Movie Review Moon

Moon (2009) 

Directed by Duncan Jones 

Written by Nathan Parker 

Starring Sam Rockwell, Kevin Spacey, Kaya Scoledario, Benedict Wong, Matt Berry

Release Date July 17th, 2009 

Published July 17th, 2009 

While the obvious influence of Stanley Kubrick's 2001 is a worthy subject in relation to the sci fi flick Moon the film has an unspoken subject that I find much more interesting. In the ways in which the plot machine of Moon plays out, without what one might expect, it acts as an anti-thriller. Moon sets up a very particular idea that invites a kind of M. Night Shyamalan style twist and then goes about avoiding it at all cost. In doing so the film attempts a cooler than thou attitude toward Shyamalan's populist twisty thrillers and Moon comes off pretentious for the effort.

Moon stars Sam Rockwell as Sam Bell, the lone worker on a base on the dark side of the moon. Sam is a handy man for a self contained machine that harvests Helium 3 from the moon surface. If something breaks down ol' Sammy runs out and fixes it right up. Sam is near the end of what is supposed to be a three year contract and looks forward to returning to earth and the wife and child he left behind.

Why Sam left a budding family back on earth for an empty shell on the moon for three years is one of the intriguing questions that Director Duncan Jones and writer Nathan Parker pose in setting up what one might quite fairly assume is a major twist to come. Whether that twist arrives or not is honestly debatable.

The storytelling style of Moon is muted to the point of whispering. Kevin Spacey gives voice to the Hal-esque computer Gerty, somehow not a cool acronym, and his soothing tone matches the overall tone of Moon, a movie that is quiet with a purpose. The quiet is meant as a near silent rebuke to the noise of almost all modern science fiction and while one can appreciate the gesture, Moon grows so quiet at points that one longs for Bruce Willis to fly by on an asteroid and liven things up.

The thriller aspect of Moon, which kicks in with the introduction of a second Sam Bell in the space station, is played as a knock on the twisty thrills of M. Night Shyamalan. The two Sam's begin a simultaneous search for answers and the audience is led to believe a major revelation or twist is in the offing. I don't mind having my expectations upended but what does happen should be better than what I predicted or hoped for.

The ungainly confused ending of Moon, some would call it open ended but they are only justifying enjoying it, fails to critique Shyamalan's admittedly stale twist endings and especially fails to top them. For all of Shyamalan's failures his jolty endings to The Sixth Sense and Signs remain classic shockers. If you want to take them on you'd better damn well have a better idea. Moon, sadly, does not.

Movie Review Superman Returns

Superman Returns (2006) 

Directed by Bryan Singer 

Written by Michael Dougherty, Dan Harris 

Starring Brandon Routh, Kate Bosworth, James Marsden Kevin Spacey, Parker Posey, Frank Langella 

Release Date June 28th, 2006 

Published June 27th, 2006 

The title Superman Returns has more than a single meaning. The title in the literal sense refers to the fact that the man of steel is returning to the big screen for the first time in nearly 20 years. In the movie universe the title refers to Superman having disappeared from earth for five years in search of the remains of his home planet of Krypton.

This search for home is at the heart of the new Superman flick which recasts the legendary superhero, now played by newcomer Brandon Routh, as a lonely hearted romantic with unrequited passion for Lois Lane (Kate Bosworth) and an earnest will to protect mankind from all hurt and pain.

Superman Returns is a pseudo sequel to the first two films in the Superman series starring Christopher Reeve. Ignoring the last two installments, a pair of embarrassing failures, Superman Returns takes on the task of reinventing Superman while remaining beholden to the original films.

Five years after leaving without a trace, mild mannered reporter Clark Kent returns to his job at the Daily Planet. Not surprisingly, soon after Clark's return, Superman arrives and is immediately put to the test rescuing a space shuttle mission that nearly causes an airline crash. Intrepid reporter Lois Lane happens to have been on the rescued plane but her reunion with Superman is short-lived.

