Movie Review: Cowboys and Aliens

Cowboys and Aliens (2011) 

Directed by Jon Favreau

Written by Roberto Orci, Alex Kurtzman, Damon Lindelof, Mark Fergus, Hawk Ostby

Starring Daniel Craig, Harrison Ford, Olivia Wilde, Sam Rockwell, Adam Beach, Paul Dano

Release Date July 29th, 2011

Published July 28th, 2011

Why isn't Cowboys and Aliens the biggest event in popular culture ever? With the elements that the film has in place there is simply no excuse for this film to not be the biggest moment in pop culture, at least in this short century. Consider that we are talking about the combination of two of the most popular genres ever, western and science fiction. And that the film stars both James Bond (Daniel Craig) and Indiana Jones (Harrison Ford), not to mention Han Solo and Jack Ryan.

How about the fact that Cowboys and Aliens was produced by a Hollywood dream team that includes Ron Howard, Brian Grazer and Steven Speilberg. To top it all off, this geek god of a movie was directed by the director of Iron Man 1 & 2--himself a cult figure for his role in Swingers--Jon Favreau. I ask again: Why isn't Cowboys and Aliens the biggest pop culture event ever?

Somewhere in the old west a man who doesn't yet know that his name is Jake Lonergan (Daniel Craig) awakens in the desert. His memory is gone, he's wounded and he has some sort of device strapped to his wrist. Eventually, Jake makes his way to the town of Absolution where everyone is under the boot of Col. Woodrow Dolarhyde (Harrison Ford).

Unknown to Jake, he and Dolarhyde have a history; Jake robbed a stagecoach full of Dolarhyde's gold before his memory loss and subsequent desert awakening. Before Dolarhyde and Jake can have it out however, an alien spaceship attacks and begins kidnapping townsfolk. Suddenly, Jake's new jewelry comes to life and he's able to destroy one of the alien ships.

Now, Jake and Dolarhyde must team up with a posse that includes a little kid, a dog and a woman, Ella (Olivia Wilde) along with a preacher (Clancy Brown), a saloon owner (Sam Rockwell) and several random posse members who act as cannon fodder for subsequent alien attacks. Together this disparate band must traverse the desert, find the alien HQ and get their people back.

Cowboys and Aliens was adapted from a graphic novel by Scott Mitchell Rosenberg though how much of his original story remains is anyone's guess. At least six different writers have credits on the screenplay of Cowboys and Aliens including Lost co-creator Damon Lindelof, the Star Trek reboot team of Roberto Orci and Alex Kurtzman, The Simpsons staff writer Bill Oedenkirk and the Iron Man team of Mark Fergus and Hawk Ostby.

Wrestling these different visions into one mostly cohesive whole is director Jon Favreau who does pull off the Herculean task of making Cowboys and Aliens a believable combination of old school western and high end sci-fi while wrangling this wild horse of script into one well told story. Unfortunately, what is lost in the mix is a sense of humor as well of a sense of the film's place in popular culture.

For some reason, Jon Favreau wants us to take Cowboys and Aliens seriously. Both stars, Daniel Craig and Harrison Ford, deliver taciturn, old west tough guy performances that feel authentic but lack the awe, wonderment and humor that this goofy sci-fi story calls for. The film needed a Will Smith injection; a character who we can believe will hold up in a fight and yet has the aplomb to be impressed by the situation he finds himself in.

Cowboys and Aliens also suffers from a lack of cultural awareness; director Favreau wants to pretend that he is making an old school western that happens to have aliens. Favreau also wants to pretend that his stars are not weighted by pop culture history; why else has the film's marketing failed to mention that one of the stars is James Bond and the other is Indiana Jones?

You simply cannot cast Daniel Craig and Harrison Ford and not find some way to pay homage to their place in the culture. This head in the sand approach blunts the impact of everything they do in the film. We in the audience crave the release of having someone reference how huge all of this is and no one does. This is where the lack of a sense of humor comes into play; a sense of humor would find some way to make a joke about spies or the territory of Indiana, or an offhand reference to something about a Star War.

That however, would not have played into Jon Favreau's misguided choice to play the material of Cowboys and Aliens as a straight western that happens to have aliens attacking. On its own merits Cowboys and Aliens is well crafted, a little fat in the run time at over two hours, but solidly built aside from its lack of humor. Matthew Libatique's cinematography is terrific, the special effects are eye catching and believable, the film simply lacks the proper amount of awe.

In the end, if Jon Favreau did not want the weight of pop culture on his old school, John Ford Western that happens to have Aliens, he shouldn't have cast James Bond and Indiana Jones. Favreau set the pop culture table and then refused to serve it and that leaves Cowboys and Aliens a well made but slightly bland feast.

Movie Review The Change Up

The Change Up (2011) 

Directed by David Dobkin 

Written by Jon Lucas, Scott Moore

Starring Jason Bateman, Ryan Reynolds, Leslie Mann, Olivia Wilde

Release Date August 5th, 2011

Published August 5th, 2011 

Body switching comedies were all the rage in the 1980's. Back then George Burns became Charlie Schlatter, Judge Reinhold became Fred Savage and Dudley Moore became Kirk Cameron. Why anyone would think they could improve out on that genre gold is beyond me and yet, we have The Change Up in which Ryan Reynolds become Jason Bateman and vice versa.

Dave (Bateman) is a family man who's grown tired of his routine of diaper changes and no sex with his beautiful wife Jamie (Leslie Mann). Mitch (Reynolds) is an overgrown child who sleeps with any woman who looks at him and spends his days getting high when he isn't acting in softcore porn movies.

When the two life long friends get together for a beer and a game they end up confessing how they envy each other's lives. Unfortunately, they happen to be urinating in a magic fountain when they make their mutual confessions and the next morning they wake up with their bodies switched.

Now, Dave has to pray Mitch can go do his job at his law firm well enough to secure his promotion to partner while not neglecting his life at home with Jamie and their three kids including twin babies. Mitch, meanwhile, has nothing whatsoever at stake for Dave to screw up save for his regular Tuesday night sex-fest which Dave refuses to honor for reasons that you must experience for yourself.

The Change Up was directed by David Dobkin the director of The Wedding Crashers, a film that brought a little bit of heart to a very R-rated premise. Dobkin attempts to bring the same amount of heart and low brow humor to The Change Up but it simply doesn't work; Jason Bateman and Ryan Reynolds lack the magical chemistry of Vince Vaughn and Owen Wilson.

The problem is the character of Mitch who is such an unredeemable dirtbag he makes it impossible to care about his story arc. We are invited to empathize with him but we are never given a good reason to actually offer that empathy. It's hard to feel sorry for a guy whose biggest problem is a bad relationship with his father; played by Alan Arkin, a bad relationship that is clearly his own fault.

The R-Rated gags of The Change Up are kind of funny here and there; especially funny is Reynolds who finds himself in the worst possible situations with women. After the body switch poor Dave has to avoid cheating on his wife with one of Mitch's women and has to fight off sex with Olivia Wilde, which is a Herculean task.

I'm not going to tell you that The Change Up isn't funny; there are a number of big laughs spread throughout the film. The problem is a story that requires you to sympathize with a character, Mitch, who is not sympathetic and who, when played by Bateman, is an idiot and a jerk without being a funny idiot jerk.

Movie Review High Tension

High Tension (2005) 

Directed by Alexandre Aja

Written by Alexandre Aja, Gregory Levasseur

Starring Cecile De France, Maiween, Phillippe Nahon

Release Date June 10th, 2005

Published June 10th, 2005 

I must say I was quite impressed with Lions Gate Films' commitment to High Tension. Often, when a studio acquires a foreign picture, it's treated like a low-budget product--rolled out slowly and oftentimes drops onto video before anyone outside of New York or Los Angeles even knows it exists. So for that, I give LGF credit; they have shown a great deal of courage pushing High Tension as a major release.

However, I must question, why this film? Why did this little French horror pic earn the faith of the studio when superior products have, in the past, languished? (Anyone remember the brilliant May?) The fact is that while LGF has shown great faith in this flick, it's not really worthy of that faith. A B-movie exploitation flick at best, High Tension is of the rare breed of bad foreign films. Rare because, usually, bad foreign films don't even make it to the U.S.

College friends Marie (Cécile De France) and Alex (Maiwenn La Besco) are spending the summer at Alex's parents' newly-purchased French farm, somewhere in the middle of nowhere. The place is kind of creepy, surrounded on all sides by cornfields and with no unnatural light anywhere. It's the perfect place for an insane killer to wreak unpoliced havoc.

And wouldn't you know it, there happens to be a nutcase patrolling the area in search of new victims. Phillippe Nahon plays the stalking killer whose method is pretty straightforward: invade a home; and kill, kill, kill. His violence is more brutal than your average American movie killer. Much more blood and gore than we've seen from the recently neutered genre that, in America, has succumbed to the monetary menace of the PG-13 rating.

Marie manages to hide herself away as her friends' family is brutalized and Alex herself is held till last and finally taken prisoner. This is where things begin to get goofy, with one of the all-time most nonsensical twists ever put to film. I have been debating whether or not to delve into spoilers here, as I think they could be quite constructive to reviewing the film. However, I will not, mostly because I just can't figure out what the spoilers are.

