"The Maid" ***1/2 (94 minutes)

Sunday December 13, 2009

The Charles Sunday Cinema Club ends its winter 2009 series with this superb work by first time Chilean director/co-writer Sebastián Silva (who acted in 2000's favorably reviewed "Before Night Falls"). Newcomer Catalina Saavedra gives a brilliant character study as Rachael, the live-in maid who, for 23 years, has been accepted as "family" into a well-to-do Chilean household.

We first meet her as she prepares a sparse meal for herself in the kitchen, while the family prepares to celebrate her birthday in the next room. Her visage is blank and, when it comes time for her to celebrate with the family, we sense that she is clearly not in the mood for celebrating.

We are then introduced to various tensions involving the children as she goes about the tedious routines she has performed for years. Rachel is clearly unhappy and when a decision is made to help her out with a series of additional housekeepers, her distrust and paranoia only increases with each scene. Only when Lucy (Mariana Loyola) arrives, do we finally sense a connection that may finally reveal to us the hidden motives behind her actions.

The real fun is that the audience is never quite sure what direction the story is taking (an episode involving a kitten might lead astray an American audience used to horror films) and that only adds to the intrigue. For a film that is only slightly over 90 minutes, Silva doesn't waste a minute cramming in as much detail and nuance as possible.

Saavedra is riveting in the title role-who uses expressions more than scripted words to ambiguously hide her thoughts and feelings. And the absence of any soundtrack adds to the reality of the scenes and dialogue for a film that has the feel of a Dogme 95 production.

A fabulous Q&A was held after the screening with Baltimore Magazine Managing Editor and film critic Max Weiss. A great way to end the 47th Cinema Sunday's series!

The film opened in limited release around the country on October 16th. If you miss it, be certain to put it on your NETFLIX list!

Catalina Saavedra as "The Maid"

Baltimore Magazine Managing Editor/Film Critic Max Weiss

moderates the Q & A with CSC host Jonathan Palevsky

"Up In The Air" *** 1/2 (109 minutes)

Monday November 30, 2009

Cary Grant is alive & well, and his name is George Clooney. There are not many actors who can play such a disagreeable lout as Ryan Bingham with such aplomb and come off smelling like a rose. But Clooney is now making a career putting out that charisma in bucketfuls on the silver screen and, as a result, look for an Oscar nomination (and my early prediction to win it for the 2nd time) to come his way yet again. In fact, I count at least 6 noms (picture, directing, acting, and screenplay) for this smart, biting, intelligent look into the larger world of corporate firings and the smaller world of personal comeuppance, based on the 2001 novel by Walter Kirn.

Ryan is a guy who loves his work. His company supplies folks who do the dirty work for corporations who are employee downsizing. Instead of doing it themselves, it is much cleaner to have someone like Alex "gently" come in and fire the employees for them. Fact is, he spends 260+ days of year traveling (he's asked on one of his myriad airline flights where his home is and he deadpans "Here.") and he couldn't be happier. His only pursuit in life: to become the 7th person on the planet to accumulate 10 million airline miles which will earn him a special card, a dedicated line, and a personal conversation with the airlines #1 pilot.

When he's not doing this job, he travels the country giving self help-type motivational speeches about how to uncomplicate ones life by emptying their cluttered "backpack" of things & relationships they have accumulated. Funny. The dude definitely has practiced what he's preached-keeping his life as uncluttered and uncomplicated as possible by never having connected with anyone in his life for very long (including family).

However, all of that is about to change when, in a hotel lounge, he meets his match: Alex Goran (later on she tells him she's him with a vagina). Ryan & Alex (given a perfect spot-on performance by Vera Farmiga from "The Departed" & "The Boy in the Striped Pajamas") connect instantly. In fact, our hero might be wavering as he reluctantly relents to attend his younger sister's wedding (Melanie Lynskey, who started acting opposite a young Kate Winslet in the terrific "Heavenly Bodies"). He invites Alex to be his date-instead of having their usual tryst in a hotel room. Their relationship forms one part of the story.