Back at the newsroom Clark/Superman finds that since he left, Lois has given birth to a son and is engaged to Robert (James Marsden) an editor at the paper and the nephew of the Planet's managing editor Perry White (Frank Langella). Assigned to the return of Superman story Lois is far more interested in investigating how her plane and the space shuttle came to lose power in mid-air just as the power went out across the entire eastern seaboard.

Lois has a hunch that the power outage is linked to the legendary bad guy Lex Luthor who, out on parole because Superman failed to testify against him at trial, has stolen his way to wealth and used it to discover Superman's fortress of solitude. In finding the fortress he plans to harness its power crystals to create a whole new continent for himself even if it means sinking the east coast.

The film takes on an episodic feel early on as director Singer attempts to draw together his varying plot elements.

Episode one, explains how Lex Luthor got out of jail.

Episode two, Superman returns to the Kent family farm and his mother, played by Eva Marie Saint. This episode also attempts a quick recap of young Superman discovering his powers.

Episode three, the plane crash rescue. This is by far the best episode in the film as Singer harnesses a special effects masterpiece in Superman's return to his super good deeds.

And the film continues this stop and start of episodic melodrama and action at the expense of establishing a solid dramatic rhythm over its long runtime of two hours and thirty minutes.

Superman Returns is the height of CGI special effects rendering a believably powerful and compelling Superman. His feats of strength and speed are exciting and eye-catching. Check out the space shuttle and plane crash scenes and also a scene where Superman rescues downtown Metropolis from the falling globe from the top of the daily planet building. Routh's poise in this scene is classically and iconically Superman.

However, when Clark Kent slips out of the Super suit the film comes to a screeching halt. Here Bryan Singer's slavish devotion to the original films becomes burdensome. Richard Donner's version portrayed the Daily Planet as a throwback to the My Gal Friday, fast talking, down and dirty days when female journalists were dames and everyone was out for the big scoop. Singer's vague attempts to recapture that are disastrous.

Singer also tries to evoke those unique qualities of Clark and Lois that Christopher Reeve and Margot Kidder made memorable. Thus you have the charismatic but humor challenged Routh attempting Reeve's swift witted nerdy Clark Kent minus the wink and a nod. Then you have Bosworth trying out Margot Kidder's flighty but quick on her feet comprehension, something Bosworth fails miserably at.

Brandon Routh makes a great Superman. He has the physicality, good luck and soulfulness that evokes the best qualities of his predecessor Christopher Reeve. What Routh lacks is the wit that allowed Reeve to play the duality of Superman and Clark Kent. Routh lacks that knowing glint in the eye, that subtle wink and nod that Reeve brought to Clark Kent that helped audiences accept Superman and his nerdy alter ego.

The bigger problem for Routh however is his co-star and love interest Kate Bosworth. Though lovely, Ms. Bosworth is a lightweight dramatic presence. When compared to Margot Kidder's tough and unconventionally sexy Lois Lane, Bosworth is blown away. Where Kidder and Reeve burned up the screen with romance and wit, Routh and Bosworth could barely strike a match. Bosworth is an emotional cypher.

Brandon Routh also gets little help from co-star and arch-nemesis Kevin Spacey. Evincing more petulance than menace, Spacey chews scenery nearly as well as Gene Hackman did back in 1978 but where Hackman brought charm and wit to Lex Luthor, Spacey brings sneering, mustache twirling, buffoonish-ness to the role.

Superman is a god like character, seemingly all knowing, thanks to his super hearing and ability to see through any substance, he is also benevolent and compassionate. The script does not play up Superman's god like qualities, they are inherent in the characters backstory. The problem is the film does not attempt to deconstruct this image. Superman begins the movie as god and though he faces temporary physical setbacks, his character is never challenged thus he does not have a great arc.

In Batman Begins and Spider Man 2, arguably the two greatest superhero films ever made, the main characters had their morality and their personalities challenged and played big dramatic arcs. Superman however is so sure of his place in the world and is so earnestly engaged that he seems bland. He is challenged romantically but because the love interest is so passionless the challenge is not all that dramatic.

