Movie Review The Greatest

The Greatest (2010) 

Directed by Shana Feste 

Written by Shana Feste 

Starring Susan Sarandon, Pierce Brosnan, Johnny Simmons, Carey Mulligan, Michael Shannon, Aaron Johnson

Release Date April 2nd, 2010

Published April 2nd, 2010

“The Greatest” is notable for being the first film I've seen featuring derisive bell ringing. Pierce Brosnan gives the bell to his grieving wife played with anguish and abandon by Susan Surandon. She rings it at him as a rebuke to his attempt to reach out to her following the death of their son. What meaning the bell had was lost on me after Sarandon began so contemptuously ringing it.

”The Greatest,” the first feature from writer-director Shana Feste, is a film that wants to be about grief but plays more like an oddball indie film trying exceptionally hard to treat a familiar subject in an obscure fashion. Pierce Brosnan is Allan, a mathematics professor who was cheating on his wife Grace (Susan Sarandon) at the time their son Bennett (Aaron Johnson) was killed in a car accident.

The affair and everything else in their lives stops at this point as Allan becomes sleepless and confused while Grace becomes crazed and obsessed with what may have been 17 minutes of her son’s life before he died; minutes spent with the man whose truck hit Bennett's car, Jordan (Michael Shannon). Unfortunately, Jordan fell into a coma before anyone could account for the 17 minute conversation.

As Allan, Grace and their younger son Ryan (Johnny Simmons) fall into a routine of grief, sleeplessness, drugs and mania, Rose (Carey Mulligan) enters their life. Rose was Bennett's girlfriend and though she was in the car with Bennett when he was killed, no one in the family seems that interested in her until she shows up at their door three months pregnant.

Allan asks her to move in while Grace resents her and Ryan is a prick to her for reasons only he understands. Why Rose has no one else to live with is passed over briefly in a conversation with Allan but has no importance. She is a plot catalyst and her immediate proximity to the rest of the cast is a plot necessity.

Nothing in “The Greatest” feels remotely organic. It's all dramatic contrivance meant to give the cast a chance to rage in one direction or another. Some of the rage is quite compelling, even moving but mostly it feels like actors showing off the ability to rant and rave in a fashion that feels dramatic. 

Carey Mulligan, the deserving Oscar nominee for “An Education,” plays Rose as an oddball loner who upon moving into the home of her ex's family begins building an elaborate sheet castle in the spare bedroom. She's the kind of indie movie cutie who takes random photographs, typically not on a digital camera, has a pixie haircut and says the things that no one else is willing to say.

Sarandon finds moments of truth in the midst of wilding emotions. She has the film's best scene opposite Michael Shannon as the comatose man. The account of the 17 minutes is deeply moving and revealing and Shannon, a once and future Oscar contender, nails the moment.

”The Greatest” is far from terrible; it's merely off-putting in its overly dramatic fashion and typically offbeat indie movie-ness that has become as cliche as the mainstream dramas that “The Greatest” attempts to circumvent with its oddity.

Documentary Review: Waiting for Superman

Waiting for Superman (2010) 

Directed by Davis Guggenheim 

Written by Documentary 

Starring Geoffrey Canada 

Release Date September 24th, 2010 

Published November 15th, 2010 

We should be ashamed of ourselves. The documentary “Waiting for Superman” from Oscar winning filmmaker Davis Guggenheim should make us all ashamed to look our children in the eyes. It’s our fault. We let this happen. Years and years of neglect and an inability to adjust to the times combined with an intractable group of teachers who we’ve allowed to slouch toward tenure have turned more than a third of the schools in the United States into what one expert calls ‘Failure factories.’

“Waiting for Superman” begins with an idealistic Davis Guggenheim looking back at the amazing, dedicated teachers he met while making his first documentary more than 10 years ago. A decade later Davis has kids and this fact has forced him to reassess his opinion of public schools. The fact is that with a little research Davis finds that the best place to assure his kids of a good education is a private school, even if this flies in the face of his liberal ideals.

Yes, Davis Guggenheim does not hide his political leanings, never has; he won an Oscar with Vice President Al Gore for “An Inconvenient Truth.” Politics aligns Guggenheim with the teacher’s union, a group whose funding of the national Democratic Party has lead to the party being called a ‘wholly owned subsidiary of the teacher’s union.’

Yet, it is also this union that is a big part of what is sinking our schools. A scourge of bad teachers shirking their duty to kids are leaving generations of our children unprepared for the road ahead of them. These teachers pass on kids who lack the skills needed to move forward only to get them out of their classroom. Then, this teacher is bounced from one school to another in the vain hope that the next bad teacher won’t be as bad as the one he/she replaced.

Not all teachers are bad and not all of our problems can be blamed on the teachers union but, Davis Guggenheim and “Waiting For Superman” make a persuasive case that teachers acting in their own self interest and union leaders who put bad teachers ahead of children, are driving schools into the ground to protect the jobs of teachers who deserve to be fired.

The best example of this in “Waiting for Superman” is found in Washington D.C, the single worst school district in the country. A reformer by the name of Michelle Rhee was named Superintendent in 2007. Her goal was to cut through the bureaucracy and move the millions of dollars that the district wasted on administration out to the schools. Once she began that shift; Ms. Rhee found that not only was bureaucracy dragging down D.C schools but an intractable union, braced by a tenure agreement was passing on generation after generation of unprepared and ill-educated children.

Michelle Rhee set about changing this as well and seemed to have a solution. She offered an exchange; teachers could get exorbitant pay increases, six figure salaries, if they gave up tenure.

Giving up tenure would allow the Superintendent to fire the failing teachers and reward the teachers who deserved it. The teachers union refused to even discuss the idea, giving up tenure would mean losing members and losing members equals losing power. D.C is the ultimate example of adults choosing their best interest over the interests of children. “Waiting for Superman” is not all criticism of the teacher union and the despair of lost children; there are heroes to be found here. Jeffrey Canada was an idealistic New York teacher who rose through the ranks to become an administrator in New York. Canada believed he could change the system that was creating so much poverty in Harlem, New York. Then he ran up against the teacher’s union.

Stymied by a union which wastes more than 100 million tax dollars per year on failing teachers, Jeffrey Canada moved to start a charter school, a non-union school that would select a small group of students and educate them in new and progressive ways. Jeffrey Canada’s Harlem Success Academy is changing the way kids are educated. Harlem Success Academy catches kids before they lose hope, before bad teachers rob them of their love of learning.

Jeffrey Canada is joined by other heroic educators who also have started charter schools and are showing astonishing results. In Texas and California; KIPP, Knowledge is Power Program, is delivering kids who are prepared to compete in the changing global economy.

In Los Angeles, Seed Academy is pulling kids out of impoverished homes and placing them in a boarding school that separates them from the violence, crime and apathy of the streets. Each of these schools has been around for nearly a decade and the results have been staggering. Unfortunately, thanks to the teacher’s unions, these charter schools can only take on a small number of kids.

Year after year these charter schools hold state mandated lotteries during which they choose 40 or 50 applications from hundreds of struggling parents desperate to rescue their child from the education system that, in most cases failed that parent in decades passed. Davis Guggenheim follows several families from Los Angeles to D.C to New York as they pray for a space in a charter school.

“Waiting for Superman” ends on a heart rending note as we watch several ordinary and sometimes extraordinary kids facing what could be the defining moment of their lives. If these kids do not get into Harlem Success, KIPP or Seed they will end up at failing middle schools and high schools. The most despairing example is an exceptionally bright, 6 year old Latina girl who if she loses out on the KIPP lottery in Los Angeles will be turned over to one of the worst schools in the country because that’s the district in which her struggling parents live.

These lotteries play like Sophie’s Choice on a massive scale. At one charter school we can save 60 students at another charter we can save 150 students and at still another charter we can save 10 or 20 students. Davis Guggenheim is very specific in choosing the families he chose to follow, kids who are in failing school districts who will end up at some of the worst schools in the country because of geography.

One might guess that only inner city schools are failing but that is not the case. Guggenheim travels to a posh suburban school in Silicon Valley that has nearly as many failing students as any inner city school. Even with a school that looks like a University parents are eager to get their children out and into a charter school that has shown an uncanny knack for sending kids to college and prepared to actually be in college.

This suburban palace school you see has a curriculum based on what is called tracking. Tracking is a system created during World War 2 and was meant to quickly identify traits in kids that could predict how their skills could be put to use in a very different workforce. The economic changes of the last 60 years have shifted the ground beneath us. We have evolved from a manufacturing economy to a thought economy that values a very different set of skills and yet schools continue tracking kids to jobs that are no longer relevant.

On the hopeful side, Guggenheim demonstrates quite clearly that kids are not failing in school, we are failing them. At Harlem Success Academy and KIPP and Seed, kids who in the past would have been written off as being incapable of learning or kids who would have been tracked into irrelevance and despair, are thriving and striving toward College and success.

“Waiting for Superman” is an act of bravery, a desperate cry for help and for change. It’s not about throwing more money at schools but about changing the way schools are set up. Teacher’s unions are protecting bad teachers for their own self interest and in doing so they are abandoning generations of kids to lives of despair, poverty and struggle.

