Movie Review: Bad News Bears

Bad News Bears (2005) 

Directed by Richard Linklater

Written by Glenn Ficarra, John Requa 

Starring Billy Bob Thornton, Greg Kinnear, Marcia Gay Harden

Release Date July 22nd, 2005 

Published July 22nd, 2005 

Director Richard Linklater has cultivated the persona of a Director who can bounce between brilliant, artful indie films (Before Sunrise, Dazed and Confused) and mainstream stuff without compromising his vision. 2003's School Of Rock was a big studio comedy with a rising star, Jack Black, that studio execs were eager to exploit. Linklater delivered a film that was mainstream funny with just enough of a nod to his roots to keep it grounded in his vision as a Director.

School Of Rock allowed Linklater to make the far smaller film, Before Sunset, the sequel to his wonderful romance Before Sunrise , and the template for his career seemed set. In the indie parlance, Linklater was going to make one for them and one for himself. That seems to be the case with his latest studio film Bad News Bears which will be followed quickly by the experimental animated film A Scanner Darkly.

Unfortunately something got lost along the way and Linklater's nod to studio execs turned out messy and compromised. Bad News Bears is simply bad news for it's rising star Director.

Billy Bob Thornton, coming off his tour de force comic turn in Bad Santa, stars in the lead role essayed by Walter Matthau in the 1976 original, Morris Buttermaker. A former major leaguer, Morris is now a pathetic drunk working for beer money as an exterminator. His only connection to the sport he once loved is picking up a paycheck coaching a group of little league misfits.

The Bears, as they are eventually called, are only allowed into the league after the mother of one of the players, Liz (Marcia Gay Harden), sued to get them in. Other little league coach's like hotshot sports dad Roy Bullock (Greg Kinnear) had wanted the kids out of the league, mostly because none of the kids are any good. But, it's little league and everyone gets to play and it's up to Buttermaker to field a team that includes a kid in a wheelchair and two kids who can't speak English.

Not much has been changed from the original film which operates from nearly the same screenplay by Bill Lancaster as the one Lancaster wrote himself in 1976. Just like the original their is little Tanner (Timmy Deters) all blonde mop and anger, their is Ahmad the meek black kid, and Lupus the one who would rather pick grass than play ball. Each player virtually untouched from the original. The minor updates include an Indian kid, Prem (Aman Johal) who takes over for the original films Ogilvie as the teams stat geek and the aforementioned wheel chair bound kid Hooper (Troy Gentile).

Also in place from the original are the girl pitcher, Amanda (Sammi Kraft) and the wrong side of the tracks bad boy with the big bat, Kelly Leak (Jeff Davies). Gone from their relationship is the subversive sexual undertones, replaced with a more PG-13 puppy love. In fact, of the few changes to the original film are touches to make the film PG-13 where the original was a PG film that today may have been R-rated today.

The lack of anything new in the script reflects an overall laziness that permeates the entire film. Remakes are lazy enough by nature but Richard Linklater brings little to nothing new to Bad News Bears. Linklater seems quite content to translate the script to the screen with only a minimal amount of work on his part. That is not to say the material is not funny, the original film was plenty funny and remains so. This remake resembles the original so much you can't help but find something funny in it.

Also recycled in Bad News Bears is Billy Bob Thornton's Bad Santa bad boy. Thornton's Buttermaker is not exactly as bad as his Santa, but in his hard drinking, thoughtless, careless way he is certainly a close cousin to that far funnier character. Thornton still manages a few laughs from this retread character, a sign of his strong talent and charisma.

The less said about the child actors in Bad News Bears the better. Where in School Of Rock Linklater coaxed wonderful performances from his young cast to counterpoint Jack Black's comic tour de force, in Bad News Bears Linklater makes his child actors more functionary place holders for Thornton's comic lead. Needless to say, there is no Tatum O'Neal in this Bad News cast.

Bad News Bears is a shockingly lazy and sloppy film for someone of Richard Linklater's talent. No director of his caliber can get away with such a slipshod effort. The direction is not merely lackluster, it's lazy. Richard Linklater should be ashamed that he wasted his time slapping together such a waste of talent and celluloid. Remakes are a big enough waste on their own, when combined with a complete lack of effort on the part of those doing the remaking, they are an all out disaster.

