Movie Review Precioius Based on the Novel Push by Sapphire

Precious Based on the Novel Push by Sapphire (2009) 

Directed by Lee Daniels

Written by Geoffrey S. Fletcher 

Starring Gabourey Sidibe, Mo'Nique, Paula Patton, Mariah Carey, Lenny Kravitz

Release Date November 6th, 2009

Published November 5th, 2009

The last time I had a feeling like this was after watching the 9/11 movie United 93. That film left me with a mixture of awe and emptiness. On the one hand it is a remarkable film. On the other hand I could not imagine recommending the experience to anyone. People-watching the day the film was released; as audiences lined up with pop and popcorn in hand was a surreal and dispiriting experience. How could anyone eat popcorn while watching an accurate recreation of the horror of 9/11?

Precious left me with that same empty sadness. Do I appreciate aspects of the film? Yes, the acting in Precious is top notch. The problem is an overwhelming sadness and sense of despair that suffocates while the movie plays and lingers afterward. Like United 93, regardless of what's good about Precious, how can I recommend it?

At just 16 years old Clarice 'Precious' Jones (Gabourey Sidibe) is pregnant with her second child. Both children are born of rape; rape by Precious's own father, an abuse witnessed by her mother Mary (Mo'nique). Precious deals with these horrors by escaping into fantasies of fame where she walks the Hollywood red carpet with her light skinned boyfriend.

At school Precious can hardly read. She has like far too many American students been passed along by a system ill-equipped to deal with her level of trauma, abuse and an almost genetic trait of ignorance and despair. When she finally arrives at an alternative school, where she belonged all along, it's almost too late.

At this new school Precious finds uncommon kindness from her new teacher Ms. Rain (Paula Patton) and acceptance from her fellow alternative school classmates. Ms. Rain, like anyone else, is incapable of dealing with the Jovian hills heaped upon poor Precious but unlike so many others; she doesn't try and pass the buck. The film gets its most painful, emotional moments out of Precious and Ms. Rain's scenes.

Outside of the scenes between the newcomer Ms. Sidibe and Ms. Patton, Precious plays like a horror film with Mo'nique as a strange sort of villain who begs for our sympathy in the end for the horrors she brings, an Eli Roth ‘Hostel’ villain but with scruples. There is nothing wrong with Mo'nique's performance, it is effective and memorable, the issue is the amount of her time spent committing heinous abuse.

I understand wanting to demonstrate what Precious is up against but the repeated horrors contribute to a suffocating air of depression that does not allow audiences to feel anything else. Do you sympathize with Precious? I guess, but not in the way I'm sure is intended.

Precious is meant to elicit our sympathy and like a victim in a horror movie she has our sympathy on a basic human level. Once the horrors are piled on our sympathies deepen because Ms. Sidibe is a fine actress, but at a certain point the sadness, indignity and despair suffocate any and all feelings other than severe depression. I'm not saying lighten up, I'm saying there has to be a more effective way of making the point about Precious's circumstances than bludgeoning the audience with sorrow.  

I think the point that director Lee Daniels is trying to make in Precious is that there are girls like Precious out there and something needs to be done about it. That is an unquestionable fact. However, the movie is far from the most effective tool for doing something about it. The series of horrors depicted in Precious will not send audiences home with thoughts about fighting poverty and abuse; rather they will want to rid themselves of the experience of so much forlornness and melancholy.


Movie Review Power Rangers

Power Rangers (2017) 

Directed by Dean Israelite 

Written by John Gatins 

Starring Dacre Montgomery, Naomi Scott, RJ Cyler, Becky G, Bill Hader, Bryan Cranston, Elizabeth Banks

Release Date March 24th, 2017

Published March 24th, 2017 

The Mighty Morphin Power Rangers was a goofy live action cartoon that was never intended to be taken seriously. Even as the franchise became a marketing powerhouse and made the leap to the big screen in the late 90's, it was still just a doofy kids show with silly costumes and plushy, oversized villains. The new-fangled Power Rangers on the other hand are still silly but with an ever so slight edge. 

The Power Rangers have been the protectors of Earth for thousands of years, having sacrificed themselves to stop the Earth from being destroyed. The part of the Power Rangers that lived on are in the form of colored power coins which, when discovered by a disparate band of teens, kick off a new age of the Power Rangers and set the stage for an all new battle to save the Earth. 

Jason (Dacre Montgomery) is the leader of the group, a former Big Man on Campus turned teen criminal. Jason meets Billy (R.J Cyler) and Kimberly (Naomi Scott) during detention at Angel Grove High School and the three wind up together at a local quarry where Billy is sure he is going to discover an ancient artifact. Indeed, Billy does discover something quite remarkable when he accidentally blows up part of the mine, something that draws the immediate attention of Trini ( Becky G) and Zack (Ludi Lin) who happen to be nearby. 

What the five discover are the legendary Power Coins and the coins give them superpowers, strength, speed, and intelligence. This also leads to the discovery of an underground spaceship, home to the last of the original Power Rangers, Zordon (Bryan Cranston) who is trapped between the world of the living and the world of the dead, and his assistant, a robot named Alpha (Bill Hader). 

With the guidance of Zordon the Power Rangers are fitted for battle against Rita Repulsa (Elizabeth Banks), a former Power Ranger turned villain who has returned to life and seeks to raise a dire monster called Goldar by stealing gold anywhere she can find it. With the aid of Goldar, Rita will battle the Power Rangers with designs on destroying the world on her way to conquest of the Universe. 

Yes, it's all very silly, especially Elizabeth Banks' wonderfully silly performance as Rita. The strength of this iteration of Power Rangers is that it has zero pretensions. The film owns its goofball past and simply improves on it with a more modern style of both action and storytelling. The film retains the doofy spirit of the Mighty Morphin Power Rangers, especially its goony villains but isn't imprisoned by the past. 

Each of the young actors cast as Power Rangers is able to make a good enough impression here that we care about them in the big fight. My favorite is Billy, who's last name "Cranston" is an homage to his co-star Bryan Cranston who has a past connection to the Power Rangers having voiced characters on the original show. R.J Cyler plays Billy as Autistic and while there is danger of slipping over into uncomfortable stereotypes, the young actor soft plays the character tics and delivers a lovable performance. 

This movie was not made with critics in mind, in the end this is a film for very young children. What I admire about Power Rangers is that it never feels limited by being 'just a kids film.' The story has brave and bold elements to it, a very, very very slight edge to it. The film is silly and playful but has just enough weight to it that I kind of cheered at the end and I wasn't ashamed of it. 

It seems impossible to believe it myself, but I actually recommend Power Rangers. It has a positive message, solid thrills and a story that is safe enough for kids without having to pander, a rather remarkable feat for a film based on a series that was almost entirely pandering in its heyday, as much marketing machine as it was a TV series.

Movie Review P.S I Love You

P.S I Love You (2007) 

Directed by Richard LaGravenese 

Written by Steven Rogers 

Starring Hilary Swank, Gerard Butler, Lisa Kudrow, Harry Connick Jr., Gina Gershon, Jeffrey Dean Morgan

Release Date December 21st, 20007

Published December 22nd, 2007 

If the movie P.S I Love You were a person her name would be Sybil. The name synonymous for multiple personality disorder is all too fitting for a manic, tone shifting on a dime, romantic comedy about a dead guy who romances his girl from the grave.

Hilary Swank stars in P.S I love You as Holly Kennedy. Her husband Jerry has died and her mourning takes the form of her hiding out in their apartment, wearing his clothes and singing along with songs in old movies. Three weeks after Jerry's funeral, weeks where she never left the apartment, Holly's 30th birthday arrives along with a package.

It's a birthday cake with an inscription from Jerry. Also included is a tape he made from his deathbed advising Holly on how to move on without forgetting him. For the next several weeks more letters will arrive and Holly is required to follow them literally. Instructions include, buy a pretty dress, sing karaoke, travel to Ireland and finally, find another man.

