October 2009 Archives

Directed by Robert Kevin Townsend. Starring Lori Heuring, Antonio David Lyons, Clayne Crawford, Tucker Smallwood, and Patrick Bergen. Drama. Synopsis: A young woman who is inexplicably pregnant, and her sterile boyfriend, decide to seek an abortion and are approached by some strange people who want to pay them to carry the child to term, in addition to befriending a stoic gas station attendant who seems to have special gifts and his seemingly paranoid father who preaches loudly on a home made radio.  

Now this movie is, to me, the epitome of what a small budget film can be that has a good script, good acting, and good direction. I watched this film without, literally, having heard anything about it and therefore having no expectations one way or another. Its a very good, character driven movie that I think most serious movie fans will enjoy. 

False Prophets has all the elements of a small budget film, but it never lets that stand in its way and, instead, uses them to its advantage to tell a story that is not meant to make you visit fantasy or totally suspend your disbelief. Hey, there is a time and place for those types of films, but there is also nothing wrong with an interesting story being told on film, and that is just what we are treated to with this movie.      

The film starts with us seeing a small child being left on the doorstep of a home, and quickly forwards us thirty-three years into the future in Atlanta  where we see some religious leaders talking of a young woman who is not only fixed, but is living with a man known to be sterile and, yet, has become pregnant with an expected due date in late December.

We soon meet Maggie (Lori Heuring) a hard working waitress who is struggling with the news of her pregnancy and how to tell boyfriend Wade (Clayne Crawford) who is the definition of a good ole boy who is perpetually in between jobs and is over reliant on Maggie's income to make ends meet.

After the decision to get an abortion, the young couple soon is approached by a seemingly benevolent stranger named Karl (Patrick Bergen) who claims to be able to broker a deal for Maggie to forego her abortion and let a nice young power couple take care of the child without all the hassle and red tape of an adoption agency. Oh, and by the way, Maggie and Wade stand to make a cool fifty thousand in the deal.

As you might guess, Wade is gung ho and Maggie is still torn due to her moral concerns and uncertainty that she does not want this child. The movie's main turning point is the meeting with Maggie, Wade, Karl, and the couple, who Maggie soon sense might not be all they are supposed to be.

Maggie's desire to back out of the arrangement leads to her meeting a benevolent stranger named Emmanuel (Antonio David Lyons) and his salty-language father, Isaiah (Tucker Smallwood) who help Maggie through the action points of the story and give her a fresh perspective on the decision that she still has to make.

I'm being deliberately vague here because, to tell you how good I think the story is would be impossible without being too much of a spoiler. I can say that the film deals with issues that are at the front of almost everyone's consciousness, either if they follow the news or have been in that situation themselves: unwanted pregnancy, abortion, religious zealotry, individual conscience and spiritual beliefs.

What works so well for the story is two things: 1) the fact that Townsend (Not to be confused with the Robert Townsend of Hollywood Shuffle fame)  gives us a lot to think about in a practical and moral sense, through the use of his story, direction, and symbolism, but he does not force feed us his own personal viewpoint nor is it ever crystal clear just who the real zealots, or false prophets are, which is very much like real life 2) the five main characters, who all do a wonderful job.

Heuring, of course, has to carry the film and she does: she is likable, empathetic, believable, and brings energy to her role. She will remind you of someone you know and you want to root for her, even when her actions irritate you. Clayne Crawford and Patrick Bergen hit grand slams in their roles, again crucial to the story since they are the primary people that Heuring is reacting to during the first portion of the story. You won't necessarily like Crawford or Bergen's characters, but you will like them in the roles, which is key.

Smallwood and Lyons have it tougher than the other main characters, in a way, because they are introduced to us relatively late in the film with almost no build up as to their motivations. This is o.k. with regard to their roles in the story, but harder on the actors and, again, they both come through with flying colors. Smallwood's character is the loud mouthed, borderline crazy older character that we all know in some part of our lives. You know, disregard 50% of everything they say but ignore the other 50% at your own risk because...well, crazy or not, they're pretty smart. The trick is knowing which 50% to listen to.

Antonio Lyons' Emmanuel make us believe that there is something special, if unexplained, about this guy and he is the moral compass of the story, and a big factor in Maggie's ultimate decision. 

Its not a perfect  film, I could have used just a little more discussion or explanation of the complete motivation of Patrick Bergen's character as well as his followers, as well as the gifts that Antonio Lyons possesses. But, it is clear that Townsend did not want to wrap this all up in a nice bow for us to open, and it does work as it is, giving us plenty to think about and blanks to fill in on our own.

Also, the DVD features his (Townsend's) director's commentary, which is very interesting in hearing the thoughts of a first time director as well as, maybe, answering some of the questions you are sure to have. It's very clear that this wonderful little film comes directly from Townsend's heart, which is probably why it came out so good.  

 

Directed by M. Night Shyamalan. Starring Paul Giamatti, Bryce Howard, Jeffrey Wright, Bob Balaban, Sarita Choudury, Cindy Cheung, Mary Beth Hurt. Drama/Fantasy. Synopsis: The superintendent of a large apartment complex develops a relationship with a young woman who lives in the water under the pool, a nymph from ancient legend who has an important message to tell. The problem is who gets the message and will she be able to escape the danger that awaits her. 