We need to be embarrassed. We should be outraged. We tout the US as the greatest country in the world and yet we rank in the 20’s in terms of education worldwide. China, among others, is well ahead of us in math. When the companies in Silicon Valley go looking for Engineers they look to India because US schools are not turning out kids with the skill level to handle these exceptionally difficult and well paying jobs.

It is an embarrassment and an outrage. Republican or Democrat, you cannot watch “Waiting for Superman” and not come away outraged and ashamed. See “Waiting for Superman” and get involved in changing this abhorrent situation. There is still time to save several generations of kids but we must act now.

Movie Review Knight and Day

Knight and Day (2010) 

Directed by James Mangold

Written by Patrick O'Neill 

Starring Tom Cruise, Cameron Diaz, Peter Sarsgard, Viola Davis, Paul Dano 

Release Date June 23rd, 2010 

Published June 22nd, 2010

Despite repeated bashings in the media, Tom Cruise remains one of the biggest stars in the world. While his image took hits due to what some called bizarre behavior (couch jumping) his appeal to audiences hasn't seen much of an effect. It would be easy to point to his time as an United Artists movie executive and the modest flop Lions For Lambs as symbols of Cruise's slipping star power.

For that narrative to fit however you have to ignore his next film Valkyrie, a real dog of a movie that Cruised past 200 million dollars at the worldwide box office. The fact is, as much as so many in the media seem to want to write him off, Tom Cruise remains one of the last true movie stars and his new movie Knight and Day co-starring Cameron Diaz and directed by James Mangold is ready to prove it once again.

In Knight and Day Tom Cruise plays Ray Miller a super spy on the run with a much sought after item. What this item is doesn't really matter. What matters is that he has it and others want it. Ray needs to catch a flight for Boston and aware that he's being followed he takes advantage of a fellow Boston traveler, June Havens. Stashing this hidden item in her bags and then recollecting it after slipping through security, Ray had hoped he'd seen the last of this beautiful but innocent woman.

No such luck however. The bad guys assume she's with Roy and soon she too must go on the run with Ray and the McGuffin. For the uninitiated, the McGuffin is a Hitchcock creation; it's a plot device motivating characters from one scene to the next with their desire to capture the coveted McGuffin. In Knight and Day it's some all-powerful battery, in Casablanca it was letters of transit, in Pulp Fiction a suitcase filled with gold. You get the point the McGuffin doesn't really matter.

What does matter? Setting up two clever, charming, attractive characters and allowing them to be clever charming and attractive as stuff blows up real good all around them. Director James Mangold is well aware of the formula and sets about staging massive chase scenes and explosions while relying on Tom Cruise and Cameron Diaz to charm the audience into not caring about the obvious lack of originality and invention.

Knight and Day is nothing more than a very typical summer action movie but it gets past the been there, done that factor thanks to a pair of leads who know how to push an audiences buttons. Cruise is all smiles and splendid, comical calm amidst the chaos of Knight and Day while Cameron Diaz is gorgeously goofy delivering her magical combination beauty and gangly slapstick.

Both Cruise and Diaz are all charm and Knight and Day succeeds as both an action movie and a comedy because of the clever ways each star holds the screen by reminding us how much we've always liked them. Who cares about how much of Knight and Day is derivative of other action comedies; those movies didn't have Tom Cruise and Cameron Diaz. Haters be damned, Tom Cruise remains one of the biggest stars in the world and Knight and Day is only the latest example.

Essay The Box Office Myth - 2010

In 2010 I read an interview with writer-director M. Night Shyamalan. In the interview, the master of the twist attempted to twist logic. In response to questions about the quality of his then recent film, The Last Airbender, Shyamalan pointed to the box office returns for the film symbolic of how good the movie was. Essentially, because people bought tickets, they automatically liked the movie. I wrote this in response... 

It's time to correct a growing myth in the world of the movie box office. The myth is thus: success at the box office means the movie is good. The latest to pass off this ludicrous myth is a terrific film critic and reporter Steven Rea who recently interviewed director M. Night Shyamalan.

Shyamalan may in fact be the true progenitor of this particular myth. His films have repeatedly been 

trashed by critics and yet, as the article states, only his “Lady in the Water” can be considered a true box office failure. This propels Mr. Rea and Mr. Shyamalan toward the myth of box office equals quality film.

They are talking about Shyamalan's “The Last Airbender” which through this weekend has taken in more than 125 million dollars. Mr. Shyamalan uses this fact as a bludgeon against critics who have left his movie with an 8% positive rating on the review aggregator website Rottentomatoes (the relevance of Rotten Tomatoes is another debate for another time).

You see, by Mr. Shyamalan's logic, parroted by Mr. Rea, the relative box office success of “The Last Airbender” and each of Mr. Shyamalan's reviled epics “The Village” and the more modest financially successful “The Happening,” state clearly that critics are wrong about the quality of his films. The Audience loves them is what they extrapolate from the box office numbers.

Shyamalan and his defenders take the myth a step further stating that the reason critics don't like 

Shyamalan is somehow personal. They resent his success and especially his ability to draw an audience over their repeated objections to his films. The fans keep coming back so clearly the movies are good.

This notion repeated often enough I am sure offers some comfort to Mr. Shyamalan but let's take the air out of this once and for all. Seeing a movie does not automatically mean liking a movie. Millions of Americans are headed to the theaters this weekend and millions will walk out having paid to see a movie that they did not enjoy.

In the age of the front loaded box office this myth can hide ever so easily behind massive opening weekend box office before word of mouth gets out and ruins everything. That is what happened with “The Last Airbender” which has already dropped out of the box office top 10. After raking in nearly 60 million dollars in its first 4 days ‘Airbender’ has limped to 125 million dollars thru this weekend.

By comparison, “Despicable Me,” a film that has received mostly positive reviews from critics, made 56 million dollars on its opening weekend and has done so in less time in theaters than “The Last Airbender.” “Despicable Me” has already gone over the 200 million dollar mark at the box office and will likely pass 250 to 260 million dollars before it's done.

Box office doesn't translate to film quality. Just seeing a movie doesn't mean people liked it. Many have seen “The Last Airbender” and many of them walked out disappointed. They told their friends who told their friends and many of those people decided not to see it.

Mr. Shyamalan says it’s personal between the critics and him. Critics have it out for him. Why? He’s too successful and he succeeds despite the critics. Success can be defined any number of ways Mr. Shyamalan. Studios I’m sure will agree that your films are successful. The return on investment is the bottom line.

But box office is box office and film quality is film quality. “The Last Airbender” is a terrible film in my opinion and in the opinions of many other critics and even among many of the people who turned it into a successful business enterprise. Crow if you like about the film’s box office success Mr. Shyamalan but you disappointed many who saw your film, not just the critics.

Many Americans paid hard earned dollars to take their kids to see “The Last Airbender” and many walked out feeling cheated that they had spent so much to see a movie they didn’t enjoy. Shyamalan points to their dollars and calls himself successful. That’s a fail on this end Mr. Shyamalan, no matter what the balance sheets say.

Documentary Review ESPN 30 for 30 June 17th 1994

ESPN 30 for 30 June 17th, 1994 (2010) 

Directed by Brett Morgan 

Written by Documentary

Starring O.J Simpson, Mark Messier, Marv Albert, Bob Costas, Chris Berman 

Release Date June 16th, 2010 

Published June 17th, 2010

ESPN Films has turned out remarkable documentaries under the banner 30 for 30. The death of Len Bias, the story of the USFL and the unique life of running back Ricky Williams are just some of the subjects that some of the finest documentary filmmakers working today have tackled with astonishing success.

The latest filmmaker to tackle a sports subject in documentary form is The Kid Stays in the Picture director Brett Morgen. His esoteric subject is one of the more remarkable days in sports and American cultural history, ..June 17th 1994... The date will always be remembered for O.J Simpson's bizarre slow speed chase but this strange worldwide theater encompassed more than just that famed white bronco.

On ..June 17th 1994.. the New York Rangers celebrated an amazing Stanley Cup Victory with a parade in New York's famed canyon of heroes. Ticker tape was thrown and thousands of New York fans gathered to cheer for their hockey heroes as they were feted by New York Mayor Rudy Guiliani.

That same morning Arnold Palmer teed off for the final time at the US Open after 41 years. In Chicago Oprah and President Bill Clinton welcomed to the world to the United States for the opening games of the World Cup. That night the scene was to shift back to New York where the New York Knicks and Houston Rockets played game 5 of the NBA Championship series.

I say that it was supposed to shift because that evening as the Knicks and Rockets tipped off in Madson Square Garden the world's attention was aimed at the 5 Freeway in Los Angeles as O.J Simpson, with a gun to his head and his friend Al A.C Cowlings at the wheel held police at bay.

Brett Morgen brings these stories together in a non-traditional documentary fashion, minus talking head interviews and canned narration. Instead, Morgen uses news footage from that day and archive footage of the man O.J Simpson was to craft the story of this remarkable day in a way that brings it stunningly back from the depths of our collective memories.