The other part is his relationship with fresh faced, spunky, just-out-of-Cornell-and-ready-to- conquer-the-world Natalie Keener portrayed by Anna Kendrick ("Rocket Science" & "Twilight") that will also surely earn her a supporting Oscar nomination. She has come to Ryan's boss, Craig (ably played by Jason Bateman) with a novel idea: why not save thousands in unnecessary traveling airline fees by firing people via online video hookups instead of face-to-face.

When Craig calls everyone off "the road" to introduce the new employee and to inform them they are all about to be permanently grounded, Ryan is appalled. He sees his pat life flash before his eyes as it is about to come crashing to earth-literally & figuratively. In order to show that his way is the decent, sensitive, "morale" approach of doing business, he and Natalie takes to the road together to show her the ropes of the trade, as he desperately tries to stay "up in the air".

Director Jason Reitman is making quite a name for himself. The son of Ivan Reitman ("Ghostbusters") has made 3 standout films. He wrote & directed his first film, 2006's indie hit "Thank You for Smoking" and co-wrote this script (along with Sheldon Turner who penned the remake of "The Longest Yard"). His sophomore effort, "Juno", although not one of my personal favorites, was a huge Oscar-nominated hit last year. (I prefer his writings much more than Cody Diablo's-so I won't hold it against him.) He actually had this film in mind before the others and produced a script that is relevant to these trying economic times while intelligently reflecting on the modern human condition that tends to be devoid of human commitment & empathy. The screenplay is, hands-down, one of the smartest for any film I've seen this year.

Rolfe Kent has provided the perfect low-key unobtrusive music as he had for 2004's phenomenal "Sideways", "Thank You For Smoking", & a myriad of other films during a cinematic musical career that began in 1998.

All in all a terrific start to the December onslaught of films vying for Mr. Oscar.

The Paramount film starts platforming around the country on December 4th.

Ryan (George Clooney) & Natalie (Anna Kendrick)

Alex (Vera Farmiga)

"Michael Jackson's This Is It" **** (112 minutes)

Thursday November 5, 2009

Music has always been a passion-having attended hundreds of concerts in my lifetime-from classical to blues to rock. Back in September 1984, I took in the Jacksons' controversial Victory Tour concert at Washington D.C.'s RFK stadium-which ended up being their last tour of the U.S. & Canada. Jackson's popularity was at a peak with "Thriller" still riding high on the charts (it remains the best-selling album of all time). I was swept up in the Jackson mania and thought this was a great opportunity to catch a legend at his peak.

I remember the concert as being just so-so; and as his bazaar behavior continued to multiply each passing year, it diminished my respect for his artistry and his music. So, when he died last July, I was ambivalent at best. My opinion of him was that of a brilliant artist who became nothing more than a cultural oddity and side-show.

When news of this documentary first came out, my impression was that here was a last ditch effort by the promoters to bank on his name and untimely death. So when I started hearing and reading the positive buzz on the film my interest perked. I decided to put all my negativity aside and go into it with an open mind. What did I find? Hands-down one of the best music documentaries I have ever seen, and, as a result, I now view MJ as an extraordinary artist who tragically died way before his time.

Director Kenny Ortega (director of the latest "High School Musical" incarnations and who was the choreographer for "Ferris Bueller's Day Off" & "Dirty Dancing") was also the director of the MJ tour that was never to be. What he was made here, however, is a snippet of what might have been one of the most exciting musical/theatrical events ever.

Going in, I expected a lot of talking heads with scattered behind-the-scenes rehearsal footage that showed Jackson setting up the show. I expected, maybe 50-60% percent music. I got 90%-and what a 90% it is! Shot at rehearsals held from April-June 2009, the seamlessly edited musical numbers are nearly complete compositions that focus on Jackson giving an intimate concert-like performance-sans thousands of screaming fans. Here was a consummate artist who gave his all even when it didn't "count".

Despite an absence of 9 years, his voice (never his strong point; for me, his standout was always the movements) is as competent as ever and his dancing still impeccable. I remembered how frail he looked on the tabloid TV shows over the last several years-being wheeled into courtrooms during his infamous trials. That Jackson was not present at all on screen.

