Movie Review Ghosts of Girlfriends Past

Ghosts of Girlfriends Past (2009) 

Directed by Mark Waters 

Written by Jon Lucas, Scott Moore 

Starring Matthew McConaughey, Jennifer Garner, Breckin Meyer, Lacey Chabert, Robert Forster, Emma Stone 

Release Date May 1st, 2009 

Published April 30th, 2009 

In this day and age of mass media marketing it is almost impossible for even the most objective of critics to not form some opinion of a movie before having seen it. Featurettes, commercials, and film trailers and posters are splattered over every inch of the internet and TV. Movie Stars appear on TV talk shows with clips and follow that with a podcast and an audio trailer.

Thus, I was exposed to the terrifically awful trailer for the Matthew McConaughey movie Ghosts of Girlfriends past more than 6 months ago and the stream of promotion has been unfailingly ever present  ever since. The subsequent clips, commercials and trailers have been as bad or worse than that first trailer and I must be honest and admit that I was bracing for a disaster when I finally saw the movie.

These many promotions for the film offer a seriously dopey series of rom-com clichés pitched to the plot of Dickens' A Christmas Carol and a super generic pop soundtrack. Matthew McConaughey's recent track record of bad movie after bad movie does the film's reputation no favors either. So, imagine my surprise when first I chuckled and then laughed out loud and was eventually kind of taken in by this admittedly cheesy but undeniably compelling romantic comedy. Don't get me wrong, this is not a really good movie but it succeeds for not being nearly as bad as I thought it would be.

Connor Mead (McConaughey) is a world famous photographer whose string of sexual encounters would cause Wilt Chamberlain to advise a nap. Having lost his parents when he was just 7 years old, Connor and his younger brother Paul (Breckin Meyer) were raised by their playboy uncle Wayne (Michael Douglas). It was Uncle Wayne who taught Connor to treat women as he does and it will be Uncle Wayne who will teach him the error of his ways.

Conor is attending Paul's wedding to Sandra (Lacey Chabert) where he encounters the one girl who really ever got to him, Jenny (Jennifer Garner). The encounter sends Connor on a bit of a binge and soon he is seeing ghosts. First, it's the ghost of his late Uncle who lays out the plot: Connor will be visited by three other ghosts, each representing the women who Connor's womanizing ways have victimized.

Say, doesn't that three ghosts thing sound familiar? Of course it does, it's Dickens' A Christmas Carol. Instead of the miserly money grubbing Scrooge we have the sex addicted misogynist Connor. In place of his late partner Marley and his rattling chains we have Connor's mentor Uncle Wayne with his glass of whiskey with ice clinking in the glass. The copied plot offers the opportunity for the film to be lazy and at times it is, especially when establishing a timeline for Connor's life. However, thanks to the committed and forthright performance of McConaughey, a lot of the film's troubles go by the wayside.

Ghosts of Girlfriends Past is a little coy about exploring what a bastard Connor truly is, the best and lamest example has him breaking up with three girls at once over a conference call while his next conquest watches from his bed. The scene is played for awkward laughs rather than an ominous sign of Connor's troubled soul and the conflict fails to develop. Much of the first act struggles this way but once Emma Stone arrives as the first of three ghosts and Connor is forced to see the wreckage of his life things take a surprisingly compelling turn. Also helping things along is the chemistry between McConaughey and Garner as the one woman who ever to called Connor on his garbage.

Romantic comedy convention will require Connor to be reformed and for he and Jenny to fall in love. What director Mark Waters does well is keep the typical roadblocks thrown in front of them believable enough to distract from the inevitability. Then it becomes the job of the actors to make us want to see them together and McConaughey and Garner pull that off splendidly. Garner's Jenny is just the kind of girl to make a bad dog go good and McConaughey's believable turn from scumbag to reformed good guy is shockingly plausible.

Ghosts of Girlfriends Past is a highly flawed film but, by the standard of your average romantic comedy, it's not that bad. Low expectations based on the awful marketing campaign have certainly helped me to this relatively positive conclusion, but nevertheless, I can't pretend I didn't enjoy Ghosts of Girlfriends Past. 