Christopher Reeve and Margot Kidder brought a goofy sort of charm to the romance of the first two Superman films that managed to flame into a pretty good love story. In Superman Returns the romance is a non-starter because star Kate Bosworth is a limp noodle of muddled romantic interest. We can see love in the eyes of Routh's Superman but Bosworth's Lois Lane is a blank slate.

The film asks us to believe that when Superman left without saying goodbye Lois wrote a Pulitzer prize winning story about why the world does not need Superman. We are to believe that she poured all of her sadness and pain into this essay and that, despite being unable to spell the word catastrophic -a joking nod to the first Superman movie- she was honored with journalism's highest prize. But we are only told these things. Bosworth never demonstrates her heartbreak beyond a simpering anger in her voice.

The real dramatic arc of Superman Returns is only brushed over. It's the search for a home. Superman left earth without a word to the people he loved. He went to find his true home and found only ruins. Back on earth his beloved Lois Lane has moved on with another man and though he has his mother and his purpose, Superman lacks a private place in the world. This character arc is sniffed around and hinted at but, sadly, never fully explored.

A series of intermittently entertaining episodes Superman Returns is at its best when director Bryan Singer presents his big action set pieces. When the film slows down and Brandon Routh is out of his super suit the film bogs down. The movie needed to modernize the newsroom setting, smarten up Lois Lane so we don't find her so dithering, and cut a good 20 minutes out of the non-action scenes. Unfortunately it's far too late for these changes.

As it is Superman Returns is a modestly entertaining, visually impressive action picture that lacks the wit and romance that made the original iconic.

Movie Review: K-Pax

K-Pax (2001) 

Directed by Iain Softley 

Written by Charles Leavitt 

Starring Kevin Spacey, Jeff Bridges, Alfre Woodard, Mary McCormack

Release Date August 13th, 2001 

Published November 1st, 2001 

Kevin Spacey is one our finest actors having created such enduring characters as American Beauty's Lester Burnham, Seven's John Doe, and the unforgettable Verbal Kint in The Usual Suspects (My personal favorite). But no matter how great the actor, he can't get it right every time. Need I remind you of Pay it Forward, and now with K-Pax Spacey has struck out again. High hopes still persist for his role in The Shipping News in December.

You can't blame Spacey entirely for the failure of K-Pax -- director Iain Softley and the screenwriter must share equal blame. They seemed to approach the film with no idea how they would resolve it which leaves the audience with an ending so unsatisfying it collapses any interesting elements the film had built to that point.

K-Pax is the story of Prot (Spacey) a man who's either an alien or a mental patient. Prot is picked up by police at the scene of a mugging after babbling about not being from Earth. He is placed in a mental institution where Dr. Mark Powell (Jeff Bridges, in the film's best performance) treats him. K Pax is at its best when Bridges and Spacey go one on one with Bridge's doctor attempting to logically ascertain why this seemingly brilliant man thinks he is an alien. 

The film's other scenes are less interesting featuring your typical cast of loony bin loonies such as the germophobe, the mean one, and the patient who could leave the hospital if someone would treat him with love instead of medicine. Of course Prot will redeem them and these scenes are lifted from the Patch Adams scrap heap though slightly elevated by Spacey's presence. 

Jeff Bridge's performance nearly saves K Pax his search for Prot's true identity is well played with the right amount of emotional impact. Bridges is stringing together one of the most under-appreciated resumes in the business with brilliant turns in The Contender, The Big Lebowski and Fearless. If all of K-Pax were as good as he is, K-Pax could have been one of the best films of the year.

As for Spacey, Prot is a nearly impossible character who's required to be quirky because all aliens are quirky, and he's required to be psychologically damaged and then be a saint. That's a lot of work. In the end the director refuses to give the audience any catharsis by not answering the film's big question, one I won't print because I don't want to spoil it. The ending is left open either for a sequel or to offer the audience the opportunity to write their own ending, but intelligent moviegoers may be annoyed with the mystery. I know I was.

