Movie Review The Glass Castle

The Glass Castle (2017) 

Director Destin Daniel Cretton

Written by Destin Daniel Cretton, Andrew Lanham, Marti Noxon 

Starring Brie Larson, Woody Harrelson, Max Greenfield, Sarah Snook, Naomi Watts

Release Date August 11th, 2017 

When I was an up and coming young radio talk show host, I had the privilege of interviewing author Jeanette Walls about her remarkable memoir The Glass Castle. Normally, in prepping for an interview in talk radio, you don’t have time to read entire books, you’re forced to skim and pick and choose important portions to discuss in the brief time you have with your subject. In the case of The Glass Castle however, I was lucky enough to have a full weekend and in that weekend, I read the entire book because I simply could not stop myself.

The adage has it that you should never meet your heroes because they never live up to your idealized version of them. Jeanette Walls defied that adage in every way in my brief interview. Just as in her book she was charming, erudite, earthy, and fascinating. She had the kind of wit that comes from combining the mountains of West Virginia with the privilege of Park Avenue. In short, she was as delightful in voice, it was a phone interview, as she was in written form.

Given how harrowing that written form was, the human result is that much more remarkable. It is this version of Jeanette Walls that I took with me into the film adaptation of her remarkable memoir The Glass Castle. The film version stars Academy Award Winner Brie Larson and thank heaven for her, she resembled the Jeanette Walls of my brief but exciting memory.

The Glass Castle stars Larson as Jeanette Walls in 1989 when her career as a gossip columnist for New York Magazine has brought her the kind of fame and security she could never have imagined while growing up in poverty on a West Virginia mountainside. This Jeanette Walls is perfectly coiffed, stylishly dressed, and on the arm of a handsome, nebbishy financial adviser, played by New Girl star Max Greenfield, giving her even more of the fiscal security she never knew as a girl.

We also meet that young, insecure version of Jeanette, played by a pair of young actresses, Chandler Head and Ella Anderson, whose brilliant but damaged father Rex (Woody Harrelson) and scatterbrained artist mother Rose Mary (Naomi Watts) shuttle her from one place to the next always outrunning some bill collector or agent of law enforcement. When she was very young, alongside her three siblings, these changes in scenery seemed like an adventure with her father as part ringmaster and part wizard. As Jeanette comes of age however, the magic begins to wear off and the stench of her father’s alcoholism and emotional abuse becomes unbearable.

Find my full length review at Geeks.Media 

Movie Review Champions

Champions (2023) 

Directed by Bobby Farrelly 

Written by Mark Rizzo 

Starring Woody Harrelson, Kaitlin Olson, Ernie Hudson 

Release Date March 10th, 2023 

Published March 5th, 2023 

It's a tricky thing, representation in modern media. On the one hand, you want that representation to be sensitive and compassionate. On the other hand, you need to draw in some flaws that make your characters more human being than saints of proper representation. The new movie Champions brings forward strong representation of a community of intellectually disabled people while still making them human and flawed. Director Bobby Farelly takes great care not to let these characters be simplistic, safe representations of their community, but rather well rounded, unique and quite charming individuals. 

Champions stars Woody Harrelson as disgraced basketball coach, Marcus Marakovich, Marcus managed to destroy his entire career in a single night, though those who know him well, like his boss, Phil (Ernie Hudson), know this has been coming on for some time. Nevertheless, in this one night, Marcus manages to shove Phil on the court in front of a large crowd and many cameras before getting thrown out of the building. Then Marcus gets drunk, drives, and smashes into the back of a cop car. He's officially fired the following day. 

In court, Marcus narrowly avoids a prison sentence by accepting a community service assignment. Marcus will be the Coach of the Des Moines, Iowa Friends, a basketball team for the intellectually disabled. In classic movie fashion, it's a ragtag bunch for whom basketball is fun but mostly an excuse to spend time together. Marcus' notion of teaching fundamentals or plays such as the Pick & Roll, are lofty goals to say the least. Marcus can't even get one of his players to stop shooting the ball by throwing it backwards over his head. 

There is nothing special about Marcus' character arc. Marcus is here to go from being a guy who doesn't connect with the members of his team on a human level to someone who loves his players as people more than just players. There is also a typical sports movie plot unfolding with the Friends getting so good under Marcus' leadership that they earn their way to the Special Olympics basketball championship. These are tried and true tropes, relatively predictable. Thankfully, as a veteran filmmaker, and quite a good one, Bobby Farrelly knows he needs to color in the margins of this plot to make something more of it. 

Thus Farrelly includes a very not typical romance between Harrelson's Marcus and the sister of one of his new players, Alex, played by Kaitlin Olson. Farrelly subverts convention, ever so slightly, by having Marcus and Alex meet before the story begins. The film opens with Marcus and Alex finishing a rather forgettable Tinder hook up with him trying to get her to leave and her eagerly trying to leave. Olson's Alex is not the kind of character that typically comes back in a movie like this. Usually, this character is a functional character, one to demonstrate the lack of character in our main character, a lesson they need to learn about being a better, more thoughtful or caring person. 

Find my full length review at Geeks.Media

Classic Movie Review Indecent Proposal

Indecent Proposal (1993) 

Directed by Adrian Lyne 

Written by Amy Holden Jones 

Starring Demi Moore, Robert Redford, Woody Harrelson 

Release Date April 7th, 1993 

Published April 19th, 2023 

Indecent Proposal tries to skirt the issue of its sweaty desperation with a softcore stylishness that had become a cliche trait of director Adrian Lyne well before he recaptured the zeitgeist with this movie. For all of the talent he clearly has and the discourse his movies have inspired, the one consistent thing about Lyne is that he enjoys watching attractive people cavort in little to no clothing while sweating profusely. If you can rely on Lyne for anything, it's getting well known stars to doff their duds to provide late night masturbatory thrills. Not there is anything terribly wrong with that. 

It's the pretense that Lyne has about his movies. Lyne appears to have quite a high opinion of his movies which, without the imprimatur of big movie stars, would be late night cable fare. High minded as Adrian Lyne may be, it's the smut that really revs his engine. In Indecent Proposal he is desperately reaching for a respectability always slightly out of reach, probably because his other hand is reaching for a particular body part that his work aims to stimulate far more than has drama might stimulate the brain. 

That said, there is no denying Lyne's talent for base mass appeal. Lyne's lurid fantasies, just on the dark side of morality, always seemed grab hold of the culture, even if only for a short time. With Indecent Proposal, Lyne made an impact with a very simple premise: What would you do if someone offered you a million dollars for sex, with the permission of your partner? I'm being quite loose with that question. The reality is it wasn't much of a question for the masses but, rather, for the male audience. Would you let your wife sleep with another man for $1 million dollars? 

Indeed, the woman in question, played by the gorgeous Demi Moore, is rather superfluous to the drama of Indecent Proposal. She's the object in play between two arrogant, possessive and deeply insecure men. That might not sound so bad except that neither the movie or the men involved, played by Woody Harrelson and Robert Redford, are remotely aware of how insecure they come off. Each wants to play the 'alpha' male with Redford's fortune proving to be the deciding factor as to who is indeed the bigger dog in this yard. 

The opportunity to explore male insecurity is thwarted by a narrative more interested in moral failings like greed and infidelity than in examining where the real failings of these characters exist, in their massive, unfulfilled egos. The film romanticizes Harrelson's jealous possessiveness, as if he hadn't encouraged his wife to sleep with Redford and was a victim of her greed and his own indecisiveness in the face of a moral quandary. Jealousy is not a cute quality, it's romantic, it's ugly and creepy and while it happens to everyone, it's not a good quality and it makes Harrelson's character more of a creep than the heartbroken romantic of Lyne's conception. 