We are also treated to the ideas that would never come to fruition: the elaborate staging is merely hinted at, and pieces of the production, such as using blue-screen to insert MJ into old movie clips are shown during the rehearsal sequence in such a way that I yearned to see the final product. A final number that illustrates Jackson's love of the planet using a filmic clip of the rain forests cradling a young child as trees are bulldozed around her is effectively heartbreaking. As is the final gathering of all the principals holding hands in a circle to show their camaraderie for what was supposed to be Jackson's swansong concert tour-probably shot mere weeks before his demise.

A short segment in the beginning concentrates on the worldwide search for the dancers that would mirror MJ's style and talent. Many expressed a lifelong dream to be performing with Jackson. Tryouts reduce the thousands to a handful lucky enough to be selected. I kept thinking how devastating they must now feel that their dream vanished so suddenly.

But what really wowed me is the backup band that promised to be nearly as special as the front man. Ortega used HD quality sound (seeing it in a theater with a decent sound system is a must!) to show that the talent on screen matched the best pop bands I have ever seen live. The standout is 23 year-old Australian guitarist Orianthi Panagaris who was hand-picked by Jackson after viewing her on YouTube, and has played with Prince & Carrie Underwood, as well as being named as one of the 12 Greatest Female Electric Guitarist. She's featured on a couple of numbers and you realize that this tour would be the showcase that could launch a career.

Jackson always lamented growing old and so, ironically, he has departed the planet without doing so. However, as the credits rolled, I was overwhelmed with sadness. We will never know whether or not the heinous molestation charges were true. However, viewing this, I do know that his "King Of Pop" moniker was well-deserved and will remain unchallenged-a tribute to a one-of-a-kind entertainer and celebrity.

Orianthi Panagaris & Jackson

"The Blind Side" ** (126 minutes)

Wednesday November 6, 2009

By now, most sports fans in general, and NFL fans in particular, are familiar with the incredible real life story of Michael Oher. Most everyone else who have turned on a TV recently, have been bombarded with the trailer of this film starring Sandra Bullock as the no-nonsense mom who adopted the homeless 300+ lb behemoth African-American teenager and who guided him to become, not only a college graduate, but also the Baltimore NFL Football Raven's first round 2009 draft pick.

Phenomenal feel-good story. Not so phenomenal movie. In fact, as an extremely passionate sports fan, I was thoroughly disappointed in this manipulative Hollywood schlock. The film is based on the 2006 novel "The Blind Side: Evolution of a Game" by Michael Lewis and it is entertaining on some levels (in fact, the Baltimore preview audience collectively seemed to love the film); but as a gritty true-to-life expose, it fails miserably. And to be honest, I'm not surprised. What should have been titled "The Leigh Anne Tuohy Story", this is numero uno on why, generally, I favor independent and foreign films.

Sandra Bullock dons tight clothes (you'll see her in about 20 different form fitting outfits) and sports a blond mane to portray the no-nonsense wealthy Republican fireplug-giving a one note performance that is nauseatingly clichéd from start to finish. (Someone suggested she should be nominated for an Academy Award. If so, I'll eat this review!) And I just loved the scene when Sandra confronts Michael's homeys in the Memphis projects with a sass that would have probably gotten her killed in a real setting.

The subject of the film, played by first timer Quinton Aaron, is so low keyed throughout, you wonder how in the heck he ever attained anything in life. I desperately wanted some insight into his psyche or how he ever managed to survive the streets of Memphis before being "rescued" by The Tuohy's-which would have really been a much more interesting storyline for me. Instead, we get the usual Hollywood gloss-over with only a passing mention of his drugged-out mom & absent father.

Playing opposite his better half is country singer Tim McGraw, whose role is merely to be a doormat for his spouse. And to bring even more levity to the proceedings is the Tuohy's precocious preteen (played annoyingly to the nth degree by Jae Head) whose main job is to be the spokesperson for his mostly mute "brother".