Every once in a while, despite the ridiculous costs of films (large popcorn, two soda= $14.00) and the ease and comfort of dvd/vhs , you have to take in a flick on the big screen to really get that full cinematic experience. Remember how exciting the movies were when you were a kid? They still have a similar, if reduced, effect on me when I go to the theater, which I only do a few times a year. So, being a fan of Shyamalan, this was a no- brainer for me, since flicks in theaters are such a big investment, I only go when there is something I really want to see now instead of waiting for dvd.

The Lady in the Water has many of the familiar trademarks of a Shyamalan film: a large number of shots over the shoulders of people in conversation, the past of one of the protagonists being slowly revealed and having a major impact on the finale, Shymalan himself in the film, and the suburban Philadelphia setting. But, to me, and I think to many of you who are familiar with Shyamalan films, this one is quite different from his hit films (Signs, Sixth Sense, Unbreakable, The Village). There is, without spoiling it, no twist at the end, no surprise ending that you might expect from him.

Also, this not a psychological thriller or suspense driven movie, it is basically a modern fantasy drama with more humor thrown in than I expected. This is a very talented ensemble cast, but the main characters whom the film revolves around are apartment superintendent Cleveland Heep (Giamatti) and a young woman that Heep finds swimming in the apartment pool after hours and subsequently rescues him when he falls into the pool named Story (Bryce Howard).

Cleveland immediately knows there is something different about Story. First, she claims to be from the "blue world" and hints at a message that she has to deliver. Next, Cleveland, who has a stutter, does not ever do so when he is around Story. Trying to find out if Story is really the nymph from fantasy that she says she is, Cleveland does some research of his own, getting help from the mother of one of his gregarious tenants (Cindy Cheung), and soon believing that the purpose of Story coming up to this world as well as the danger she faces are all right there in the apartment complex.

The entire movie takes place in and around the complex, and almost every scene involves Giamatti engaged with Howard, or one of the interesting cast of tenants in the complex. This includes the taciturn but hilarious new tenant, Mr.Barber (Bob Balaban), the quiet but wise Mr. Leeds (Bill Irwin), the crossword solving genius Mr. Drury (Jeffrey Wright), the gossipy Mrs. Bell (Mary Beth Hurt), the bodybuilder, Reggie, (Freddy Rodriquez)  who only works on the right side of his body, and the bickering brother/sister roomies, the Rans (Shyamalan and Sarita Choudhury).

Each of these characters plays a significant role in ultimately helping Story find her purpose, of course. The acting is very good in this one, as it should be with such a deep cast. Giamatti shows he can carry a film, Balaban was outstanding in his role and stood out in the few scenes he was in. Howard seems perfectly cast as the nymph character...hell, she looks like she lives underwater and away from the sun. I liked her, although those of you who were as impressed as I was with her in The Vlllage should not expect her to best that performance.

I was a little disappointed that Jeffrey Wright, one of the most versatile actors working, did not have more to do with his character. It's a shame when talent like that is wasted on such a small role. Choudhury is also eye catching in her role as the sister of the struggling author (Shyamalan). As for M. Night, you will see a lot more of him than in previous pictures, where he was primarily a cameo guy. In this flick, he gets lots of screen time and his character is, arguably, one of the most important to the story. To me, M. Night and Wright should have switched roles...let the great actor do the important minor role and the director can cameo the less important one. Having said that, I don't want to give you the impression that this is not a good film, it is just a notch-or two- below some of his others. I don't have a problem with him being a little less formulaic and trying something a little different, but the story isn't the greatest or particularly compelling.

Its definitely a feel good, or at least attempt to feel good story, with plenty of symbolism and implication about the importance of everyone and searching for one's true purpose. Nice stuff, but it doesn't keep you on the edge of your seat. Maybe Shyamalan is the "victim" of his own success. Its just not possible to blow everyone away with every film and The Lady in the Water probably will not blow you away.

I wouldn't tell you that you need to rush out and see this film, its worth the wait to DVD, but if you do plunk down your shekels to see it on the silver screen, be prepared for a nice little movie that you will like, but probably won't be talking about years after its release. This is no Sixth Sense.

But, then again, most movies aren't.

Starring: Ewan McGregor, Ryan Gosling, Naomi Watts, Bob Hoskins, B.D. Wong, Janeane Garafolo. Drama/Suspense Synopsis: A young substitute psychiatrist is thrust into a surreal life that is a combination of dreams and reality, dealing with the living and the dead, as he attempts to find, understand, and stop a young patient who has told him that he is going to commit suicide at a specific day and time.

Stay is a movie that is hard to describe in depth and hard to critique with any brevity without spoiling it, so I will just keep it simple: this is an outstanding movie that will evoke feelings of looking at a David Lynch movie, only with a slightly more realistic feel. The story begins with psychiatrist (Ewan McGregor) pinch hitting and meeting a troubled, enigmatic patient (Ryan Gosling) who indicates off hand that he is going to commit suicide the next Saturday at midnight. Well, as you might guess, McGregor immediately seeks to try to stop this, not to mention understand why a young, intelligent college student would want to kill himself, and why wait until a specified time in the next few days. We find that the issue of suicide is especially sensitive for the doctor because his girlfriend (Naomi Watts) previously tried to end her own life and was, apparently, saved by McGregor, which served as the beginning of their relationship.