Movie Review Ghost Ship

Ghost Ship (2002) 

Directed by Steve Beck 

Written by Mark Hanlon, John Pogue 

Starring Julianna Margulies, Ron Eldard, Desmond Harrington, Isaiah Washington, Gabriel Byrne 

Release Date October 25th, 2002 

Published October 24th, 2002 

In the last couple years the Halloween Box Office has been quite a let down for horror fans. A year ago it was the dreadfully bad Thirteen Ghosts. In 2000, the awful Blair Witch sequel, Book of Secrets, ruined the franchise. Finally, in '99 there was the not-so-bad House On Haunted Hill, though I stretch to call that a real horror film, it's more of a parody. This year we get our first quality horror release on a Halloween weekend in forever. And yes, I realize I'm stretching the word 'quality' to its absolute breaking point. Ghost Ship has the atmosphere and gore of the best horror films even while having the generic storytelling of some of the worst horror films.

Ghost Ship stars Julianna Marguilies as Epps, a tough as nails co-owner of a salvage tug. Her partner is Gabriel Byrne's Murphy, your typical been-there-done-that salty dog of the sea. Murphy has been on the ocean since he was conceived. They and their crew of doomed character actors, Dodge (Ron Eldard), Greer (Isaiah Washington) and Santos (Alex Dimitriades), are approached by a weather pilot named Ferriman (Desmond Herrington). 

The pilot has found a ship that he believes to be abandoned and he claims that he will tell the crew how to find it for a cut of the salvage. Epps and company agree and the crew, along with Ferriman, go in search of this surprisingly large ship, the Antonia Graza, an Italian ocean liner, missing since its launch in 1966. While everyone is concerned about how a ship of that size could go unclaimed, they agree that "finders keepers'' is the rule of the sea and prepare to tow it to shore and claim their bounty. However before they can claim the ship they must repair it and their own conveniently damaged ship, which means one night on the creepy ocean liner.

Of course, from here strange things begin to happen, each crew member begins to encounter ghosts. Epps is visited by the ghost of a little girl who may or may not be a distant relative. Murphy meets the ghost of the ship's captain who tips him off to the fate of his crew. And Greer has a very interesting encounter with a sexy chanteuse in the ship's gorgeous ballroom. From there each character will be led to their death or potential death depending upon their billing. That said, Ghost Ship isn't about where the film is going, it's about how it gets there. And it's the getting there in Ghost Ship that is a stylish and visually-dazzling ride with a surprising amount of mystery and suspense.

My favorite part of Ghost Ship is the opening 10 minutes. As the film begins we meet the guests and crew of the Antonia Graza on its maiden voyage from Italy to America. The grisly deaths of the passengers is shocking and gory and deserving of a place in horror history as one the most memorable horror visuals of all time. Director Steve Beck, who also directed last year's Thirteen Ghosts, a much lesser movie, shows a real flair for set design and effects. Though Thirteen Ghosts was an awful film, it had its moments of visual splendor.

The surprising thing about Ghost Ship for me is how efficiently the film builds suspense via its excellent score. Composer John Frizzel, a veteran of horror films such as I Still Know What You Did Last Summer, Thirteen Ghosts, and Alien Resurrection, deftly combines horror screeches with the diva-esque singing of the luxury liner's singer and ghostly murderess Francesca Rettondini. Her haunting voice comes and goes throughout the film as an audible clue of the horror to come. Also credit must go to Cinematographer Gale Tattersall and Production Designer Graham Walker for giving the film a unique visual canvas that actually improves the film's generic story and performances.

It's a recent trend amongst horror films where production design has become as important or in this case more important than story and acting. The same could be said of Fear Dot Com, The Ring and even the most recent entries in the Friday the 13th and Halloween franchises. It doesn't work often but when it does, as it does in Ghost Ship, it is spectacular and makes an average horror movie an above average entertainment.

