Movie Review - Precious: Based on the Novel Push by Sapphire

This movie is simply a revelation, from its unique approach to its subject matter (parental abuse) to its amazing first-time director (Lee Daniels) to its breakthrough lead actress (Gabourey Sidibe). There's never been a screen character quite like Precious/Claireece (Gabourey Sidibe), an overweight teenager with one small child and another one on the way (both a result of rape by her own father), a mother (an astounding performance by Mo'Nique) who verbally and physically attacks her on a daily basis and an impoverished existence in Harlem. It's no surprise that Precious is completely shut down, her face an expressionless mask with only the occasional burst of anger giving any clue to the warm, complicated girl underneath. The fantasy life of Precious, however, is as colorful and flashy as her real life is bleak and hopeless. In moments of particular stress, she flips a mental switch to enter a glamorous world where she's the center of attention, dressed in glittering gowns and flirting with the man of her dreams. School is almost as bad as home for Precious until a caring teacher (Paula Patton) begins to turn things around. As part of a small, special class for troubled kids who are struggling both socially and academically, Precious begins writing and connecting with others. It's not a transformation as it would be in most movies, just a few slow steps towards opening up and acknowledging her own self worth, making progress in little ways, turning a corner.

What's particularly exceptional about this film, in addition to a marvelous script (by Geoffrey Fletcher) and outstanding performances, is the way in which the small triumphs are achieved against truly overwhelming odds. I can't think of a single moment on film last year to match the emotional impact of the final shot in "Precious" or the turbulent journey leading up to that moment. A perfectly cast and executed movie like this is increasingly rare. There are scenes of almost unberable cruelty and sadness, yet to experience the horrifying, surprisingly inspiring story of Precious is worth being put through some hell.

Things to love about this movie: Inspired filmmaking and acting with spot-on casting; no sentimentality; terrific soundtrack; the little touches (like the household cats who are shown better treatment than Precious)
Things to hate about this movie: Only the fact that we've never seen anything approaching this story until now
Pleasant surprises: A de-glammed Mariah Carey turns in an excellent performance, ditto for Lenny Kravitz
Unpleasant surprises: Lee Daniels has been omitted from many Best Director lists

Movie Review - The Road

Apocalyptic tales abound during these uncertain times of global warming and conflict, so it's not surprising to find an adpatation of a Cormac McCarthy novel joining the likes of blockbuster "2012" at theaters. The screenplay never clarifies the nature of the disaster that has befallen Earth, but the consequences come close to annihilation of the planet. A landscape of utter devastation awaits Viggo Mortensen (known only as The Man) as he wanders an almost featureless terrain with his young son Kodi Smit-McPhee (The Boy) in a desparate attempt at survival. A perpetually gray, smokey gloom floats over leafless trees, deserted buildings, abandoned cars. Animals are a thing of the past, along with human decency as roving bands of starving survivors toting guns and vacant stares sporadically appear like zombies in search of other humans to cannibalize. The film focuses almost exclusively on the relationship between The Man and The Boy. The Man has assumed the role of father figure with a vengeance, in turns comforting, protecting and rescuing his son from a never ending barrage of threats. The boy's mother, played by Charlize Theron, appears in flashbacks and dream sequences as a glowing yet tragic figure. The Man's credo for survival comes down to two basic principles: He and his son are "the good guys" and are "carrying the fire." The ways in which these concepts are tested make for a grim, provocative, relentlessly disturbing film of considerable power.


Mortensen's performance is marvelous, but his character was problematic for me. The rigid moral code to which he clings proves inadequate to the reality in which he exists while his son's more compassionate response seems wise in comparison. Perhaps that's the point but I wasn't sure. I couldn't help comparing this film to an incredible Inuit film, "Until Tomorrow", from last year's Santa Barbara International Film Festival. In that movie an Inuit woman attempts to survive a harsh tundra environment with her grandson following the slaughter of their entire tribal family. The differences in the two films couldn't be more stark. In "Until Tomorrow" the grandmother carefully builds her young grandson's confidence and self reliance, teaching him all the skills he will need to survive without her. In "The Road" Mortensen gives his son a legacy of fear, dependence and mistrust which strikes me as the classic white American ethic of good guys vs. bad guys. This misguided ethic comes into question when The Man and The Boy encounter a thief (Michael K. Williams). The amazing cinematography by Javier Aguirresarobe manages to convey a threatening atmosphere while barely varying in tone or color.


Things to love about this movie: Smit-McPhee's heartbreaking performance; Michael K. Williams' outstanding cameo as the road thief; unforgettable images of a hopelessly broken world
Things to hate about this movie: The sense of characters and events as symbols rather than individuals and storytelling
Pleasant surprises: An ending which may be more open to interpretation than it first appears
Unpleasant surprises: A little too long with some repetition of occurences; a rather annoying cameo by Robert Duval

Movie Review - New York, I Love You

Following in the illustrious footsteps of "Paris, Je T'aime", this anthology of Big Apple tales can't help but suffer by comparison. While "Paris" captured a vivid cross-section of citizens in a fascinating array of life situations, "New York" offers a spectrum of characters ranging from A to maybe D. This lack of range is especially disappointing given its focus city. Despite the vast possibilities of NYC these stories seem fixated on a rather juvenile boy-meets-girl theme. Beginning with a cryptic 3 character offering starring Hayden Christiansen, Rachel Bilson and Andy Garcia in a bar, the film takes us through a kinky prom night (Anton Yelchin and Olivia Thirlby), a painter's (Ugur Yucel) obsession with a woman who works in a dry cleaner's shop, an annoying pick-up artist (Ethan Hawke) who meets his match (Maggie Q) and an elderly couple's (Eli Wallach and Cloris Leachman) querulous journey to the beach. Additional stories include the attraction between an Indian diamond worker (Irrfan Khan) and a Hassidic Jewish woman (Natalie Portman) who's about to be married, a smoking break on the sidewalk between 2 strangers (Chris Cooper and Robin Wright) and the musings of a one night stand couple (Drea De Matteo and Bradley Cooper) who find themselves wondering why they can't walk away from their encounter. The most effective stories for me, however, were the ones which deviated from the couples scenario. In an almost mystical segment written by Anthony Minghella and starring Julie Christie, Shia LaBeouf and John Hurt the ghostlike events leave us with all sorts of riveting possibilities. Another story involving a father's (Carlos Acosta) bittersweet day out with his young daughter includes all the nuances and romantic images that are missing from most of the other tales.


New York City is, of course, the extra character in each story yet was somehow sadly minimalized as a locale. The energy, diversity and sheer charisma of this great city never comes across as effectively as it should and certainly NYC deserves better. Also missing in action are some of the great New York actors who might have given the film more authenticity: Harvey Keitel, Tim Robbins, Annabella Sciorra, John Leguizamo, Taye Diggs, Rosario Dawson. Maybe they weren't available for an indie project such as this one, but surely a wider variety of ethic groups could have been represented here. This movie strikes me as a missed opportunity that calls out for a re-do.


