Movie Review The Great Debaters

The Great Debaters (2007) 

Directed by Denzel Washington 

Written by Robert Eisele 

Starring Denzel Washington, Forest Whitaker, Nate Parker, Jurnee Smollett, Denzel Parker, John Heard 

Release Date December 25th, 2007

Published December 24th, 2007 

Melvin B. Tolson is a renowned orator and poet. To find that he was also a champion debater and a teacher of the spoken word is no surprise. Nor is it all that surprising that the students of Mr. Tolson would go on to be champions of civil rights, leaders of men and women and fighters for social justice. Removing this surprise, a film about Mr. Tolson and his students is an admirable yet redundant act.

Fair to admit that Mr. Tolson's acts were more than 70 years ago and thus could use a proper reminding of. However, couldn't we get a more fitting reminder than a conventional Hollywood melodrama? We are talking about some very important history here. Glossing it over with superstar actors and facile, sports movie cliches seems inappropriate at best, blasphemous at worst.

Don't get me wrong, there is a lot of good here. Denzel Washington is the perfect actor to capture the innate intelligence and extraordinary eloquence of Melvin Tolson. Forest Whitaker as the President of Wiley College and the father of one of the debaters, Denzel Whitaker (no relation), is typically Forest Whitaker, a powerful, calming presence.

And yet, I am troubled by much of this well meaning, adequately crafted film. The whole is far too simplistic, playing out serious, historic instances with a typically Hollywood sheen. The typical three act structure with a third act featuring a false crisis/false dawn; real crisis/real dawn scenario seems too prosaic for something as important as what Tolson and his team accomplished.

Tacking on a love story between two of the debaters, Jurnee Smollett and Nate Parker, only makes this already false movie feel less authentic. Both young actors acquit themselves well in the debate scenes, with Smollett shining with a powerful speech on social justice that will have many dabbing away tears, but the love story makes fools of both. It was simply false and unnecessary, a nod to what is expected of modern Hollywood and not what was best for telling this story.

Worse yet is the sports movie aspects of The Great Debaters. As the Wiley College team begins a series of scheduled debates the focus on what is being argued is lost in the cliché of who wins and loses and tracking the wins and losses as if this were a sporting event. It may be true that Tolson and the tiny African American enclave of Marshall Texas took the tact of keeping score, but in the film the device cheapens and distracts.

If removing the conventional inclusion of the love story and the sports movie clichés would render the material un-filmable, then so be it. Maybe this story just wasn't meant to be told in a typically Hollywood fashion. A better form would be the documentary, one where Mr. Washington and Mr. Whitaker could tell the story of the Wiley College debaters without the distraction of melodrama and sports movie score keeping.

The Great Debaters fails for being unoriginal about a wholly original group of characters. It fails to assume the gravitas of its subject and as such, demeans it.

Movie Review The Equalizer 2

The Equalizer 2 (2018) 

Directed by Antoine Fuqua 

Written by Richard Wenk 

Starring Denzel Washington, Pedro Pascal, Bill Pullman, Melissa Leo

Release Date July 20th, 2018

Published July 18th, 2018

The Equalizer 2 stars Denzel Washington, once again in the role of McCaul, a former CIA Agent turned good guy vigilante. When we meet McCaul in this sequel he is on a train in Turkey with a fake beard. McCaul is attempting to retrieve the daughter of a woman he knows that has been illegally taken by her ex-husband and scuttled out of the country. The scene is a re-introduction to the unique set of skills McCaul has; which includes timing the way he beats up bad guys. 

This scene has nothing to do with the plot of The Equalizer 2 other than as a way of contextualizing the character for those who may not have seen the first film in this budding franchise. Then again, the plot of The Equalizer 2 is so loose and threadbare it’s hard to say which scenes are necessary and which are indulgent, unnecessary scenes intended only to show what a god-like, benevolent being McCaul is.

The plot, such as it is, kicks in when McCaul’s friend, Susan (Melissa Leo) is murdered while investigating a murder in Belgium. McCaul immediately smells a rat and decides to come out of hiding in order to investigate. His first visit is to his former partner, Dave (Pedro Pascal). Dave was with Susan in Belgium when she was murdered, helping her investigate. Is Dave a friend or a suspect? You will have to see the movie to find out but if you’ve seen a movie, you likely already know.

Antoine Fuqua hasn’t made a movie this lazy and loosely structured since King Arthur, which is the last time it felt like he was making something even he didn’t care for. The Equalizer 2 ranges from boring action to boring scenes of unneeded exposition to equally boring establishing scenes of a character who is on hand only to be device later in the movie. I’m afraid that if I even begin to describe this character it might be a spoiler as the device is so nakedly predictable.

Denzel Washington has been on auto-pilot since his 2012’s Flight. That’s the last time I can recall seeing Denzel fully invested in fleshing out and living within a character. That may sound funny for those who point to his Academy Award nominated work in Fences and Roman J. Esquire and think I am crazy, but I am not a fan of either of those performances. Both of those movies are showy, over the top, capital P: Performances, not great acting.

In Fences, Washington is performing for the stage and not the screen. His bombastic performance is ill-suited for the movie screen. Roman J. Israel meanwhile, is a different kind of over the top, a performance that is all tics and mannerisms. These performances are, at least, not boring, they have a vitality that The Equalizer 2 does not have. Despite how much he shapes this character and seems to care about it, he comes off as rather bored.

Bored is probably an unfair, even inaccurate way of describing Denzel’s performance. I’m sure his intent is to be inscrutable or unflappable, but it comes off unaffected and uninvested. Part of that is Denzel’s fault but a bigger part is the fault of Fuqua who fails to give the movie around Denzel’s performance much life. The film aims for moody but arrives at tired, it aims for gritty and ends mildly irritated.

Even the action, which had been the best part of the original The Equalizer, is lifeless in comparison and that film wasn’t exactly lively. The first The Equalizer appeared invested in its action, if not in creating memorable characters or a believable story worth investing in. Denzel’s physicality is fully present in that performance and is less so here. I’m not going to speculate about Denzel aging, because he could easily take me in a fight, despite having 20 years on me age wise, but regardless he appears slowed.

Denzel being a little slower might have worked in the film’s favor if the movie had used it but instead, the movie appears slowed down so Denzel can keep up. Denzel is at all times quicker and smarter than everyone else in the movie, even people younger than him who he apparently taught and influenced when he was a member of the CIA. I’m nitpicking here but shouldn’t this character, at very least, feel a little bit of angst about this fight?

I won’t go into spoilers but the ending of The Equalizer is nonsense. It’s filmed in the midst of a
hurricane on an empty Martha’s Vineyard or some such town and it’s a shame to say, it’s not nearly as fun or exciting as a similar scene in Hurricane Heist earlier this year. Hurricane Heist is basically a parody of an actual movie. That movie, at the very least, knew how to have fun. The Equalizer 2 has the audacity to be dour on top of being predictable, lazy and sloppy.

Movie Review Inside Man

Inside Man (2006) 

Directed by Spike Lee 

Written by Russell Gewirtz

Starring Denzel Washington, Clive Owen, Chiwetel Ejiofor, Jodie Foster, Christopher Plummer

Release Date March 24th, 2006 

Published March 23rd, 2006 

Spike Lee is unquestionably my favorite director and, in my opinion, the finest filmmaker working today. His films focus on important topics--sometimes directly, sometimes esoterically. His latest film, however, is not his usual timely topical drama. In Inside Man Spike Lee crafts his first mainstream thriller and despite its lack of relevance, Inside Man is Spike Lee at his usually crafty and skillful best.

On a typical day in New York City an indistinct truck from a painting company pulls up in front of First Manhattan Bank. A group of people in masks jump out, gather their equipment and head inside the bank. We already know they are not here to paint anything. These 'painters' are part of what we are told is the 'the perfect bank robbery.'

Clive Owen stars as Dalton Russell. He is the leader of this group of bank robbers in the new thriller Inside Man and he is the only robber we will get to know throughout the film. His accomplices are innumerable and so well hidden you will have a hard time keeping track of how many of them there are. One or two of them strip off the painting gear and mingle with the crowd and because their looks are so indistinct, they easily slip into the crowd of bank customers who are now hostages.

Opposite Russell and his cohorts is a clever detective and hostage negotiator named Keith Frazier, played by Denzel Washington. In a few quick, establishing scenes we find that Detective Frazier is under investigation by internal affairs over some missing money in a drug case. Thus, why he and his partner, played by the excellent Chiwetel Ejiofor, are not the boss's first choice to take over the hostage situation now unfolding at First Manhattan Bank. Add to that the fact that this will be their first hostage negotiation as the lead detectives, and you can understand why the department is nervous.