Directed by Richard LaGravenese and based on a novel by Cecillia Ahern, P.S I Love attempts to weave grief and humor and the mix is awkward, uncomfortable and a little creepy. Though the central theme is dealing with loss and it's clear that the character of Jerry wants the best for his wife; by not going away the character causes more problems than he solves.

As this gimmick plays out it becomes achingly clear that P.S I Love You is not instructive, insightful or even modestly comforting in the way it deals with grief and loss. Jerry and his letters are a ploy to create a plot around which goofy romantic encounters can play out.

Throw in a character played by Harry Connick Jr. that is arguably one of the worst written characters of all time and an ending so hackneyed it makes The Wedding Planner look like The English Patient and the result is an agitating, irritating shambles of a romantic comedy.

Are we supposed to laugh at Holly or with Holly? Do we feel grief and loss or just darkly goofy? P.S I Love You is so erratic you'll likely be at a loss to feeling anything other than ripped off for the cost of the rental on DVD.

Movie Review Overlord

Overlord (2018) 

Directed by Julius Avery

Written by Billy Ray, Mark L. Smith

Starring Jovan Adepo, Wyatt Russell, John Magaro, Bokeem Woodbine 

Release Date November 18th, 2018 

Published November 17th, 2018

Overlord stars Jovan Adepo as Boyce, an infantry soldier, completely out of his depth when he’s dropped behind enemy lines in France during World War 2. Boyce, along with a group of 20 or so other soldiers have the task of destroying a German stronghold where a radio tower stands. The soldiers must destroy this communication tower, inside an old French church before the troops hit the beach at Normandy, the famed D-Day raid, and keep the Nazis from being able to radio for help. 

The plan requires men jumping from a plane over heavily guarded German territory and while the infantrymen are fooling themselves as best they can, they know that of the 20 or so on the plane, only a handful will survive the drop and be able to try and complete the mission. Boyce has an antagonistic relationship with many in his squad but the movie is smart not to linger over this with exposition, we will get around to that. 

The plane gets shot at and is about to crash when Boyce gets tossed out by his Sgt. On the ground, after nearly drowning in a lake, Boyce meets up with the few men who survived the drop. These include the commanding Corporal Ford (Wyatt Russell), the bullying Tibbet (John Magaro), an AP cameraman and soldier named Chase (Ian De Caestecker) and one other soldier who is not long for the movie. 

You will recognize the dead meat guy pretty quickly as he is the first and only one of the soldiers to spend time talking about what he plans to do when he gets home. He may as well have a wife with a baby on the way and a sign that says shoot me. The character is kind of a parody of the classic trope about the innocent lamb being led to the slaughter of war, but Overlord is not meant to be a parody.The film's modest sense of humor appears tacked on.  

Here we make the turn away from the plot and into a discussion of the movie as a conception. Overlord appeared to be, from the trailer, a wild-eyed zombie soldier movie that would be a rollicking ride. It is not quite that, not exactly. Instead, Overlord is a surprisingly straightforward World War 2 thriller that takes on elements of science fiction via historical speculation about the Germans experimenting on Jewish people, captured soldiers and their own dead soldiers. 

There is history to back up the idea that the Germans were committing horrific atrocities in the name of science. In fact, you might not want to dig too deeply into how some of the medicines of the day today came to be via what monstrous German scientists did to a lot of innocent people. I won’t cite a specific example here so as not to get bogged down in conspiracy theories, I mention this only to provide an insight into where the makers of Overlord are coming from. 

The intention here is to make an entertaining thriller with elements of science fiction and horror in the midst of the genuine, human drama of war. This is not a movie to be taken seriously but Overlord is a movie that surprisingly earns a little bit of self-seriousness that I know I wasn’t expecting from what I assumed would be a World War 2 zombie movie. There are elements of that zombie idea, but the story actually appears more at home in the world of speculative science fiction than the braindead horror genre. 

Speaking of horror, the best element of Overlord is the body horror element. The special effects at play in Overlord, especially the makeup effects, are superb in how they turn stomachs. One particular soldier's gruesome death is preceded by a transformation from man to God knows what kind of monster, featuring some truly gut wrenching visuals. Director Julius Avery may be a newcomer to big budget horror but he has a tremendous vision for terror, a mastery of creepy imagery that should bode well for his career. 

Overlord is tense and fun, a tad slow at times, and rather conventional given the zombie premise, but I do recommend the movie. Overlord is a terrific piece of war-time suspense and speculative science fiction. German scientists did horrible things to people in the name of war and Overlord is the rare movie to push the boundaries and look closer, even from the pop sci-fi perspective, at the horrors of Nazi scientist war crimes. 

Think of Overlord like a thought experiment that goes to the most broad and even ludicrous lengths regarding speculation over  what Nazi scientists were willing to do to those they deemed inferior to them. There is real life evidence to suggest that German scientists may have experimented on dead bodies and reanimation of corpses. That’s not me saying that Overlord has a basis in fact, it doesn’t, but I don’t see the harm in taking the idea of what Nazis may have done to people to an extreme conclusion. 

The World War 2 backdrop gives Overlord an unpredictable and chaotic bit of suspense that really works and keeps us in the audience aware of the constant  danger, not just from monstrous reanimated corpses, but from the Nazis who make a great villain. 

Overlord is in theaters nationwide now and is worth a look. Even if you wait for DVD and Blu Ray, if you’re a fan of horror movies, you will enjoy Overlord. 

Movie Review Our Idiot Brother

Our Idiot Brother (2011) 

Directed by Jesse Peretz

Written by Evgenia Peretz, David Schisgall

Starring Paul Rudd, Zooey Deschanel, Kathryn Hahn, T.J Miller, Steve Coogan, Adam Scott, Rashida Jones

Release Date August 26th, 2011 

Published August 26th, 2011

Paul Rudd is so appealing in "Our Idiot Brother" that you barely notice how thin the story is or how poorly drawn the supporting players are. The star of "Role Models" and "I Love You Man;" Paul Rudd has become known for his fidgety, acerbic, tightly wound comic characters. Now with "Our Idiot Brother" he has expanded his brand to include, shaggy, good natured stoner.

Ned (Paul Rudd) is just a great guy; unassuming, trusting and ready to help when needed. Thus, when a cop, in full uniform, approaches him and asks for some weed, Ned obliges only after hearing how tough things have been for the cop lately. It's a wonderful scene and Rudd's affability sells it.

When Ned gets out of prison, early release as he was everybody's favorite inmate, he finds that his girlfriend (Kathryn Hahn) has kicked him off of their organic farm and moved on with a new guy, Billy (T.J Miller). Worse, she's keeping Ned's beloved dog Willie Nelson.

Homeless, Ned moves back home to New York, briefly living with his mother (Shirley Knight) before crowding into the lives of his uptight sisters. First up is Liz (Emily Mortimer). Liz is married to a jerky documentary filmmaker, Dylan (Steve Coogan), and has two kids; the boy, River (Matthew Mindler), is quickly Ned's best friend.

By the formula, since Ned has two other sisters, he will screw up Liz's life and be fobbed off on the next sister; in this case Miranda (Elizabeth Banks) who makes the mistake of having Ned help her out when she has an important celebrity interview to conduct. He also gets in the middle of her friendship with Jeremy (Adam Scott).

Finally, there is Natalie who seems to be defined by her lesbianism; she lives with her longtime lover Cindy (Rashida Jones). However, when a cute boy artist (Hugh Dancy) shows her some attention, even offering to help out Ned, things in Natalie's life get very complicated and of course, Ned is there to make an even more interesting mess.

"Our Idiot Brother" is highly formulaic and has a highly predictable ending but the journey to get to that ending and the modest detours from formula make it worth your time. This is among Paul Rudd's best performances, a loose, sweet and terrifically funny performance that evokes a younger version of Jeff Bridges's legendary The Dude.