The film tips its hand with about forty minutes left, but then persists with scenes that fly in the face of that very twist. When the twist does come, it's predictable but incomprehensible--as if the film were directed two different ways and then combined in a blender.

Director Alexandre Aja has a flair for horrific violence and disturbing imagery. Watch for the killer's introduction, as it's one of the few memorable moments in the film. Aja, unfortunately, doesn't seem as interested in directing a horror film so much as an exploitation film of the Joe Bob Briggs, late-night-theater variety. A good example is Maria's masturbation scene intercut with the violence of the killer's arrival. Good scene for an exploitation film; however, Aja is not fully committed to exploitation either.

The film is bereft of the cheap thrills that make exploitation sickly entertaining. The masturbation scene is fully clothed and there is only a brief bit of nudity. The film was rumored to have been cut extensively to get down to the more audience-friendly R-Rating from the box office kiss-of-death that is NC-17. On the bright side, that could mean a heck of a Director's Cut DVD.

One might wonder if the cutting room floor is the resting place for the footage that helps High Tension make any sense at all. Maybe the scenes that tie together the utterly incomprehensible twist are all so disgustingly lascivious, they had to be cut. Whatever the explanation, High Tension remains a dopey, nonsensical horror film with violent potential unrealized by poor editing and a ludicrous story.

Movie Review: Turn the River

Turn the River (2008)

Directed by Chris Eigeman

Written by Chris Eigeman 

Starring Famke Janssen, Chris Eigeman, Rip Torn, Lois Smith

Release Date May 9th, 2008 

Published July 8th, 2008 

Trusting an actor like a brand name is risky. Unlike your favorite brand of pop, the consistency and taste won't always be the same. I trust actor Chris Eigeman as a brand. His work from television (Gilmore Girls) to the big screen (Last Days of Disco) have displayed consistent quality, good taste and entertainment value.

Now that he has moved into the realm of writer-director he risks his brand name on a difficult new venture. Thankfully, my trust in the Eigeman brand is well rewarded. His debut feature Turn The River is an exceptional, dark character study, consistently riveting and heartbreaking without ever cloying.

Famke Janssen stars in Turn The River as Kailey, a degenerate gambler and pool hustler. She also happens to be a loving mother who longs to see her little boy Gulley and lives for their brief Central Park meetings before school, away from prying eyes. Gulley was taken from Kai at birth by his grandmother, a pentecostal type who couldn't imagine her grandson being raised by a woman who made her money gambling.

Some ten years later, with the help of a friend and pool hall owner, Quinn (Rip Torn), Kai has reconnected with Gulley and the two are exchanging letters and meeting secretly. When Gulley shows up with a broken hand and cryptic excuses, Kai begins to suspect that his father (Matt Ross) is responsible. So, Kai hatches a plan to kidnap her boy and head for the border.

The clever twist of convention in Turn The River is having our degenerate gambling hustler played by the exotic and glamourous Famke Janssen. We have seen plots about low life characters who try to turn their lives around for their kids but they are always with male leads and the doom is predictable. With Janssen in the lead we are a little off balance with this typical plot and it's kind of nice.

Chris Eigeman's direction does a tremendous job of bringing us around to Kai's side even as she engages in less than the best behavior. She has poor judgement and grand ideas, always a bad combination and yet we are with her from beginning to an ending that will leave many audiences up in arms.

Though the film is oddly called Turn The River, a poker reference for the uninitiated, the films third lead is pool. Janssen's Kai engages in an epic series of single pocket and nine ball games with ever increasing stakes and the way they are played by Eigeman and his tremendous cast, we are sucked in and the suspense is palpable. The plot mechanics do nothing to push the outcome and the genuine unknown quality is tense.

Turn The River is a tremendous debut for actor Chris Eigeman as a writer-director. He has extended his brand loyalty to another level and it will be excited to see what he does next. Whatever comes next, I have complete faith in the quality of the effort. Turn The River demonstrates that the Chris Eigeman brand is only getting stronger as it diversifies.

Movie Review Imagine Me and You

Imagine Me and You (2006) 

Directed by Ol Parker 

Written by Ol Parker

Starring Piper Perabo, Darren Boyd, Matthew Goode, Lena Headey

Release Date June 16th, 2006

Published June 24th, 2006

New Rule: Never watch a romantic movie after you have had your heart broken. You can't possibly be objective. Take for instance the new to DVD romantic comedy Imagine Me and You starring Piper Perabo. This pencil thin romance barely scratches the surface of it's characters and is certainly no visual wonder and yet I loved it. I loved it because like great comfort food even the most flawed romance can't help but instill good feelings.

Piper Perabo stars in Imagine Me and You as Rachel, an English girl on her wedding day. Like all brides she is beautiful and beaming in love. Her soon to be husband is Hector (Matthew Goode), Heck to his friends, a super nice guy, handsome, kind hearted and her best friend. According to the best man, Heck's best friend Cooper (Darren Boyd), Rachel and Heck have been married for years and are only now making it official.

The wedded bliss seems unstoppable even after Rachel meets Luce (Lena Headey) and the two have a typical romantic comedy meet cute, Rachel dropped her wedding ring in the punch bowl and Luce fished it out for her. The chemistry between the ostensibly straight Rachel and the openly gay Luce is palpable but Rachel just got married.

Nevertheless Rachel is feeling something and attempts to make friends with Luce but soon the attraction becomes undeniable and someone is going to get hurt.

It's not all that complicated a story. Poor Heck was doomed from the start of the film. We know this going in so all that director Ol Parker, in his debut picture, can do is try and be funny along the way to prolonging the inevitable which naturally comes with a chase to the airport, don't they always.

The key to Imagine Me and You are the performers. Piper Perabo, employing a surprisingly good British accent, uses her unending likability to smooth over much of the ill will her rather flighty decision making might engender. Lena Headey is a strong presence that any straight woman might have a hard time resisting. She too is likable and pleasant enough that we forgive her for breaking up the cute married couple.

Matthew Goode is a star in the making. Watch him in one of last year's best films, Woody Allen's Match Point, and now here in Imagine Me and You and his charisma is undeniable. The inevitable Hugh Grant comparisons are made only because he is British. Goode is far more weighty and present than Grant who could not pull off the performances Goode has in his first two features. Combining wit, charm and a deep soul Goode's Heck is the only character we truly feel that we get to know in the picture, everyone else is likable but pulled along by the plot.

Even as the characters are thin representations of real people and the plot is terribly predictable and the script is filled with awful platitudes about love at first sight, love eternal and all that romantic stuff, I can't find fault with such a lovable picture.

Never watch a love story when your heart is broken. Remember that. You might watch a movie like Imagine Me and You and with judgment impaired recommend it to all of your friends and various strangers. Like a great piece of comforting candy or ice cream, I can't help but love this ridiculous little romance Imagine Me and You.

Movie Review: Albert Nobbs

Albert Nobbs (2011) 

Directed by Rodrigo Garcia 

Written by Glenn Close, John Banville, Gabrielle Prekop

Starring Glenn Close, Mia Wasikowska, Janet McTeer, Jonathan Rhys Meyers

Release Date September 2nd, 2011

Published November 14th, 2011

"Albert Nobbs" suffers from novelty. The film about a woman pretending to be a man in 19th century England cannot escape the novelty of star Glenn Close dressed as a man. Close's soft features and fragile demeanor betray her at every turn even as her Albert is a very sympathetic creation.

Albert Nobbs has lived for many years at the Morrison Inn where he's worked diligently as a butler. Scrimping every shilling Albert has saved up quite a nest egg; possibly enough to buy his own tobaccos shop and possibly even enough to live the life of his choice.

Albert is a woman pretending to be a man in order to find work and acceptance. As a child Albert was often abused and was to be left out on the streets after her foster mother passed away. Albert found a way out from under her abuse and poverty by dressing as a man and taking a job as a butler.

That was many years ago. Now, Albert is a respected; if somewhat odd, middle aged man living quietly at the Morrison in silent longing. Albert's secret is nearly revealed when he/she is forced to share his bed with a day laborer named Hubert (Janet McTeer).

In another of "Albert Nobbs" less than convincing visual portrayals, Janet McTeer plays Hubert and, like Ms. Close, Ms. McTeer's features betray her. Add that to the contrivance of two women pretending to be men stumbling upon each other in this way and "Albert Nobbs" begin to seem silly.

What keeps "Albert Nobbs" from becoming ridiculous is the complete commitment of both Glenn Close and Janet McTeer to their characters. While the movie seems to almost attempt to embarrass them, these tremendous actresses maintain their dignity and are never less than sympathetic.

Unfortunately, "Albert Nobbs" suffers for the novelty of Close and McTeer's less than convincing looking drag act as well as a lack of discernible purpose. For the life of me I cannot understand what "Albert Nobbs" was about.

Often times a director will excuse a lack of purpose by calling a film a 'character study;' "Albert Nobbs" is unquestionably that. However, the cop out of a character study is that it allows the filmmakers to not have to craft a compelling story but merely turn out characters who are strong enough to hold the audience's attention.