Finally, there is one more angle to play out in the elaborate and clever plot of Inside Man. This one involves a woman of mysterious political influence, Madeline White, played by Jodie Foster. Her job is to help high-profile millionaires keep hidden deep, dark and destructive secrets. Her new client? The owner of First Manhattan Bank Arthur Case (Christopher Plummer).

Now aware that his bank is being robbed, Mr. Case is deathly concerned about something he has hidden in a safe deposit box in the bank. He knows Madeline only by reputation. She fixes big problems by any means necessary and seems to have no moral hang ups. By the time the story plays out she will have used her considerable influence to get a face to face meeting with the bank robber Dalton Russell and live to tell about it.

Directed by Spike Lee, Inside Man does not reinvent the wheel in terms of suspense or the heist genre. What it does is take the familiar elements of the genre and simply do them better than other similar films. Working from a clever, but not exactly groundbreaking, script by first-time screenwriter Russell Gewirtz, Lee directs his first straight-edge thriller with little or no direct social commentary, his usual milieu.

The trick Spike Lee pulls off in Inside Man is bringing his considerable talent and intelligence cache to bear on a very familiar plot and genre. The film works because Spike Lee is a very talented director who knows how to build tension and suspense with his camera and by allowing his talented cast to do what they do without the interference of typical plot points.

Yes, those typical plot points, the negotiation, the red herrings, et al, are still there but the actors are not required to play to those elements. Rather they play around them allowing us to bring our own experience with this type of film into our understanding of the plot. Listen to the actors casually reference other so called heist pictures. Consider those mentions as signposts reminding us in the audience we are watching a heist picture. Meanwhile the actors play to the beat of their characters which gain depth and complexity with each passing scene.

Inside Man is a brilliantly constructed thriller patched together by arguably the best director working today. It serves not only as a wildly entertaining genre film, but also a reminder of Spike Lee's talent, which has gone atrociously underappreciated in recent years as films as disparate and exceptional as Bamboozled, She Hate Me and 25th Hour have come and gone with little notice. Watch Inside Man and remember, Spike Lee is still a genius.

Many indie artists have talked about the few mainstream compromises they must make to finance more relevant projects. The dichotomy comes down to one for the suits at the studio and then one for me. Until his recent box-office struggles, Spike Lee never had to make such a compromise. If Inside Man is the kind of studio compromise that Spike Lee must make to get his more relevant features made, then bring on the compromise.

Lee's skill with the thriller genre more than rivals his skill with social commentary.

Movie Review The Book of Eli

The Book of Eli (2010) 

Directed by The Hughes Brothers 

Written by Gary Whitta 

Starring Denzel Washington, Gary Oldman, Mila Kunis, Ray Stevenson, Jennifer Beals, Michael Gambon

Release Date January 15th, 2010 

Published January 14th, 2010 

I would characterize myself as an agnostic. I don't believe in a higher power but I am open to the idea that I myself am not all-knowing. How does my lack of faith inform my criticism? It doesn't really. The fact is Hollywood gives so little consideration to religion that it rarely comes up in a review. The new post-apocalyptic thriller The Book of Eli is, arguably, the most religious and faithful movie I have seen since I have been a critic. Rarely has religion been so unquestioningly treated in a movie and in all places, a big budget, ultra-violent, Denzel Washington thriller.

In The Book of Eli Denzel Washington plays the Eli of the title. Sometime in the distant future the world is a wasteland and Eli is simply walking. He knows where he is headed, west, but what he intends to find at the end of his journey, even he doesn't know. Eli is protecting a book that he is convinced can save what is left of humanity. Eli's travels take him through the tiny, barely civilized fiefdom of a man named Carnegie (Gary Oldman). Having discovered a rare source of clean water, Carnegie has used it as a way to create a small kingdom that he protects with roving gangs of motorcycle riding henchmen.

The henchmen are searching for a book that Carnegie is desperate to get his hands on and wouldn't you know it, it's the same book that Eli is desperate to carry west. These two were destined to meet and fight and surely one or both of them will die. Standing between the two is Carnegie's daughter Solara (Mila Kunis) who is drawn to Eli's quiet purpose driven life but also wants to protect her mother (Jennifer Beals) from her father's violent tendencies. She joins up with Eli in hope that he will teach her the fighting skill he uses to protect the book.

Directed by the brilliant brother duo Albert and Allen Hughes, The Book of Eli is gritty yet stylish in its post-apocalypse. The Hughes Brothers are masters of atmosphere and tense showdowns and when Denzel backs up under a shadowy overpass to fight off some cannibalistic bad guys, the flash of his super-cool sword cutting body after body is an awesome sight.

Denzel Washington is perfectly cast as Eli, a man of devout faith who prays nightly and knows the bible by heart. In this future the bible has been all but destroyed and Eli is a last man of faith. Carnegie too seems a man of faith but is really a charlatan who hopes to use faith as Roman Emperors did to control a weak minded populace. This tension drives the conflict as does the book Eli is carrying is a classic MacGuffin with a strong pay off.

Though I am not a believer, religion in movies doesn't bother me. In fact, I am more often irritated with movies that pretend religion doesn't exist. Characters in horror films rarely seem to pray when faced with certain death. Sci-fi too often belittles the millions of people of faith in favor of technology as a pseudo-religion.

It is terribly unrealistic for movies to ignore the millions of earnest believers who attend dutifully to their faith. The Book of Eli is the rare movie that takes religion and faith deathly seriously and while the hardcore violence may not exactly be Christ-like, it is in service of a character who is serious about his faith in God.

The Book of Eli is intense and violent but also devout and earnest about Eli's faith. Religious folk may be turned off by the grit and violence but they will no doubt appreciate the Hughes Brothers straight forward portrayal of Eli as a solemn, faithful soldier in service of God.

If the God stuff makes you uncomfortable, you can still appreciate the very cool ways in which the Hughes Brothers frame Denzel Washington slicing and dicing bad guys. Whether it's the stellar overpass scene or a Tarantino-esque bar fight scene, The Hughes Brother and Denzel know how to get their violence on.

The Book of Eli is gritty, bloody, tense and faithful all in one terrific movie.

Movie Review Man on Fire

Man on Fire (2004) 

Directed by Tony Scott 

Written by Brian Helgeland 

Starring Denzel Washington, Dakota Fanning, Christopher Walken, Radha Mitchell, Marc Anthony, Mickey Rourke 

Release Date April 23rd, 2004 

Published April 23rd, 2004

Denzel Washington has become such a consistently brilliant actor that we have begun to take him for granted. Seeing Denzel's name on the poster, you know that he will deliver a great performance regardless of whether the film is any good. Case in point, his latest film, Man On Fire, in which Denzel is terrific but the film is an utter mess. Full of child-in-danger cliches and muddled visuals, it comes from Tony Scott, a once great director who has become a parody of his own best work.

In Man On Fire, Denzel is John Creasy, a former special forces soldier who regrets the number of people he has killed over the years. Living in a perpetual alcoholic haze, Creasy finds himself in Mexico City visiting an ex-army buddy named Rayburn (Christopher Walken). Rayburn has successfully given up the guilt of being a killer and is now a happily married family man. Rayburn feels he can help Creasy by getting him a job and finds him work as a bodyguard.

As the films jangled, sunburnt, out of focus prologue explains, there is a kidnapping every 90 seconds in Mexico City and one of the most requested services is that of a bodyguard. With Rayburn's help, Creasy gets a gig guarding Pita (Dakota Fanning), the daughter of an auto manufacturer, Samuel Ramos (Marc Anthony). Though he can barely afford to pay Creasy, Samuel hires him at the insistence of his wife Lisa (Radha Mitchell).

At first, Creasy does all he can to keep emotional distance from Pita but eventually her sweetness and smarts win him over. The scenes of Creasy and Pita bonding over swimming, homework and music are given great weight because of these two amazing actors but do little to mask the tragedy that is so obviously on the horizon. The film’s ads and trailer betray the tragedy of the film even before you enter the theater. You already know that Creasy is going on a killing spree, this is a revenge film so you can infer why revenge is necessary.

The revenge scenes are as brutal as anything in last week’s dark revenge fantasy The Punisher and much like that film, the scenes of brutality overstay their welcome. Director Tony Scott achieves a languorous pace that dwells on each bit of vengeance and regardless of how justified it may seem, it begins to wear on anyone with a conscience. The real betrayal however, comes at the end of the film which entirely betrays all that came before in one twist that makes you feel dirty for having been so involved in the film’s drama.

As always, Denzel is fantastic. I can't say enough good things about Denzel, he is consistently better in each and every role. It's unlikely that any other actor could have made this role tolerable. Because Denzel is so skilled and so trustworthy, we follow this character further than we would a lesser actor. It is truly sad how Director Tony Scott betrays Denzel's performance with cheap cliche and overheated visuals that border on the absurd.