Movie Review Ghost Rider

Ghost Rider (2007) 

Directed by Mark Steven Johnson 

Written by Mark Steven Johnson 

Starring Nicolas Cage, Eva Mendes, Wes Bentley, Sam Elliott, Peter Fonda 

Release Date February 16th, 2007

Published February 15th, 2007

Hiring Nicolas Cage to play Ghost Rider is strange for a few different reasons. The oddest thing about the choice of Nicolas Cage for this role is that he is simply too big a star for this. Any film producer would tell you that you don't hire a well known star like Nicolas Cage and then cover his face with computer generated effects. 

Ghost Rider requires that the star, in some of the movie's biggest and most important scenes, will be covered by CGI bones and flames. This is natural for a lesser known actor, not for one as well known as Nic Cage. Nevertheless, Cage campaigned for the role and got it and now Ghost Rider is out there and though Cage is missing from some of the film's biggest moments, I can't imagine the movie being as fun or entertaining without him.

When Johnny Blaze (Matt Long) was a kid riding motorcycles in carnivals with his dad, Barton (Brett Cullen), he made a deal with the devil (Peter Fonda). Johnny's father was sick and dying so Johnny made a deal that he thought would save his dad's life. In exchange rescuing Dad, the devil told Johnny that some time in the future he would return to collect on Johnny's debt.

Nearly 30 years later, Johnny (Nicolas Cage) is a world famous motorcycle stunt rider. His jumps over lines of cars, trucks, even helicopters are pay per view sensations. The life he gave up after selling his soul seems to be coming back into focus as  his childhood sweetheart Roxy (Eva Mendes), who he had once planned to run away with, comes back into his life.

The sparks ignite once again between Johnny and Roxy but unfortunately it is then that the devil returns to collect his debt. Seems the devil's own son, Blackheart (Wes Bentley), has escaped from hell and is planning on taking over the world. It will be Johnny's job as the devil's new bounty hunter to bring down Blackheart before he can get his hands on a legendary contract full of souls that could destroy the world. Thus, Johnny becomes the Ghost Rider, a flame skulled super-hero who does the devil's dirty work. Riding a flaming motorcycle and carrying a flaming chain, Ghost Rider battles evil and collects their souls for Satan.

Directed by Mark Steven Johnson, the man behind Marvel's Daredevil movie, Ghost Rider is a big time action spectacle with outsized special effects and a good deal of goofiness. Johnson knows this material well, he is clearly a fan of the comics, and his love for the material really shines through. The detail and the humor of Ghost Rider comes from Johnson's familiarity with the material and a bit of his own wit. The effects of Ghost Rider, headed up by special effects supervisor Kevin Mack, leading a team from Sony Imageworks, are exceptional. The flaming skull, the flaming motorcycle, and Ghost Rider's fiery ride up the side of a skyscraper are all very impressive computer generated effects.

Nicolas Cage campaigned hard for the role of Johnny Blaze and got it despite the fact that it was written initially for a much younger actor. Cage is a huge fan of Ghost Rider and even had to have a Ghost Rider tattoo on his arm covered with make-up for the movie. Cage brings a sardonic, off kilter charm to Ghost Rider and Johnny Blaze. The fact that the character loves Jelly Beans and Karen Carpenter are odd character details that Cage plays with gusto.

Less interesting is the supporting cast who, aside from Donal Logue's comic relief as Cage's pal, are underwhelming. Eva Mendes is smokin' hot but in an underwritten role she struggles for screen time and is made to look foolish in more than one scene. She, at least, comes off better than Wes Bentley as the film's villain. The American Beauty actor, who has done little since that Oscar winner in 1999, is too slight and affected to be a believable foe for the powerful Ghost Rider. Essentially, Cage's charisma and star power blows Bentley off the screen.

Ghost Rider is flawed and is certainly not in the class of comic book legends like Spiderman or Batman but it is a rollicking, exciting action adventure B-movie. Nicolas Cage is a big star, bigger than the character he plays, and he makes this unusual role work with quirky details and comic book cool. Ghost Rider is funny and exciting, even a little scary for younger audiences. Most important, Ghost Rider is just damn entertaining and that is what it's all about.