Writer/director John Lee Hancock has made a career tacking sport themes, directing the 2002's critically acclaimed "The Rookie" and screenwriting 2008's well-received "The Express". But somehow the decision was made to completely dummy down what could have been a real socially conscious blockbuster. Like I said-there is entertainment value here but the true-to-life feel-good story on the screen is too sugarcoated for my tastes.

Leigh Anne (Sandra Bullock) & adopted son Michael
Oher (Quinton Aaron) in the halls of Ole Miss

Sean Touhy (Tim McGraw), Coach Cotton

(Ray McKinnon), & Leigh Anne Touhy

discuss Michael's performance

on the high school team

"The Road" *** (119 minutes)

Monday November 2, 2009

Off to the AFI Silver Theater again for another special preview with a post-screening Q&A with Australian Director John Hillcoat, who burst on the scene with one of my favorites from 2006, "The Proposition". This post-apocalyptic tale, first scribed by American novelist Cormac McCarthy (for which he received a Pulitzer in 2007), is a nice, but flawed, 2nd effort.

The story is basically a tale of love between a father & his son, and their effort to survive an unnamed event that has made rubble of our cities, and burned-out embers of our forests, while the populace is reduced to archaic roving gangs in desperate search for food and water.

The film opens with The Man (earnestly played by Viggo Mortensen) and his pregnant wife (sparsely utilized Charlize Theron) witnessing the beginning of the end of civilization from their bedroom window. The action quickly skips forward some 10 years later where The Man and his son (Kodi Smit-McPhee, "Romulus, My Father") are living on the street pushing a cart carrying what's left of their belongings. For the next 2 hours, the story involves them avoiding capture for purposes of slavery or as a meal, while following "the road" that will take them to the coast-where, supposedly, life will be better.

And that's the main problem-that 2 hour running time where there is virtually no suspense build up to the scenes of fury. In-between we see, and get, the love connection between the two principals but the repetition of the relationship gets tedious-especially when there is no substantive oomph to the action scenes.

So why the respectable 3 star rating? Namely the acting, especially by Mortensen (look for a possible AA nod); the outstanding production values by production designer Christopher Kennedy ("The Proposition) & art director Gershon Ginsberg; the effective dreary cinematography created by Javier Aguirresarobe ("The Others", "Talk to Her", & "The Sea Inside"): all make it worth recommending. A nice score by Warren Ellis and Nick Cave complements the visuals.

However, the series of scenes never come together to form a cohesive whole; and Theron is somewhat wasted in the scant flashback scenes that are supposed to signify The Man's sense of longing for a happier time and help to explain why she flew the coop. Although the story does offer some semblance of hope in the end, be prepared for a totally grim experience that, unfortunately, might be closer to reality than we'd like to think.

Dimension Films releases "The Road" nationwide on November 25th.

-------------------------------------------------------------------------------

After the screening, AFI Silver Programmer Lori Donnelly moderated the Q&A with Director Hillcoat who revealed that he got Cormac's manuscript before it was published. He also stated that although Cormac was on set with his son, he never asked to review the script. John noticed that their father and son interraction was source of inspiration for the 2 fictional characters.

Some of John's interesting revelations:
-His directorial style involves giving utmost attention to the details.
-Kodi's 6'6" father was an extra (he played one of the cannibals).
-One of the references he used for the film was the Italian classic "The Bicycle Thief".
-The film presented technical challenges where at times he had to resort to CGI to block the sun, jet streams, birds, & blue sky.

Viggo Mortensen & Kodi-Smit McPhee ponder their
reflection in a scene from "The Road"

AFI Programmer Lori Donnelly & Director John Hillcoat

The documentary "The Horse Boy" (***) OPENS 11/6 IN BALTIMORE

I screened this film at this year's AFI SILVERDOCS Film Festival last June. It opens at The Charles for what will probably be a limited run. Here is a repeat of my review:

There always seem to be stories in the news about the lengths people take to try and find a cure for an illness when conventional medicine fails. "The Horse Boy" (***-94 minutes), based on Rupert's book, is one of those stories-and the illness is autism. The parents of autistic child Rowin are Rupert and Kristin Isaacson who are an engaging couple, he from Liverpool, she from Texas where the couple met and married. Their 2 1/2 year old son was first diagnosed with the mysterious ailment which the medical community has no consensus as to cause and treatment. They sought out all of the available resources but saw no sustaining progress. Currently he was a social worker who had professionally trained horses while Kristin was a psychology professor. Rupert had also written about the African Bushmen of the Kalahari Desert and he had witnessed several shamanic ceremonies. When he saw how Rowan had calmly taken to Rupert's horses and how much joy he exhibited when riding horseback, he got the idea that maybe a trip to Mongolia to seek out a shaman or 2 might be the key to unlocking the autistic mystery and help cure his now 5- year-old son-something conventional doctor's in the States couldn't accomplish. To his classically schooled wife this idea seemed preposterous. It took a ton of convincing on Rupert's part but off they went with fellow Texan and novice film maker Michel Orion Scott to record the 4-week journey. And what a journey it was! The film shows progress and setbacks everyone encountered along the way and, in the end, there, indeed, seemed to be major changes in Rowin. Questions are raised such as whether these positive changes were due to the spiritual healings of Shaman, the affects of undertaking such incredible journey never experienced by the child, his interactions with children along the way. Combinations of these or other reasons, or were they just imaginary short-term results? Whatever the reason or reasons, the visual and spiritual journey is amazing and well worth the trip. The stunning cinematography is utterly captivating as most viewers will enter a world far removed from their usual habitat & experience. At the Q & A the film maker stated that Rowin is making progress but still suffers from the malady. However, both parents believe that the trip was life-changing for all involved. The film has been picked up by Zeitgeist Films with a September 11th limited U.S. release date.

"Good Hair" ***1/2 (95 minutes)

Wednesday October 13, 2009

Who would have thought that a comedic take on hair would be so controversial? Or that anyone could actually fill out 95 minutes on the topic? Leave it to Chris Rock to raise the ire of such a large class of humans (the female black population) while being so informative and entertaining at the same time.

Rock (who co-wrote the script along with director Jeff Stilson, Lance Crouther, Chuck Sclar) is front and center of the action as he takes us into this "secretive" culture which is a 9 billion dollar industry. Secretive, because who knew the expense, pain, and trauma black women (and children) endure to obtain straight hair &/or hair extensions?

The doc takes a while to get going, and I kept wondering if the topic would hold my interest, but when it finally hits its stride, there are as many eye opening revelations as laughs to be had. The film is centered on the 60th (!) annual event held in Atlanta that is sort of a combination hair products show & American Idol for hair stylists. The theatrical contest (which occupies the last part of the film) is the highlight of the Bonner Brothers International Hair show that is also a convention showcasing hair product companies.

Early on, Rock and his crew take us into the black -owned Dudley Products in Atlanta, (considered the industry's world leader), then over to India, where women, who have their heads shaved in a religious ceremony, ship the locks off for a profit. We are taken to a lab to show the effects sodium hydroxide has on a soda can (not pretty!)-especially noteworthy since this is the chemical women and children place on their head-and would explain the burning sensation these humans experience when using the hair products that contain it. And we visit a barbershop where black men humorously discuss their take on the whole subject with hilarious and revealing dialogue.

Interspersed throughout are entertaining interviews with such notables as Maya Angelou , Nia Long, Ice-T, Salt-n-Pepa, Al Sharpton, & Raven Symone, among others (where was Don King?).
All the while Rock provides the narration and one-liners that is his trademark.

But it is the final contest in Atlanta, that curiously has no relation to hair styling, that neatly wraps up the proceedings and feature an under water act and upside down hair cutting! And who would have thought that the favorite to win each year was a white dude!!

The documentary has been in limited release since October 9th & opens in Baltimore on Friday October 30th.

"Where The Wild Things Are" *** (141 minutes)

Tuesday October 13, 2009

There is a lot to recommend about this filmic adaptation of Maurice Sendek's 1963 beloved children's picture book. Writer/director Spike Jonz' ("Being John Malkovich", "Adaptation", "3 Kings") has expanded the extremely sparse narrative (the book contains a handful of sentences comprising 338 total words!), while using Jim Henson's creature shop & CGI to recreate the fanciful drawings of the original source. The result is an intriguing, yet overlong, look into the mindset of most pre-teens who are striving to be accepted and loved by everyone around them.