I also can't say enough nice things about young Dakota Fanning who is so much better than the roles she plays. This preternaturally smart pre-teen is going to be one terrific actress once she learns to choose better material. Like her roles in I Am Sam and last year’s Uptown Girls, Fanning is far better than the characters written for her.

The rest of the supporting cast are merely cardboard cutouts, placeholders for plot points. Especially underutilized is Christopher Walken, who gets one good Walken-esque speech, the “masterpiece of death” speech seen in the commercial. Other than that, Walken is on the sidelines for most of the film.

Director Tony Scott has sadly lapsed into a parody of his better films. The man who directed True Romance, Crimson Tide and Spy Game has fallen in love with his camera and overuses it at every opportunity. Just because you can create unusual visuals doesn't make it necessary to use them. Scott can't help washing out colors, superimposing dialogue, out of focus shots and tricks with sound and editing. Maybe he felt the visual histrionics were necessary because the script is such an awful cliche.

Nothing is more cheap and manipulative than placing a child in a dangerous situation. Man On Fire is predicated entirely on a child being placed in the midst of gunfire and being the target of unnecessary violence. A screenwriter who can't achieve real drama falls back on this type of cheap ploy, this film is built around it.

The most ludicrous part of Man On Fire is not its cheap manipulative plot or awful twist ending, it's a little coda that appears prior to the final credits. On a black background, there is a message from the filmmakers thanking the wonderful people of Mexico City for providing such a great place to make a movie. The film portrays the city as a cesspool of corruption, a place where police officers conspire with criminals to snatch children, a place where a kidnapping happens every ninety seconds. Therefore, the thank you at the end is a rather backhanded slap as opposed to a real thank you. I doubt Mexico City is going to brag about having hosted the filmmakers behind Man On Fire.

Movie Review One Way Out

One Way Out (2002)

Directed by Allan A. Goldstein 

Written by John Salvati 

Starring Jim Belushi, Jason Bateman, Angela Featherstone 

Release Date May 29th, 2002 

Published December 9th, 2002

It doesn't happen very often but occasionally a straight-to-video title will actually start with a good concept but fail in execution. The new straight-to-video movie One Way Out starring James Belushi has an interesting concept, a story that if better executed with better acting, directing and budget, could have been a pretty good movie or at least a good episode of NYPD Blue.

In One Way Out Belushi is hotshot cop Harry Woltz, one of those "makes his own rules" rogue cops screenwriters write with their eyes closed. Harry wears designer suits, drives nice cars and has a very serious gambling problem. Harry is deep in debt to a pair of club owning gangsters. Instead of breaking Harry's legs the mob guys offer him a choice, he can pay them something in the tens of thousands or they can kill him, or he can help them kill their business partner. Why doesn't Harry simply arrest them? Because they have threatened to have their bosses kill Harry's partner if he squeals.

One thing that makes the job a little easier for Harry is he doesn't have to carry out the murder himself. The mobsters want Harry to use his knowledge of crime scene investigation to help another guy, John Farrow (Hogan Family star Jason Bateman, stop laughing I'm not kidding) the husband of the business partner, get away with murder.

So Harry and John begin to set a plan in motion that should make John the lead suspect in the murder but leave no actual evidence. The plan is actually quite fool proof as long as John holds up his end. Unfortunately for Harry, John screws up and Harry becomes more involved in the plan than he wanted to be.

Complicating matters is Harry's partner Gwen (Angela Featherstone), who has been assigned to investigate the case. With no evidence available, Gwen begins to suspect John while also falling for him. Knowing that John actually killed his wife and seeing his partner falling for a killer has Harry in a tight spot, when suddenly an anonymous phone call draws Harry into the case as an investigator and then a suspect himself.

The concept of a cop in debt to the mob helping to stage a murder isn't bad and is efficiently executed. Unfortunately director Allan A. Goldstein lacks the ability to frame the story in any interesting way. The film's biggest problem is Jason Bateman who is completely overmatched. Bateman is a joke as the master manipulator, who outwits cops with his charm and good looks. That he was cast in this role is chuckle-inducing so you can imagine how unintentionally funny the performance is.

Belushi for his part is efficient but not memorable. He hasn't done any real interesting work since the David Lynch mini series Wild Palms.

I liked the idea behind this film. Touch up the story to make it a little more dramatic and logical, recast the three leads and up the production value and you might have a pretty good movie. But this version of One Way Out is just no good.

Movie Review Hugo

Hugo (2011) 

Directed by Martin Scorsese

Written by John Logan 

Starring Asa Butterfield, Chloe Grace Moretz, Ben Kingsley, Sacha Baron Cohen

Release Date November 23rd, 2011 

Published 10-25-2023

Imagine for a moment Martin Scorsese taking you aside to tell you why he loves the movies. Not only does Martin Scorsese tell you why he loves movies, he tells you via a fable about a child, a mechanized figure and legendary French director George Melies. If you're like me then this scenario sounds like bliss and "Hugo" is indeed a blissful experience. Through the much maligned form of the family movie Martin Scorsese has offered to fans an education in the magic of the movie and a wonderful adventure that will undoubtedly delight the whole family.

Hugo Cabret (Asa Butterfield) lost his father (Jude Law) at a very young age. The tragedy is still fresh when we meet Hugo while he runs about fixing the clocks inside a French train station. The clocks had been the purview of Hugo's drunken, loutish Uncle (a barely recognizable Ray Winstone); Hugo took over when his Uncle disappeared.

Hugo has subsisted for some time without adult supervision. His means of gathering provisions is to steal them; something that has him on the radar of the train station's nasty head of security (Sascha Baron Cohen). Hugo steals more than just food however and it's on a non-food related excursion that Hugo comes close to getting caught.

Hugo has only one possession, a strange robot-like figure that is nearly as big as he is. This automaton, as his father had called it, was likely once owned by a strange old magician and assisted with fabulous stage theatrics. Hugo is convinced that if he can fix the automaton that it may be the key to a message from his late father.

While trying to steal parts for his automaton Hugo crosses the toy shop operator, Mr. George (Ben Kingsley). As punishment Mr. George takes Hugo's beloved notebook that once belonged to Hugo's father. In order to get it back Hugo enlists the help of Mr. George's adopted God-Daughter, Isabelle (Chloe Moretz) and together they begin a grand adventure.

Find my full length review at Geeks.Media

Movie Review My Sister's Keeper

My Sister's Keeper (2009) 

Directed by Nick Cassavetes 

Written by Jeremy Leven, Nick Cassavetes 

Starring Cameron Diaz, Abigail Breslin, Jason Patric, Alec Baldwin, Joan Cusack

Release Date June 26th, 2009

Published June 25th, 2009 

There is a serviceable Lifetime Movie somewhere in the dark morass of My Sister's Keeper. This weepie about a teen with terminal cancer and the familial strife surrounding that diagnosis is quite the tear puller. At times I actually felt as if the movie was attempting to extract the fluids from eyes by any means necessary but the tears never came.

Instead, there is a feeling of vast indifference tinged with the irritation at the varying attempts at manipulation. All movies are manipulative. The better movies hide their manipulations behind great drama, comedy, tragedy and various other implements of storytelling manipulation. My Sister's Keeper is much more naked in its pushy nature and that makes it off-putting.

Abigail Breslin, best known as the wonderful little pageant contestant from Little Miss Sunshine, stars in My Sister's Keeper as 11 year old Anna. Where most kids were the result of an accident or surprise, Anna was planned. Her parents, Sara (Cameron Diaz) and Brian (Jason Patric) had Anna as a way of saving the life of their cancer stricken daughter Kate (Sofia Vassilieva).

If you're overly movie literate you might start thinking about This Island Earth or The Island, sci-fi movies about people born in labs to be used as spare parts for rich counterparts. This is not science fiction. My Sister's Keeper is based in some real science. Through gene manipulation Anna was designed specifically with elements that could be helpful to Kate.

Now, with Kate nearing the end and needing a kidney transplant to buy a few more months, Anna says no. She hires an attorney she saw on TV, Campbell Alexander (Alec Baldwin) and sues for medical emancipation. Though she says it is her decision it's clear to us there is more to it. It's also clear that mom and dad are clueless as a function of the plot.

The pushy melodramatics of My Sister's Keeper serve to, at the very least, keep the melancholy at a distance. Take away all of the forced drama and what you are left with is a movie of a teenager dying of cancer. Not an unworthy story but not something that fits into the neat Hollywood box of melodramatic story manipulation.

Cancer seems too serious and too real for something as facile and tedious as the melodrama of My Sister's Keeper. Sofia Vassilieva does a tremendous job of making us feel for Kate but she is betrayed by a story and style that renders her a plot point in her own story.