Find my complete review at Geeks.Media 

Movie Review Triangle of Sadness

Triangle of Sadness (2022) 

Directed by Ruben Ostlund 

Written by Ruben Ostlund

Starring Woody Harrelson, Harris Dickinson, Charibi Dean, Zlatko Buric 

Release Date October 7th, 2022 

Published October 18th, 2022

I always feel like I am not one of the cool kids when I fail to love a movie that others have hailed as a masterpiece. That's unfortunately, how I feel about the Cannes Film Festival winner Triangle of Sadness. Triangle of Sadness is director Ruben Ostlund's latest examination of toxic privilege. After targeting gender roles in Force Majeure and the pretension of the art world in The Square, Ostlund's prime target this time is a group of very rich people aboard a cruise ship which sinks and leaves several very rich people at the mercy of the elements on a deserted island. I can see where the satire is but it never registers as funny for me. 

Is Triangle of Sadness supposed to be funny? I'm honestly not sure. I know I didn't laugh at any point in Triangle of Sadness though I was slightly amused by moments of it. So, if the point isn't humor, what is the point of Triangle of Sadness? Is it pouring puke and feces all over very rich people in a very rich person environment? That certainly does happen in Triangle of Sadness but I don't think it provides a point beyond how money can't protect you from choppy seas and bad seafood. 

The sight of an incredibly rich woman in agony as her dinner rockets from both her mouth and her backend is perhaps a shot at how money can't buy you a dignified end of your life. That's an idea, and one that is uniquely and gut churningly presented in Triangle of Sadness. Does the idea justify the shocking visual? That depends on your tolerance for bodily activities on the big screen. This happens to a character we don't know very well and can only assume is bad just because she is very rich and remarkably demanding in the few moments we do spend with her. 

There is no central character in Triangle of Sadness. Instead we have character types. Harris Dickinson plays a model on the edge of his career. Carl has had success and been the face of a brand for a time. That however, does nothing for him when he seeks to be the face of a new campaign. Now, he's just another handsome face in a handsome crowd. Carl is struggling and his struggle is reflected in his relationship with a successful runway model turned social media influencer, Yaya, played by Charibi Dean. 

On a date at a fancy and apparently expensive restaurant, Carl can't stop himself from getting into a semantic argument over who should be paying for dinner. Carl's annoyance is stemming from his insecurity both economically due to his seemingly flagging career and perceptivity, he's concerned about being a man who can't afford to pay for a fancy dinner. He couches this in the idea of male-female equality and how women want to be seen and treated as equals until the check arrives. 

Yaya, for her part, is having none of this conversation. She sees right through Carl's insecurity. It's not that she's a better person or smarter than Carl, rather, she's been rendered insensitive by never having had to struggle. Yaya is rich, beautiful and successful to the point that she has no idea how much money she has or when her credit card has reached its limit. The interaction between Carl and Yaya is interesting as a surface level critique of gender roles, privilege and masculine insecurity but the nagging argument lasts a little too long and doesn't have a real payoff leading to this plot petering out as it leads to the centerpiece of Triangle of Sadness, the yacht trip. 

The middle of Triangle of Sadness is about the notion of privilege, those who uphold and enable it, and those who are subject to it. We have Carl and Yaya whose privilege comes with the caveat that they must document their excess in order to remain in excess. Yaya's primary income comes not from her lucrative modeling career but rather as an influencer who wields clout to earn brand deals and must flaunt her privileges in order to remain privileged. It's an interesting dynamic but slightly undercooked in the execution. As with such modern satire, it too easily boils down to simplistic contempt for so-called influencers. 

The remaining rich vacationers are grotesque caricatures or clueless excessives who will have their privilege thrown back at them via Ostlund's vengeful seafood and toilets, as mentioned earlier. Again, if you lack a tolerance for such things being portrayed on screen, Triangle of Sadness is not for you. Ostlund goes all in on the puking, pooping, overflowing toilets and general chaotic grossness of a ship at sea with all things going wrong. I nearly quit watching the film at this point and it is a testament to my desire to experience Ostlund's complete vision that I did not simply walk away at this point. 

This section of the film also serves as an extended cameo for the most well known member of the cast. Woody Harrelson plays the captain of the yacht, a drunkard and a hardcore Marxist. When the Captain insists on holding his Captain's dinner on a night when the crew knows the seas will be choppy and illness inducing, it's this decision that leads to most everyone becoming violently ill. All save for the Captain who forgoes his dinner in favor of more booze. In drinking, the Captain is joined by a passenger and fellow drunkard, Dimitry (Zlatko Buric) who made his fortune in fertilizer, he is King Shit. Together, the two debate Marxist politics versus capitalism and subject the entire yacht to their debate via a loud speaker. 

Is it interesting? Yes, Woody Harrelson is a very compelling actor. That said, the deck is somewhat stacked in his favor as he debates Marxism with the Shit King, a Russian Oligarch on vacation with both his wife and his mistress at once. This sequence is interesting but it's not funny and it doesn't really strike any big chords. The Captain admits that his Marxist philosophy is undermined by his desire for the finer things in life and Dimitry admits that he's cut a lot corners and done a lot of shady things under the guise of capitalism and with an aim towards denouncing Marxism solely for the fact that it benefits him as a capitalist. Interesting but very surface level stuff. 

The final act of Triangle of Sadness occurs on a seemingly deserted island. The luxury yacht capsized after being attacked by unknown pirates and only several characters survived to make it to this island. With the survivors being Carl, Yaya, and several other millionaires who don't exactly have the kind of skills that translate to survival on a deserted island, leadership falls to a lowly maid named Abigail (Dolly De Leon). Because she is the only one capable of catching fish for dinner, starting a fire, and cooking, she has essentially seized the means of production and placed the ownership class in her employ. She decides who earns the right to eat and thus survive and if anyone displeases her, she can cut them off. 

Click here for my full length review at Geeks.Media 

Movie Review: A Scanner Darkly

A Scanner Darkly (2006) 

Directed by Richard Linklater

Written by Richard Linklater 

Starring Keanu Reeves, Robert Downey Jr, Woody Harrelson, Winona Ryder, Rory Cochrane

Release Date July 7th, 2006

Published July 7th, 2006

The work of Philip K. Dick, the much revered sci fi Author,  has been adapted many times. Some, like Minority Report, have been quite successful. Others, like Paycheck, have been Hollywoodized disasters. Surprisingly only two of Philip K. Dick's full length novels have ever been adapted. Blade Runner , published under the original title "Do Robots Androids Dream of Electric Sheep?", in 1981 and in 2006 A Scanner Darkly, Dick's dystopian drug tale from 1974, adapted in the highly unique fashion of director Richard Linklater.

For Dick, A Scanner Darkly was an examination of how the drug use of the sixties had taken so many of his friends and idols. For Linklater; this tale of drugs, corruption and paranoia is a jumping off point for a smart satire of modern paranoia and police state tactics. Keanu Reeves leads an awesome cast in A Scanner Darkly as Bob Arctor and Agent Fred. Bob is a drugged out loser living communally with other druggies in his former family tract home. Agent Fred is Bob's undercover cop alter-ego who is watching these druggies for possible trafficking in a drug called Substance D.

Fred's main target is a woman named Donna (Winona Ryder) who promises a major Substance D score but never delivers. She is supposedly Bob's girlfriend but she doesn't like to be touched so intimacy is unattainable. Bob/Fred's situation is worsened by his own growing addiction to Substance D which he has used to get close to his druggie pals. Robert Downey Jr. and Woody Harrelson round out the main cast of A Scanner Darkly as a pair of hopped up druggies. Given the well known, drug related, pasts of both actors the inside joke is obvious but still amusing. Downey gives a standout performance as a fast talking paranoid, conspiracy theorist who goes to extreme lengths to protect himself from unseen forces.