Movie Review: Secretary

Secretary (2002) 

Directed by Steven Shainberg 

Written by Erin Cressida Wilson 

Starring Maggie Gyllenhaal, James Spader, Jeremy Davies, Leslie Ann Warren 

Release Date September 20th, 2002 

Published September 19th, 2002 

Recently, I have come to hate even the idea of a romantic comedy. The genre's many conventions and classic elements have overwhelmed any film tagged with the romantic comedy label. Take for instance the Resse Witherspoon romantic comedy Sweet Home Alabama, which seems as if it were assembled in a romantic comedy factory. Every element of that film was clipped from previous films in the genre and pasted together under a new title with a big star's name attached to the poster. However, just when I have lost all faith in movie romance comes a most unlikely romantic comedy called Secretary. This is by no means a traditional romantic comedy, but it does have both comedy and a very unique romance.

In Secretary Maggie Gyllenhaal plays Lee Holloway, a troubled young woman just out of the hospital after what was believed to be a suicide attempt. Lee is looking for a way out from under her dysfunctional family which includes an alcoholic father (Stephen McHattie) and her overprotective mother (Leslie Ann Warren). Lee has taken to cutting herself with knives and needles as a way of dealing with her parents' constant arguing; the apparent suicide attempt may not actually have been suicide but rather an accident while cutting. Lee is still trying to figure herself out but she seems to take pleasure from hurting herself.

One way for Lee to get away from her parents may be to marry an ex-high school friend named Peter (Jeremy Davies) or she could get a job and make her own way. Lee decides to get a job and, using her amazingly fast typing skills, Lee lands a job as a secretary for a lawyer named E. Edward Grey (James Spader). It doesn't take long before Lee figures out that there is something unusual about her new boss who seems quite particular about the order of the office. When Edward catches Lee cutting herself, he orders her never to do it again and his forcefulness begins a strange sort of courting that includes sado-masochistic punishments for mistakes--which Lee makes a lot of once she realizes how much she enjoys it.

Secretary is so unique and funny that you laugh at things you once may have thought shocking or even appalling. The performances by Maggie Gyllenhaal and James Spader are pitch perfect which helps the audience to accept the weird behavior. Though Spader has been criticized for too often trading on his creepy persona that he has cultivated throughout his career, I found it interesting to see him make that creepiness a likable trait for once.

Director Steve Shainberg does an excellent job of combining likable performances with difficult material. It's likely that if Secretary were made without the amazing lead performances of Gyllenhaal and Spader it wouldn't have worked. Even when the film seems to fly off the rails in the last 20 minutes, the actors save it with their endlessly likable performances and fiery chemistry. In a year light on good comedy, Secretary is a standout. The material might not appeal to all audiences, but the actors will--if you give them the chance.

The Medallion

The Medallion (2003) 

Directed  by Gordon Chan 

Written by Bennett Joshua Davlin, Alfred Cheung, Gordon Chan, Paul Wheeler, Bey Logan

Starring Jackie Chan, Lee Evans, Claire Forlani, Julian Sands, John Rhy-Davies 

Release Date August 22nd, 2003 

As a stuntman Jackie Chan is unparalleled. However, as an actor, Jackie fights dialogue and loses badly. I can't fault Jackie for not having mastered the English language but I can fault the numerous directors who still force Chan to wrestle with not only dialogue but jokes and one liners, something that is almost as painful as one of Jackie's numerous pratfalls. In The Medallion, Jackie is once again relied upon to deliver jokey dialogue in between the fights, and though the fights are fun, the dialogue is absolutely deathly.

Chan is yet again in the role of a Hong Kong cop sent around the world to fight bad guys. In this version he's Eddie Yong and he is searching for a mystical young boy with strange powers who has been taken hostage by a terrorist named Snake-head (Julian Sands). On Eddie's side are a pair of Interpol agents, the bumbling comic relief Arthur (Lee Evans)and the love interest Nicole (Claire Forlani).

