Movie Review: How To Train Your Dragon

We all have dragons to train. Isn’t that the truth? It doesn’t matter if you are born into a mainstream family or a family of Vikings, we all want to control our dragons. Well, I do anyway. Dreamworks banked on that idea clicking with moviegoers, and believe me, it does. How To Train Your Dragon (HTTYD) is directed by Dean DeBois and Chris Sanders, the same team that brought us the very underrated and undervalued, Lilo and Stitch. The source material is an eight book series by Cressida Cowell and she, along with DeBois, are responsible for the very clever and original screenplay. The film is set on the Viking Island of Berk where all is well except for one small problem: every once in a while they are attacked by fire breathing dragons. The Vikings are big and strong and very aggressive by nature so attacks are met with hard-fought battles leading to plenty of serious injuries. But not for young Hiccup (voiced by Jay Baruchel in his best performance since he played Danger in Million Dollar Baby); he is not a natural born dragon slayer like the rest of his family and friends. He is cerebral and scrawny but by facing his fears he learns the secret of conquering and ultimately finding the solution to the local dragon problem. Hiccup’s father Stoick (the pitch perfect Gerard Butler with his roaring 300 voice accompanied by a big Scottish brogue) is very over-the-top but never reduced to the simplicity of a cartoon character. Although initially disappointed in his son, his love for him is always apparent. HTTYD is a visually spectacular piece of animation making incredible use of 3-D technology to give the audience the feeling of flight. It is heartwarming and poignant. It teaches us one of life's greatest lessons: If we meet the enemy head on, we will be very surprised at what we can accomplish, and at the same time discover who we really are. Do not miss it!

Movie Review: Repo Men

I went to see Repo Men on opening day with my 20 year old son. We both had the exact same reaction when we walked out of the theater; “such a great concept, what a bummer it didn’t work”. It has all the trappings of a good sci-fi movie: dystopian setting, a comedic tone, the big bad corporation terrorizing the public. But this adaptation of Eric Garcia’s novel, “Repossession Mambo”, is messy and disjointed. It never develops this very nifty idea into anything more than a sci-fi equivalent of a dirty movie. In-other-words, you’ve seen it all before. Remy (played by the forever gorgeous - Jude Law) and Jake (Forest Whitaker) are “repo men” for “The Union"; a company that supplies the sick and dying with artificial organs, "artiforgs,", only to come and surgically reclaim them if you can’t make your payments (a new liver will run you about $750,000.00). Their version of Miranda Rights: “You have the right to an ambulance”. Funny. And I think there is a political message here: There must be a public option! Liev Schreiber does a great job as Frank, the ruthless head of the company. It is directed by Miguel Sapochnik (he’s British by the way). It is his first full length feature film and it shows. It is big and bold but it’s sloppy and lacks heart. Surprising because Sapochnik is responsible for the very clever and engrossing, The Dreamer; a fifteen minute short/thriller about a military clone who is heading for execution and escapes. It’s an inspiring and intelligent look at human emotion. It works because we care deeply about this clone. It’s amazing what can be accomplished in fifteen minutes. Unfortunately, the same cannot be said for the 111 minute, Repo Men. Carice van Houten is interesting as Remy’s wife Carol, who is fed up with her husband’s barbaric line of work. Alice Braga (I Am Legend) steps in to take her place. Loaded with mechanical transplants, freeing her from the “reclaim system” provides one of the more noteworthy scenes in the movie. If you're a big Jude Law fan, see it when it comes out On Demand. If you’re not, skip it. You won’t be missing much.

Movie Review: Green Zone

Matt Damon is Roy Miller, a U. S. Army warrant officer in charge of finding weapons of mass destruction (WMD’s) in Iraq. We all know the United States declared war based on some very questionable “intelligence”. Miller, frantic and frustrated by his failed searches, is one of the few people in the movie who actually cares whether this so called intelligence is true or not. Green Zone is based on the bestselling nonfiction book by Rajiv Chandrasekara, "Imperial Life in the Emerald City: Inside Iraq’s Green Zone". The book is a tension filled page turner that I assume accurately depicts the horrifying confusion that characterized the beginning of the U.S. invasion of Iraq. The movie is directed by Paul Greengrass who also directed (and wrote) the riveting, United 93. This is an excellent example of how two movies with known storylines and outcomes can succeed or fail at generating tension. United 93 was almost unwatchable because of its realism and the palpable anxiety created by Greengrass and the small group of relatively unknown actors (Khalid Abdalla is in both – he is Freddy, the one legged man in GZ and a terrorist in United). I never felt tension in the Green Zone even though a tremendous amount of effort went into attempting to create it. Maybe I’m just a little tired of the shaky-camera technique used instead of a good screenplay and good acting to create intensity. As an educational piece, Green Zone succeeds. We learn about the possible and probable, ins and outs of this charade carried out by the Bush administration to fool the world into believing Iraq was hiding WMD’s. What else is new? The movie looks real. Production started in Spain, was moved to Morocco and the filming was finished up in the UK. Kudos to the set designers and cinematographers for making this film look authentic. Damon is not at his best and the character is too close to Jason Bourne to let us forget it. Greg Kinnear is good as the sleazy Pentagon Intelligence Officer and orchestrator of this scam. If you want a visual for how this country got into the Iraq war, then the Green Zone will work for you. If you have read and heard enough, skip it.

p.s. The real Green Zone is the heavily guarded diplomatic/government area of closed-off streets in central Baghdad where U.S. occupation authorities live and work. It includes the main palaces of former President Saddam Hussein. The area houses the civilian ruling authority run by the Americans and British and the offices of major U.S. consulting companies.