Paranoia is one of the many subjects of the broad satire of A Scanner Darkly. Paranoia, drugs, law enforcement, drug treatment; all are subjects of this highly literate animated head trip from director Richard Linklater. The universe of the film, set 7 years from now, is one in which a drug has conquered much of the United States. Police have set up elaborate surveillance systems and suspended many civil liberties in their attempts to curb the drug; with little success.

The organization used to rehab former users is corrupt and untouchable by even the cops. The paranoia in the film is most often drug induced but extends beyond that to a cameo by nutball conspriracy theorist and paranoia expert Alex Jones. Jones, who was also seen in Linklater's animated masterpiece Waking Life, has been good friends with Linklater for years which explains his inclusion in this film despite his many discredited conspiracies about 9/11, JFK and other such popular conspiracies.

The plot unfolds slowly because the focus of much of the film is the drug inspired verbal diarrhea of these literate but slightly askew characters. Once the film begins to develop a more cinematic form of storytelling the plot emerges almost mundanely. There is an element of police procedural beneath the head tripping rotoscope animation. Reeves' cop character under a mind bending disguise cloak does many of the things a cop in any other movie would do. He is slowly building his case for arresting his supposed friends.

If it weren't for his own drug dependence Agent Fred would be a regular cop gathering evidence for warrants and preparing a case against the criminals around him. Unfortunately, like Jason Patric's undercover cop in Rush, he gets sucked in and subsumed in his subject. If not for the animation and the minor sci fi conceits this could be a very typical plot. There is a twist at the end that gives the film a bit more of a kick than an average undercover cop flick, but that mundane element is still there.

Rotoscope animation under the direction of Richard Linklater is mesmerizing to watch. It's use in A Scanner Darkly lifts what could be an average movie up to the realm of something artful but not exactly art. The film is, at it's core to simple and far too detached to be art. There is no passion outside of a passion for the technology used in painting real life actors with the watercolor tones of rotoscope animation. Beyond the animation there is this unique collection of actors to enjoy and that goes a long way. Each of the four leads are like old friends and watching them interact with one another is a treat. We have watched these four actors for so long that it's odd to think they have never worked together in a film before.

Downey, as I mentioned earlier, is the stand out of this ensemble but there is something to be said here for the maturation of Keanu Reeves. Joke all you want about his dunderhead reputation, that slacker cred plays to his advantage in this picture and I think I see him really beginning to mature into a real actor. He's using his persona more to his own advantage in recent films and that is a smart decision. This is not Philip K. Dick's A Scanner Darkly. What director Richard Linklater makes of Dick's novel is not really a sci fi exercise in metaphoric storytelling but rather, an often straightforward, if somewhat funky, detective story that is only sci fi in terms of its future setting and flashes of futuristic technology.

This version of A Scanner Darkly is fascinated by its own meandering rambles and meditations and especially its trippy visuals. That is not exactly a bad thing; the rambling is often funny and the animation eye catching but a little more of Dick's literate symbolism might have made for a meaty and interesting movie. As it is, A Scanner Darkly is attention grabbing but lackadaisical.

Movie Review: 2012

2012 (2009) 

Directed by Roland Emmerich 

Written by Roland Emmerich, Harald Kloser 

Starring John Cusack, Chiwetel Ejiofor, Amanda Peet, Oliver Platt, Thandie Newton, Danny Glover, Woody Harrelson

Release Date November 13th, 2009

Published November 12th, 2009 

2012 hysteria has gotten so out of hand that NASA was compelled to put out a press release stating that the Mayan Calendar does not predict the end of the world. Indeed, the planets will align in 2012 but they will as they have numerous times before without massive worldwide destruction. Could there be a better endorsement for the new goofball disaster flick 2012? This latest project from world destruction expert Roland Emmerich goes off the rails of reality from jumpstreet but knows it, accepts it, and even has a little fun being all earnest and serious about stuff blowin' up real good.

John Cusack leads an ensemble cast in 2012 as Jackson Curtis. A failed writer, Jackson drives a limousine for a living and that is how he arrives to take his two kids camping for the weekend. Jackson is estranged from his wife Kate (Amanda Peet) who has remarried to a plastic surgeon, Gordon (Thomas McCarthy).

Jackson is taking the kids camping at a rather odd moment. All over California giant cracks are forming. There are a number of mini-earthquakes and other ominous signs of doom that Jackson and family choose to ignore. Meanwhile, across the country a government geologist, Adrian Helmsley (Chiwetel Ejiofor) has discovered that the end of the world is nigh.

The sun is firing off flares that become neutrinos that are heating the earth's core and blah, blah, blah, let's just say science is merely a touchstone for 2012 and leave it at that. The necessary info is that the world will soon end. What luck that there is a solution in place. Giant ships called Arcs will whisk the wealthy, privileged and connected of the world to safety on the high seas while the average folks die horribly.

Thanks to a wacked out, Art Bell wannabe, well played by Woody Harrelson doing a fabulous Dennis Hopper impression, ....Jackson.... finds out about the Arcs and aims to get his kids, ex-wife and even his romantic rival to ..Asia.. where the Arcs are being loaded up.

Basic set up, establish the stakes, establish our everyman hero and then rain down the CGI destruction. You have to give this to Roland Emmerich, the idea is efficient. If only the actual film were so cut to the quick. 2012, despite many guilty pleasures, lingers for nearly three hours blowing up monuments and killing dignitaries.

If you enjoy carnage and human sacrafice then you may marvel at watching priests crushed by the Sistine Chapel. The Pope gets crushed by the ....Vatican.... and the President of the ....United States....? He gets an aircraft carrier named for John F. Kennedy dropped on him.

Roland Emmerich really enjoys these scenes to much. Really, it's rather unseemly, the pleasure that Emmerich seems to take in staging these CGI deaths. It's comparable to the joys that a director like Eli Roth takes in torturing his average Jane characters, minus the misogyny but with a healthy dose of blasphemy.

It is that unseemly quality, along with the film's exorbitant length, that makes me resist liking 2012. And I really kinda want to. The CGI destruction is well crafted and even kind of exciting, especially watching a commuter plane fly between falling buildings.

John Cusack and Chiwetel Ejiofor are shockingly effective in building human surrogates from the rubble of expository dialogue, running and screaming that are the main components of their characters. Amand Peet, Danny Glover and Thandie Newton round out a main cast right at home in a disaster movie ensemble. 

I kind of want to recommend 2012 because there is some real good camp and some terrific CGI. Unfortunately, the film overstays its welcome and becomes a little to blood lusty for my taste. The seemingly random fates of well known heads of state, and a few filler characters, leave a bad taste that I just cannot shake. 

2012 is a movie for the forgiving fan of big, dumb loud, world ending blockbusters only.

Movie Review: Zombieland

Zombieland (2009) 

Directed by Ruben Fleischer

Written by Rhett Reese, Paul Wernick

Starring Woody Harrelson Jesse Eisenberg, Emma Stone, Abigail Breslin, Bill Murray 

Release Date October 2nd, 2009 

Published October 1st, 2009

I don't like zombie movies. There is an inherent undercurrent of nihilism that runs through most zombie movies that I find unappealing. I may be a cynic but I could not live in a world without hope, the world of the zombie movie. I will admit that elements of Romero's use of subtext in his Living Dead movies are appealing. I will also admit to admiring Danny Boyle's skilled technique in 28 Days Later. But, zombie movies remain for me an ugly, unwelcome chore to sit through.

Thus, I was not looking forward to the new zombie horror comedy Zombieland. Starring Woody Harrelson and Jesse Eisenberg, Zombieland deftly flips its tone from horror to comedy and somehow loses nothing in the transition. As much as I hate zombie movies, I must admit, I liked this one.

Columbus (Eisenberg) was not the most likely survivor of the zombie apocalypse. He's scrawny and skittish and carries a shotgun so big you may have a hard time believing he could fire it and remain standing. He has survived because his years of isolation, he was a videogame loving shut in before the apocalypse, taught him to run from people even before they were trying to eat him.