McGregor shares his concerns with his cynical and burned out supervisor (B.D. Wong) who we soon will view as the only completely grounded main character in the film. At one point, MaGregor confronts Gosling (who is, for some reason, still attending his classes leading up to his date with suicide) and learns that both of Gosling's parents are deceased, and that Gosling seems to feel that he is the cause, although the time and manner of their respective deaths are not revealed. This is a key point in the film as we will soon be introduced to both of Gosling parents-well, maybe we are- as MaGregor, in an attempt to track down Gosling, finds his home on Long Island,  a stately place that is completely empty except for a dog and a woman claiming to be Gosling's mother (superbly played by Kate Bunton). Further, McGregor's long time blind chess partner (Bob Hoskins) is identified by a suddenly appearing Gosling as his father.

If you are not already saying to yourself, "what the hell is going on here?", you should also consider one other point, such as the increasing propensity of characters, including his girlfriend, to call McGregor by Gosling's name. There is also the recurring appearance of Gosling's former girlfriend, also supposedly dead, as well as a terrific cameo appearance by Janeane Garafolo, who seems to be sort of a creepy savant in her role.

Listen, you will figure out very quickly that this movie is not the typical chronological story. On the other hand, it is a little more involved than the end-at- the- beginning-begin- in- the-middle flow of a Tarentino movie. (Not to diminish the brilliance of Tarantino). Stay is more of a surreal feel, where you are wondering if what seems to be happening is really happening, or if the characters are really who we, or the main character, perceive them to be. Those of you who were smart enough to figure out the Sixth Sense prior to the ending the first time you saw it will be asking yourself questions regarding the relationship between McGregor and Gosling within minutes of the opening scenes.

Now, before those of you who have not seen the film holler, "You just spoiled it, dufus!!!", hold on a second. Maybe I did, probably I didn't. Because this film ends in a way that allows you to tie up some of the strings and symbolism, but there are many different interpretations and conclusions you can draw. In other words, you will have to think about what this means and see it more than once. Since we all see things a little differently, this means that you will probably have a different take on the film than whoever you watch it with. Which is always a lot of fun if you like to think about things.

Of course, the thing about films like this is that they only work if you are entertained when you are watching it, and you will be. All of the main characters bring their "A" game, and the supporting characters (Bunton, Garofolo, Hoskins, Wong) all energize the mysterious plot in their relatively short time on screen. McGregor is superb, we empathize with him as he tries to find out what is going on with his patient, all the while we suspect that his is descending into his own psychosis. Watts is brilliant, as always, and she is building a portfolio that may make her remembered as the best actress of her generation, if she is not thought of that way already.

Gosling deserves special mention. The only other time I'd seen him (Remember The Titans), he was in a minor role and, here, he is the most important character because if his character does not work, then the film does not work. And, of course, he does. He is deeply enigmatic, yet likeable in his portrayal, which is definitely what he was supposed to be. Fans of character driven films, anything David Lynch, and/or psycho-thrillers absolutely owe it to themselves to watch this film. Supberb .   

 

Now, this flick is the absolute epitome of "low budget", meaning its literally low budget, not relatively, where you might here some idenpendent director on the commentary talk about the difficulties of making a flick with only $100,000. You learn from the special features that the actors were not paid, and a viewing of this will tell you right away that the script and FX were done on the cheap, although the cinematography, in my view, was excellent for a film of this nature and not bad even when compared with a film with some budget.

Now, the obvious question you might be asking is, "O.k., so what's it about?"

Well, to be perfectly honest with you, I'm not one hundred percent sure.

Hey, didn't you watch the flick!?!? (You might ask)

Yes, I did, a number of times, as a matter of fact. (I'm fascinated with legitimate efforts to make a movie with no budget or, putting it as charitably as I can, no expertise) As best as I can determine, the story is of a young woman who is looking for answers in the death of her sister, who appears to her from time to time as a demonic figure. This flick is a sequel, and I must admit that I did not see the first one, but to be brutally honest with you, I don't know that that makes a huge difference.

The story is near unintelligable, which would be bad enough but when you couple it with the horrendous sound quality, its impossible to make sense of what you can actually here in addition to what you cannot. The actors are not actors, they are regular Joe's and Janes's who decided to act in this flick. That may sound like a paradox, but just like everyone who does a bad thing isn't necessarily a bad person, not everyone who acts in a movie is an actor.  

Once you accept that (and you will no more than 2 minutes into the flick), your only choice in appreciating the acting is realizing that the actors gave their performances on Saturday after processing insurance forms, or whatever they really do, all day Friday. 

Throw in the tapioca- pudding- for-vomit, knife under the armpit in the stabbing scene and the slapping scenes where the slapper's hand is visibly more than a foot away from the slapee's face with the sound coming in a full second later, and you have the potential for some laughs in this one.

I must say, even though this one has to go into the "Dud" category on artistic (or lack thereof) alone, the cinematography is not bad, the director of photography obviously knew what he was doing and this flick is shot like a real movie with differing angles and smoth cuts. So, the story doesn't make sense, the direction is poor, the FX amateurish, the sound either annoying or comical, and the acting substandard, who should see this film?

