Movie Review Godsend

Godsend (2004) 

Directed by Nick Hamm 

Written by Mark Bomback 

Starring Greg Kinnear, Rebecca Romijn Stamos, Robert DeNiro, Cameron Bright 

Release Date April 30th, 2004

Published April 29th, 2004

The moral and ethical debate over cloning is fervent ground for drama. That drama was well explored in the little-seen 1997 sci-fi film Gattaca with Uma Thurman and Ethan Hawke. That film was set in a universe, years in the future, where cloning was more than a reality, it was a way of life that had replaced nature with science. The latest examination of the thorny issue of cloning takes place in a modern context, a time when cloning is almost a reality. Godsend however, is not as much interested in the science or  morality of cloning as much as it is interested in atmospherics and melodrama.

Adam Duncan (Cameron Bright) has just celebrated his eighth birthday. His mother Jessie (Rebecca Romijn) and father Paul (Greg Kinnear) are happily married living in New York City but they are contemplating a move to the suburbs to find a safer place to raise their son. Their idyllic family life is shattered when a tragic car accident kills Adam as his mother watches helplessly.

At Adam's funeral, the couple meets Dr. Richard Wells (Robert De Niro) who has a strange offer for them. Wells is an expert geneticist and he claims to have perfected a way to clone a human being. Wells' offer is to use some of Adam’s cells, which are useful only for 72 hours after his death, to clone the child back to life. The child can then be genetically replicated and placed in his mother’s womb. Just like in-vitro fertilization, the child could be carried to term and re-born as Adam Duncan down to the last hair on his head.

There are some rules that the couple must agree to first.  One is that the couple must move to Massachusetts to be near Dr. Wells' Godsend research clinic. They must then sever all ties with friends and family. Finally, Dr. Wells must be the only doctor Adam ever sees. Aside from that, the doctor sets the couple up with a beautiful house and a teaching job for Paul. The couple can raise Adam as if he had never died, starting over from his birth. The only question is what will happen to Adam when he crosses the age at which he died.

That last part is where the film draws most of it's drama but it's also the most dubious of the contrivances of the film. There is never any kind of scientific or theoretical reason given for why anything in Adam would change when he turned eight years old, the age he was when he died the first time. It's not like the kid can have all of the experiences he had from his first life again. He's going to meet all new people, spend time with Dr. Wells, go to a different school, his parents are different people than they were before his original death. 

I realize that I am asking questions that the makers of Godsend would rather avoid but these are the questions that this plot raises and it is a fatal flaw for this movie that they can't answer those questions. That could be as easy as making Dr. Wells the real villain, a man trying to turn this boy into an Omen, Damien style villain but that doesn't happen. Robert DeNiro is far too checked out and obviously bored to try and be part of this plot anyway. 

First-time director Nick Hamm does a good job creating a creepy horror atmosphere. Even in the film’s dream sequences, Hamm never resorts to CGI trickery, preferring to create his atmosphere naturally. A challenge he more than meets with the help of cinematographer Kramer Morganthau. Nick Hamm's other achievement is making this cute kid Cameron Bright a viably dangerous presence right up until the end when the film’s second big contrivance kicks in and snuffs out what was good about the film. As the director told Sci Fi Wire, they shot five different endings. Unfortunately, they chose the wrong one.

Greg Kinnear is such a reliable dramatic presence that he is able to ground the film in some kind of reality. Kinnear makes both Rebecca Romijn and Cameron Bright better for having worked with him.

If only Robert De Niro had paid a little more attention to his understated co-star. Lapsing into Jeremy Irons like self-parody, De Niro over-emotes, eats the scemery and generally throws dirt on his legend that grows more tarnished by each subsequent late-career performance.

Godsend isn't as bad as I am making it seem. The director Nick Hamm is very talented and Greg Kinnear is giving it his all to sell this deeply flawed premise. Sadly, with DeNiro lapsing into parodyh out of seeming boredom, and the logical failures of the script and premise, there was no overcoming the flaws in Godsend. Creepy visuals and strong sense of atmosphere are great but when your audience is busy deconstructing your plot flaws instead of being impressed with the look and feel of your movie, it's just not working. 

As muich as I have issues with the movie, I will say that if want to see Godsend, see it for Greg Kinnear genuinely good performance and for the low-tech horror atmosphere created by talented director Nick  that works without any CGI trickery, something most films can't resist.

Movie Review: The Tourist

The Tourist (2010)

Directed by Florian Henckel Von Donnersmarck 

Written by Florian Henckel Von Donnersmarck 

Starring Johnny Depp, Angelia Jolie, Paul Bettany, Timothy Dalton, Rufus Sewell 

Release December 10th, 2010 

Published December 9th, 2010 

The novelty of placing pop culture icons Angelina Jolie and Johnny Depp in the same movie is nearly too much of a burden to bear for the slight, off-beat, spy comedy "The Tourist." Director Florian Von Donnersmark, in his English language directorial debut, takes on the Herculean task of capturing these two supernova stars in the same shot and not having the camera overload from all of the star power.

"The Tourist" stars Johnny Depp as Frank a mild mannered Wisconsin school teacher who finds himself whipped into a world of intrigue, adventure and danger when he is approached by an unbelievably beautiful woman on a train ride from Paris to Venice. Her name is Elise and her extraordinary calm while picking up this odd stranger on a train is quite unsettling.

Upon arriving in Venice Elise absconds with Frank's bags thus forcing him to join her at her high dollar hotel, not that he really needed to be kidnapped. Frank will be Elise's date for the evening while she awaits the arrival of her loutish, criminal lover who, unknown to Frank, urged her to find a tourist who looks a little like him and frame that tourist while he and Elise make their escape.

The only thing that Elise could not count on is falling for the doofusy math teacher. Meanwhile, as Elise is pretending to seduce Frank, and accidentally falling for him, the duo is being tailed by Interpol agents lead by Inspector Acheson (Paul Bettany) and by an evil Russian gangster (Steven Berkoff) who believes Elise knows where his stolen money is.

The plot of "The Tourist" is meant to combine a touch of Alfred Hitchcock with a dash of Cary Grant at his most fleet footed and charming and while it conjures some of those memories, "The Tourist" is far more interested in the modern, tabloid-esque notion of Johnny Depp and Angelina Jolie making goo goo eyes at each other.

During production of "The Tourist" Johnny Depp insisted on never being alone with Angelina Jolie where paparazzi could get a picture and create a story. In the movie itself, director Von Donnersmarck goes for a similar paparazzi voyeurism in scenes where the camera just observes Depp and Jolie smoldering at one another.

Depp and Jolie's beauty as a couple is the true appeal of "The Tourist," so much so that the plot becomes an impediment as it too our ogling of the stars. Yes, there is plenty of daring do and mixed up identities, even a chase scene that is unlike most other chase scenes (it involves a pair of boats tied together and a slow speed ride through the stunning canals of Venice) but none of it registers beyond the pull of these two stars.

What stands out in "The Tourist" are scenes like those set on the train ride as Depp and Jolie feel each other out with lustful glances and hushed conversation. Later, Depp and Jolie send sparks flying as they gaze at one another over dinner in a gorgeous café with candlelight and the moon glimmering off the canal in the background. Cinematographer John Seale's imagery here will make you want to live in this scene.

The adventure stuff, the spy stuff is treated with a light heart and good humor in "The Tourist" but it's beside the point. "The Tourist" is about two unbelievably attractive people being unbelievably attractive together against Parisian and Venetian backgrounds that can almost compete with the actors in radiance. This may not have been the overall intent of the makers of "The Tourist" but it works and I can recommend "The Tourist" because I can recommend ogling these megastars.

Movie Review: Tideland

Tideland (2006) 

Directed by Terry Gilliam 

Written by Tony Grisoni, Terry Gilliam

Starring Jodelle Ferland, Brendan Fletcher, Janet McTeer, Jennifer Tilly, Jeff Bridges

Release Date October 27th, 2006

Published November 17th, 2006 

Writer-director Terry Gilliam has always directed his fantasies. Be they weird or myopic or paranoid, Gilliam directs entirely from his imagination, practical concerns be damned. His latest dream-scape is a perfect example. As Gilliam is forced to admit, in a bizarre opening behind the scenes prologue, Tideland is his own fantasy of what life would be like if he were a pre-teen girl. Based on a novel Mitch Cullen, Terry Gilliam's take on life as a tween girl is even more disturbing and bizarre than even his most ardent fans may expect.

Jeliza Rose (Jodelle Ferland), the daughter of a pair of serious heroin addicts, watches first her mom (Jennifer Tilly) and then her dad (Jeff Bridges), die of drug overdoses. The heroin prepared for mom and dad by Jeliza herself, causes her to recede into her self created fantasy world where a witch named Dell (Janet McTeer) and her mentally challenged henchman (Brenden Fletcher) become her pseudo family and the doll heads she wears as finger puppets carry on long, imaginative conversations with her.

Terry Gilliam isn't kidding when he claims this is what his life would be like were he a pre-teen girl. Wild, imaginative, perverse visions of love, death, sex and parenthood are all themes that Gilliam has tackled before. However, Tideland takes Gilliam's extreme fantasies to a whole new level of perversion. Perhaps Terry Gilliam has finally tweaked a puritan part of my brain but I find there to be something very wrong about presenting a Terry Gilliam fantasy through the eyes of this little girl. 