Things to love about this movie: A brief but gorgeous dance performance by Carlos Acosta; the Shekhar Kapur-directed, Anthony Minghella-written "Hotel Suite" segment; the always terrific Robin Wright (even if she's wasted on a nothing story)
Things to hate about this movie: The totally pointless opening segment which starts everything off on the wrong note; too much cutesie coupling, not enough New York or variety of characters
Pleasant surprises: Drea de Matteo is actually shown riding the subway
Unpleasant surprises: Orlando Bloom's scenery chewing appearance in a lame story with Christina Ricci; no mention of Broadway (c'mon, this is NYC)

Movie Review - Public Enemies

Criminals and Michael Mann go together like milk and cookies, so the story of the final days of 1930s "Public Enemy Number 1" John Dillinger would seem a perfect fit for this action oriented director. There are, indeed, action sequences aplenty with bank robberies, prison breaks, shootouts, even a girlfriend workover. No shortage of old style machine guns being fired from the runners of old style cars by old style hoods wearing long coats and hats. What is on very short supply here, however, is coherent story telling and character development. The period details are perfect, from clothes to sets and Johnny Depp makes a marvelous John Dillinger but there was way too much unimaginative gunplay along with a surpising lack of any spark. The cinematography is deliberately dark, a choice which made it feel washed out and grubby instead of menacing. I realize that every Mann film can't be as brilliant as "Heat", but I expected him to do more with this story than simply present a rather routine crime saga.

The centerpiece of the action is a cat-and-mouse game between the wildly successful Dillinger and his uptight FBI agent nemesis Melvin Purvis (a very stoic Christian Bale). FBI Director J. Edgar Hoover (played by Billy Crudup in a creepy characterization) is on a mission to clean up America, including apprehending the most notorious criminals of the day (Dillinger, Pretty Boy Floyd and Baby Face Nelson). Purvis has been charged with bringing in the popular Dillinger and his gang, a task he quickly realizes will be much more difficult than anticipated as the street smart criminals run circles around the typically doltish Feds. Of course there's a beautiful, loyal girlfriend for Dillinger (Oscar winner Marion Cotillard) plus a double crossing madam (Branka Katic) who fingers Dillinger after being threatened with deportation. Aside from Dillinger, the only character explored in any detail is Purvis, who begins having guilt and misgivings about his role in bringing Dillinger to justice as well as the methods used by the FBI. A large supporting cast, including Channing Tatum as Pretty Boy Floyd, Stephen Graham as Baby Face Nelson and Stephen Lang as Charles Winstead (the man who finally guns down Dillinger) pops in and out of the action so quickly we can barely keep them straight. Let's hope Mann hasn't decided to abandon his edgy, multi-layered style of action filmmaking for a video game approach.

Things to love about this movie: Depp's performance is captivating and made the movie for me; an exciting beginning with Dillinger's jail breakout of several gang members; good chemistry between Depp and Cotillard
Things to hate about this movie: Mann's usually brilliantly realized action scenes fall into a boring sameness here and I had trouble telling one shootout from another
Pleasant surprises: It was nice seeing the elusive Stephen Dorff as a member of Dillinger's crew; interesting information on the real people in the story shown at the end of the film
Unpleasant surprises: The wonderful and talented Cotillard is relegated to little more than a girlfriend role

Movie Review - Harry Potter and the Half Blood Prince

After a rather lengthy delay the latest installment in the Harry Potter saga finally arrives and is more or less worth the wait. In fact, my review is even more delayed than the film! Once again all of our familiar friends are back at Hogwarts for another round of riveting adventures with the addition of teenage romance muddling the soup a bit this time. Harry (Daniel Radcliffe), Hermione (Emma Watson) and Ron (Rupert Grint) have grown up before our eyes but manage to retain believability as the wonderful students who continue to encounter one disaster after another. A great deal of the story here revolves around the investigation by Professor Dumbledore (Michael Gambon) and Harry of the evil Voldemort's origins, including visits to the past where Harry encounters the young Tom Riddle (Voldemort's original name) at ages 11 (Hero Fiennes-Tiffin) and 16 (Frank Dillane). Riddle's attempts to discover the secrets of a forbidden Dark Art which may hold the key to his power remain elusive to Harry, who has a lot on his plate: He must also deal with a vanishing cabinet, an unbreakable vow and, of course, an exciting Quidditch match as well as his growing attraction to Ron's sister Ginny Weasley (Bonnie Wright). A busy guy indeed. Luckily Potter is up to the task and so is Radcliffe. In addition Harry has come into possession of a mysterious Potions book marked as the property of the "half-blood prince" which enables him to excel in his Potions class but begins having a disturbing effect on the lad.


There's a lot going on in this movie, some of which I haven't even mentioned yet. Harry's nemesis Draco Malfoy (Tom Felton) figures prominently in the story along with the fabulous Professor Snape (Alan Rickman) and Professor Slughorn (Jim Broadbent) who returns as the Potions teacher. Helena Bonham Carter makes a perfect Bellatrix Lestrange, Jessie Cave is a hoot as Lavender Brown (with a huge crush on Ron Weasley) and director David Yates does a good job of juggling the multiple storylines and characters. As usual, it's delicious escaping into the world of Harry Potter.


Things to love about this movie: Ron's delirious joy as he becomes a star Quidditch goalie; the riveting performances by Fiennes-Tiffin and Dillane who both reveal the seeds of evil in Voldemort in chilling fashion
Things to hate about this movie: The romance scenes didn't really work for me and were not only clunky but a bit silly
Pleasant surprises: Despite the lengthy delay in its release the movie is just fine (I had fears that the delay might have been caused by quality problems)
Unpleasant surprises: Some rather cheesy f/x with the Milennium Bridge in London being destroyed by Death Eaters

Movie Review - The Hurt Locker

In a word: Wow! Director extraordinaire Kathyn Bigelow pulls off one of the best films of the year in this zinger of a tale about a bomb squad working a lethal beat in Iraq while navigating the equally dangerous dynamics of learning to trust their fellow team members. Jeremy Renner delivers an electrifying performance as Sgt. Will James, a fearless adrenalin junkie who goes cowboy in the face of danger, putting his two fellow soldiers Sanborn (Anthony Mackie) and Eldridge (Brian Geraghty) at risk. Not to mention making their job of ensuring his safety next to impossible. A tense, effective opening scene sets the stage perfectly with the original team leader Sgt. Thompson (Guy Pearce in a memorable, if brief, appearance) becoming the victim of a quick series of unfortunate errors. We're immediately in the land of relentless paranoia where these soldiers live, desperately watching every doorway, rooftop and passerby for the smallest of clues. Is that man in the market making a call on his cell or signaling the detonation of a bomb? Is that kid just wandering up the street or is there a package of explosives under his shirt? This movie puts the typical action story to shame with razor sharp editing, one riveting nailbiter scene after another and, most importantly, three involving characters (James, Sanborn and Eldridge) who mysteriously work their way into our sympathies. One of the most impressive achievements of the film is the way in which these soldiers seem so typical yet become so individual in their approaches to the hell in which they find themseleves.

Although Renner is the standout in the cast, with the flashiest role and the most screentime, his supporting actors Mackie and Geraghty are equally impressive along with an almost unrecognizable Ralph Fiennes as a team leader the bomb squad encounters in the middle of the desert. Mackie in particular delivers a character of depth and substance, making Sanborn's growing frustration and conflict with James extremely dynamic. Of course the other real star of the movie is director Bieglow whose previously established ability with action sequences (in such films as "Point Break", "Strange Days" and "Near Dark") comes to full fruition here. Aided by outstanding cinematography (from Barry Ackroyd) and writing (Mark Boal), Bigelow has created a diamond of a film -- brilliant, sparkling, perfectly cut, cold, clear and a thing of brutal beauty to behold.


