Movie Review The Guardian

The Guardian (2006) 

Directed by Andrew Davis 

Written by Ron L. Brinkerhoff

Starring Kevin Costner, Ashton Kutcher, Sela Ward, Melissa Sagemiller, Clancy Brown, Omari Hardwick

Release Date September 29th, 2006 

Published September 29th, 2006 

Kevin Costner is maturing quite well into his elder statesman role. He has turned in a series of strong older leading man performances in Open Range, The Upside of Anger and he was the only appealing element of the abysmal romantic comedy Rumor has It. Costner's latest picture may be his most obvious transitional work. As a coast guard trainer to upstart Ashton Kutcher's rescue swimmer trainee, Costner is seen in The Guardian as passing the torch to a new generation.

If that last line isn't indication enough of the cheeseball nature of The Guardian wait till you hear the Bryan Adams tune that closes this eye rolling action adventure.

Kevin Costner stars in The Guardian as Senior Chief Ben Randall, a coast guard rescue swimmer. It is Ben's job to jump from helicopters into the roiling waters of the Bering Sea off the coast of Alaska and save lives. As a near 20 year veteran, no one has saved nearly as many lives. Sadly for Ben his latest mission led to a tragic accident that killed his entire crew, including his closest friend.

Washed out to the Coast Guard's elite training facility called A School, Ben is forced to give up rescue swimming in favor of training the next generation of swimmers. Amongst the new recruits is a brash former high school swimming champion named Jake Fischer. A hot head who lacks leadership and teamwork skills, Fischer clashes immediately with his new mentor.

No points for guessing that the adversarial relationship between Ben and Jake eventually comes to grudging respect to fatherly protectiveness before they are finally ready to save lives together. Yes, The Guardian as directed by Andrew Davis (The Fugitive); is as predictable as a road map. That said, the action on the high seas, the dangerous windswept life saving moments are more often than not very exciting.

Andrew Davis knows his way around great action from the train escape sequence in The Fugitive to the explosions of the otherwise awful Arnold Schwarzenneger flick Collateral Damage to the high seas action of The Guardian. It's the other aspects of direction, character, plot, tone, where Davis struggles as a director.

Working from a script by Ron Brinkerhoff, whose only other credit is the straight to video Sly Stallone pic D-Tox, Davis crafts a film that is part big action and part cheeseball kitsch. Every critic in the country has mentioned the obvious parallels between The Guardian and other military male bonding flicks like Top Gun, An Officer and A Gentleman and the oft forgotten De Niro flick Men Of Honor. The Guardian does nothing to separate itself from these films, heavily lifting from each with no regard for originality.

The Guardian had me rolling my eyes early on as we met Ben Randell's wife played by Sela Ward. If you guessed that Randall is one of those married to his job types and because of that his wife is leaving him; well, of course, you're right. This is such an obvious and obligatory scene, Ward's character moving her things out of their shared home, that it almost seems intentionally humorous. Almost.

Despite the predictability, despite the cheeseball way that director Andrew Davis rips off other similar films, I still found myself wrapped up in The Guardian. The action on the high seas is edge of your seat stuff with some terrifically well integrated CGI effects and a pair of game if waterlogged stars. Costner and Kutcher play well off of each other in the action scenes, really playing up the father-son dynamic of their relationship.

The film also has a credible, if not exactly smoking hot, romance for Kutcher's Jake Fischer. Melissa Sagemiller plays Emily; a school teacher who falls for Jake despite knowing that he will be shipped far away from where they meet, at the training school. The scenes between Kutcher and Sagemiller  begin with yet another of those predictable, been there done that moments, one where the cocky cadet bets his pals he can pick up the hottest girl in the bar in under a minute. It's a cheesy, eye rolling start, but these likable actors manage to make the romance work because they have pretty good chemistry.

Movie Review The Company Men

The Company men (2011) 

Directed by John Wells 

Written by John Wells 

Starring Ben Affleck, Tommy Lee Jones, Chris Cooper, Kevin Costner, Maria Bello, Craig T. Nelson

Release Date January 21st, 2011

Published January 20th, 2011 

John Wells made his nut as the Executive Producer and creator of the hit series ER. For all intents and purposes John Wells never has to work again. Yet, with multi, multi, multi millions of dollars in the bank John Wells is hanging himself out there as a director and making the movie “The Company Men,” a real American Dream movie about a self made man who decides to risk it all for an ideal that has too long ago passed away in the overwhelming light of modern corporate/Wall Street culture.