The rest of the cast is not as well defined as Ned and are really only in place to give Ned something to do. It's as if writer Evgenia Peretz and her director brother Jesse Peretz came up with Ned first and then built a movie around him. That sounds bad but Ned is such a terrific character, and so remarkably well played by Paul Rudd, that "Our Idiot Brother" actually kind of works.

"Our Idiot Brother" doesn't work in the typical way that great movies work. However, on its own terms, "Our Idiot Brother" has such a great vibe and is so well centered on Rudd's performance that it works in its own very unique and often very funny way. It's a bit of a strange recommendation, you have to have a soft spot for stoners and Paul Rudd, but I do recommend "Our Idiot Brother."

Movie Review Our Family Wedding

Our Family Wedding (2010) 

Directed by Rick Famuyiwa 

Written by Malcolm Spellman 

Starring Forest Whitaker, America Ferrara, Carlos Mencia, Regina King, Lance Gross 

Release Date March 12th, 2010 

Published March 14th, 2010 

Oscar winner Forest Whitaker is not known for his sense of humor. It's not that the actor best known as the embodiment of the evil dictator Idi Amin in Last King of Scotland cannot be funny but rather that he is better known for self serious drama and outright frightening evil. The comedy Our Family Wedding is an absolute out of the box move for Whitaker and a testament to his talent that he melts right into a comedic role despite how truly lame all around him is.

Our Family Wedding is a comedy of interracial manners starring Forrest Whitaker as the single dad to Lance Gross as Marcus a kid about to graduate from college and become a doctor. Marcus has a surprise for his dad though, he's getting married to Lucia who he has been living with for two years and plans on taking her with him on a Doctors without Borders mission in Southeast Asia for the next two years.

Whitaker's Brad is not the only one who will be shocked by these revelations, Lucia's Father Miguel (Carlos Mencia) is certain to be surprised by his daughter choosing to marry an African American, non-Catholic who wants to take her to Asia for two years. Oh, and Lucia is dropping out of law school to be with Marcus and her mother (Diana Maria Riva) knew about this but did not tell her husband.

The set up is not bad actually, it has a lot of built in conflict to build on. Unfortunately, director Rick Famuyiwa (Brown Sugar, The Wood) doesn't believe in his material and prefers relying on lame coincidence and goofball slapstick moments to pad the film out to feature length.

Because he couldn't think of anything less original or interesting, Famuyiwa has Whitaker and Mencia meet cute in a most convenient and unfunny fashion. The two push the racist stereotype button repeatedly until the joke becomes unfunny and by the time of the reveal that they are going to be family the joke is worn out.

Race issues are addressed only briefly and with no honest insight. The script by director Famuyiwa, Wayne Conley and Malcolm Spellman injects racial stereotypes as a punchline but fails on all accounts to take race seriously as an obstacle to Lucia and Marcus's romance.

The only really good part of Our Family Wedding is Forest Whitaker who slips comfortably into this comedic role and is the only actor who brings anything of depth to his character. Whitaker indulges the whims of his director, he does chase a goat in the movie (Ugh) but in the non goat chasing scenes he crafts a real character from the minor pieces given to him.

Our Family Wedding is dopey and second rate with a dearth of comedic interest. Forest Whitaker is solid but the film built around him is a rickety mess of lame stereotypes and dopey slapstick. Rick Famuyiwa is a much better director than this film demonstrates. Check out his smooth, smart romance Brown Sugar and skip Our Family Wedding.

Movie Review Resident Evil Apocalypse

Resident Evil Apocalypse (2004) 

Directed by Alexander Witt

Written by Paul W.S Andersn 

Starring Milla Jovovich, Sienna Guillory, Oded Fehr, Jared Harris, Mike Epps

Release Date September 10th, 2004

Published September 12th, 2004 

As bad as the first Resident Evil film was, written and directed by Paul W.S Anderson (ugh), could the sequel be any worse? Paul W.S Anderson stepping aside as director was a good first step, as is a script and story more faithful to its videogame source material. However first time director Alexander Witt, who's assistant director resume includes Speed 2, XXX and The Postman seems uninterested in improving on the original, unless you call being bigger, dumber and louder an improvement.

We begin where the last film left off. Our heroine Alice (Milla Jovovich) has just escaped from the Umbrella Corporation's evil underground lab The Hive, where she spent the previous night fighting the undead. Temporarily captured by Umbrella's evil scientists for a quick genetic upgrade, Alice finds herself in the chaotic remains of Racoon City, which has been overrun by zombies.

With most of the once peaceful town infected, and the evil Umbrella scientists having closed the only way out of town, Alice must team with the remaining survivors to fight the zombies and find a way out. With Alice are former cop Jill Valentine (Sienna Guillory), armed forces specialist Carlos Olivera (Oded Fehr), former pimp L.J (Mike Epps) and a small band of cannon fodder who are picked off in rather predictable fashion.

As the survivors battle the zombies, the chance to escape comes from a former Umbrella scientist Dr. Ashford (Jared Harris). The good doctor will get them a helicopter if they will go to the town’s only school and retrieve his young daughter Angie (Sophie Vasseur). Standing in their way are an assortment of zombie children and a return of those feral organs-on-the-outside Dobermans from the first film.

Let's start with some good things like star Milla Jovovich who, though she has limited range as an actress, is amazingly hot and has a terrific physical presence. She's agile and good with a gun and a believable action heroine. In a better action movie she could be quite effective, but in the midst of this film’s mindlessness she's reduced to repeating herself into tedium.

The supporting cast of Sienna Guillory, Oded Fehr and Mike Epps don't have much time to make an impression in between all of the explosions, zombie bites and gunfire. Epps at least has a couple of humorous moments that he is well suited to deliver. The film could have used a little more of Epps' humor but that would require a far better script.

We cannot be surprised that a script this witless and banal was written by the master of witless banality, Paul W.S Anderson. Every line of dialogue, every moment of exposition is just killing time till the next explosion of big, dumb, loud violence. This can work if you have the slightest bit of wit or sense of irony but Anderson has none. Director Alexander Witt doesn't have any either. His visuals consist of properly framing for the explosion and.... well, that's it.

This plot is at the very least more closely related to the popular video game, a fact that might appeal to fans of the game but is of little comfort to non-fans. Compared to the first film, this Resident Evil manages to be bigger, dumber and louder than the original and that is certainly not an improvement. On the bright side it's still a better video game based movie than Tomb Raider.

Movie Review On the Basis of Sex

On the Basis of Sex (2018) 

Directed by Mimi Leder

Written by Daniel Stiepleman

Starring Felicity Jones, Armie Hammer, Justin Theroux, Sam Waterston, Kathy Bates 

Release Date December 25, 2018

Published December 21st, 2018 

On the Basis of Sex stars Felicity Jones in the life story of sitting Supreme Court Justice Ruth Bader Ginsburg. We join the life of Ruth Bader Ginsburg as she became one of the first classes at Harvard to allow women, all the way back in 1954. Mrs Ginsburg was already married to her beloved husband, Martin (Armie Hammer) and was eager to start a family all while navigating the sexist and incredibly demanding schedule of a Harvard Law student.

As if her life weren’t difficult enough, in short order, Ruth becomes a mother and her husband develops testicular cancer and cannot attend his own Harvard law classes. So, Ruth attends and takes notes in Martin’s classes, attends her own, writes papers for herself while taking dictation from Martin for his coursework and while the two are raising their baby daughter. To say this woman was driven and brilliant is quite the understatement.

When Martin graduates and accepts a position at a high powered New York City law firm, Ruth completes her Harvard coursework while also attending classes at Columbia to be close to her husband. She then struggles to find a law firm that will hire her despite graduating at the top of her class. Ruth ends up accepting a teaching position at Rutgers where she finds herself at the center of a cultural revolution as her students are taking to the streets to demand social change.