Movie Review: Alice In Wonderland

It’s great fun to walk into a movie theater, not expecting much, and walk out feeling totally entertained. It doesn’t happen often enough so when it does, I am very appreciative. Tim Burton’s, Alice In Wonderland is not a great movie but it is a good movie. What really saves it? It’s short. Clocking in at 108 minutes allows us to overlook some of its shortcomings and enjoy what it has to offer. It is an unusual take on the old story, keeping the major players but tweaking it a bit, ultimately making a different and timelier (not better), point. The screenplay has Lewis Carroll’s story as the back drop but the updated style of Linda Woolverton - who brought us the tough characters in Disney’s Mulan and The Lion King - bringing to the table something fresh and unique. This Alice is a film about a brave 19 year old girl who follows her dream and follows her heart and to do that she just may have to run away and slay a dragon (or a Jabberwocky). I think a lot of girls can relate to that. This girl can. The movie is a Tim Burton production, so you can rest assured, it will be crazy. He’s responsible for: Beetlejuice, The Nightmare Before Christmas, Edward Scissorhands, Ed Wood, Sleepy Hollow, The Corpse Bride and Sweeney Todd (he really loves Johnny Depp), to name a few. But the craziness works, as it always does for him, because the stories are strong and his cast always delivers. Alice is no exception. Mia Wasikowska (you’ll recognize her from HBO's In Treatment) as Alice is beautiful and as tiny as she is, exudes strength. By the end, she is like Joan of Arc. Helena Bonham Carter (Sweeney Todd, Terminator Salvation) is irresistibly wicked as the Red Queen. Crispin Glover as Stayne, is equally perfect as her sidekick. Their ridiculous lusty glances at each other are too funny. This is not Johnny Depps’ shining hour, but he is good. As The Mad Hatter, he uses one of his weird voices that, at times, is difficult to understand. You will be asking yourself, “what did he say?”, quite a bit but don’t worry, you’ll always know what’s going on. Tweedledee and Tweedledum (both played by Matt Lucas), the Cheshire Cat (Stephen Fry), the Blue Caterpillar (Alan Rickman) are the other familiar Wonderland residents; all great and beautifully rendered. In terms of the art direction and set design, Wonderland is no Pandora. The bar has been set very high; we have been spoiled by Avatar. In all fairness, Alice was not shot in 3D. Traditional cameras were used and the dimensional technology was added later. It shows. Visually, it pales in comparison to what we have come to expect from 3D. This is not a movie for small children. Some of the images are very scary. The story is sweet and strong enough to hold up on a TV screen, but see it in a movie theater. It’s fun, fast moving and you can talk about how it compares to the original story when you get out.

Movie Review: A Prophet (Un prophète)

The story of A Prophet is a fairly common one: A scared young man, who’s been in trouble his whole life, gets incarcerated for an insignificant crime and gets trapped in a system that really teaches him how to be a criminal. It traces the evolution of an illiterate French-Arab prisoner who uses his time in prison to learn how to read and write, add and subtract. What sets this movie apart from the others is that it delves a little deeper into prison culture. Nothing we haven’t seen before but it’s simply a closer look; how the laundry works and how the bread is passed around, the classroom and textbooks that are used. When we are provided with this type of material, we tend to look harder and it makes the movie more interesting. Malik El Djebena (Tahar Rahim - a newcomer!) is a disheveled, frightened, nervous young Muslim who becomes an errand boy behind bars for a Corsican mob boss (César). As he takes on more responsibility and advances his criminal career, Jacques Audiard, the director, focuses on the mechanics of prison life as well as how the not so innocent, but inexperienced, Malik responds to his changing status. It is his inexperience that provides the constant tension that keeps this film so intense. A Prophet also shows us Maliks’ reaction to his first plane ride, his first view of the ocean and the feeling of sand under his feet. This is as much a coming-of-age picture as it is an object lesson in how a poor, lost kid finds his place in the criminal world. Audiard does not neglect the blood and guts. We witness plenty of both, right from the start. The movie kicks into high gear early, when Malik is coerced into assassinating a snitch. This act of violence will haunt him and fundamentally, change him. When all is said and done, this is the essence of the movie. What happens to us when we are forced to do something that goes against our nature? A Prophet is a rare film about a young man, who is a survivor and prison becomes his proving ground. Tahar Rahim does a fantastic job conveying the innocents of this 19 year old even while he commits acts of brutality. The movie is down and dirty and not for the faint of heart, trust me. It is a French language, subtitled movie that is not always easy to follow. My one complaint (and pet peeve with so many movies), it’s too long. It is well over 2 hours. Fifteen minutes shaved off of this film and it would be better. If you can find it, see it.

p.s. A Prophet won The Grand Prix last year at The Cannes Film Festival and it is one of the nominees for Best Foreign Language Film at this years Academy Awards. It should win.