Movie Review The Hoax

The Hoax (2007) 

Directed by Lasse Hallstrom 

Written by William Wheeler

Starring Richard Gere, Alfred Molina, Marcia Gay Harden, Hope Davis, Julie Delpy, Stanley Tucci 

Release Date April 6th, 2007

Published April 8th, 2007 

A biography of a man famous for a fake biography, what an inspired idea. No doubt the great Clifford Irving chuckles at the thought. The man who made his name by inventing, from public record and his fabulously tricky mind, a biography of Howard Hughes, must chuckle endlessly at how his famed hoax has made him a real celebrity.

This multi-million dollar hoax that engulfed his closest friend and his wife, landing all of them in jail, is now the security blanket of his fame and fortune. It could not have turned out more fortuitous unless he had managed to skip the 14 months he spent in federal prison. This grand illusion he spun into a million dollar book deal has, since sending him to prison, allowed him to become an honest bestseller.

The scam has now led Irving to have his life's greatest and most fantastic achievement portrayed in a film, The Hoax, in which he is played with gumption and a touch of crazy by Richard Gere. Directed by Lasse Hallstrom, the film takes a few minor liberties with the true story; but I'm sure Clifford Irving won't mind.

In the spring of 1970 Clifford Irving, a bestselling novelist and biographer, found himself with a book no one would publish. His latest novel, though praised as a work of angry humor, has just been declined by his long time publisher McGraw Hill and even his friend and editor Andrea Tate (Hope Davis) seems ready to write him.

The desperate moment leads to the invention of a story so fantastic that only master storytellers and con-man like Clifford Irving could come up with it. Bursting into Tate's office he declares that he has the story of the century and he is putting it up to the highest bidder. That story becomes the auto-biography of Howard Hughes, and the highest bidder is McGraw Hill, because there were no other bidders. There really was no book.

Teaming with his best friend and fellow author Richard Suskind (Alfred Molina), Clifford plans to take advantage of the eccentric millionaires current status as a reclusive nutjob, alleged to be hiding out in empty hotels, terrified of germs and slowly deteriorating, on the theory that the crazed Hughes won't come after them for fear of having reveal himself in public.

Together, and with the help of Clifford's wife Edith (Marcia Gay Harden), Clifford and Richard will craft the Hughes story from public records, interviews with friends and associates and fantasy tales of Hughes interviews conducted by Clifford himself to create this unusual and unlikely narrative. They will get the publisher to advance them hundreds of thousands of dollars and take advantage of Swiss banks to launder the money. The plan is foolproof... to Clifford anyway.

Little did the flim flam man and his partners realize just how big this story was. How this story would not only affect the frail but feisty Mr. Hughes but also the President of the United States Richard M. Nixon and, allegedly, change the face of history.

Directed by Lasse Hallstrom, The Hoax is a welcome departure from the directors usual brand of cloying uplift. Hallstrom's films, The Cider House Rules, Chocalat and The Shipping News are brutal exercises in sickly sweet life lessons. Overly precious with a complete lack of self awareness, these films show a director whose mind is on tugging heartstrings, not making a truly heartfelt film.

The Hoax is a completely different film. Gone is any attempt at uplift. Where there was no self awareness, there is now a light hearted wink and a nod. There is sincere humor in the storytelling and direction of The Hoax which delights in conspiring with Irving to pull off his hoax while presenting an unvarnished look at who this guy was. Clifford Irving was a man incapable of the truth, a literally physical aversion to telling a true story. The Hoax, through the playful, heartfelt performance of Richard Gere nails just who Clifford Irving had to be to attempt; and nearly pulls off; one of the greatest cons in history.

Casting a movie is an art form that is highly underappreciated. The wrong actor in a role can destroy any script; no matter how good that script really is. The Hoax could not be anymore perfectly cast. Richard Gere delivers the single most satisfying performance of his long and illustrious career. In recent years the man once called 'the sexiest man alive' has made a living with sullen, wooden characters in cut rate mainstream program pictures.