Movie Review: The Big Kahuna

The Big Kahuna (2000) 

Directed by John Swanbeck 

Written by Roger Rueff 

Starring Kevin Spacey, Danny Devito, Peter Fascinelli 

Release Date April 28th, 2000 

Published February 2nd, 2002 

Will the real Kevin Spacey please come home! I'm talking about the Spacey who portrayed Verbal Kint in The Usual Suspects, Lester Burnham in American Beauty and John Doe in Seven. Not the Spacey who was the dour schoolteacher in Pay It Forward, the sanctified crazy in K-Pax or the dull schlub from The Shipping News. The last time we saw the real Kevin Spacey was the three-guys-in-a-hotel-room drama The Big Kahuna.

In The Big Kahuna, Spacey portrays Larry Mann, one of the best industrial lubricant salesman there is. Larry, along with partner and best friend Phil (Danny DeVito), are attending a convention to pitch their industrial lubricants to clients and while they are at it, they teach the business to a new recruit named Bob (Peter Fascinelli).

The film takes place all in one hotel room as the three salesman rehash the nights goings on and their seeming failure to find the big kahuna, the big client they desperately want to sign. As it turns out however, Bob actually did find the big kahuna, but instead of pitching him industrial lubricants they talk about their families and religion. This leads to a philosophical debate about the importance of family and God and what role, if any, they play in business. 

Larry is the hardliner married to the job at the expense of everything else. Phil is the would-be family man who longs for the ideals he gave up to be successful. For Bob, each of his two mentors represent two disparate paths, focus solely on work and become successful but lonely or focus on family and give up on the big sales and big money. A far more difficult decision than it seems.

The Big Kahuna doesn't have any big flashy set pieces, no chase scenes or mystery. It is essentially a stage play on film and each of the three actors is given a well-written monologue to explain their character and motivation. I must say what a joy it is to listen to intelligent people carry on intelligent conversation. Especially DeVito, whose calmness and maturity shines a light on what an under-appreciated talent he is. 

While Spacey does a good deal of screen chewing in The Big Kahuna, you still get the feeling of watching a real person, he's a salesman so larger than life showboating and grandstanding come with the territory. As for Peter Fascinelli he does a great job of not getting completely blown off the screen by his costars. 

Movie Review: The Shipping News

The Shipping News (2001)

Directed by Lasse Hallstrom

Written by Robert Nelson Jacobs

Starring Kevin Spacey, Julianne Moore, Judi Dench, Scott Glenn, Cate Blanchett 

Release Date December 18th, 2001

Published December 17th, 2001 

E. Annie Proulx's bestseller The Shipping News preceded Oprah's book club by a few years but if the film is anything like the book then it would fit Oprah's book club perfectly. The Shipping News is that kind of non-controversial life affirming claptrap that Oprah extols on a weekly basis. The film, adapted for the screen Robert Nelson Jacobs and directed by Lasse Hallstrom, the master of life affirming claptrap, stars Kevin Spacey as Quoyle.

While living a miserable invisible existence, Quoyle is finally noticed by Pedal Bear (yes I said Pedal Bear), played by the lovely Cate Blanchett. Pedal however is not as soft as her name would suggest. She uses Quoyle for room and board while cheating on him. Pedal does manage to have a child with Quoyle, but isn't much of a mother to Bunny, played by the Gainer Triplets Lauren, Kaitlyn and Alissa.

Quoyle is a good father but far too dull for Pedal who continues to run around on him until she is killed in a car wreck. Quoyle and his daughter pick up their lives and leave to live with Quoyle's Aunt Agnis (Dame Judi Dench) in Newfoundland. There, Quoyle gets a job at a local newspaper where he writes the shipping news, a very big deal in the small fishing community.

Scott Glenn is Jack Buggit, the paper's eccentric owner who hires Quoyle despite the fact that Quoyle has no writing experience and while he will be writing about boats, Quoyle hates water. This is supposed to be cute and quirky but it plays as baffling and bizarre. Soon after landing a job he's not qualified for, Quoyle meets the obligatory movie love interest. Her name is Wavy Prowse (yes I said Wavy) (Julianne Moore). Why? I have no idea why. 

