Movie Review: Crash

Crash (2005) 

Directed by Paul Haggis

Written by Paul Haggis

Starring Ludacris, Lorenz Tate, Brendan Fraser, Sandra Bullock, Shaun Toub, Matt Dillon, Thandie Newton, Terrence Howard 

Release Date May 6th, 2005

Published May 5th, 2005

Paul Haggis showed the depth of his talents as a writer with his Oscar nominated script for Clint Eastwood's Million Dollar Baby. The natural progression of any filmmaking career has lead Mr. Haggis out from behind the computer keys to behind the camera directing his first feature. Working from his own script, Mr. Haggis has crafted Crash, an intricately plotted and engrossing drama about the futility of violence, the helplessness of anger and the politics of race.

As two well dressed young African American men, Anthony (Rapper, Ludacris) and Peter (Lorenz Tate), walk down an affluently appointed street in Los Angeles discussing race, they are the only black faces to be seen. Even as they dress and act like they belong here, Anthony can't help but note the most minor of slights from the lack of good service in the restaurant they just left to a rich white woman (Sandra Bullock) who crosses the street with her husband (Brendan Fraser) when she see's them.

Anthony asks Peter what makes them so different from all these white people aside from race? They provide an answer to his question by summarily bringing out guns and stealing the couple's SUV. This act touches off a series of events that envelopes a pair of cops played by Matt Dillon and Ryan Phillippe, a detective and his partner played by Don Cheadle and Jennifer Espisito, a locksmith and his family (Michael Pena) an Arab family headed up by Farhad (Shaun Toub) and a black married couple played by Terrence Howard and Thandie Newton.

When Sgt. Ryan (Dillon) and his rookie partner Hanson (Phillippe) get a call that a car jacking has taken place nearby, Ryan pulls over the next similar looking car he sees. Despite the fact that the SUV is clearly not the one they are looking for (Hanson points out that the license plate is different) Ryan stops it anyway after seeing the driver, Cameron (Howard), black. The stop is marked by Ryan harassing Cameron's wife Christine (Newton) over the weak protest of Hanson. The incident is devastating to Cameron and Christine's marriage.

Peter happens to be the brother of police detective Graham Waters (Cheadle) who, as a result of the carjacking, is brought to the attention of the L.A District Attorney Rick Cabot, the victim of the crime along with his wife, Jean (Again, Brendan Fraser and Sandra Bullock). Cabot wants a black detective on the case to avoid accusations of racism and he wants Detective Waters specifically.

Meanwhile Jean at home alone is absolutely freaked out by the incident and has had the locks changed. Unfortunately when her husband sent for a locksmith (Michael Pena) he did not know he was a tattooed inner city Latino, something his wife notes immediately in accusing the man of wanting to change the locks in order to return later and rob her. For his part the locksmith is good hearted family man who has struggled to get out from under this sort of cultural bias all his life.

When the locksmith accepts one more late night job at the grocery store before heading home we get a very tense scene between he and the shop owner Farhad (Shaun Taub) an Iranian immigrant who speaks very little English. What was a simple misunderstanding due to the language barrier very nearly turns violent and leads into yet another scene at the locksmith's home that may be the strongest moment in the film when you yourself see it.

The links between all of the various characters in Crash are tenuous in terms of actual interaction. However in terms of themes, race and racism, they could not be more strongly connected. So bold are the themes and the characters that you can forgive the often forced attempts to connect them physically in the same scene or plot strand.  

Crash is akin to Paul Thomas Anderson's extraordinary 1999 ensemble drama Magnolia. Both films share a reliance on chance and fate and sprawling casts of well known and respected actors. Crash Director Paul Haggis eschews Anderson's esoteric flights of fancy-- there are no frogs in Crash-- but both films pack an emotional punch that will leave the theater with you. Crash is hampered slightly by not having Magnolia's extravagant run time of three plus hours, for at a mere 93 minutes the film has far less time to establish its characters.

Haggis makes up for this by creating dramatic scenarios that are harrowingly tense and emotional. The scenes involving Michael Pena's locksmith and Shaun Toub's Iranian shop keeper are an extraordinary example of Mr. Haggis's ability to craft confrontations that provoke fate without entirely crossing that thin line between dramatic realism and fantasy.

Crash is ostensibly about racism but it goes much deeper than that into an examination of the psyche of a broad expanse of people displaced emotionally by tragedy, by violence, by hatred and more importantly by chance. Chance is the strangest of all, the way people are sometimes thrown together in situations they never could have imagined. Chance breeds fear but it can also breed love. You can meet your end by chance or meet your destiny. Crash is all about chance encounters, people crashing into one another and the way their lives unfold afterwards.