The characters of "Albert Nobbs" are unquestionably interesting, including the lovely Mia Wasikowska as the object of Albert's affections, Aaron Johnson ("Kick Ass") as Wasikowska's lover and Brendon Gleeson as a friendly, drunken doctor.

I mentioned Wasikowska as the object of Albert's affections. Here the film is unnecessarily coy about Albert's sexuality. Is Albert a lesbian? Does Albert know what it means to be a lesbian? McTeer's Hubert is married to a woman but her sexuality is vague as well; she was married to an abusive husband before stealing his clothes and becoming a man.

I understand wanting the audience to draw their own conclusions about these issues. I also understand that sexuality wasn't as well defined by sub-culture as it is in America in 2011. That said, the film is so vague and so coy that our ability to draw conclusions is nearly comically derailed. Glenn Close delivers a well-considered performance in "Albert Nobbs" but there are simply too many issues surrounding the performance for me to recommend "Albert Nobbs."

Movie Review: Drag Me to Hell

Drag Me to Hell (2009) 

Directed by Sam Raimi 

Written by Sam Raimi 

Starring Allison Lohman, Justin Long, Lorna Raver, David Paymer 

Release Date May 29th, 2009 

Published May 29th, 2009

There is so much cool stuff in Drag Me To Hell that I really wish I could recommend it. As a fan of Evil Dead and Evil Dead 2 and of the classic Drive In, Z movies that inspired them, Drag Me To Hell evoked awesome memories of horror films past while standing alone as a hip, knowing and very modern horror movie.

So why didn't I like the movie? Drag Me To Hell is like a really great looking house with a crack in the foundation so bad it has to be condemned.

Drag Me To Hell stars Alison Lohman as Christine Brown an ambitious bank loan officer who dreams of becoming assistant manager. She is competing with a brown nosing co-worker who is admired by the boss (David Paymer) for his willingness to say no. Christine is seen as too lenient. When an old gypsy woman (Lorna Raver) comes in begging for an extension on her mortage, after not paying the last two extensions, Christine says no.

Needless to say, the old gypsy happens to be a nutball and a witch who soon after places a curse on Christine, the lamia. In three days a horned demon will rise to drag Christine to hell. Until that time she will be plagued by visions so horrifying that she may go insane before she can be dragged to despair.

Witnessing her decline is Christine's boyfriend Clay (Justin Long). He's the resident skeptic who exists to mock the psychic Rham Jas (Dileep Rao) who claims he can help with the curse. It is advice from the psychic that leads to the scene that ruined the movie for me.

I won't go into detail as I am sure some of you will still want to see this movie despite my warning. I will only say that the scene is unnecessary but more importantly, it severs our emotional tie to Christine. The scene places the movie's heroine at a distance from the audience, most  members of the audience anyway, and ruins the thrills of the rest of the movie which rely on our connection to Christine.

As for that ending. If you pay attention the whole way through you won't be the least bit surprised. Of course, if your like me, you will have checked out already after the scene I eluded to a paragraph ago.

It's such a shame that Sam Raimi and his brother Ivan who co-wrote the script, decided to put that scene in the movie because without it I think Drag Me To Hell is potentially a horror classic. Raimi crafts classic horror movie gore in ways that will twist you in your seat and make you laugh in the space of moments.

Lorna Raver's ancient gypsy is just the kind of horror film villain that escaped from the Necronomicon in Evil Dead. She looks half dead, she spews everywhere, even before she turns evil, and she can appear seemingly out of nowhere. The numerous allusions to Evil Dead will have horror fans cheering even as they cover their eyes and mouth in terror.

With so much cool stuff happening in Drag Me To Hell, I really want to like it. But I don't. That one scene. One scene. It is enough for me to put aside all that is endlessly cool about Drag Me To Hell and say skip it. Unless you are a hardcore horror fan, with a loose affiliation to the animal world, you are going to dislike Drag Me To Hell as much as I did.

Movie Review: Final Destination 3D

Final Destination 3D (2009) 

Directed by David R. Ellis 

Written by Eric Bress

Starring Bobby Campo, Shantel VanSanten, Mykelti Williamson 

Release Date August 28th, 2009 

Published August 28th, 2009 

It was George Carlin who pointed out, in reference to a ludicrous airport announcement and not the movie series, that Final Destination is redundant. All destinations are final. Yet, here we are on the third sequel in the Final Destination film series. This time, we are told, this is The FINAL Destination and to celebrate the filmmakers have dressed up the manufactured gore in 3D technology.

A group of non-descript models turned actors and Forrest Gump's pal Bubba star in this latest sequel that sets up a series of rube goldberg-ian death scenarios and runs people through them with an allegedly escalating amount of suspense. Unfortunately for director David R. Ellis, the 3D tech can't shake the 'been there, done that' factor.

Someone named David Campo picks up the mantle as the latest idiot psychic who, gifted with precience is able to rescue people. The first film it was a plane crash. Number a two a massive car wreck. The third film got inventive with a rollercoaster accident. This fourth outing a NASCAR event blows up. Coincidence or commentary on the sport, you decide.

Bobby Campo as Nick saves his friends and a couple of other people and sets up a grizzly series of events as death comes back around to pick up the crumbs of his destruction. The first happens just after the event as a flaming tire takes a young woman's head off. And thus begins a series of what the audience I was with felt were some of the funniest scenes of the year.

Death after death the audience howled as if at a Chris Rock show. I don't exactly know what it is about a guy on fire being dragged down the street or another man being hit by high speed ambulance or a woman crushed in machinery gears, but the audience I was with thought it was all brilliant fun. Nevertheless, they were rolling in the aisles.

I was thinking that I have lost my taste for such things, for the mechanics of modern horror. But, that can't be it. There is no bigger fan of the Saw series than I. I also loved the 3D good time of My Bloody Valentine. True, I dislike most modern horror offerings but it has nothing to do with hating the genre.

The problem with the modern horror movie is the gore smeared on the screen is used to hide the poverty of ideas. Horror filmmakers have become so consumed by presenting human suffering and what modern tech can help them to do in terms of the presentation of viscera that they have stopped worrying about creating compelling stories and characters.

David R. Ellis, like his weekend co-hort Rob Zombie whose Halloween 2 also opens this weekend, is part of a generation of horror filmmakers who think blood and guts are the end all be all of horror. Who needs a story when technology allows you to follow a projectile right through a woman's eye-socket or get a unique perspective of a man being impaled.

It's as if all of modern horror were based on a misreading of the Saw movies. People assumed that the Saw series was successful because of the elaborate death scenarios. In fact however, Saw succeeds on the stone cold logic and endlessly compelling character of Jigsaw who never merely kills anyone. Jigsaw has an aim and his victims a way out. The logic and the lesson are horrifying but fascinating in the way they expose human nature.

Final Destination 3D could not care less about logic, ideas and especially about human nature. The only insight into humanity come in the various ways they can find to take a human's insides and spread them on the outside. Gore is part of the genre. You accept that going in. For me, however, I need more than just gore. Final Destination 3D is noting but. If that is enough for you, so be it.

Movie Review: The Weight of Water

The Weight of Water (2002) 

Directed by Kathryn Bigelow

Written by Alice Arlen, Christopher Kyle 

Starring Sean Penn, Sarah Polley, Elizabeth Hurley, Catherine McCormack,

Release Date November 1st, 2002 

Published February 23rd, 2002 

On the Isles of Shoals, off the coast of New Hampshire, a murder was committed. Two women are killed and a man stands accused of a crime he did not commit. It was 1873 and though nowadays double murders barely make people blink, in New Hampshire in 1873 this was the OJ trial. The so-called Smuttynose murders became the background to a best-selling novel, "The Weight Of Water," which has now been adapted for the screen starring Sean Penn and Catherine McCormack. Like most books to film, it's a safe bet the book was better.

McCormack is the film's lead, Jean, a photographer who is using a weekend visit to the Isles of Shoals to do a work assignment, but also using the romantic surroundings to reconnect with her Pulitzer Prize-winning poet husband, Thomas. Accompanying them on the boat trip is Thomas's brother Rich (Josh Lucas) and his new girlfriend Addeline (Elizabeth Hurley). Jean is on the Isle to get photographs of the place where the area's most famous murders took place.

As the story goes, a Norwegian immigrant named Maren Hontvet (Sarah Polley) and her husband John (Ulrich Thompson) are a fishing family living on the Isle with Maren's sister Karen (Katrin Cartlidge), their brother Evan (Anders W. Berthelsen), and his wife Anethe (Vinessa Shaw). Also living with them is a boarder named Louis Wagner (Ciaran Hinds). According to the official story, Wagner, in a jealous rage, murdered Karen and Anethe while Maren escaped and hid on the shore to await the return of her brother and husband who had gone for a night of fishing. Wagner was convicted of the crime though, to the day he was hanged, he denied his guilt.

For some reason, the official story doesn't sit well with Jean who, though she is just supposed to take pictures, begins investigating the murders. The story she uncovers vaguely resembles the story unfolding on the boat between her husband, his brother and Addeline. Jealousy, suspicion, and questionable behavior all begin to mirror the story of the murder. You can see where this is leading.