He has a series of rules that have guided him as well. Rule 1: Cardio. He has trained like an olympic sprinter so that he can stay ahead of the horde. Rule 2: Double Tap. Never just shoot a zombie, shoot it twice. The other rules make cameos throughout the film as computer added interstitials. The comic effect is strong and reminds one of Max Brooks's very funny book "The Zombie Survival Guide".

Columbus has traveled alone for a while but for the first time has begun to crave a little company. He's lucky enough to meet up with Tallahassee (Harrelson) who happens to be one of the best zombie killers in the country. He doesn't just run and hide from the zombie hordes, he runs at them guns blazing, bat swinging, hedge clippers... clipping.

The two form an unlikely alliance that grows to four when they happen upon Wichita and Little Rock (Emma Stone and Abigail Breslin). (The names correlate to the cities where everyone is from. You don't want to get to attached to someone you might have to shoot in the head). Wichita and Little Rock are headed to California where they are hoping rumors of a human enlave in an amusement park is for real.

Whether their hopes are well founded I will leave you to discover. Zombieland comes from first time feature director and show stunning skill. Fleischer's directorial experience is limited to shorts and episodes of Jimmy Kimmel's talk show, yet he shows remarkable skill and control for such a relative novice.

Most impressive is how he balances the tone. The laughs in Zombieland come in buckets and yet, so does the horror. Zombieland makes you fear the zombies but still has the energy and wit to make you laugh louder than you have at most any comedy this year. It's a balance that a number of veteran directors could not achieve.

Keep an eye out for what will no doubt be the years best cameo. The actor involved is so unexpected and yet so very, very game for it all you will not be able to control the gales of laughter from this inspired bit of casting.

I still don't like zombie movies. This time however, because of a game cast and some surprisingly skilled direction, I can look past my issues with the genre and recommend Zombieland.

Movie Review The Grand

The Grand (2008) 

Directed by Zak Penn

Written by Zak Penn

Starring Cheryl Hines, David Cross, Richard Kind, Woody Harrelson, Ray Romano 

Release Date March 21st, 2008 

Published May 5th, 2008 

Zak Penn crafted the detailed and clever scripts for the X-Men flick directed by Brett Ratner. A comic book nut, Penn was in his element and will hopefully show the same talent in his script for the upcoming Incredible Hulk redux. Moving into the realm of directing, his talent seems somewhat less pronounced. The new comedy The Grand features an exceptional comic cast but too often feels like something Christopher Guest thought of and cast aside.

The Grand is a mockumentary that follows the progress of several different players in a 10 million dollar Las Vegas poker tournament called The Grand. Jack Faro (Woody Harrelson) is a legend on the Vegas Strip. Not for his card playing or the fact that he owns a casino, the Rabbit's Foot, but rather for his copious consumption of drugs and alcohol.

Oh and I neglect to mention Jack's 75 ex-wives. Sprung free from a two year stint in rehab, Jack needs 7 million dollars or he loses his casino to mogul Steve Lavish, an eccentric billionaire played by Chris Guest regular Michael McKean.

Facing off with Jack in the tournament are a collection of veterans, sharks and internet novices with their own unique histories and agendas. Lainie Schwartzman (Cheryl Hines) is a champion player looking to win The Grand for the first time. With her nebbish husband Fred (Ray Romano) and their three kids in tow, Lainie is a favorite to win. As is Lainie's brother Larry (David Cross). Though Lainie has more often than not beaten her brother, he remains a top player. Together they have weathered the creepy, intense competitiveness of their father (Gabe "Mr. Kotter" Kaplan) that has left them both a little emotionally crippled but great card players.

Then there are the legends. Dennis Farina looks every bit the Vegas veteran who longs for the days when mobsters busted knee caps and poker victories came with complimentary hookers. His old friend, The German (Werner Herzog, yes THE Werner Herzog) is an equally ruthless player who travels with a cadre of small animals, one of which he murders everyday to keep his instincts sharp. The wildcards in this multi-million dollar tourney are an internet poker amateur named Andy Andrews (Richard Kind) and a socially inert savant named Harold (Chris Parnell).

6 of these players will be at the final table playing for the big prize and we are told by director Zak Penn that the game being played is for real. The Grand is credited as written by Penn and pal Matt Bierman but according to Penn the actors improvised all of their dialogue based on character sketches and a barebones plot. The final card game is in fact a real game with the outcome determined by actual hands of cards between the actors. Each of the actors then delivers on whatever is expected of their character according to what the cards do for them. It's a unique idea and lends a bit of suspense to scenes that could have been quite predictable.

Other than that final hand however, The Grand remains nothing more than a clone of Christopher Guest only slightly more subdued. A talented crew of comics and actors fumble their way toward jokes, occasionally finding them, more often earning a laugh for the fumble as for the found humor. The Grand isn't bad really. The actors are fun and the poker setting is strong even as the competitive poker trend ticks down its 15 minutes of fame. I can give it a partial recommendation on the strength of a really good cast but keep your bets low on this hand.

Movie Review Management

Management (2009) 

Directed by Stephen Belber

Written by Stephen Belber 

Starring Steve Zahn, Jennifer Aniston, Woody Harrelson, Fred Ward

Release Date May 15th, 2009

Published October 10th, 2009

I have seen some truly unendurably awful movies; I'm looking at you All About Steve, but few are as mind numbingly tone deaf awful as Management, a new, supposed, romance starring Steve Zahn and Jennifer Aniston. From first time writer-director Stephen Belber comes a romance so ludicrous and so off-puttingly wacked that even Ms. Aniston's charm gets trampled in the wake.

Management stars Steve Zahn as a slow witted creep who acts as the night manager at his parents roadside motor lodge in Kingman Arizona. One night he meets Sue (Aniston) who's just passing through on business. It's love at first sight for him but she is rightly creeped out, especially after he drops by her room unannounced with a bottle of champagne and invites himself in.

The whole thing should end there. He's a creepy, 40 something adolescent and she sees that right away. We see it more than she does because he is the supposed hero of this disaster and thus we are subjected to him throughout. Nevertheless, the movie can't end 10 minutes in and she is forced to keep the movie going with a very bad and incomprehensible decision.

When she leaves the following day, the creep follows her, cross country, to her home in Maryland. Further poor decision making is all she can do to keep the plot moving forward. The two spend an awkward evening and morning together, no sex, and he's back on a bus to Arizona.

Oh, but we are only half way into this disaster. She must then make another bad choice and return to Arizona, on business and not really at his prompting. They have another brief interlude, including a visit to his dying mother that makes everyone uncomfortable, and then she's gone and he's chasing her across the country again.

Somehow, they get to Washington state where more incomprehensible crap takes place. She moves in with an ex played by Woody Harrelson and the creep skydives into their pool. He works and lives in the basement of a Chinese restaurant. The movie thinks these ideas are charming and funny though nothing is actually done to make them charming or funny.

The whole of Management plays like a joke that everyone involved assumed would be funny but just isn't. Jokes fall flat from the actor's mouths. Pratfalls are taken with no set up. Ideas are introduced as if the idea were really all anyone had and that should somehow be enough. It's not.

Jennifer Aniston's losing streak has reached astonishing proportions. Management is her third consecutive rom-com disaster following the abysmal twosome of He's Just Not That Into You and Love Happens. That Management is somehow worse than both of those films is even more astonishing.

Steve Zahn is a funny actor who in the right role can be very effective. Here, dressed as a teenager with the haircut of a mental patient, Zahn starts as a creep and remains a creep throughout and yet is supposed to be the romantic hero. The plausibility of any movie is negotiated on the movie's terms. Even by that standard Management fails. Even by its own rules it cannot make this creepy moron seem like a match, not just for Jennifer Aniston, but for any other human being ever.