Things to love about this movie: The clever use of a running countdown of days left in Iraq for the soldiers; one of the most effective depictions of a soldier's return to civilian life I've ever seen; the perfect ending; some nice little touches like a shot of a gritty street cat or James' connection with a soccer playing kid
Things to hate about this movie: Can't think of a thing
Pleasant surprises: For a story about men and explosives there's a welcome subtle touch to many of the most powerful points in the film; James proves to be much more complicated than he first appears; no explicit scenes of animals or humans being blown away
Unpleasant surprises: None

Movie Review: The Taking of Pelham 123

Who says big budget summer movies starring major Hollywood stars have to be all about F/X or resemble video games? Why can't Denzel Washington transform himself into a slightly rumpled, coffee spilling city employee with ethical demerits on his dance card? Who says John Travolta doesn't look a little scary brandishing neck tattoos and a gun? These are just a few of the questions answered in this remake of the original film (which I've never seen) from 1974. So yes, there is more to "Pelham" than F/X, Denzel does manage to morph into his low key character with the greatest of ease and Travolta has some impressive and scene chewing moments tearing into his villainous role. Veteran action director Tony Scott does a good job of setting up the hostages in a subway car scenario with the lead actors bouncing off each other nicely despite actually sharing the screen for only a brief time. There are some nail biting moments as Travolta and his ruthless crew comandeer a New York City subway car, delivering a chilling ultimatum: Unless a ransom of millions is paid out within an hour, one hostage will be killed for every minute after the deadline. No idle threats here as hostages begin to bite the dust while unfortunate dispatcher Washington, who picked up the phone at the wrong time to receive the ransom call, struggles to control the situation.

Although there's much to like about this high drama movie, things fall apart towards the end. Scott suddenly pulls out all the stops and makes a serious mistake by removing the action from the claustrophobic subway car, throwing in a car chase, a car jacking and a silly confrontation with a SWAT team. The final scene of the film is not only completely unsatisfying but destroys any credibility the story and characters have maintained up to that point. It's always a pleasure to watch Denzel weave his magic with a rather interesting character but the script could have offered more about Travolta's angry psychopath and the supporting roles are little more than peripheral.

Things to love about this movie: As always, Denzel turns in a multidimensional performance despite some script restrictions; a few intriguing twists
Things to hate about this movie: Wonderful actor Luis Guzman is seriously underused in a throwaway character
Pleasant surprises: The terrific addition of modern technology as one hostage continues to communicate with his girlfriend via a laptop
Unpleasant surprises: An over-the-top ending that doesn't ring true; not enough Big Apple flavor; the usually excellent John Turturro didn't quite work for me here as the blandest hostage negotiator ever

Movie Review - Little Ashes

The early student days of artist Salvador Dali, filmmaker Luis Bunel and poet Federico Garcia Lorca may be one of the more esoteric movie ideas in recent memory but director Paul Morrison forges ahead bravely to bring this strange tale to the screen. Of course the film would probably have gone straight to DVD if not for the popularity of heartthrob actor Robert Pattinson (of "Twilight" fame) who plays Dali, silly moustache and all. The story follows the three future icons as they meet in college during revolutionary times in Spain and remain friends into their eventual careers as ground breaking artists with varying degrees of commitment to their youthful ideals. Along the way there are political upheavals, disastrous love affairs and much discussion about making subversive art, not to mention plenty of costume changes. An interesting menage a trois develops between Lorca (Javier Beltran), his devoted friend and frustrated paramour Margarita (Marina Gatell) and Dali. Bunel (Matthew McNulty) is granted less screen time as the turbulent, fascinating relationship between Lorca and Dali takes center stage.

Unlike the art created by these Spanish trailblazers, there's nothing particularly provocative about this movie aside from the fact of its existence in theaters. Performances are excellent with Beltran particularly effective as the ill fated Lorca. The screenplay by Philippa Goslet is muddled and uneven, veering from thoughtful to silly with the most interesting scenes take place at the beginning of the story.

Things to love about this movie: An exquisitely romantic swim between Lorca and Dali under a full moon; excerpts from Lorca's marvelous poetry
Things to hate about this movie: Typical 'rally the peasants' speeches in local bars
Pleasant surprises: Pattinson acquits himself rather well as Dali and should be commended for his courage in taking on a distinctly non-commercial film of this nature
Unpleasant surprises: Not much of Dali's art is shown and his eventual status as a wealth, successful sellout is given heavy handed treatment

Movie Review - Rudo Y Cursi

Two outstanding young actors (Gael Garcia Bernal and Diego Luna) with plenty of chemistry make this rather scattered Mexican indie fun to watch despite a routine storyline. Half brothers Beto (Luna) and Tato (Bernal) share a mother and a combative relationship in their small, impoverished town. Both are soccer players as well, though Tato harbors a not-so-secret longing for a singing career, seizing every opportunity to display his barely adquate vocal skills. When Tato is discovered at a local soccer field by a talent scout big changes are under way. Tato soon becomes a popular professional player, acquires a more upscale lifestyle and a new name (Cursi) and even gets the chance to make a music video. Meanwhile Beto, still living back in the small town with his wife and kids, grows more envious of his successful half brother. Wouldn't you know, they eventually end up playing soccer for competing teams with a big game on the line and the crucial play coming down to the two of them.


Writer/director Carlos Cuaron has a good feel for the hard scrabble origins of these characters, but the constant antagonism between the brothers grows tiresome, especially since neither of them is particularly appealing. Beto is brutish while Tato/Cursi, though amusing at times, quickly turns arrogant with success and begins throwing jealous tantrums over his newly acquired girlfriend (Jessica Mars) which seem completely out of character. The relationship between the brothers is developed just enough to make us care but not quite enough to elevate the muddled script into anything more than adequate. It's always fun watching actors like Luna and Bernal bounce off each other but this time their natural chemistry is weighed down by annoying characters who don't provide the excellent material they deserve. The final image of the film with the brothers on the beach together, both of them utterly changed from their beginnings, might have been more meaningful if their journey had been better delineated.

Things to love about this movie: Tato's outrageous outfits and hilarious music video; acting is uniformly excellent; gritty feel with a little edge
Things to hate about this movie: Predictable situations and problematic characters
Pleasant surprises: Not overloaded with footage of soccer
Unpleasant surprises: Not much comic relief or comraderie between the brothers

Movie Review - Earth

When Disney meets Mother Nature it's the unsuspecting viewer who's caught in the crossfire. Despite a trailer featuring exquisite glimpses of waterfalls, baby animals and flocks of birds in flight, this documentary falls prey to the anthropomorphic curse so common to nature films. It seems that even such amazing creatures as whales, elephants and polar bears can only be fascinating to audiences when placed in the context of the human nuclear family model. The film focuses on a herd of elephants crossing hostile terrain in search of water, a whale and her baby traversing stormy seas and a polar bear with two cubs foraging for food. Their stories are engrossing but a forced sense of drama continually sabotages the action. Yes, life is grim for earth's beautiful creatures and Mother Nature is cruel, but these points are made so relentlessly that several scenes became unwatchable for me. Do we really need to see a group of lions clinging onto a frantic elephant? Or a starving polar bear desperately trying to bring down a walrus? I found myself literally looking away from the screen far too often during this film and wondered how the many children in the audience might be reacting to such harsh images.