The Medallion of the title is the boy’s power source. With it he can bestow immortality or take it away. He can also use it to bring people back to life, which comes in handy when Eddie is killed attempting to save him. Not only does Eddie come back from the dead he now has super strength and immortality. However Snakehead has also used the Medallion and has the same powers as Eddie leading to climactic battle that is essentially an exercise in special effects, which really doesn't suit Jackie's more natural approach to fight scenes.

But then not much of anything in The Medallion seems to suit Jackie's talents save for the early fight scenes where Jackie gracefully works his way through henchman after henchman, barely breaking a sweat. When he does sweat it's usually fighting his way through sub Abbot and Costello style banter with Evans.

Director Gordon Chan, directing his first western feature, seems at a loss trying to combine Hong Kong action with a Hollywood script that calls for as much acting as fighting. You can see from the hack job editing that Gordon Chan didn't have a clue what to do with the film’s scripted humor which looks as if it was pieced together from the outtakes that always play during the credits of a Jackie Chan film.

The Medallion is yet another attempt by Hollywood to shoehorn Jackie Chan into American style action comedy and, like last years The Tuxedo, it's yet another failure. Jackie Chan is a charismatic and lovable actor but watching him have to wrestle with a script that doesn't suit his talents is painful to watch and impossible to enjoy.  

Movie Review: The Mechanic

The Mechanic (2011) 

Directed by Simon West

Written by Lewis John Carlino, Richard Wenk

Starring Jason Statham, Ben Foster, Donald Sutherland, Tony Goldwyn 

Release Date January 28th, 2011 

Published January 27th, 2011 

If by some chance you have managed to avoid every other movie about coolly efficient assassins who live alone like monks and share a warrior's code with old school samurais then you might find the new Jason Statham film “The Mechanic” interesting. If, however, you are like me and you have seen any hit man movie ever you will find nothing the least bit original or fascinating about this rehash of sub-genre cliché.

Jason Statham is Arthur Bishop a classical music fan who also happens to be the coldest of the cold blooded killers in the world. Arthur's specialty is hits that don't look like hits and in the opening montage we watch as Arthur murders the head of a South American cartel by making the death look like an accidental drowning. The murder is clever but more in a B-movie fashion than in the sleek, cool fashion the film seems to think it's pulling off.

Arthur's next hit will not be as efficient; he's been hired to kill his mentor. Harry McKenna (Donald Sutherland) taught Arthur all that he knows about killing people. But now that Harry is aging and in a wheelchair he has become a greedy liability to the higher ups who give the contract to Arthur out of a sense of decency and respect, or something. The expectation is that Arthur will make the old timer's death quick and painless.

Arthur has a son, Steve (Ben Foster), and though the two were not close Steve wants revenge for his father's death. Lucky for Arthur, the unpredictable, hot headed Steve doesn't know who killed his dad. Out of guilt or sympathy, Arthur takes Steve under his wing and begins teaching him the tools of the trade for a 'Mechanic,' aka assassin, a man who fixes problems.

Simon West directed “The Mechanic,” taking the bones of a forgotten Charles Bronson flick from the early 70's and taking out anything vaguely arty like the original's wordless 15 minute opening in which Bronson lays out a complicated kill and cover up without feeling the need to narrate the proceedings the way Statham's Arthur does temporarily and fitfully throughout the new film.

The original “The Mechanic” was no art-house film but it had more ambition than this knock off and in Bronson a more compellingly stoic and fascinating lead. Jason Statham's one note performance, compounded by the dull and needless voiceover, has the same lack of energy and innovation as Simon West's direction. It's a shame because Statham is capable of being a charismatic presence but The Mechanic sucks the life out of the bullet headed action hero. 

Ben Foster is the truly unfortunate one in “The Mechanic.” This talented young actor who has brought vitality and unpredictability to roles in other not so great movies like “Pandorum” as well as great movies like “3:10 to Yuma” and the military drama “The Messenger,” where he helped Woody Harrelson to an Oscar nomination, is stranded in the one note role in The Mechanic. Much like Statham, Foster is hamstrung by an uninspired script and Simon West's dull direction. 