There have been good performances, I really liked his wronged husband in Unfaithful, but it seemed the charm was waning and that Gere was restless and bored. The Hoax finds Richard Gere rejuvenated, full of life and bursting with the kind of charisma that made him a star decades ago. His Clifford Irving is an astonishing work of guts and wit and the kind of charm that only the best actors can communicate. This is a first rate performance worthy of Gere's first serious consideration for an Oscar.

The supporting cast is equally sensational. Alfred Molina, as Clifford's best friend, crafts a schlubby, lovable lost soul who would be easily enthralled by someone like Clifford Irving. A talented writer in his own right, Suskind was drawn into this web of lies of his own will but Molina conveys beautifully the longing for glory, even the reflected kind, that likely drew Suskind to Irving.

Hope Davis is tough as nails with just the right touch of naiveté as Irving's editor while Oscar winner Marcia Gay Harden provides the emotional center of Irving's life as his ex-wife. Stanley Tucci, Zeljko Ivanek and Eli Wallach each deliver spot on supporting work in cameos that serve to deepen what is an already strong cast.

2007 has been a strong year already with movies like Zodiac, Smokin' Aces and Breach setting a very strong tone. Now comes The Hoax and it is the best of the bunch. Smart, funny, and brilliantly constructed, The Hoax delivers on the best work of director Lasse Hallstrom and actor Richard Gere, really, in their entire careers.

A truly engaging and sensational piece of work, The Hoax is a movie that you absolutely must see.

Movie Review: American Dreamz

American Dreamz (2006) 

Directed by Paul Weitz

Written by Paul Weitz 

Starring Hugh Grant, Dennis Quaid, Marcia Gay Harden, Mandy Moore, Willem Dafoe, Chris Klein

Release Date April 21st, 2006

Published April 20th, 2006 

When I heard that the very talented writer-director of American Pie and About A Boy, Paul Weitz, had decided to take on an ambitious satire of President George W. Bush and the vapid karaoke extravaganza American Idol, I was quite excited. Two such broad targets are, no doubt, hard to miss with hard edged satire. So how disappointed was I when, while finally watching American Dreamz, that Weitz manages to miss the target like a Buffalo Bills kicker in the Super Bowl.

Hugh Grant stars in American Dreamz as Martin Tweed a Simon Cowell clone with a nasty disposition on screen and off. A self loathing jerk, we meet Martin as he dumps his girlfriend while celebrating his shows latest spectacular ratings.

The new season of 'American Dreamz' is about to begin and a new crop of contestants are lining up. In the tiny hamlet of of Padookie, Ohio Sally Kendoo (Mandy Moore) is ready for her closeup. An ambitious, plotting, self absorbed teen, Sally celebrates her American Dreamz birth by dumping her dopey but loving boyfriend William (Chris Klein). So broken up about it William runs off to the army and is immediately sent to Iraq.

On the other side of the world Omer (Sam Galzari) is training in an Al Quaeda terrorist camp. However, he spends his evenings singing along to show tunes. He is soon sent to America to live with relatives and finds himself auditioning for American Dreamz, the producers, Tweed and flunkies played by Judi Greer and John Cho, have decided the key to ratings is diversity. They want an arab guy and they choose Omer opposite him they want a jewish guy and they get a hasidic rapper played by Adam Busch.

Running parallel to the American Dreamz story is that of President Jack Staton (Dennis Quaid). Having just narrowly won re-election, President Staton wakes up one morning and decides to read the newspaper instead of his daily briefing. He then proceeds to not leave the presidential bedroom for three solid weeks, choosing to stay in bed reading the newspaper.

To get the president back on his feet his chief of staff (Willem Dafoe in a Dick Chaney haircut) gets the president an appearance as a guest judge on American Dreamz. This places the small town witch, the Arab dreamer and the dimwit president on a collision course, unfortunately the only collision is with indifference.