This is a fantasy that includes not just the drug overdose deaths of two parents from heroin doses administered by their own daughter but also the subsequent gutting, embalming, and slow decomposition of the father as the child continues chatting away as if dad were just napping. Then there is the creepy pseudo-romance. The pre-teen girl has a childish dalliance with the mentally challenged guy. In scenes that are both creepy and strangely sweet these two people who have no idea what intimacy is engage in the kind of childish exploration that would be cute if the mentally challenged guy weren't in his mid-twenties and quite insane.

There is, at the very least, some exceptional visual artwork in Tideland. Cinematographer Nicola Pecorini does some fine work giving vivid life to each of Terry Gilliam's most twisted ideas. For better or worse, the look of Tideland is as impressive as the story is disturbing and horrifying. And yet, Gilliam doesn't treat the horror as horror, there is a distinct sense of dreamlike fantasy, not light-hearted really, but Gilliam is not leaning into the horror that is very much present in this story and while some find that dichotomy compelling, I found it repellent. 

Every experience Terry Gilliam's pre-teen protagonist has, from watching both parents die, to the creepy mentally challenged 'boyfriend,' to the presence of the witch in her fantasies, are all played to such a low key whimsy that they barely register. You may watch in horror as scenes of degradation and dark humor play out, but you will also likely find your mind wandering as Gilliam underplays the horror of the scene in favor of  playing off a more goofball dispassionate response from this deeply troubled and traumatized young girl.

Terry Gilliam has demonstrated the genius of his myopic, selfish approach to film-making in movies as varied as 12 Monkeys, Brazil, and Fear and Loathing In Las Vegas. In Tideland however, he takes that weird personal vision to its navel-gazing nadir. This is a movie made by Terry Gilliam for Terry Gilliam and while I admire any filmmaker who doesn't bow to audience concerns about what the majority of people want to see, that doesn't make a movie like Tideland fun to watch.

Movie Review: Crazy Heart

Crazy Heart (2009) 

Directed by Scott Cooper

Written by Scott Cooper

Starring Jeff Bridges, Maggie Gyllenhaal, Robert Duvall 

Release Date December 16th, 2009 

Published by December 15th, 2009 

Very often the Oscars turn into the Hollywood Lifetime Achievement Awards. That will likely be the case with the Oscars this year as one of Hollywood's most beloved actors, Jeff Bridges,is the front-runner for one of Hollywood's biggest prizes, Best Actor in a Leading Role. Now, to be clear, I love Jeff Bridges. “The Big Lebowski” is my favorite film of all time. However, Jeff Bridges' work in “Crazy Heart” is solid but not spectacular and certainly not the Best Performance by an Actor in a Leading Role. 

For one thing, George Clooney delivers a far more complex, thoughtful and engaging performance in Jason Reitman's wonderful drama, “Up in the Air.” For another example Jeremy Renner's intensity and focus in The Hurt Locker would be a winner in any other year. Bridges' performance is authentically battered, broken, and genial but there is little depth to his drunken country singer, Bad Blake, in “Crazy Heart.”

Bad Blake was once a pretty big star in the world of Country Music but alcohol and a lack of a good accountant have laid him low. These days ol' Bad can be found playing rundown taverns and in an early scene, a bowling alley. There is still hope for Bad but he will have to clean up and swallow his pride a little. Bad's former back up band member Tommy (Colin Farrell) is now a huge star and he's willing to give Bad a break if he'll take it.

While Bad's busy fending off Tommy and his second chance, a trip to New Mexico brings Blake into the life of Jean (Maggie Gyllenhaal), a wannabe music journalist. Jean wants and gets an interview with Bad Blake that she believes could be her big break. Bad, meanwhile is quickly smitten with the much younger and very beautiful writer. His music charms her into his bed and soon Bad is bonding with her very young son.

Where the story goes from there is for you to discover. Jeff Bridges makes all the minor melodramatic turns affable and helps avoid most cliches of this kind of redemption drama but there is nothing particularly special about Crazy Heart. Director Scott Cooper doesn't reinvent the wheel with his dusty, slightly battered shooting style that, though it does well to match Bad Blake's boozy and beat up lifestyle. it lacks insight and the drama is relatively inert in its predictability. 

Movie Review Intolerable Cruelty

Intolerable Cruelty (2003) 

Directed by The Coen Brothers 

Written by Robert Ramsey, Matthew Stone, The Coen Brothers 

Starring George Clooney, Catherine Zeta Jones, Geoffrey Rush, Billy Bob Thornton, Cedric the Entertainer

Release date October 10th, 2003 

Published October 10th, 2003 

There are two unique qualities that mark Joel and Ethan Coen when working in comedy. The first is their writing, smart, funny, and slightly off-kilter surrealism tempered with sweet natured humor. The other is the look of their films, established with the help of cinematographer Roger Deakins. Consistent color patterns that have the same surreal quality of the stories they are background to. These two things are once again on display in Intolerable Cruelty, the Coen's skewed take on the modern romantic comedy.

George Clooney stars in Intolerable Cruelty as divorce lawyer extraordinaire Miles Massey, author of a prenuptial agreement so tough it's never been broken and is the subject of its own course at Harvard law. Miles' specialty is “impossible to win” divorce cases. Miles chooses cases specifically for the challenge of winning the ones no one expects anyone to win. Miles' latest case is that of Rex Rexroth (Edward Herrmann), a real estate millionaire who was caught dead-to-rights cheating on his wife Marilyn (Catherine Zeta Jones).

Marilyn, you see, hired a private investigator named Gus Petch (Cedric The Entertainer) to follow her husband and Gus now has videotape of Rex's infidelity. Obviously Rex is caught but with Miles as his lawyer, he somehow walks out of court on the good side of the settlement. In fact, Rex's now ex-wife got nothing. Nothing that is, except for the admiration of her husband’s lawyer.

Despite all of Miles' instincts about marriage and divorce, he is totally smitten with Marilyn and her shady search for gullible rich husbands. Even after she has married yet another rich dupe, a Texas oilman played by Billy Bob Thornton, Miles still can't help but fall for Marilyn. She, of course, has a few more surprises for Miles to come throughout this comedic story.

Intolerable Cruelty is a surprisingly conventional piece from the usually more off-kilter Coen Brothers. It is, in most respects, a romantic comedy and contains a number of the perfunctory touches of that genre. The coincidences and luck that are hallmarks of most romantic comedies also show up in Intolerable Cruelty, only slightly skewed by the Coen's snappy dialogue and bright colorful production design. The production design of the film is far better than most other films of the genre.

George Clooney and Catherine Zeta Jones spark some terrific chemistry but some of the film’s third reel twists undermine that chemistry with a little more detachment and cruelty than you want from a romantic comedy. Nevertheless this is still the Coen Brothers and the dialogue is smart and snappy and the two leads are more than equal to it. The good definitely outweighs the bad in Intolerable Cruelty. I'll take their version of the romantic comedy over any of the most recent releases in that genre.

Movie Review Ocean's 13

Ocean's 13 (2007) 

Directed by Steven Soderbergh 

Written by Brian Koppelman, David Levien 

Starring George Clooney, Brad Pitt, Matt Damon, Andy Garcia, Don Cheadle, Al Pacino, Ellen Barkin 

Release Date June 8th, 2007 

Published June 7th, 2007 

The breezy filmed cocktail party atmosphere of the first two Ocean's pictures continues to charm in Ocean's 13. However, even as the stars remain witty and charismatic and director Steven Soderbergh's direction becomes more confident and experimental, there is a fatigued quality setting in. Like a party beginning to wind down, Julia Roberts and Catherine Zeta Jones have already left, Ocean's 13 has drifted late into the night and it's time to lock the doors and send everyone home. But, hey, we did have a good time.

Al Pacino sets the plot of Ocean's 13 in motion as a jerky hotel financier named Willy Bank. Having entered into a deal with our old friend Reuben (Elliott Gould) to open the biggest new resort on the strip, Willy has decided to renege on the deal. Reuben is out, his steak of several million dollars is gone, but mostly he has lost his pride. Not long after Willy rips him off, Reuben has a heart attack that leads to severe depression and a nearly comatose state.

Enter Reuben's old pals Danny (George Clooney) Rusty (Brad Pitt) and Linus (Matt Damon) seeking vengeance. Reuben was a surrogate father to Rusty and Danny and after helping the Ocean's crew in each of their largest ventures, Reuben is family and so the plan is set in motion to ruin the casino and find a way for Reuben to get his cash back.

The plot set in motion is... complicated. It involves kidnapping a group of high roller gamblers, putting down a workers revolt in Mexico, and generating an Earthquake in Nevada. If that isn't complicated enough, how about throwing in Super Dave Osbourne as an FBI agent ready to throw the whole scheme into uproar, seeming to trip his way into Danny and Rusty's deeply complicated con. 

Director Steven Soderbergh is one of the busiest, most involved directors in the game. Even in the slick trifle that is Ocean's 13; Soderbergh not only directs, he slaps the camera on his shoulder and shoots the picture (the credits say Peter Andrews but that is just Steven Soderbergh's alias). Soderbergh is also the executive producer on the film and is seemingly involved in every aspect of the film down to the dice chosen for a pivotal scene.