Inspired in part by her students and by her daughter, Jane (Cailee Spaeny), Ruth finds a lawsuit that challenges the status quo in a way that will reverberate through the years in the battle against sexism. A Colorado man was denied a caregivers tax break because only women were allowed to be caretakers to family members who were incapacitated by illness. If Ruth can prove that the tax law is discriminatory against a man, it could create a precedent that could knock down dozens of laws that give different rights to men than to women.

On the Basis of Sex was directed by Mimi Leder, a solid pro director who brings a strong polish to this otherwise very straightforward biopic. There is certainly a remarkable amount of hero worship going on but it’s not entirely unearned. As played by Felicity Jones, Ruth Bader Ginsburg is some kind of real-life superhero, a rebuke to anyone who says you can’t have it all. Top of her class, married, two kids, and one of the most notable legal careers of modern American history. Indeed, that is heroic.

If I have any issues with On the Basis of Sex, it’s with the compressed timeline of the film. At times, because of the editing and the odd transitions, it can be difficult to track where we are in time. The film employs time jumps to get to the juicier parts of Ruth Bader Ginsburg’s life but in that, we have a moment where she goes from having one child to suddenly having a toddler son in such an abrupt fashion that you might miss a scene just catching up to where we are in time.

On the Basis of Sex is just a tad sloppy here in there from a structural standpoint but that’s a relatively minor issue. It’s one of those things that separates a good movie from a great movie. On the Basis of Sex is quite a good movie in my estimation but it’s not great. Leder’s approach to the life of Ginsburg is just a little too antiseptic. I am not asking for there to be dirt or grit, but some will find the level of hero worship approaching hagiography.

On the Basis of Sex is the second movie of 2018 dedicated to the life of Ruth Bader Ginsburg. The other is a more necessary and comprehensive documentary called RBG. That film does render On the Basis of Sex a tad redundant. While On the Basis of Sex is kept to a specific portion of Ginsburg’s life and that gives it at least a different focus, RBG’s comprehensiveness makes it the far more essential portrait.

On the Basis of Sex is a sturdy and involving drama, a little loose in the editing but certainly not a bad movie. The lead performance from Felicity Jones is energetic, intelligent and engaging and the supporting cast is solid, with Armie Hammer as the standout as Martin Ginsburg, an unsung hero who supported his wife every step of her journey, even as every other man in her life created new barriers to her success.

If you had to choose one movie on the life of Ruth Bader Ginsburg, RBG is far more essential but On the Basis of Sex is strong enough that I can recommend it.

Movie Review Official Secrets

Official Secrets (2019)

Directed by Gavin Hood

Written by Gavin Hood 

Starring Keira Knightley, Matt Smith, Matthew Goode, Rhys Ifans

Release Date October 18th, 2019

Published October 18th, 2019 

Official Secrets is the kind of sturdy, unassailable drama that director Gavin Hood is good at making. Dispassionate and a little dull, longing for colorful characters to liven up the presentation, but filled with factual interpretation that is true to the subject and dramatized well enough to hold your attention and earn most of the feelings intended by the story being told. Call it the church of being just good enough. 

Official Secrets, a title I struggle to remember even as it is a title that fits well in the context of the story, stars Keira Knightley in the true story of Katherine Gunn,  a worker bee at a British intelligence agency in the midst of the most recent Iraq conflict. The American government is pushing hard for war and Tony Blair has become George W Bush’s go-to ally for getting the pro-war message out. Everyday, the case for war is growing and it will take a revolutionary act of defiance to slow it down. 

That was the act of Katherine Gunn, an act of revolutionary defiance. Gunn stole a memo from her work interpreting and transcribing intelligence drama for the GSA. In the memo was proof that the Americans were spying on members of allied countries in hopes of pressuring those countries to vote in favor of going to war against Saddam Hussein. Releasing this explosive memo to the public would be an embarrassment to British leadership and turn the British public further against the war. 

With the help of a war protesting friend, the memo goes from Katherine, through to a reporter at the Observer newspaper, Martin Bright who, with the help of his editor, Peter Beaumont (Matthew Goode) and a fellow reporter working in America, Ed Vulliamy (Rhys Ifans), manages to confirm the information and print it in the newspaper. You assume from here that this is an inspiring story of a whistleblower but Official Secrets doesn’t seek to inspire as much as it strives to tell what really happened. 

The reality was that it took weeks before the memo was published and enough time passed that Katherine began to think it would never be printed and she was okay with that. Rather than being single mindedly obsessed with getting the truth out, Katherine is frightened and resigned to the fate of the world going to war even as she knows it should not be happening. When the memo is published, Katherine becomes exposed and rather than being inspired to the fight, she is dragged into defending herself before finally buying into her own cause. 

That’s pretty much as it happened in reality as well. Katherine Gunn became a revolutionary almost by accident. She wanted to stop the war but she was plagued by doubts and was even willing to forget about the whole thing and go on with her life while the war that she knew was illegal and unjust raged on. Katherine is a hero but a complex one and Keira Knightley does well to play that conflict and allow that to drive the narrative nearly as much as exposing the war as a fraud. 

Of course, this movie doesn’t do us much good now. Movies like Official Secrets feel obsolete in the wake of all that has happened, including the Iraq War, Afghanistan and the conflicts we appear to be readying for around the globe today courtesy of a President seemingly spoiling for a fight. It’s great to have a historic document like Official Secrets but the film doesn’t escape from the futility of the history that inspired it. 

You have a duty to stand against tyranny is a good message but not one that Official Secrets makes all that memorably or forcefully. 

Documentary Review Oceans

Oceans (2010) 

Directed by Jaques Perrin

Written by Documentary

Starring Oceans, Pierce Brosnan

Release Date April 21st, 2010 

Published April 21st, 2010 

Some of the most astonishing sights ever brought to the big screen have nothing to do with CGI, 3D or Megan Fox. These magnificent sights were captured by the patient, dedicated artists at Disney Nature who in their latest Earth Day documentary “Oceans” may make the folks at the Discovery Channel jealous.

French director Jaques Perrin helmed this awesome project that filmed in over 50 different places around the globe from the tip of South Africa to the farthest depths of the arctic to the beaches that inspired Charles Darwin and the warm waters of the Caribbean. Perrin and his crews spent more than 4 years filming with groundbreaking underwater cameras and capturing sights never before seen.

Pierce Brosnan is the voice of “Oceans” and his relaxed brogue holds together this relatively short episodic feature that doesn't so much tell a story as it strings together a series of astonishing images that holds the audience enthralled by all the beauty and wonder on display.

One will naturally assume that, despite the title, “Oceans” is a rather dry (get it?), scientific, educational and environmentally activist feature. That however, is a grand overstatement. The reality is that the images captured in “Oceans” are so strikingly, breathtakingly beautiful that the whole is as easily entertaining and engaging as it is activist or educational.

Yes, time is spent on just how much damage we have done to our oceans. Most impacting is the sight from beneath a trail of garbage floating in an oddly direct line from a river directly into the Atlantic. The filmmakers smartly avoid too much shock imagery as they take us inside fishing nets off the coast of Alaska where we see from below a cloud of blood flowing from a rising net as fishermen go in for the kill.

It’s not as impactful as the Oscar winning shock images from “The Cove” but images like the garbage and the blood are merely asides in “Oceans.”

Jaques Perrin and his crew keeps the focus of “Oceans” on the astonishing glories of the beneath the seas and in doing so keeps the audience in raw wonder as we attempt to discern just how certain images could possibly have been captured, especially the speed racer like Dolphins who cover acres of ocean at unbelievable speeds. The dolphins are filmed from above with a low flying helicopter and from below in ways that are never explained but will leave you breathless.

Disney's return to the world of nature documentaries, a field they left behind years ago after being pioneers of early nature films, is a glorious success. 2009's “Earth” was a strong effort but “Oceans” is the equivalent of Toy Story, the first Pixar feature to demonstrate the awesome, artistic possibilities of CG Animation. “Oceans” expands the limits of what we might expect from Disney Nature.