Well, not many, if you want to know the truth. But, if you have a love for (really) small budgt film, or you just want to see what it might look like with you and some of your buddies shooting something on a camcorder, pick this one up. Hey, they (somehow) got distribution, so I think you can find it somewhere if you look for it.    

Directed by Martin Scorsese. Starring Leonardo DiCaprio, Cate Blanchett, Alan Alda, John C. Reilly, Alec Baldwin, Ian Holm, Kate Beckinsale, Jude Law. Drama/Biographical. Synopsis: A dramatized story of the real life billionaire Howard Hughes, focusing on his youth spent in aviation and movie making.

Its pretty hard not to have a good flick when its directed by Martin Scorsese (Gangs of New York) and since this film is about, arguably, one of the more fascinating figures of the 20th century, you've got all of the ingredients of a good movie when you throw in a top notch cast.

The Aviator is the story of  billionaire Howard Hughes and focuses on his young professional life and especially the contributions he made to the field of aviation when that industry is in its infancy. Some of you of a certain age will probably remember hearing of Hughes as a total recluse who lived in solitude in one of the Las Vegas casinos he had bought, effectively ending Mob ownership of that town and beginning the transformation to the corporate mecca that it is today.

But, The Aviator's Howard Hughes (Leonardo DiCaprio The Departed) is young, fresh off of inheriting millions from his late father and out to conquer the industries of aviation and film making. We see Hughes' genius and vision in making the first multi million dollar movie as well as his love of aviation, being a pilot who sets speed records in addition to financing and eventually buying T.W.A. airlines.

Hughes was allegedly a playboy, despite being married twice for long periods of time. Cate Blanchett (The Gift) does a wonderful job as Katherine Hepburn, with whom Hughes had a long term affair prior to her involvement with Spencer Tracy. Kate Beckinsale (Van Helsing Fragments) takes a turn as the seductive Ava Gardner, who had her affair with Hughes prior to hooking up with Frank Sinatra.

The rest of the cast is very solid, too, with Alan Alda (Mash) stepping up to the plate-he was Oscar nominated- as the corrupt Senator who goes head to head with Hughes on behalf of his benefactor and Hughes rival, played by Alec Baldwin (Minis First Time/ Glengarry, Glen Ross).

But, the prize in this exceptional cast might just have to go to John C. Reilly (Boogie Nights  The Perfect Storm) who portrays Noah, Hughes' real life right hand man who was there through Hughes ascent and the beginning of his descent into madness. Along those lines, the film does touch on, but not dwell on, Hughes mental degeneration and places his obsession with cleanliness and fear of germs on an obsessive compulsive disorder, something that was not readily identified and treated in those days.

In fact, the excellent special features disc of the DVD does a good job of telling us a lot about this and Hughes himself, including a discussion panel that included DiCaprio, Scorsese, and Hughes' surviving widow.

This is a very good flick, but you probably already knew that.  

 

Directed by Gus Van Zant. Starring:Sean Penn, James Franco, Josh Brolin.Historical/Drama Biography. SYNOPSIS: A biopic of the first openly homosexual politician in San Francisco focusing on his personal life and entry into politics in the '70's through his assassination in 1978.

If you're making your own personal list of the best living actors, it is getting harder and harder, if you define "acting" as the ability (or artistic talent) to bring characters to life to the point where you might forget you are watching a movie and feel as if you're viewing the real thing, well....its getting harder and harder to leave Sean Penn (Carlito's Way, Mystic River) off of your short list. Really hard. This is an amazing actor.

Milk is a biopic of the real life San Francisco politician and gay rights activist Harvey Milk, who was the first openly gay politician elected to office-Board of City Supervisors- in California and one of the first in the nation.

The film starts out with Milk in New York and quickly encapsulates his transformation from careful and closeted homosexual businessman (in my day he would have been called a "yuppie") into the quintessential long haired hippie of the '70's to respected middle age politician in one of the most combustible hot spots of the 70s.Its really something when we look back at history. In full disclosure, I'm old enough to remember the times of Harvey Milk, which came on the heels of the Jim Jones tragedy which also was directly tied to San Francisco.

 

I was too young to understand the full impact of the events then and did not become familiar with San Francisco and its unique vibe until years later, but I do think I have a pretty good idea of the feel of the city as well as that late 70's feel and Milk captures it very well.

As for what I thought of Penn in this movie, well, what can you say? Though Messrs. Pacino, DeNiro, Freeman, Washington, Nicholson, Ms. Streep and a couple of others certainly have a claim, we might be looking at the best living actor. The man just transforms onscreen. My knowledge of Harvey Milk is certainly not as much as many other historical and/or political figures, but I have seen more than one documentary on the man. I know this sounds like a cliché, but every so often, you forget you're watching an actor play Harvey Milk and think you're watching Harvey Milk. Penn is that good here.

Lest you think the other actors disappear next to Penn, let me assure you that they do not. Special kudos have to go to James Franco (Flyboys, Annapolis) as Milk's long time lover and Josh Brolin (Planet Terror, W) as Dan White, Milk's fellow council member, political opponent, and ultimately his assasin.