A brilliant announcement of a new talent arriving, Crash brings Paul Haggis from behind the writer's desk and into the director's chair in the way that Paul Schrader broke from his roots of writing for Martin Scorsese to direct his first great film American Gigolo. Like Schrader, Haggis will continue writing for others (he and Eastwood are collaborating once more on the upcoming Flags of Our Fathers), but with Crash, Mr. Haggis shows where his future really lies.

Movie Review Sahara

Sahara (2005) 

Directed by Breck Eisner 

Written by James V. Hart, Thomas Dean Donnelly, Joshua Oppenheimer

Starring Matthew McConaughey, Steve Zahn, Penelope Cruz, Lambert Wilson, Rainn Wilson, William H. Macy 

Release Date April 8th, 2005

Published April 8th, 2005

Author Clive Cussler had vowed never to work with Hollywood again after what they did to his 1982 novel Raise The Titanic. That film was a massive commercial and artistic failure and Cussler was devastated. 23 Years later Cussler has finally returned to Hollywood and once again he has been disappointed. Sahara, based on Cussler's 1994 best seller that continues the adventures of Cussler's signature action hero Dirk Pitt, once again has Cussler fighting Hollywood in court while a movie based on his work stinks up theaters.

Matthew McConaughey stars in Sahara as Dirk Pitt, oceanographer and adventurer. Part Indiana Jones and well... part Indiana Jones, Dirk Pitt seeks buried treasure and occasionally prevents a global ecological disaster. His latest adventure has him and his sidekick Al (Steve Zahn) chasing the legend of a civil war ship stocked with gold that somehow floated from the Carolinas to the Sahara desert.

Parallel to Dirk and Al's adventure is that of a World Health Organization doctor Eva Rojas (Penelope Cruz). The doc is following a virus across Africa and crosses paths with Dirk when she is attacked on the beach by thugs trying to keep her from the source of the outbreak. Dirk saves her life and flirts up a storm and the adventure begins again.

The remaining plot revolves around the virus which is linked to a wealthy industrialist in the middle of the desert, Massard played by Lambert Wilson. The industrialist is dumping nuclear waste with the help of a warlord, General Kazim (Jude Akuwidike) who is involved in a civil war with a group of peasants apparently named after an American car, Tuareg. Dirk and co. must stop the nuclear waste, punish the industrialist and fight Kazim and maybe find the civil war ship that was nearly forgotten amid the goofy environmental plot.

Matthew McConaughey is the ideal actor for this material. With his movie star looks, oozing charisma and quick wit, he is a classic heroic leading man. Teamed with Steve Zahn as his comic sidekick and Penelope Cruz as his eye candy love interest, you have the pieces in place for a solid B-movie adventure. Unfortunately something is lost in the translation of this terrific team of actors into a coherent and entertaining action picture.

That missing element that would turn Sahara into a good movie from a mediocre rehash of action cliches is Director Breck Eisner. Directing as if he were stuck in neutral, Breck Eisner stifles the good things about Sahara, the amazing cast, with bad editing, bad pacing and a bad script penned by old friends of his rather than trained screenwriters.

Given Breck Eisner's industry credentials, you know who his father is, the adaptation of the script by his good buddies T.D Donnelly and Josh Oppenheimer seems like the whim of a charlatan. Who is going to stop the son of one of the film industry's top executives from making a movie, even if he wants to chuck the script in favor of a rewrite by his friends. Clive Cussler's worst nightmares come true in yet another adaptation that makes his already over the top brand of action novel look ridiculous.

The one truly enjoyable aspect of Sahara is the camaraderie of the cast who seem to really be having a good time. So what if the film makes absolutely no sense, the actors are all good looking, funny, charming and they are clearly having a blast. It's like watching a group of friends on the most unique vacation video in history.

Not everyone is in on the fun. Poor Lambert Wilson, The Merovingian from The Matrix sequels, is left with the worst part in the film. As the bad guy he is required to act with the least amount of motivation, logic and most of all the least amount of fun. Where Wilson clearly relished his badness in Matrix Reloaded, he seems in pain in Sahara delivering his haughty threats through gritted teeth, his French accent barely concealing his contempt for the words in the script.

The term Deus Ex Machina is latin and means a contrived plot device in a play or novel or in the case of Sahara, the entire plot of a film. Deus Ex Machina is how all of the lead characters in Sahara are able to adapt the exact knowledge needed at exactly the moment it is needed. Or how characters previously unavailable arrive just in time to make dramatic rescues or add a suspenseful twist. Whether Clive Cussler's novel rested so much on contrivance I don't know, I never read the book, but the film Sahara relies on contrivance in nearly every scene.