It's not the most original setup, but to the credit of director Kathryn Bigelow the film doesn't go in exactly the direction you think it's heading. We saw a similar setup earlier this year in the dramatic romance Possession, where a pair of historians begin a relationship that mirrors the one they are researching. In The Weight of Water, as Jean investigates what really happened in the Smuttynose murder case, she senses a similar pattern evolving amongst her group leading to a moral situation foreshadowed by the true story of the murders. There is a seemingly supernatural element to the film, in what I believed were Jean's visions of what happened in the past. However this hint of the supernatural never truly plays out, it is merely used to connect the two stories.

Here is the problem with this film, the film switches between the past and present so randomly that we lose the connection between them. The links between the two stories are tenuous at best.

The real story of the murders, as uncovered by Jean, is far more lurid and interesting than the rather dull melodrama unfolding on the boat. Yet, the screenwriter and director seem to want to play up the parallels between the two. The only real parallel is jealousy, and by the time that becomes clear, you're left saying, is that it? Jealousy is a common thread in a lot of murders or potential murders; one would hope after sitting through two hours of this film, one would get something a little more interesting than the green eyed monster.

Sarah Polley gives yet another beautifully layered performance, using her big round eyes to communicate her character's conflicted nature. Looking at her sparse surroundings and her extremely dull husband, it's no wonder she would entertain psychotic thoughts, anything to distract from her life must have been welcome.

The Smuttynose Murders are a true story of lust, incest, and ax murders; of lies and deceit; and a cover up that may have sent an innocent man to the gallows. The story would be sensational if it weren't true and should have been an easy fit on the big screen. However, when combined with the dramatized modern story, it doesn't get the treatment it deserved.

Movie Review: Duane Hopwood

Duane Hopwood (2005) 

Directed by Matt Mulhern

Written by Matt Mulhern 

Starring David Schwimmer, Janeane Garofalo, Judah Friedlander, John Krasinski 

Release Date November 11th, 2005

Published May 22nd, 2006 

My friends know quite well that I don't drink. That in my lifetime I have had exactly one gulp of alcohol and never touched the stuff again. I may not have drinking experience but even I can recognize the problem drinker. The sad, misguided soul whose everyday is a quest to quiet his inner demons with drink. I have seen it in real life, in real time and it's very sad. No film I have ever seen has ever really captured the true drunk experience. Movies like Barfly and Clean and Sober featured powerhouse, emotional performances from Mickey Rourke and Michael Keaton respectively but both were to extreme to be the true drunk experience.

The new to DVD film Duane Hopwood starring David Schwimmer comes closer than ever to capturing the sad, desperate drunk at his lowest point. A point that many may not recognize as low, he has a job, friends, is from time to time still a quite caring father, but a severe low it is.

Written and directed by Matt Mulhern, whose acting history is surprisingly colorful, he was Teddy Beckersted in One Crazy Summer, Duane Hopwood is a glum but desperately affecting drama about alcoholism at it's most mundane and realistic.

David Schwimmer plays Duane a lower middle class schlub who works as a pit boss in an Atlantic City Casino. He is divorced from his wife Linda (Janeane Garofalo) and a DUI arrest threatens to keep him from ever seeing his two daughters again.

The arrest is a first offense and we learn that though Duane clearly has a problem, bad enough that it ended his marriage, this is the first time he has ever been considered dangerous. Duane's life aside from this has gone on sadly but relatively quiet. He makes it to work on time every night, he has loyal friends and neighbors willing to help him and take care of him and even his ex-wife hasn't given up on him as a father though she has moved on with a new boyfriend.

The extraordinary thing about the movie Duane Hopwood is how real it all feels. Unlike other movies about the alcoholic experience there are no grand dramatic revelations, there is little or no catharisis and the ending is even somewhat vague about Duane's possibility for redemption. The film captures the realistic day to day activities of the functioning alcoholic, a person many of us have known and begrudgingly accepted for many years.

Many people watching David Schwimmer will feel they cannot seperate him from Ross on Friends but give Duane Hopwood a few minutes and Ross disappears and this character becomes Schwimmer's new reality. This is some terrific acting from the actor most often underrated amongst the flashy cast of Friends.

Janeane Garofalo too has often been underrated. Her comedy chops have always been respected and her work on television's The West Wing is Emmy worthy. However it's a performance like this that shows truly what Janeane is capable of. Brushing aside her usually brusque sarcastic nature, Garofalo shows a strength and sensitivity that is new to her acting.

And in what is the films most entertaining role comic Judah Friedlander steals scenes as  Anthony a forty year old security guard with dreams of being a stand-up comic and making it out of his mom's basement. He pushes Duane to let him be his roommate and though both seem aware of the sad state of two heterosexual forty year old men living together they form a strong bond that survives even Duane's lowest moments of self destruction. Friedlander is pitch perfect as comic relief from the films admittedly dour main story but he's also part of the films core tenderness that is necessary to making the film watchable. Like Garofalo's Linda, Anthony is not in Duane's life to save him  but just to be his friend and help him out when he can.

The film never made it much past the press rows at Sundance in 2005 but now it's on DVD and waiting to be seen, Duane Hopwood is an exceptional film.

Movie Review: The Young Victoria

The Young Victoria (2009) 

Directed by Jean Marc Vallee 

Written by Julian Fellowes 

Starring Emily Blunt, Paul Bettany, Rupert Friend, Miranda Richardson, Jim Broadbent

Release Date December 18th, 2009

Published January 6th, 2010 

"Queen Victoria, one of our more frumpy Queens. They're all frumpy aren't they? Because it's a bad idea when cousins marry." Eddie Izzard "Dressed to Kill"

That quote was all I could think when I sat to watch The Young Victoria. Eddie Izzard's pointedly funny takedown of royal lineage threatened, early on, to affect my ability to enjoy this take on Queen Victoria's rise to power. What a welcome surprise it was then that star Emily Blunt made me forget all about Mr. Izzard, at least till the film was over, and with the great aid of an exceptional script by Oscar winner Julian Fellowes, made me love this movie.

The Young Victoria tells the story of Queen Victoria from the time just before she became Queen through her struggle with parliament and marriage to Prince Albert (Rupert Friend). We learn that as a young woman Victoria was kept from the world at large by her dour mother, the Duchess of Kent (Miranda Richardson) and her mother's consort Sir John Conroy (Mark Strong).

Both pressured the teenage heir to King William's (Jim Broadbent) throne to make them her Royal Regent, essentially ceding them the power over the monarchy. She refused, meanwhile the King himself conspired to win her favor with the help of the Prime Minister, Lord Melbourne (Paul Bettany), and the King's brother in law, and the ruler of Belgium, King Leopold (Thomas Kretschmann) maneuvered to move his bloodline into power through his nephew Albert.

For his part, Albert proved to be more than just another pawn in another power play. Over the course of Victoria's rise to power he is a trusted friend, confidante and eventually a husband and lover. It is in this relationship between Emily Blunt’s precocious yet savvy Victoria and Friend's stolid yet loving Albert that The Young Victoria gets it's romantic drive.

Emily Blunt is a powerhouse in The Young Victoria. Sure, she looks nothing like what is known of Victoria, ('one of our more frumpy Queens') but as she has told reviewers, you want realistic, watch the history channel. This is a Victoria for pop culture consumption and as such it works. Blunt's Victoria is sexy and smart, winsome and powerful. 

Ms. Blunt has remarkable chemistry not just with Mr. Friend, who is only just her equal, but also with the exceptionally cunning Paul Bettany and the always welcome Jim Broadbent, in a terrific cameo. The rest of the cast, minus the Snidely Whiplash-esque Mark Strong as the villain of the piece, is uniformly excellent. 

Adding to the power of Ms. Blunt's performance is an exceptionally smart, witty and concise script by Oscar winner Julian Fellowes. Mr. Fellowes takes a sprawling story of high court conspirators boils them down to their essences and keeps the audience in firm grasp of the various plots, machinations and maneuvers going on around our Victoria all while creating a hot house atmosphere of Victorian Era intrigue. 

So often period pieces like The Young Victoria can seem like inaccessible museum pieces all stuffy and puffed up. Fellowes and director Jean Marc Vallee deftly introduce a little soapy daytime drama into the mix without losing their air of cinematic importance. This is high minded drama but with a sense of the modern culture, hence the choice of a sexy Queen and lithesome, Edward Cullen-esque, leading man. 

The Young Victoria is tart and smart and features a star-making performance from Emily Blunt who may be more of a contender for Best Actress than many think. This is just the kind of glorious underdog of a performance that arrives on Oscar night to upset the apple cart of Oscar expectations. Here's hoping that Mr. Fellowes' scripting doesn't go unnoticed on Oscar night as well.

X-Men Origins: Wolverine

X-Men Origins: Wolverine (2009) 

Directed by Gavin Hood 

Written by David Benioff, Skip Woods

Starring Hugh Jackman, Liev Schreiber, Danny Huston, Ryan Reynolds, Dominic Monaghan

Release Date May 1st, 2009 

Published May 4th, 2009 

Arguably the most revered of all superheroes, among the hardcore comic book fans, Wolverine has long deserved his own place in the comic book movie world. Nothing against the X-Men movies which were of varying but often superior quality but Hugh Jackman's Wolverine always seemed to strain against the convention of the superhero team. Granted, some of that was by design, the character has always been a lone wolf, so to speak.