"Earth" purports to be a celebration of life on our planet. Perhaps it is, though simply following the animals during their migrations might have been just as effective as presenting one disturbing incident after another. An effective narration by the great James Earl Jones works wonders for the somewhat pedestrian script. There are many marvelous sights to be found in this film: arctic landscapes, vast open plains, baby ducks leaping from a tree for their first flight. I only wish the filmmakers had told their story in a more natural, less brutal way.

Things to love about this movie: Underwater footage of a mother and baby whale; marvelous photography featuring a wide range of creatures including lynx, ducks, antelope and cheetah
Things to hate about this movie: Truly disturbing, drawn out scenes of slaughter; the sight of an exhausted, starving polar bear who simply lays down to die (an unforgettable image I wish I'd never seen); many of the fabulous places shown in the documentary are never identified
Pleasant surprises: A baby elephant swimming; a fun segment (shown over the ending credits) of the photographers setting up their shots
Unpleasant surprises: Too much cutesy script with too little solid information about the animals

Movie Review - Every Little Step

This riveting documentary by Adam Del Deo and James D. Stern is a look at "A Chorus Line" then and now as dancers/singers audition for the revival of this most personal yet classic musical. We're also treated to archival footage of interviews with Michael Bennett, Donna McKechnie and Bob Avian (who is also featured as the producer of the revival) which offer inside scoop on how this amazing, innovative musical was created, along with stage scenes of the original cast. As I watched "Every Little Step" memories came flooding back to me: sitting in the Curran Theater in San Francisco decades ago, thrilling to that opening number where the performers line up with head shots held in front of their faces; the revelation of the closing song when all these individuals whose widely diverse stories the audience has experienced finally become one uniform, high kicking chorus line in top hats; the privilege of watching Sammy Williams (the original Paul) dance. It's always been my favorite musical (along with "Rent") so the chance to relive those marvelous moments is pure joy. Pretty impressive, too, how well the music and choreography holds up today.

The iconic numbers from the original are all back for the revival with a new batch of "Chorus Line" hopefuls who are just as much fun (although there isn't enough time to get to know any of them too well). In the age of "American Idol" there's no shortage of aspiring singers, but the glimpse we are given into the lives of the professional stage performers we see here surpasses anything the popular TV show offers. The audition process is fascinating but brutal, focusing on the selection of a small handful of performers auditioning for the pivotal roles of Cassie, Paul and Sheila. While the limited scope is a wise choice given the large number of characters in the musical, I missed seeing a more inclusive range of casting selections. Jason Tam, reading for the part of Paul, is a revelation, delivering one of those electrifying performances that make you understand how stars are born. Following Tam's audition , Bob Avian remarks "Sign him up" after the brilliant young actor/dancer leaves the room. Amen. As hundreds of hopefuls from an open casting call are slowly narrowed to 2 or 3 finalists for each of the leading roles we can almost feel the tension and exhilaration of these talented performers who find themselves close enough to touch a dream. And after all, that's what "A Chorus Line" is all about.


Things to love about this movie: Savoring a glimpse into the lives of these talented performers who put their hopes on the line; hearing those marvelous songs again; lots of terrific singing and dancing; the exhilaration of those selected as they share the good news
Things to hate about this movie: It has to end (yes, I could have "danced" all night)
Pleasant surprises: Footage of a 16 year old Michael Bennet dancing; Bennett's Tony Award acceptance speech
Unpleasant surprises: Could have used a little more focus on the guys

Movie Review - X-Men Origins: Wolverine

I'm just a sucker for those X-Men, so on opening weekend I'm uncharacteristically off to a big budget, F/X heavy chapter in the ongoing mutant saga. The delectable Hugh Jackman stars as Wolverine, one of the most appealing mutants of the series. We encounter him this time as Logan, before those infamous shiny steel claws became part of his persona. Unfortunately there's nothing especially original about this story. We have an evil government man (played with relish by Danny Huston) performing secret, nasty experiments on imprisoned mutants; a lovely, loyal, boring love interest (Lynn Collins) for Wolverine; a creepy nemesis named Sabretooth (Liev Schreiber); mutant-on-mutant slashing. Although the story reveals the origin of Wolverine's talons and his history of fighting off various enemies, it remains a bit of a mystery how he really started out in life or how his mutant state has effected him.

There's an interesting cast of characters who keep the action moving, including Ryan Reynolds (having a lot of fun with the wise cracking, chatterbox Wade Wilson), Dominic Monaghan as Bolt, Will i Am as John Wraith and Kevin Durand as The Blob. Taylor Kitsch is also a good addition as Remy LeBeau, a nefarious but charming New Orleans gambler I would expect to make another appearance in a later X-Men movie. Director Gavin Hood gets good performances from his eclectic mix of actors but it's pretty challenging to really bring much to these parts except cartoon level portrayals. It's not quite enough to make the movie thrilling or involving in the way the first X-Men film was for me, but it's just enough to make things entertaining. Wolverine does a lot of roaring and knashing of his teeth and claws, maybe a little too much, but he sure looks good doing it. The big reveal about Wolverine's origins was somewhat of a disappointment with a so-so ending.

Things to love about this movie: Hugh Jackman is terrific; some cool F/X
Things to hate about this movie: The movie is mostly action with very little time spent getting to know any of the mutants
Pleasant surprises: Wolverine running around buck naked in one scene (though I'm sure it's a body double)
Unpleasant surprises: A supporting character I enjoyed was killed off earlier than I expected

Movie Review - The Informers

Opening with a sudden accidental death, "The Informers" lures its audience into a 1980s world full of vapid, beautiful blonde boys and girls leading lives of empty decadence as they move through a glittering Los Angeles landscape where drinking, smoking, drug taking and vaguely kinky sex are the sum total of existence. Welcome to Bret Easton Ellis at his nihilistic best. Even a spinning overhead shot of the famous Hollywood sign reveals graffiti at the base of the letters. It's real time L.A. stuff. If you're not a fan of Ellis' writing this movie might not be for you since these characters typically have no social redeeming value whatsoever and are zombie-like at times -- in fact, at most times. Co-screenwriter Ellis (based on his own book of the same name) brings us two triangles, young and old versions. The young version is Graham (Jon Foster), Christie (Amber Heard) and Martin (Austin Nichols) while the older version features William (Billy Bob Thornton), his wife Laura (Kim Basinger) and a newscaster named Cheryl Laine (Winona Ryder). The youngsters pretty much hang out in bed together (yes, occasionally all three at once), go to raucous, inebriated parties or lounge languidly poolside. The older folks are more traditional with William trying yet another reconciliation with wife Laura while still carrying a very obvious torch for Cheryl. Then there's the father/son team of Les and Tim Price (played by Chris Isaak and Lou Taylor Pucci) along with Mickey Rourke as Peter, who offers up another dark side of L.A. as a sleazy loser who kidnaps a young boy. And don't forget an almost unrecognizable Brad Renfro in his last screen role as Jack, a rather pathetic doorman who's desperate to connect with celebrity. Wait, there's even more: Mel Raido plays Bryan Metro, lead singer of a band called The Informers (title alert!) who enjoys punching high priced call girls in the face without once changing expression.

Like Ellis' books, this movie should never work and might, in fact, turn an audience off to the point of leaving the theater. Since I happen to like his particular brand of human horror I found myself strangely mesmerized by these pointless characters. There's not a hero to cheer for anywhere and that's fine with me. When Tim continues to be upset by the tragedy of the accidental death of a friend featured in the beginning of the film, his other friends are annoyed. After all, it's been a week already, time to move on. Aussie director Gregor Jordan creates just the right tone of flat, bright L.A. enui, striking a delicate balance between meaningless and desperation as these disturbing people play out their little dramas. It's not that we necessarily care about these characters and yet there's something terribly sad in watching them casually self destruct. The final stark image in the film -- a black fly on a bone white bare leg -- says it all as the spectre of AIDS closes in on the hedonistic '80s.