Max (Max Records, who first appeared in 2008's "The Brothers Bloom") is a precocious hyperactive kid who just can't seem to connect with friends, siblings, & mom (Catherine Keener-a Jonze fav). After a run-in with his single parent, Max wanders off in his wolf suit and his imagination wanders off in a boat that takes him to a wondrous island inhabited by fascinating creatures who, at first, want to eat the dude. After Max stands his ground, they quickly decide to anoint him king.

What happens next is . . . well, not much to be honest. Each of the creatures has voices of famous actors (James Gandolfini, Paul Dano, Catherine O'Hara, Forrest Whitaker, Chris Cooper, & Lauren Ambrose) that, if you close your eyes, you can picture their human form. The middle third of the film has them cavorting, constructing a fort, being jealous and vindictive. All the while Max tries to maintain control and keep together his new-found subjects.

The soundtrack by the talented Carter Burwell is original for this kind of film, & the Australia locations are breathless and beautifully integrated into the visuals-but after a while, I started to zone out. Although the creatures were initially intriguing, the paper thin plot doesn't hold up as well over the 141 minute running time.

I get the angst that Max experiences that translate into the imaginative "story" of trying to gain acceptance, and finally realizing that "there's no place like home". The real question is what minimum age should the child be to see the darkness that is on the screen? Well, the answer is, it depends. It depends on the emotional level of the child to recognize that Max's imaginary world is sort of a microcosm of the real world and hopefully won't be totally freaked out when there is talk of devouring a little child.

"More Than A Game" (****) OPENS TODAY IN BALTIMORE & D.C.!!!

ONE OF THE BEST SPORTS DOCUMENTARIES I HAVE EVER SEEN IS OPENING TODAY, 10/16. HERE WAS MY REVIEW OF THIS PHENOMENAL DOC THAT OPENED THIS YEAR'S AFI SILVERDOCS FILM FESTIVAL ON JUNE 15th:


Time for my favorite festival, the AFI SILVERDOCS Documentary Film Fest. And, being the sports nut that I am, I'm really looking forward to the opening night as the U.S. premier of "More Than a Game" (****-102 minutes) kicks off the 7th annual festival in a big way.

"Hoop Dreams" (1994) is not only considered one of the best sports documentary of all time, in some circles it is argued that it may be one of the greatest docs. Steve James' personal and emotional account of 2 teens, William Gates & Arthur Agee, from Chicago's inner city, resonates on many levels. James followed both talented basketball players for 5 years as each was eying a future in the NBA.

I may be going way out on a limb, but Kristopher Belman's stunning doc compares in every way with what is considered the standard in sports docs. Belman's amazing initial effort (he wrote and co-produced it as well) chronicles, over a 9 year time span, the "Fab Five". These were 5 African-American youths from Akron Ohio, 4 of whom have been playing basketball together since they were 11, who went to great lengths to stay together at any cost to win a championship. For example, when one of them decided to attend the elite St. Vincent-St. Mary school, a predominantly white school, the rest of them passed up going to a closer predominantly black school, so as not to break up their longtime chemistry-to the dismay and scorn of their community. Oh, and one of those players happens to be LeBron James-who went straight to the NBA from that same high school to become one the most famous NBA players on the planet.

However, even though most of the media ads will no doubt prominently display James' mug, don't be mislead. This is not his story alone. In fact, he was merely one fifth of the equation. It is more a story about their assistant coach, Dru Joyce II, who replaced SVSM's already successful head coach who suddenly left for greener pastures during their junior year, and who instilled valuable life lessons both on and off the court. Father of little Dru, the diminutive point guard, Dru Sr. would try and right the ship after the head coach's defection to try and lead the team to a championship. All the while, James was being touted as "The Chosen One" by Sports Illustrated placing him on its front cover (the first high school player ever to achieve that honor) and their games were being nationally televised on ESPN because of it.