Management is a loathsome exercise in quirk as a replacement for acting, character development and storytelling. A trainwreck of bad choices, flat humor and tone deaf pacing.  It is mind blowing that anyone involved thought this movie was a good idea.

Movie Review Seven Pounds

Seven Pounds (2008) 

Directed by Gabriele Muccino 

Written by Grant Nieporte 

Starring Will Smith, Rosario Dawson, Barry Pepper, Michael Ealy, Woody Harrelson 

Release Date December 19th, 2008

Published December 18th, 2008

It took me maybe 20 minutes into Seven Pounds before I figured out exactly where the plot of this Will Smith weepie was headed. Predictability often is an inescapable sin for mainstream filmmakers and I try to be understanding. In the case of Seven Pounds, director Gabrielle Mucchino must have realized he had a predictability problem because halfway through the movie the predictable 'mystery' portion of the movie falls to the background and a sweet well observed romance emerges.

Will Smith stars in Seven Pounds as Ben Thomas, an IRS Agent with a deep, dark secret. Ben did something that he feels he must atone for and thus sets out to change the lives of seven strangers. Using his IRS credentials, Ben identifies a few desperate souls and sets about stalking them to see if they are worthy of the massive favor he is going to do for them.

Along the way Ben meets  Emily (Rosario Dawson) , a heart patient desperately in need of a transplant. She also owes the IRS a ton of money. After observing her, Ben decides to help her and in the process he falls in love. Ah, but don't forget that deep dark secret that will have to be dealt with before you can even imagine finding some happy ending.

I won't spoil the secrets for you. It won't take you long to figure out the secret for yourself but it nevertheless is crucial to the story for the secret to remain a secret here. I can tell you that I found the secret implausible on top of being highly predictable.

Barry Pepper takes on the role of Ben's best friend Dan. He is crucial to Ben's plans but his motivation for doing the important things he does is terribly lacking. There is simply no logical basis for Dan doing what he does and his actions undermine the drama and what I am sure was supposed to be a mystery and a revelation.

The plot of Seven Pounds fails in its logic and underlying plausibility but it succeeds in creating good characters. Will Smith dials down the Big Willy charisma and in so doing crafts a quiet, gentle, graceful performance. He sparks tremendous chemistry with Rosario Dawson and their romance is the one element of Seven Pounds that really works.

If you are a BIG fan of Will Smith you might like Seven Pounds. If not, skip it.

Movie Review No Country for Old Men

No Country for Old Men (2007) 

Directed by The Coen Brothers

Written by The Coen Brothers, Cormac McCarthy

Starring Josh Brolin, Javier Bardem, Tommy Lee Jones, Woody Harrelson

Release Date November 9th, 2007

Published November 8th, 2007

The Big Lebowski is my favorite movie of all time. I have seen it dozens of times, traded lines with friends and strangers and marveled at the number of nuances I find in it everytime I watch it. Lebowski was the product of the fertile minds of the Coen Brothers who used the frame of classic noir detective stories to twist dialogue and convention into the highest form of comedy.

The Coen's new film, No Country For Old Men, could not be more different than The Big Lebowski. Faithfully adapting the dark, violent work of Cormac McCarthy, the Coen's depart with almost all of their past and work to bring McCarthy's vision to the screen. Everything down to the music, usually provided by Coen's guy Carter Burwell is jettisoned in order to bring McCarthy's earthy, Texas prose to the screen.

It sounds risky but it works. No Country For Old Men is arguably the best film of 2007.

A drug deal gone bad leads an average man, Llewellyn Wells (Josh Brolin)  to a stunning discovery, a dead man carrying a satchel holding over 2 and a half million dollars. While dollar signs flash in Lewellyn's mind, the man who's money has gone missing has already dispatched a man to recover it. That man is Anton Chigurh (Javier Bardem) , a psychotic, unrelenting killer who will not stop until the job is finished, no matter how many people he has to kill.

Observing things from a few steps behind is county sheriff Ed Tom Bell (Tommy Lee Jones). The drug deal happened in his jurisdiction and Wells being one of his citizens makes this a case he is required to follow. As the bodies pile up and Chigurh comes closer to Wells, Bell becomes more and more disturbed by the decline of basic humanity in his corner of the world.

Directed and adapted by the Coen Brothers, from the novel of the same name by Cormac McCarthy, No Country For Old Men is a meditative, hypnotic film experience. So sucked in by this unfolding drama and these extraordinary characters, this is the kind of film that haunts you on your way out of the theater. Try describing the feelings afterward and a tingle in your spine will no doubt accompany your recollection.

No Country For Old Men is a very unique adventure for the Coen Brothers. Known for dialogue that twists and turns and bobs and weaves like non-sequitur poetry, the Coen's surrender much of their own writing to adapting, almost word for word, the straight forward, manly dialogue of Cormac McCarthy. Readers of No Country For Old Men will recognize whole passages of dialogue from the book in the movie.

The Coen changes to McCarthy's work are minimal. They have removed Ed Tom's narration, dropping some of the old sheriff's rambling observations about the rotting of humanity into the dialogue of the film. They've added a few scenes to flesh out areas of Ed Tom's narration but otherwise whole scenes are translated directly from McCarthy's text.

The Coen Brothers' work has always been open to philosophical observation. No Country For Old Men may be their most open to interpretation work yet. McCarthy's book is open to much speculation about its meaning  but it breaks down to a rather elementary discussion of McCarthy's feelings on the breakdown of society.

The Coen's are more philosophical. Yes, that discussion about where the world is heading is there but there is something more in the visual subtext of No Country For Old Men that is open to a wide amount of explanation. Take an especially close look at Anton Chigurh. Where McCarthy never bothered giving a physical description of Chigurh, the Coen's were quite specific with what they wanted.

Casting Javier Bardem, a Spaniard with a swarthy almost Mediterranean look, they left open too much speculation just who Chigurh might work for. Then there is the hair, a ludicrous late 70's throwback that I feel looks somewhat reminiscent of the top of the grim reapers robe. Wielding a shotgun instead of a sickle, Chigurh kills indiscriminately yet pauses on more than one occasion to offer his query a game of chance a la Bergman's interpretation of the reaper in The Seventh Seal.

No chess game but a more disturbing and fateful coin flip, the Coen's version of the character of Death is an equally terrifying character. As played by Javier Bardem, Chigurh is an unceasingly calm and terrifying figure. The performance is so brilliantly haunting that Chigurh comes home with you after the film in ways only classic horror film villains have in the past.

No Country For Old Men is, arguably, the best film of 2007. One of the finest works in the long, illustrious career of the Coen Brothers and easily their most unique. It's strange to see the Coen's interpret someone else's work. What's more extraordinary is how well they adapt someone else's work. The Coen's transfer Cormac McCarthy directly to the screen in ways that few writers could ever imagine.

Slavishly faithful to McCarthy's words, the Coen's must have writers like Stephen King falling all over themselves to get interpreted. It's a rare and exceptional thing for filmmakers to show a writer so much respect. That is just one of many extraordinary things about No Country For Old Men.

Movie Review Semi Pro

Semi-Pro (2008) 

Directed by Kent Alterman

Written by Scot Armstrong

Starring Will Ferrell, Woody Harrelson, Maura Tierney, Andre Benjamin 

Release Date February 9th, 2008

Published 

Will Ferrell is quite a sports fan. Now on his third sports comedy in three years, following 2006's Talledegha Nights and 2007's Blades of Glory, Ferrel shows no signs of sports fatigue in Semi-Pro a basketball comedy set in the seventies with all of the non-sequiter goodness of Talledegha Nights without the gay bashing of Blades of Glory. It's not the perfect synthesis of Ferrell's good natured physicality and out of context freestyle banter, but it will make you laugh. Set in the 1970's of Ferrell's Anchorman imagination, Semi-Pro once again indulges the era of jive turkey, high heeled boots, and lots and lots of disco.