Things to love about this movie: Mickey Rourke is great (as always); a terrific soundtrack; the young cast is classic Easton Ellis as well as pitch perfect L.A.
Things to hate about this movie: Brad Renfro doesn't look healthy & it's sad knowing that he probably wasn't
Pleasant surprises: Chris Isaak is surprisingly effective as Tim's nasty, smarmy dad
Unpleasant surprises: Billy Bob Thornton (a wonderful actor) didn't quite work for me in a very atypical role

Movie Review - State of Play

Suspense thrillers aren't always my cup of tea, but with Russell Crowe as a rumpled, world weary journalist on the trail of a political scandal involving infidelity, shadow organizations and possible murder, what's not to like. Cal McAffrey (Crowe) has been assigned to cover the seemingly random shooting of a small time thief for his newspaper as the story opens, but soon there are much bigger fish to fry when the political aide to Cal's old college roommate Congressman Stephen Collins (Ben Affleck) steps in front of a subway train. Or was she pushed? Collins, as one of the key members on a panel investigating a private corporation called Point Corp, becomes the center of attention when he breaks down publicly while announcing the death of his aide. Suddenly speculation shifts to the possibility of an affair between the dead aide Sonia Baker (Maria Thayer) and the Congressman. Complicating matters further is a past connection between Cal and Collins' wife Anne (Robin Wright Penn) along with Cal's difficult position as he covers a story that could mean the downfall of his friend. There's also an interesting, lively dynamic between Cal and an ambitious blogger on his paper named Della Frye (Rachel McAdams) who wants in on the Collins story.

It all sounds a bit like a soap opera, but with a cast this good and some fun twists and turns all the drama is more or less believable. Based on a British TV series and co-written by Tony Gilroy ("Michael Clayton"), this is a more sophisticated brand of political intrigue than your average thriller, although the storyline involving Point Corp and the Congressional investigation were a little confusing for me. Director Kevin McDonald keeps things zipping along and there's enough character development to make the plot a little more than just suspense.

Things to love about this movie: Great chemistry between Crowe and McAdams; doesn't overdo the car chases; a terrific opening scene that sets up the murder/suicide of the aide perfectly
Things to hate about this movie: Creepy, out of control organziations seem to always turn up in these thrillers (not too original); Cal's moral dilemma about investigating Collins would work better if more of a relationship was developed between him and Collins
Pleasant surprises: The supporting characters and actors are dynamite, including a charismatic, stand-out performance by Jason Bateman, Michael Berresse as one of the scariest assassins ever, Harry Lennix as the detective on the Collins case, Viola Davis as a doctor in the morgue and the always reliable Jeff Daniels as a creepy Representative
Unpleasant surprises: The marvelous Helen Mirren was a bit underused as Cal's tough as nails boss at the paper, as was Penn as the typical stand-by-your-man political wife

Movie Review - Crossing Over

Like the Oscar-winning Best Picture "Crash", this movie is based in Los Angeles, has a lot on its mind, a truckload of characters/storylines to juggle and a rather heavy handed approach in making its points. Harrison Ford stars as Max Brogan, a weary but compassionate immigration officer who's clearly overdue for retirement. He's surrounded with an impressive cast, including Ray Liotta as Cole Frankel, a corrupt immigration worker who demands sexual favors in exchange for green card status for a desparate Aussie actress (Alice Eve); Ashley Judd as Denise Frankel, Cole's clueless but noble wife who works with immigrant children; Jim Sturgess as Gavin Kossef, a British Jew trying to make it as a singer; Summer Bishil, a Middle Eastern girl whose provcative school presentation on the 9/11 terrorists lands her family in trouble; Justin Chon as Yong Kim, a kid who falls in with the typical gangbangers and Cliff Curtis as Hamid Baraheri, Brogan's partner who's an Iranian American with a murdered sister and sinister secrets. And that's just a partial cast/character list. Some of the storylines work, some don't but there's melodrama to spare with extreme situations that overload the audience's involvement level.


Writer/director Wayne Kramer obviously means well in trying to bring multiple immigrant issues to light and casting a wide spectrum of ethnic actors for pivotal roles. I wish he'd put as much effort into his script, however, and whittled the character list down to a minimum with more focus and depth. There are too many predictable elements, too many tragic events, too much of everything, resulting in a dizzying kaleidescope that's almost numbing. One scene towards the end of the film really stretches credibility when a character is exposed for criminal acts during a large naturalization ceremony attended by many of the leading characters. Gimme a break. Though "Crossing Over" has its heart in the right place, its approach is all over the map, causing even the best elements in the story to be crushed under the weightiness of it all.

Things to love about this movie: Harrison Ford manages to create an interesting character despite the mediocre script; a pleasure to see little known performers like Summer Bishil and Justin Chon given considerable screen time; good to have Ray Liotta back in a drama, even if his character is over the top

Things to hate about this movie: A repetitious series of raids on factories employing illegal immigrants becomes almost as wearying for the audience as it is for Brogan; too many characters without enough depth; Alice Eve's limited acting ability; the sad but completely predictable ending

Pleasant surprises: Brogan has a pet cat! Los Angeles looks real and gritty

Unpleasant surprises: Jim Sturgess, an interesting actor and singer, seems miscast here

Movie Review: The Class ("Entre les murs")

Here is a classroom drama for the 21st century, complete with disenfranchised students, frustrated teachers and a system that's failing everyone on every level. Francois Marin (Francois Begaudeau) has been teaching French at an inner city Parisian school for 4 years with an obvious passion for his subject, yet only a small handful of his 14-15 year old pupils has any interest whatsoever in learning. Talking and bickering during class, displaying little respect for their teacher and completing assignments with half hearted efforts, this group of racially mixed kids seems almost unreachable. As the film progresses, however, a fascinating dynamic develops among students, teacher and the school system. Marin begins to discover just how irrelevant to the lives of these students his curriculum seems and how fine a line must be drawn between confronting disciplinary problems and offending his pupils. His classroom is full of interesting characters: Wei (Wei Huang), a refreshingly studious and well behaved Chinese student; Khoumba (Rachel Regulier), a smart, confrontational black student; Esmeralda (Esmeralda Ouertani), a complicated and quirky Arab student; and the disruptive Souleymane (Franck Keita) from Mali, whose tragic lack of confidence causes him to act out in ways which earn him numerous disciplinary hearings.

Begaudeau, who wrote the screenplay and the book on which the film is based, is an appealing actor who appears to be playing a semi-autobiographical role, bringing out the many conflicting emotions of this teacher in a compelling way. The young actors playing the kids, many of whom share the same names as their characters, are uniformly excellent and authentic. This biting, involving and disturbing movie is a welcome relief from the usual "Hollywood" version of school drama where solutions are found, lives are turned around, teachers rewarded and students enlightened. Perhaps the most provocative thing about "The Class" is that, despite bad behavior and poor attitdues from the kids, we're left with the feeling that the teachers and the school system have somehow let these students down, rather than the other way around.