It is Soderbergh's attention to detail that keeps this bloated cast party from becoming just a star vehicle. Don't get me wrong, this is still predominantly a star vehicle, but Soderbergh's herculean efforts lend the production a little artistic credibility.The film doesn't need it but it doesn't hurt to have it. Soderbergh crafts a dynamic look for Ocean's 13 that is perfectly fitting of the Vegas setting. It's what he's done throughout this franchise but it remains a notably positive element. 

Ocean's 13 is a charm factory. The glint in the eyes of this group of actors is why we turn out and why we have such a good time. When Clooney, Pitt, Damon and the gang are obviously having a great time the vibe is infectious and it radiates from the screen. Whether it's Pitt and Clooney's clowning on one another or the way Matt Damon is very much the little brother of the three, we can't help but feel like we are being let into the inner circle of our favorite stars, even for just a moment.

It's unfortunate that neither Julia Roberts or Catherine Zeta Jones could not stick around for the end of the extended cocktail party that are the Ocean's movies. Those knockout stars are replaced in Ocean's 13 by Ellen Barkin, a beautiful actress whose career has languished in B-movie leads the last few years. Reunited with her Sea Of Love co-star Al Pacino, Barkin's role is sadly underwritten and she plays things overly broad to cover.

As for Mr. Pacino; he seems invigorated by this role. He gets into the spirit right away with good humor and quick wit. If only his casino owner character were a more formidable foe for Danny and company. Despite what we are told is the most sophisticated security system in the world, Willy Bank's casino gets knocked over by the most outlandish scheme imaginable. It reduces Pacino's villain to merely a plot hanger, a reason why things happen and little more. 

Keep in mind however, dear reader, the scheme is not the point of Ocean's 13. Rather, the heist just provides the setting for the charm assault of this exceptional group of actors. Whether it's Casey Affleck and Scott Caan leading a worker revolt in Mexico or Bernie Mac flashing that sneaky bright white smile undercover as a domino dealer, every actor in the Ocean's crew has at least a moment where they delight the audience. And then there is David Paymer as a Hotel critic who gets wrapped up in the Ocean's 13 scheme. Keep an eye on him because his few moments of sad sack humor are priceless. Paymer is a small but welcome addition to the Ocean's canon. 

Ocean's 13 is yet another superfluous, throwaway blockbuster; entertaining in exactly the ways that all throwaway blockbusters are. Perfectly aware of its charm and good looks, Ocean's 13 proceeds from one scene to the next with supreme confidence and great humor. The good vibes are infectious and while you are unlikely to remember much of what you saw later, you will be entertained in the moment and with this kind of blockbuster, that's all you can ask.

Movie Review Solaris

Solaris (2002) 

Directed by Steven Soderbergh 

Written Steven Soderbergh 

Starring George Clooney, Natascha McElhone, Jeremy Davies, Viola Davis, 

Release Date November 27th, 2002 

Published November 27th, 2002 

The teaming of Steven Soderbergh and George Clooney is one of the most promising in Hollywood. Already the team has delivered the sly entertaining popcorn movie Ocean's Eleven. They produced the well-reviewed drama Far From Heaven. Finally, they have in the pipeline the highly buzzed about Confessions Of A Dangerous Mind, Clooney's directing debut. The biggest challenge to the team opens this weekend, the tough sell sci-fi romance Solaris. “Challenging” and “experimental” don't often lead to much in the way of box office but I'm happy to say that at least artistically. Solaris is a hit.

George Clooney stars in Solaris as Chris Kelvin, a psychologist who is asked by the government to go to a far-off space station orbiting an unusual planet called Solaris. Once on the space station Chris should investigate the strange behavior of the station’s crew. Upon his arrival at the station, named Prometheus, he finds a good friend dead and is informed by one of the remaining crew members that the friend committed suicide. The two remaining crew members are Snow (Jeremy Davies) and Gordon (Viola Davis), and both of them are exhibiting odd behavior. 

Gordon refuses to leave her quarters and Snow rambles vaguely about the odd phenomena that befell the crew. Snow warns Kelvin about going to sleep, because when he awakens he will understand everything. Upon awakening Kelvin finds himself in bed with his wife. This would not be unusual except Kelvin's belovd wife has been dead for a number of years. Natascha McElhone plays Rheya Kelvin, or at least that's who the character thinks she is. Logically she can't be but she feels physically real to Chris.

Only a master craftsman like Steven Soderbergh could manage to make a woman as beautiful as McElhone seem so creepy. The scene where Rheya is revealed is a dizzying ride of camera spins and out of focus shots that draws the audience into Chris's nightmare, or fever dream, or whatever it is that is happening to him. From there Solaris spins into the realm of existential crisis, religion and human nature. It's like the best episode of Star Trek: Next Generation ever.

George Clooney is sensational and his chemistry with McElhone is electric. As the couple’s back-story unfolds and we learn what happened to Rheya and the nature of Solaris, Soderbergh toys with the audience, offering innumerable explanations that will have people talking long after the film is over. The film is daring and intelligent in toying with questions of what counts as existence, what approximates experience, if something feels real isn't it then real? 

Solaris is a great film with an intelligent script and a truly magnificent performance by Clooney. That Steven Soderbergh also includes numerous visual and storytelling homage to Kubrick's 2001 and , of course, Tarkovsky's original Solaris from 1972, only deepen the film’s message and help make the film a transcendent sci-fi experience.

Movie Review The Good German

The Good German (2006) 

Directed by Steven Soderbergh

Written by Paul Attanasio 

Starring George Clooney, Cate Blanchett, Tobey Maguire 

Release Date December 15th, 2006 

Published September 10th, 2007

Before Tarentino and Rodriguez put the clicks, pops, scratches and cigarette burns back into film in Grindhouse, Steven Soderbergh had already used technology to revive the look of another Hollywood era. In The Good German, Soderbergh crafted a wartime noir love triangle but it was his attention to period detail, and the way he recreates the way movies looked in the 40's and 50's that makes The Good German notable and modestly watchable.

In The Good German George Clooney stars as an investigative reporter for the New Republic and an ex-soldier who returns to Germany for the first time since the end of the war and the beginning of the reconstruction of two different Germany's. Upon his return Clooney's Jake Geismer seeks and finds trouble in the form of his ex mistress Lena Brandt (Cate Blanchett) who had been his stringer before the reconstruction forced her into prostitution to pay the bills.

When Jake and Lena reunite it's not a warm moment. Lena is now involved with another American, a motor pool con man named Patrick Tully (Tobey Maguire). Tully is no stranger to Jake, when he arrived in the country for this assignment, Tully was made his driver. How did the current boyfriend of Jake's former flame end up his driver upon his return to Germany? Jake is not a believer in coincidences and his reporter's instincts lead him to a dangerous conspiracy.

Steven Soderbergh's painstaking detail in making The Good German resemble the films of the 40's and 50's is admirable and intriguing. Unfortunately, all of that fascination with technique and style left the story of The Good German in neglect. The story plays out in three acts from three different perspectives and plays like rough character sketches that were only integrated at the final moment.

The script by Paul Attansio, the talented writer and creator of TV's Homicide and Oz, plays second fiddle to the technology on display to recreate the era. It's quite clear that Soderbergh is more interested in his black and white toys than he is in this script. As evidence, the script highlights anachronisms that undermine the period detail Soderbergh is going for. The Good German is R - rated for nudity and naughty language; two things that would never have made it into a film made in the period Soderbergh is attempting to recreate.

A more bold and clever play, in a script the director cared about, would have been to make The Good German meet the standards of the Hays code, the ratings system of the day that was essentially institutional censorship. Not to say that the Hays Code was good, it wasn't, but how clever might this movie have been had they explored the boundaries of the period and employed the kind of subtext and layers that directors like Michael Curtiz made such wonderful use of during the Hays Code period. But then that would have taken far more work than what went into this rough draft of a script.

If the biggest draw of The Good German is the period evoking technology , the biggest issues may be the actors on camera. Though few actors can evoke golden age leading men as well as George Clooney, he seems ill-suited for the role of a putzy patsy taken for a ride by a nitwit like that played by Tobey Maguire. Maguire may be Spiderman but take away the web slinging and the costume and he is no match for the star wattage of Clooney.

As the alleged mastermind of this plot, Maguire is tremendously over-matched. With his high pitched voice and slight frame, Maguire is the least believable tough guy ever to start a bar fight in a German grog hall. Opposite Cate Blanchett in romantic scenes early in the film, scenes in which he is supposed to be intimidating, Maguire looks as if Blanchett could break him in half if she had to. Blanchett is more of a mother figure to Maguire than a lover and I don't believe that was the film's intention.

As for Ms. Blanchett, hampered by an ugly German accent, and despite her remarkable talent, she is at a loss to make this underwritten character work. As she attempts to evoke Ingrid Bergman, Blanchett at times crosses the line from serious drama to melodramatic parody. As the character is written, as a classic femme fatale, Blanchett is all grandiloquent gesture and emotional projection. Sometimes it works, other times she seems something out of Ed Wood.

The technique is the star of The Good German. Credit director Steven Soderbergh for his bold ideas and loving homage. What a shame that the same care was not taken in crafting a plot to match the technique in depth and complexity. As it is, The Good German is a notable failure. A wonderful experiment in the possibilities of film technology but not a movie that will be remembered for anything other than its technique.