Among the most striking memories for me was Police Commander David Gascon's announcement that the Los Angeles Police Department was actively searching for O.J Simpson. More forceful and better remembered are the words of former L.A County District Attorney Gil Garcetti's famed statement, nevertheless powerful today, "Mr. Simpson is a fugitive from justice right now."

These scenes were burned into our memories. Director Morgen returns to these scenes the context of that day and the emotion that so many felt in seeing a man who had been a positive presence in so many lives from sports to commercials to film and TV. O.J Simpson was not a huge star but certainly the most well known ever to be accused of murder. Morgen's style, no modern interviews or narrator, takes us back to that day and the confusion and horror of those stunning moments come rushing back.

With crisp editing and tremendous orchestral scoring Brett Morgen and his editing team cut gracefully between the stories that developed that day around the country and the ways those stories that on any other day could lead the news headlines, were effectively rendered meaningless by a slow moving white bronco carrying a football legend to his seeming doom. 

The story of ..June 17th 1994.. is, as director Morgen says in an interstitial interview, a turning point in our culture. Reality TV and our celebrity obsessed culture was born on this date. The chase, capture and eventual trial of O.J Simpson began a media and cultural obsession with the private lives of public figures as we salivated over finding the next scandal, the next murder, the next blood in the cultural waters. 

Morgen cleverly makes my last point with a pair of moments that most might not have taken note of. During a Royals-Mariners baseball game that day an announcer callously jokes "Did you hear O.J Simpson is at the US Open? He already has 2 under." Later that night as Knicks coach Pat Riley was taking questions about his teams Game 5 win another diseased member of the media asked a perplexed and appalled Riley if O.J would have gotten away if he had not 'cut to the left.' 

Our cultural civility has long been a myth, ruptured, in my opinion, in the wake of Vietnam and Watergate when cynicism born of the Kennedy, Kennedy and King assassinations finally boiled over into outright hostility and festered into the 80's with Jim and Tammy Faye Baker, Jimmy Swaggart and others. 

This festering finally found full disturbing bloom when it melded with the birth of modern media in the O.J Simpson murders. A culture tortured by cynicism met a perfect storm of media and technology and a hellmouth of ugliness and obsession was born, it's spawn being the resurgence of the tabloid, TMZ.com, Perez Hilton and the ability for the average American to engulf themselves in the ugliness with reality television. 

It is strangely poetic and darkly humorous that standing amid the media storm ..June 17th 1994.. was a little known Los Angeles lawyer named Robert Kardashian. Preening for the camera with his perfectly coiffed pompadour and carrying what was believed to be O.J Simpson's suicide note, Kardashian relished the glare of the media on that day and in the ensuing trial days in the same way his daughters Kourtney, Khloe et al seek the glare of the modern spotlight. 

The strange, dark, ironic humor doesn't end there as director Brett Morgen caps the doc with the wonderful Talking Heads song "Heaven." The chorus repeated by David Byrne as O.J finishes the day in police custody and Pat Riley faces down that reporter and Rangers fans begin to sober up and Arnold Palmer finally gets a moment to rest, says "Heaven, heaven is a place, a place where nothing, nothing ever happens." 

Something happened that day and we've never been the same. Brett Morgen and ESPN Films have stunningly recreated a cultural landmark and in doing so have created one of the most fascinating documentaries of the year.

Movie Review Kick Ass

Kick Ass (2010) 

Directed by Matthew Vaughn

Written by Jane Goldman, Matthew Vaughn

Starring Aaron Taylor Johnson, Chloe Grace Moretz, Christopher Mintz Plasse, Nicolas Cage 

Release Date April 16th, 2010 

Published April 16th, 2010 

Few movie titles are as fitting as Kick Ass, Indeed the movie does kick ass, balls, teeth and anything else that can be kicked. Also stabbed, shot and variously eviscerated. Director Matthew Vaughn set out for comic book carnage and delivers big time and along the way he gives us characters we like and come to care about even as they are greatly exaggerated, comic book versions of real people.

Aaron Johnson stars in Kick Ass as Dave Lizewski, a teenager who claims that his only superpower is being invisible to girls. Dave longs to be a costumed hero fighting crime and protecting the innocent. Since Dave is subject to harassment and even crime on a regular basis his feelings make sense.

After being robbed by thugs Dave makes up his mind to give the superhero thing a shot. Thus, Dave buys a green and yellow wetsuit and a pair of sticks wrapped green and begins his superhero career by getting stabbed and hit by a car. Several months of recovery later Dave does come away with a minor superpower, nerve damage that allows him to take a better beating.

Get a beating he does but a cell phone video showing him getting knocked around but continuing to fight and defend a downed man makes him a star and eventually a target for a mob boss who mistakenly believes Kick Ass is disrupting his business. As it turns out, another pair of costumed heroes, Big Daddy (Nicolas Cage) and his daughter Hit Girl (Chloe Moretz) have been targeting the mob boss and are killing his men.

Where the story goes from there I will leave you to discover. I can tell you it's a fun, if slightly overlong, ride filled with ass kicking violence and some shocking laughs, mostly, and controversially, supplied by Chloe Moretz's ingenious Hit Girl. At a mere 11 years old when the film was made, Moretz shocks and appalls with her language and taste for severe violence.

Many of my fellow critics are terribly uncomfortable about Hit Girl. Her age and propensity for harsh, bloody vengeance gives them pause and many find it reprehensible. For me, the action fit the character and while I may take issue with such a young girl in amongst such brutally violent acts, I cannot say I wasn't entertained.

Matthew Vaughn and his young star never flinch from the violence or the character's vulnerability. In the end, during the controversial final showdown, that vulnerability played against a comic book hero's sense of invulnerability raises the stakes and gives the audience an extra jolt ahead of the killer finale.

Should someone as young as Chloe Moretz play a character as morally compromised, violent and fetishized as Hit Girl? Maybe not, but try not to be entertained by how well she plays this character, it's impossible. This kid has so much talent that you cannot help wanting to forgive the movie 's many sins because you enjoy her so much. It's transgressive in the best possible way. 

As for the rest of the cast, Nicolas Cage delivers yet another of his wonderfully off-beat characters. Driven by a need for violent revenge, Cage's Big Daddy plays as a mixture of Cage's typically manic action movie characters with bits of the nerdier or dopier aspects of his comic characters. It's a brilliant mix and Cage's wild energy during action scenes is incredibly entertaining. Cage brings a chaos to the movie that stands out even among the chaos intended in Kick Ass. 

Aaron Johnson has a difficult task in playing Kick Ass as an action hero and as an overmatched kid in way over his head. Audiences want to see him in action but the character isn't necessarily up to it and that creates a clever twist on the comic book hero that Johnson plays well. Johnson is even better in the romantic subplot that has him pretending to be gay to get close to the girl of his dreams, Lyndsey Fonseca.

Edgy has become a cliché but it seems an apt way to describe the delicate balance of offensiveness, humor and excitement that is Kick Ass. Campy yet violent, offensive yet shockingly entertaining, Kick Ass quite simply Kicks Ass.

Movie Review Gulliver's Travels

Gulliver's Travels (2010) 

Directed by Rob Letterman

Written by Joe Stillman, Nicholas Stoller

Starring Jack Black, Jason Segal, Emily Blunt, Amanda Peet, Chris O'Dowd, Catherine Tate

Release Date December 25th, 2010 

Published Deember 25th, 2010

The thing about "Gulliver's Travels" is that there isn't all that much wrong with it and I still can't recommend it. The cast headed up by Jack Black is uniformly game and hard working. The story is a classic hence why Jonathan Swift's story has lingered for more than 200 years. So, what really kept me from liking this harmless, desperately wanting to be loved movie? I'm still working on that.

Gulliver (Jack Black) is the head of the mailroom at one of New York's largest newspapers. He's been at this job for a while, something that would not satisfy most adults. When Gulliver finds out that the new guy, Dan (T.J Miller), that he has trained for a single day is now his new boss, Gulliver vows to do something with his life.

That something is finally asking out the paper's travel editor Darcy (Amanda Peet) who Gulliver has had a crush on for years. Unfortunately, Gulliver chickens out on the asking out part and in his haste to escape social mortification accidentally backs into a writing assignment. After faking a writing sample Gulliver is off to Bermuda where the infamous triangle awaits.

Of course we know that soon after Gulliver boards his boat he will be arriving in Lilliput, the island home of the miniscule Lilliputians lead by King Benjamin (Billy Connelly), his daughter, Princess Mary (Emily Blunt) and her betrothed, General Edward (I.T Crowd genius Chris O'Dowd). After being captured by the General and imprisoned, Gulliver makes a friend, Horatio (Jason Segal) who happens to be Princess Mary's true love, imprisoned by the jealous General.

From that set up we get Gulliver becoming a hero defending Lilliput against other mini invaders, Horatio released from prison and wooing Mary with Gulliver's modern diffidence and the surprise arrival of Darcy in search of Gulliver after discovering his faked writing samples lifted from Fodor's among other sources.

There is a battle against a giant robot and an island where Gulliver is dwarfed by even larger beings. These ideas are introduced by director Rob Letterman and just sort of happen and are discarded. There is no lingering effect. Some of this stuff is funny, most of it might bring about a smile or a chuckle but mostly the humor of "Gulliver's Travels" evaporates as quickly as it appeared.