Things to love about this movie: A heartbreaking scene in which Marin praises Souleymane for the wonderful photographs he's taken for an assignment while the usually surly student can barely contain his delight yet at the same time cannot accept the compliments as valid; interesting teacher conferences during which many concerns and frustrations are aired; the many subtle ways in which students and teacher impact each others' lives; an amazing cast with wonderful faces and exuberance

Things to hate about this movie: The outcome for Souleymane (though it is neither unexpected nor unrealistic)

Pleasant surprises: No easy solutions or relationships; awareness of the many complications for immigrant students trying to fit into a very Caucasian school system

Unpleasant surprises: The betrayal of teacher by students and vice versa

Santa Barbara International Film Festival 2009: Recap

The SBIFF was a treat this year with high quality films and plenty of variety to keep me wishing I could take the whole 2 weeks off work and attend as many movies as possible. I managed to grab 6 films without a dud in the bunch. Here's a quick recap:


(Latino Cinemedia sidebar-Mexico) "Tear This Heart Out" ("Arrancame La Vida"):


An absolutely wonderful film starring Daniel Gimenez Cacho, the exquisitely beautiful Ana Claudia Talancon and Jose Maria de Tavira in the story of a love triangle with fatal consequences. Powerful general Cacho marries Talancon when she's only 16, takes her to his sumptuous home and attempts to dictate every facet of her life. When she meets handsome young orchestra conductor and revolutionary Tavira all bets are off as she discovers the passion and romace which have always been missing from her marriage. A gorgeous looking movie with fabulous sets and costumes, a fascinating female character at its center, murder, romance, beauty -- who could ask for more?

(Russia) "The Ghost" ("Domovoy"):


Reminiscent of "Memento" as a mind bending thriller, this film mixes writer's block with the world of a professional hit man and comes up with a fun concoction that keeps the audience guessing until its final frame. Even the final frame is a zinger. Successful but currently blocked writer Anton (Konstantin Khabensky) is approached by a stranger (Vladimir Mashkov) at a book signing who asks "Have you ever killed a man?" From that point forward we, like the startled writer, are hooked and off on a wild, disturbing adventure in which research on how to write a really thrilling book goes terribly awry. It seems that Anton is willing to strike a Faustian bargain with this stranger (who turns out to be a hit man) in order to reinvigorate his creative juices, but at what price? Great stuff.


(Canada/Japan) "Dim Sum Funeral":


Despite an excellent cast, this English language film about a dysfunctional Japanese family has some serious flaws, though it's still entertaining enough to enjoy. As three sisters and a brother gather in Seattle following their mother's death, secrets are revealed, old wounds are exposed, complicated relationships explode. Issues of tradition, family ties and forgiveness are explored, though not in a particularly fresh way. A surprise ending, for both the movie's characters and its audience, didn't completely work for me. Bai Ling is a stand-out as the punky, flamboyant girlfriend of one of the sisters, along with Russell Wong as the bitter brother in the family.


(Canada/Inuit) "Before Tomorrow" ("Le Jour Avant Le Lendemain"):


This was my favorite film in the festival, a simple story with a devastating emotional impact. An Inuit grandmother (Madeline Ivalu) and her young grandson (Paul-Dylan Ivalu) courageously and quietly struggle to survive a harsh winter alone on the tundra after their entire tribe is wiped out by exposure to a disease brought to their isolated location by white men. Full of magical moments, wonderful music and images, the movie is simply heart breaking as the strong, touching love between its two characters is slowly revealed and the grandmother prepares her beloved grandson for the possibility of life on his own. If you can find this movie on DVD try to see it, but be prepared to be blown away.


(Czech Republic) "The Country Teacher":


Teacher Petr (Pavel Liska) moves from the city to a small country town, but his new life proves to be much more complicated than he'd bargained for. A hard working local woman (Zuzana Bydzovska) who runs her own dairy farm is attracted to the quiet teacher, while he is more interested in her rebellious teenage son (Ladislav Sedivy). This movie has a lovely setting and a good sense of life in the country, as well as a wise understanding for its muti-layered, flawed characters who manage to connect in unexpected ways. Two calf births are shown at pivotal times during the film -- a bit much, although very effectively used. A "happy" ending is tempered by the painful history leading up to it and therefore seems much more meaningful than the typical Hollywood happy ending. Excellent performances and a moving, valuable message about tolerating each others' differences.

(Netherlands) "Tiramisu":

This delightful film features the unlikely pairing of a sensible accountant with a flamboyant stage actress to create a surprising result when the lives of both are subtly changed for the better. When the accountant (Jacob Derwig) arrives to audit the expenses of the hard living, high spending actress (Anneke Blok), he discovers debts that could cause the foreclosure of Blok's houseboat yet becomes determined to prevent such a devastating event. Dutch writer/director Paula van der Oest has an excellent feel for the life of an actress, creating an interesting dynamic with the homespun accountant's exposure to the many colorful and raucous stage characters who populate the actress' world. As Derwig struggles to find ways of overcoming the hopeless situation and becomes increasingly fond of the housboat, Blok slowly realizes it may be time for her to move on. Good performances and some nice scenes of Amsterdam.

Movie Review - Revolutionary Road

Is director Sam Mendes in the midst of a trilogy on suburban angst? Perhaps. Judging from his previous film, the Oscar winner "American Beauty" and now "Revolutionary Road", it seems to be a recurring theme which he tackles with relish and just a touch of pretension. Based on a book from the 1960s by Richard Yates, this is the story of a young couple living in the fabulous fifties who seem to have it all yet long for something more and find themselves stifling in a suburban box full of the typical requirements: a nice house, a nice job, two kids, shallow friendship with the neighbors and nowhere to go but Paris. April and Frank Wheeler (Kate Winslet and Leonardo Di Caprio) are the golden couple of the neighborhood, admired by their busy body realtor Helen (Kathy Bates), envied by their best friends Shep and Milly (David Harbour and Kathryn Hahn) yet miserable and combative behind closed doors. This couple has a lot of fights. Frank hates his job in an office surrounded by lifers who have nothing in common with him. April despises the limitations of life as a wife and mother, longing to chuck it all and move to Paris where she and Frank might start over and somehow magically discover what they really wanted out of life.

Like the book, there's something distancing in the film about Frank and April as characters but something all too familiar about their plight and inexplicable unhappiness. Trapped in a prison of their own making they're chronically miserable people with dreams which have refused to die or to come true. April in particular begins to crack under the inability to change her predicament, while Frank dallies with one of the secretaries at work and their friend Shep secretly pines after April. There's a brief respite in the Wheelers' misery when Helen's son John (Michael Shannon), who's been institutionalized for mental problems, begins visiting the couple as a way of helping his socialization skills. John is refreshingly blunt and insightful about the suburban lifestyle he observes, as well as being quite intelligent and slightly dangerous. It's easy to see why Michael Shannon has been nominated for Best Supporting Actor by the Academy. He's mesmerizing in his few scenes and could have used more screen time with this strange and complicated character.