Movie Review Leatherheads

Leatherheads (2008) 

Directed by George Clooney 

Written by Duncan Brantley, Rick Reilly 

Starring George Clooney, Renee Zellweger, John Krasinski, Jonathan Pryce 

Release Date April 4th, 2008 

Published April 3rd, 2008 

George Clooney is a big fan of old Hollywood. At his best Clooney throws back to the stars of the 40’s 50 and 60’s with flair and relish. Evoking the look of Clark Gable, the charisma of Cary Grant, and the cocktail hour suavity of Frank Sinatra, Clooney is a throwback in modern times. You can see this in his film resume. Movies like Intolerable Cruelty which threw back to the classic 50’s and 60’s style romantic comedy, The Good German, shot in black and white no less evoked Bogart in mystery mode with a dash of Spencer Tracey. And, of course, there are the Ocean’s movies; which modernize the 60’s cool of Sinatra’s rat pack.

No wonder then that Clooney is so at home in his latest role, a period comedy with period clothes and a period romance. Leatherheads stars George Clooney as Dodge Connelly the leader of a ragtag group of pro footballers watching their league slowly collapse around them. Set in the mid 1920’s Clooney could not be more at home with style, grace, and rapid fire banter that filmmakers of the day like Preston Sturges and Howard Hawks made legendary.

In 1925 College Football was America’s game and its stars were the stars of American sports. Pro football on the other hand was played on fields, literally, corn fields, wheat fields, anyplace with a fair patch of grass and enough room for a few rickety bleachers. Better known for its ugly cheating and brawling. Pro football of the time was an outlaw sport and Dodge Connelly and his Duluth Bulldogs were the Oakland Raiders of their day. The Raiders have a reputation for being tough and bending the rules. 

Unfortunately for Dodge, his beloved Bulldogs and their fellow barnstorming pros in Milwaukee, Decatur and even Cleveland are struggling financially and folding up at an alarming rate. Eventually, even Duluth can’t afford to keep playing and the Bulldogs are out of a job, forced to return to the mines and other menial work. The team and their pro league is sunk until Dodge gets a great idea. 

Traveling to Chicago, Dodge meets with the top college football star of the day, a kid nicknamed The Bullet, Carter Rutherford (John Krasinski), Princeton University football captain and a bona fide war hero. If Dodge can convince The Bullet, and his smarmy agent C.C (Jonathan Pryce), to come to Duluth and play for the Bulldogs, Dodge believes that he can save his team and likely the sport of pro football.

Following the story of the football star/war hero is a crafty reporter named Lexie Littleton (Renee Zellweger). Posing as a sports reporter, Lexie is chasing a scoop about The Bullet’s war hero story being a big fake. Her task is to convince The Bullet to confess but after meeting Dodge, it’s all Lexie can do to avoid a scandal of her own.

Like Clooney, Renee Zellweger is a star out of time. Her work in Chicago and the little seen gem Down With Love showcase a talent that would have been perfectly at home with Howard Hawks, Preston Sturges or opposite Gable, Bogey or Grant. Zellweger banters like Rosalind Russell and paired with Clooney she smolders like Bacall.

The chemistry of Clooney and Zellweger nearly overwhelms the lightweight football comedy and definitely puts co-star John Krasinski at a disadvantage. The breakout star of TV’s The Office is an affable young actor with a bright future but his burgeoning talent is no match for the veteran Clooney and the experienced Zellweger.

Krasinski simply cannot sell the love triangle aspect of Leatherheads and fades through the background when Clooney and Zellweger are on screen. I don’t mean to demean Mr. Krasinski, not many actors could match the kind of fizzy chemistry of Clooney and Zellweger. It’s just a shame that so much of the movie rides on us buying The Bullet as a viable alternative to Clooney’s mantastic Dodge Connelly.

Quick witted if a bit dawdling at times, Leatherheads is a pithy, sweet romantic comedy that happens to feature sports. A throwback to a completely different era of movie history, George Clooney directs Leatherheads with the verve of Howard Hawks if not the complete skill set of that film legend. Charming and funny with a pair of great lead romantic partners, check out Leatherheads for Clooney and Zellweger and wish John Krasinsky well on the future of his career.

Movie Review Lions for Lambs

Lions for Lambs (2007)

Directed by Robert Redford 

Written by Matthew Michael Carnahan 

Starring Robert Redford, Tom Cruise, Meryl Streep, Michael Pena, Andrew Garfield 

Release Date November 9th, 2007

Published November 8th, 2007 

A valuable dialogue on the most important topics of our times is well engaged in Robert Redford's Lions For Lambs. Inter-cutting three different stories, unfolding simultaneously, and one important flashback, Lions For Lambs fails in structure but succeeds for its intentions. The inescapable issue is how tremendously un-cinematic Lions For Lambs is. Maybe I'm grasping, but a movie needs to be more than the sum of its windy pretenses. Even as someone who agrees wholeheartedly with the message, the message fails in the milieu and good intentions bog down for lack of a more compelling cinematic arc.

Robert Redford directs and stars in Lions For Lambs as a political science professor, everyone just calls him doc. This morning Doc is early to chat with Todd (Andrew Garfield) , a student with a sharp mind who refuses to apply himself and often just doesn't show up. The war and the government has so disillusioned young Todd that apathy has set in. For the next hour Doc attempts to awaken the engaged mind of this student with so much potential.

As that is happening in California, a journalist (Meryl Streep) has arrived in the office of a young Senator (Tom Cruise) who, years earlier, she had proclaimed the 'future of the Republican party.' The senator took the hyperbolic headline to heart and now wishes to repay her unintentional compliment with a real important scoop. As the two chat, a military operation that the senator helped plan is getting underway. He hopes that telling the journalist this story will help him with another front page headline to add to his presidential resume.

Meanwhile, the soldiers assigned to carry out the new strategy have left the comfort of the American base in Bagram on their way to a remote, hilly region of Afghanistan, dangerously close to the Iran border and covered in snow. A gun battle causes PFC's Finch (Derek Luke) and Rodriguez (Michael Pena) to fall out of a transport copter into an enemy nest. Surrounded, they must conserve their ammo, nurse their wounds, and deal with the cold as they await a rescue.

Each of these three storylines, written by the very talented Matthew Michael Carnahan, dovetails off of the other with modest detail. Using Mark Isham's quietly compelling score to link one scene to the next, Redford makes no pretense about what his point is. Lions For Lambs is about excoriating cowards who make decisions in Washington while our lions are sent off to die to protect these lambs. It's a heavy handed point but a well made one, especially if it already speaks to your beliefs as this film does mine.

I've opposed the war in Iraq from the beginning and listening to Robert Redford and Meryl Streep make the points that I have already made myself, in various arguments over Iraq, is quite affecting for me. However, it may mean nothing to you. If you are for the war, a supporter of the President and his policies, you won't like much of Lions For Lamb. The film is unabashedly, unashamedly liberal and that, at the very least, is bold especially just a mere three years after the Dixie Chicks were threatened with death and the end of their careers for speaking out.

Times change quickly and now a spate of Hollywood heavyweights have taken on the war to varying results. In The Valley of Elah, The Kingdom, Redacted, Rendition and a number of documentaries have taken on the war to varying degrees of success. Robert Redford delivers, arguably, the most thoughtful film of the bunch but also the least cinematic. Sorry, but we need more than just actors speechifying for over an hour. The film lacks dynamism and feels stultifying by being limited to a one speech after another structure. 

There is little to no visual accomplishment to Lions For Lambs. Don't get me wrong, it is professionally shot, but only a few scenes, those set in the mountains of Afghanistan, manage to be visually compelling. The rest is just a series of conversations shot almost statically in two shots broken up by the occasional showy camera move or tight close up.

Tom Cruise has the most difficult role in the film, that of the conservative voice, a strawman for the liberal messaging of the movie. His ambitious Senator may look like John Edwards but he talks like Dick Cheney. Jousting with Streep's skeptical journalist, Cruise more than holds his own. His character being a natural villain, a congressman and snake oil salesman, he is doomed to be outwitted but he doesn't go down without a fight.

Watch how Cruise regulates that star charm, holding back on that natural glint in his eye. It's an extraordinary effort because the man is effortlessly charismatic. He literally has to dial it down to play a charismatic congressman. In Lions For Lambs Cruise brings just the perfect mixture of political savvy, ugly ambition and earnest passion. He's the kind of villain who doesn't see himself as the villain and those are the best kinds of villains. 

Lions For Lambs ends with a poignant offering of why Redford chose this title. I won't spoil it for you but I will say that anyone who questions Redford's patriotism and commitment to our troops will have not seen these final gut wrenching scenes. In the end, Lions For Lambs should be far better than it is. The subject matter deserves a more compelling direction. It needs more than just a series of soapbox declarations and condemnations. Valuable subject matter is rendered inert due to a lack of style that keeps Lions for Lambs from transcending its polemical intentions.

Movie Review: An Unfinished Life

An Unfinished Life (2005) 

Directed by Lasse Hallstrom 

Written by Virginia Korus Spragg 

Starring Robert Redford, Jennifer Lopez, Morgan Freeman, Josh Lucas, Damien Lewis 

Release Date September 9th, 2005 

Published September 8th, 2005 

Director Lasse Hallstrom is hailed by many as a genius. I do not share this sentiment. I find Mr. Hallstrom's inveterate brand of gooey, feel good, hokum to be excruciating. Credit for the success of both Chocolat and The Cider House Rules is owed far more to the creative marketing execs at Miramax than to the artistic credibility that Lasse Hallstrom allegedly brought to them. For me, the bland, soupy, emotionally manipulative style of Hallstrom turns my stomach. 