But more than the design of the character, Wolverine and Hugh Jackman were simply bigger than the X-Men, as the character really has always been. Thus, there is a great deal of pressure on this Wolvie movie X-Men Origins Wolverine. The pressure to live up to an outsized reputation and the pressure to live up to beyond outsized fan expectatons.

Origins traces the life of young James Logan from the day he found out he was a mutant who could grow claws of bone through years of work as a mercenary alongside his mutant brother Sabretooth (Liev Schreiber) in the US Army, to the day he tried to leave mercenary work behind and live a life of peace and normalcy.

For a time Logan worked with a team of mercenaries assembled by General Stryker (Danny Huston). Along with his brother, Logas fought alongside shooting expert Agent Zero (Daniel Henney), Swordsman Wade 'Deadpool' Wilson (Ryan Reynolds), Chris 'Bolt' Bradley (Dominic Monaghan), John Wraith (Will I Am) and Frederick The Blob Dukes. Together this team committed what Wolverine comes to believe are atrocities, hence why he walked away.

Of course, if they had just let Logan retire we wouldn't have much of a movie. Living in Canada, Logan has met a woman, Kyla Silverfox (Lynn Collins) and is living an idyllic life when General Stryker arrives with a warning, someone has begun killing the team. It's Sabretooth and he wants to make his brother pay for walking away.

With Stryker's help, Logan undergoes a procedure intended to give him the ability to not merely fight his brother but do something no conventional weapon could do, kill him. With the use of out of this world technology that bond unbreakable metal with all of Logan's bones, he becomes the indestructible Weapon X, Wolverine.

Directed by Gavin Hood, X-Men Origins: Wolverine has some terrific action and some seriously goofball stuff. The good stuff is watching Hugh Jackman and Liev Schreiber go claw to claw. The good stuff is Ryan Reynolds as Deadpool taking out room full of armed men with just two swinging swords.

The goofball stuff is the stuff from the trailers and commercials for Wolverine. The flying from an exploding car to a helicopter to walking away in slow motion as the copter explodes. We've seen goofball stuff like this before and have become immune to the point of kitschy laughter at how cheesy they seem and how self satisfied filmmakers seem with these scenes.

The mythology stuff, all of the back story, the Origins of the title, will appeal only to the hardcore fans who will search for their other X-Men favorites among a group of child mutants rescued by Wolverine late in the film. Hardcore fans who can name the real name of Agent Zero without having to look it up. Those fans will no doubt be stoked by the high level of efficacy or terribly disappointed by whatever inaccuracy they can seize upon. Even in the nitpicking they will find pleasure. Those not in the cult however may be a little put off by the thickness of the plotting, especially since so much of the action doesn't deliver enough distraction from the plot.

Still, what works for Wolverine is Hugh Jackman whose cut physique and cigar chomping charisma perfectly capture the elemental badass nature of Wolverine. He was the perfect choice for this role in the X-Men movies and he has only grown more comfortable and capable as the character has progressed. Wolverine gets us past alot of the troubled, overly dense plotting of X-Men Origins.

Mostly for the hardcore fan, X-Men Origins: Wolverine is sub-par by the standard set by The Dark Knight, Spiderman and Iron Man. On it's own, away from the lofty comparison, it succeeds with Hugh Jackman's performance, as a summertime filler that should please the faithful.

Movie Review: Whatever Works

Whatever Works (2009) 

Directed Woody Allen 

Written by Woody Allen 

Starring Larry David, Ed Begley Jr, Patricia Clarkson, Michael McKean, Evan Rachel Wood, Henry Cavill

Release Date June 19th, 2009 

Published October 30th, 2009 

It seems Woody Allen has grown sensitive to the attacks on his ego over the years. As Allen has progressed in years he has taken himself off the screen moving to only direct his features. It comes from the criticism of the late nineties and early in this decade that Allen had outgrown his persona.

Despite removing himself from the screen Allan continues to write for himself and hire other actors to play different versions of himself. The latest example is Larry David in Whatever Works. Never once do you not hear Woody kvetching through David's performance as a cantankerous genius.

As Boris Yelnikoff a genius in decline Larry David stars in Whatever Works. He's a real piece of work Boris. With his hatred of all human beings and inability to contain his disdain, Boris finds himself alone and happy in his Brooklyn solitude. That changes one night when a homeless girl named Melodie begs him for some food and a place to stay for a night. He insults her incessantly but enjoys how she takes it all in stride.

Eventually, Boris and Melodie have lived together for over a month and he can't help but admit to having taken a shine to her and she is in love with him. The relationship is clearly doomed from the start but for a year they find a little happy routine. The natural complication arrives when Melodie's mother (Patricia Clarkson) tracks her down.

Mortified that her daughter has taken up with Boris, of all people, she sets about finding a more suitable man for her daughter. Along the way, mom gives up her southern, right wing bible thumping for some lower Manhattan bohemianism with one of Boris's few friends.

Whether mom finds a man for Melodie and what complications Melodie's dad (Ed Begley Jr.) brings to the story I will leave you to discover. These plot maneuvers are not mysterious really, they just are as indeed the movie just is. The title "Whatever Works" is the working thesis of the whole picture.

David as Boris states it directly to the camera in one of Allen's odder choices. Boris, being a genius, see's more than everyone else and thus can see us, the audience, watching the story unfold. Thus, he takes occasion to speak directly to us and explain that life is meaningless aside from the little pleasures you can find to give you momentary pleasure.

As Jason Biggs was a younger Woody in Anything Else and Kenneth Branagh was Woody in Celebrity and even Will Ferrell was a version of Woody in Melinda and Melinda, Larry David plays not Boris Yelnikoff in Whatever Works but Woody Allen. It's not merely the talking to the audience, ala Woody in Annie Hall, it is in his every mannerism and line of dialogue.

Sensitive to claims of vanity Woody cast Larry David as Boris instead of himself. This is merely an observation and not a criticism as David is quite effective as a Woody surrogate. It is easy to buy David as a nihilistic, world hating intellectual. His own Curb Your Enthusiasm is little more than Woody unscripted with a little more West Coast than East Coast sensibility.

The truly interesting thing about David's performance is how it is the only really effective thing in the movie. When David isn't onscreen Whatever Works becomes rather boring. Evan Rachel Wood is a nice young actress but her role in Whatever Works only really works when bouncing off of David's cantankerous insults.

In scenes where she is courted by younger men or dealing with her mother, we can't help wonder what Boris is up to and what interesting, offensive, observation he could offer to give the scene some life. It's to Larry David's credit that he isn't completely swallowed by being Woody 2.0 and offers a very effective surrogate performance.

Whatever Works doesn't quite work because the world away from Boris is so ludicrous. When Boris is offscreen Allen gets busy with lame potshots at red state America that are beneath him. He's smarter than the obvious jabs he loads onto the caricatured southerners played by Clarkson and Begley.

The jabs work when they come from the caustic voice of Boris but when Allen gets these characters alone nothing works and the movie collapses waiting for David to get back on screen. Surprisingly, Boris is gone for much of the late second and early third act. The movie flounders without him and Whatever Works doesn't work.

Documentary Review: This Movie is Not Yet Rated

This Movie is Not Yet Rated (2006) 

Directed by Kirby Dick 

Written by Documentary 

Starring Kirby Dick, Becky Altringer 

Release Date September 1st, 2006

Published December 22nd, 2006

Documentarian Kirby Dick's snarky, sarcastic, irreverent approach can be a little off-putting, especially when he has a real point to make. In his latest documentary This Film Is Not Yet Rated, Dick has some real strong points to make about the machinations of the Motion Picture Association of America, the group that basically decides what movies Americans can see in movie theaters.

The doc is highly entertaining and very smart. However, when Kirby Dick wants to, he can be a real arrogant, pedantic prick. It's all part of this wonderfully amusing and highly important little movie that I highly recommend, despite it's creators foibles.

I have long felt that the M.P.A.A played a valuable role in the film industry. As long time President Jack Valenti so often pointed out, the motion picture ratings board was what stood between the film industry and government censorship of film. What Kirby Dick demonstrates with sharp, expert interviews is that the M.P.A.A incorporates censorship rather than prevents it.

The argument is thus, remove the MPAA from the equation and force the government to attempt to rate movies. The government being subject to the law would be forced to abide the first amendment. The MPAA being an industry institution is not subject to the law. Filmmakers can work around the MPAA if they like, but theater owners refuse to run films that don't have the MPAA seal which leaves that film basically in limbo.

There are other important points made about the MPAA in This Film Is Not Yet Rated. Among them is the very obvious homophobia of the ratings board members. An interview with director Kimberly Pierce reveals her struggle to avoid an NC-17 rating for her film Boys Don't Cry. Though films featuring graphic sex between men and women sailed to R-ratings, Pierce's love scenes featuring Hilary Swank and Chloe Sevigny had an impossible time getting past the ratings board.

Atom Egoyan struggled with similar issues on his film Where The Truth Lies and when he challenged the ratings board and demanded to speak face to face with raters he was denied. He appealed to the ratings and asked to speak directly with the appeals board and was also denied. His case however, revealed something about the board that is one those great gotcha moments of This Film Is Not Yet Rated.