 

To those of you who might be hesitant to give this one a look due to the fact that it might be "pushing" or "encouraging" the homosexual agenda or lifestyle, you needn't fret. And, don't think I'm endorsing the legitimacy of that concern. Personally, I think its silly, but to each his own.

 

Milk is a compelling flick, whether you have familiarity with the story or not, whatever your politics. If you're a fan of great acting, you almost owe it to yourself to see Sean Penn. 

Directed by Albert & Allen Hughes. Starring Johnny Depp, Heather Graham, Robbie Coltrane, Susan Lynch, Ian Holm, Ian Richardson, Jason Fleming, Katrin Cartlidge, Lesley Sharp. Synopsis: A tale of the killings and the search for Jack The Ripper, the most infamous serial killer of al time who was never caught, told from the perspective of the lead detective on the case, Fred Abberline.

 

I have to confess first off to being a "Ripperologist", one who has an interestin true unsolved crime and particularly the most famous unsolved murders of all time. I've read books and done research on the case and I still remember quite clearly that when From Hell opened in the theaters some years ago, I went to the midnight showing after a long day at the office because I could not wait. I now have it on DVD and watched it again for the first time in a couple of years. 

Nothing has changed my opinion.

 

This, in my opinion, is an excellent movie. Now, the first thing to deal with is the premise: a real life unsolved crime that everyone knows is unsolved.On the other hand, so much has been written and dramatic license taken over the century and a quarter since the murders, it was safe to assume that many people watching who had heard of Jack The Ripper would only be vaguely familiar with the details and, of course, everyone directly associated with the case is long deceased.

But, the Hughes brothers do a good job with it anyway. There are many different theories as to who Jack The Ripper was and why he did what he did, which was murder at least 5 women who worked as prostitutes in extremely brutal fashion in London in 1888.

 

The Hughes brothers choose to use one of the more popular and recent theories, one involving the coverup by the Royal Family. This theory first appeared in the 1970s and, in the humble opinion of your blogger as well as most folks who have studied the case, its silly.

But, it does make for great theater-which is no doubt why it was dreamed up-and great theater is what we get here. Johnny Depp (Public Enemies, The Libertine) plays Inspector Fred Abberline, the real life detective who was in charge of the investigation. Depp, not surprisingly, is wonderful in the role and unlike some I had no problem with his British accent. Some dramatic license is taken with the life of the real detective, such as making him an opium addict as well as clairvoyant. I didn't particularly care for that, as one thing that bugs is when historical movies change known facts. My opinion is, if the person or event you're making the film about is interesting enough to warrant making a movie  1,10,100, or 1000 years after the fact, why do you need to change any of the facts?  

Of course, there are valid reasons in terms of what you might show in a feature film that is 2 hours long, and I believe that is what was done here, combining another real life figure close to the case into the Abberline character.

Of course, we're talking big budget movie here, so telling the story of the most compelling and well known unsolved crime in history isn't enoufh, we have to have a love interest. I say that somewhat tongue in cheek, but I will say it works well in From Hell, not least because it is written into the plot in the form of part of the answer to the unsloved question of who Jack The Ripper really was. Heather Graham (Boogie Nights) plays Mary Jane Kelley, the last of the known Ripper victims and the object of Abberline's affections. The chemistry between the two is very believable and there is some electicity there as well. We can believe this relationship even though it springs from slightly unbelievable circumstances.

The rest of the cast is more than up to the task of answering the challenge of matching the performances of the two leading actors. Robbie Coltrane knocks it out of the park as George Godley, Abberline's sidekick. I'll bet you find him the most likeable, empathetic, and funniest of the characters, though the laughs are few in this flick.

The two Ians, Holm and Richardson, are both impressively stately if a little intimidating in their respective roles, as Physician to the Queen and Chief of Police. 

Mary Jane also has gal pals who work the streets with her and just might fall prey to the Ripper. The circle of friends angle, for which there is no historical basis, of these Ripper victims is done very well here, almost family like. Katrin Cartridge plays Annie Chapman, Lesley Sharp is Cattherine Eddowes, and Susan Lynch (16 Years Of Alcohol Abuse) is Elizabeth Stride. All of them were real life Ripper victims and the actresses bring them to life well and make us emphathize. Especially Lynch, I just think this actress really has something special.

The cinematography and look of the film are excellent, it really looks like you would think London would have looked like at this time in history. There are a couple of shots of blood red skies that are awesome and fit well with the story.

As if a well directed, acted, and filmed movie about an interesting subject was not enough, when you pick this up on DVD you will be treated to extensive special features, including quite a bit on the actual case, so those of you who are interested in the topic will get twice the bang for your buck. 

One of my favorites, no doubt.

        

Directed by Patrick Stettner. Starring Robin Williams, Toni Colette, Bobby Canavale, Joe Morton, Rory Culkin, Sandra Oh, John Cullum. Drama. Synopsis:A talk show host is contacted by a sick young boy who has survived a traumatic ordeal and has written a book about it. After becoming close with the boy and his adoptive mother via phone calls, he begins to suspect that the voice of the boy and his mother are one and the same person.

This one was really interesting and different, which is one of the reasons why I would recommend that anyone who likes a good story take a chance on The Night Listener. All the more so because it is based on a true story, with the writers of the film having had the experience some years before.