Director Nick Cassavetes knows a little something about manipulative melodrama, he directed The Notebook. That film however hid the strings it pulled to get you to feel what it wanted you to feel. Was it pushy? Yes, but the sights and the romance hid that to a point and made tolerable the obvious contrivance of the story.

No such hiding in My Sister's Keeper. The movie exploits the teen with cancer conceit to score easy sympathy points as it pushes the audience from one emotional response to the next. That the film avoids becoming smarmy in its exploitation is a tribute to a talented if undermined cast.

My Sister's Keeper is an obvious, naked attempt at audience manipulation. Weak melodrama hidden behind the veil of disease of the week cynicism. It would be shameful if this talented cast weren't capable of making some of the material rise above the exploitation. In the end, My Sister's Keeper is merely a bad movie, just short of despicable.

Movie Review No Sleep Til Madison

No Sleep Til Madison (2002) 

Directed by David Fleer, Erik Moe, Peter Rudy 

Written by Erik Moe, Peter Rudy 

Starring T.J Jagadowsky, Jim Gaffigan, Ian Brennan

Release Date April 4th, 2002 

Published November 16th, 2003 

Ever since graduating high school, Owen Fenby (Jim Gaffigan) has organized a vacation for him and his three closest friends. No matter where they are or what they are doing, the guys drop everything to go to the Wisconsin High School Hockey Tournament. However, after some 13 or so years, the guy’s lives are beginning to get in the way.

Dave (Ian Brennen) is married and just had his first child with his wife Beth who is constantly worried about the baby. Tommy (Michael Gilio) has taken over his family trucking business but is terrified of having left it in the hands of incompetent underlings. And finally Vern (Jed Resnick), who seems to have the same passion for the trip as Owen but has health problems from years of acting like a kid.

Also joining the gang is a high school kid named Greg who tags along to record the trip. The plan is simple: travel across Wisconsin following the best high school hockey teams on the way to the championship game in Madison. Of course, nothing goes as planned as one by one the guys are pulled back to their everyday problems. 

Only Owen, whose girlfriend broke up with him over his using her money to purchase a van for the trip, seems committed to getting to Madison. More importantly, he’s trying to keep his friends from growing apart. Owen's misguided and often childish sniping at his friends over their inability to commit to the trip make up the thrust of the plot.

Written and Directed by David Fleer, Peter Rudy and Eric Moe, Madison is a charming little comedy with some delightfully goofy performances and a central theme that really hits home with those in the audience who have fought growing up only to find themselves at thirty with a real life. Friends grow up and often grow apart, other concerns like family and jobs enter the picture. Think for a moment, how many of your friends from high school are you still close to and how many do you wish you still kept in touch with? My guess is there are more people you wished you kept in touch than actually do but that's life.

Jim Gaffigan is a comedian-by-trade and that does show from time to time. However he makes Owen's desperate attempts to hold the trip and his friendships together genuinely sweet. At times, the performance is a little whiny and over the top, but regardless, Gaffigan provides the biggest laughs of the film with his willingness to be the butt of the joke.

Ian Brennen as Dave is the film’s real star. Brennen's affable, everyman performance balances Gaffigan's wackiness and raises the film to a more realistic level. His commitment to a wife who is portrayed as somewhat of a harridan is very sweet and realistic. Brennen has that terrific quality that few actors have, he looks and seems like someone you know or would want to know in real life.

As much as I enjoyed No Sleep ‘Til Madison I was more than a little surprised at the amazing reaction the film got at the film festival. As the film neared its conclusion people cheered and when the film was over the audience stood and cheered. The film went on to win the award for Best Comedy.

I liked No Sleep ‘Til Madison and found it to be consistently funny but a standing ovation seemed a little much. Still, this is a good movie and a good way to throw away a Friday night, especially if you’re a hockey fan.

Movie Review New Best Friend

New Best Friend (2002) 

Directed by Zoe Clarke-Williams

Written by Victoria Strouse 

Starring Meredith Monroe, Mia Kirschner, Dominique Swain, Taye Diggs 

Release Date April 12th, 2002 

Published May 15th, 2002

Earlier this year I lamented what made a talented actress like Dominique Swain take such ridiculously stupid roles as the ones she took in Tart and Smokers. I'm still trying to understand it as here she is in yet another teen-oriented, softcore porno aimed at dirty old men too embarrassed to go for the all out porn. Swain just keeps making the same terrible choices and it's becoming rather embarrassing. 

In ``New Best Friend'' Swain is relegated to a supporting role in service of former “Dawson's Creek” star Meredith Monroe. Monroe is Hadley Weston, rich-bitch sorority girl who with her posse of coked up college idiots goes about corrupting an A student loner played by Mia Kirschner. But just who is doing the corrupting? Alicia Glazer (Kirschner) takes quickly to her new social status, indulging in the alcohol and cocaine filled nights of meaningless sex and stupidity.

All of this unfolds in flashback as Alicia lies in the hospital near death and the local sheriff Artie Bonner (Taye Diggs) investigates her new friends whom he suspects of foul play. The film’s flashback style and narrative is a nod to Citizen Kane crossed with Legally Blonde and Cruel Intentions, a concoction lifted directly from the seventh circle of hell.

Meredith Monroe was wonderful as the sweet but troubled Andie McPhee on “Dawson's Creek.” In New Best Friend, however, she is completely overmatched attempting to play the Shannon Doherty-like uberbitch. Swain meanwhile, is her usual nymphet self, this time throwing in a lesbian scene to satisfy her dirty old men fan club. Her role requires no acting whatsoever; just remove clothes and kiss whomever, be it man or woman.

What in God's name is Taye Diggs doing in this film!?! Diggs is a good-looking, charismatic guy who could play any number of lead roles, but chooses to star in this trash. Taye, do yourself a favor and fire your agent. Diggs must have owed the director of New Best Friend a massive favor, or more likely he's suffered from some sort of blackmail. It's the only reasonable explanation. 

New Best Friend is disgustingly stupid, utterly vapid trash, just perfect for the soft core B-movie market. No matter how bad this movie is, it will rent big and likely make a pretty good profit. Yet somehow we are still the greatest country in the world. I'm giving the film one star as a nod to Taye Diggs and because I loved Monroe on “Dawson's Creek.”

What? Oh, like you've never watched it.

Movie Review Nemesis Game

Nemesis Game (2003) 

Directed by Jesse Warn 

Written by Jesse Warn 

Starring Carly Pope, Adrian Paul, Ian McShane 

Release Date September 16th, 2003 

Published September 16th, 2003 

With all the trash that gets dumped in the direct-to-video market, it's rare when you find one that is not a poorly-crafted action knockoff or a T & A soft-core porno. Nemesis Game, directed by up and comer Jesse Warn, is neither of those things. Though Nemesis Game isn't exactly theater quality, it shows the potential this young director has to do great things in the future.

The story begins in your typical police station interrogation room where a detective (Ian "Lovejoy" McShane) is questioning a woman named Emily Gray (Rena Owen). Emily is famous for having attempted to drown a small child with seemingly no motive whatsoever. It's years later and Ms. Gray has been recently released from psychiatric care only to have killed a college freshman, again with seemingly no motive. Her only answer to repeated questioning is the quixotic "What if I told you I knew the meaning of life?"

From there we switch gears to a comic shop run by Vern (Adrian Paul), a comic book philosopher with a love for riddles. Vern runs a side business where he takes suburbanite nerds out to an abandoned building and leads them on a D & D style quest by having them answer riddles that lead to a particular conclusion. In all honesty I have know idea what the purpose of these scenes are, only that they set up the connection between Vern and the first woman to ever play his little riddle game, our heroine Sara played by Carly Pope.

For years, Sara has been obsessed with riddles and thinks maybe Vern can lead her to a series of riddles that when solved can tell you the meaning of life. Ian McShane's cop also happens to be Sara's father and Emily Gray happens to be linked to the riddle Sara is searching for. Jay Baruchel from TV's short lived “Undeclared” has a small role as a victim and Brenden Fehr has an equally small but more meaningful role as a pothead skater and customer at Vern's comic shop.

With Vern's help, Sara seeks the answers to the meaning of life riddle while her father attempts to determine why Emily Gray snapped after seeming to have recovered while in care.

The two stories dovetail in an ending that is the film’s strongest point for its suddenness and bravery. Honestly, even as the credits rolled I kept waiting for the film to start again and undo itself from what I had just seen.

What doesn't work though is the casting, especially former “Highlander” TV star Adrian Paul. His lack of charisma and horribly wooden action style threaten to cave in the film’s momentum in the moments when it desperately needs it. Paul is especially undercut by the far more charismatic but limited performances of Baruchel and Fehr, who's acting and youth make Paul look like an old man desperately trying to act cool. Nemesis Game cries out for a more charismatic actor or at least persona than what Paul provides.