Movie Review: Shutter Island

In 2002, Martin Scorsese took the torch away from Robert De Niro and passed it on to Leonardo DiCaprio, when he directed him in Gangs of New York. Shutter Island is their fourth collaboration. With every movie it would seem impossible for Scorsese to get a better performance out of him, but with every movie he does. It’s a miracle. After Gangs came The Aviator and after The Aviator came The Departed. DiCaprio is an incredible talent and you can credit De Niro for recognizing it very early on. When casting for This Boy’s Life (a film based on the memoirs of Tobias Wolff), De Niro, who played the abusive father, pointed to DiCaprio and said “I wanna work with the blonde haired kid”. That was 17 years ago. It was his first big role and was soon followed by another amazing performance when he played the mentally challenged little brother of Gilbert in What's Eating Gilbert Grape. O.K., back to Shutter Island: way long but it is moderately engrossing. The movie kinda sucks you in and even without the use of 3-D magic, you feel as though you are in the middle of this nightmare. There is something hypnotic about it. Based on the novel by Dennis Lehane (he also wrote Gone Baby Gone), I understand the movie is very true to the book. The exceptional screenplay was written by Laeta Kalogridis (Pathfinder – not great). With surprising little screenwriting to her credit, she does an unbelievable job with this complicated story. It is a '50s style suspense film that opens with two federal marshals meeting on a ferry going to an island that is home to a hospital for the criminally insane. Teddy Daniels (DiCaprio) meets Chuck Aule (a surprisingly excellent, Mark Ruffalo) for the first time between seasick heaves and chain smoking. They have been instructed to check out the disappearance of a patient/prisoner named Rachel, a psychotic mother who drowned her children and has apparently vanished. Teddy, a veteran of World War II, has a hidden agenda: he is looking for another patient, a man he thinks is responsible for the death of his wife, Dolores (Michelle Williams). I’m not going to say any more about the story but I am going to talk more about the cast. I don’t know how they managed to put together so many extraordinary actors known for their portrayals of creeps and psychos. Just for starters, there is Ted Levine - Buffalo Bill in Silence of the Lambs and Jackie Earl Haley who plays a child molester in Little Children. In addition, we have John Carroll Lynch from the Zodiac and Elias Koteas who played the very scary, Edgar Reese in Fallen. And if that’s not enough, there is Max von Sydow, the Exorcist! He does “creepy” with very little effort. Shutter Island is not perfect by any stretch of the imagination. Clocking in at 138 minutes, it is simply too long. Ten to 15 minutes carved out of this film and it would be much better. The music is disturbingly loud at times and 'misplaced' (music should enhance without ever being a distraction). But it is well worth it for the not so unexpected but well executed twist, the stellar performances (Ben Kingsly is terrific as the benevolent doctor), dream sequences and spooky cinematography. And, my friends, right now, there is nothing new out there to see. If you have not seen: Crazy Heart, The Hurt Locker, Broken Embraces, The Single Man, The Young Victoria or Avatar, go see them first.

Movie Review: The Wolfman

Very disappointing. It’s never a good sign when a movies’ release date is postponed. The Wolfman was scheduled for release last Fall. Unfortunately, no matter how much re-shooting and re-editing was done, they could not save this movie. Riddled with problems; all the meddling simply made it very close to unwatchable. This blood and guts remake never elicits much more than a tiny little startle and it does it by using the oldest trick in the book; sudden loud noises. With all its savagery the director, Joe Johnson (Jurassic Park III, Hildalgo), never gets even close to the emotionally laden 1941, Lon Chaney Jr. production, which remains a favorite 7 decades later (absolutely no chance of that here). Interestingly enough, Benicio Tel Torro, an actor with significant talent (think Che, Traffic and 21 Grams), fails to bring any life to his portrayal of Lawrence Talbot: a man bitten and doomed to transform into a beast when the moon is full. Chaney, an actor with very limit ability, manages to impart the role with the anguish of a tortured soul; the point of this classic tale.
Talbot returns home after learning that his brother has disappeared. Once there, he meets up with his father, Sir John (Anthony Hopkins) and his brother's fiancée and soon to be love interest, Gwen (Emily Blunt). After discovering his brother has been murdered he heads out into the foggy moors to find the killer. It was adapted from Curt Soidmaks' original screenplay (1941). Revised by Andrew Walker (Sleepy Hollow, Seven) and David Self (Road to Perdition, Thirteen Days); they took what amounts to, unnecessary liberties with the hopes of bringing something more interesting to the story. By adding more they ended up with less. Thankfully, Blunt and Hugo Weaving (as the Scotland Yard detective) bring some energy to this otherwise very stale and lackluster remake. One stroke of genius by the producer: bringing Rick Baker, the fabulous makeup artist, on board. In 1981, Baker brought us the truly inspired movie-monster transformation in the unforgettable, An American Werewolf in London (none of us had ever seen anything like that before - a must see!). The Wolfman is not a computer generated image. Baker brings back the craft of make-up and physical effects creating a real living beast. When the camera was focused on the beast, I was moderately entertained. Wait for it to come out On Demand (if for no other reason than to watch the transformation) but in the meantime, try to see the original.

Movie Review: Broken Embraces

Broken Embraces (Los abrazos rotos), may be hard to follow for some, not because it’s subtitled but because of the wild, convoluted plot. It is worth every bit of extra effort to experience this truly unique and extraordinary film. Beautifully shot by Rodrigo Prieto (Brokeback Mountain), every frame is filled with eye-candy even when it’s not focused on Penelope Cruz, who, no matter how close the camera gets, is always a stunner. Credit must be given to Pedro Almodóvar (he also directed the incredible Volver), the writer/director for brilliantly getting this complex story effectively to the screen. Trust me, it’s not easy. Broken Embraces mingles comedy and the unsettling style of Hitchcock with the 1950’s approach to melodrama, ultimately creating a unique style all its own. The movie opens with Harry Cain (Lluis Homar), a blind writer - who use to be a sighted director - being escorted across the street by a beautiful woman. He effectively turns their encounter into a seduction. It’s a scene you will not soon forget. It would take all day and half the night for me to explain the plot. Let’s just say it is a movie about film and it is a film about love. It is powerful, funny, painful and rich. The truly remarkable screenplay moves easily back and forth through time; a tribute to the fine editing by Jose Salcedo. Cruz is outstanding in this complicated role, effectively playing three different women; she captures fierce jealousy like nobodies business. Really exceptional. The movie is not without its flaws. Not every question is answered, not everything is credible but quite frankly, only American audiences expect that in a movie. Broken Embraces doesn't quite reach the ranks of Volver, but it is still a must see for movie lovers (and lovers - the movie is an ode to passion). If you haven’t seen it, see it. It will work on a TV screen but it will be so much more enjoyable in a dark, quiet movie theater.