The protagonist of the movie is Gabriel Noone (Robin Williams Insomnia), a radio host with a popular night time show who is going through a very difficult time with the breakup of he and his long time lover, Jess (Bobby Canavale). During this time, his literary agent (Joe Morton) gives him a manuscript that was authored by a 14 year old boy who was horribly abused by his parents and is now very ill as a result, the implication being that he has contracted AIDS. The boy is now living with his adoptive mother Donna (Toni Collette Shaft) in Wisconsin and develops a regular phone relationship with Gabriel, who begins to have a deep caring for the boy, whose name is Pete.

The plot thickens, as they say, when Jess hears a conversation between Gabriel, Donna, and Pete which occurs after Pete has been in the hospital. Jess offers his opinion that the voice of Donna and Pete are actually the same voice.  This doesn't go over well with Gabriel, especially in light of his break up with Jess, but upon further reflection, he begins to wonder why no one seems to have ever seen the boy, nor has the publisher of the book done any independent verification.

Gabriel travels to Wisconsin to meet with Pete and Donna in person. He gets there and finds that the situation in the midwest is pretty much the same. No one has ever seen Pete, but they are all very protective of him as no one will say exactly what hospital he is in. It is during this trip that he also learns that Donna is blind and, you might say, somewhat mercurial. I can't go much further with the plot outline without being a spoiler, but I will say that its the kind of film that takes you where you didn't think you were going.  

The way the movie concludes might leave some unsatisfied, but to me it was just an extension of the real question that was being asked throughout the film. Pretty ambiguous review, huh? Well, its meant to be enticing.

I've never seen Toni Collette like this before, she is genuinely creepy here. Robin Williams continues to amaze those of us who first knew him as "Mork" and one of the best-if not the best-improv comedians of all time, with this strength in dramatic roles (See Insomnia, Final Cut) For those who might wonder, the same sex relationship between him and Bobby Canavale's character is dealt with openly, but it is not the focal point of the film nor is there any controversial action between the two. (Think Antonio Banderas and Tom Hanks in Philadelphia)   For what that may be worth, either way, to whoever might be particularly interested in that aspect of the movie.

There are excellent supporting characters here as well, Joe Morton does well as always. Sandra Oh is also very good and, along with John Cullum, add some levity to the film. Yes, there are some laughs here-dark humor-and they surprisingly don't come from comedic genius Robin Williams.

Unlike some films that I feel comfortable predicting that you will either like or dislike, I can't with this one. But, I can tell you that it will tell you a story that will make you think about some things.

Whether that ends up being good or bad is going to depend on you. At least, that's what I think. 

Directed by William Friedkin. Starring Tommy Lee Jones, Benecio De Toro, Connie Nielsen, John Finn, Leslie Stefanson. Drama/Action. Synopsis: A man who trained trackers-human hunters- for the Army is reluctantly pulled back into his former life when he is asked to help find a former student who is on the loose and unable to adjust to post war life.

I had high hopes for this one, even though I knew nothing about before I picked it up, just based on the cast, director, and the story line as depicted on the box cover and by the title. That formula works sometimes, and sometimes it doesn't.

It worked in this case. The Hunted is a good and enjoyable flick that is well acted and directed. The premise of the story is simple: Benecio Del Toro (The Pledge) plays a highly trained U.S. Army soldier who is exceptionally efficient in the art of hunting and killing the enemy. After his last tour in Kosovo, however, something snaps and he is no longer able to really differentiate between peaceful civilians and the enemy. As such, he develops the habit of killing hunters and outdoorsman who are otherwise just enjoying the beauty of the Pacific Northwest.

As you might guess, this comes to the attention of the local authorities and the F.B.I, who set in to catch these "killers", being sure that this could not be the work of just one. The F.B.I enlists the help of an old contractor, L.T. (Tommy Lee Jones U.S. Marshals) L.T is taking it easy in a remote location, but in the past he helped out the military and the feds in the art of "tracking", the refined ability to hunt and kill humans anywhere, using techniques and senses that are developed to the level of a hunting animal. It's just that LT never actually killed anyone himself, he only trained soldiers to do it, and at some point he began to have reservations about his life's work.

So, he reluctantly joins the task force investigating these crimes and quickly advises them and their leader (Connie Nielsen Basic) that they are, in fact, looking for only one man and that he is a former student of LT's...in fact, his best student.

And, from there, the chase is on. What makes this such a good action movie is that it is not formulaic, you will see some different things than in your normal action flick. For one thing, the characters have some depth and there are twists to the chase-or "hunt"-which takes place both in the wilderness and on the streets of Portland. Also, the two main characters meet up early on in the film, only for there to be an escape and another more involved hunt later. Director Friedkin (The Exorcist) does a great job of keeping the action moving and the use of the flashback scenes to tell us about the extent of the relationship between the two main characters works very well, we get enough of the back story without a lot of "sitting down and talking scenes", which can negatively impact an action flick.

Jones is awesome in his typically dry and laconic persona and Del Toro is great with his intensity and rage he brings to his character. A good flick.   

 

Directed by Thomas Vinterberg. Starring Joaquin Phoenix, Clair Danes, Sean Penn. Romance/Drama Synopsis: A unique story of a rekindled romance between two Polish born Americans on the eve of the finalization of their divorce. Set in the future, the Earth of 2021 is radically different in the area of weather and culture.