Things to love about this movie: An exhilarating scene in a roadside bar where April dances with Shep; amazing performances from Kate Winslet and Leonardo Di Caprio who still have plenty of chemistry; perfect period details; an effective soundtrack (love that opening song "The Gypsy" by the Inkspots); the suggestion that marriage and kids might not be enough for everyone and don't guarantee happiness
Things to hate about this movie: Frank and April's relentless quarreling becomes tiresome and not enough time is devoted to showing us the younger versions who were passionate about living life to the fullest
Pleasant surprises: The book's devastating ending is kept intact for the film; actor David Harbour is the perfect realization of the character Shep from the book
Unpleasant surprises: The movie could have used more of the book's character details and background to make Frank and April a bit more appealing; lack of an Oscar nomination for Winslet

Movie Review - Defiance

This is an action packed type of Holocaust movie, not the sort we're more accustomed to and, for me, it's only partially successful. The previously untold true story of three Jewish brothers who managed to save 1200 lives during WWII by hiding out in the forests and fighting back against those who murdered their parents is interesting but flawed. The Bielski brothers Tuvia (Daniel Craig), Zus (Liev Schreiber) and Asael (Jamie Bell), devastated by the loss of their parents, are determined to survive and assist as many other Nazi victims as possible. Tuvia takes the lead to create a new community of forest dwellers who rebuild their shattered lives one step at a time, struggling to find food and create shelter for themselves as well as avoid confrontations and capture from SS soldiers. It's a harsh existence with plenty of sacrifices and constant fear of discovery. Zus, meanwhile, aligns himself with a group of Soviet soldiers while Asael marries a fellow forest dweller in a sweet, traditional ceremony held among the trees.

While I admire the efforts of director/co-screenwriter Edward Zwick to bring this hidden story to light, I had some problems with the approach as the movie periodically explodes into big action sequences which became a distraction from the more compelling tale of these survivors who managed to avoid the fate of so many others. The characters are not particularly well developed, including the three brothers who serve more as symbols than flesh and blood people. Performances are fine, but with so little to reveal about the personalities of the people who flee to the forest there's not much the actors can do to make an impression. Although I'm usually a fan of Daniel Craig, he seemed slightly miscast in this movie and does a lot of scowling, squinting and stoic suffering. Liev Schreiber manages to create somewhat of a character despite the script's drawbacks. This is an intense, earnest film with its power reduced by Zwick's propensity for pyrotechnics over humanity.

Things to love about this movie: A new approach to the typical Holocaust tale; Jamie Bell and Mia Wasikowska (who plays Chaya, the girl he marries while hiding out) make a nice couple with good screen chemistry; some provocative moral dilemmas involving revenge and fighting back against injustices
Things to hate about this movie: Despite the horrors of war and subsistence living there's always plenty of booze around and even a golden lit love scene between Tuvia and Lilka (another refugee from the city who serves as a convenient love interest); the same flock of geese seems to be wandering through far too many scenes
Pleasant surprises: Seeing photos of the real Bielski brothers and their lives following the war
Unpleasant surprises: Once again, animals in jeopardy (a horse and a dog are killed and eaten)

Movie Review - The Wrestler

It's raw, it's intense, it's brutal, it's Mickey Rourke back with a vengeance. Hallelujah honey, where have you been! From the opening titles with flyers and posters depicting the wrestling career of Randy "The Ram" Robinson to the final, devastating scene this movie gripped me in a headlock just like the weekend warriors it depicts might use. Even if his face is a minefield of scar tissue and his reputation disastrous, Rourke uncorks the performance of the year with his soft, sexy voice and blazing talent intact, full force, unbowed. The dude is simply riveting. The Ram is a broken down wrestler whose glory days are behind him, still showing up for matches in small venues where his earnings are always low while the punishment to his aging body is high. Locked out of the trailer he calls home due to overdue rent, he crashes in the back of his truck yet still manages to play The Ram for the kids in his trailer park. With long, bleached blonde hair, spandex pants and a buffed up physique that nevertheless shows the long, hard road he's traveled, Rourke brings an authority to this role that couldn't possibly be matched by any other actor.

The bright spots in The Ram's tough, lonely life are the possibility of a rematch with The Ayatollah (one of the most notorious wrestling opponents from his days of fame in the 80s), his interest in a local lap dancer named Cassidy (Marisa Tomei) and the possiblity of a reunion with his alienated daughter Stephanie (Evan Rachel Wood). When The Ram suffers a heart attack following a particularly brutal wrestling match, he's forced to retire from the ring but the price is high. It's heart breaking to watch this deeply flawed character trying to work the deli counter wearing a name badge that says Robin (his given name which he doesn't acknowledge) when all he really knows how to do, or wants to do, takes place in the wrestling arena. As he struggles to make a connection with Cassidy and Stephanie, physically recover from his heart attack and deal with losing the source of his only true identity, a grim outcome seems almost certain.

Things to love about this movie: Mickey Rourke in all his glory; The Ram's approach to working behind a deli counter; two dances --a dance between father and daughter in a deserted ballroom at the beach and Rourke's solo dance in a bar; the perfect ending; Marisa Tomei's tough and tender performance
Things to hate about this movie: Bad timing -- most unfortunate that Rourke's performance falls in the same year as Sean Penn's in "Milk". Though Rourke will probably not receive awards due to his Hollywood history, for me his is the best performance of the year (male or female).
Pleasant surprises: This movie actually made wrestling exciting to me, though I've never had any interest in it before.
Unpleasant surprises: During one match a staple gun is used (yikes)

Unsung Heroes - Favorite performances of 2008

The movie year 2008 has come to an end, and now that awards season is upon us I'd like to mention some of my favorite performances of the year, selected from those who are not being nominated, toasted and otherwise glorified but nevertheless rocked my movie going experience with their exceptional portrayals and magic moments on screen. Here they are, in no particular order. Got any of your own? If so, I'd love to hear about them.

David Strathairn -Officer Arnie Copeland in "My Blueberry Nights"
Bee Vang - Thao Lor in "Gran Torino"
Jeffrey Wright - Muddy Waters in "Cadillac Records" and Colin Powell in "W." (talk about range!)
James Franco - Scott Smith in "Milk"
Catinca Untaru - Alexandria in "The Fall"
Tannishtha Chatterjee - Nazneen Ahmed in "Brick Lane"
David Gulpilil (Prince George) and Brandon Walters (Nullah) - "Australia"
Christine Baranski - Tanya in "Mamma Mia"
Ben Whishaw - Sebastian Flyte in "Brideshead Revisited"
Toby Kebbell - Johnny Quid in "RocknRolla"
Eddie Alderson - Sanford Clark in "Changeling"
David Kross and Ralph Fiennes- both as Michael Berg in "The Reader"
Dev Patel - Jamal Malik in "Slumdog Millionaire"

Movie Review - Gran Torino

For those who consider 78 years old to be hopelessly over the hill, I give you Clint Eastwood. He has not only directed two movies that were released this year but plays the starring role in "Gran Torino" with the same vital intensity he had way back when Dirty Harry made him a household name. What a guy. Walt Kowalski, the crusty Korean War vet portrayed by Eastwood, is a perfect fit for the minimalist actor, who does plenty of snarling and squint eyed glaring but manages to bring much humanity to this character. Recently widowed, Kowalski lives with his dog Daisy in a rough neighborhood full of gangbangers and ethnic minorities, causing increasingly dangerous conflicts when the angry old man begins to confront the young toughs. A Hmong family living next door further complicates Kowalski's life when the son Thao (Bee Vang) tries to steal Walt's pride and joy, a vintage Gran Torino, as part of a gang initiation. It's a matter of honor to the family for the boy to make amends, so he begins a testy apprenticeship with Kowalski which neither one of them really wants. Of course the relationship that develops proves transformational for both. Walt grows close to Thao's sister Sue (Ahney Her) as well, setting up an escalating war between the vet and the siblings' gun toting, bullying cousins who are pressuring Thao to join their gang.