Movie Review: Dear John

Based on the novel by Nicholas Sparks, Dear John is so beyond formulaic, that anyone who has ever seen a romantic drama will figure out everything from the opening scene. Endless montages, beautiful faces, dreamy stares and a super thin plot will make you yearn for the credits. John Tyree (the very hunky model turned actor - Channing Tatum), a U.S. soldier, meets Savannah Curtis (Amanda Seyfried - Mamma Mia) , a college student, while home on leave during spring break, 2001. It is love at first sight. John introduces her to his father (Richard Jenkins), an obsessed coin collector who’s suffering from, what appears to be, Asperger’s Syndrome, a mild form of autism. When the 9/11 tragedy takes place, John must go back to fight overseas and feels sad to be separated from the love of his life. He and Savannah promise one another that they will communicate through letters in order to keep their love alive. When John goes off to war; Savannah bonds with his autistic father. But after corresponding back and forth through many letters, she suddenly writes her very last letter simply stating that she has moved on with her life. Ugh! Ring a bell? This is what happens when you take sappy but moderately respectable source material and turn into an insipid screenplay. Even the young teenagers, who are the target audience for this movie, were laughing. Jamie Linden, (who wrote the screenplay for We Are Marshall - also not great), fails to bring any of these characters beyond a cliché. The one exception is John’s father (Jenkins). Time spent with him was the most enjoyable. Tender and sweet; we love this man. The film ends with every possible corny, mushy, contrived trick in the book to elicit tears. None of them work. And in case the director, Lasse Hallstrom (he did direct the fantastic, Cider House Rules), doesn’t know it, the audience can only handle so many montages before we start checking our watches. It runs for 1 hour and 45 minutes but feels much longer. Forget it. See The Notebook again if you’re hungry for Sparks’ material.

Movie Review: Crazy Heart

Lots of booze, lots of cigarettes, lots of one-night stands and lots of divorces: What does that all add up to? Nothing; except you can’t take away a God given talent. When given half a chance, that talent will rise again, to the top. How bad does it have to get before a person wakes up and says, “I want to get sober?” Where is rock-bottom? This is Crazy Heart; the story of a washed up, aging, country music singer/songwriter and dangerous alcoholic, on a long downhill spiral. Reduced to playing in bowling alleys and saloons with local teenage pick-up bands, he can’t get through a set without hurling out the back door. Between the alcohol and the chain smoking, you don’t know what will kill him first. Jeff Bridges, as Bad Blake, is so outstanding, so believable; he takes this old story, and turns it into a gripping tale. We all know Bridges can do anything. He was the President of the United States in The Contender, the rightfully paranoid professor in Arlington Road and a murderous husband in Jagged Edge (just to name a few of his exceptional and under-appreciated roles). He outdoes himself with this Oscar worthy performance. Scott Cooper, the director and screenwriter, does a remarkable job bringing the cast together and getting the absolute best performances out of everybody. Maggie Gyllenhaul, as Jane, Bad’s love interest, with her sad eyes, is tender and raw. She does something special with a very traditional role. She plays a single mom who takes a big chance on a beat-up, liquor-drenched, cowboy (very chancy indeed, for her 4 year old son). Colin Farrell, expert at putting his Irish on hold, does a stellar and perfectly understated (and uncredited) job as Tommy Sweet, Bad’s protégé, who has now far surpassed his mentor. Who knew Farrell could sing? I don’t think his agent knew. But he got up in front of 12,000 people at the Journal Pavilion in Albuquerque, New Mexico and did a fantastic job. Fun! Robert Duvall is right at home playing Wayne, Blake's longtime friend, in a movie that is very reminiscent of the one that won him an Academy Award in 1983, the flawless, Tender Mercies. Crazy Heart is an 'upbeat' version of the very very downbeat novel written by Thomas Cobb (co-screenwriter) which does not provide a happy ending. American moviegoers like happy endings. This is a little movie that does not need a big screen but it does lend itself to the intimacy of a dark movie theater. See it for the outstanding performances and the excellent original score by T Bone Burnett - the Producer and award winning songwriter.

Movie Review: A Single Man

Tom Ford, one of the world’s most famous fashion designers, who saved Gucci from the brink of bankruptcy, is in his element directing this highly stylized feature film. We could all guess the movie would 'look' good. But with a masterful screenplay (written by Ford and David Scearce), together with Spanish cinematographer, Eduard Grau and production design by Dan Bishop (Mad Men), the movie is not just good, it is great. A Single Man is a very genuine look at loss and grieving and the loneliness that can permeate a person's life when their heart has been broken. It is one of the few films to treat the subject of grief without manipulating the audience. For anyone, gay or straight, who has lost a great love, the portrayal of anguish in this movie is palpable. George (a never better Colin Firth) is so lost in his grief over the sudden death of Jim (Matthew Goode,) his lover of 16 years, he is oblivious to the fact that the United States is at the height of the Cuban Missile Crisis. It is October 30th, 1962. While George is putting his affairs in order, getting ready to take his life, the news that this country is in the middle of the greatest confrontation of the Cold War and as close to Nuclear War as we have ever been, is blaring over the radio and on the TV. We may all be reduced to a cinder. But rather then diminish his experience; it makes it all the more poignant and all the more painful. The movie takes us through his quiet but eventful day where even breathing for George, appears difficult. As he crosses paths with a beautiful student (Nicholas Hoult), a stunning hustler (Jon Kortajarena - wow) and friend, neighbor and one-time lover Charley (Julianne Moore), we get a seldom seen look into the depths of sensitivity of a tortured soul. Pay close attention to the scene in front of the Hitchcock billboard. It is breathtaking. It goes without say, this movie is not for everyone. It is unapologetically, about a gay relationship. Ford, who is openly gay, does not indulge our societal hang ups. Try not to miss it.