Tommy Lee Jones is Gene McClary CFO of a company that used to make ships, now they make corporate deals that have next to nothing to do with shipbuilding. In fact, with every new move the company he formed with his best friend (Craig T. Nelson) gets further and further away from their humble beginnings in the stockyards. The people that came up with them are dropping like flies as every move of the stock price is accompanied by more layoffs and firings.

Among those losing their job in the corporate carnage is up and comer Bobby Walker (Ben Affleck). As one of many heads of sales in the shipbuilding division; Bobby looked like a future CEO. Sadly, with shipping dying and his salary near the top he's out and he's not alone. Soon to join Bobby on the unemployment line is Phil Woodward (Chris Cooper) , a veteran salesman and one of Gene's oldest friends. Phil came up from building ships in the yard and now, just short of his retirement age he is out of a job.

Bobby's story comprises much of the runtime of “The Company Men” as he and his wife (Rosemarie Dewitt) cope with a big mortgage, two expensive cars and two frightened kids. Unwilling to swallow his pride Bobby scours the country for a job that will keep his family in their home. When he finally is forced to make a choice his only option is to take a temporary job working for his brother in law (Kevin Costner) working construction.

Phil's story is even darker and has a powerful and devastating conclusion that, though it is predictable, nevertheless impacts strongly. Chris Cooper is extraordinary as a man who fiercely clings to his pride to the point that it devastates him. Phil is the impetus for a hopeful and miraculous finish that I will leave you to discover by watching the wonderful fairy tale that is “The Company Men.”

The values at work in “The Company Men'' are deeply liberal but not in the stereotypical sense. “The Company Men '' exerts the true dream of liberalism, fair treatment for all. While the right accuses the left of simply wanting handouts, “The Company Men '' demonstrates a corporate titan and multi-millionaire who acts in the best interest of his employees and sets about using his money to create opportunities not handouts.

The notion is I am My Brother's Keeper. We are our brother’s keeper and that doesn't mean giving something away, it means that when you succeed you use your success to create an opportunity for others to succeed. I have always used a metaphor to demonstrate how I feel about people with money and people without and it goes like this: once you have climbed the wall to financial stability throw a rope back so that the next person can climb up there with you.

Too many of the rich in America are pulling the rope up behind them, taking their wealth and squirreling it away for reasons that only they understand. “The Company Men” gives life to my dream of a corporate culture where opportunities are created and success is decided by those who grab the opportunity given and make the most of it.

Tommy Lee Jones's Gene is fascinating because he does what so many with money will not do, he throws a rope back. It's not about him giving something away, he decides to create something, build something, innovate something and in the process he gives others the opportunity to create and innovate alongside him.

Thank you John Wells, “The Company Men” is a movie of relevance and necessity. This is the movie that so many other modern polemics wish they could be; a story of hope against the sorrow of our tough economic times. “The Company” Men is a guide post for how our country could get turned around if there were more men of means like Gene willing to take a risk and throw a rope back over the wall.

Movie Review Dragonfly

Dragonfly (2002) 

Directed by Tom Shadyac

Written by Brandon Camp, Mike Thompson, David Seltzer 

Starring Kevin Costner, Susanna Thompson, Joe Morton, Ron Rifkin, Linda Hunt, Jacob Vargas 

Release Date February 22nd, 2002 

Published February 21st, 2002 

Kevin Costner has made himself the subject of ridicule in recent years as his ego began to outpace his creativity. Costner began to believe the things being written about him, about his sex appeal and his ability to open a film. This ego feeding caused Costner to push through a number of lame vanity projects that he assumed, because he's Kevin Costner, of course they will be hits. Well they weren't and now maybe he's getting it. In his most recent effort, Dragonfly, Costner doesn't write, produce or direct, he just acts. And it's the best acting he's done in a very long time.

In Dragonfly, Costner is Dr.Joe Darrow the head of emergency surgery at some nameless hospital. Joe's wife Emily (Susanna Thompson) is also a doctor, head of oncology working with child cancer patients. Emily is also a missionary who travels to Venezuela to treat sick kids against Joe's wishes. Joe thinks it's too dangerous and sadly he is correct. Soon after Emily arrives in Venezuela she and her patients are in a bus that gets caught in a mudslide that drops the bus in a river, killing everyone inside. Or at least we think it killed everyone.

Back in the states Joe is not dealing with his wife's death, instead he is working 15 hour shifts in the ER against the better judgment of his boss, the invaluable Joe Morton. Of course Joe doesn't care what anyone says and despite agreeing to take time off he still shows up at the hospital to visit his wife's patients. It is then that Dragonfly launches into its supernatural bent, with the children's near death experiences leading Joe to believe his late wife is trying to reach him from beyond the grave. That is if she's dead, her body will never recover.