The thing is though; there is nothing really wrong with that. Chuckles and half smiles aren't bad when you want a minor distraction. A movie should aspire to a great deal more but when so many other movies rob audiences of life force, I'm looking at you Fockers, one is tempted to grab a giggle wherever you can find them.

Also, it's fair to say that "Gulliver's Travels" meets every expectation of its underwhelming trailer. Jack Black tumbles and riffs, Emily Blunt and Amanda Peet are pretty and the 3D is completely meaningless and unnecessary. Jack Black gets the same laughs in the movie that he does in the trailer and a few more half smiles and giggles here and there. It's everything the marketing promises.

I am hesitant to give even a half hearted recommendation to "Gulliver's Travels" in part because of a quote from the legendary, and greatly missed, Gene Siskel who once asked "Is this movie as good as a documentary about these same actors having lunch together?" Gulliver's Travels fails that test miserably. Listening into the lunch conversation of Jack Black, Jason Segal, Chris O'Dowd, Billy Connelly and Oscar nominee Emily Blunt would be infinitely more entertaining than "Gulliver's Travels."

Movie Review Somewhere

Somewhere (2010) 

Directed by Sophia Coppola 

Written by Sophia Coppola 

Starring Stephen Dorff, Elle Fanning

Release Date December 22nd, 2010 

Published December 18th, 2010 

A dejected movie star drives his car in circles for a 2 or 3 minutes to begin Sophia Coppola's “Somewhere” and things only grow more elegiac and confounding from there. Stephen Dorff stars in “Somewhere” as movie star Johnny Marco and for the first 20 minutes of the film he is a most irritating and off-putting presence. After the driving in circles we are treated to a scene of the despondent star in his posh Chateau Marmont apartment being entertained by twin strippers before he simply falls asleep watching them.

The scene is noisy and goes on and on and on with Marco never leaving the bed and the girls never leaving their poles until the end and only then to offer a kiss goodbye to the sleeping star. These scenes will test the patience of even the most forgiving fan of writer-director Sophia Coppola and yet as you stick with “Somewhere” something strange begins to happen. A strange fascination arises even as Johnny Marco barely rouses from his stupor.

Conventionally, the story kicks in when Johnny's pre-teen daughter Cleo (Elle Fanning) arrives for a visit. At first she is just a visitor and Johnny is welcoming but with an eye on the clock. After another interlude with the twins, Cleo returns, this time with plans to stay for a while longer. In a more typical story Johnny would be the diva father who learns how to be a better dad through the course of an adventure with his daughter. That however, is not this movie.

Sophia Coppola takes this story in a unique and fascinating direction by seeming to give it no direction at all. Somewhere has a hazy, dreamy feel and it builds fascination by avoiding the typical movie narrative expectations and instead allowing “Somewhere” to unfold in a mercurial fashion that feels natural even as nothing seems to be happening.

It's a daring approach as scenes begin with the chance that something might happen to break the dreamy monotony of this story and then the scene plays out and the dream continues. The ending is near perfection as it plays out in a way that fits the shapeless, prosaic nature of all that came before it. The ending is ambiguous and unusual and leaves the viewer wanting to know more and yet ready to leave Johnny Marco be.

”Somewhere” is one of the most divisive films of 2010. Many will walk out in the first 20 minutes; many will make it to the end and be left agape. But for those who find this film's groove and feel its vibe, “Somewhere” is a real trip, a memorable unendingly fascinating mind wipe that drifts away like fog lifting from your psyche. I hated “Somewhere” for a solid 20 minutes and by the end I loved it. If you can find the groove, you will love this movie too.

Movie Review: True Grit

True Grit (2010) 

Directed by The Coen Brothers

Written by The Coen Brothers 

Starring Matt Damon, Jeff Bridges, Hailee Steinfeld

Release Date December 22nd, 2010 

Published December 18th, 2010 

A strange thing has happened near the end of 2010. Some of the most daring and different directors are being tamed by the Hollywood system. Whether it's a moderation toward the notion crafted by Ben Affleck and Matt Damon years ago; 'One for them, one for me,' or merely an acceptance of the terms that Hollywood dictates to all filmmakers in these tough economic times, directors like David O. Russell (The Fighter) and John Cameron Mitchell (Rabbit Hole) have crafted their most conventional and studio friendly films in their esoteric careers.

The same could be said of the Coen Brothers whose latest film is a straight as an arrow adaptation of the Charles Portis novel “True Grit.” Though artful and entertaining, “True Grit” is easily the most straight-forward, audience friendly film in the otherwise odd and fascinating careers of Joel and Ethan Coen. There is nothing wrong with convention, especially when it is as moving and amusing as “True Grit.”

John Wayne won his only Oscar for Best Actor for his take on the role of Rooster Cogburn in 1969. 41 years later Jeff Bridges brings new energy and life to the role of the reprobate US Marshall Rooster Cogburn. Hired by 14 year old Mattie Ross (Hailee Steinfeld) to track down the villain Tom Chaney (Josh Brolin) who killed her father, Cogburn never ceases being a debauched yet heroic man with strong wit and as Mattie recalls in voiceover, True Grit.

Joining Marshall Cogburn and Mattie on the trail of Chaney is Texas Ranger Lebeouf (Matt Damon). Having been on the trail of Chaney longer than Mattie, he intends to return Chaney to Texas for a reward a move that runs counter to Mattie's intent to have Chaney hanged in Arkansas. Lebeouf is also intent on convincing Mattie to return home something she refuses to her detriment as danger lurks around every turn of the bend.

True Grit is not the movie many may think it is. From the dark and foreboding trailer with its ominous Johnny Cash tune, "God's Gonna Cut You Down," that has been playing for the past six months, one would miss the fact that “True Grit” is witty and entertaining as it is violent. The PG-13 rating is far less misleading than the trailer, indeed “True Grit” is as safe and conventional as the John Wayne original.

Again, I know this reads like harsh criticism but it's more of an observation; it's surprising to see director's like the Coens make a movie as standard and practiced “True Grit.” The film has the skill of the typical Coen brand, the fabulous cinematography of Roger Deakins as well as the music of Carter Burwell, two regular Coen's contributors, but it does lack the Coen Brothers brand of quirk that has highlighted their best work from the beginning. 

Just as surprising however is how effective this standard approach is. Jeff Bridges delivers a Rooster Cogburn every bit as iconic as John Wayne's while young Hailee Steinfeld steals the film with her steely, thoughtful and sensitive performance. Matt Damon is highly effective in the role essayed by singer Glen Campbell. I could see Oscar nominations for each as well as for the directors, cinematographer and, if it hadn't been ruled ineligible, Carter Burwell's exceptional score. 

”True Grit” may be shockingly conventional as a film by the Coen Brothers but it is still a highly entertaining and in the end moving film populated by excellent performances. In a career that has spanned nearly the length of time since the original “True Grit,” Jeff Bridges has evolved from handsome charmer to leading man and now to elder statesman and perennial Oscar contender. “True Grit” may give Bridges back to back Oscars following last year's “Crazy Heart” as a deserving Best Actor winner. 

14 year old Hailee Steinfeld was found in a nationwide search, a remarkable find. Steinfeld stands toe to toe with Jeff Bridges and Matt Damon and more than holds her own even as she chews over ancient dialogue in a rhythm that even long time trained actors would struggle with. Steinfeld's performance alone would be enough to recommend “True Grit” but with Bridges, Damon and highly effective direction of the Coen Brothers, True Grit is more than merely recommended, it is a must see film.

Movie Review How Do You Know?

How Do You Know? (2010) 

Directed by James L. Brooks

Written by James L. Brooks 

Starring Paul Rudd, Reese Witherspoon, Owen Wilson, JackNicholson

Release Date December 17th, 2010 

Published December 17th, 2010

George (Paul Rudd) is an honest guy, he prides himself on that; too bad for George that his father Charles (Jack Nicholson) is not an honest guy. Worse yet for George, his dad is also his boss and his dishonesty now has George facing the prospect of a healthy prison stay. The how and the why are not well spelled out but we do know George is very likely to be indicted soon.

Lisa (Reese Witherspoon has just gotten some bad news of her own. She's just been cut from the US Women's Softball team and now must enter the real world of jobs and other such things. Cushioning the blow is a frivolous relationship with Matty (Owen Wilson) a multi-millionaire major league ballplayer with monogamy issues. Sure, Matty is no good cheat but he is sweet and surprisingly honest about his proclivities.

These two downtrodden people, George and Lisa stumble over one another amidst the chaos of their lives and after an awful sort of date, she's seeing Matty still, they seem to part ways for good. Ah but this being a romantic comedy we know a chance encounter will reunite them and when that chance comes indeed the romance begins.

Where is all of this going you might wonder, I know I did. Well, keep wondering; veteran writer-director James L. Brooks has a lot of ideas going into the romantic comedy “How Do You Know” but not much of an idea where any of it should go. We know he likes these characters and he and this terrific cast are good at getting us to like these characters but there really isn’t much beyond that likeability.