p.s. The movie, based on the novel by the same name, was written by Christopher Isherwwod and is loosely autobiographical. He dedicated the book to Gore Vidal, a devout bisexual.

Movie Review: The Lovely Bones

In order to fairly review the movie, I must first discuss the book. The Lovely Bones, written by Alice Sebold, was no small miracle of a novel because it took subject matter that does not lend itself to beautiful storytelling and it does just that. The book begins with a chilling description of a horrendous crime; the rape and murder of 14 year old, Susie Salmon (“like the fish”). It then takes you on an unbelievable journey of healing, forgiveness, understanding, and moving on. Sebold describes the progression and transformation of grief for Susie's family, friends and the community she lived in. She reveals the odd friendships made and the relationships destroyed: the devastated father who buries his sadness trying to gather evidence, the mother who escapes "her ruined heart, in merciful adultery." She simultaneously brings to life an entire suburban community, from the mortician's son to the handsome biker dropout who quietly helps investigate Susie's murder. The novel is about "the lovely bones" growing around Susie's death as everyone goes on with their life. These are qualities and subjects that simply do not lend themselves to Peter Jackson’s (Lord of the Rings) style of epic commercial movie-making. It is as simple as that. Caught up in the computer generated heaven he creates and the creepy, murderous pedophile, Mr. Harvey (played by an unrecognizable – Stanley Tucci), the whole point of the story is lost, and I mean really lost. And unless I fell asleep during some of the unbearable 135 minutes of running time, most of those poignant issues that are the crux of this story, are absent in the movie. The source material is turned into a serial-killer thriller, that’s not so thrilling, concentrating on Harvey’s next victim. The raw emotions uncovered by the voice of a child who grieves for her survivors, so beautifully told in the book, are no where to be found. Saoirse Ronan is unbelievable as Susie. Do you remember her as Briony Tallis in Atonement? She is something else. As for the rest of the cast: Sarandon, Tucci, Rachel Weisz and Wahlberg, it is simply a case of great actors (Wahlberg – not so much) working with not so great material. Sebold was not involved in the screenplay; a mistake. Skip it but if you have not read the book, read it. You won’t be sorry.

p.s. Alice Sebold’s description of rape was so bitingly clear in the book because she was viciously raped her freshman year of college. Her book, Lucky: A Memoir, is a fascinating and brutally honest recounting of her ordeal and the legal system which seems unfairly geared towards protecting the perpetrator. When interviewed by the police, they told her she was “lucky” because at least she wasn’t murdered and dismembered like the girl before her. Her experience was the inspiration for her writing The Lovely Bones and shaped the rest of her life.

Movie Review: The Book of Eli

Unfortunately, it is impossible for me not to compare The Book of Eli to The Road, a much darker, deeper and emotionally rich movie. In reality, the resemblance is only on the most superficial level. They are both post-apocalyptic with barren landscapes and gangs of thieving rapist, killers and cannibals roaming what’s left of our country. Both have their star making an epic journey to the coast. The Book of Eli will be a bigger commercial success for a few reasons. Denzel Washington (Eli) is, for the moment, enjoying rock-star status and the carnage in The Book of Eli is less horrific, flashier and has a crowd-pleasing, martial art-like quality. Eli can lop your head off with a flick of his wrist. He carries a big machete and a shotgun and he is very proficient with both. And we all know, Denzel makes a great badass (Training Days and American Gangster), even though in this performance he is very subdued. He plays a scarred loner whose main possession is a copy of the Holy Bible. The book is the target of Carnegie (Gary Oldman – a born movie villain), a tyrant and ruthless businessman who runs one of the small “towns” left. Eli is a prophet of sorts, whose only mission is to head West and deliver the book into the right hands. He doesn't know who those hands belong to but he is certain he will know when he finds them. Directors/brothers Albert and Allen Hughes don’t quite seem to know what kind of film they are making. The picture is deadly serious, almost to a fault, until a scene where Eli and his companion-in-action, Solara (Mila Kunis), must seek refuge with an older couple. Then the one-liners and comedy get thrown in. This is a truly remarkable scene featuring Michael Gambon and Frances de la Tour as a very well-armed couple of senior survivors. As the artillery rolls up to blow their house to smithereens, her line about just having put out the best china is priceless. The movie manages to be entertaining in spite of itself. Look for Jennifer Beals (Flashdance), as Claudia, Solaras' mother. She is still beautiful. It is not a must see and even though these post-apocalyptic movies look better on a big screen, this one can wait for cable or DVD.