An interview with Trey Parker of South Park fame revealed two more strange things about the board's taste in movies. The first is the different treatment of violence vs sexuality. On South Park Bigger Longer Uncut, the creators of South Park were able to get away with any and all forms of violence and yet when it came to the sexual content of another Parker-Stone creation, Orgazmo, the cuts requested by the board were deep and seemingly arbitrary.

The other side of that debate was the ease with which the studio that produced Bigger Longer Uncut made it through the ratings process, despite it's highly offensive content, versus the uphill battle that faced the far more innocuous, independently produced Orgazmo. Remember the MPAA is a studio creation, thus it is fair and well argued in This Film Is Not Yet Rated that their is a bias against independent movies.

The most controversial aspect of This Film Is Not Yet Rated and it's most inventively snarky inclusion, is Kirby Dick's choice to hire a private investigator to identify MPAA raters. What he finds is even more hypocricy than that demonstrated just by the ratings the board has given out. Though the MPAA claims that the ratings board is made up of parents of young children, Dick and private investigator Becky Altringer find that few of the raters have children in their teens or younger. A few raters are even single childless men, not a shocking revelation but something MPAA doesn't want us to know about.

And that is the key. What the MPAA does not want us to know about. Why isn't this process more open to scrutiny. Why can't filmmakers speak with raters and plead their case instead of having to simply bend to the will of these non-artists. Why is appeals process even more secretive? And, in another of the films gotcha moments, why is the opinion of church officials so important to the ratings appeal process?

As Dick reveals, a pair of priests reside on the appeals board and one of them even submits to an on camera interview. The priests have no vote in the final process but are allowed to voice concerns over a films content.

Kirby Dick is an arrogant, pushy, jerk. It's what makes him a great editorialist. He has a point to make and will do whatever he can to make that point stick in your head. His work is as off putting as it is persuasive and while you may walk out of This Film Is Not Yet Rated not liking Kirby Dick you will likely still end up agreeing with many of the valuable points he makes about censorship and the MPAA.

Like Michael Moore however, Dick's editorial approach  effects the perception of his film as documentary. Most documentary films are meant to observe a story and come to conclusions only after the facts have been explored. For guys like Michael Moore and Kirby Dick, a documentarian begins with a point of view and seeks only information that conforms to that point of view. That, of course, leads to fair accusations of bias and indeed calls into question some things you may see in This Film Is Not Yet Rated.

If Kirby Dick is only seeking information that backs up his opinion that the MPAA incorporates censorship into the film business then what is the other side? What are we not hearing. Kirby Dick would likely not care. I guess if the MPAA has a problem with This Film Is Not Yet Rated, they should make their own documentary or at the very least respond to the various charges that Dick makes that have thus far gone unchallenged by the MPAA.

This Film Is Not Yet Rated is muckraking, editorial journalism with a whole lot of snark and circumstance. Kirby Dick has an axe to grind with the MPAA and grind away he does invading the homes of the MPAA and taking the fight against film censorship right to the people he feels are incorporating it. Is his style arrogant, overbearing and peevish? Oh yeah. But, is it effective? Definitely.

Essay: Amanda Knox is Innocent and Lifetime is Irresponsible - 2011

The Amanda Knox Story (2011) 

Directed by Robert Dornhelm

Written by Wendy Battles 

Starring Hayden Panattiere, Marcia Gay Harden, Vincent Riotta 

Release Date February 21st, 2011 

Published February 21st, 2011

Lifetime debuts their Movie of the Week "The Amanda Knox Story" an allegedly fact based drama on the case of an American student charged with the murder of her British born roommate while they lived in Perugia, Italy. While this type of ripped from the headlines melodrama is par for the Lifetime, movie of the week course, the network is irresponsibly cashing in on this story at a crucial moment in the real life of Amanda Knox.

In November of 2007 the body of Meredith Kercher was found, throat slit and stabbed multiple times on the floor of her bedroom in a student apartment in Perugia, Italy. The natural suspects in this case would be her roommate and the various people who made their way into the apartment, friends, boyfriends, aquaintances.

The suspect that emerged immediately for Italian prosecutors was Meredith's roommate Amanda Knox, a 20 year old from Seattle living it up in Italy. With her Italian boyfriend Raffaele Sollecito, Knox did herself no favors in the wake of Meredith's death allowing little quirky behavior and an inconsistent alibi to cast a suspicious pall over her.

While Amanda's actions fairly brought some suspicion upon her the physical evidence of the case and especially the forensic evidence demonstrate Knox's innocence. Knox's fingerprints nor footprints were found in Kercher's bedroom. DNA, blood, footprints, and fingerprints, of a third suspect, Rudy Guede were found at the scene while peripheral evidence, such as a kitchen knife from Knox's apartment was found at Sollecito's apartment; leading prosecutors believe the knife was being hidden.

Regardless of the physical evidence Amanda Knox was found guilty by a corrupt Italian justice system which used the media to sell their case. Prosecutors tainted the jury pool by framing Knox as a loose party girl who, with her glamorous Italian boyfriend, murdered Kercher in sex games gone wrong. They released videos showing Knox's admittedly callous seeming reaction to Kercher's death while a conspiratorial media latched on to the sordid elements of the story with the intent of selling papers. 

Now the Lifetime cable network is weighing in with "The Amanda Knox Story." Starring Heroes star Hayden Panattiere, "The Amanda Knox Story" is an allegedly fact based recounting of Knox's murder trial that until recently featured a graphic recreation of Kercher's murder as prosecutors claimed it happened. 

This malicious and irresponsible film, which I have not seen, comes at a time when Knox's appeal is about to be heard in an Italian court. The timing could not be worse as the media was used in the original trial to manipulate jurors, potential retrial jurors will be exposed to "The Amanda Knox Story" which is based on court records from a case that sketchy throughout and media accounts which were malicious, salacious and prejudicial. 

Meanwhile, the makers and stars of "The Amanda Knox Story" continue to make claims of objectivity and fairness. For her part, star Hayden Panattiere refused to meet Amanda Knox and tells interviewers that she goes back and forth about whether she believes Knox was guilty of the murder, ignoring the exculpatory forensic evidence. 

How exactly can a movie of the week based on the court records of a botched murder trial and prejudicial media reports claim objectivity and pretend to be unbiased. The facts are that merely bringing to life the murder of Meredith Kercher, as this movie did until it was edited out just prior to air, makes the film biased. It sets the scene and creates the false memory of Knox as a murderer and physically dramatizes what was until now merely a story crafted by prosecutors. 

The level of irresponsibility on the part of Lifetime is off the charts. The network could have, at the very least, waited a few months until the completion of the appeal to try to cash in on the death of Meredith Kercher and the destruction of the young life of the wrongly accused Amanda Knox. Sadly, restraint in the face of profits is not the strong suit of a modern American corporation. 

Lifetime should be ashamed. The life of Amanda Knox hangs in the balance as they weigh their balance sheets.

Movie Review: Volver

Volver (2006) 

Directed by Pedro Almodovar

Written by Pedro Almodovar 

Starring Penelope Cruz, Carmen Maura, Lola Duenes, Blanca Portilla

Release Date March 17th, 2006

Published December 6th, 2006 

I have always thought of myself as an educated filmgoer, it goes with the title of film critic; I suppose. However, despite having seen thousands of movies in my career, the art of Pedro Almodovar has escaped me. I have always planned on seeing his movies, putting them in my netflix cue, borrowing them from friends, but I never have.

So this week I made a special trip to Chicago with the specific intent of seeing Almodovar's latest movie Volver, a film that has been receiving raves since its debut at the Canne film festival back in May. My three hour trip was more than worth it. Volver is a lovely and dazzling slice of unusual life.

Volver (translates "to return" in english) tells the story of three generations of women from a small village outside Madrid Spain. Penelope Cruz is Raimunda an unhappily married woman who spends most of her time working several part time jobs. On weekends however, Raimunda returns to the village where she grew up to take part in a ritual, cleaning and polishing the graves of her late mother and father.

Joining Raimunda on this journey week after week are her daughter Paula (Yohana Cobo) and her sister Sole (Lola Duenas). This weekly trip also includes a visit to Raimunda's aunt Paula who raised her as a child even before her parents died. Aunt Paula is getting frail and losing her sight and yet week after week manages to provide fresh food for the girls to take home.

Back home, Raimunda's husband Paco is a deadbeat with no job and no ambition. Laying on the couch drinking all day, Paco seems unimportant but soon his death as well as the death of Aunt Paula will send everyone's life into an unusual and surprising direction.

That is the bare bones of the plot of Pedro Almodovar's Volver. To give away to much of this wonderfully amazing movie. Watching Volver unfold this rather dark story involving murder, manslaughter, abuse, infidelity and other such transgressions, you expect the film to be heavy. However, despite the many dark revelations and experiences, Volver is more than pleasant, it borders on jaunty.

Dressing everything in bright colors and bathing it in a lush score by Alberto Iglesias, Almodovar makes Volver not a dwelling on sadness but a paean to the bravery, pluck and gumption of the four women who make up the center of this film. I say four because there is another character in Volver, played by longtime Almodovar collaborator Carmen Maura, who holds all of the films secrets and who creates much of the films magic, humor and poignance.