So you can imagine my shock at watching Lasse Hallstrom's latest effort, An Unfinished Life starring Robert Redford, and finding myself honestly moved. Stripping away his stock melodramatics, Lasse Hallstrom crafts a quiet, unassuming examination of grief and four uniquely fascinating characters that succeed without Hallstrom's usual heavy handedness.

Robert Redford stars in An Unfinished Life as Einar Gilkyson, a crusty old cowboy living set in his ways in the mountains of Wyoming. Milking cows and riding horses are Einar's daily pursuits. What you would not expect is the care with which this curmudgeonly character takes care of his oldest friend, Mitch (Morgan Freeman), the victim of a bear attack for which Einar feels responsible. Dropping any pretense of cowboy toughness Einar is genuinely caring for his old friend.

Then, into the daily routine of Einar and Mitch's walks Einar's former daughter-in-law, Jean (Jennifer Lopez). Having just escaped with her 12 year old daughter Griff (Becca Gardener) from an abusive boyfriend, Jean is turning to the only family she has left. Einar, however, is not happy to see her. Einar blames Jean for the death of his son Griffin, her husband. Having disappeared immediately after Griffin's funeral, Jean never told Einar about his granddaughter.

This premise sets up for a number of possible melodramatic flourishes and opportunities abound for grand thematic gestures. However, what makes An Unfinished Life so fascinating is the number of times those grand gestures are passed over in favor of a quieter more realistic approach to the characters. Oftentimes directors like Lasse Hallstrom overwhelm dramas with grandiose turns of plot, traumatic, almost Job-ian, pitfalls that are meant to create further drama but more often take away realism in favor of jerking tears out of the eyes of moviegoers.

Here, much to my surprise, Lasse Hallstrom stays so far away from this method that An Unfinished Life threatens to become so real as to mirror mundane everyday life. That is only avoided by the terrifically talented cast lead by Robert Redford. In what is a return to form after a series of forgettable films, Mr. Redford digs in and delivers a wonderful portrait of a grieving father, an aging cowboy ,and an extraordinary friend. Redford and Morgan Freeman make a wonderful team onscreen and they seem to relish playing old cowboys reminiscing about a way of life that is now almost nonexistent.

The script was adapted for the screen by the writers of the book of the same name, Mike Spragg and Virginia Korus Spragg. The husband and wife team living in the mountains of California crafted the story character by character, giving each a backstory that they only later linked to the other characters as the story progressed. This unique approach helped in creating wonderfully fleshed out characters whose depth and soul are communicated by this great cast.

Naturally not every element of the book could make it into the film. Some of the lost items include a little of Jean's backstory, that of her jealous and dangerous ex-boyfriend Gary (Damian Lewis), and much of Jean's romance with the local Wyoming sheriff played by Josh Lucas. At some point these stories were left undone in favor of making the movie more about Einar.  Everything flows from him in this version and this is not a bad approach, especially since Robert Redford delivers such a terrific performance.

I love the idea that characters like the ones played by Robert Redford and Morgan Freeman really exist. It's charming to think that somewhere in the mountains of Wyoming there are these rough and tumble cowboy types of bygone days who have deeply philosophical conversations and poetic musings about dreams. The location is romantic and the characters give context to that romantic air by acting as if they really exist, somewhere out there away from society.

The focus on Einar and Mitch's close friendship is also a source of humor in the film. The old friends have an old married couple that quite funny. And then there is a more overt question of their closeness from the granddaughter who in her precocious 12 year old way asks outright if the two old cowboys are gay. This could have been a cheap joke but in execution it's a very sweet funny moment and a necessary moment of levity breaking into the underlying and ponderous sadness at the film's core.

In the end, An Unfinished Life is about grief and forgiveness. Einar has never forgiven Jean for the car accident that took his son's life. By the same token, Jean has never forgiven herself which led her into a series of abusive relationships. The film emphasizes the point with expository dialogue from Jean saying exactly what we in the audience already knew.  She feels she deserves the abuse because she holds herself responsible for the death of her husband.

That tendency in the dialogue to over-explain a point is one of a few minor flaws in the film. Another is the budding romance between Jean and the local sheriff played by Josh Lucas. The two actors look good together but the sparks never really ignite, probably because both characters' stories are cut back to make more room for Einar and Mitch's stories. Thankfully Einar and Mitch are so interesting you can forgive the inconsistencies.

Another issue that might annoy observant moviegoers is a small number of editing problems. Scenes that do not connect with the rest of the story, seemingly added to give supporting characters more screen time. Lopez is the subject of most of these extraneous scenes, such as a scene in a diner, where she has taken a job, in which she confronts a pair of rednecks warning them not to mess with her. The scene shows Jean can stand up for herself when she wants to but that point is repeated more compellingly and necessarily later when she has a final confrontation with Einar.

Regardless of these minor problems, An Unfinished Life is a lovely dramatic piece. Lyrical, prosaic at times, but always involving. Director Lasse Hallstrom has never crafted a more enjoyable film. It's a real shame that the film was yet another casualty of the Miramax-Disney war. After sitting on the shelf for a year the film has the stench of failure attached to it. This is quite unfair, especially for a film that marks the return to form of the legendary Robert Redford. Given the proper care An Unfinished Life could have been an Oscar nominated coda for Mr. Redford's extraordinary career.

Movie Review: Charlotte's Web

Charlotte's Web (2006) 

Directed by Gary Winick 

Written by Susannah Grant, Karey Kirkpatrick 

Starring Julia Roberts, Dakota Fanning, Robert Redford, Steve Buscemi, Oprah Winfrey, Kathy Bates

Release Date December 16th, 2006 

Published December 15th, 2006 

Most people of my generation, Gen-X, were exposed to E.B White's classic children's fable Charlotte's Web by the cartoon adaptation that was a television staple since its creation in 1972. Interesting fact about that adaptation, E.B White hated it. He was wary of Hollywood to begin with and found the adaptation to be lightweight and far too Hollywood.

There is no telling what he would think of the latest incarnation of Charlotte's Web; White died in 1985. However, he did once hope that the film would be given a live action treatment. Under the whimsical direction of Gary Winick (13 Going On 30) with a slightly updated script by Karey Kirkpatrick (Over The Hedge) and Susannah Grant (In her Shoes), this live action Charlotte's Web has the kind of magic that I think E.B White may have appreciated, especially as a fan of talking animals.

Wilbur (voice of Dominic Scott Kay) was a runt pig on his way to slaughter. Thankfully, young Fern (Dakota Fanning) was witness to his birth and stepped in to prevent his execution. The first few months of this spring-pigs life were spent as Fern's pampered pet. However, once school started and the holiday season grew closer, Wilbur's fate seemed to be Christmas dinner.

No longer allowed to be Fern's pet, Wilbur is banished to the barn owned by Fern's uncle, Mr. Zuckerman, where a menagerie of not so friendly neighbors await. Maybe they are just being realistic and not wanting to get close to an animal so likely to be gone by the first snow, but the animals in the Zuckerman barn are a little standoffish.

That is, except for Charlotte (Julia Roberts), a spider who befriends the lonely little pig. Charlotte can relate to being an outcast. As a spider she is not exactly on good terms with her neighbors either. Some are afraid, like Ike the horse (Robert Redford), others are disgusted by her, like Samuel the sheep (John Cleese). Wilbur becomes Charlotte's first friend. Eventually the two become close enough that Charlotte breaks the bad news to him about his likely fate but also promises to find a way to save him.

When I first began seeing trailers for this new Charlotte's Web I was concerned. The trailers featured fart jokes which to me signaled desperation and created the worry that such modern touches would all involve bathroom humor. My memories of Charlotte's Web from childhood are of a classy cartoon that even made the rat Templeton acceptable, even as he rolled in garbage.

Thankfully, my worries were unfounded. The bathroom humor in Charlotte's Web is limited to just a few scenes. What is prevalent throughout this new adaptation is a classy, old school approach to storytelling. Director Gary Winick spins a wondrous tale that is the perfect mixture of sugary sap and honest, touching emotion. The film is at times so saccharine you need to call your dentist but by the end you will find that you've spent the entire film with a smile on your face and maybe even a hint of a tear in the corner of your eye as one of the main characters passes away.

Julia Roberts provides the voice of Charlotte and her soft, honey soaked tones are so soothing you can't help but fall in love with this spider. Soft and sweet, her voice is the calming element needed to leaven the mood of the other voice actors who are either hyper or extremely put on. Roberts brought a similar vocal smoothness to the animated film The Ant Bully earlier this year, another film where her voice-work stands out.

Like the animated version of this story, this Charlotte's Web has a lovely timeless quality. Even with the CGI necessary to create the talking animals, Charlotte's Web has such a classic look and such an old school approach to storytelling that it seems like it could have existed 40 years ago. Director Gary Winick perfectly captures the innocence of E.B White's fable, his characters ,and even the slightly dark undertones of the story that give it such depth and resonance.

Charlotte's Web is at times a little cloying and at times a little too sweet but most of all, Charlott'e Web is a solidly crafted piece of G-rated children's entertainment. The nostalgia factor makes it appealing to adults as well as children but parents will likely be surprised just how much they enjoy  the feel of this film even beyond their memories of the cartoon and the classic book.