Deus Ex Machina is forgivable in small doses, but not when it makes up the entire film!

How acrimonious is the relationship between the makers of Sahara and writer Clive Cussler? There is still litigation pending over the changes made from Cussler's book to the movie. Cussler was given assurances by the producers that he would be able to veto any changes he did not agree with. That agreement was made before Breck Eisner came aboard as Director.

Having never read the book Sahara I don't know how extensive the changes were, but given the flaws littered throughout the film version, I would tend to side with Clive Cussler. Sahara it seems did not turn out the way anyone could have reasonably wanted it to, but for Clive Cussler it is now twice that he has felt such extensive disappointment.

Movie Review: Fever Pitch

Fever Pitch (2005) 

Directed by Peter Farrelly, Bobby Farrelly 

Written by Lowell Ganz, Babaloo Mandel 

Starring Jimmy Fallon, Drew Barrymore, JoBeth Williams

Release Date April 8th, 2005 

Published April 7th, 2005 

Peter Farrelly is a huge Boston Red Sox fan and has been since he was a kid growing up in the tiny state of Rhode Island. When he and his brother, and producing partner, Bobby moved to Los Angeles Bobby became a Dodger fan and Peter remained loyal to the Sox. Through Bucky Dent in '78, Buckner in '86 and Bret 'freakin' Boone in 2002 Peter lived and died by the Red Sox.

So it must have been an extraordinary experience for Peter when while shooting his latest film Fever Pitch ,a romantic comedy about an obsessed Red Sox fan's first real relationship, that he was allowed to shoot the movie in and around Boston and in the cathedral of Fenway park and all while the real Red Sox were making their historic run to break Babe Ruth's curse. Call it fate or serendipity or just dumb luck, not only was Peter Farrelly on the field when the Sox won the series, he shot a terrific movie while he was there.

Fever Pitch stars Jimmy Fallon as a lifetime Red Sox fan named Ben. His uncle took him to Fenway as a 7 year-old kid and he's never left. Inheriting his Uncle's season tickets right on the first base line Ben has developed a second family with the other lifetime Sox fans and been there through the hard times. Ben's apartment is a shrine to his obsession filled to overflow with memorabilia, jerseys and posters.

Naturally, women have tended to find Ben's Red Sox passion a bit of a turn-off.  He's never had a serious relationship that lasted past Spring training. That changes however when he meets Lindsey (Drew Barrymore) a just reached thirty workaholic who thinks she can take Ben's Red Sox fandom in stride if he can accept how much she works. Lindsey, however, greatly underestimates just how obsessive being a Red Sox fan can be, especially when the Sox are in the playoffs.

Drew Barrymore could do this material in her sleep. While Reese Witherspoon and Meg Ryan openly campaigned to be the new Julia Roberts, Drew has crafted the most Julia-esque career. A career filled with solid light hearted romantic comedies that make big money. The Wedding Singer, 50 First Dates, and Never Been Kissed are not ground breaking cinema but they are solid mainstream entertainments that showcase her unique brand of sweet, slapstick goofiness and innocent sexuality.

As for Jimmy Fallon, he has not exactly set the world on fire in his few attempts at big screen stardom. In fact, after last years atrocious action comedy Taxi I wanted to set him on fire. In Fever Pitch Fallon greatly improves over that performance (how could he not?) thanks mostly to the believability and heartfelt acting of Drew Barrymore and the pitch perfect script by the Farrelly Brothers.

Fever Pitch is superbly crafted to grab both male and female audiences with its perfect mixture of light romance and sports fanaticism. To even the appeal of the film between men and women, the Farrelly Brothers have even toned down their usual brand of gross out humor for a more traditional form of romantic comedy. This is a more mainstream, less abrasive comedy than anything the Farrelly's have done before. Don't worry though, the brothers have not forgotten the hardcore fans.

In Fever Pitch the Farrelly Brothers have replaced their usual brand of gross out humor with Three Stooges style light violence; no one really gets hurt but it looks like it. Lindsey gets beaned in the head by a foul ball, one of Lindsey's friends is slightly hurt when Lindsey drops her while she is climbing a rock wall in a gym and, in the films, climax Lindsey plays cat and mouse with Fenway security after dropping off the centerfield wall. These moments of cartoon paroxysm are sprinkled throughout Fever Pitch just to remind you that this is still a Farrelly Brothers film.

The script is based on a novel written by Nick Hornby about an obsessive soccer fan. All the Farrelly's had to do was take out some of the drinking and all of the riots, change sports and move it to Boston, the one place in America where Baseball obsession could come close to the kind of loyalty shown by British soccer hooligans. Then they added some of their trademark over-the-top humor and a nearly perfect mainstream comedy is born.