Maybe I'm too cynical for this film, or any film with characters named Wavy, Pedal and Bunny. Oh and don't forget Tert (Pete Postlethwaite) the newspapers manager and Beaufeld Nutbeem (Rhys Ifans) the paper’s international writer. Of course Ifans is one of the few actors who could pull off a character named Beaufeld Nutbeem. 

The Shipping News is a typically Lasse Hallstrom movie. It's prosaic and slow though lovely to look at. He's terrific at soft surfaces but even more adept at softheaded narratives with all of the memorable qualities of a barely remembered dream. All of Lasse Hallstrom's films seem to strive for deep meaning but they almost always end up with little more than surface emotion and not much else. I apologize if you are someone who enjoys Lasse Hallstrom's gauzy, bleary, boring movies but I cannot begin to understand why anyone would enjoy them.

I had hoped this film would be a return to form for Spacey after consecutive dull performances in Pay It Forward and K-Pax. Sadly though, Spacey in The Shipping News continues in his dewy-eyed schlep role, no passion, no vigor, nothing of Lester Burnham or Verbal Kint or John Doe. Even Spacey's screen chewing presence in The Big Kahuna is preferable to his recent string of dull losers.

The Shipping News sinks.

Sorry I couldn't help myself.

Movie Review The Life of David Gale

The Life of David Gale (2003) 

Directed by Alan Parker 

Written by Charles Randolph 

Starring Kevin Spacey, Kate Winslet, Laura Linney, Gabriel Mann 

Release Date February 21st, 2003 

Published February 20th, 2003 

It seems that in all of my reviews of Kevin Spacey's movies I end up asking, “What has happened to Kevin Spacey?”

I always begin by recalling how brilliant he was in Seven, The Usual Suspects and his star making turn in American Beauty. It is because I WAS such a big fan of Spacey that I long to remember why I was a fan. Spacey's last four films have done a lot to make me forget how great Spacey once was. The Shipping News, K-Pax, Pay It Forward, and Ordinary Decent Criminal are all terrible films that don't meet the standards of Spacey's previous work and are really not even in the ballpark with his best performances.

I still believe Spacey can turn it around with one great role. His last four films and his previous brilliant works represent two extremes which leads us to our point, to which extreme does his new film The Life Of David Gale go? Well with early Oscar buzz quickly shifting to a scramble by producers to get it out of the way of the competitive December market, the buzz wasn't good. Sadly, the film lives up to the bad buzz.

As the title character, Professor David Gale, Spacey is the head of the philosophy department at a Texas college and the lead spokesman for Deathwatch, an anti-death penalty lobbying group. However, when we first meet Professor he is behind bars and awaiting a lethal injection on Texas's death row. David Gale was convicted of the murder of a fellow death penalty activist, Constance Halloway (Laura Linney). Her nude and battered body was found on her kitchen floor with a bag over her head and her hands handcuffed behind her back. Every piece of evidence points at Professor Gale, his fingerprints were found on the bag and his semen was found in the victim.

Gale still maintains his innocence and agrees to an interview with a New York journalist just four days before his execution. The journalist is Bitsey Bloom (Kate Winslet) and it's unclear why Gale chose her. She has never written about the death penalty and has only a vague knowledge of his case, which has made national headlines simply based on the irony of a death penalty activist on death row. In fact, it is that very irony that fuels Gale's paranoid defense that a conspiracy has landed him on death row. 

In flashback, Gale details his relationship with Constance, which he claims was that of good friends and nothing more. Gale talks about his wife leaving him and taking his son to live in Spain. He openly discusses his drinking problem and finally the affair that sent his life into a tailspin. After a student offers to do anything to raise her grade, the good professor tells the student to study harder. That student is expelled for her bad grades. After that same student shows up at a party Gale attended, Gale is seduced and later accused of rape. The former student's revenge on Professor Gale is to accuse him of rape, she soon after dropped the charges but the stigma of the charges cost Gale his job. As Gale is explaining his story to Bitsey, a mystery is unfolding involving a shady cowboy (Matt Craven) and a videotape that may prove Gale's innocence.