”Oceans' ' is a glorious, eye popping experience and it doesn't even need 3D. I cannot wait until next year when DisneyNature takes us into the world of Jungle Cats.

Movie Review Nowhere Boy

Nowhere Boy (2009) 

Directed by Sam Taylor Wood

Written by Matt Greenhalgh

Starring Aaron Johnson, Kristen Scott Thomas,Thomas Brodie-Sangster, David Morrisey

Release Date December 26th, 2009 

Published April 15th, 2010 

Few actors have had as good a year as quietly as 21 year old Aaron Johnson. First he blasted off into stardom with his role as nerdy kid turned superhero in the wonderfully subversive “Kick Ass.” Then, in late 2010, Johnson turned his nerd image from “Kick Ass” on its ear with a brilliant turn as a teenaged John Lennon in “Nowhere Boy,” now on DVD.

“Nowhere Boy,” directed by newcomer Sam Taylor Wood, takes us through the teen years of the iconic Beatles co-founder John Lennon. The story begins in sadness as, after a brief introduction, young John Lennon loses his beloved Uncle George to a heart attack.

It was George who had fostered John’s creativity and interest in music under the disapproving gaze of John’s Aunt Mimi (Kristen Scott Thomas) With George gone the unmoored John falls in with his older Cousin, Stan (James Johnson) who leads John to the discovery of his mother Julia (Ann Marie Duff) who had surrendered him to his Aunt following the disappearance of his father a merchant seaman.

While visiting his mother, without telling his Aunt, John discovered Rock n’ Roll, Fats Domino and Elvis Presley. Julia bought John his first guitar and watched him learn to play in her living room. As John’s grades slip at school Mimi becomes suspicious and a family showdown is inevitable. Director Sam Taylor Wood takes a good deal of creative license to bring a little extra drama to the real life events of John Lennon’s formative years but there is nothing so dramatic or untrue that it will leave fans crying foul.

The key to “Nowhere Boy” is not in the dramatized narrative of John Lennon’s teen years anyway. Rather, the key is the lively and fresh faced performance of Aaron Johnson who captures both the cocksure, comic musician side of Lennon and the vulnerable boy at his heart. Lennon was forever affected by the strange role that his mother played in his life and that comes out throughout his musical career.

“Nowhere Boy” gets its juice not only from lending a Freudian context to Lennon’s later work but by dramatizing the history of The Beatles like never before. Sam Taylor Wood gives us as close an approximation as we are likely to get of the events that created the greatest rock band of all time.

Through the performances of Aaron Johnson as Lennon, Thomas Brodie Sangster as a pubescent Paul McCartney and Sam Bell as George Harrison we get a glimpse at music history never before seen. Nowhere Boy succeeds in revealing John Lennon and the ways his childhood influenced the rest of his life and when you hear songs like “Mother” you will flash back to this film and be awash in new and more poignant meanings.

The same could be said of several other Lennon solo records as well as Beatles classics should one want to parse their psychology but my point is merely that Nowhere Boy works as both a companion piece to the legendary John Lennon canon and as a stand alone drama of one young man’s journey toward unlikely success. In Aaron Johnson’s ultra-cool performance we get the John Lennon we imagined as a young man, cocky, funny and ungodly talented with just a hint of a haunted soul.

Movie Review Nothing Like the Holidays

Nothing Like the Holidays (2008) 

Directed by Alfredo De Villa 

Written by Allison Swan, 2 other screenwriters

Starring Luis Guzman, John Leguizamo, Debra Messing, Alfred Molina 

Release Date December 12th, 2008

Published December 11th, 2008 

I have nothing really interesting to observe about Nothing Like The Holidays. I watched it with my friend and fellow critic Linda Cook and after it was over, instead of talking about it, we immediately started talking about Frost/Nixon, Doubt, Rachel Getting Married and other such movies that still have not come to our neck of the woods.

There is nothing horribly wrong with Nothing Like The Holidays. It's just that, I watched it and when it was over it fell almost completely out of my consciousness. Now, as I sit down to write about it, it's a struggle to remember salient plot details for a description. IMDB reminds me of the actors and the roles they played but I cannot remember who was who and why without checking the reviews from other critics. What more is there to say?

Nothing Like The Holidays is a Christmas movie about a Puerto Rican family in the Humboldt Park neighborhood in Chicago. I could write lovely little things about this melting pot of a neighborhood but that would involve little about the movie I am supposed to be writing about.

I could dwell on the racial aspects of Nothing Like The Holidays but I think equality calls on me to treat this movie as I would any other holiday movie and not single out the Latino aspect as something special, though historically, sadly, it is notable.

It is notable, though the film's content, characters, and humor is far from notable. Mostly because I have forgotten about it. If this review seems overly hateful, it's not intentional. Nothing Like The Holidays isn't a disaster. It's just wildly mediocre and entirely forgettable.

Movie Review Not Easily Broken

Not Easily Broken (2009) 

Directed by Bill Duke 

Written by Brian Bird

Starring Morris Chestnut, Taraji P. Henson, Kevin Hart, Wood Harris, Jennifer Lewis 

Release Date January 9th, 2009 

Published January 9th, 2009 

I think we can all be forgiven for mistaking Not Easily Broken for yet another Tyler Perry production. A serious minded drama about a middle class African American couple with marital problems who often turn to religion for answers. All you need is Madea head snapping her way through some life lessons and you have a typical Tyler Perry product.

If that sounds like a negative critique it's not meant as such. The fact is, Perry has grown as an artist over his relatively short feature film career and with his good heart and great intentions, any film would be lucky for the comparison. The makers of Not Easily Broken can be thankful for the comparison. Though the film is not as thoughtful and compelling as Perry's Why Did I Get Married? It has similar goals and ideals and comes close to the quality.

Not Easily Broken stars Morris Chestnut and Taraji P. Henson as Dave and Clarice, a married couple on the verge of divorce. After nearly 15 years of marriage the spark is gone and the couple spends most of their time arguing. Clarice can't stand that Dave spends so much of his time coaching a little league team in the inner city. He says he might be more inclined to stay home if he had a son of his own.

Clarice is making great money in real estate and feels that having a child would derail her career ambitions. The dispute is made worse when a car accident leaves Clarice with a shattered leg that will require a lot of time and therapy. The injury invites Clarise's overbearing mother, Mary (Jennifer Lewis) to move in to care for her daughter and further drive the wedge between husband and wife.

Mary has never liked Dave. Then again, as we learn throughout, she's never really liked any man since her husband ran out on her. To make matters more complicated, Dave develops an off work relationship with Clarice's physical therapist, a white woman named Julie (Maeve Quinlan) that could develop into something more than flirtation.

Julie has a son that Dave takes an interest in much to the chagrin of Clarice and the suspicion of even his closest friend, Brock (Eddie Cibrian), who has his eyes on the single mom.

Whether Dave and Clarise can save their marriage or if he might be better off with Julie is not so much the subject of Not Easily Broken as it is a plot point, albeit a dramatic plot point. What is of more interest to director Bill Duke is observing the little ways in which people who love each other can find ways to hurt each other.

Whether it's husband and wife, mother and son in  law, mother and daughter or just friend and friend, the people we care about are often the people who can hurt us the most. Duke observes this idea well even as it gives the movie a little bit of distance from a narrative drive that would make it more compelling.

In that way it's quite similar to Chris Rock's similarly themed I Think I Love My Wife. Both films are driven by the observation of behavior rather than in telling stories that are truly compelling in a classical movie fashion. There is nothing wrong with that approach except that it can leave many audiences expecting a plot that moves them along from one scene to the next wondering when something is actually going  to happen.