It's 1976 and Jackie Moon (Will Ferrell) is riding high on the success of his one hit wonder chart topper 'Love Me Sexy'. With the money he's made from his disco hit, Jackie bought an American Basketball Association franchise and brought it to his hometown of Flint Michigan. The Flint Tropics are the worst team in the ABA but as owner, coach, promoter and starting power forward, Jackie Moon seems oblivious to the team's disrepair. Unfortunately for Jackie the league is about to fold. Four of the teams, the best in the league, are being folded into the NBA at the end of the season and the Tropics will not be one of them.

Appealing to the other folding franchises, Jackie bargains that the top four teams in the ABA standings be the ones to go to the NBA. Now he needs to turn the team around and start winning if he wants to save his beloved Tropics. To help out he trades the team washing machine for a former NBA benchwarmer named Monix (Woody Harrelson) who came to Flint not to play basketball but to win back his ex-girlfriend Lynn (Maura Tierney). As he clashes with the Tropics star player Coffee Black (Andre Benjamin), Monix once again finds his game and begins teaching the Tropics real basketball.

Now can the team win enough games to finish in fourth place? Can Jackie draw enough fans to keep the franchise afloat and can Monix win back Lynn?

These aren't exactly points of great drama but they are enough of a semblance of a plot to be more than what was offered in the disappointing Blades of Glory. Ferrell here, teamed with director Kent Alterman, here at least attempts to tell a story in between the non-sequiturs. Harrelson and Tierney's characters may be underdeveloped but they are welcome enough actors that we root for them on the periphery of the story. In the meantime Ferrell sings, wrestles bears, roller skates and pukes, the anything for a laugh ethos that has made him a beloved comic presence.

Semi-Pro fails to reach the comic heights of Anchorman or Old School, Ferrell truly at his best, but it is funny, at times uproariously funny. Ferrell and his cast of some of the funniest character actors in the business, including Andy Richter, Will Arnett, David Koechner, Will Corddry and SNL alum Tim Meadows, can't help but be funny even in the most outlandish, out of context and over the top scenes. Scenes that would not work with average actors, work here because of these skilled comedians. The jokes have no relation to the movie but you are laughing and that is really all you can ask.

Movie Review: A Prairie Home Companion

A Prairie Home Companion (2006) 

Directed by Robert Altman 

Written by Garrison Keillor 

Starring Woody Harrelson, Meryl Streep, Tommy Lee Jones, Garrison Keillor, Lindsay Lohan, John C. Reilly, Kevin Kline

Release Date June 9th, 2006 

Published June 8th, 2006 

Words like quaint and charming are anachronistic in this day and age. They are anathema to modern audiences bred on irony and detached perspective. Garrison Keillor's A Prairie Home Companion has always been of another time. A time when quaint and charming were far from insulting, they were the height of faint praise, as Keillor himself might say.

Now that A Prairie Home Companion has been brought to the big screen, under the direction of the legendary Robert Altman, you might fairly assume that it has been somehow updates, jazzed up somehow for modern audiences. That is thankfully not the case. A Prairie Home Companion is as old fashioned as has always been on Minnesota Public Radio and the throwback nature is one of the films many great pleasures.

In the era of irony a little earnest homespun humor is just the thing to warm your heart and give you a good tickle. It's the last night for the cast and crew of A Prairie Home Companion. For 30 some years the WLD radio variety show has emanated from the Fitzgerald theater in St Paul Minnesota. However, now that the longtime heritage station has been sold to a major corporate chain, the show's over.

This is distressing news to long time performers like the Johnson Sisters, Yolanda (Meryl Streep) and Rhonda (Lily Tomlin) who have performed on the show since it's inception. Yolanda's late husband was the inspiration for the show and Yolanda had hoped her daughter Lola (Lindsey Lohan) might one day perform there one day.

Also distressed at losing their regular gig are the singing cowboys Dusty (Woody Harrelson) and Lefty (John C. Reilly) whose ribald tunes about life on the plains are one of the shows humorous highlights, unless your the shows harried producer worried about FCC violations.

Seemingly unaffected by the sadness of the last broadcast is the shows longtime host G.K (Garrison Keillor) who is intent on making the very last show just like the first one. Refusing any attempt at evoking audience sympathies, G.K will not say thank you or goodbye in any kind of grand fashion. Why even when one of the shows older performers passes away in his dressing room mid-show G.K refuses an on air eulogy telling the cast that if he were to start eulogizing his friends at his age he wouldn't stop till he was dead himself.

Lurking in the background backstage is the shows head of security an oddball right out of a fifties private eye movie the aptly named Guy Noir (Kevin Kline) when he's not watching the door or providing a running commentary, Guy searches for a mysterious blonde in a trench coat only known as A Dangerous Woman (Virginia Madsen).

Saturday Night Live's Maya Rudolf and the real life band and singers of the radio show A Prairie Home Companion round out the cast of this deliciously simple showbiz comedy. Simple in terms of smart character driven humor and old school showbiz pizazz.

Lurking behind this behind the scenes comedy is a bizarre whimsy that is pure Robert Altman. In bringing to life Garrison Keillor's radio show, Altman has brought literal life to some of his fictional characters including the aforementioned Dusty and Lefty and most importantly Guy Noir who has long been Keillor's favored creation outside the denizens of the fictional town of Lake Woebegone.

Guy's whole persona and function in the film are a delightful mixture of detective movie parody and straight comedy and in the person of Kevin Kline these elements reach a near symphony level of comic timing and perfection. Kline is more than worthy of a supporting actor nomination as the standout of this brilliant ensemble.

Meryl Streep provides the emotional center of A Prairie Home Companion. Yolanda is more than just a performer on the show, in the films history her family is entwined in the history of the show. Her husband was G.K's partner before he passed on. Yolanda herself was for a time entwined with G.K and her daughter has been coming to the show with her since birth.

Her colorful history, only alluded to, colors the film and brings depth to the emotions that resonate from her especially while on stage with her voice breaking belting out the same old time gospel songs she and her sister have sang on the show for years.

Streep's performance is not perfect. She along with Harrelson and Reilly occasionally betray their performances by allowing Hollywood affectations to leak through their Midwestern patois. Overall though the performances are universally strong.

Maybe most surprising of all is Garrison Keillor. Playing himself is certainly the kind of comfort zone any actor can thrive in but Keillor does truly impress with his deft wit and comic timing. Anyone who listens to his real life show on a regular basis will likely recognize that this is typical Garrison Keillor but the uninitiated will likely be very impressed with the his sleight of hand phraseology and warm charismatic nature.

In his most recent directorial effort the ballet drama The Company Robert Altman directed as if the whole thing bored him. The director was constantly allowing the camera to wiggle around and wander away from the actors, when they weren't dancing. It was as if he were directing from a script he didn't much care for and simple set the camera and walked away when he wasn't enjoying the ballet performances.

A Prairie Home Companion is a return to form for the great director. Fully engaged and even modestly excited about this smart, homespun material, Altman seems to delight in every last detail from Keillor's wacky fake product commercials to the style of Kevin Kline's haircut meant match that of a bust of the great F. Scott Fitzgerald whose bust is prominently displayed in the theater that is named for him.

A Prairie Home Companion is a masters class in Altman's managed chaos style. The film floats backstage to look in on Guy Noir and the backstage happenings and then simply glides back on to the stage for another song and a story. The flow is hypnotic when it's not laugh out loud funny. This is one of Robert Altman's best efforts in a very long while.

Quaint and charming may be curse words in this day and age but not in relation to this wonderfully quaint charming comedy from a master director and a master storyteller. A Prairie Home Companion is one of the best films of the year.