Volver is a major comeback for the oft-maligned actress Penelope Cruz. Having spent much of her career being kicked around for her english language roles in Vanilla Sky and Sahara, and being known for a time as Tom Cruise's girlfriend, Cruz makes a statement as an actress in Volver. Her strength, her spirit and her surprisingly lovely singing voice bring a lively performance to the screen in a role that should win her much awards attention. Ms. Cruz belongs alongside Helen Mirren in the competition for best actress 2006.

Another strong awards candidate is Carmen Mauro who is truly enchanting in a role that holds all of the cards in the film. For a time her character is thought to be a ghost and it is the brilliance of her performance that she manages to really make you wonder about this supernatural possibility. Mauro combines humor and sadness so brilliantly it's breathtaking.

I know how many of you whine and complain about subtitles but please trust me when I tell you that even while reading this movie you will be able to enjoy the many pleasures of this wonderfully visual story. This movie is too good, too entertaining for you to worry about having to bring your reading glasses to the theater. Suck it up, see this movie.

For my first experience with a Pedro Almodovar film I could not have chosen a better film. Volver is bewitching, charming, thoughtful and very entertaining. I can't wait to have a look at past Almodovar films like All About My Mother, Talk To Me or Bad Education. If they are anywhere near as engaging and lovely as Volver I am in for a treat.

Essay The Box Office Myth - 2010

In 2010 I read an interview with writer-director M. Night Shyamalan. In the interview, the master of the twist attempted to twist logic. In response to questions about the quality of his then recent film, The Last Airbender, Shyamalan pointed to the box office returns for the film symbolic of how good the movie was. Essentially, because people bought tickets, they automatically liked the movie. I wrote this in response... 

It's time to correct a growing myth in the world of the movie box office. The myth is thus: success at the box office means the movie is good. The latest to pass off this ludicrous myth is a terrific film critic and reporter Steven Rea who recently interviewed director M. Night Shyamalan.

Shyamalan may in fact be the true progenitor of this particular myth. His films have repeatedly been 

trashed by critics and yet, as the article states, only his “Lady in the Water” can be considered a true box office failure. This propels Mr. Rea and Mr. Shyamalan toward the myth of box office equals quality film.

They are talking about Shyamalan's “The Last Airbender” which through this weekend has taken in more than 125 million dollars. Mr. Shyamalan uses this fact as a bludgeon against critics who have left his movie with an 8% positive rating on the review aggregator website Rottentomatoes (the relevance of Rotten Tomatoes is another debate for another time).

You see, by Mr. Shyamalan's logic, parroted by Mr. Rea, the relative box office success of “The Last Airbender” and each of Mr. Shyamalan's reviled epics “The Village” and the more modest financially successful “The Happening,” state clearly that critics are wrong about the quality of his films. The Audience loves them is what they extrapolate from the box office numbers.

Shyamalan and his defenders take the myth a step further stating that the reason critics don't like 

Shyamalan is somehow personal. They resent his success and especially his ability to draw an audience over their repeated objections to his films. The fans keep coming back so clearly the movies are good.

This notion repeated often enough I am sure offers some comfort to Mr. Shyamalan but let's take the air out of this once and for all. Seeing a movie does not automatically mean liking a movie. Millions of Americans are headed to the theaters this weekend and millions will walk out having paid to see a movie that they did not enjoy.

In the age of the front loaded box office this myth can hide ever so easily behind massive opening weekend box office before word of mouth gets out and ruins everything. That is what happened with “The Last Airbender” which has already dropped out of the box office top 10. After raking in nearly 60 million dollars in its first 4 days ‘Airbender’ has limped to 125 million dollars thru this weekend.

By comparison, “Despicable Me,” a film that has received mostly positive reviews from critics, made 56 million dollars on its opening weekend and has done so in less time in theaters than “The Last Airbender.” “Despicable Me” has already gone over the 200 million dollar mark at the box office and will likely pass 250 to 260 million dollars before it's done.

Box office doesn't translate to film quality. Just seeing a movie doesn't mean people liked it. Many have seen “The Last Airbender” and many of them walked out disappointed. They told their friends who told their friends and many of those people decided not to see it.

Mr. Shyamalan says it’s personal between the critics and him. Critics have it out for him. Why? He’s too successful and he succeeds despite the critics. Success can be defined any number of ways Mr. Shyamalan. Studios I’m sure will agree that your films are successful. The return on investment is the bottom line.

But box office is box office and film quality is film quality. “The Last Airbender” is a terrible film in my opinion and in the opinions of many other critics and even among many of the people who turned it into a successful business enterprise. Crow if you like about the film’s box office success Mr. Shyamalan but you disappointed many who saw your film, not just the critics.

Many Americans paid hard earned dollars to take their kids to see “The Last Airbender” and many walked out feeling cheated that they had spent so much to see a movie they didn’t enjoy. Shyamalan points to their dollars and calls himself successful. That’s a fail on this end Mr. Shyamalan, no matter what the balance sheets say.

Movie Review: Bandslam

Bandslam (2009) 

Directed by Todd Graff

Written by Todd Graff, Josh A. Cagan 

Starring Aly Michalka, Gaelen Connell, Vanessa Hudgens, Scott Porter, Lisa Kudrow, 

Release Date August 14th, 2009 

Published August 16th, 2009 

After more than a decade as a film critic it is very rare that a movie can sneak up on me. I am generally well informed and aware of most aspects of a movie  before I see it. I keep an open mind but it would be nearly impossible not to have expectations of a movie based on the trailer, the commercials, the stars and the director.

That is certainly the case with the teen comedy Bandslam. The film stars an unknown young man and two Disney channel divas, one of whom is best known for the vanilla High School Musical franchise. Bandslam comes from Summit Entertainment, the company behind the marketing phenomenon that is Twilight and Walden Media, the church lead movie company behind such forgettable fare as Hoot and Because of Winn Dixie.

Expectations were very, very low for Bandslam. Then I actually saw it and my expectations were trumped by a smile that refused to leave my face. Bandslam is a musically literate, adroit teen comedy that packs a number of surprising and honestly moving moments in the midst of some typical High School movie plotting.

The film stars Gaelan Connell as Will Burton a terminal outcast who spends his free time soaked in musical arcana. He writes daily missives to his hero David Bowie and longs for the day he can escape Cincinnati where his father has brought the family an infamy Will cannot escape.

Will gets his wish when his mom (Lisa Kudrow) tells him they are moving to New Jersey. At first, things aren't that different, Will is still an outcast, but things pick up when Charlotte (Aly Mischalka) randomly chooses Will to be her friend. Charlotte is a former cheerleader turned rocker chick who picks up stray outcasts to be her friends and bandmates. 

She and Will bond over music but she makes clear she has no interest in him romantically. The musical bond leads to Will becoming the manager of Charlotte's band which in the near future will play Bandslam and go head to head for a record contract with Charlotte's ex-boyfriend (Scott Porter) and his band The Glorydogs.

The band is good but Will see's potential and begins to round out the sound with a few more outcasts, including a strange cello player and an Asian exchange student with a talent for piano. Meanwhile, Will begins a flirtation with Sa5m; the 5 is silent. She has a secret past as well as a musician but their bond is more romantic than musical. At least at first.

Directed by Todd Graf, who's Camp was another wonderful movie about musical outsiders. Like Camp,  Bandslam is a musically literate teen flick held together by a lead performance by Gaelan Connell that evokes a young John Cusack. No kidding, the kid is that good.

It's a movie of terrific musical taste that runs the gamut from indie rock to ska to The Velvet Underground and David Bowie who shows up late in the film as required by Will's quirk of regularly writing him letters. Graf does well to manage the musical tastes of his fictional teens keeping them smart without being too smart, the music played by the bands at Bandslam is purely the contemporary pop radio stuff one would expect of teens playing in a garage.

That touch of truthfulness gives depth to the movie as do the complicated, believable relationships between these terrific characters. I mentioned Connell as the film's center but he is matched well by Mischalka, an actress I was not familiar with before this film. I am told she is a star of some teen sitcom, wherever she came from she is on her way to big things. I loved the random way she and Connell bond on screen and later when expected complications arise she deftly roots the character in behavior that comes directly from the life experience of this character and not the unnatural, necessary behavior of some teen movie drone.

Also strong is Vanessa Hudgens in an unexpectedly small role. When I saw that one of the stars of High School Musical was in Bandslam I naturally assumed she would be the star. Hudgens however, melts right into this ensemble cast. Though the name Sa5m is a little precious, Hudgens does well to underplay the character quirks. And just wait till she gets on stage to deliver a rockin' version of Bread's "Everything I Own". Wow! Not kidding, great stuff.

The music of Bandslam is a wonderfully curious mix. Bread and Cheap Trick mix effortlessly with Bowie and The Velvet Underground and with such modern rockers as The Daze and Peter, Bjorn and John. Director Graf has experience with mixing musical tastes, in Camp he mixed showtunes and rock and roll with breezy good natured ease.

What fun it is to be surprised. Bandslam looked like just another teen coming of age movie. Thankfully, in its love of music, music literacy and clever and engaging characters, Bandslam transcends genre and low expectations becomes a terrific little movie.