Belman has created an extraordinary achievement as he and co-screenwriter Brad Hogan have structured this film like a narrative and have successfully made it dramatic enough, despite its known ending, to make it seem fresh and exciting. The score by producer Harvey Mason Jr. is superlative and "today".

The best compliment I can give to it was by 2 ladies sitting next to me. Prior to the screening, they gave me the impression they didn't know a basketball from a marble and I don't have to tell you they had never heard of LeBron. After the screening they turned to me and exclaimed "Wow! What a film!!"

The post screening discussion was as outstanding as the film. The sold-out audience (the 3 AFI Silver theaters and the Round House Theater next door were all filled to capacity) was treated to a terrific interview hosted by NPR's "All Things Considered" host Michelle Norris. Present were producer and music director Harvey Mason Jr., Director Belman, all 5 of the Fab Five, and coach Dru Joyce. Of course the audience was buzzing when LeBron graced the stage, but the comments by the other players were equal to the task.

Belman revealed that the full length feature sprung from his 13 minute college project and his decision to continue following the team ended up being a stroke of great luck. Producer Mason said he corroborated with Belman on the music. LeBron, who was raised predominantly by his mom, said that his house was like a "Chuckie Cheese for kids" with the constant visitation of his friends. And huge Sian Cotton said watching it with an audience was a thrill and admitted he started to cry a one point. The audience laughed when he commented that the film was so suspenseful that even he wasn't sure how it was going to turn out in the end. When each was asked by Michelle to make a comment to the young people who want to be the best that they can be, the soft spoken LeBron, who was the last to speak, imparted wisdom from the perspective of a superstar that perfectly wrapped up the half hour dialogue.

The after party, as it has been since 2003, was held in the beautiful Discovery Communications headquarters. The catered food was geared to the theme of the night, complete with gourmet hot dogs and bags of peanuts and popcorn, and wonderful musical entertainment was provided by D.C. rappers, Tabi Bonney and Wale.

"More Than a Game" is scheduled for limited nationwide release by Lionsgate on October 2nd. Put it on your calendar!

"A Serious Man" ***1/2 (104 Minutes)

Thursday October 1, 2009

In terms of religion, how interesting to follow my last film ("The Invention of Lying") with this one, the latest offering by the brilliant & highly successful brothers Joel & Ethan Coen. Where Ricky Gervais considers a universe where everything appears to be morally correct and is devoid of religion, here is a narrative that immerses itself in it-more specifically the Jewish faith.

It reminds me of my hometown boy, Barry Levinson, who really made his mark and started to became bankable after working with Mel Brooks writing 1976's "Silent Movie" then Directing 1977's "High Anxiety". Then he won an Oscar for directing "Rain Man" in 1988. This success over the years allowed him the time/money to pursue his more personal "Baltimore" films ("Diner", "Tin Men", "Avalon", & "Liberty Heights"). In a way, this seems what the Coens have done; creating a film that you can tell comes as much from their heart and history than any of their previous works.

I ventured down to the fabulous AFI Silver to attend the screening complete with a wonderful Q & A (more on that later) with Michael Stuhlbarg who plays Larry Gopnik-the main character in the film whose entire world is about to crumble. Before we're introduced to him, though, we get a curious prologue set in a Polish shtetl where it seems the husband has invited a dybbuk (a demon) into the household. When his wife recognizes the dude for what he is (or may be) he is promptly dealt with that may, in its own way, be a curse or salvation-something we never know. However the tone of what follows is set: what happens to all of us during our lifetimes is never fully explained or understood.

This modern version of the Story of Job then flashes to 1967 in a northern town in Minnesota (both brothers grew up Jewish in St. Louis Park, a suburb of Minneapolis) where our hero, Larry, is dealing with a multitude of problems. You know how people say that tragedies seem to come in 3's? Well for him, it seems that figure is multiplied by multiples of 3's. No matter where he goes or what he does, a dark cloud is above his Keppie (head for those of you not well versed in Yiddish) and storming over his brow.