Movie Review North Country

North Country (2005) 

Directed by Niki Caro 

Written by Michael Seitzman

Starring Charlize Theron, Woody Harrelson, Frances McDormand, Sean Bean, Richard Jenkins

Release Date October 21st, 2005 

Published October 19th, 2005 

Director Niki Caro made a huge splash with her debut film Whale Rider. That sweet, smart coming of age flick not only brought an Oscar nomination to the amazing young actress Keisha Castle Hughes, it also established Caro as a director who could write her own ticket for whatever project she wanted to make. Her choice was to work with another Oscar nominated actress, Charlize Theron, on what is, by virtue of both of their involvement, a serious prestige picture about a difficult and dramatic subject, the very first sexual harrassment class action suit in US history.

With the weight of expectations on North Country Niki Caro had a lot to live up to. That the film nearly meets those lofty expectations is a sign of her talent and the strength of the story she wished to tell.

Charlize Theron stars in North Country as Josie Aimes, a single mother returning to her tiny hometown in Minnesota after escaping her abusive husband. To say that her homecoming is not exactly welcome is a slight understatement. Though Josie's parents, Hank (Richard Jenkins) and Alice (Sissy Spacek), love her deeply, her life choices up until now have been a grave disappointment. Pregnant at sixteen, Josie claimed to not know who the child's father was. Running away with the baby soon after, Josie found herself in a series of bad relationships, and pregnant again.

Now back home and fighting with her father over having left her marriage (despite the husband's abuse, her father cannot abide a divorce and even wonders if she brought the abuse on herself) Josie needs a job and a new place to live. An old friend, Glory, played by the wonderful Frances McDormand, puts Josie on to a job working in the mine that is the town's only source of stable employment. Unfortunately it's also where Josie's father works, yet another source of father-daughter tension.

If her father was the greatest of the resistance Josie faced working in the mines she would be lucky. Sadly, the male workers of the mine have made quite clear ever since women have been allowed to work there that they are not welcome. The sexual, emotional and occasionally physical intimidation of women is an everyday reality for Glory who has weathered it well enough to become a union leader. For Josie, however, the abuse is shocking and terrifying and likely compounded by some very dark secrets from her past.

Eventually all of the abuse and frustrating put-offs from management force Josie to take a bold step. With the help of a local lawyer, Bill White (Woody Harrelson), Josie aims to sue the mine and stop the abuse and if at all possible make the mine a safe place for the women who work there after her.

North Country is an exceptionally well-told story both in terms of scripting and filmmaking. Director Niki Caro showed her adeptness for compelling visual storytelling in Whale Rider and continues to mature in North Country. With Cinematographer Gustavo Santaolalla, Caro washes out the scenery to capture the often grim and gritty feel of the Minnesota winter. The visuals are so strong that the bitter cold of the north country chills the theater.

The script by Michael Seitzman, based on the book Class Action by Clara Bingham, creates a fictional character in Josie Aimes-- a composite of a number of different woman, including Lois Jenson, who was the first and most heroic plaintiff in this historic case. Especially compelling is the backstory that Seitzman and Niki Caro craft for Josie and the way that backstory informs the rest of the movie. Her experiences in the past are something that many women can sadly relate to, though to detail those experiences would reveal far too much I think.

The backstory is weaved into the movie's main story in a way that builds to an emotional flourish that lifts the film's otherwise weak courtroom scenes. If there is a flaw in North Country it is the by-the-numbers battle in the courtroom. Caro does as much as she can visually-- the court scenes are brightly lit but no less cold than the outdoor scenes-- but the scenes never rise above typical courtroom cliches. My opinion of this aspect of the film may be colored slightly by my opinion of the film's ending, which takes place in the courtroom and is a major letdown.

Of course Josie would not be the extraordinary character she is without the exemplary performance of Charlize Theron. At the head of an amazing cast that includes Oscar winners Sissy Spacek and Frances McDormand, as well as Woody Harrelson, Richard Jenkins and Sean Bean, Theron never let's you forget this is her movie. In North Country Charlize Theron essays a tough but vulnerable performance with depth and meaning. It's a performance worthy of such weighty subject matter as the very first and most difficult battle in the fight against sexual harassment.

The improvement of Charlize Theron as an actress in just the last three years is remarkable. Just four years ago seeing the name Charlize Theron on a movie poster was a stomach turning moment. Her shrill, unlikable, over-the-top performances in The Astronauts Wife, Devils Advocate and Sweet November are now a very distant memory. Monster changed everything and now North Country affirms that Charlize Theron is a true actress and a star, not just another pretty face.

North Country is the kind of heart rending cathartic drama people go to the movies to experience. A film that earns all of its emotional involvement and audience participation in the experience. North Country is also the rare modern movie that combines that emotional journey with a visual one that is its equal. Niki Caro and her team evoke not only the freezing cold of the north but the feel of a town caught in a time warp. The men are Neanderthals, the women are repressed and longing, and the whole thing is disturbing for people who lived through similar circumstances and people, like myself, who cannot fully relate to the struggles women have faced in the workplace.

North Country is an education, a history lesson about how far woman have come in establishing themselves in the workplace. It's a lesson that needs to be taught and retaught because as the old adage goes; those who forget history are doomed to repeat it. Our current laws on sexual harassment may at times seem ridiculous or overblown but they stem from a place of necessity because the type of abuse demonstrated in North Country should never be allowed to take place.

For Oscar watchers like myself North Country is a must see. Niki Caro's direction, Michael Seitzman's script, Gustavo Santaolalla's photography and the supporting performances of Frances McDormand and Richard Jenkins are all worthy of nominations. However, it is the performance of Charlize Theron that will have Oscar fans buzzing all the way to the big night. Theron has a very good chance of becoming the seventh actress in academy history to win two lead actress Oscars.

Had the ending of North Country been a little stronger I think a best picture nomination would be assured for North Country. Still, despite my minor misgivings, this is one terrific drama. A moving crowd pleaser with an important message and filled to overflowing with terrific performances. North Country is a must see for the new season.

Movie Review: Anger Management

Anger Management (2003) 

Directed by Peter Segal 

Written by David S. Dorfman 

Starring Adam Sandler, Jack Nicholson, Marisa Tomei, Woody Harrelson, John Turturro 

Release Date April 11th, 2003

Published April 10th, 2003 

All the promise Adam Sandler showed in Punch Drunk Love quickly dissipated with his animated disaster 8 Crazy Nights. His producer's credit on Rob Schneider's The Hot Chick showed Sandler's recommitment to the stupidity that made him the idol of the fraternity crowd. I was set to write him off completely until I saw the trailer for Anger Management and the unlikely teaming of Sandler and the legendary Jack Nicholson. Many figured that with Nicholson involved, it could not possibly fail, and in box office terms, it won't. However, the possibility of creative failure was there and indeed realized with a poorly constructed script that even Nicholson can't overcome.

In Anger Management Sandler is Dave Buznik, a put upon office worker shy to the point of extreme introversion. It seems that everyone in Dave's life takes advantage of him except his very accepting girlfriend Linda (Marisa Tomei). While on a business trip Dave is accused of assaulting a flight attendant. Though it's clear that the mild-mannered Dave did not attack anyone he is still convicted of assault and sentenced to anger management therapy with a man named Buddy Rydell (Nicholson).

Dave is sent to Buddy's anger management class with an assortment of crazies including Luis Guzman, John Turturro and cameos by Bobby Knight and John McEnroe. Through more unfortunate circumstances, Dave is involved in a barfight and is sentenced to even more therapy, a new treatment that involves Dr. Rydell living with Dave and turning his life upside down.

The plot machinations that lead to Buddy and Dave living together make a certain amount of sense and to that point in the film the plot seems to unfold logically. However, cracks show throughout as the script by David Dorfman strains to combine realistic characters and over the top set pieces. The relationship between Dave and his girlfriend is sweet, believable and well played by Sandler and Tomei. However, the roadblocks placed in front of them by the plot are too stupid and contrived to be believed. 