Costner expertly plays the film's supernatural elements against a background of rational cynicism. There are a great deal of logical explanations of near death experiences, many of which the film intelligently lays out. Also as Joe's friends point out, wanting to speak to his late wife is what Joe wants, so it's not inconceivable that he is making these things happen himself.

Costner is backed by one of the best supporting casts I've seen this year including the aforementioned Joe Morton, Ron Rifkin, Jay Thomas and a woman who is becoming one of my favorite actresses, Kathy Bates. Bates plays Miriam, Joe's neighbor and lawyer who does her best to take care of him as both mother figure and best friend. Bates is amazing and never gets enough credit for her amazing work. This film will likely be forgotten by Oscar time, but nonetheless her performance more than warrants a nomination.

The film's only problem is director Tom Shadyac, the guy who lensed Patch Adams can't keep his mushy side in check. While Costner expertly balances emotion and intellect, Shadyac constantly aims for the heartstrings, especially towards the film's sap-covered climax. Aside from the excess sap, Dragonfly is a worthy rental based on the performances of Costner and his superior supporting cast.

Movie Review Fandango

Fandango (1985)

Directed by Kevin Reynolds 

Written by Kevin Reynolds 

Starring Kevin Costner, Sam Robards, Judd Nelson

Release Date January 25th, 1985

Published January 25th, 2015 

This weekend, January 24th to 26th, in 1985 Kevin Costner took his first leading man role in the mostly forgotten road comedy “Fandango.” Co-starring Sam Robards, Chuck Bush and Judd Nelson, “Fandango” follows four friends from the University of Texas on one, final, epic road trip before each heads off to Vietnam or maybe Mexico.

The year is 1971 and the day before Kenneth’s (Sam Robards) wedding, his graduation day from the University of Texas, he finds out he’s been drafted. So has his best friend Gardner (Costner) while their roommate Hicks (Nelson) has already volunteered to go. With their future’s uncertain the friends pile into a generic movie road trip car and head for the border with plans to dig up a relic of their earlier college years.

That’s the set up of “Fandango” but the film is more than just a road movie. Directed by Kevin Reynolds, Costner’s go-to director before their “Waterworld” falling out, “Fandango” is yet another 80’s movie still attempting to process the feelings inspired by the war in Vietnam. Set in 1971, in the midst of the worst of the war, we watch characters who’ve skirted the war effort as privileged college students now facing down the real possibility of death.

For all of the shiny, neon, plastic, phoniness of the 1980’s there were moments of true depth and sadness and much of it had to do with the lingering specter of  Vietnam. In the 80’s Hollywood was finally ready to examine the tragedy of Vietnam and perform the post-mortem examination with some of the great war movies of all time in “Platoon” and “”Full Metal Jacket.” And then there were smaller reckonings like “Fandango” which masked the angsty, life and death fears of Vietnam with a humor that barely concealed terror.

This comic angst is never more present in “Fandango” than in a brief scene set in a cemetery on one of the road trip’s many detours. Having run out of gas in a small town our heroes happen upon a pair of teenage girls who buy them dinner and take them around town. They wind up in a cemetery playing with fireworks which come to resemble the bombs dropping over Vietnam once Kenneth stumbles over a grave marked for an Army Corporal who died just that year in Vietnam.

The scene is a tad heavy-handed but Robards and Costner sell the moment with the fear on their faces while director Reynolds gives the moment time to breath. The fireworks lighting up the graves and the grave faces of Robards and Costner give the scene a strong visual quality even, as I mentioned early, as the scene is more than a little over-wrought with subtext.

For some reason I tried to be put off by “Fandango.” I fought the film’s charm early on because I was expecting a cheesy teen appeal road comedy. By the end of the film I was deeply charmed by the characters and the humor and camaraderie they use to fend off the feeling of impending doom engendered by their future trip to Vietnam. Costner is especially effective near the end of the movie when his memories of a lost love collide with his duty to his best friend and their terrifyingly uncertain future.

The movie ends with an only in the movies style impromptu wedding. Having convinced the residents of a small Texas border-town to help them honor Kenneth’s wish for a last second wedding to ‘The Girl,’ played by Suzy Amis, we watch a truly charming scene of homemade food and craft burst to life in the middle of the dusty town. The scene should not work but it does because everyone involved is so committed to it.