American Dreamz walks up to the edge of hard satire and then runs away like a scared child. The film does not have a mean bone in it's body despite attempts to look mean. Grant's Simon Cowell may be a self loathing prick but Grant cannot turn off that natural charisma that makes even a bastard like Martin Tweed charming. He's supposed to be a Machiavellian bastard but the edges are worn off and his manipulations never take away from his likability.

Mandy Moore is supposed to be Martin's equal in terms of self involvement and angry ambition but she too cannot turn off the charms that have made her a star. Moore evinces hateful bitchiness, but in an ill-conceived romantic subplot with Grant, she turns cuddly in a dark comic way and you can't help rooting. a little, for an unearned happy ending.

The characters in American Dreamz break down into two categories, either mean or or dopey. Grant, Moore and Dafoe fall into the mean category while Golzari, Klein and Quaid are in the dopey category. In a satire with sharp edges, with a clearer perspective and point of view, this might not be such a bad thing. But in an unfocused mess like American Dreamz you are left to wonder just what are you supposed to enjoy about these characters.

Weitz aspires at once to the hard edges of Kubrick's trenchant Doctor Strangelove and Christopher Guest's gentle prodding Waiting For Guffman and Best In Show. The mix is weak kneed when it needs to be edgy, as in the too soft take on the President, and to edgy when it needs to be soft as in the American Idol satire.

The saddest thing about American Dreamz is that Weitz's approach could have worked. If he had approached the Presidential satire like Kubrick did Strangelove and the American Idol stuff like Guest took on folkies in A Mighty Wind, then American Dreamz might have mixed these two disparate subjects in a satifying way.

Instead what we have is a complete disaster of weak willed satire, dopey hateful characters and rare moments of laughter. American Dreamz is one of the most disappointing films I've seen in a very long while. The very talented Paul Weitz has many more good films in his future, let's hope he puts this one behind him quickly.

Movie Review: Welcome to Mooseport

Welcome to Mooseport (2004) 

Directed by Donald Petrie 

Written by Tom Schulman 

Starring Gene Hackman, Ray Romano, Marcia Gay Harden, Christine Baranski, Maura Tierney 

Release Date February 20th, 2004

Published February 19th, 2004 

The transition from TV to the big screen is never without its growing pains. Jennifer Aniston endured films like The Object of My Affection before finding success in The Good Girl. Helen Hunt endured Twister before her Oscar nominated role in As Good As It Gets. For comedian Ray Romano, his growing to big screen stardom begins by enduring the comedic misfire Welcome To Mooseport. On the bright side, at least he got to work with Gene Hackman.

In Mooseport, Romano plays a small-town handy man named Handy. Handy owns a hardware store where a group of local oddballs hang out. His girlfriend is a veterinarian named Sally (Maura Tierney), who he's romanced for six years without mentioning marriage. Handy has also just landed a very lucrative gig fixing the bathroom of the summer home of the now former President of the United States.

Gene Hackman is Monroe Eagle Cole, the most popular former President in history, having left office with an 80 percent approval rating. This is despite the fact that he was the first President to divorce while in office. The former first lady, played by Christine Baranski, took everything but his former title and his summer home in Mooseport.

At a party celebrating the President's arrival a group of town elders asks the President if he would like to run for mayor. The current mayor has passed on and there is apparently no one else running. The President was going to say no until he meets Sally who suggests it would be a good idea. In an attempt to impress her the President takes the gig. Unfortunately, there is one other person who has decided to run. Handy.

This sets up what should be an interesting comic idea. A small town guy running for mayor against the former leader of the free world is a rich comic idea. Throw in the President’s two aides Grace (Marcia Gay Harden) and Bullard (Fred Savage) and it gains even more potential. However, director Donald Petrie (How To Lose A Guy In 10 Days, Miss Congeniality) is more interested in the romantic triangle between Romano, Tierney and Hackman and misses the endless opportunity for political satire.

Ray Romano is attempting to break loose from his TV persona and forge a career on the big screen. This role sadly will not help his case. Romano is stiff and often lifeless opposite a pro like Hackman who blows him off the screen. Hackman shows once again how great and underappreciated he is as a comic actor. He was the best part of the con-woman comedy Heartbreakers and he is by far the best thing in Welcome To Mooseport. Of the actors who have played the President of the United States onscreen, Hackman may be the most credible. Hackman has the persona, the gravitas that makes it very easy to believe he's the President. Not that it really matters in a film as dull and lifeless as this one.