As this movie is based on a novel by the Reverend T.D Jakes, things do often come back to religion and director Bill Duke could not have chosen a more authoritative voice for the church than actor Albert Hall. In his brief scenes as the pastor who presided over Dave and Clarice's wedding and later as their counselor and confessor, Hall conveys wisdom and power with his words without being overbearing or relying on religious homily. It's a common sense approach that happens to be backed up by the moral force of religion.

Not Easily Broken is not a typical movie. The plot moves glacially and is more interested in the mini-moment than in moving audiences toward expected conclusions. The conclusions come eventually but they take a while. This will bore some audiences. However, if you're like me, you may be compelled by the little observations. You have to fill in a few of the blanks yourself to make the time pass and the film cheats a few times to score emotional points, but Not Easily Broken, for me, is a moving, well intentioned work of care and honesty.

Movie Review Nobody's Fool

Nobody's Fool (2018) 

Directed by Tyler Perry

Written by Tyler Perry 

Starring Tika Sumpter, Tiffany Haddish, Whoopi Goldberg

Release Date November 2nd, 2018

Published November 3rd, 2018

Nobody’s Fool is marketed as a platform for the brilliant Tiffany Haddish, one of the breakout stars of the last two years. The trailer for Nobody's Fool would have you believe that Haddish is being set loose in the kind of the leading role that plays to her strengths as a force of nature style performer who dominates the scene by being more alive than everyone around her. Finally, after the promise of Girls Trip and all of the buzz about how much Haddish is the next big thing we were supposed to see Tiffany Haddish step forward into the spotlight.

Nope! Tiffany Haddish is not actually the lead actress in Nobody’s Fool. Tika Sumpter, a nice actress in her own right, is actually in the traditional romantic lead of Nobody’s Fool. Haddish is, instead, a proxy for writer-director-executive producer Tyler Perry who employs Haddish as an avatar for his Madea character. Little of what Haddish does in Nobody’s Fool is anything Perry hasn’t done with Madea in other movies and as you can imagine, that’s a pretty big waste of Tiffany Haddish.

Nobody’s Fool is the story of Danica (Sumpter), a successful, sexy, young woman who we meet when she rolls out of bed and dances to Janet Jackson’s Miss You Much, a song appropriate for the fact that she misses her boyfriend Charlie (Mehcad Brooks), who she’s never actually met in person but is in love with. Danica may not see her boyfriend but thankfully she’s not short on male attention as Frank (Omari Hardwick) from the coffee shop next to her office romances her everyday with free coffee and a rose.

Danica’s happy, well-ordered life of privilege is thrown for a loop when her sister Tanya (Haddish) is released from prison and their mother, Lola, played by Whoopi Goldberg, forces Danica to take Tanya in. Tanya then immediately gets a job at Frank's coffee shop and sets about screwing up every aspect of her little sister’s life. First she figures out that Danica is getting Catfished by Charlie by literally getting the guys from MTV’s Catfish to investigate Charlie.

Then she manipulates Frank and Danica into bed together where they begin falling in love only to have a major monkey wrench thrown into the story that I won’t spoil if you still want to see this despite my not recommending that you skip it. It’s an unpredictable twist to be sure but it is also incomprehensibly stupid. I can’t fully go into how dimwitted this twist is without spoilers, all I can say is that an utterly embarrassing cameo by Chris Rock is the rotten cherry on top of all the bad decisions that culminate in this twist.

Where to begin with the misguided mistakes of Nobody’s Fool. The most egregious from my perspective comes in how Tyler Perry uses his supposed star, Tiffany Haddish. Haddish’s foul-mouthed, supernova charisma made her a star in Girls Trip but here, that same nasty charm is used to make Tanya an avatar for the awfulness of Tyler Perry’s usual Madea schtick. Every line out of Tanya’s mouth could be lifted from past Perry movies where his drag character Madea is little more than a series of unfunny, dirty, non-sequiturs that go on for seemingly hour after pointless hour.

Haddish still manages to shine through the box that Perry is shoving her into because she’s far more talented than the hacky character she’s being forced into. The charisma monster of her Girls Trip persona cannot be contained and occasionally in Nobody’s Fool we get a little of that character such as a scene where she is offered a job at the coffee shop and can’t resist offering the owner some sex as a thank you. It’s horribly inappropriate but it’s delivered with a devilish energy that is irresistible.

Sadly, that type of scene is limited in Nobody’s Fool. Surprisingly, Haddish is kept offscreen for a great deal of more time than you expect also. I mentioned before that we were suckered into thinking she was the lead character in Nobody’s Perfect, and we were. She’s unquestionably in a supporting role here despite being multiple times more interesting than the sweet but otherwise bland Tika Sumpter.

That’s not Sumpter’s fault really, Tiffany Haddish is simply not a performer who melts into the background of an ensemble. It would be like having Bugs Bunny in a scene and having him just stand there and listen while someone earnestly explains the plot of the story. That simply doesn’t work, not for Haddish whose character lacks the patience to be in the background and not for the movie which casts her and asks us to accept when she’s not out front. All we can think is, when is Tiffany going to do something wild?

That’s a perception problem created by us and by the movie. It’s our fault for expecting Tiffany Haddish to be a particular way as an actress but it is also the fault of the marketing team that put her front and center and made promises that the film does not keep. We were promised a Tiffany Haddish movie and we got a Madea movie minus Madea. Tiffany Haddish is way better than Madea boo. A Madea movie is still no prize, even without the sight of Tyler Perry in drag.

If you do decide to see Nobody’s Fool despite my warning just remember that I told you so. Tiffany Haddish is not the star of this movie. She tries, and occasionally, she overcomes Tyler Perry to find a joke that works, but mostly she’s stuck playing out tired Madea gags with an energy and life that are commendable on her part as a professional but misguided because this movie doesn’t deserve Tiffany Haddish.

Movie Review No Reservations

No Reservations (2007)

Directed by Scott Hicks 

Written by Carol Fuchs 

Starring Catherine Zeta Jones, Aaron Eckhart, Abigail Breslin

Release Date July 27th, 2007

Published July 26th, 2007

Mostly Martha was a dull, by the numbers, German romance that is memorable only for the delectable foods on display. All of the cakes with gleaming frosting and the lovingly prepared German dishes leapt off the screen and tantalized the taste buds. The romantic plot, the family plot, failed to be more interesting than the food.

Now that American filmmakers have gotten their hands on it, Mostly Martha has become No Reservations. Missing is the loving attention to the food. Left in place, unfortunately, is the dull romance and and a somehow even more dull family drama.

Kate (Catherine Zeta Jones) lives a regimented existence, she lives for her work as a chef at a top notch New York eatery and nothing more. Her routine often includes a minor tantrum, such as when a customer complains about her food. Kate has no compunction about forcefully confronting customers, a habit that has her in therapy on a regular basis, at the urging of her boss Paula (Patricia Clarkson).

Kate's tightly controlled life is upended when a planned visit by her sister ends tragically before it begins. On her way to see Kate with her daughter Zoe (Abigail Breslin), Kate's sister is killed in a car accident. Zoe survives with minor cuts and bruises. Now it is left to Kate to try and care for this girl who is her biological relation but may as well be an alien to Kate.

Things are also difficult at work where Kate's sous chef has left and the boss hired a new guy without speaking to Kate first. His name is Nick (Aaron Eckhart) and he has a different way of doing things than Kate is used to. Nick quickly disrupts Kate's kitchen and could be after her job. The tension naturally leads to romance but with a number of major obstacles, not the least of which is Kate herself.

Scott Hicks (Shine) directs No Reservations with flair and professionalism. However, no scenarist, no matter his talent, could make this mundane story any more than it is. No Reservations is a simple romance in which obvious roadblocks are thrown in front of destined lovers. Without the will they/won't they suspense, what is left is to find one unique element that separates this movie from others of the same genre.

For No Reservations the unique element might be the food. However, the food barely registers in No Reservations. Unlike another 2007 food movie, the wonderful Ratatouille, No Reservations does not leave one hungering for the tasty delights. The restaurant in No Reservations is just an active background and the food is just a prop. That leaves the predictable story and dull romantic comedy conventions to carry the movie.