An additional thorn in Kowalski's side is an annoying young priest (Christopher Carley) who was close with Walt's late wife and promised her he would persuade her husband to take confession after she is gone. There's an amusing antagonism between them that becomes more interesting as the movie goes on. Meanwhile Walt's meddling sons are convinced that their father would be better off in a home, a pretty pointless and unnecessary story line that detracts from the other, more involving issues. Although there are many somewhat predictable plot elements and a few too many stereotypes, what makes the film work is the subtle way its characters slowly move towards each other to create unlikely but touching alliances. Eastwood proves once again that he's anything but washed up.

Things to love about this movie: Walt's unspoken love for his dog Daisy, her wonderful smile and the way he confides in her; Bee Vang's sweet, amazing performance; some interesting facts about Hmong customs and background
Things to hate about this movie: A little heavy handed at times with a few too many racial jokes and epithets (we get it already); Kowalski's two sons are pretty much standard jerks who add little to the story
Pleasant surprises: Sue is a delightfully feisty female who brings welcome energy to the rundown surroundings; the dog isn't killed off for a change (always a cheap shot)
Unpleasant surprises: A scene featuring some young neighborhood guys harassing Sue feels like overkill as an excuse for Walt to once more save the day

Movie Review - Frost/Nixon

Who knew a verbal sparring match between a British talk show host and a disgraced ex-U.S. President could be so mesmerizing. At times this movie almost feels like a thriller with its behind-the-scenes rush for evidence, secret conversations in the middle of the night and nail biter outcome. Those of us who remember the events of Watergate might not necessarily savor re-living them, but there's no denying that director Ron Howard and screenwriter Peter Morgan have put a fascinating new spin on those dark days. Documentary footage helps set the background for the Watergate break-in as well as Nixon's resignation and pardon by new President Gerald Ford. The real meat of this story, though, centers on two men: David Frost (Michael Sheen) and Richard M. Nixon (Frank Langella) as they prepare for a televised war of wills that turns out to be anything but predictable. Both parties assemble a team of researchers and advisers as though preparing for congressional hearings, which speaks volumes to the power of the tube. On Frost's side we have John Birt (Matthew Macfadyen), Bob Zelnick (Oliver Platt) and James Reston Jr. (Sam Rockwell) along with Frost's latest lady love Caroline (Rebecca Hall) for moral support. Jack Brennan (Kevin Bacon) leads the team for Nixon's side with even Diane Sawyer (Kate Jennings Grant) along for the ride. Will the dilletante Frost manage to elicit an apology to the American people from the cagey Tricky Dick? Or will Nixon run roughshod over the underfunded talk show host who spends much of his time desperately trying to obtain funding for the show? It turns out to be a rollercoaster ride well worth taking for the audience, not only for its historical interest but also for the marvelous writing, directing and performances that make this film hum.

Frank Langella's astounding transformation into Richard Nixon, particularly in his vocal shadings and body language, are particularly impressive since he doesn't really physically resemble Nixon at all. Though Michael Sheen has the unenviable task of bringing David Frost to life, he does an excellent job and the two stars bring plenty of chemistry to their encounters. Director Ron Howard has avoided the sentimentality that sometimes ruin his films for me, making this strange subject matter impressively compelling with great editing and casting. I never saw the television interviews so I'm left wondering how accurately the movie captured the real events, but even without knowing such details "Frost/Nixon" stands on its own as a surprisingly entertaining film.

Things to love about this movie: Terrific supporting performances that really add to the action; Oliver Platt's hilarious Nixon impersonation in one scene
Things to hate about this movie: As usual, the lone female presence in the movie is a throwaway girlfriend who does little but smile and support her man (a waste of an appealing actress such as Rebecca Hall)
Pleasant surprises: Richard Nixon comes off as a multi-dimensional person; Kevin Bacon works as a military man (who knew); seeing Patty McCormack as Pat Nixon; John Birt running naked into the ocean (cheers)
Unpleasant surprises: Toby Jones is a bit boring as Swifty Lazar (even if he does look the part)

Movie Review - The Curious Case of Benjamin Button

When I call this movie "Forrest Gump" for the new millenium, believe me it's no compliment. "Gump" is one of my most hated films of all time and now it's got "Button" for company. Sure enough, the same screenwriter, Eric Roth, is responsible for both of them. Somebody stop this guy. Based on a story by the great F. Scott Fitzgerald, the unlikely plot centers around a man (Benjamin Button) who is born just after WWI as an old man and ages backwards to become a small baby at the end of his life. It's a strange idea that doesn't really work for me in the first place, but the team of director David Fincher and actor Brad Pitt (starring as Button) has always been a winner in the past so I was hopeful that something intriguing might come of this clunky concept. There's a marvelous cast, settings all over the world, good production design and fabulous New Orleans for starters. So far, so good. There's also a writer (Roth) who reduces every character, situation and plot point into a sentimental homily and doesn't have a single original thought to offer for the movie's three hour running time. Perhaps if Button had been an interesting character the story might have worked, but he's an almost completely reactive cipher whose life experiences amount to a laundry list of cliches: experiencing his first sexual encounter at a house of prostitution, fighting an enemy submarine during WWII, having an affair with a married woman, hitting the bars with a sea captain, falling in love with a beautiful dancer, meeting up with the father who abandoned him as a child. Ho-hum.

It's shocking to me that a director of David Fincher's intensity and talent could turn out as maudlin a film as this one. The movie seems preoccupied with everyone's age to the exclusion of all else. Perhaps that is supposed to be the point of the story, but without credible, involving characters there's no reason to care about the issues of fate, death or love put forward by the filmmakers. This opus was obviously meant to be a grand, sprawling tale covering decades of change, full of colorful characters and unusual events with a touching hero who wins our hearts with his perseverance in the face of his odd circumstance. Unfortunately, for me, it is instead a movie that's much too long, packed with ideas I've already seen done so much better by any number of other writers, directors and actors and a leading character who's just plain boring. Even Brad Pitt can't save this film, although the exquisite Cate Blanchett manages to bring the badly underwritten character of Button's true love Daisy to life despite Roth's best efforts. Then there are the final insulting moments at the end where the audience is subjected to a glimpse of each character with a one word description (a dancer, an artist, blah blah blah) by Pitt's flat voiceover. If there is any momentous meaning to "Benjamin Button" it must be to remind the unsuspecting filmgoer to beware when the name of Eric Roth appears on the credits as screenwriter -- run for your life!

Things to love about this movie: The tryst between Button and the married woman (played by Tilda Swinton) at meetings in a deserted hotel works; scenes of New Orleans (though they are all too brief and rare); the woman who teaches Benjamin to play the piano
Things to hate about this movie: Some of the worst aging make-up I've ever seen; the tacky use of Hurricane Katrina as a backdrop for a character's deathbed scenes; three hours long and feels every minute of it; one mildly funny bit about a man being struck by lightning is repeated at least 5 times throughout the movie (once was enough); bad writing, bad directing, bad acting
Pleasant surprises: (This line is deliberately left blank)
Unpleasant surprises: I know it's shallow of me, but gorgeous Brad Pitt is covered by ugly, cheesy looking aging make-up for 75% of the movie; usually reliable actors such as Jason Flemyng, Taraji P. Henson, Julia Ormond and Jared Harris are dreadful here (probably due in part to their badly written characters); this mess is actually nominated for 5 Golden Globe Awards; Button seems slightly simple (is it the "Forrest Gump" virus?)