 

This is a very interesting film, one that will strike different people in different ways. I happened to like it, the person I viewed it with hated it, and I must say that it is hard to describe, made in a way as to be heavy on symbolism and ambiguity, but not in an obvious way.

Its set in the future, but only in the summer of the year 2021, only twelve years (eighteen from the time of the making of the movie) into the future, so do not expect to see depictions of technology that is unknown to us at this point in time. What is radically different (or maybe not, depending on your world view) is the culture of the world, in addition to drastically different weather.

The story starts with John (Phoenix The Village) arriving on a flight to New York, where he is to have a brief stopover to meet with his wife, Elena (Danes) to sign their divorce papers. Phoenix, in voice over, tells us that he will tell us "....what happened in the last seven days of his life...", itself an ambiguous reference open to interpretation, particularly at the end of the film.

John is met at the airport by two representatives of Elena, a world famous figure skater, who tell him that he will have to go to her apartment in NYC to meet with her and will also have to reschedule his connecting flight to Calgary. Right away, in this initial scene, we get a taste of the surreal, David Lynch film-like quality of this picture as John and his contacts at the airport view a dead person at the bottom of the escalator. John seems surprised by this and is told by Elena's representatives just to "step over him" and that is was probably something to do with his "heart" and, finally, that this is not an uncommon occurrence in NYC these days. The unattended, ignored corpse theme is one that will recur throughout the film.

Upon meeting with Elena, it is apparent that two things are true: 1) there is still love between John and Elena, who is particularly reluctant to finalize the divorce 2) Elena is unhappy in her present occupation as a world famous figure skater and, in fact, believes that she is in some kind of imminent danger.

The interesting backdrop of this film removes it from the familiar "rekindling love before its too late" theme that we've all seen dozens of times. Elena has an entourage the size of a Presidential candidate and they, obviously, feed off of her earnings in way that will remind boxing fans of the clingers who follow around the heavyweight champion. Further, there is the growing suspicion on the part of John, with good reason, that Elena really is in danger from her friends and he sets his mind to freeing her from this increasingly dire situation.

One thing I like about this movie is that the backdrop of the story is flavored with commentaries on the society in the form of newscasts that are, almost constantly, playing in the background. (kind of reminiscent of Robocop ) We learn that it snows frequently in the summer of 2021, and NYC itself is blanketed by the white powder. Additionally, there is the recurring background news of mysterious flying Ugandans, people from that country who, for no apparent reason, have the ability to fly and not come down. There is one brief scene that depicts this, with the Ugandans in the air and tethered from the ground. Also, there is the phenomena of fresh water freezing, instantly and without known cause, for a couple of minutes every so often. We learn of this from a newscast in the background, warning citizens of the fresh water freeze in the same serious, yet casual tone, that weathermen warn people to stay indoors on hot humid days or to drive carefully on snowy days.

What does all  this mean? I'm not sure, but it certainly is meant to be part of the fabric of the story, and one can take its symbolism for what one wants, I guess. I haven't even mentioned that you will see the reality of cloning in this movie, and the effect of this on both the clones as well as the clonee. (is that a word?)

I'm sure you're sitting there thinking, "O.k., this movie has one of the best actors of the last twenty years in it, and this dork hasn't even mentioned him, yet." Well, you're right. (Not about the dork part, though) Sean Penn plays Marciello, the brother of John who is on an airplane that, apparently, cannot land and does not through the course of the film. Marciello is leaving messages for John intermittently throughout the course of the film on his view of the world, love, and other broad topics, though the two never actually converse, nor does Penn interact with any of the other major or minor characters in the movie. Strange.

To me, this is a movie that is just a love story, and talks about love being the strongest force amidst anything else, whether its natural phenomena, deceit, betrayal, or even violence. There are quite a few layers to the film, and you'll have to see it more than once to pick up what it all means...which might be something totally different from anyone else you know who has also seen it.

Fans of Phoenix, Danes, and surrealistic movies of the Lynch variety or art type films will want to give this a shot. If you are a fan of Sean Penn, like me, and only want to see it because of him, I urge caution. Not because he is bad or anything, it's just that his character is so on the periphery that it is impossible for him to carry the film or totally reinvent himself as he always seems to in his movies.

Just know what you are getting into with this film. It's not a popcorn, pass the time without thinking kind of flick. There is not much action and don't let its future setting lull you into thinking its even partially sci-fi. Its a good movie about a love story, made and told in a very unusual way. Some will like it, many won't. I did, but that's just me.    

 

Directed by McG. Starring: Matthew McConaughey, Matthew Fox, David Strathairn, Anthony Mackie, Ian McShane, Kimberley Williams, Robert Patrick. Drama/Historical/Sports Synopsis: A drama based on the true story of the Marshall University Thundering Herd football team that was devastated by a tragic plane crash in November of 1970, tracing its resurrection as a school, team, and town through the eyes of the school president and new coach that began the rebirth of the football program.