Director Donald Petrie is another of those directors that delivers mediocre test screened comedies that studios love because they are inoffensive and more often than not cheap to produce. Welcome To Mooseport reeks of a film that was greenlit with the hope that it might be good but if it isn't, the studio can toss it on to the February schedule and watch it die a slow death before selling it on DVD and TV to cover the expenses. I hope they got their money's worth because that is apparently all that matters.

Movie Review: Whip It

Whip It (2009) 

Directed by Drew Barrymore 

Written by Shauna Cross

Starring Elliot Page, Kristen Wiig, Marcia Gay Harden, Drew Barrymore, Juliette Lewis 

Release Date October 9th, 2009 

Published October 8th, 2009 

As a kid I watched Roller Derby on Saturday nights. I never quite understood how the game was played but I loved the violence, the speed and the quirky humor. But the one thing that really stood out for me were the women. It was a mixed league where guys did a round then the ladies. I remember these women, some were giants and some were tiny and quick. It fostered in me a love of tough chicks. Whip It is a movie about the women I admired on Saturday nights. The bruisers and the speedsters. Beyond their toughness, director Drew Barrymore finds heart, humor and love while never losing that violent, attractive toughness that some call Grrl Power. Whateve they call it, I love it.

Elliot Page is the star of Whip It as Bliss Cavender. Trapped in a tiny Texas town where her overbearing mother (Marcia Gay Harden) forces her to compete in teen pageants, Bliss longs for something more. What that something more is, Bliss doesn't know yet. It finally becomes clear to her when, on a shopping trip to Austin, she spies girls on roller skates handing out flyers for Roller Derby.

Enlisting the help of her best friend Pash (Elia Shawkat), Bliss attends the match and it's love at first sight. When she hears about tryouts for her new favorite team, the Hurl Scouts, she pulls out her Barbie roller skates and hops aboard a senior shuttle to Austin and begins a secret life under her new name "Babe Ruthless".

All the roller girls have nicknames. There is Smashley Simpson (Barrymore), Maggie Mayhem (Kristen Wiig), Bloody Holly (Zoe Bell) and Rosa Sparks (Eve) on the Hurl Scouts. On the other teams there is Eva Destruction (Ari Graynor) and the leagues top roller Iron Maven (Juliette Lewis). The names are part of the fun and bonding that give the film it's quirky heart.

Naturally, there is also romance in Bliss's new life as she meets and falls for a boy, a rocker played by newcomer Landon Pigg. While the romance blossoms and Bliss becomes a star there is inevitably trouble on the horizon. A requirement of this plot is her parents finding out and Bliss being separated from all that she loves. How Director Barrymore plays these scenes I will let you see for your self. I will say that while she cannot escape convention, Barrymore shows more skill with the expected scenes than a lot of mainstream directors who grow lazy in the face of convention.

The cast of Whip It is pitch perfect. Lead by the star turn of Elliot Page, leaving Juno behind growing into a movie. Alia Shawkat is a terrific comic foil with whom Page has great chemistry. The scene stealer however, is Kristen Wiig as Maggie, the heart of her team and just the right person to guide Bliss. Ms. Barrymore gives herself a remarkable role as well, one that requires her to put aside any and all star ego and just give in to pure excess. It's a very funny performance. Juliette Lewis makes a good villain, vulnerable but with the strength to kick the ass of anyone who takes notice of that vulnerability.

Marcia Gay Harden has not been this good since her Oscar winning role in Pollack. Her role is conventionally villainous but she short circuits that with humor and a painful longing that makes her sympathetic even as she is standing in the way of all of the fun. Paired with Daniel Stern as Bliss's sports addicted father, Harden is the perfect combination or harridan and heart.

Whip It is too predictable to go from a good movie to a great one but for what it is, it's a terrifically realized comedy with heart and humor and best of all characters we quickly come to love and care about. My memories of Saturday Night Roller Derby on cable are fuzzy now but I hope that behind the scenes things are something resembling this movie. I still love tough chicks.