Movie Review: The Imaginarium of Doctor Parnassus

The Imaginarium of Doctor Parnassus is not a good movie. The only question you need to ask yourself is: “Do I want to see Heath Ledger’s final performance”? Even if you are a Ledger fan, you may still be disappointed. The movie simply doesn’t gel and despite all the amazing visual images, it is impossible to stay engaged in the story. Ledger does a good job as Tony, the ‘Jokeresque’ scam artist but he is not nearly as good as Christopher Plummer in the title role. He is wonderful, as always, and steals the show with his portrayal of a magician/con man, with a fondness for gambling. He travels around an apocalyptic-looking London in a dilapidated vaudeville wagon. His motley crew includes his very beautiful daughter, Valentina (Lily Cole – who looks just like my friends daughter, Ariel), his tiny sidekick, Percy (Verne Troyer -Mini-Me – the most entertaining person in the film) and what do they do? I couldn’t tell. Parnassus is an outcast who has an extraordinary power; he can project people into their own imagination once they step through his magic mirror. The fascinating journey always ends with a choice which can lead to good or bad. Parnassus, the incorrigible gambler that he is, has his own problems. Having won a wager with the Devil, Mr. Nick (the actor/singer/songwriter-Tom Waits) he has made two successive Faustian deals. Granted immortality first and eternal youth next, he agreed to deliver his first-born when she reaches the age of 16. And now that she is only days away from that fateful age, the Devil is already prowling in the vicinity. But the movie always feels disjointed.
Terry Gillian, the writer/director, does one thing extraordinarily well; he is very resourceful in his cover up of the death of Ledger mid filming. He recruits Johnny Depp (who looks remarkably like him), Jude Law and Collin Ferrell to play the alter-ego versions of Ledger. Gilliam turns what could be potentially morbid, into a group tribute that actually works in the context of the film's universe. Once you pass through the Good Doctor's magic mirror, the movie suggests, you could turn into anyone. Gillian’s love for Monty Python is blatantly obvious with his twisted humor, acid inspired landscapes, bizarre creatures, well dressed devil and wisecracking midget. This is a very tough sell for mainstream audiences.
The end-credits dedication calls it "A Film From Heath Ledger and Friends," which reflects Gilliam's clever answer to a director's worst nightmare: the mid-production death of his star. Even Gilliam himself admits the movie is “a store of unused materials and ideas lying around in drawers from unmade films ... with no form as such." But it never lacks for something spectacular to look at: Monique Prudhomme's remarkable costumes, layers upon tattered layers and the gorgeous sets. Rent it or wait for it On Demand if for no other reason then to get another look at the work of the late, Heath Ledger.

Movie Review: Daybreakers

The best thing about the movie Daybreakers is seen in the first ten minutes. It's the set design. George Liddle (always good with 'dark'), does a phenomenal job creating a cold, hard, dark blue-black world. Vampires, as you know, cannot be exposed to sunlight. Skyscrapers are connected with tunnels suspended through the air, the subway system is used to navigate during the day, houses are equipped with artificial light panels instead of windows and automatic shades lower before the sun rises. It’s all surreal but believable. The year is 2019 and a virus started by a single bat bite has mutated most of the planet’s population into vampires. Vampires run the show. Humans are hunted and harvested for their blood. Real blood is the only commodity and Charles Bromley (Sam Neill), is the ‘bloodthirsty’ CEO of Bromley Marks Corporation, the company that has been producing and supplying it since the outbreak. But supplies are dwindling and his company is working tirelessly on a suitable synthetic substitute. Bromley is counting on Dr. Edward Dalton (Ethan Hawke), vampire and chief hematologist who just happens to be a human sympathizer. The good doctor is more interested in finding a cure for vampirism then making fake blood. Either way, these are desperate times because vampires deprived of blood turn into monstrous bat-man like creatures and they are threatening to disrupt the social order. Oh brother! But in all fairness, the potential for a great story is here. It just gets bogged down with heavy political overtones and way too much blood splatter and what should be scary becomes unintentionally funny. This very nifty concept gets lost in an overblown production. The writer/director team of brothers, Michael and Peter Spierig are relatively new to the business and probably should have asked for a little help from Janice Fischer (The Lost Boys) or David Goyer (Blade). Yeah…then the movie would have been great! Daybreakers also stars Willem Dafoe and Claudia Karvan as the warm-blooded and fangless, heads of the resistance. If you are a big fan of vampire movies, and I am, see it but wait for it to come out On Demand.

p.s. There is a lot of smoking in this movie including a scene with kids smoking. Everybody who knows me knows I am vehemently, anti-smoking (read my post "Quitting Smoking" - 10/09). But the idea is, if you are already dead, what difference does it make if you smoke? In many ways the vampire concept is a metaphor for excess and clearly, that is one of the messages of Daybreakers.

Movie Review: Nine

Nine, starring the incredible Daniel Day Lewis as the Italian director, Guido Contino, is really quite the mess. It almost borders on embarrassing. Actually, it is embarrassing. Lewis is amazing but miscast. Even with his perfect thick Italian accent, he cannot save this film. It’s a musical and he cannot sing a note, not one. I hope I’m not the only person who thought he sounded like The Count from Sesame Street. When it comes out On Demand (and believe me, it will be out of the theater and On Demand in a minute), watch it. Tell me he doesn’t sound like The Count? The paper thin plot goes like this: Contino is a great Italian director but his creative well has run dry. His recent projects have been less then successful and his critics are quick to mention it anytime it is announced that he is about to go behind the camera. Contino has just publicized his greatest project ever…a love story to his home country, simply entitled “Italia!” There’s only one thing keeping him from filming his masterpiece…..he hasn’t written it yet. For inspiration he turns his thoughts to the various women who have influenced his life: his wife Luisa (Marion Cotillard), his star, Claudia (Nicole Kidman), his mistress, Carla (Cruz), his costume creator Lilli (Judi Dench), a star struck reporter (Kate Hudson), his late mother, played by the still magnificent at 75, Sophia Loren. Even the town prostitute from his childhood played by Fergie from the Black Eyed Peas shows up and sings a song. She, by the way, has a tremendous set of pipes. Cotillard and Fergie provide the most entertainment in this very lame production. If you take away the songs (most of them are dreadful anyway), you are left with precious little. On the up-side; the Italian seaside setting is spectacular to look at and provides a welocme but only momentary, distraction. Nine is an adaptation of the Broadway musical, which itself was adapted from Federico Fellini’s Oscar winning film, 8 ½. It runs for one hour and fifty minutes. Short by today’s standards but it seemed like an eternity. Skip it. Ugh!