Movie Review Syriana

Syriana (2005) 

Directed by Stephen Gaghan 

Written by Stephen Gaghan 

Starring George Clooney, Matt Damon, Jeffrey Wright, Chris Cooper, Amanda Peet, Tim Blake Nelson

Release Date November 23rd, 2005 

Published November 22nd, 2005 

2005 has been an extraordinary year for George Clooney. His second directorial effort Good Night and Good Luck, a film about the pitched battle between newsman Edward R. Murrow and Senator Joseph McCarthy, has been lauded by critics for its intellect and social relevance. Both Good Night and Good Luck and Clooney's latest acting effort Syriana are awards contenders with Clooney likely competing against himself as a supporting player in both films. In Syriana, Clooney is part of one of maybe a dozen subplots in a byzantine tale of corruption and futility. An exceptionally thought provoking narrative that is as fascinating as it is depressing.

Describing the plot of Syriana is a somewhat futile task. The complex, non-linear form of the script defies any simplistic description. The film is essentially about how business is done in the oil industry. But the real essence of Syriana is futility. The futility in attempting to stop the madness in the middle east. Futility in attempting to discern the culpability of oil companies in creating the instability of the middle east. And finally the futility of following the myriad of motivations of each of the characters in Syriana.

There is George Clooney's Bob Barnes, a CIA operative in the middle east, who we first meet as he is setting up some potential terrorists in Iran to be killed. Bob is getting older and his colleagues back in Washington are talking about the end of his career. Bob's career, the chance at a cushy desk job, rides on one last task. He must kill a potential new middle eastern king. When that job goes bad, Bob's career is beyond merely being over.

Matt Damon plays Brian Woodman, an oil industry analyst who lands a major new middle eastern client after his own son is killed at a party held by this new client. Naturally, this arrangement does not sit well with Brian's wife (Amanda Peet) who cannot abide profiting from her son's death. This does not deter however as becomes the top economic advisor to his new client. With this client about to become the biggest player in the Middle East, Brian stands to get very rich. This, however, puts Brian's interests at odds with a number of other competing interests.

Jeffrey Wright, Chris Cooper and Christopher Plummer inhabit another of Syria's many plots. Wright is an ambitious Washington lawyer who lands a gig trying to smooth the way for two major oil companies to merge into the fifth largest company in the world. Cooper is the CEO of one of the two companies, Killen Oil of Houston, Texas, and Christopher Plummer plays Wright's boss whose CIA connections are key in helping the merger succeed.

How these plots intrude on one another only becomes clear well into your post-film analysis. While watching Syriana you are dazzled individually by each plot, even as you have little idea what they mean or where they are headed. It's a rather astonishing film that can leave an audience so bedeviled and at once so fascinated. Syriana is as compelling a film as they come.

Director Steven Gaghan knows a little something about sprawling multi-layered, massively cast epics. It was Gaghan who scripted the Oscar nominated Traffic. Syriana and Traffic are each muckraking cousins in terms of stirring debates on important issues. Traffic is slightly superior in that it somehow feels more complete and its characters' motivations so much clearer. But both films are a testament to Gaghan's talent for complex and meaningful stories. 

When late in Syriana Clooney's CIA agent is chasing through the desert in attempt to save someone's life you cannot figure if it's just dumb luck that landed him in exactly the right spot or just an editing decision that excised the scene that might explain his luck. At one moment he looks lost, the next he is tearing off after exactly the people he's searching for. I say that Clooney's character was trying to save a life, but his motivation may be more ambiguous than that. There are a few more scenes missing from Syriana that might make the narrative clearer but, in the end, they aren't needed. Part of what makes Syriana fascinating is a level of ambiguity left to the audience to consider well after they have watched the film.

Working from a book by former CIA agent Robert Baer called See No Evil, director Steven Gaghan posits that much of the fictional tale of Syriana is based on reality. If this is true, Syriana could rank as one of the more depressing films of the year. Essentially it depicts oil companies, the CIA, and our government as morally bankrupt and completely corrupt. They do business with people in the middle east who are equally as corrupt and often more murderous than us, though we do more than our share of killing. 

Corruption, as illuminated in a quick but resonant speech by Tim Blake Nelson, in a pivotal cameo, is not only necessary, it is simply what we do. Corruption is American foreign policy. It is the cost of doing business, an everyday part of how things move through the Middle East. Both here and abroad corruption is everywhere and you can do nothing about because all of us, no matter how much you may deplore it, benefit from this corruption every day.

The gas you buy so cheaply as compared to other countries is the result of this corrupt system. Most of the products you buy are produced in some way, shape, or form using the oil that is siphoned from middle eastern oil fields. The corruption is inescapable unless you're willing to accept some major new inconveniences and even then you have to find a way to elect people who will put those new inconvenient policies in place, which means working around the corruption in place to hold up the corruption already in place. Good luck with that.

In a way Syriana reminds me of the first amendment documentary Orwell Rolls In His Grave, which details the corruption that has led all of America's communications industries to fall into the hands of a few wealthy elites. The thesis of 'Orwell' was that fighting the battle against the major media is a waste of time because they have all the power. Leaving Orwell I felt pretty hopeless and I had a similar, if slightly less desperate feeling leaving Syriana.

There is something hopeful in just the fact that a movie like Syriana got made. The film shines a light on some things I'm sure those in power would rather not become part of public discourse. That is not to say that Syriana has the power to change the nature of the way we do business in America but it's like the old saying about how people love bacon but no one wants to see how it's made. Syriana shows you just how our American economy is made in all of its gory, blood-soaked, greed-obsessed ways and leaves it to the individual viewers to decide how to live with that information.

Syriana is exceptional in executing its maze of plotting and leaving the audience with questions and feelings that could have a lasting impact. However, if you are looking for a simple movie to pass the time, you might want to look elsewhere. Syriana is not interested in being a simple entertainment. The makers of Syriana are intent on making you think about American foreign policy, about the feelings and interests of our allies, and enemies, and about the dirty business of making money in America. Often disheartening but never boring, Syriana is a powerful film going experience.

Movie Review: Fantastic Mr. Fox

Fantastic Mr. Fox (2009) 

Directed by Wes Anderson

Written by Wes Anderson, Noah Baumbach

Starring George Clooney, Meryl Streep, Jason Schwartzman, Wallace Wolodarsky, 

Release Date November 25th, 2009 

Published November 24th, 2009 

Is the Wes Anderson genius wearing thin? After loving Rushmore and, the even more brilliant The Royal Tenenbaums, I seem to have lost my taste for Mr. Anderson's low key, off-kilter charm. The Life Aquatic with Steve Zissou was strong on production design and short on story. Darjeeling Limited was a patience testing observation of exceedingly low key, mannered behavior. Now, for Mr. Anderson's latest overly precious, affectedly quiet effort he has turned to stop motion animation. The result is elegant in production, eye popping even, but yet again a test of the patience of those tiring of Wes Anderson's brand of twee storytelling.

Based on the Children's book by the legendary Roald Dahl, The Fantastic Mr. Fox tells the story of Mr Fox (Voice of George Clooney), a chicken thief turned newspaper man. Mr. Fox gave up his animal nature, stealing chickens, to focus on raising a family with Mrs. Fox (voice of Meryl Streep). Together they have a son (Voice of Jason Schwartzman) who is quite odd and for a time the family is joined by a cousin named Kristofferson (Eric Chase Anderson). 

The story hinges on Mr. Fox's covert move back into the stealing biz, against Mrs. Fox's wishes. Enlisting the help of his pal Kylie, an opossum voiced by Wallace Wolodarsky, Mr. Fox intends to steal from the three meanest, nastiest farmers in the land; Boggis, Bunce, and Bean. He's quite successful at first, but it doesn't take long for the evil farmers to find about the thieving Mr. Fox and when they do, it's war.

The old fashioned, stop motion animated style of Fantastic Mr. Fox is warm and inviting and at the same time a technical marvel. These creatures have astonishing life in their exaggerated features, right down to the shine on Mr. and Mrs. Fox's coats. The production design is flawless and really steals the show from director Anderson's exceptionally low key storytelling.

With his characters modulated to just over a whisper, Wes Anderson turns Fantastic Mr. Fox from a child's adventure story into one of his monotone, pretentious character observations. In the past I have enjoyed observing the behavior of Mr. Anderson's just left of center characters but as his style has aged, it hasn't evolved. Fantastic Mr. Fox is the same blend of absurd quietude and quirky characters as was his Rushmore only without the charm of being something new.

Where Rushmore had an indie, hipster edge and Royal Tenenbaums had airy refinement bordering on arrogance, Mr. Anderson's three succeeding features have become cute and overly precious. His style has become an affectation, an artificial exercise in style. It's an eye catching, often well produced style but with each picture there is less and less substance to back it up. Though the production design is first rate in Fantatic Mr. Fox, the movie as a whole comes up short as little more than an exercise in style. Wes Anderson's ever more affected filmmaking is taking his career in the wrong direction.

Movie Review: Ocean's 11

Ocean's 11 (2001) 

Directed by Steven Soderbergh

Written by Ted Griffin 

Starring Brad Pitt, George Clooney, Matt Damon, Don Cheadle, Bernie Mac, Julia Roberts

Release Date December 7th, 2001 

Published December 8th, 2001 

It's been years since I've seen the original Ocean's 11 starring the Rat Pack and there closest friends, but I can remember the film wasn't so great from the standpoint of filmmaking as art. It was great though as filmmaking from the standpoint of a filmed moment in history, the last gasp of a generation in Hollywood who knew their time to just have a good time was nearly up. The original Oceans 11 can be described as a heist movie but it's not really about the heist it was about how cool the Rat Pack looked pulling off the heist and that worked for me. 