How's this for starters: one of his pupils (Larry is a physics professor at the University of Minnesota) is concurrently bribing & blackmailing him(!); someone is trying to sabotage his attempt to get tenure by sending anonymous damaging letter to his superiors; his about to be bar-mitzvah son is more concerned about getting high than high grades; his teenage daughter is stealing money for that nose job she desperately "needs"; his immediate next door neighbor on one side hates Jews; the one on the other side is sex-crazed; not to mention his wife wants to leave him for his best friend, Sy Abelman. All the while, Larry, trying to keep stoic through all of this, starts seeking out advice/answers from the local rabbi's. How can the Almighty Being allow all of these travails from happening to such a "serious" man?! Like real life, no easy answers/explanations can be found. Larry is just trying to get by as best he can.

The brilliant script is matched by the Coens' forte: for the most part using little known or recognizable character actors that are incredibly believable. Michael Stuhlbarg is so perfect in the role that you'd think he was born to be Larry Gopnik. Known more for his theater work (Michael was nominated 4 years ago for a Tony for his role in "The Pillow Man", appeared on TV, and had a couple of minor roles in the films "Body of Lies" and this year's "Cold Souls"). While Fred Melamed (as Sy), Richard Kind (as Larry's live-in brother, Arthur who's constantly dealing with a draining neck cyst), Sari Lennick (as Larry's wife Judith), and Adam Arkin (the most famous name in the cast who plays Larry's divorce lawyer) are spot-on perfect!

The Coens' outstanding Director of Photography, Roger Deakins (who lately was also the DP for "Doubt", "The Reader", "Revolutionary Road", & "In the Valley of Elah") and their art department have created a 1967 suburban milieu that is stark and barren and I'm certain taken right out of their childhood. I love the look of the neighborhoods with the tiny lawns devoid of trees and shrubs. And the original music by their long time corroborator Carter Burwell is perfectly entwined with the music of the 60's that is craftily inserted throughout.

And don't feel you have to be Jewish to fully appreciate the movie, any more than you needed to be Italian to enjoy "The Godfather". Just sit back and let Joel & Ethan take you for a wild ride into situations & predicaments that, unfortunately, are common to us all.

The film is being platformed beginning October 2, opens in D.C. on October 9th, and probably in Baltimore on October 16th.
-----------------------------------------------------------------------------
Following the film the audience was treated to a entertaining Q&A with Michael Stuhlbarg moderated by CBS News' Dan Reviv. Brought out during the interview and Q&A:

Michael revealed that his very first pre-professional performance was in "Bye Bye Birdie", ironically at the Long Beach Jewish Community Center. He has also appeared in the stage and film version of "The Grey Zone"-so there might be some type casting here.

He's currently working on the pilot of HBO's "Boardwalk Empire" which Martin Scorsese is executive producer & directing, about the birth & high times of Atlantic City.

Eleven months before being hired, he tried out for the husband's part in the prologue and even got a Yiddish coach to learn Yiddish and to help in the dialect. However, the Coens ended up using actors from the Yiddish Theater Company in New York City instead. Six months later, he was called in to try out for the parts of Larry & Arthur and found out months later he received the lead role.

In talking about the Coens, he said that they actually are the editors and use the alias Roderick Jaynes ("Jaynes" was actually Oscar nominated for "No Country For Old Men"); they act as "2 sides of the same head" on the set often agreeing and never fighting; Joel does the actual directing while the slightly younger Ethan "holds his head down and paces around in the back of the room and just listens listens listens very carefully"; they storyboard every scene and are so totally prepared that the 2 month filming came in ahead of schedule and under budget.

Michael revealed that the 3rd head on the set was clearly their long time DP Roger Deakins who was quite the perfectionist (the results are clearly seen on the screen).

As for whether the film was biographical, Michael revealed that the Coens' parents were both professors (their father taught economics at the University of Minnesota) and that several of the character names were actual names from their past but, overall, the main story was somewhat fictional.

Sy (Fred Melamed) tries to confort Larry (Michael Stuhlbarg)

after informing him of his affair with Larry's wife

Joel & Ethan Coen on the set

CBS News' Dan Reviv (l) & actor Michael Stuhlbarg (r)

Actor Michael Stuhlbarg