and "Nixon") so I thought he would come to this project a tad differently considering that the topic deals with a sitting president (the first such movie to do so). Indeed, I read that all the "conversations" are based on documented "facts" so I was curious to see how Stone would approach current history. The fact that he quickly put it all together (he began filming in May) so it would be released before next month's election, would indicate that he would somehow try to influence moviegoers with his antiwar philosophies by putting our distinguished President in as unfavorable light as possible. The result: an uneven account into the psyche of our 43rd president. Stone flips back and forth in time to show how this dimwitted dude, shown early on during a drunken initiation to join his college fraternity, could ever become President. Specific periods of his life depicted include how he met future First Lady Laura, his bouts with drinking, his born again conversion, his runs for The Senate and then as Governor of Texas. However, a good deal of the film deals with the period after 9/11 and how he involved us with the Iraq war and the subsequent revelation that no WMD's were ever found. Interspersed are his dealings with his inner circle as well as the elder Bush with the revelations that both he and mom Barbara considered him inferior to brother Jeb. All of these periods are just snippets which seemed hastily thrown together to disturbingly reveal a dude who is no more qualified to be the leader of the free world than . . . well, you can fill in the blanks on this one. Screenwriter Stanley Weiser (who also co-scripted Stone's "Wall Street") does include some humor, but, in the end, it is more a drama than comedy that ultimately left me feeling ambivalent, sad, and angry that this country elected a guy who has plunged our economy down the tubes, and has involved us in another insane war for all the wrong reasons. That being said, the main reason to recommend it is the acting by Josh Brolin-who is creating quite an impressive catalogue of work. His W is absolutely amazing. More than an impersonation, it is worth the price of admission to see how much he embodies him. Other acting notables are Richard Dreyfuss (Chaney), Jeffrey Wright (Colin Powell), Scott Glenn (Donald Rumsfeld), Toby Jones (Karl Rove), James Cromwell (George Bush, Sr), Elizabeth Banks (Laura Bush), a wild turn by Ellen Burstyn (Barbara Bush), and an unrecognizable Thandie Newton as Condi Rice. However it is Josh Brolin who really pulls it off-whose physical and vocal mannerisms brings W to life to such a degree that you will be counting down the days to when the prefix "ex" is attached to W's presidential moniker.
"Happy-Go-Lucky" *** (118 minutes)
Monday October 13, 2008
The comedy genre and famed English writer/director Mike Leigh are not usually synonymous. Used to cutting his chops on such heavy topics as adoption (1996's "Secrets & Lies") and abortion (his most recent film, 2004's wonderful "Vera Drake"), this is territory that we usually don't see Mike traverse. His critical and artistic success can be measured by his 100% critic approval rating for his previous 8 films rated on Rotten Tomatoes. So it is really no surprise that he has hit another winner in this acting tour de force by Sally Hawkins (seem most recently in Woody Allen's "Cassandra's Dream). I attended a screening at the AFI Silver Theater where I was treated to an extremely entertaining interview and Q & A with the director moderated by Washington Post critic Desson Howe (more on that later). Sally plays Poppy, a, well, happy-go-lucky gal who goes through life with the proverbial blinders-on, letting none of life's downers, disappointments, and tragedies get in her way to distract her from her positivity. Hers is always a glass half full as she is constantly running interference around life's obstacles. We see her M.O. from the start when her initial reaction to her stolen bike (which she gleefully rides through the opening credits) is "Gee, I didn't even have a chance to say goodbye". What really makes this one special are the characters she interacts with along the way. Particular of note is a homeless man played absolutely brilliantly by veteran Irish actor, Stanley Townsend. Most people would run the other way, but Poppy instead delivers a touching connection to the schizophrenic man that speaks volumes as to what makes her tick. Another winning supporting performance is delivered by Irishman, Eddie Marsan, who plays Poppy's driving instructor-whose view of life is diametrically opposite of Poppy's. Although not a laugh riot type of comedy, it is actually geared more to reality-a drama splattered with moments of humor. In the Q & A, Leigh was quizzed as to the degree of improvisation the cast might have used-considering the realism of the dialogue. He stated (as anyone knows who is aware of how he directs), that very little improv is used as the cast puts in nearly 6 months of rehearsals that precede the actual filming. He added that improvisation creates much less usable dialogue than a well rehearsed script and is the reason he puts his actors through the rigid rehearsal paces that are his trademark. All this lends to a unusual naturalness of the acting and makes the finished product seem more like everyday life than one can usually expect. And kudos to a wonderfully giddy, infectious soundtrack by Gary Yershon, who worked on Leigh's 1999 musical, "Topsy-Turvy".