As for the star of the film, Carly Pope, she has just the right mix of wits and cuteness to make her character work. She perfectly mixes naive curiosity and survival instinct to make her character's purpose seem plausible.

The cast member who makes the best impression though is Rena Owen as Emily. She has a mystical, beatific quality that makes her seem almost supernatural. Each of the other actors always say her full name and say it with reverence as if speaking it were an incantation. It works in making the audience uncomfortable in her presence, as if she really does know the meaning of life but if she tells you she will have to kill you.

Jesse Warn both directed and wrote the screenplay for Nemesis Game and with a bigger budget he could have really done something with this concept. With a better actor in place of Adrian Paul, improved cinematography and set design and a better film score (The current score is a mishmash of screechy thriller music from every other direct-to-video thriller ever made), and Nemesis Game could have been a career maker. As it is, the film is a signpost of a hopefully bright future for this talented filmmaker.

Documentary Review Mr. Death

Mr. Death (1999) 

Directed by Errol Morris 

Written by Documentary 

Starring Fred A Leuchter Jr. 

Release Date December 29th, 1999 

Published August 4th, 2003 

I used to be one of those “eye for an eye” types. A guy who was adamantly pro-death penalty. Then last year as I watched the death row in Illinois dismantled by its outgoing Governor, stories began to come out about four innocent men who were nearly put to death by electrocution. I came to the realization that if even one innocent man goes to his death at the hands of the state, then that blood is on all of our hands.

The death penalty is way too flawed a concept to be continued in this supposedly civilized country. Of course, you could never convince Fred A. Leuchter Jr. of that. Leuchter is an engineer who earned the nickname Mr. Death because of his proficiency for repairing antiquated death chambers. Leuchter is the subject of the documentary Mr. Death: The Rise and Fall of Fred A. Leuchter Jr. by Errol Morris, the man who directed the thrilling documentary Fast Cheap and Out of Control.

Mr. Death was actually supposed to be merely a chapter of Fast Cheap and Out of Control, a simple 30 minute segment on this unassuming little man responsible for the deaths of hundreds of inmates. However, once Morris began to look a little deeper into Fred Leuchter's unusual life, a new subplot emerged. A quirky profile of a death chamber repairman turned into a story about the Holocaust and one small man's desperation to be loved and accepted by anyone, even if it was a group of Neo-Nazis.

Fred Leuchter Jr. grew up in the New Jersey prison system. His father was a guard and young Fred would often join his father at work. Spending his days hanging out with guards and inmates, he learned the tricks of the criminal trade like hot wiring cars. He also had an experience not many teenagers can claim, he was strapped into the electric chair. It was a life changing moment for Leuchter, it began his unusual fascination with the implements of state sponsored death.

The documentary begins as it was likely intended to in its initial conception, a series of interviews with this strange shy little man who built lethal injection machines, and repaired electric chairs, gas chambers and even gallows. As Leuchter explains directly to the camera, he was appalled by the conditions of the electric chairs and set about using his engineering skills to develop a more efficient killing machine. 

In graphic detail, Leuchter recounts the gruesomeness of the old style electric chairs, the way they charred the flesh, set the condemned on fire, and popped their eyes out of their heads. Leuchter claims his inspiration was humanistic. He was interested in making death as comfortable as possible for the condemned, though he doesn't seem very convincing. The sense I got was that he was a guy who found a unique niche for himself and took to it quite readily.

Whatever your opinion of Leuchter and his business, he does at first seem to be a simple pragmatic businessman. He had a wife and family. His business, however macabre it is, was enough to comfortably support his family.

Then a strange thing happened in the life of Fred Leuchter. He was subpoenaed to appear in court in Canada on behalf of a man named Ernst Zundel, a historical revisionist on trial for printing a pamphlet that the Canadian government claimed was a call to violence and hatred. Zundel's revisionist history of World War II included the contention that the Holocaust never happened.

What does this have to do with Fred Leuchter? Zundel hired the expert on death chambers to determine whether the German internment camps actually had gas chambers. On Zundel's dime, Leuchter, his wife and a camera crew traveled to Auschwitz and committed what can only be described as a crime. With his wife as a lookout, Leuchter went into the chamber and began chipping away pieces of the wall and floors. His intent, to take the samples back to the U.S and have them tested for cyanide, the Nazi's poison of choice.

Fred Leuchter's "investigation" however was quite flawed. He did not bother to explain to the American lab that tested his samples what he was looking for. The tests as they were conducted could not have possibly found cyanide. As the scientist who performed the experiment explained, cyanide does not penetrate deeply into the walls; it barely registers below the surface. Because the gas chambers had been exposed to the elements for nearly 40 years, when Leuchter gathered his samples the degradation of the samples rendered the experiment useless.

These massive screw-ups did not stop Leuchter from testifying that he did not find any evidence of cyanide and it was his opinion that Auschwitz did not have a gas chamber. Despite Leuchter's "expert" testimony, Zundel was convicted. Because of his findings, called The Leuchter Report, Fred became popular amongst neo-Nazi groups who adopted him as a spokesman. Leuchter basked in the attention, the standing ovations of glad handing Nazi's who called him a genius.

When Leuchter returned to his regular life, he found that the States that had contracted with him to fix their death chambers were no longer in need of his services. His report that made him so many new friends was not surprisingly off putting to politicians who don't want to be in business with a man who calls Nazi's friends. Of course, Leuchter believes it's a Jewish conspiracy, but he says he is not anti-Semitic.

Maybe he's not truly anti-Semitic, in the documentary he does seem to come off as a little naive and slow. It is as if he believes he just did a job and why should that bother anyone? He can't imagine why anyone would find his views on the Holocaust offensive.

Errol Morris appraises his subject from a far. Unlike some filmmakers, Morris is content to remain completely off camera. He doesn't even contribute a narration, allowing his subject to narrate with his answers to off-screen questions. Morris has an interesting visual style, very crisp photography mixed with archival footage and the amateur footage that Leuchter compiled on his trip to Auschwitz.

There is nothing entertaining about Mr. Death but it is oddly fascinating. Watching this strange little man as he struggles to understand why he's not taken seriously, why he can no longer find a job, and why his wife left him. Even before his trip to Germany, he struggles to understand why people look at him funny, why people find his job so creepy and weird. He's not self-conscious, just confused.

Movie Review Raising Helen

Raising Helen (2004) 

Directed by Garry Marshall

Written by Jack Amiel, Michael Begler

Starring Kate Hudson, John Corbett, Joan Cusack, Hayden Panattiere, Spencer Breslin, Helen Mirren

Release Date May 28th, 2004

Published May 30th, 2004 

Ever since I was a kid, there was one thing that my mother and I had in common and that was a love for movies. Though our tastes are very different, occasionally my mom would surprise me. She loves Days of Heaven and Sleepless In Seattle, she loves La Dolce Vita and Grease, all of which are in her video collection. Her one abiding love however is cheeseball romantic comedies. Anything of the Hanks-Ryan canon, Julia Roberts is a goddess, but only romantic Julia, preferably teamed with Richard Gere.

I bring this up because on Mother's Day my mother joined me for one of those cheeseball romantic comedies she so dearly loves, Garry Marshall's new film Raising Helen. While I sat there in my cynical, cold-hearted shell completely unmoved by Marshall's greeting card sentimentality, my mother laughed and cried as if on cue from the film to do so. It's an example that any film critic needs to hear that certain movies play to certain audiences. That doesn't make a movie good but it should give you something to think about before launching into another cynical diatribe about the death of film. I might have walked away from this film ready to write such a review had my mom not been there.

In typical romantic comedy fashion, Helen Harris (Kate Hudson) has a fabulous job, fabulous friends and endless amounts of disposable income for her fabulous clothes and apartment. This all changes when Helen's older sister Lindsey and her husband are killed in a car crash leaving behind three children. Naturally, Helen assumes that her other sister Jenny (Joan Cusack), already a wife and mother, will take in Lindsey's kids but Lindsey has a surprise for them both. In what many would consider bad judgment, Lindsey has left the kids, Audrey, 14 (Hayden Panettiere), Henry, 10 (Spencer Breslin) and Sarah, 5 (Abigail Breslin) to Helen.

Helen's life of fashion shows and nightclubs is thrown out of whack. Soon her trendy apartment is gone in favor of a not-so-posh Brooklyn apartment. Her job working at a fashion agency for the criminally underused Helen Mirren in a throwaway role as Helen's boss, is gone because her kids destroy a fashion show. On the bright side, Helen has found the kids a good school. A Lutheran high school where the principal is the very handsome Pastor Dan (John Corbett).

From my perspective this obvious material moves slowly towards its obvious conclusions with a little humor and plenty of contrived melodrama. Sitcom level humor permeates every corner of the film that isn't taken up with “very special episode” style theatrics. However, for every cynical hard-hearted comment from me, my mom laughed and cried. Mom was under the film’s spell from moment one and remained there until the very end.