The trouble comes with Nicholson and Wilson's supporting characters. Both are more colorful and humorous than the two leads. They are the one's driving the story for the two leads who seem only to react to what they do instead of reacting to each other. It's not that Rudd and Witherspoon lack chemistry, they are cute together, rather it's that they aren't as interesting as Nicholson and Wilson who have more to play with in the colorful 'bad guy' roles.

Bad guys are a stretch, they are merely less restrained by the morality of right and wrong. They are roguish and their willingness to ignore the rules is more interesting than Rudd's scrupulous good guy and Witherspoon's needy mess. Unfortunately, even as they are more interesting they also lack emotional heft because their bad deeds are portrayed as charming and carry no real stakes.

”How Do You Know” could use some stakes. There seems to be nothing really on the line for these characters. Sure, George could be going to jail but it never really seems likely that will happen. The payoff of George’s possible indictment is handled in a most unbelievable fashion but it does lead to one of Jack Nicholson’s biggest laughs ever, one he earns with just a flicker of his face.

It’s not that “How Do You Know” is a bad movie, the actor’s involved are far too enjoyable for this to be a bad movie. It’s just that it’s not a very good movie. The story carries no stakes and the narrative is flabby, carrying a lot of unnecessary supporting players who, though almost as charming as the leads, add little to the story. Katherine Hahn is wonderful as Rudd’s assistant/best friend and Mark Linn Baker is funny in an odd way as one of Nicholson’s cronies but the film pauses to give both time that could have been better spent tightening up the main story.

My guess is James L. Brooks fell in love with a lot of the superfluous laughs these characters earn in “How Do You Know” and lost track of the fact that the overall story was weak. Sure, he finds the laughs, he finds the heartfelt moments but they are all just pieces that fail to create a complete puzzle.

I can recommend “How Do You Know” for the less discerning fans of romantic comedies and of these charming actors but you have to keep the expectations low. “How Do You Know” is not as sharp as James L. Brooks’ “Broadcast News” or as endearing as “As Good As It Gets” but it has a number of strong moments, a few big laughs and a cast filled with charmers.

I wanted more from “How Do You Know,” a more satisfying emotional payoff would have been nice, but on deftness alone it gets by for a partial recommendation.

Movie Review: Tron Legacy

Tron Legacy (2010) 

Directed by Joseph Kosinski 

Written by Edward Kitsis 

Starring Garrett Hedlund, Bruce Boxleitner, Jeff Bridges, Olivia Wilde, Michael Sheen

Release Date December 17th, 2010 

Published December 16th, 2010

It's been nearly 30 years since the original "Tron" ended with Kevin Flynn (Jeff Bridges) overcoming his creation, the Grid, and the evil Master Control program, to take control of Encom, the world's largest computer game maker. Picking up some 8 years later, Flynn is still Encom CEO until one day he simply vanishes leaving behind his son Sam.

Flash forward to today and Sam (Garrett Hedlund) is a rebellious 20 something on the outside of Encom looking in. One night, as Sam has just sabotaged the latest big name project of his father's company, simply for kicks, he is visited by Alan Bradley (Bruce Boxleitner) his father's old partner who has a strange message for him. Alan has received a page but the fact that he wears a pager is not the surprise, the page came from Kevin Flynn's office at his long shuddered arcade.

When Sam goes to investigate he stumbles on a secret basement office and a strange looking computer. After a vain attempt at hacking it Sam suddenly finds himself struck by a laser and sucked inside the computer. He is now on the Grid, the seemingly mythical creation his father spent years trying to create.

Unfortunately for Sam the Grid is not a safe place. Run by the program Clu (Jeff Bridges?), it's a harsh digital realm where Programs are killed for sport in virtual gladiator arenas. Before Sam can be killed by Clu, he is rescued by Quorra who takes him to the creator, his long lost dad Kevin. The father and son reunion is short lived as the portal back to the real world closes soon and Sam must convince Kevin to go head to head with Clu in order to escape.

That is a linear interpretation of the plot of "Tron Legacy" and the futility of my description should be well in evidence. Tron Legacy is clearly not a movie that thrives on plot or detail. Instead, Tron Legacy just wants to have a good time playing with digital toys and listening to Jeff Bridges play a serious version of his The Dude from the Big Lebowski.

You think I'm kidding but listen to some of Bridges' lines like "Clu, your breaking my Zen man" or "I'm gonna go knock on the sky and see what I hear," lines delivered with a very Dude-like inflection. Those are actual lines from the movie Tron Legacy, not a parody, not a youtube mash-up, but actual lines delivered by Jeff Bridges with a level of 'I can't believe they are letting me do this' smugness.

Not that there is anything wrong with that smugness really. There is a good deal of entertainment to be found in how much Bridges relishes his freedom to be out there doing his own thing against this self serious digital background, it just goes against the grain in the most noticeable ways, ways I'm not sure were intentional.

Bridges is at times the only one in how goofy all of this really is. Well, he and Michael Sheen who takes on a role in "Tron Legacy" that only Ziggy Stardust could love. Sheen plays Zeus a nightclub owner who may or may not be fomenting rebellion against Clu and may or may not be an ally of Quorra and Flynn.

All Zeus really does is give rise to odd, unnecessary questions about this place called The Grid. When Sam arrives he is arrested immediately by Clu's guards. Why? We don't know. Then, after his stripped and dressed by refugees from a futuristic Marilyn Manson video, he is dropped into the game arena where he fights battles familiar from the first Tron movie, the Frisbee game, in front of a massive cheering, mostly unseen crowd. Who are these people in the crowd? What do they do? What function do they serve for Clu as he is creating what he calls a perfect world?

These questions are not the least bit important but they rise up in the mind while you are waiting for the next big digital landscape to emerge. Anytime Tron Legacy pauses for some exposition, a father son chat or whatever, the mind of the viewer can tend to wander to questions like why do computer programs need a bar? What do computer programs drink and why? Do they have food? Does Kevin Flynn have food? What has he been eating for 20 years trapped in a computer?

Again, none of this matters but so much of "Tron Legacy" is so massively dull that you cannot help but wonder. Then, Jeff Bridges will say something dude like and some cool looking effect will pop up and you will be transfixed for a moment. The moments unfortunately, don't really add up to much. By the time you come to understand Clu's bad guy motives you aren't likely to care.

"Tron Legacy" exists as a brand that Disney hopes to capitalize on like "Pirates of the Caribbean." It's a machine built to create sequels and make money. There are pleasures to be found in amongst all the goofiness but they are too few and far between to really recommend "Tron Legacy" as a whole.

At 2 hours plus, Tron Legacy wears out its welcome and while the effects will no doubt dazzle kids, mom and dad will be checking their watches regularly in between the minor giggles induced by The Dude as he abides a CGI universe.

Movie Review The Fighter

The Fighter (2010) 

Directed by David O. Russell

Written by Paul Tamasy, Eric Johnson, Scott Siliver 

Starring Mark Wahlberg, Christian Bale, Amy Adams, Melissa Leo

Release Date December 10th, 2010 

Published December 7th, 2010

'Irish' Mickey Ward's battles with Arturo 'Thunder' Gatti are three of the greatest in ring wars that the boxing world has seen in the past 2 or 3 decades. These two warriors bloodied and battered each other for 12 rounds in three consecutive fights, two of which were named by Ring Magazine as fight of the year. The second fight likely would have also won fight of the year if it had not taken place the same year as the first.

How Micky Ward rose to those fights against Gatti, the apex of his career, is the story of “The Fighter” a sports drama from director David O. Russell and starring Mark Wahlberg in a role that he trained for four years for; all while trying to wrangle a director, turned down by Scorsese, abandoned by Darren Aronofsky, and a studio to make the movie.

As we join the story of “The Fighter” Micky Ward (Wahlberg) is a scuffling welterweight fighter in the midst of a losing streak. Many in the boxing world peg Ward's troubles to his brother/trainer Dicky Eklund a failed pro fighter who peaked in the late 70's in a fight with the legendary Sugar Ray Leonard before succumbing to crack addiction.

More than a decade after his boxing peak Dicky holds out hope of making an in ring comeback, a lie perpetuated by Micky and Dicky's mom/manager Alice (Melissa Leo). For now however, Dicky wastes hours and days in a dingy crack house when he is supposed to be prepping Micky for a bout on national television in Atlantic City.

The fight is a debacle as the fighter that Ward was supposed to face dropped out due to illness. The replacement is a full weight class above Micky but because no one will get paid if he doesn't fight, Dicky and Alice push Micky into the ring and Micky's career is nearly ended. This conflict unfolds in the first act of “The Fighter” and director David O. Russell elegantly flows these burgeoning conflicts into the second act where Dicky gets arrested, Micky gets hurt in the melee around Dicky's arrest and the family is shattered.

What separates “The Fighter” from your average sports movie? Not much really, despite a heavyweight cast “The Fighter” is essentially, at its heart, a classic sports movie. Director David O. Russell's challenge then was to find little ways for “The Fighter” to break the mold of the typical and he finds that in an indie style, low budget look that fits the rundown setting of aging Lowell Massachusetts, Micky and Dicky's longtime hometown.