The one thing that No Reservations has going for it is the appealing cast. Catherine Zeta Jones is a vision even when hampered with such a derivative role. Aaron Eckhardt continues to carry that charismatic glint in his eye that has long promised stardom but has yet to pay off. And finally, Oscar nominee Abigail Breslin remains a sweetheart even in a role that seems a bit beneath her talents.

Catherine Zeta Jones and Aaron Eckhardt do spark quite a bit in the romantic moments of No Reservations. Unfortunately, both are undone by their mediocre surroundings. No Reservations is simply too predictable, too rote and too familiar to be anything more than admirable. Likable actors, a pro director all unfortunately tied to an overly familiar plot.

Worst of all, No Reservations isn't funny enough.

Catherine Zeta Jones is a fine actress and a welcome film presence. No Reservations, unfortunately, is beneath her talent. This rote, formula romance pushes her and her co-stars from one scene to the next on an inexhaustible wave of clichés and scenes dictated by romantic comedy formulas. This is why so many critics say that the romantic comedy is dead, even the audiences that love them are tired of this formula.

Movie Review No Country for Old Men

No Country for Old Men (2007) 

Directed by The Coen Brothers

Written by The Coen Brothers, Cormac McCarthy

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

Release Date November 9th, 2007

Published November 8th, 2007

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Movie Review Ninja Assassin

Ninja Assassin (2009) 

Directed by James McTeigue

Written by J Michael Straczynski 

Starring Rain, Naomi Harris, Rick Yune

Release Date November 25th, 2009

Published November 25th, 2009

Rain is a Korean pop star with a massive worldwide following. His bio says that he has sold out Madison Square Garden and done sold out dates in Las Vegas. In 2007 Rain was named one of Time Magazine's 100 Most Influential people in the world. And through all of Rain's accolades I have remained completely oblivious to him.

Now, Rain has what I assume is his first starring role in an American feature film. In Ninja Assassin the back up dancer turned pop star turns action hero as an unstoppable ninja out for revenge against the clan that raised him.

As a very small child Raizo (Rain) was snatched from his birth parents and taken to a remote mountainside dojo. There, he was raised by Ozunu (Sho Kusugi) to become a Ninja Assassin. For the price of 100 pounds of gold the Ninja Assassin will kill anyone and anywhere. It's not long before Raizo shows himself to be Ozunu's top student.

Cut to Berlin where the death of an ex-KGB Agent has caught the eye of an Interpol Agent named Mika (Naomie Harris). Her investigation has lead to one conclusion, he was killed while investigating Ninjas. Naturally, her boss Maslow (Ben Miles) is more than a little skeptical of her findings.

Skepticism soons turns to belief after Mika is nearly killed by Ninjas. She was saved by Raizo who, having escaped from Ozunu's clan, has vowed to destroy his former brothers and his master.

That is a great deal more plot than anyone expected from Ninja Assassin. Don't worry, the blood soaked violence is not shoved aside for a lot of talky story stuff. Flesh is torn and blood and body parts are scattered all over the place. Trust me, if you're looking for gory sword slicing ultra-violence you will be quite satisfied with Ninja Assassin.

Director James McTeigue delivers a visceral, violent low brain, low budget gore fest that brims with hardcore violence and drips fake blood all over the place. All that is missing is digital 3D just so the audience could feel as if the blood splatter were coming right at them.

Is Ninja Assassin a great work of cinema? No, but for low budget blood and guts, Ninja Assassin offers a few thrills as a passable bit of grade Z movie making.

Movie Review Nine

Nine (2009) 

Directed by Rob Marshall

Written by Michael Tollin, Anthony Minghella 

Starring Daniel Day Lewis, Marion Cotillard, Penelope Cruz, Nicole Kidman, Kate Hudson

Release Date December 18th, 2009

Published December 17th, 2009 

The musical “Nine” starring Antonio Banderas is a middling attempt to bring Federico Fellini to the masses. Italy's legendary surrealist director has, since his turn to surrealism after successfully defining Italian cinema and culture in the 1950's, been a mystery to most. Creative types have always felt that they understood what the Italian master was after and Maury Yeston, who wrote the music for the Broadway production, was apparently one of those creative types; so much so that he felt the need to water down Fellini with tired song and dance and a three act structure.

Now, Yeston's watered down work becomes a slightly more sophisticated but still wrongheaded movie musical. Oscar winner Rob Marshall is the latest to see the need to explain Fellini's genius to the great unwashed and like Yeston, he is a fabulous failure.

The story of “Nine” surrounds Italian director Guido Contini (Daniel Day Lewis), our substitute Fellini,  who, pushed by his producer, is about to begin production of his latest film “Italia.” This is despite the fact that he hasn't written a word of the script. Guido has lost his inspiration and calls upon the many muses of his past to bring a story to mind.

These muses include his wife Luisa (Marion Cotillard), his mistress Carla (Penelope Cruz), his late mother (Sophia Loren), his long time star, Claudia (Nicole Kidman) and a sex worker (pop princess Fergie) who taught him and his friends a little of the birds and bees decades ago. Meanwhile, he seeks advice from his best friend and costume designer Lilli (Judi Dench) and a little ego stroke, among other things, from a journalist named Stephanie (Kate Hudson).

Each of these women offer Guido a song or two, belting out their inner monologues, mostly about what a genius he is, save Luisa who calls him out for the bastard philanderer he truly is. If you have always held the impression that directors are self involved egotists, these songs, this film, will do little to disabuse you of that notion.

“Nine” is a shambling disaster for most of its run time. We are informed from the first moment that Guido is a genius but he is never required to demonstrate any kind of genius. When Lewis gives him voice for the first time he might explain a little about Guido but it's hard to hear over the gales of laughter elicited when his Italian accented singing is compared, not so favorably, to Jason Segal's singing Dracula puppet in “Forgetting Sarah Marshall.”

The rest of the cast is far stronger in singing with Cotillard, naturally, the stand-out. The actress who won an Academy Award for her portrayal of Edith Piaf in “La Vien Rose” proves once again to be a natural and charismatic singer. Meanwhile, Kate Hudson is the surprise of the singers. Hudson has the film's one original song, “Cinema Italiano,” and it is the one really lively moment in the film, if not the most coherent or necessary.

Rob Marshall dismisses narrative coherence for a series of Guido's masturbatory fantasies, interrupted from time to time by his wife and a little Catholic guilt. Every woman in the film is asked to bow to his brilliance and their bowing is treated as evidence of his genius. Yet, never once does Guido have to prove his brilliance. This might not be a problem if Daniel Day Lewis gave Guido any dimension beyond a tortured libido.

Speaking of tortured, for a movie about Fellini, whose fanciful work included clowns, strolling musicians and endless parades, “Nine” tends toward a dirge. From Day Lewis's tortured “Guido's Song” opener to the feature tune “Be Italian,” sung by Fergie, the songs of “Nine” are a slog. “Be Italian” sounded rather brilliant in the film's exceptional trailer but in the film it becomes not a celebration of Italian culture but a command from a taskmistress.

“Be Italian” is a major misstep from Director Marshall who fumbles not just the song, staged a little too much like something from his far better musical “Chicago,” but the back story. Fergie's sex worker character is a turning point in the life of Guido Contini, a moment that shaped the way he treated women the rest of his life. Yet, do we see Fergie getting sexy and giving young Guido a truly formative memory? No, instead we cut from Marshall’s lame staged song to scenes of Fergie cavorting with child Guido and pals like a slightly creepy babysitter.