The one part of the film that we both could agree upon were the actors who at times when not being manipulated by the plot, actually are very good. Kate Hudson deserves a better vehicle for her talents than the tired romances she seems trapped in at the moment. The radiance and life force that made Almost Famous so memorable still shines through, slightly dimmed because the material is not nearly as engaging as she is.

The supporting cast is also very good. Joan Cusack may be the most reliable character actresses in all of Hollywood. John Corbett backs up his handsome face with great wit and self-deprecating manner. The film actually gets a little better in the scenes when it's only Hudson and Corbett together, these two have terrific chemistry. The child actors are…well, they are child actors and in movies like these, they are placeholders for the plot.

Ask me how I feel about Raising Helen and I'll tell you that Garry Marshall's affinity for greeting card level emotions is as grating as fingernails on a chalkboard. Raising Helen is another assembly line Hollywood film that had a poster before it had a script. However, my Mom would tell you that Raising Helen is a sweet, funny, family movie that will make you laugh and cry and walk out with a smile on your face and a little choked up. Mom would give Raising Helen 10 out of 10. I wish I could be as kind.

Movie Review Mostly Martha

Mostly Martha (2001) 

Directed by Sandra Nettelbeck 

Written by Sandra Nettelbeck 

Starring Martina Gedeck, Sergio Castillitto

Release Date August 6th, 2001

Published December 2nd, 2002 

In the late 90’s early 2000;s there was a small subgenre that some have dubbed the “food movie.” Films where the preparing of food is as or even more important than the character-driven stories surrounding them. Films like Big Night, Tortilla Soup, and Like Water For Chocolate all centered around food so beautifully prepared that the audience actually salivates. The German film Mostly Martha is a food movie but much depends on your love of German food. 

The film stars Martina Gedeck as Martha, a talented chef who lives to prepare food. Her obsessions are so strong that she is forced to see a shrink because she relates to food better than she does to people. Martha's assistant chef is leaving and is replaced by an Italian chef who does things his own way. Sergio Castellita plays Mario, and rather than following Martha's lead, he immediately begins changing things (including the menu), much to Martha's dismay. 

Complicating things further for Martha is the death of her sister which leaves Martha to care for her nine-year old niece Lina (Maxime Forest). Martha has never had a child and has not spent much time with her niece in her short life. Her only connection to the kid comes from food and making meals for the kid. With no other options, Martha is forced to bring Lina to the restaurant where Lina bonds with Mario.

Mostly Martha is a simple film in scale. It is an average romantic comedy with the conventional feel of an American film. Watching it, you can easily imagine an American version with Julia Roberts or Meg Ryan in the lead opposite Kevin Kline with a funny accent or a cast-against-type John Cusack as the Italian love interest. It is such a conventional romantic comedy that it exhibits everything I have come to hate about the genre: the predictability, the cuteness, and the obvious strain to keep the lovers apart until the end.

Not surprisingly, the only real bright spot in Mostly Martha is the food. There are some very lovely scenes of food preparation and presentation in Mostly. Credit goes to Cinematographer Michael Bertl for filming the food as if you could eat it off the screen. Director Sandra Nettleback seems to sense the film's weaknesses and tries to use the delectable food to distract from the predictable story.

Mostly Martha has been compared, by some, to the amazing Hugh Grant film About A Boy, because of the difficult relationship between Martha and her newly-adopted niece. The comparisons are entirely one note in that both movies depict difficult relationships between childish adults and wise-beyond-their-years children; however, the comparisons end there. Where About A Boy is charming and funny, Mostly Martha is predictable and forced.

Mostly Martha has its moments—all of them dealing with food. The rest of the film is pure romantic comedy washout.

Movie Review Resurrecting the Champ

Resurrecting the Champ (2007) 

Directed by Rod Lurie

Written by Allison Burnett 

Starring Samuel L. Jackson, Josh Hartnett, Kathryn Morris, Alan Alda, Rachel Nichols

Release Date August 24th, 2007

Published August 23rd, 2007 

Josh Hartnett is a young actor who I have really come to enjoy. His work is always complex and never predictable. His performances in Lucky Number Slevin, The Black Dahlia and Mozart & The Whale are three of the best performances by any actor in the last two years. Each has a different tone, a different approach and requires different skills and yet Hartnett nails each one.

For his latest film Resurrecting The Champ, Hartnett outclasses the material which takes a compelling true story and fouls it up with false subplots and an ending far too neat and tidy to be believed.

Resurrecting The Champ is loosely based on a story by L.A Times writer J.R Moehringer. The story of an old homeless man who claimed he was once a heavyweight boxing contender. His stories about Rocky Marciano and Jake LaMotta and Floyd Patterson held Moehringer in sway  for weeks but in researching this compelling fellow, Moehringer discovered a secret that changed the story from one of redemption to one of grand delusions and good intentions.

The movie Resurrecting The Champ casts Josh Hartnett in the role of Erik Kernan, a struggling boxing beat writer for a fake Denver newspaper, The Denver Times. His boss (Alan Alda) feels his writing lacks personality and buries most of his stories. Kernan's wife, Joyce, also a journalist, has kicked him out of the house for reasons that are only moderately clear.

Kernan lives in the shadow of his father, a legendary boxing announcer who abandoned him and his mother when Erik was only 6 years old. He is at the bottom of his self loathing, daddy blaming rope when he stumbles across the champ (Samuel L. Jackson). Claiming to be Bombing Bob Satterfield a one time contender for boxing's world heavyweight championship, the champ as those on the street call him, is now living next to a dumpster behind the Denver sports arena.

Sensing a heart rending sports story that could save his career, Erik implores the champ to tell him his life story and how he went from nearly fighting for the title to being homeless in Denver. His stories about breaking Rocky Marciano's nose and falling to Pretty Boy Floyd are compelling and Erik is at rapt attention. However, the champ has a secret that threatens to take both of them back down to the gutters.

Resurrecting The Champ is a project 10 years in the making. Producer Mike Medavoy bought the rights to J.R Moehringer's LA Times Magazine story not long after it was published in 1997. The film passed between a number of talents, including Morgan Freeman who was once set to play the champ. Finally, producer Bob Yari and director Rob Lurie managed to land Sam Jackson and Josh Hartnett for the leads and Medavoy's Phoenix Pictures finally gave the go ahead.

Jackson and Hartnett are terrific casting. Though Jackson has struggled recently, allowing his bad ass reputation to become something of a caricature, he redeems himself with an immersive performance as the champ. Josh Hartnett continues a series of tremendous performances with complex turns as a feckless self aggrandizer who is forced to confront the emptiness of his own life opposite the life of the champ who despite his circumstances, seems to want for nothing.

The script by Michael Bortman and Allison Burnett mirrors in many ways Stephen Ray's Shattered Glass. Both films are about journalists who find themselves overwhelmed by their own ambition. Shattered Glass is more accomplished, but Resurrecting The Champ benefits from a cast that elevates similar material. Both films are insightful about the pressures of the world of journalism through Glass again has the advantage with a cleaner, linear narrative.

Resurrecting The Champ tries a little too hard to cover a number of complex issues. As if the central story of this homeless fighter and the opportunistic journalist weren't enough, the film ladles on a backstory for each character about fathers and sons and the lengths one goes to be a good father or to avoid becoming a bad father. It's not that this fathers and sons subplot is poorly played, rather just that it distracts from the more interesting world of journalism and this dynamic relationship between the champ and the journalist.

Regardless of some aching narrative problems, including an ending that is far too easily tied up in a pretty bow, Resurrecting The Champ is a compelling character study. Watching Samuel L. Jackson return to form by becoming 'the champ', you are reminded of what a great talent Jackson is when given a good character to play.

His work in Resurrecting The Champ alongside Josh Hartnett is so good that you can't help but get caught up rooting for both characters even as they fail and reveal their flaws. The champ is something of an innocent, having spent much of his later years punch drunk from years in the ring, he is easy to sympathize with to a point.

Josh Hartnett has the more difficult character. His Erik Kernan is feckless, self loathing and a little lazy. When confronted about his writing early in the film we are told he really isn't very good. His own wife evinces only disappointment when she looks at him. Worst of all, Erik feels compelled to lie about his life to his six year old son leading to a scene with former Broncos quarterback John Elway that is painful and embarrassing in very real ways.

Hartnett's job is to somehow bring us to care about this guy and root for his redemption and he succeeds with an earnest come to Jesus series of epiphanies about his life that had me riveted. His character is, unfortunately, undermined late in the film by an ending that rushes past some of his more emotional moments, on its way to a too tidy ending, but Hartnett throughout remains a compelling presence.