Another departure from the typical sports movie comes in the clever mimicry of Micky Ward's actual fights. David O. Russell teamed with the real life sports director from HBO for scenes depicting Micky's Championship fight against Brit Shea Nealy. Using the actual call of the fight from the HBO boxing announcers brings an extra bit of authenticity to the brutal fight scene and underscores the reality of what we are seeing in the ring.

So many boxing movies amp up the noise of the punch or speed up the action to a point where two men could not possibly punch each other continuously without passing out from exhaustion; but not here, not in this movie. Restrained by Mark Wahlberg's strict adherence to the way Micky Ward actually fought and kept in pace by the actual call of the fights as they happened back in the late 90's, the boxing in “The Fighter” looks and feels true.

Also feeling true in “The Fighter '' is the family of Micky Ward. David O. Russell could not have been more blessed with a cast. Oscar nominees Melissa Leo and Amy Adams, who plays Ward's tough as nails girlfriend Charlene, are an electronic duo who clash personalities like a car wreck on the Lowell Parkway. Melissa Leo is backed up by an army of unknown actresses who take on the roles of Micky and Dicky’s sisters and their authentic look, just slightly behind the times, and their raw trailer park energy make their scenes as lively as any in “The Fighter.”

Christian Bale is the stand out as Dicky, a flashy role that Bale nevertheless makes real with his mastery of the real Dicky Eklund a gregarious yet troubled soul who maintained a strong sense of humor and self even as he was in the grips of addiction. That is attested to in a 1994 documentary that aired on HBO about Dicky's addiction to crack. "High on Crack Street" played a big part in Bale's research of the role as did the presence of the real Dicky Eklund who Bale bonded with off-screen.

The underrated MVP of “The Fighter” is Mark Wahlberg not for his performance which is hampered somewhat by being the least colorful of a group of colorful characters but for the work he did in dedicating himself to telling this story. Wahlberg grew up not too far from where Micky Ward did and like Micky he found trouble early in his own life only to get things turned around in a big way.

Wahlberg had to tell this story and you can see his blood, sweat and tears determination to get Ward right in every frame of “The Fighter.”

If the film is ultimately a conventional sports movie so be it, “The Fighter” has the heart and energy of the best of the genre but with David O. Russell, Christian Bale and Mark Wahlberg breaking their backs to tell this story there is something more here, an intangible quality that sets “The Fighter” apart and lifts it well above just a sports movie.

Movie Review Love and Other Drugs

Love and Other Drugs (2010) 

Directed by Edward Zwick

Written by Charles Randolph, Marshall Herskovitz

Starring Jake Gyllenhaal, Anne Hathaway, Oliver Platt, Hank Azaria, Josh Gad

Release Date November 24th, 2010

Published November 25th, 2010

I have long believed that the best movies reveal something not just about the characters on screen but the audience watching them. The new romance “Love and Other Drugs” starring Ann Hathaway and Jake Gyllenhaal and directed by Ed Zwick has moments that reached into my soul and revealed things to me that I have been trying to hide. The movie is far from perfect but for a few minutes, “Love and Other Drugs” is very touching and for that it's worth the ticket price.

Jake Gyllenhaal stars in “Love and Other Drugs” as Jamie Randall a good for nothing horn dog who gets fired from his job for having sex with his boss's wife while the boss is in the other room. Based solely on charm and good looks Jamie falls into an even better job with even more promise of sexual conquest, working as a drug rep for Pfizer.

Drug rep, as we are informed, is the only entry level position with a starting pay in the six figure range. The job plays to Jamie's strength as it involves no skill other than being charming, the only real skill he has. With the help of his new partner Bruce (Oliver Platt), Jamie has only to get sales up a little and he will move on from the lowly depths of the Ohio River Valley to the big time in Chicago.

Jamie is on the fast track when he meets Maggie (Ann Hathaway) , a beautiful 26 year old artist/waitress with early onset Parkinson’s disease. At first she is the perfect woman, her disease makes her only seek a sexual relationship with little emotional involvement, seemingly Jamie's dream relationship. It doesn't take a rocket scientist however to figure out that eventually the heartless hound dog will fall for Maggie and she will push him away.

Director Ed Zwick, with script assists from Marshall Herskovitz and Charles Randolph, uses the bones of the book "Hard Sell: The Evolution of a Viagra Salesman" by Jamie Reidy to craft a love story about an emotionally stunted man who slowly evolves the soul he had buried so deeply within himself. It's a story that will be painfully familiar to a lot of men who have hidden behind charm in order to keep real feeling at bay.

Jake Gyllenhaal captures the emotionally stunted Jamie perfectly; hiding behind quick wit and a sheepish smile that hides a wolf's intentions. Jamie is constantly on the prowl until he meets Maggie who gives him exactly what he wants while telling him it's what he wants and with unintended consequence teaches him the well worn lesson 'be careful what you wish for.'

On the periphery of this love story is the story of the pharmaceutical business and its many disquieting practices. In this part of the story Director Zwick vacillates between wanting to damn and shame the industry and stay true to Jamie Reidy's book which is neither damning or shaming but merely observant and humorous.

Zwick includes scenes where Maggie takes a group of seniors to Canada in order to buy drugs. If this is meant as a stick in the eye to the industry it doesn't land because it doesn't seem to phase Jamie in the least as he ends up going on a trip with her that is only part of their love montage, that series of scenes set to a love theme that acts as shorthand for movie characters falling in love.

Was Zwick meaning to allude to the problems we all seem to have with Pharmaceutical companies these days or elude criticisms of those who would argue he did not damn and shame the industry enough? Whatever he was trying is the biggest failure of “Love and Other Drugs” as it merely seems a distraction from the film's more interesting elements, the lovely chemistry between stars Jake Gyllenhaal. 

These two wonderful actors bring out the best in each other. The scenes they shared, all too briefly, in “Brokeback Mountain” crackled with life and were sorrowful reminders of that film's tragic themes. In “Love and Other Drugs” Gyllenhaal and Hathaway lay each other bare literally and emotionally and let the audience in as if it were some sort of emotional three way. 

 Given Maggie's condition and her side gig taking seniors to Canada for drugs, one would assume the Pharmaceutical industry would be in for something of a beating in “Love and Other Drugs.” Instead, either Ed Zwick didn't really have the nerve for an indictment or didn't have the goods for a solid take down. Zwick force feeds the minor jabs at big pharma in “Love and Other Drugs,” they really weren’t part of Jamie Reidy’s book, as a way of satisfying those who would be upset about a love story in this setting that doesn’t address real concerns about drug companies and their supposedly unethical practices.

In the end, “Love and Other Drugs” is a good movie that gets in its own way trying to answer critics who may or may not exist. I'm sure someone might have attacked the film for ignoring the alleged abuses of the pharmaceutical industry but that should not have been a concern for Zwick and the creators of “Love and Other Drugs.” The point here is the love story and the good humor and watching a boy become a man under tough emotional circumstances.

The story of Jamie and Maggie on its own is worth the price of a ticket. The rest of “Love and Other Drugs” is unfortunately unfocused and greatly lacking. I recommend the film but with reservations.

Movie Review: Burlesque

Burlesque (2010) 

Directed by Steven Antin

Written by Steven Antin

Starring Cher, Christina Aguilera, Kristen Bell, Cam Gigandet, Stanley Tucci

Release Date November 24th, 2010

Published November 23rd, 2010 

There is a near overdose of camp in Steven Antin's “Burlesque.” Whether it's Cher or Christina Aguilera or a story of a small town girl in the big city with big dreams, everything seems to come up kitsch in this tremendously familiar story. Camp is not such a bad thing; especially when it is accompanied by some good tunes and some big unintended laughs.

Christina Aguilera takes the role of the typical small town girl with the surprisingly big voice and even bigger dreams (blech). Ms. Aguilera plays Ali who escapes her tiny Iowa town for the bright lights of Los Angeles where she hopes to find work as a back up singer or dancer. One day as she is wandering the streets with what is apparently a 'dancers wanted' newspaper page in hand, Ali comes across a place called Burlesque.

Inside there is a show going on starring the club's owner Tess (Cher) who literally sings as Aly walks in "Welcome to Burlesque.". At the bar Ali meets Jack (Cam Gigandet) who strikes up a flirtation hindered by the fact that she thinks he's gay. Taken backstage she begs for a job and ends up a waitress. Eventually, Ali ends up on stage and blah, blah, blah.

”Burlesque” is not about plot, it's about massive excess and outrageous everything. “Burlesque” is pure camp from the ludicrously cheeseball story to the outlandish stage presentation and especially to the friendship between Tess and her gay best friend Sean (Stanley Tucci) which is every stereotypical gay man's wet dream. The camp is at near overdose level from beginning to end in “Burlesque” and it's up to you if that is a good or bad thing.

Myself, I enjoyed “Burlesque” in the sort of so bad its good fashion. My favorite part is how the club is suffering serious financial troubles and may be about to close. I'm just guessing here but I think the reason the club is going under is because they spend as much on massive stage spectacles as your average Broadway spectacular and their wardrobe budget likely exceeds the mortgage on the building which allegedly houses this club. Hell, the wig budget alone could probably pay off what is owed to keep the club open.