What could have possessed anyone to want to bring a Fellini type to the big screen in such a conventional and old fashioned manner? It's typical of the arrogant audience to talk down to the masses but how is this spoon-feeding of Fellini supposed to entice anyone to want to see 8 1/2 or Satirycon or even Fellini's more conventional films such as La Strada or Nights of Cabiria? Trust me dear reader when I tell you that Nine will not be able to prepare you for the wondrous surrealist brilliance of Federico Fellini. Nor will it prepare you for his brilliant use of subtlety and sadness. 

Nine is like Fellini for Dummies minus any actually helpful information. On top of failing as a tribute to Fellini, Nine simply fails as a movie. Take the inspiration away and all that is left is this boorish, tin-eared mess of a movie made by people who think dumbing down art to the lowest common denominator is the only way to promote great art to the masses. How dreadful is that? 

Movie Review Nim's Island

Nim's Island (2008) 

Directed by Jennifer Flackett

Written by Joseph Kwong, three other screenwriters

Starring Jodie Foster, Abigail Breslin, Gerard Butler 

Release Date April 4th, 2008

Published April 3rd, 2008

Jodie Foster hasn’t been known as a comedian since her mischievous youth as a Disney star. Her career changed forever with Taxi Driver and since that time, her comic roles have been few and far between. The surprise of her comic talents, lying dormant since her sassy performance in Maverick more than a decade ago, makes her slapstick heavy comic performance in the family flick Nim’s Island something of a delight. Though the film overall is a slight, messy mixture of Home Alone crossed with Fantasy Island, Foster makes it tolerable and occasionally delightful with her constantly surprising performance.

Alex Rider is an Indiana Jones like character and a hero to young Nim (Abigail Breslin) who lives for his adventures like some kids live for the next American Idol. Living on a deserted island in the south pacific with her dad Jack (Gerard Butler), Nim doesn’t have a TV or video games like most kids so her Alex Rider novels and her many animal friends are her entertainment. When her marine biologist father has to go away for a few days, Nim is left to care for an animal friend about to give birth. That is when an email arrives from her hero Alex Rider asking her about the wonders of her island, he’s researching his next big adventure.

Or should I say, her next big adventure. You see, Alex Rider is actually Alexandra Rider (Jodie Foster) an agoraphobic writer who, despite imagining some amazing adventures, has not left her home in years. When she hits on a bout of writer's block she turns to the writing of Jack, Nim’s dad, who wrote an article about volcanoes that Alex thinks could make an exciting adventure. Her email finds Nim and the two begin a friendly correspondence. However, when Nim reveals that her father has gone missing there is only one thing for Alexandra to do, she must find the courage to leave her home for the first time in years and find some way to get to Nim.

Directed by newcomers Jennifer Flackett and Mark Levin, Nim’s Island is a sweet, safe bit of disposable family entertainment. Abigail Breslin, the Little Miss Sunshine Oscar nominee, is her usual cute self but it is Jodie Foster who steals the movie with her wildly offbeat performance. Chatting often out loud to her fictional character Alex Rider (Gerard Butler again), she goes all out allowing herself to look completely nutzo and somehow it works. Her chemistry with Breslin is motherly and very sweet, this is a very different Jodie Foster from the hard bitten New Yorker of The Brave One.

If only Nim’s Island were more focused on Foster and Breslin’s chemistry. Unfortunately, the film diverts with a subplot about a ship called Buccaneer, a group of ugly tourists and Nim pulling a Macauley Culkin to keep bad guys from turning her home into a tourist trap. This subplot is distracting and meant only as very obvious filler material. More time with Foster and Breslin and less time with goofball subplots and Nim’s Island could be so much more than just merely distracting.

Good, not great, Nim’s Island is above par family entertainment that should be much better than it is.

Movie Review Nightcrawler

Nightcrawler (2014)

Directed by Dan Gilroy

Written by Dan Gilroy

Starring Jake Gyllenhaal, Rene Russo, Bill Paxton, Riz Ahmed

Release Date October 31st, 2014

Published October 30th, 2014

This article contains spoilers for the movie Nightcrawler. If you haven't seen it, see it and come back for this article. If you have seen it, be sure to share your thoughts in the comments. 

“Nightcrawler” tells the story of Lou Bloom (Jake Gyllenhaal), a professional criminal in search of a job that can combine his blind ambition with his lack of a moral compass. He finds such a job when he witnesses a professional cameraman, Joe Loder (Bill Paxton), crawling over policemen and firefighters to get as close as possible to a fiery car accident. Joe’s ethos is ‘If it bleeds, it leads.' Lou never knew such a job existed; one that could nurture his lack of empathy and his blind ambition. 

Nina Romina (Rene Russo) is the perfect enabler for Lou Bloom. His equal in blind ambition and desperation, Nina is the 3rd shift News Director for the last place network in Los Angeles. When Nina meets Lou, she’s not all that impressed but desperate for a top story with some blood on it, she buys Lou’s footage and he gets his foot in the door. When next they see each other Lou has gone to some obviously ethically challenged lengths to get footage inside of a home that was struck by bullets from a drive by shooting. While Nina’s colleagues recognize the trouble with the footage, Nina has dollar signs in her eyes and buys the footage to air as the lead on that night’s newscast.

In Joe Loder and Nina Romina, Lou Bloom finds a unique parentage. In meeting Joe Loder and finding out what he does for a living the true Lou Bloom is born. When Joe rejects Lou, refusing Lou's attempts at friendship and job-seeking, Lou goes into business for himself and finds a welcome mothering figure in Nina. We can see in their first interaction that Nina has a soft spot for the soft spoken and unassuming Lou. When Lou begins delivering one big exclusive video scoop after another her pride in her pseudo-progeny bursts forward like that of a proud mother.

Things become twisted as Lou competes with Joe for scoops and the rivalry turns violent when Lou literally attempts to kill Joe by sabotaging Joe's mobile news van. If you posit Joe as a father figure to Lou by his having inspired Lou's new profession then the symbolism here becomes very important. Lou has eliminated the competition for the attention of Nina, also his top business competition and rival for Nina's money.

Then Lou turns his full attention to Nina, first demanding a date and when his advance is rebuffed he goes further by demanding a sexual relationship. Having removed his main rival for Nina's attention and money, Lou has a grave advantage over Nina and presses that advantage to take what he wants; sleeping with his surrogate mother/benefactor, sealing his true identity as a psychopath.

In the end, "Nightcrawler" is the story of Lou Bloom's journey to realization of his true nature. Yes, he was a psychopath before the movie began but once he meets Joe and Nina, the evolution towards accepting his true nature begins. We see him explore his amoral world, find his footing in a place where his lack of empathy, concern for others and blind, frothing ambition are welcome traits and in finally taking Nina as his conquest and vanquishing his rival, we find a man fully realized in all his psychopathic glory

Horrifying as it most certainly is, this strange arc makes Nightcrawler an endlessly fascinating character study. In Jake Gyllenhaal we have an actor capable of giving Lou Bloom's growing mania and lack of empathy a wide range of expression. Gyllenhaal's ability to switch gears from sniveling conniver to over-confifdent badass is something impossible to look away from. The birth and quick evolution of Lou's new persona, the perfect expression of his unwell psyche, is utterly riveting. 

Dan Gilroy's crisp, clean direction, gives remarkable life to the story of Nightcrawler. The film's imagery is vital and viscreral, it couches Lou Bloom in a very recognizable reality that he can stand out from as he becomes more and more deluded and dangerous. Lou Bloom both fits in perfectly amid the outsized characters who chase the news and stands apart from them as his actions express the the often ugly extremes of our modern news culture.

And yet, there is so much more to Nightcrawler., Each relationship Nick carries out in Nightcrawler is rife with meanings that can be parsed for days. I mentioned the pseudo-parental figures of Paxton and Russo and just take a moment to consider those relationships in the context provided by Nightcrawler. Each is rife with taunting questions about the parent child dynamic, the boss and subordinate dynamic and the passive and aggressive dynamic, the one that arguably defines much of Nightcrawler as Lou quickly moves from passive bystander to the aggressor in every aspect of his life. 

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