Resurrecting The Champ is something of a disappointment in the end. The film aches to be deeper than it is and more complex than it needs to be. The story wraps up too quickly and too neatly. Still, Samuel L. Jackson and Josh Hartnett make a great team and they elevate the material to the point that their work together is worth the price of admission even if the movie itself does not hold up to much inspection.

Movie Review Kickin It Old Skool

Kickin' it Old Skool (2007)

Directed by Harvey Glazer

Written by Josh Siegel 

Starring Jamie Kennedy, Maria Menounos, Miguel Nunez, Vivica A Fox

Release Date April 27th, 2007

Published April 28th, 2007

Has any actor thrived more on less talent? I've asked this question every time I've seen Jamie Kennedy take the lead in another of his low budget unfunny comedies. Beginning with the offensively unfunny Malibu's Most Wanted to the dreadfully unwatchable Son of the Mask and now through his latest abomination called Kickin' It Old Skool a bizarre homage to or satire of 80's breakdance culture, I have watched in stunned disbelief as another film studio tossed more millions at this tremendously unfunny comic.

In Kickin' It Old Skool Jamie Kennedy stars as Justin, a breakdance aficionado who puts himself into a coma attempting a difficult breakdance move. 20 some years pass before Justin somehow comes out of his coma still feeling like that 12 year old kid who loved to spin on his head. With medical bills crushing his poor parents, Justin has to find a way to make some quick cash.

His lucky break comes when a trip to the mall reunites him with his former breakdancing pal Darnell (Miguel A. Nunez) who points him in the direction of a new dance contest TV show shooting at the mall. Thus Justin launches a plan to reunite his old breakdance pals, Darnell, Aki (Bobby Lee) and Hector (Aris Alvarado) and try to win the dance contest. Standing in his way is his old rival and the show's host Kip (Michael Rosenbaum). But he does find support from Kip's girlfriend Jennifer (Maria Menounos) who was Justin's childhood crush.

Kickin' It Old Skool runs on two comic tracks. On the one track is an homage to cheeseball 80's culture including a truly lame cameo from David Hasselhoff. On the other is an attempt to parody recent dance off movies like Stomp The Yard and You Got Served. Unfortunately, director Harvey Glazer lacks the talent to combine these elements into one comic focus.

It doesn't help that his star Jamie Kennedy is utterly talentless. Yes, I admit admiring his know it all performance in Scream but name another thing that Jamie Kennedy has done that he can be proud of? Hmm.....The Mask 2?

Kickin 'It Old Skool suffers from  the same comic misapprehension as so many comedies of 2007. Movies like Hot Rod and Balls of Fury and Kickin 'It Old Skool all seem to believe that if the main character does something out of the norm; that thing is automatically funny. Context be damned. In Hot Rod it's supposed to be funny that this guy is a small town stunt man. In Balls of Fury the main character plays ping pong. In Kickin' It Old Skool Jamie Kennedy and his pals breakdance.


The creators of these films simply assume we will laugh at the premise and never bother to actually write funny jokes or give the characters anything funny to do aside from falling down or listening to music more than 20 years old. If you think old school rap is hysterically funny just for existing, then Kickin' It Old Skool is the movie for you.

I would rather watch a Rob Schneider film festival than sit through one Jamie Kennedy movie. From Malibu's Most Wanted to Son of the Mask and now Kickin' It Old Skool, Kennedy continues to demonstrate a complete lack of comic chops. On the bright side, audiences are beginning to agree as his starring roles continue to do less and less at the box office. Let's keep up the good work folks. The less people who see Kickin' It Old Skool, the less chance he'll get another starring role. If we continue to work together we can end this plague. Thank you.

Movie Review Mamma Mia

Mamma Mia (2008) 

Directed by Phyllida Lloyd 

Written by Catherine Johnson 

Starring Meryl Streep, Amanda Seyfried, Stellan Skarsgard, Colin Firth, Pierce Brosnan

Release Date July 18th, 2008 

Published July 17th, 2008

I have to confess an odd affinity for the music of Abba. The safe, uncalculating earnestness of their disco pop is a pleasant little distraction on occasion. Spike Lee even managed to turn Dancing Queen into a powerful expression of the times when he used it to evoke the synthetic happiness of the late seventies in his underappreciated epic Summer of Sam.

Broadway show tuner Phyllida Lloyd captured perfectly the jaunty, uncomplicatedness of Abba's music when she brought Mamma Mia to the stage in 2005. Even the Tony's sat up and took notice. Now Lloyd has brought the superfluous fun of arguably disco's finest ambassador's (Sorry Bee Gees fans) to the big screen.

Mamma Mia stars Meryl Streep as Donna Sheridan, a former disco queen turned hotelier. Donna runs a hotel on the coast of the Adriatic that draws the bare minimum of tourists. Her most urgent project is getting the place fixed up for her daughter Sophie's wedding. Sophie has a big surprise in order for mom. While mom is welcoming guests, including her former singing pals Tonya (Christine Baranski) and Rosie (Julie Walters), Sophie is welcoming three surprise guests, each of whom is a blast from Donna's past and, more importantly, each may be Sophie's dad.

Colin Firth plays Harry with his typical British neurotic energy. Stellan Skarsgard is Bill, a globe -trotting journalist going with the free spirited flow at all times. And Pierce Brosnan is Sam, a rich guy who quickly figures out what is going on and comes to assume that he is Sophie's dad and that after all these many, many years, he is still in love with Donna.

That makes a good straight forward plot. However, Mamma Mia is far from straight. I mean straight forward. Sorry. Because the music of Abba serves as the inspiration for Mamma Mia the songs of Sweden's number one entertainment source are jammed into every corner and only some willingly adhere to the story being told.

Making things even more complicated than trying to shoehorn so much music into the movie, is the fact that the stars sing for themselves and most aren't great. Meryl Streep is good, Christine Baranski is better and Julie Walters can carry a tune but the boys are completely overmatched.

Pierce Brosnan is outright brutal as he attempts a duet with Streep. Firth and Skarsgard are equally unlistenable. They are saved, a little bit, by the massive production numbers that accompany the song and give them light and energy. A Lot of Mamma Mia is capable of skating on good intentional and the sheer willful intent to entertain.

Mamma Mia is undeniably fun and frothy. That said, if you don't love Abba you won't love this movie. It's a musical with nothing but Abba tunes. Tunes are jammed into scenes just for the fact that they are Abba tunes and regardless of whether they belong in the story. If you aren't a fan there is nothing here to appeal to you.

Jaunty and energetic in its bizarre way, Mamma Mia is a fans only entertainment that will preach well to the converted and leave the rest in the cold.

Movie Review: Are We Done Yet?

Are We Done Yet? (2007) 

Directed by Steve Carr

Written by Hank Nelken 

Starring Ice Cube, Nia Long, Phillip Bolden, Aleisha Allen, John C. McGinley 

Release Date April 4th, 2007

Published April 3rd, 2007 

2005's Are We There Yet(?) was a meanspirited, ugly attempt at 'family comedy'. Featuring crotch shots aplenty, nasty physical humor and ugly characters, Are We There Yet(?) set new lows for an already shallow genre. Yet, despite the films massive and obvious flaws there is now a sequel and since it would nearly impossible for this film to be worse than the original, Are We Done Yet? is better than its predecessor.

Oh, don't get me wrong, Are We Done Yet(?) is not a good movie, even by comparison, it's merely an improvement. If you consider compost an improvement over yard waste.

In Are We There Yet? Nick Person (Ice Cube) wanted to do a favor for a beautiful woman, Suzanne (Nia Long). Offering to drive her two demon children, Lindsey (Aleisha Allen) and Kevin (Phillip Bolden), to there fathers for the weekend, Nick endures unending abuse and bad behavior. Then again, he was only offering to help so he could get with the hot girl so; his motives weren't just about being a good Samaritan.

Cut to two years later and apparently Nick's gesture was a winner because he and Suzanne are married and the demon children are now his loving step kids. Having given up his sports collectibles shop, Nick has gone into the publishing biz, starting his own sports magazine where he hopes an interview with Magic Johnson can get his magazine off to a splashy start. (No points for guessing Magic will figure in to the wackiness of the films ending.)

Living in Nick's cramped bachelor pad is clearly not working, no explanation is given about why they just didn't move into the beautiful home Suzanne owned in the previous film. Needing a new home, the family heads for the country where a gorgeous old fixer upper, 3 bedroom, 2 bath, home awaits. When I say fixer upper, I am understating quite a bit. Though the real estate agent, Chuck (John C. McGinley) calls it homey and rustic, the place is clearly a dump from moment one.