In the end, the combination of a charming cast and serious Vietnam related angst combine to make a surprisingly satisfying dramatic comedy. Is it surprising that “Fandango” isn’t well remembered 30 years later? No, it is by nature a road comedy, a sub-genre that has never been known for having a shelf life. However, I am quite pleasantly surprised to find myself a fan of “Fandango.”

Movie Review Tin Cup

Tin Cup (1996) 

Directed by Ron Shelton 

Written by John Norville 

Starring Kevin Costner, Rene Russo, Cheech Marin, Don Johnson 

Release Date August 16th, 1996

Published August 15th, 2016

The game of golf is mysterious; it honors neither will nor skill. The game affords license to the talented but even talent will on occasion be humbled by the gods of the game, Mother Nature and Lady Luck. A squirrel runs across a perfectly good lie leaving a small dent and fates are changed forever. That is golf that is life.

Such a perfect thing as well struck golf shot 

For Roy McAvoy it’s not the gods or the squirrels, though he is a little nuts, rather it’s all in his head. Roy has the talent; he has in the past had favor of the gods but he simply cannot get out of his own way. Once when attempting to qualify for the PGA Tour he went for a seemingly impossible shot, missed, tried again and eventually cost himself a tour card. 

That was decades ago. Today, Roy or ‘Tin Cup’ to his friends, is a small time golf instructor at a beyond run down East Texas driving range marked by a sign announcing ‘Last chance to hit golf balls for 540 miles.’ That anyone has ever stopped at this establishment where Roy and his menagerie of friends bide their time betting on which bug will die first in the bug zapper, seems unlikely.

Waggle it 

Then, in walks a very beautiful woman. Her name is Dr. Molly Griswold and she is the new shrink in town and for some reason she wants golf lessons. Rene Russo plays Molly and her discomfort with comedy is evident in her stilted delivery and inability to punch a punch line, something about a saddle.

Despite the struggle, she and we, through her, meet the real Tin Cup, Kevin Costner’s unendingly charming, slightly drunken rogue. Irresistible to women and admired by men who can’t quite figure out why they admire him; this is the Kevin Costner of “Bull Durham,” of “Field of Dreams” and in moments from later films like “For Love of the Game” and “The Upside of Anger.”

Like a tuning fork in your heart  

That ridiculous grin, that floppy, fading hairline and the fact that he’s rarely seen the inside of a gym are just some of the reasons that Kevin Costner became an icon, an actor who will be forever marked in the memory of film fans. Before he gave up everything in favor of an inflated ego and the notion of being a respected ‘artist,’ Kevin Costner was an everyman who loved having a good time and inviting audiences to join him.

No director understood that side of Kevin Costner quite as well as “Tin Cup” director Ron Shelton. It was Shelton’s “Bull Durham” that delivered Costner to stardom in “Bull Durham” and in “Tin Cup” nearly rescued Costner from the excesses of his artistic tripe. Sadly, only flashes of that Costner remain while Shelton himself struggled to find other stars that could enliven his work in the way Costner had.

“Tin Cup” is a movie about a golfer but it’s also a time capsule of a movie moment, one when an actor and a director came together in an absolute understanding of how to entertain an audience. The cohesiveness of Shelton and Costner’s effort is evident in each wonderful scene of “Tin Cup” as Costner strides through Shelton’s scene setting in perfect pitch, striking each line and hitting each lopsided punch line not unlike a well struck tee shot.

The Shanks

Drawing out the metaphor to its farthest reaches, Kevin Costner is “Tin Cup.” Hindsight forces the film critic in me to see that as Roy chooses to pass on the chance to win the US Open in favor of trying to land one difficult shot that repeatedly eluded him that Costner’s “Waterworld” was one of those shots that landed short of the green. So were “The Postman” and “Message” in a Bottle attempts at greatness that courted failure and failed.

Thankfully, there is “Tin Cup” which, unknown to Costner in 1996 as he was making it, was that one perfectly struck shot that you feel in your loins that lands on the green, earning the roar of the crowd. As Roy says “You define the moment or the moment defines you.” For a moment, Kevin Costner was defined by Tin Cup and it was glorious. Today, he is defined in so many other ways, far less glorious. Such is the heroic quest for that one perfect shot.

Greatness courts failure Romeo

When people talk about golf and movies they think of “Caddyshack.” Nothing could ever take away from the comic genius of Caddyshack but, as golf movies go, for me and a growing cult, “Tin Cup” is the ultimate golf movie. Roy ‘Tin Cup’ McAvoy is both a guy all of us know and a representation of something in ourselves; that always striving, often failing part that takes comfort in the little things like a drink, good friends and a good woman. 