There is also the film's strain to make room for unnecessary celeb cameos by the aforementioned Knight, McEnroe, Heather Graham, Derek Jeter, Roger Clemens and former New York mayor Rudy Guiliani whose cameo is uncomfortably tied to the film's plot.

The trailer for Anger Management showed so much promise and was so well done that it makes the film itself all the more disappointing. The promise of the trailer seemed to be a departure from Sandler's past histrionics from The Waterboy and Big Daddy and a move toward a more sensible and smart approach. The appearance of Jack Nicholson only seemed to further imply that. Unfortunately, the film is more of your typical Sandler: fart jokes, dick jokes and other various inanities.

Don't blame Jack for this one, every great actor will occasionally do a picture just to pick up a paycheck. Sandler has been just picking up a paycheck his entire career, save for Punch Drunk Love which as more time passes seems like it's from some alternate universe. On the other hand, maybe it just goes to show what a truly amazing talent P.T Anderson really is.

Movie Review: After the Sunset

After the Sunset (2004) 

Directed by Brett Ratner 

Written by Paul Zbyszewski, Craig Rosenberg 

Starring Pierce Brosnan, Salma Hayek, Woody Harrelson, Don Cheadle, Naomie Harris

Release Date November 12th, 2004 

Published November 11th, 2004 

Director Brett Ratner has a flair for escapist action junk.  He is the man behind the Rush Hour series. His latest escapist mainstream popcorn fare is After The Sunset, a heist comedy that is lacking a good heist and some comedy but does feature a supremely hot Salma Hayek in various stages of undress. Sometimes even bad movies have a bright side.

Pierce Brosnan stars as Max, a master thief with a particular affinity for the very rare Napoleon diamonds. What he seems to enjoy even more than the diamonds however is humiliating FBI agent Stan Lloyd, (Woody Harrelson) who is guarding the diamonds and who was held responsible when Max lifted the first one. As the story requires, Max once again humiliates Stan in a convoluted little plot with remote control cars, cat and mouse antics at a basketball game, and finally a gunshot wound for Max, though nothing serious enough to keep him from the diamond. 

The heist would not be possible without Max's better half Lola (Hayek) who runs important interference on the heist and even gets to wear a neat costume. It is Lola who decides that they are now retired and she who chooses their retirement home on a gorgeous unnamed Caribbean tourist trap island. She's happy but Max is miserable with no loot to steal and no agent Lloyd to mess with.  He is bored stiff.

Then out of the blue pops agent Lloyd and a cruise ship that just happens to be carrying the third Napoleon diamond, the only one Max hasn't stolen....allegedly. Can Max resist the temptation of the complicated and once again convoluted and over-wrought pilfering opportunity and another chance to show up Stan or will he follow Lola's admonition that they are retired and it's not worth the risk. Whether he steals the diamond or not he is guaranteed to be involved because of a local gangster (Don Cheadle) who threatens to kill him if he won't help lift the diamond.

Pierce Brosnan is trying hard to settle into post-Bond  life, though he still has one more Bond yet to come. Sadly Brosnan once again misfires on his image makeover. Brosnan is a stiff and casting him as a colorful thief in colorful surroundings only serves to show off his weakest qualities. He's charming and handsome and so very, very boring when compared to his co-stars and even the sunrise of the title is far more interesting than anything Brosnan brings to this film.

If they really wanted to have some fun with After The Sunset they should have switched a few of the roles around. Have Cheadle play the thief, Harrelson the American gangster running the island and Brosnan the straight-laced FBI guy. That at least would give Don Cheadle something more to do than just show up when the plot needs him to look mean. For some reason I can really imagine him sparking with Salma Hayek as well, something Brosnan fails at miserably.

For his part Director Brett Ratner is his calculated mainstream self. Always well aware of what test audiences are looking for, Ratner ratchets up the formula story, the recognizable faces and the entirely "lowest common denominator" plot that only few will find complicated or surprising. I will say this for Ratner, his camera loves Salma Hayek and finds new and wonderful ways of capturing her magnificent form.

As the plot clicks away through poorly executed buddy humor and lazy action setups with little if any payoff the one thing that is clear about the making of After The Sunset is that everyone on the crew must have gotten a nice tan and plenty of umbrella drinks. Otherwise there isn't much reason for this film to exist at all. This is a vacation for all involved, a chance to go to paradise on a studio dime. Can't say I blame them for living it up but would it have killed them to make a halfway decent film while they were sunning themselves?

Movie Review: The Messenger

The Messenger (2009) 

Directed by Oren Moverman 

Written by Alessandro Camon, Oren Moverman 

Starring Ben Foster, Woody Harrelson, Samantha Morton, Jena Malone 

Release Date November 13th, 2009 

January 31st, 2010 

There are many jobs to be done in the American military and it is likely a great movie could be made about any of those jobs. Writer-director Oren Moverman and co-writer Alessandro Camon have chosen a particularly difficult job and crafted a great movie from its many emotional and professional complications.

The Messenger tells the story of Will Montgomery (Ben Foster), a recently injured soldier home from Iraq. Though Will is desperate to get back to the war his injuries need more time to heal and his commanding officer (Eamonn Walker) has a temporary job for him to do while he heals.

Will is assigned to work with Captain Tony Stone (Woody Harrelson) in the Casualty Notification Service. It is Captain Stone's duty to inform the families of soldiers who are killed in battle. Captain Stone has been at this job a very long time and has some hard and fast rules for Staff Sgt. Montgomery to live by.

The first and most important rule is being professional. Do not engage emotionally with the family. Stick to the script which informs the family that the Department of Defense is sorry to inform them of the death of their loved one. Never touch the victim's family, no physical or emotional attachments are essential to performing this task.

The rules are practical to military standards but also provide a distance for the men of the casualty service who need the rules to keep the sadness and despair at the heart of the job at bay. Montgomery understands but cannot resist a natural tendency toward helping people. In battle he was often the first to rush to help a downed soldier, and in his new duty keeping his distance from the wounded is difficult.

It was inevitable then that one of the victim's families would get through Montgomery’s shell of professionalism. The wife of a late soldier, Olivia (Samantha Morton), strikes something deep within Montgomery and he cannot help but engage with her, eventually beginning to fall in love with her all the while trying to keep Tony from knowing about his breech of conduct. Of course, Tony is well aware of what is happening and seeing the young man make this mistake leads Tony to his own breech of conduct when he returns to drinking as a way of coping with the job. As these two men bond and battle the story takes on a tornado swirl of emotions.

Director Oren Moverman and co-writer Alessandro Camon structure the story of The Messenger as a series of vignettes strung together with scenes of male bonding through alcohol and immature sexuality. There is an inherent disconnect from emotion in this structure, one that actually plays very well to the overall story.

By structuring the film as a series of beginning middle and end encounters with victims families followed by scenes of Montgomery and Stone getting to know each other off the job, we get the disconnected feeling that Stone urges as the most important part of the job. This makes it even more effective when Montgomery begins to allow the job to bleed over out of the vignette and into the other portions of the story.

By the end, the wall that Stone so carefully crafted as a means of distancing himself from the tragedy of his job is nearly destroyed and it nearly destroys him. Montgomery meanwhile finds himself again through the despair and heartache and finds a renewed purpose that gives the film a hopeful yet nervy end.

The Messenger is a film of remarkable poise, poignancy and empathy. It features performances by Ben Foster and Woody Harrelson that are hard but sensitive, tough yet compassionate. Oren Moverman made his mark as screenwriter in 2007 and now is a full fledged filmmaker with his exceptional work here.

Moverman and co-writer Alessandro Camon were nominated for an Academy Award for this original screenplay while Woody Harrelson earned a much deserved Best Supporting Actor nomination. This film deserved even more than that. The Messenger is powerhouse filmmaking.