The new Oceans 11 is as much about the heist as it is about how cool the cast, headed up by George Clooney and Brad Pitt, look doing it and for me it didn't work as well. Clooney plays Danny Ocean, a con man fresh from a prison stay in Jersey. He's ready to score and score big, but first he needs a crew. Cut to LA where cardsharp Rusty (Pitt) is showing some young WB stars including, Barry Watson and Josh Jackson, how to play poker for a movie. Enter Danny Ocean setting up a fun scene where the young actors smartly allow Pitt and Clooney to make them look stupid, while Topher Grace from That 70's Show shines with hilariously self-effacing humor.

From there we move to Vegas and filling out the crew with scenes that reminded me of Gone in 60 Seconds, a sort of where are they now ex cons montage. These scenes are slick and humorous but a little too familiar, which seems to be the problem with the whole film. The original Ocean's 11in retrospect has a sort of camp feel to it, of hepcats and martini's and oh yeah there's a movie in there somewhere. Mostly, they're just hanging out and drinking and the plot occasionally interrupts them. 

The new Ocean's 11 struggles with that, it wants to be a hang out and a movie. The new Ocean's 11 wants the atmosphere of cool and gets it for the most part, but it also wants to be a real movie as opposed to the filmed cocktail party that was the original. It's the movie stuff that gets in the way. The plot to take the casino in the original is where the actors hung their hats. In the new version we're given computers and cameras and electronic wizardry and the old video tricks seen many times before in many lesser films. 

On the bright side, the actors pull some of it off with the sheer force of their charm, especially Clooney who has grown into his star status like a comfortable suit. Brad Pitt shows a new side to his persona each time he's onscreen be it Ocean's 11 or an episode of Friends. The film's best performance however, comes from Matt Damon as Linus, the ace pickpocket and late addition to the crew. Damon has made it clear in previous films that he's not comfortable in comedic roles but he really is very funny and has a great scene with Bernie Mac late in this film that was by far my favorite in the film. 

Oh yeah, Julia Roberts is in the movie too. She plays Tess, the arm candy of casino owner Terry Benedict, played by Andy Garcia and she's also Danny's ex wife, thus adding an extra level to the heist but also a convenient way to shoehorn a huge star into a film already overflowing with star power. Roberts isn't given all that much to do, she has a scene with Clooney, set in a hotel lounge very reminiscent of a scene in Out Of Sight which was also directed by Steven Soderbergh and starred Clooney opposite Jennifer Lopez. The scene is well played but the chemistry of Clooney and Roberts pails in comparison to the chemistry of Clooney and Lopez who nearly set the screen on fire with sexual heat. 

The main problem with Ocean's 11 is not its cast, they are all great. It's just all been done before: the heist, the techno trickery, and the Robin Hood heroes. Ocean's 11just isn't very original. I expect more from director Steven Soderbergh. He's a brilliant talent who usually can spice up a genre piece like this with clever ideas. He did that in Out of Sight, a movie with similar goals as Ocean's 11. Sadly, it seems that Soderbergh is coasting on cliches in Ocean's 11 whereas in Out of Sight, he was having fun messing with genre conventions and delighting in what and his cast came up with. 

Movie Review: The Sum of All Fears

The Sum of All Fears (2002) 

Directed by Phil Alden Robinson

Written by Paul Attanasio, Daniel Pyne 

Starring Ben Affleck, Morgan Freeman, Bridget Moynihan, James Cromwell, Liev Schreiber 

Release Date May 31st, 2002 

Published May 29th, 2002 

SPOILER WARNING!!! 

The City of Baltimore gets blown up by a nuclear in the new Jack Ryan adventure, The Sum of All Fears, during the Super Bowl in Baltimore, and no one cares. That's the spoiler. Aside from this truly bizarre occurrence, The Sum of All Fears is a serviceable action movie with the wrong leading man. It's a fine action thriller bogged down by a performance by Ben Affleck that simply doesn't work. 

Tom Clancy's signature character Jack Ryan has become a sort of everyman version of Batman. He's your average, workaday CIA agent who, on occasion, is called upon to single-handedly prevent catastrophic world tragedies. The parallels extend off the big screen as well with the Ryan character having the same revolving door casting. The role originated with Alec Baldwin and then to its iconic image, Harrison Ford, and now to Ben Affleck. Sadly, Affleck's Ryan is reminiscent of George Clooney's Batman.

Trying to make sense of how Jack has actually gotten younger since his last adventure is a waste of time, just suspend disbelief and absorb yourself in the intrigue of espionage and politics. After the death of the Russian President, CIA analyst Jack Ryan is called upon to profile the new president named Nemarov, well played by the heretofore-unknown Ciaran Hinds. Ryan is an expert on Nemarov, having predicted his ascendancy to the presidency years before. 

CIA head Cabot (Morgan Freeman) has Jack accompany him on a trip to Russia to meet the president and inspect a nuclear weapons plant. While inspecting the plant Ryan notices three scientists are missing. The disappearance of the scientists leads to the discovery of a plot to smuggle a black market nuclear weapon into the U.S. Ryan is then teamed with an undercover operative named John Clark (Liev Schreiber, surprisingly effective). While Clark tracks the weapon, Ryan must convince his superiors that the Russians aren't involved in the plot.

Ryan and Clark are too late and the bomb explodes in the middle of the Super bowl, killing millions and nearly killing President Fowler, played by James Cromwell. Once the bomb explodes, our worst fears are nearly realized as the two super powers amp up their arsenals for worldwide nuclear war. The films nuclear explosion and its aftermath are jarringly realistic in wake of real life events, but the producers bow to political correctness making the terrorists Nazi's instead of Clancy's use of Arabs. I can see the producers point, that maybe Arab terrorists might be insensitive, but then blowing up the city of Baltimore in the middle of the Super Bowl isn't exactly comforting.

Jack Ryan not only has explosions and terrorists to deal with, he is also saddled with a lame subplot romance with Bridget Moynihan, playing the role once held by Anne Archer. In the previous films, Ryan is married to her. In Sum of All Fears it's a burgeoning relationship that lacks depth and purpose. Moynihan's character is entirely unnecessary, she adds nothing to the film except lead to the joke in the trailer where Freeman tells Ben to tell her why he has to cancel their date and she doesn't believe him. 

She also participates in the films tacked on happy ending where evil is punished and our hero picnics in the park across from the White House. The scene is rather casual considering the City of Baltimore was erased from the planet just days before traumatizing the entire country amid The Super Bowl. Despite those problems, director Phil Alden Robinson deftly handles action and suspense and does an admirable job of translating Clancy's mixture of military fact and dramatic fiction. Paul Attanasio no doubt helped the adapted screenplay along with a rewrite by Oscar winner Akiva Goldsman.

The weakest link in Sum Of All Fears is Ben Affleck, one of my favorite actors. Ben just doesn't carry the dramatic weight to be taken seriously as a guy consulting the President of the United States and the President of Russia. Harrison Ford benefited from his past action hero glory as iconic characters Han Solo and Indiana Jones, those roles gave Ford credibility as a guy who could be trusted to save the world and scream at the President, the iconic retort, 'How dare you, Sir!' 

The fact of the matter is there is no reason for Affleck's character to be called Jack Ryan. The name is merely a marketing tool. Just a way to put butts in the seats via something they find familiar. With the character growing younger and Affleck's lack of Ford-like credibility, the film might have been better served by giving him a different name. Keep the title and call him Jim Taylor or some other bland name and keep Jack Ryan for some other story. 

The Sum Of All Fears is a suspenseful action ride that suffers only for it's poor choice in leading man. Though again I must point out that Affleck is one of my favorites, he is just not right for Jack Ryan. Affleck is best known as a smartass romantic from Kevin Smith’s Chasing Amy and as the deeply flawed but likable character’s from Bounce, Good Will Hunting and Changing Lanes. In Sum Of All Fears he's called upon to do things that just don't fit what we know of him. The passion for the part is there but not the “save the world” credibility of Ford.

The Sum Of All Fears with Harrison Ford could have been an exciting summer blockbuster but with Affleck it's a rentable movie if you have nothing else to do.

Movie Review The Descendants

The Descendants (2011) 

Directed by Alexander Payne 

Written by Alexander Payne 

Starring George Clooney, Shailene Woodley, Beau Bridges, Judy Greer 

Release Date November 18th, 2011 

Published November 17th, 2011 

"The Descendants" is filled with glorious flaws. From the strangely clumsy exposition to the at times awkward voiceover narration to the occasionally intrusive score, the flaws are undeniable no matter how much you may like the movie. These and similar flaws are included in every film that writer-director Alexander Payne has made. Yet, we still consider him a genius as a filmmaker. Why? Because, every mistake, every imperfection of an Alexander Payne film is a reflection of the mistakes and imperfections of his oh so compelling characters.

George Clooney stars in "The Descendants" as Matt King. Matt's life is far from paradise; despite the fact that he owns a large stretch of what is undoubtedly considered paradise. Matt lives in Hawaii and while his opening narration is meant to convey the ugly side of Hawaii, what we will soon see, the stretch of land that Matt's family owns, is the side of the Big island that gives Hawaii it's reputation as paradise. Matt's personal life however, reflects the ugly side of things. Matt's wife is in a coma following a boating accident. This leaves Matt in charge of his youngest daughter, Scottie (Amara Miller) for the first time in years. It's not that Matt's a bad father he's just never been called upon to be a very good father.