It’s golf season again and “Tin Cup” is out there on each and every course seeking the greatness in a single shot when par would have been good enough. Such is life.

Movie Review Mr. Brooks

Mr. Brooks (2007) 

Directed by Bruce A. Evans 

Written by Bruce A. Evans, Raynold Gideon 

Starring Kevin Costner, Demi Moore, Dane Cook, William Hurt, Marg Helgenberger

Release Date June 1st, 2007 

Published May 31st, 2007

The career of Kevin Costner has had many ups and downs. He has been one of the biggest stars in the world and People Magazine's sexiest man alive. He's also been the most reviled man in Hollywood and a grand punch line after his triple failures, Waterworld, The Postman and Wyatt Earp. He has recently tried to reinvent himself as a character actor and a comeback kid, a perception fed by well received performances in The Upside of Anger and Open Range.

Now however, as he tries to reclaim leading man status; Costner is once again flailing. First, there was the disastrous Rumor Has It, a pseudo sequel to The Graduate with Costner as a middle aged Ben Braddock. Now comes Mr. Brooks a disaster of a different kind, one that isn't really Costner's fault.

"The Hunger has returned to Mr. Brooks, it never really left"

That is the opening title card to the new thriller Mr. Brooks, a title card that thrusts us into the midst of the madness of a man named Earl Brooks (Kevin Costner). Earl is a proud father, a loyal husband and a respected businessman who runs a major box company. However, in his spare time he is the thumbprint killer, a maniac who likes to pose his victims after killing them and then get off over the photos he takes.

He has been at this for years and for years has been careful to not get caught. He even managed to stop killing for 2 whole years with the help of  weekly A.A meetings, though alcohol never played a part in his compulsion. Then the hunger returned and he selected a pair of victims. Unfortunately, he wasn't as careful as he used to be. He left the curtains open and across the street, an amateur cameraman saw him commit murder.

Luckily for Mr. Brooks the cameraman, call him Mr. Smith (Dane Cook), is a sick puppy like himself. Smith doesn't want to turn Brooks over to the cops, rather he wants to learn from Mr. Brooks, he wants to kill. Thus sets up an uncomfortable partnership between the steely, calculating Mr. Brooks and the unnerved novice Mr. Smith.

That is just one of several plots running concurrently in this rather misguided take on the Dr. Jekyll, Mr Hyde mythos. Also jammed into this plot is a backstory and sub-storyline for Demi Moore as the cop investigating the thumbprint killer and another different killer and a credulity stretching plot for Danielle Panabaker as Mr. Brooks' daughter who may have inherited the serial killer gene.

A glance at director Bruce A. Evans' resume offers a few clues as to why Mr. Brooks  turned out so goofy. Evans wrote the lauded screenplays for epics like Cutthroat Island, Jungle 2 Jungle and Kuffs, a Christian Slater guilty pleasure that he also directed. Curiously, Evans hasn't directed since Kuffs. Maybe he was waiting for something that could match the goofball pleasures and squirm inducing discomfort of that early nineties crime comedy.

Mr. Brooks is certainly goofy but it's not supposed to be. It's intended to be a thriller but thrills are in short supply compared to the unintentional laughter induced by some of the bizarre choices made. There are more than a few moments of unintended humor such as watching comic Dane Cook attempt to appear credible as an actor opposite the veteran Costner. The disdainful glare of Costner's Mr. Brooks towards Cook's Mr. Smith plays like Costner's silent commentary on his co-star.

Despite the loopy plots and unintentional humor there are a few honest pleasures in Mr. Brooks, not least of which is the chemistry between Kevin Costner and William Hurt. These two veteran actors are so in sync and so on the money that you hate the movie for the constant interruptions of their interplay. Taking time out for Demi Moore's lame backstory and a search for another serial killer aside from Mr. Brooks and the daughter's story and Dane Cook's story all serve to upstage the film's one and only asset, the Costner-Hurt duo.

In the few moments that Costner and Hurt get to play we actually get to dig into Mr. Brooks' character and find out how he ticks and why he does what he does. The potential is there for a very unique take on the classic serial killer picture, a movie from the killer's perspective. Few killers are as uniquely villainous as Mr. Brooks, the upstanding businessman and father who happens to be a serial killer.

What a waste, Mr. Brooks had all sorts of potential and wasted it all on dopey, distracting subplots. Director and co-writer Bruce A. Evans is not a bad director really, just inexperienced with a seeming lack of confidence. Evans lacked the courage to jettison what was clearly not working and focus things where they were working, with Kevin Costner and William Hurt riffing and roaring.

Oh, what might have been.