Dreary, derivative, and deeply uninspired, The Mechanic is a complete failure. It's indicative of every other movie Simon West has directed, a dull, often insulting rehash of genre cliches, slickly produced with little care for character or storytelling. 

Movie Review Ghost in the Shell

Ghost in the Shell (2017) 

Directed by Rupert Sanders 

Written by Jamie Moss, William Wheeler, Ehren Kruger 

Starring Scarlett Johannsson, Takeshi Katano, Michael Pitt, Juliette Binoche 

Release Date March 31st, 2017 

Published March 30th, 2017 

Is “Ghost in the Shell'' offensive? It’s certainly tone deaf and in poor taste but offensive? That depends on your perspective. I wasn’t offended by “Ghost in the Shell'' per se, though I oppose the white washing of the casting, I am also practical and cynical enough to understand it from the perspective of a profit driven business. That the film is the subject of such controversy only shines harsh light on the film’s artistic failures, even if better art would not negate the controversy. 

“Ghost in the Shell” stars Scarlett Johannsson as Major, a secret agent with a not so secret super power. Major is mostly a robot but with a human brain. She is relatively invincible, impervious to most things, but with human intellect and instincts. Major was the subject of an experimental surgery undertaken by a secretive organization for which Dr. Ouelet (Juliette Binoche) serves as the public face and the seemingly benevolent doctor who saved Major’s mind, if not her body.

Major is tasked with tracking down Kuze (Michael Pitt), a hacker/terrorist who is targeting the scientists and doctors who created the Major. Kuze claims to have a secret about Major that is being repressed in her mind through drugs the company claims she must take in order for her mind not to reject her cybernetic shell. It’s a secret that the filmmakers hope will cure them of white washing allegations, even as it only serves to make things worse in the eyes of many.

“Snow White and the Huntsman” director Rupert Sanders helmed “Ghost in the Shell” and he has certainly created a feast for the eyes. The futuristic Asian setting is rich with glittery, bright colors and tech similar to other sci-fi visions of the future such as “Minority Report,” minus that films’ visual wit. “Ghost in the Shell” is quite pretty with star Scarlett Johansson only adding to the visual delights.

That said, the spectacular visuals do serve to underline the emptiness at the core of the story. While the original anime “Ghost in the Shell'' was about identity and what made someone human, the live action “Ghost in the Shell” has been sheared of the subtext in favor of more of a revenge movie in which Major eventually begins to seek vengeance against those who kept secrets from her related to how she ended up a cyborg.

The change dumbs the movie down into a more mainstream action movie because hey, audiences don’t like to ponder existence when there are simple thrills to be had. This is not the fault of Johansson who seems to want something deeper in her performance but it’s just not there onscreen. This could also be the function of multiple screenwriters culling the deeper themes through series after series of rewrites, the film has three credited screenwriters including the subtext challenged Ehren Kruger.

I don’t hate “Ghost in the shell.” It’s not poorly acted and the visual splendor is undeniably fun. I must admit, I am knocking “Ghost in the Shell” for the most part, for not being the movie I wanted it to be and not for the movie that it is. The movie that “Ghost in the Shell” is is a shallow yet dazzling action movie that will satisfy the base action movie audience with their brains turned off.

I’m also reviewing the film’s politics which isn’t really fair either. From a business standpoint casting Scarlett Johansson makes more sense than casting a more appropriate Asian actress with less name value. From that very base, cold, cynical perspective I can’t fault “Ghost in the Shell,” I can only ask why it had to be “Ghost in the Shell?” Why go for the full Asian aesthetic and then cast white people, the setting has no impact on the story and could be transported anywhere. 

Why not rip off the concept, move it to New York and abandon the burden of white washing accusations in favor of the much easier to deflect cries of ‘rip off?’ The controversy only harmed the film which otherwise would have likely skated to modest success as a standard, simpleminded action movie instead of being pilloried on its way to underperforming.