Matt's oldest daughter, Alex (Shailene Woodley) is away at boarding school but with her mother's health failing Matt decides to bring her home; whether she wants to come home or not. Alex knows something that her father doesn't. It's the reason Alex has been acting out: Matt's wife was cheating on him. This revelation sets the story of "The Descendants" in motion as Matt and Alex form an unusual new bond over trying to find the man who his wife was sleeping with and considering leaving him for. The search leads to a trip to Matt's fabled track of land; which, in a strange twist has also drawn the attention of his wife's lover.

Running parallel to the cuckolding story is that of Matt and his family and Matt's decision about who to sell his family's land to or whether to sell it at all. The land issue gives "The Descendants" grounding in Hawaiian history that is surprisingly resonant and well founded. George Clooney's performance as Matt is phenomenal. While you will have to suspend belief that a woman would really leave Clooney for Matthew Lillard, Clooney sells the part with panache and a striking mix of drama and good humor. There is darkness to the humor of "The Descendants" that can be hard to take but Clooney is the best possible guide over the rough spots.

"The Descendants" is undoubtedly flawed but I've come to expect flaws from Alexander Payne. Alexander Payne's focus is on allowing his actors the space to create indelible characters that employ his words to the best comic or dramatic purpose. These characters, like Matt and Alex, are more often than not so wildly compelling that the flawed directions and moments of clumsiness fade away in their presence.

I was reminded often during "The Descendants" of Alexander Payne's "About Schmidt" starring Jack Nicholson. Like "The Descendants," "About Schmidt" employs an occasional voiceover that is at times a little too knowing and cute. The exposition of "About Schmidt" is heavy-handed in the same way it is in "The Descendants." And, as in "The Descendants," "About Schmidt" ends on an awkward yet peaceful beat. I love "About Schmidt." The flaws of that film are the flaws of the main character played by Jack Nicholson. Truly, "About Schmidt" would be less of a film without these flaws; without Alexander Payne's willingness to let his film be flawed in the same ways his characters are flawed.

The same can be said of "The Descendants" where the clumsy exposition reflects the clumsiness of Matt King as he approaches this strange and unfamiliar place in his life. George Clooney is brilliant at bringing Matt's problems to the surface with quiet dignity that gets punctured with strong comic effect. "The Descendants," warts and all, is a terrific film populated by compelling characters that carry the ability to make you laugh or cry. The imperfections are glaring but easy to forgive because these characters are so very compelling.

Movie Review The American

The American (2010) 

Directed by Anton Corbijn 

Written by Rowan Joffe 

Starring George Clooney, Violante Placido, Thekla Reuten 

Release Date September 1st, 2010 

Published August 30th, 2010 

Let's get this out of the way right off the bat, before I am accused of having a short attention span or lacking a classic or European or Asian movie education. I have been a critic for more than 10 years and my patience has been tested on more than one occasion. Over the years I have worked to expose myself to the works of Antonioni, Truffaut, Bergman, Renoir and many of the great masters of European cinema.

I have seen both American and Italian westerns and many classic samurai dramas. I have just the education and patience needed to assess the new George Clooney movie "The American" which takes its influences from these varying classic approaches. With that out of the way, influences aside, "The American" is a yawning, empty chasm of a movie. Boredom encapsulated in over 100 minutes of film stock.

George Clooney plays a man variously referred to as Jack, Edward and Mr. Butterfly. In a stunner of an opening sequence we watch him assassinate a pair of men trying to kill him and before this sequence is over we think we know all that we need to know about this dangerous and calculating killer. Unfortunately from there it's all downhill. In at attempt to evoke a meditative state director Anton Corbijn sucks the life out of this character and his star, advising Mr. Clooney, it would seem, to internalize his performance to a degree where inscrutability becomes incomprehensible stillness. 

Many will admire Clooney's restraint; I was left baffled as to what I was supposed to find fascinating about this character beyond his handsome face and seeming ability for violence. The approach is meant to be meditative, restrained and calm to a point of almost complete stillness, a style that Euro cinema goers have, in the past, admired but that Americans, like myself, find dull and ponderous. However, I don't chalk this up to some continental divide, rather; I am willing to bet that just as many European audiences will find "The American" as mind numbingly dull as I did.

By the second time we watch George Clooney assemble a gun meant for another assassin, played by actress Thekla Reuten, patience will have been tested to the breaking point by repeated scenes of Clooney driving, parking, the back of his head as he's lost in thought and a most tedious and ultimately meaningless conversations with an Italian priest (Paolo Bonacelli) that drags the already stagnating film to a complete halt.

The scenes featuring the priest could be lifted entirely from the film and not affect the plot in any fashion. It's not that the scenes are completely pointless, an assassin without an existential crisis is a villain and Clooney is not necessarily a villainous killer. The problem is that the Priest character is about as engaging as a brick wall. On top of that we don't really know what Clooney's motivations are or whether indeed, he has an existential crisis to explore. The character is so quiet and brooding that he becomes obtuse and incredibly boring. 

"The American" is at times a very good looking movie with gorgeous actresses often in states of undress and the handsome Mr. Clooney repeatedly seen working out sans shirt. The eroticism is good but like everything else it lacks energy beyond its mere presentation. The same goes for the Cinematography which is often striking but often quite distracting, rather than being impressive, the cinematography by Martin Ruhe overtakes many scenes. Italy is one of the most beautiful countries in the world and invites gorgeous visuals but because the rest of The American is so dull, the scenery becomes both an oasis and a distraction. 

Mistaking meditation for pacing and stony silence for style, "The American" is an inscrutable bore that pretends toward being a high class, Euro influenced, thriller. I am a huge fan of George Clooney but "The American" is not Clooney at his best but rather at his most affected and dull.

Movie Review Michael Clayton

Michael Clayton (2007) 

Directed by Tony Gilroy 

Written by Tony Gilroy 

Starring George Clooney, Tom Wilkinson, Tilda Swinton, Sidney Pollack 

Release Date September 24th, 2007 

Published September 23rd, 2007 

George Clooney has long been a movie star but I have never thought of him as much of a capital A Actor. That has changed however, thanks to his terrific performance in the flawed new thriller Michael Clayton. This John Grisham-eque legal thriller allows Clooney to flex those charismatic movie star muscles and dig into a character and give a heartfelt, conflicted and oh so believable performance.

The rich and the super-rich can sometimes find themselves in situations that even their lawyers can't get them out of. That is when they are turned over to Michael Clayton. He is 'the fixer', the guy who makes problems go away. So, when the New York law firm where Michael is in business, has a partner flip out in the middle of a deposition in an extremely important case, it's up to Michael Clayton to fix it.

The partner is Howard Eames (Tom Wilkinson) a longtime manic depressive who has gone off his meds. During a deposition in a case involving a high powered farm chemical company and a group of family farmers, Howard stripped naked and began telling one of the plaintiffs how much he loved her. Running naked through the streets, Howard claimed that the stench of his misdeeds in this case forced him to strip himself of his sins. Naturally, it falls to Michael Clayton to try and fix this situation. However, when he discovers that Howard may not be entirely nuts, Michael finds his own conscience being tested.

Michael Clayton is a flawed, near masterpiece of suspense and a story of redemption for a morally questionable character. Written and directed by Tony Gilroy, with a career best performance by George Clooney, Michael Clayton suffers slightly from being overlong, just over two hours, and with just a few too many of those convenient moments where characters perform unmotivated actions solely for the purpose of furthering the plot.

A few convenient moments however, cannot upend the mesmerizing performance of George Clooney on who's work alone Michael Clayton is a must see. Clooney has always been a "movie star" but in Michael Clayton he is an actor and he delivers a tough, vulnerable character at the end of his rope. Self loathing replacing his usual confidence, Clooney's Clayton isn't quite down on his luck but he's on his way. Clooney nails both Clayton's desperation and his attempt at redemption.

One of the things I found interesting but mostly unsatisfying about Michael Clayton was the odd bit of optimism in the story. The film is about an evil corporation that will do anything to anyone in order to hide their misdeeds and the crusading lawyer who goes to any length to punish them. Though people are murdered and others are threatened the film tries to have it both ways in terms of cynical corporate misdeeds and the optimistic idea of how that evil is punished. Myself, I would have preferred an equally cynical solution to such cynical action. As it is, it works well enough, especially because of the way Clooney carries it all off, but a darker more malevolent solution might have played stronger.

Another quibble I have with Michael Clayton is a little too much tell and not enough show. We are told that Michael is a fixer for rich clients in a bind. The description conjures images of backroom deals, payoffs, and shady characters. And yet, we never actually see Michael in action. We are told how good he is, how he can slither out of any situation but that's it, we are just told. What we see is Michael lamenting his place in the world but without the example of why he so laments and it's less effective.

All of that said, Michael Clayton is solidly entertaining despite its flaws. George Clooney has never been this good. His movie star-ness in check, Clooney shows the kind of talent that people have underestimated throughout his career. Tough but vulnerable, charismatic without being overwhelming, Clooney is mesmerizing in a role that should earn him an Oscar nomination. On Clooney's performance alone Michael Clayton is worth the price of admission.