Movie Review The Invisible

The Invisible (2007) 

Directed by David S Goyer 

Written by Mick Davis, Christine Roum 

Starring Justin Chatwin, Margarita Levieva, Marcia Gay Harden

Release Date April 27th. 2007 

Published April 26th, 2007 

The Invisible is one of the more abused Hollywood releases of the last year. The teen centered, metaphysical thriller was to be released in late 2006. It was then dumped into the mire of early January. Then, with little notice, the movie was bumped to April. How little care was taken with this latest rescheduling? Trailers for The Invisible ran, even a week before the film's April 27th release, touting the film's January release. Ouch!

Released without being shown to critics, another unkind cut, The Invisible is a sad case of a studio that did not know what it had. This is a smart, thoughtful, spiritual thriller with a star making performance from Justin Chatwin and from director David S. Goyer. Star making; had the studio not screwed things up so badly.

Nick Powell (Justin Chatwin) is a privileged teen who has every material comfort he could want. Smart, good looking and popular, Nick is even on his way out of the country having been accepted into a prestigious English writing school. Unfortunately, before he can board the plane for London; Nick is involved in a case of mistaken identity.

A group of thugs led by the troubled and abused Annie (Margerita Levieva); through a misunderstanding, come to believe that Nick has turned them over to the cops after they were busted for a robbery. Seeking him out late at night on a dark empty street they drag him into the woods with the intent of just beating him up. They end up beating him to within an inch of his life and hiding the body.

Nick is not dead but he's also not alive. Emerging from the forest seemingly unscathed; Nick arrives at school and finds that no one can see or hear him; he is Invisible to the living. After some soul searching, Nick realizes that he may still have a chance to live if he can convince Annie to help him find his body and save his life.

Directed by David S. Goyer, the writer behind the Blade movies and Ghost Rider, The Invisible is a surprisingly thoughtful and involving melodrama. Spiritual, though not religious, The Invisible unfolds a metaphysical mystery that explores human nature, compassion and forgiveness in the guise of an average teenage ghost story.

Justin Chatwin, who played Tom Cruise's son in War of the Worlds, looks and carries similar mannerisms to a young Tom Cruise. It is uncanny; the ways this kid evokes Cruise circa Taps, The Outsiders and up to The Color of Money, his pre-scientology phase. The kid is charismatic, handsome, and carries that indescribable star magnetism that should make him a big star.

Chatwin brings a thoughtfulness to Nick that is unexpected from a character in a b-movie teen ghost story. But then, thankfully, nearly everything about The Invisible defies expectations. It's supposed to be another teen horror movie from the marketing. It's supposed to be a B-movie because it has no recognizable stars and it's supposed to stink because the studio didn't show the film to critics ahead of time. The Invisible turns all of these expectations on their ears and comes out a smart, meditative and immersive moviegoing experience.

Based on a novel by Swedish writer Mats Wahl, The Invisible is; not surprisingly, an existentialist meditation on the philosophy of existence. Nick falls into the cracks between life and death and is forced to examine why he wants to live and take action to save his own life. Annie on the other hand is uncertain about her wanting to exist. She has lived in the shadows of life; going unnoticed, in her own way; Invisible, unless she was crossed. She confronts her dark existence in dealing with Nick and finds the meaning of her own life.

Heavy stuff for what was expected to be just another teen movie. That is what is so great about this picture, the way director David S. Goyer and screenwriters Mick Davis and Christine Roum never settled for just a ghost story, just a horror movie or just a mystery. The Invisible has a rich inner life, a subtext that is so often missing from modern, mainstream Hollywood movies.

The Invisible is a thoughtful, entertaining, even exciting movie that defies all expectations. Hollywood Pictures, the Disney subsidiary that released The Invisible, may have had no confidence in the film but no matter. The Invisible thrives despite its studio indifference. The movie thrives on smart storytelling, good action and terrific direction from rising filmmaker David S. Goyer.

Don't judge a book by its cover and don't judge The Invisible by its studio indifference. This is a terrific movie that deserves your attention.