We aren't supposed to think practically about what happens in “Burlesque” and really why would we? There is no reality even attempting to take hold in this fabulized version of “The Wizard of Oz” crossed with “A Star Is Born.” Someone in the media described “Burlesque” as a 'gay fantasia' and really I cannot top that word perfect description of “Burlesque.”

I could complain that Cam Gigandet is miscast or that Alan Cumming is in the cast but barely used and that Kristen Bell is far too cardboard to be a proper villainess but none of that matters and by the end I didn't care about the movie-ish things that were wrong with “Burlesque;” I was too busy smiling and giggling to care about practicalities.

”Burlesque” is just self serious enough to pity and self aware enough not to be completely terrible. I think all involved had an idea that they were creating kitsch but hedged a little in hope that maybe there was a chance it could all be taken seriously. It cannot be taken seriously but it still works in its very unique, camp fashion. You have to be a fan of over the top, so bad its good fun to enjoy “Burlesque” but if that is your humor, you will love this movie.

By the way, does anybody know if Cher is a fan of the musical “Dreamgirls?” I ask because in “Burlesque” Cher sings a song called “You Haven’t Seen the Last of Me” that is a near perfect knock off of Effie’s “And I’m Telling You, I’m Not Going.” Knock off or not, the song shows that Cher probably could pull off that extraordinarily difficult “Dreamgirls” standard even at 62 years old. That alone might be worth the price of admission to “Burlesque.”

Documentary Review: Client 9: The Rise and Fall of Eliot Spitzer

Client 9: The Rise and Fall of Elliot Spitzer

Directed by Alex Gibney

Written by Documentary

Starring Elliot Spitzer 

Release Date November 5th, 2010

Published December 22nd, 2010

Eliot Spitzer does not easily earn your sympathy. A child of privilege, Spitzer used a combative, bombastic style of politics to battle his way to the top of New York state political apparatus. Then, at the apex of power, he allowed his weakness for sexual encounters unencumbered by emotion, those that could be paid for without an emotional toll to pay, to end what should have been a merely colorful but deeply impactful career to be derailed.

Alex Gibney’s documentary Client 9: The Rise and Fall of Eliot Spitzer tells the three track story of Eliot Spitzer’s life from his rise to Attorney General of New York in the late 90’s to his crowning himself the ‘Sheriff of Wall Street’ where he battled corruption and dirty financial dealing in ways that few had done before to his astonishing fall from power.

Track one of Client 9 is about the exciting and sexy world of high end escorts. As Wall Street rode the boom of the late 90’s internet explosion and the rise of deregulation in Washington, high end escort services boomed to service a new crop of mini-millionaires riding high on the filthy lucre of derivatives trading and mutual fund meddling.

The best of the best of this new era of the whorehouse was New York’s Emperor’s Club where models, athletes and wannabe starlets paid their bills by offering what was dubbed “The Girlfriend Experience” to Wall Street’s elite. The Girlfriend Experience is package that allowed clients to act as if their escort was really a date, merely one that was guaranteed to end in sex.

Whether Eliot Spitzer signed up for The Girlfriend Experience or not is up for debate. What is known is that as Governor of New York; Spitzer somehow managed to set up thousands of dollars worth of escort’s services through The Emperor’s Club under the nomme de plume George Fox and that at least one of these trysts with an escort named Ashley Dupre, variously known as Veronica or Kristen depending on the client, was captured on a wiretap.

Track two of the story of Client 9 lays out the background in front of which the Eliot Spitzer’s story became the ultimate distraction. As Wall Street’s self appointed Sheriff Eliot Spitzer led a crusade against powerful Wall Street fat cats with massive bonuses and the shadiest of shady practices among traders and trading firms. In his fight Spitzer made powerful enemies such as former NYSE Chairman Kenneth Langone, former AIG CEO Hank Greenberg and longtime Republican dirty trickster Roger Stone.

These three men, two powerful and one who knows how to manipulate that power, each had a serious bone to pick with Spitzer as their money was at stake in Spitzer’s crusade against the dirty deals on Wall Street. As Alex Gibney lays out the story each of these men emerges as unabashed bad guys in interviews, in their own words they admit with relish the joy they took in watching Spitzer fall and leave plenty of evidence behind of what they may have known and even influenced in the case against Spitzer.

Spitzer’s story became the perfect distraction from the trouble Wall Street was in 2007 and 2008. AIG, with Hank Greenberg as CEO, certainly needed a distraction what with their illicit practices leading to a massive collapse that required a multi-billion dollar bailout from Washington. That they could distract from that story by watching the man who started the investigation of them seems almost too perfect, a point not missed by director Gibney.

The third track of Client 9 is Eliot Spitzer in his own words and here is where the story stumbles. In his words Spitzer is not a man prone to introspection. Thus, Spitzer is not as forthcoming as many would hope. His inability to open up combined with the roughhewn political style demonstrated throughout the story make Spitzer a less than sympathetic central figure.

Does he own what he did? Yes, but he also doesn’t offer any apologies and while he refuses to speculate or lay blame on others for what happened to him, Spitzer is enigmatic about what drove a man with his powerful enemies, high profile and so much at stake to take such ridiculous chances for mere sexual favors. These are the things of which a sex addiction is made yet, slightly to his credit; Spitzer avoids a simple diagnosis for why he did what he did.

The most controversial figure in Client 9 is not Spitzer or his powerful enemies but rather an actress. Wrenn Schmidt plays the role of Angelina the fake name of the real escort who was Spitzer’s most often paid for companion. When the real Angelina agreed to talk with Alex Gibney off camera with assurance that her name and face would never be revealed, Gibney made the controversial decision to have Ms. Schmidt act out a transcript of his interview with Angelina.

The information is revealing and it applies to all three aspects of the story of Client 9. It’s fair to say that the information she reveals is necessary to the outsize, ambitious narrative Gibney paints, one of conspiracy meeting flawed humanity in the form of a Modern Greek Tragedy. But, having an actress play act the words of Angelina leaves one feeling a little uneasy as if on slightly shaky ethical grounds.

Thankfully, Alex Gibney does not push the ethical envelope too much and admittedly there is a certain humorous irony to pushing the bounds of decency in a story about Eliot Spitzer. Nevertheless, Client 9: The Rise and Fall of Eliot Spitzer is, if at times uncomfortable, an engrossing story told with a bold voice and a grand vision, a flawed man, a flawed story and a near perfect documentary.

Movie Review: Tyler Perry's For Colored Girls

Tyler Perry's For Colored Girls

Directed by Tyler Perry

Written by Tyler Perry

Starring Tessa Thompson, Phylicia Rashad, Anika Noni Rose, Thandie Newton, Kerry Washington, Whoopi Goldberg, Janet Jackson

Release Date November 5th, 2010

Published November 5th, 2010

For all of his faults as a filmmaker, Tyler Perry has guts. Perry is a principled artist who delivers stories his way on his terms and has made a mint doing it. Critics be damned, Tyler Perry is one of the most successful filmmakers of the decade and he’s never had to compromise his vision to get there, whether you enjoy his vision or not.

Perry’s latest daring bit of storytelling is easily his biggest gamble, even bigger than dressing in drag to play Madea. “For Colored Girls'' is an attempt to corral a 20 piece stage poem into a single dramatic narrative. Nearly a dozen different actresses, often breaking out in poetic verse, going through some of the ugliest trials ever brought to screen for dramatic entertainment. It’s bold, it’s daring and it's a massive failure but it’s Tyler Perry’s unquestioned vision onscreen.

There are seven lead performances in “For Colored Girls.” They include Janet Jackson as a tyrant magazine editor dealing with a distant, possibly gay husband. Jackson’s assistant played by Kimberly Elise is an under-employed woman carrying a jobless, abusive husband and two kids. Her neighbor played by Thandie Newton is bartender who deals with childhood trauma with an endless line of sex partners.

Newton’s sister is played by Tessa Thompson and is an aspiring dancer with an accidental pregnancy. Their mother played by Whoopi Goldberg is a damaged woman whose own childhood drama sent her spiraling toward lunacy in some cultish religion. Thompson’s dance teacher, Anika Noni Rose, is a loving trusting soul who finds herself on the wrong side of the wrong man. Finally, Phylicia Rashad stars as an apartment manager slash den mother.

There are other roles as well for Kerry Washington as a social worker struggling to conceive and singer Macy Gray as a back alley abortionist as frightening as such a figure likely should be. Wrestling all of these characters into one narrative is a Herculean task. Add to that some spontaneous poetry and crushing dramatic turns involving murder, rape, abortion, Aids and spousal abuse and you have movie incapable of withstanding its own weight.

“For Colored Girls” is what you might call emotion porn. Tyler Perry crams every possible trauma into “For Colored Girls” and pummels the audience with poetic glimpses of women in the darkest depths of despair until even the most remote audience member can’t help but shed a tear. It’s the false emotion of manipulation but even if each tear is surgically extracted, they are there.