Movie Review: The Young Victoria

The Young Victoria is a little slow, suffers from too much voice-over and is overly restrained. But if you are into period movies you might enjoy it anyway. It’s not Elizabeth (Kate Blanchett), not even close but the movie does teeter on the edge of being entertaining. Emily Blunt does an interesting job with the part. You can see her change as the film progresses, becoming more self-assured and 'regal', bringing some credibility to this challenging role. I did however, think about who would have made a better Victoria. I could not come up with anyone. The storyline is a matter of history and the movie does a descent job of giving us just that. Much of the movie involves the conflict surrounding the way the Duchess of Kent (Miranda Richardson), Victoria's mother, closely allies herself with the conniving Sir John Conroy (Mark Strong, also the villain in Sherlock Holmes). Together they conspire to keep Victoria sheltered, unprepared, helpless and completely dependent on them. If only she would sign the regency papers allowing her mother to run the country. In the meantime, they don’t let her walk up or down the stairs without holding the nanny’s hand. King William IV (who had no legitimate children – he had 10 illegitimate ones), Victoria's uncle, cannot stand The Duchess. One of the best scenes is at his birthday party where William (Jim Broadbent), slurring fabulously, lashes out at The Duchess, drenching her with venomous insults in a drunken tirade while the guests look on appalled, horrified and enormously entertained. And then Victoria is crowned. The weight of that crown sits heavy on her head, literally, creating a memorable image. Discussion of a husband begins in earnest. Of course, we know who wins out: Albert (Rupert Friend) of Saxe-Coburg and Gotha, Victoria's German-speaking first cousin, a man of honor. Albert's courtship of the queen is a complicated affair. He must gain her trust, thwart the ambitions of rivals, not seem too intrusive and wait for her proposal. Complicating matters more, he seems to really love her. Their relationship is one of the great love stories and their devotion and heated attraction to one another is one of the highlights of the film. Together they have nine children - four sons and five daughters: Victoria, Bertie, Alice, Alfred, Helena, Louise, Arthur, Leopold, and Beatrice. The Young Victoria, like all period movies, is about costumes and behavior. Getting an interesting story and a little bit of history are the perks. You get all of it in this pretty little movie. It is written by actor/writer, Julian Fellowers and directed by Jean-Marc Vallee. It runs for an hour an forty five minutes, a small investment for the reward. You can see it in the theater, wait for it on cable or rent it.

Movie Review: Sherlock Holmes

Sherlock Holmes tries too hard. The movie is at its best when it is "Sherlock Holmes" plain and simple. When Holmes is 'sleuthing' or bantering with Watson the movie is very entertaining. I loved it when Holmes uses his deductive reasoning to calculate the most effective moves to use to subdue a thug in a back alleyway. He talks it through in his mind, we witness it in slow motion and then in it plays out in real time. It is the opening scene and it is a very clever technique director Guy Ritchie has used in other films (Snatch and Lock Stock and Two Smoking Barrels). But in the midst of too many explosions, long drawn out fight scenes, and an over abundance of computer generated images (CGI’s), the movie gets bogged down and loses momentum. Robert Downey Jr. is a far cry from Basil Rathbone or Peter Cushing but he is a fabulous Sherlock never-the-less. Ripped, slovenly, overly moody and possibly too close to Dr. Watson, he is a new take on Sir Arthur Canon Doyle's most famous fictional character. Jude Law is too gorgeous to be a plausible Watson but who cares (I'm a sucker for a pretty face). I loved him in this movie and together they make a terrific crime fighting duo. The acting is not the problem; it’s the heavy handed plot. Something about a secret satanic society lead by Lord Blackwood (Mark Strong) that practices its evil business under the House of Parliament. It’s too silly. There is no question, the screenwriters (there are 4 of them) were aware of Doyle’s interest in *spiritualism but it is so over-the-top it becomes a distraction. The very talented and beautiful Rachel McAdams plays Irene Adler, Sherlock’s female nemesis but her role here feels strained. This is a screenwriting problem not an acting issue. The ending screams for a sequel but I would love to see it in someone other then Guy Ritchie’s hands. Ouch, I know, but he’s not my favorite director – remember Swept Away? Awful. There is too much big cinematography (albeit CGI) to recommend renting it. It will be greatly diminished on a TV screen. But I’m having a hard time recommending you spend 2 hours and 15 minutes in the movie theater. Then again, if you are a Robert Downey Jr. fan, and I am a big one, how can you miss it? You can’t.

*Doyle became interested in spiritualism after the death of his wife, Louisa, his son Kingsley, his brother, both brothers-in-laws and 2 nephews. He found comfort in his quest to prove scientifically, that there is life after death. In his novel, The Land of Mist, Doyle uses another fictional character, Professor Challenger, to reveal his own personal experiences with contacting the dead.