Essay Hollywood Sex and Violence Link (2006)

In 2006, in the wake of the release of A History of Violence and Sin City, I wrote about how Hollywood movies linked sex and violence. This is that essay recovered from an old MySpace blog... 

FYI This post contains what you might call spoilers for the plot of the film A History of Violence. If you wish to watch that film with the mystery in place do not read until after you watch the film. Happy reading and please post your responses.

One unique trend in modern film is the link between sex and violence. In horror films and thrillers these two disparate acts are now often found at a crossroad. In horror films sex is often punished with a bloody violent death, see Friday the 13th as an example. Sexuality or sensuality is similarly punished, consider films like Slumber Party Massacre (not exactly a brilliant subject of serious discourse but follow me here) where beautiful woman are brutally and viciously murdered for the simple fact that they are beautiful. The camera spends ample time exploiting the beauty of the women in the film with copious nude scenes and scenes of woman in various states of undress. And then the film sets about destroying that beauty with hardcore violence.

In the thriller genre take an example like Steven Speilberg's Munich which transposes a scene of a husband making love to his wife, a reunion after a long absence by the husband who has been compromising his morals out of duty to his country. The conflicted husband cannot escape thoughts of horrific violence as he is going about the loving act of intercourse with his wife. The sex scene is edited to a chorus violent images of Israeli athletes being brutally killed.What is the purpose of the sex and violence link in Munich? I believe it was the demonstration of the husband's conflicted conscience. On the one hand he is engaged in a pure act of love. On the other he cannot escape the horror of the violence he has been set to avenge. He cannot escape the horror of violence even as he is experiencing the ultimate in pure human goodness and joy.

In Sin City sex and violence are uniquely linked by the prostitutes of Sin City. Led by Rosario Dawson's character the prostitutes are unlikely representations of justice and righteousness. They mete out the punishment of corruption with violence and reward perceived goodness with sexual favors. Thus, Michael Clark Duncan's corrupt detective is punished with violence while Mickey Rourke's Marv is rewarded for his good intentions with the sexual favors of Goldie.

The innocent but oh so provocative sexuality of Jessica Alba's character is protected by the righteous violence of Bruce Willis' cop character. He would be rewarded with sexual favor if he were so inclined. Sex and violence are linked in Sin City in a cause and effect fashion. The good receive sexual favors the evil are punished with violence. All is right with the world.

In A History of Violence the sex violence link is a narrative function. The film features the extremes of both sex and violence. The films central action involves a pair of psychotically violent killers who are first glimpsed having murdered the staff of an anonymous roadside motel and a small child of one of the staffers. They come to the small town Indiana diner of Viggo Mortenson's Tom Stahl with the intent of more violence and are met with a viciously violent reaction from the seemingly mild mannered Mr. Stahl. The violence of this scene is extreme. Tom shoots one killer in the head sending him flailing through a plate glass window. Tom is graphically stabbed in the foot by the other killer who is then shot in the head by Tom. Director David Cronenberg gives us a closeup look at the damage of the bullet through the killer's skull in all of it's gory glory.

Meanwhile at home, prior to the violence at the center of the plot Tom makes love to his wife played by Mario Bello. The first sex scene is tender and loving but with more than a little hint of kink. Tom's wife has chosen to dress as a cheerleader and the two role play as a high school couple entering their first sexual experiment. The sex then becomes more graphic as oral copulation becomes central to the scene before we fade to the next morning and the establishing of the films central plot. Oddly the first sex scene features no nudity. The only link between the sex and violence at this point is Tom. He is an attentive and gentle lover who later shows himself capable of terrific physical violence. This is central to the dichotomy that is Tom who is revealed to have a violent secret past.

The second sex scene takes place after further violence has established Tom as a dangerous figure. An argument between Tom and his wife becomes physical as Tom attempts to stop his wife from walking away from their argument. Tom grabs her forces her to the ground, they are fighting on the stares leading to their bedroom, she slaps and kicks to break away from him. He forces her beneath him. After seeming to subdue her the violent confrontation suddenly begins to become sexual. The wife becomes turned on as does Tom and the two engage in angry, violent sex right there on the staircase. The scene, I believe, demonstrates the wife's tacit acceptance of her husbands true nature. She is telling him at once that she is unhappy with his lie but accepts it and will eventually be able to put it behind her. It's a brilliant form of shorthand that eliminates the need for a merely melodramatic scene of a couple arguing.

None of what I've written however truly gets at the heart of the sex/violence link in modern film. I have demonstrated the link but not the reason. This is where you come in dear reader. What is your theory of why Hollywood has so directly linked sex and violence. Post your responses please.

Movie Review: Ask the Dust

Ask the Dust (2006) 

Directed by Robert Towne 

Written by Robert Towne 

Starring  Colin Farrell, Salma Hayek, Donald Sutherland, Idina Menzel 

Release Date March 17th, 2006

Published September 16th, 

Though one of the great screenwriters of the 70's; Robert Towne's directorial career is spotty at best. His Personal Best was groundbreaking in subject but banal in execution. Without Limits was well acted but laconic. And the less said about the Mel Gibson-Michele Pfeiffer thriller Tequila Sunrise the better. Back behind the camera for the first time in 8 years; Robert Towne's latest effort, the romance Ask The Dust, is likely his greatest failure yet.

A miscalculation of idea and performance, Ask The Dust is Towne indulging his love of Los Angeles and its history at the expense of telling an interesting story.

Colin Farrell stars in Ask The Dust as Arturo Bandini. Coming to LA in 1930, Bandini intended to write the definitive novel of that famed city. Unfortunately the city of Los Angeles in the 1930's is not as inspiring as he had hoped. The streets are dusty and dull, the people are either decrepit and living out their string or they're writers like Bandini trying to write the great American novel.

The lives of some Angelenos are less easily devised. Camilla (Salma Hayek), a waitress at a dive bar where our friend Bandini drops his last nickel on some bad coffee, claims to be an aspiring actress held back by her latino heritage. However, her real aspirations are far less obvious and eventually undone when she falls into a romance with the struggling writer.

The relationship between Bandini and Camilla is defined by conflict. Their first meeting, the bad coffee, Bandini insulted Camilla and poured his coffee all over the floor. Later, after Bandini gives a weak apology, the two share a romantic drive to the beach where Camilla implores Bandini to join her for some skinny dipping. She plays a cruel trick on him, pretending to drown, and the angry Bandini walks home the seven miles from the beach to his rundown hotel. Still the romance somehow persists.

Meanwhile Bandini has another girl, though not one he really wants anything to do with. The other woman is Vera Rivkin a needy Jewish princess, who Bandini finds passed out in his hotel room. She offers him a sad story and begs for sex which he turns down. Later, however, Bandini, after another strikeout with Camilla, does fall into Vera's arms but is blunt in telling her that he was dreaming of Camilla. Vera's character and her fate are two of the more puzzling aspects of Ask The Dust.

There are any number of puzzling things about Ask The Dust. It's clear that Director Robert Towne is crafting a dusty paean to his beloved city of Los Angeles. With the help of Cinematographer Caleb Deshanel, Towne turns his South African location into a lovely image of 1930's California. At some point however, Towne became too enamored of his scenery and neglected his characters and their romance. Thus why we get stilted angry exchanges that turn quickly to passionate love making and back again with little rhythm and zero chemistry.

Colin Ferrell's performance in Ask The Dust is, at once, the most entertaining and confusing part of the film. On the one hand, Ferrell's offbeat delivery and flashes of Johnny Depp-like tics and mannerisms are quite humorous. Unfortunately, it's unclear whether or not we are supposed to be laughing. Ferrell as Bandini schizophrenically moves from shy to belligerent, from belligerent to sweet and from sweet to cocky without warning. Caught in the maze of Robert Towne's direction, Ferrell likely just did what was asked of him in each scene, regardless of whether the performance would coherently cut together later.

The one thing that really works in Ask The Dust is Caleb Deschanel's lush and beautiful cinematography. While Farrell and Hayek bicker and antagonize us and each other, we can at the very least distract ourselves by gazing at the gorgeous sandy vistas of early South Africa standing in for 30's Los Angeles. The dusty streets and blaze orange sunsets are the stuff of picture postcards, lovely images of warmth and comfort, completely at odds with the war of the roses characters.

Movies are not supposed to work to the audiences' preconceived notions of what we think the movie should be. Movies are the visions of the filmmakers with only a modicum of consideration of what the audience might want. That still doesn't quell my disappointment over not getting what I expected from Ask The Dust. I was hoping for a classical, passionate romance with two hot stars burning up the screen and the kind of literate, well read dialogue that you get with the best literary adaptations.

What I got with Ask The Dust was angry banter that works like a sad, unintentional parody of the Cary Grant-Irene Dunne romances of the 30's and 40's.

Robert Towne is a very talented writer but his direction in Ask The Dust is as lazy as the dusty, windblown, sun drenched streets of 1930's Los Angeles. The script relies heavily on the performances of Colin Farrell and Salma Hayek who, whether they were directed this way or not, come off like petulant children playing dramatic versions of the Bickersons. Blowing the dust off of cliches of 40's melodramas, they bicker like cats and dogs and fall in love anyway. The film is updated only for the sex which runs hot and cold, but mostly cold.