The cast of “For Colored Girls” is phenomenal with veteran Rashad as the stand out. Rashad’s character is Perry’s own invention, a narrative convenience used to tie otherwise disparate characters together. Her apartment is located right between those of Elise and Newton’s characters and she hears everything. Still, Rashad gives this character a rich emotional life. She is the beating, broken heart of “For Colored Girls.”

The rest of the cast is too busy being decimated by the Jovian burdens each is asked to carry. The despair visited upon these characters is an anchor that cannot be raised. Each actress at the very least is given a moment to shine but because that moment comes in poetic verse it resonates more as a stand alone monologue than as part of a narrative.

This is the bridge that Tyler Perry cannot cross in “For Colored Girls;” trying to make actresses breaking out into spontaneous poetic monologue feel like a natural dialogue in a typical narrative drama. He would have been better off breaking convention; take the poetic moments to a stage and break the fourth wall. Instead, Perry chooses to try to make it just like any other film drama and the effect is disjointed and unsatisfying.

Undoubtedly moving, “For Colored Girls” finds moments of great emotional force. All is undone however by a conventional approach to highly unconventional drama. “For Colored Girls” is bold and daring but fails because it was not bold and daring enough. Attempting to force all of this emotion into a singular narrative, especially one as conventionally staged as this, is a fool’s errand and it sinks an otherwise powerful idea.

Tyler Perry wildly misses his target in “For Colored Girls” but you have to respect the attempt. Few filmmakers would have the guts to even attempt to bring a complex, Female led, stage poem to the big screen. It’s fair to wonder if other filmmakers recognized how un-filmable this material is but it took a lot of guts to try and Perry’s effort has to be praised. Perry fails in “For Colored Girls” but he failed fearlessly and spectacularly.

Movie Review: Vampire's Suck

Vampire's Suck (2010) 

Directed by Jason Friedberg, Eric Seltzer

Written by Jason Friedberg, Eric Seltzer 

Starring Jenn Proske, Matt Lanter, Ken Jeong 

Release Date August 18th, 2010

Published August 20th, 2010

There is a style of comedy that has failed to develop over the past decade and yet it is still widely practiced. Call it the comedy of association. By mentioning something or mimicking something you are automatically doing something funny. That's the theory. In practice, this style has lead to a series of abysmal movies from “Epic Movie” to “Date Movie” to everything except the first “Scary Movie.”

The makers of these movies are convinced that if they make mention of something, or mimic it well, then the act of doing so is automatically funny. In the new comedy Vampire's Suck this style means mentions of Tiger Woods and Lady Gaga but nothing particularly funny about either of them.

The premise is a humorous take down of the “Twilight” series. Becca (Jenn Proske), get Becca-Bella, anyway, is the new girl in Sporks Washington, again Sporks-forks, anyway. Becca is a sad, lonely outcast as demonstrated by the music on her IPod titled Sad, Lonely, Outcast music.

At school Becca meets Edward Sullen (Matt Lanter), get it Sull... oh nevermind. Edward is a Vampire and he and Becca are destined to fall in love. Also falling for Becca is Jacob (Chris Riggi) who happens to be turning slowly into a dog, I won't give away the big brilliant reveal of what kind of dog but I'm sure things like Edward Sullen give you a strong impression of the kind of humor we're dealing with here.

There really is nothing terrible about “Vampire's Suck.” The cast is game and seems up for any kind of humiliation. Actress Jenn Proske does an exceptional imitation of Kristen Stewart nailing the tics and vocal manners that so many have noted in Stewart's performance as Bella. Sadly, the imitation is better suited for a dinner party bit than for a feature film.

Once the premise is established, in the first 2 minutes of the film, the makers of “Vampire's Suck” tick through references to the first two “Twilight” movies from Edward's introduction to Becca; he wears a hazmat suit because of her scent, to Edward's first visit to Becca's bedroom which ends with an epic blast of gas, as seen in the film's trailer.

One cannot complain when an intentionally dumb movie turns out dumb. What can be complained about is that the film is dumb without wit or purpose. Writer-directors Jason Friedberg and Aaron Seltzer demonstrate a comic theory that states if something is funny then just mentioning it is automatically funny. Mention Tiger Woods scandal, automatically funny. Mention Lady Gaga, automatically funny.

The theory does not require some witty reference to Woods' troubles or for the film's Lady Gaga surrogate to do anything funny, just featuring them is funny enough. The film fails to offer funny exaggerations of these pop culture memes, the only aim seems to glom on to the existing cultural cache, the seeming agreement among us all that these people are funny to talk about. This theory is a massive failure.

The same theory applies to the film's central fodder, the “Twilight movies.” Friedberg and Seltzer assume that just dressing their characters like those in Twilight and giving them variations on the “Twilight” character names, then automatically these characters are funny.

The “Twilight” movies with their overwrought angst, new style vampires and pretentious Puritanism are ripe for a good send up. It's a big wide target that “Vampire's Suck” somehow misses by a mile. There is no insight, no attempt to understand and expose the flaws of the series. There is merely pale imitation and dull reference.

I laughed once during “Vampire's Suck.” The scene involved the Becca character posting something on Stephanie Meyer's Twitter feed. Sadly, one good joke is not nearly enough to recommend Vampire's Suck. There are still opportunities in this genre. “Airplane” and “The Naked Gun” movies remain cultural touchstones because this type of send up movie has so much potential. That potential is unrealized in “Vampire's Suck.”

Movie Review: Eat Pray Love

Eat Pray Love (2010) 

Directed by Ryan Murphy 

Written by Ryan Murphy, Jennifer Salt

Starring Julia Roberts, Billy Crudup, Viola Davis, Richard Jenkins, Javier Bardem

Release Date August 13th, 2010 

Published August 13th, 2010

“Eat Pray Love” has one perfect scene. Julia Roberts is staying at an Ashram in India and seeking peace from the love life that has been her obsession, preventing her from finding clarity. Needing to forgive herself for leaving her loving but forgetful husband played by Billy Crudup, Julia as writer Liz Gilbert flashes back to her wedding and imagines an alternate history where instead of the comic dance he'd done at their wedding, the song they intended to dance to, Neil Young's extraordinary "Harvest Moon," plays. T

he Liz of now takes the place of the younger more frightened Liz and tells her husband all that he will not let her say in real life. The moment moves elegantly between New York and India and the song captures the scene beautifully.

It's a rare moment in what is an otherwise pedestrian film but it's so good that it brought me peace with the film and allows me to tell you now that, despite a wave of my fellow critics trashing “Eat Pray Love,” this is not a bad movie. It's no masterpiece but in its mellow, adult contemporary way, “Eat Pray Love” brings an easy smile, a few laughs and that one perfect moment.

”Eat Pray Love” is director Ryan Murphy's adaptation of the Elizabeth Gilbert's real life bestseller. As played by Ms. Roberts, Liz Gilbert left behind a sad marriage to Stephen (Crudup), a bad timing boyfriend named David who she met and moved in with during her divorce and everything else that made her life miserable yet simple in New York.

The plan is to travel, first to Italy, for the food, then to India to live and pray at an ashram and finally a return trip to Bali where at the beginning of the film she met a medicine man who predicted much of how her life would turn out.

Along the way, of course, Liz meets a cast of colorful new friends, finds peace and self discovery and as the title spoils, she finds love. Whether that love can be balanced with newfound peace of spirit is a surprisingly well played and rather unique romantic obstacle. No doubt the best of Liz's new friends is Richard played by Oscar nominee Richard Jenkins. 

Liz and Richard meet in India and he glosses her with a rather precious nickname that sticks only because Richard Jenkins truly believes in how clever it is. Jenkins sells the Pray portion of Eat Pray Love like no other actor could and even saddled with a back-story monologue that strangle many other actors, he makes it work and the movie loses something important when he leaves. 

The last portion of the film is centered on Oscar winner Javier Bardem as Felipe and Liz's willingness to believe in love again. It sounds trite, it is rather trite but you will have to try hard not to like Bardem's big broad smile and his quirky, sweet way of expressing his love. Bardem has rarely been this free and easy on screen and it suits him surprisingly well. 

I don't see why men cannot be comfortable talking about love as a concept and a feeling. Why does this frighten us so much? I will boldly state here and now, I believe in love and while I have had my heart broken more than once, I wouldn't want to live in a world where the possibility of love is not right around the corner. Films made for women, like “Eat Pray Love,” are perfectly comfortable with this subject and part of the pleasure of the film is the ease and grace with which these ideas are assessed, mulled and demonstrated. 

”Eat Pray Love” comes up short as anything more than a minor pleasure. Though Eat Pray Love seeks answers to big questions the answers too often are general and easy on the palette, few hard truths here. “Eat Pray Love” doesn’t challenge the audience, it is neither bold nor aggressive about it's ideals, aside from the love of a great Italian past. 

That said, fans of the book should be satisfied and those who have not read the book can bask in the glow of Julia Roberts and Javier Bardem's beaming smiles and Richard Jenkins' exceptional wit and depth. And don't forget that perfect moment I mentioned. Neil Young fans especially will find themselves bursting with emotions and inspirations, thoughts of lost love. It's one of the best scenes in any movie so far in 2010.