Movie Review: Avatar

Avatar is destined to become the gold standard by which all science fiction/fantasy movies are measured. Like Cameron’s The Abyss, The Terminator and Aliens, we are witness to images never seen before and trust me, you will be amazed. Although the story is not as compelling as the stories in those movies, the images and the landscapes make up for it (something I never thought possible). The gorgeous and talented Sam Worthington plays Jake Sully, an ex-Marine who has lost the use of his legs in battle. The year is 2154 and all of the Earths natural resources have been depleted. The solution; a substance called “unobtainium” (I’m not sure how anyone said that without laughing). The problem; the only place it can be found is on the distant Pandora, the moon of the planet Polyphemus, 3.4 light-years away. Pandora is inhabited by the Na’vi, a very beautiful, very tall and very blue humanoid yet cat-like race who are beyond nature-loving. They are intricately connected to nature through their anatomy. It is just this type of storytelling James Cameron can pull off that makes him a genius and the self-proclaimed, “king of the world”. Remember, he is not just the director; he is the writer. The storyline is classic. The Na’vi have what our planet needs and we have come, with all our military might, to take it. The plan is to attempt a diplomatic solution first by infiltrating Pandora with Avatars; scientific creations masterminded by Dr. Grace Augustine (Sigourney Weaver). They are made from combining human DNA with the DNA of the Na’vi. The Avatar is synced to the human who’s DNA was used to create it allowing a type of telepathic control. A few carefully chosen humans have been selected. Jake is not one of them but a twist of fate creates an opening for him and with the promise of "getting his legs back", he jumps at the opportunity. The Avatars' job is to get to know these relatively peace-loving creatures and convince them to move. Needless to say, diplomacy fails and our big military guns - led by Col. Miles Quaritch (a very buff Stephen Lang) and Parker Selfridge (Giovanni Ribisi), the brains and money monger of the operation - plow in and try to take what they want. The "understory" and compelling force in the movie is the romance that develops between Jake and Neytiri (Zoe Saltana – Star Trek), the beautiful native who saves his life and ultimately trains him to be one of the Na'vi.
Motion Capture Technology is used to create the inhabitants of Pandora. My usual complaint with MCT is that it generates emotionless characters which is not the case here. On the contrary, the Na’vi as well as all the creatures of Pandora are full of expression and emotion. As a matter of fact, they show more emotion then the real life actors (with the exception of Worthington). This is a tremendous advancement in the technology (check out HBO on cable to see how this movie was made - amazing). And if you don’t think it can be sexy to watch two, blue, computer generated images with tails make love, think again.

I have heard endless comparisons of this movie to Dances With Wolves. For me, the movie that came to mind was The Last of the Mohicans. In fact, there is a scene stolen from it. But Cameron gets away with plenty in this movie because it is a visual masterpiece. Clocking in at 2 hours and 40 minutes the movie is too long but no one seems to mind. I did not see one person get up. Even more impressive, not one cell phone light went on; incredible considering the mean age in the theater. There is plenty of unnecessary voice-over but I'm gonna let it slide. Don’t miss it. See it in 3D in an IMAX theater.

Movie Review: Up In the Air

If you read Up In the Air, the novel by Walter Kirn, you will have a hard time recognizing the storyline in the movie. They have kept the main character, Ryan Bingham (George Clooney), a corporate axeman for hire, but that's about it. It turns out to be a good thing. Jason Reitman, the screenwriter and director, in a stroke of genius, added two female characters bringing more interest and more heart to this very clever and timely film. Reitman's previous movies, Juno and Thank You For Smoking are both terrific but clearly more about the comedy and less about the drama. Up in the Air incorporates both creating a richer product. The message regarding long held beliefs about happiness and what is important in life are skillfully worked into scenes as naturally as when you and I are having lunch (or a cocktail), sharing heartbreaks, life lessons and insights. By doing this, the movie, unlike the book, has interest not only in the air but on the ground. Up in the Air is the story of a man who relishes in his whittled down lifestyle. He spends most of his life flying all over the country doing the dirty work that company heads can't bring themselves to do: fire employees. The euphemism used for his job, "career-transition counselor". Brilliant. He has no attachments and spends time lecturing on the benefit of traveling, literally and figuratively, with no more then what you can fit in your carry-on luggage. Clooney is as perfect in this role as he was in Michael Clayton. He is newly leaned down and plays a very well oiled machine. Vera Farmiga (Orphan, The Departed, The Boy in the Striped Pajamas) plays Alex, Ryan's love interest and even colder, female counterpart. The nice little surprise; Anna Kendrick (Twilight), flexing her acting chops, plays Natalie, the new kid on the block who gives Ryan a taste of his own medicine. With her hair pulled back in a tight ponytail, she steals every scene she is in. Jason Bateman, always underrated, is wonderfully slippery as Ryan's unscrupulous boss. Sam Elliot has a cameo at the end of the movie teaching all of us about star power. If the interviews at the beginning and end of the movie of people getting fired seem very real to you, it's because many of them are. What's real is real and we can feel it. Along with great screenwriting and perfect casting, this very smart bit of moviemaking kicks the film up a notch. Even though the movie has little resemblance to the novel, we know it has Kirn's complete endorsement; he has a part as one of Ryan's colleagues. Kirn has written 7 books. This is the second to make it the big screen. The first was Thumbsucker (Keanu Reeves and Vince Vaughn). Why am I telling you this? Because I feel I have to offer you something more and a little different then other reviewers because I'm always late. I try to make up for it with trivia! With all the aerial cinematography and shots of big airplanes, it needs a movie theater. This is an interesting and finely crafted movie with a great ending (always challenging) that will hit home for plenty of people.