Nevertheless Nick and the family move and naturally, the house begins to fall apart around them. Luckily, the crook who sold them the house is also the only licensed contractor, electrician and housing inspector in the area. Soon Chuck is living with the family and sitcomic wackiness has ensued. I'll say this for Are We Done Yet(?), at least, it is far less mean spirited than its progenitor Are We There Yet(?). That film combined an awful plot with these awful characters to create an awful moviegoing experience. The children were reprehensible, even by the standards of behavior set for movie children, coming up just short of being horror film villains in this alleged family movie.  

Are We Done Yet(?) softens the child characters from potential murderers to irritating clichés. They remain only plot devices for tweaking the always on edge Nick character but; at the very least, I don't hate them as much. Yes, I said I hated them. I realize, that to hate children is pretty extreme but if you were forced to sit through Are We There Yet? as I was, you would have hated them to. Them, their parents, their parents parents and many others.

It would have been impossible for Are We Done Yet(?) not to improve upon Are We There Yet(?) but improvement is a relative term. If getting hit by a car is an improvement over getting hit by a Mack truck. Or if getting stabbed is an improvement on being shot, then yes, improvement is the right word here. Are We Done Yet? is still an exceedingly bad movie with a rote plot and mindless characters but I will take it over the toxic poison of the previous film.


Movie Review: Wisegirls

Wise Girls (2002 

Directed by David Anspaugh 

Written by John Meadows

Starring Mira Sorvino, Mariah Carey, Melora Waters

Release Date January 13th, 2002

Published February 12th, 2002

With all due respect to those of you with a marketing degree, there is no greater scourge in modern Hollywood than marketing. Say what you will about a film's marketing having nothing to do with the film's quality, the fact is that commercials, trailers and posters shape a viewer's point of view when seeing a film. The new-to-video Lions Gate release WiseGirls is a perfect case in point.

Everything in it's marketing would lead you to believe that Wisegirls is a comedy starring Mariah Carey, when in fact the film is a drama and Carey is merely a supporting character to Mira Sorvino's lead. I went in expecting a lame comedy and another chance to rip Mariah Carey's acting skills. Instead, I got a somewhat gripping mob drama from a female perspective that, because of it's marketing, will turn away many potential viewers.

Sorvino stars as Meg Kennedy, a former med school student who has moved to Long Island to live with her ailing grandmother and run away from her tragic past. With the help of her grandmother's caretaker. Meg finds work in an Italian restaurant that is run by the mob. At first Meg has no clue who she is working for, but her new friend Raychel (Carey) is quick to clue her in after one of their special clients accidentally shoots himself and needs Meg's medical training to save his life. 

Meg's first inclination is to quit but once she is clued into how much money she can make and how she would be able to care for her ailing grandmother, she puts aside her moral objections and keeps the job. In the meantime she and Raychel and another waitress named Kate (Melora Walters) bond and become close friends. That bond is tested after Meg witnesses her new boss murdering a man who attacked her. The authorities begin to close in on the restaurant, with particular interest in the things Meg witnessed, which include the murder and the drugs being funneled through the restaurant's kitchen.

WiseGirls is a rather surprising movie in it's first hour and twenty minutes. The film builds three very believable lead characters thanks to the strong performances of Sorvino, Waters and, I can't believe I'm saying this, Mariah Carey. Yes, its true, Mariah doesn't suck in WiseGirls. In fact, supporting character work seems to suit her. Her performance is relaxed and engaging, she makes Raychel a girl we all think we've met before.

It is Sorvino's performance that nearly pushes WiseGirls into being a good movie. Sorvino does a sensational job of earning the audiences sympathy. There's help from the script by John Meadows that allows her character to evolve in ways that are logical, if somewhat misguided. Sorvino's Meg shows the slippery slope that many of us could find ourselves on if we don't keep good company. Admit it, we all have that drug dealer friend that we only hang with in public for fear of being there when the cops bust him. The fact is that, much like six degrees of Kevin Bacon, we all have some connection to crime, organized or otherwise, and this film shows what happens when you allow those relationships to go to far.

Many reviews of this film have referred to the film's stereotypical mobster characters played by Arthur J. Nascarella and Christian Maelan amongst others. I honestly didn't think the stereotypes were as pronounced as most reviewers thought. The problem was the actors who seemed to be just going through the motions of their characters.

The biggest problem with WiseGirls is a serious one, it's ending. This film has possibly the worst ending of any film released in the last year. The ending is a total cop out and ruins any emotional crescendo that had risen into a strong cathartic moment. The ending ruined the movie for me.

That said, if you stop watching with maybe five or ten minutes left, you might walk away with a pleasant view of WiseGirls. But stay for those final moments, and you will be very disappointed.

Movie Review: Wimbledon

Wimbledon (2004) 

Directed by Richard Loncraine

Written by Adam Brooks, Jennifer Flackett, Mark Levin

Starring Paul Bettany, Kirsten Dunst, Sam Neill, Jon Favreau

Release Date September 17th, 2004

Published September 16th, 2004

With what I have written in the past about my disdain for the clichés of sports movie and of the modern romantic comedy, you could sense that a movie like Wimbledon would be a special sort of torture. Simply take the worst of both genres and combine them and ugh. However Wimbledon is the creation of Working Title Films, a company that has discovered it's own unique formula for romantic comedies that really works.

Working Title is the company that made Hugh Grant a star in Four Weddings and A Funeral and Notting Hill and delivered last year’s wonderful romantic ensemble Love Actually. It must be a British thing. There is something about Working Title's approach to romantic comedy that usually works. It works in Wimbledon albeit not as well as it has in the past.

Paul Bettany stars as over-the-hill (32-years-old) tennis star Peter Colt. Peter is playing Wimbledon for the final time in his fifteen-year career. In fact, Wimbledon will be his final tournament period, Peter is retiring to be the club pro at a posh resort. He only hopes not to embarrass himself and just maybe win one last match before he quits.

Before he steps on the court he has the pleasure of meeting a beautiful young American tennis star named Lizzie Bradbury. The two meet in a cute way when Peter accidentally gets the key to her hotel room and walks in while she is in the shower. From there, the two start bumping into each other and soon its a little romance, under the radar of course, the British press can be murder.

Complicating things further is Lizzie's overbearing father (Sam Neill) who warns Peter not to interfere with Lizzie's concentration. That is a subtle way of saying stay away from my daughter, something Peter just can't do. Peter especially can't stay away from Lizzie because after meeting her, he begins to play well and wins and wins again. Soon people are talking about him again and he has a shot at going all the way.

Naturally, since this is a romantic comedy you know that there will be some artificial roadblock thrown in front of the lovebirds to separate them until the big finish. This contrivance is usually where the Working Title formula separates itself from other romantic comedies but this time they fail a little. The contrivance is less than believable this time. It's saved only by Bettany who comes through in the film’s final reel to save the movie from the typical pitfalls of the romantic comedy.

In a role that many will recognize as one Hugh Grant turned down, Paul Bettany becomes a star in his own right. Not quite as charismatic as his Chaucer from A Knight's Tale, his Peter Colt is charismatic but subdued. He is weary and sees only dreariness in the near future. That is until he meets Lizzie who opens his eyes to an entirely new and brighter future. At first, the relationship is ambiguous as to whether we have a love match or superstition. Are Peter and Lizzie in love or do they get together because they play well after being together. Bettany plays the ambiguity well but plays the love and devotion even better as the film progresses.

For her part Kirsten Dunst does well to put over Bettany's starring role. She seems to act as a way for Bettany's character to get to the next big scene. It's as if she is a supporting character rather than a lead and that works surprisingly well. Especially well because of how poorly written Lizzie's backstory is written. She's playing her first Wimbledon and is one of the top players in the world but how old is she? Most champions of her ilk are 18 or 19, Lizzie seems older. This maybe a sticking point for tennis fans only.

I happen to love watching tennis. I have vivid memories of Boris Becker's first Wimbledon victory, of Jimmy Connors at the U.S. Open and Pete Sampras failing to win the French Open for so many years. My love of tennis makes this film so much more pleasurable because Paul Bettany is a terrific tennis player. Much praise must be given to technical advisor and former player Pat Cash for developing Bettany into a competent enough player that his scenes look believable.

The film’s final tennis match is spectacularly well realized, aside from the unnecessary commentary by tennis legends John McEnroe and Chris Evert. Bettany's play is excellent and director Richard Loncraine embellishes it with terrific camerawork and a plot device that let's us inside Peter Colt's head, a weary stream of conscience that is funny and endearing.

I must say what a pleasant surprise it is to watch a romantic comedy and a sports movie that is not absolute torture. Wimbledon may not avoid the cliches of it's combined genres but at the very least it embellishes them enough to make it interesting. Paul Bettany is the film’s real find and the element that lifts Wimbledon above it's many cliches and contrivances. This could be a star making and Hugh Grant had best start looking in his rearview mirror for Paul Bettany who could be scooping up a few of those roles that used to go right to him.

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