To tell you anymore would spoil the film’s supposedly shocking twists. Director Allan Parker's ham handed direction tips off the twists well ahead of time but you should be disgusted by this film’s lunkheadedness on your own. The film is supposed to be a message picture about how horrible the death penalty is but the film hammers it's message home in such a way that the audience couldn't care less if Gale gets the needle or not. 

Surrounding the anti death penalty screed, is a mystery plot so convoluted as to murder credibility. The film’s mystery relies on the journalist being such a dope that her magazine would actually pay a half million dollars to get the interview with Gale, when he should be begging for interviews to prove his innocence instead of charging exorbitant amounts of money. The Life of David Gale flies in the face of credibility and saddles it's wonderful stars with a plot so heavy handed and ridiculous that they really had no chance of recovering.

So there is a ray of hope for Spacey fans. At least this one wasn't entirely his fault.

Movie Review: The Men Who Stare at Goats

The Men Who Stare at Goats (2009) 

Directed by Grant Heslov

Written by Peter Straughan 

Starring George Clooney, Jeff Bridges, Ewan McGregor, Kevin Spacey 

Release Date November 6th, 2009 

Published November 5th, 2009 

Remote viewing is sort of a real thing. Real in that some people believe they can do it or enjoy conning others into thinking they can do it. So good were some of these con men that they convinced the United States government to fund a program that allowed them to train their remote viewing techniques. The book The Men Who Stare at Goats, by journalist Jon Ronson, is about the real life nuts and con men who took advantage of cold war paranoia to further their work in the world of the paranormal. 

The book is now a quite funny movie that slowly morphs into a mawkish tribute to morons and con men. Ewan McGregor is the star of The Men Who Stare at Goats. MacGregor plays Bob Wilton a journalist who, after his wife leaves him, decides to get embedded in Iraq to cover the war. Once their he stumbles upon Lyn Cassady (George Clooney). Bob knows Cassady from an interview he did with a wacko who claimed the ability to stop an animal's heart with his mind. The nut claimed Cassady was the best psychic spy in the world.

Cassady prefers the title Jedi Warrior and maybe through some pop culture osmosis, McGregor was Obi Wan Kenobi, he senses a kindred spirit in Bob and decides to take the reporter with him on a 'psychic mission.' The two men wander out into the desert of Iraq and along the way Lyn recounts the wild, unbelievable story of his introduction to, and the creation of, what the government called 'The New Earth Army'.

Lead by Colonel Bill Django (Jeff Bridges) the New Earth Army was a plan to fight wars without weapons. Col. Django believed that the mind could be used to fight wars and encourage peace. Django recruited young men willing to explore their minds and dance free and grow their hair. Lyn Cassady was his prize student while Larry Hooper (Kevin Spacey) acts as the snake in the New Earth garden of Eden.

Director Grant Heslov tackles Jon Ronson's book with an eye toward satire. It is after all quite a wild idea that the US government paid to train psychic warriors. However, as the movie goes along, what begins as a biting satiric send up of this lunatic idea turns into a mushy tribute to goofballs who believe in the ridiculous. Instead of sending up the idea of psychic warriors, the director appears to buy into the idea, though not completely, and what appears intended to be a comedy becomes something closer to a tribute to weirdos and kooks. 

In the final act of The Men Who Stare at Goats a film that was building some satiric momentum devolves into a nutty homage to the numbskull characters who believe they have psychic abilities. It's a shame because a healthy dose of skepticism and reality is just what this material needed. A great cast in the end is drowned in lunacy and goofiness and while it's all very good natured, it also feels like a major missed opportunity. The Men Who Stare at Goats, in the end, is a disappointing sop that should have been a giddy satire.