The comedy genre and famed English writer/director Mike Leigh are not usually synonymous. Used to cutting his chops on such heavy topics as adoption (1996's "Secrets & Lies") and abortion (his most recent film, 2004's wonderful "Vera Drake"), this is territory that we usually don't see Mike traverse. His critical and artistic success can be measured by his 100% critic approval rating for his previous 8 films rated on Rotten Tomatoes. So it is really no surprise that he has hit another winner in this acting tour de force by Sally Hawkins (seem most recently in Woody Allen's "Cassandra's Dream). I attended a screening at the AFI Silver Theater where I was treated to an extremely entertaining interview and Q & A with the director moderated by Washington Post critic Desson Howe (more on that later). Sally plays Poppy, a, well, happy-go-lucky gal who goes through life with the proverbial blinders-on, letting none of life's downers, disappointments, and tragedies get in her way to distract her from her positivity. Hers is always a glass half full as she is constantly running interference around life's obstacles. We see her M.O. from the start when her initial reaction to her stolen bike (which she gleefully rides through the opening credits) is "Gee, I didn't even have a chance to say goodbye". What really makes this one special are the characters she interacts with along the way. Particular of note is a homeless man played absolutely brilliantly by veteran Irish actor, Stanley Townsend. Most people would run the other way, but Poppy instead delivers a touching connection to the schizophrenic man that speaks volumes as to what makes her tick. Another winning supporting performance is delivered by Irishman, Eddie Marsan, who plays Poppy's driving instructor-whose view of life is diametrically opposite of Poppy's. Although not a laugh riot type of comedy, it is actually geared more to reality-a drama splattered with moments of humor. In the Q & A, Leigh was quizzed as to the degree of improvisation the cast might have used-considering the realism of the dialogue. He stated (as anyone knows who is aware of how he directs), that very little improv is used as the cast puts in nearly 6 months of rehearsals that precede the actual filming. He added that improvisation creates much less usable dialogue than a well rehearsed script and is the reason he puts his actors through the rigid rehearsal paces that are his trademark. All this lends to a unusual naturalness of the acting and makes the finished product seem more like everyday life than one can usually expect. And kudos to a wonderfully giddy, infectious soundtrack by Gary Yershon, who worked on Leigh's 1999 musical, "Topsy-Turvy".
"Body of Lies" *** 1/2 (128 minutes)
Tuesday October 7, 2008
Although not always a definite, the pedigree for this political thriller was an indication that my 2 hour plus attendance would ultimately be worthwhile. After all, you had one of world's most talented director (Ridley Scott), 2 of our most talented actors (Leonardo DiCaprio & Russell Crowe), and an Academy Award winning screenwriter (William Monahan who won Best Adapted Screenplay last year for "The Departed"). My faith was fully confirmed as this is one helluva taut intelligent thriller, masterfully directed by the "Black Hawk Down" maestro- who fully knows the genre. Based on the novel by Washington Post columnist David Ignatius, Monahan has written a smart script that will have you intrigued throughout. Although Crowe has gained 50 pounds and very capably plays a cynical CIA boss (albeit a rather pedestrian one note performance), this film belongs to DiCaprio, playing a CIA field operative whose every move is being orchestrated by the stay-at-home Crowe. I fully expect another AA nom (he's even better than last year's wonderful "Blood Diamond"). DiCaprio is working with the Jordanian intelligence chief (chillingly played by Mark Strong, an English stage and screen actor whose work here might garner him a supporting acting nod) trying to flesh out a terrorist leader in Jordan who is anonymously creating havoc in European cities. Golshifteh Farahani plays DiCaprio's Jordanian love interest whose kidnapping sets up the final half hour of action and suspense. My only main fault, once again, is the ever present, incessant soundtrack (this time around by Mark Streitenfeld who is back working with Ridley after scoring "American Gangster") that seems to be a part of virtually every scene. Scott knows how to stage spectacular effective action sequences as well as anyone on the planet. That as well as the wonderful script is sure to keep you from watching your clock to see when it all will end.
Although not always a definite, the pedigree for this political thriller was an indication that my 2 hour plus attendance would ultimately be worthwhile. After all, you had one of world's most talented director (Ridley Scott), 2 of our most talented actors (Leonardo DiCaprio & Russell Crowe), and an Academy Award winning screenwriter (William Monahan who won Best Adapted Screenplay last year for "The Departed"). My faith was fully confirmed as this is one helluva taut intelligent thriller, masterfully directed by the "Black Hawk Down" maestro- who fully knows the genre. Based on the novel by Washington Post columnist David Ignatius, Monahan has written a smart script that will have you intrigued throughout. Although Crowe has gained 50 pounds and very capably plays a cynical CIA boss (albeit a rather pedestrian one note performance), this film belongs to DiCaprio, playing a CIA field operative whose every move is being orchestrated by the stay-at-home Crowe. I fully expect another AA nom (he's even better than last year's wonderful "Blood Diamond"). DiCaprio is working with the Jordanian intelligence chief (chillingly played by Mark Strong, an English stage and screen actor whose work here might garner him a supporting acting nod) trying to flesh out a terrorist leader in Jordan who is anonymously creating havoc in European cities. Golshifteh Farahani plays DiCaprio's Jordanian love interest whose kidnapping sets up the final half hour of action and suspense. My only main fault, once again, is the ever present, incessant soundtrack (this time around by Mark Streitenfeld who is back working with Ridley after scoring "American Gangster") that seems to be a part of virtually every scene. Scott knows how to stage spectacular effective action sequences as well as anyone on the planet. That as well as the wonderful script is sure to keep you from watching your clock to see when it all will end.
"Eagle Eye" * 1/2 (118 minutes)
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!
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.
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