For the first time since I wore a younger man's clothes and waited in line for over an hour in the Boston chill to gain a seat to Beverly Hills Cop , I treated myself to a big budget Hollywood movie on its opening night nationwide...and the funny thing is, I didn't intend to. Its just that Rocky Balboa was surprisingly sold out, even at the final showing on a dull Friday night in a mid sized town in a mid sized state in fly-over- country three days after its release. You see, I avoid opening night for some theater movies because I like to stretch out in the theater. Anyway, my next big surprise was that We Are Marshall was not sold out, or even close to it on its opening night. In fact, there were only a handful of people.

That's too bad, because this one should have been sold out, folks.

Many of you, particularly if you are college football fans, have heard of the devastating plane crash carrying almost the entire Marshall team, coaching staff, and boosters from the area (Huntington, W.VA). It's mentioned, even just in passing, almost every time the now successful Marshall football team plays on ESPN and, of course, every time there is a tragedy involving a sports team in travel, such as the Oklahoma St. basketball plane that crashed a few years ago.

But, many of us, like me, did not know the complete, real story and this film does an excellent job of telling it, entertaining us, tugging on our heart strings and even making us laugh once in a while. No mean feat when you're dealing with such a terrible topic.

The film starts on the afternoon of Nov. 14, 1970, as the Marshall team drops a heartbreaker on the road at East Carolina. You will first notice that the film is pretty to see, beautifully shot, and those of us old enough to remember even a little bit of that era will appreciate the authenticity of the '70's feel. We are quickly introduced to the team and coach, whom the movie smartly assumes that we as viewers know are doomed. There is not much time to get to know them individually in the film, but enough time is spent in a quality way to let us know that these young men-save the afros, long hair, plaid pants, bushy sideburns, et\.- were no different than the guys you knew in college: whether that was the 50', 60's, 80's (my college time), 90's, right now or in the future. Full of life, mischief, dreams. Yes, we empathize, and with no sentimental overkill. 

The crash scene is well filmed, not exploitive in any way, but you will feel the immediate loss and tragedy. I think McG deserves special kudos for this scene, particularly knowing that this film would premiere in Huntington.

Just that quickly, the film changes which is an excellent metaphor. We are introduced to the main characters: the new coach ( Matthew McConaughey Failure to Launch, Two for the Money); the school president (David Stratharin Missing in America ); the bitter father of one of the deceased players (Ian McShane Deadwood) ; and the returning team captain who was not on the flight due to an injury (Anthony Mackie Haven) .

The story follows the path from there that you would expect, which is no criticism considering this is a real life story that most will be familiar with before they see it. That does not mean it does not keep you involved, it does. McConaughey does a great job, despite the annoying speech pattern he employs for his character. He injects humor into the part without compromising on the tragedy and spirit of rebirth that goes on throughout the movie. I'm not a regular viewer of Deadwood, but I can see the hype about McShane, he is wonderful in this.

I'm a little surprised that this movie, evidently, did not do well in its early release in the theater, but don't let that fool you into thinking its not a darn good feel good flick. Because it is, and there is nothing wrong with that. 

 

Directed by Marc Foster. Starring:Maria Bello, Sean Bean, Sophie Stuckey, Abigail Stone. Synopsis: A woman and her daughter move to Wales to be with her husband and experience tragedy when the child dies accidentally. In dealing with her grief, yet not accepting it, the mother learns of the history and legend of the house she now inhabits and the fate of another little girl that is similar to hers, yet happened a half century earlier. Her foray into the supernatural leads her to encounter the long dead girl in the flesh and an effort to reconnect with her own daughter from beyond the grave.

The main thing that will strike anyone watching this movie is the beautiful scenery and the videography which provides the setting and backdrop of this movie. Set in Wales, it involves a mother (Mario Bello) and her daughter (Sophie Stuckey) who come to Britain from America for the purpose of living with their husband/father, played very well by Sean Bean. 

The family reunion takes a turn for the tragic when the child dies suddenly in an accident. The relationship between Maria Bello's character and Sean Bean's, already strained, becomes more problematic when Maria becomes obsessed with the history of the home in which they are living, Welsh legend, and the ghost of a little girl named Ebrill (Abigail Stone) who died a half century before in that home and, coincidentally, resembles her dead child a great deal.

The journey into Welsh legend soon pays off as Ebrill appears to the grieving parents in the flesh, a fact which convinces Maria Bello that it is possible that she can still bring back her daughter, if she can solve the riddle of the passage between the world of the living and the dead as it is told in the ancient Welsh lore.

From there the film takes several flashbacks to the death and life of Ebrill, and we are tantalized with the tidbits of her grieving and psychotic father who, in the aftermath of Ebrill's death coaxed numerous other villagers to take a "Jim Jones Kool-Aid" type plunge off the prodigious cliff that is the centerpiece of the village.

We are also treated to a recurrent undercurrent theme of sheep, and their implied mystical knowledge and/or effect on the dead that bee bop between the living and the dead. The cinematic portrayal and videography, indeed, deserve special kudos. This is a beautifully shot movie.

My big problem with this film is the story line and the conclusion. Without intentionally spoiling it for anyone who has not seen it, I would say that the acting in this movie is very good. Maria Bello is captivating and believable, and I was glad to see her in a role where she was not getting brutalized or psuedo raped by her own husband, as she was recently in Secret Window and History of Violence.  Sean Bean is the best here, the most empathetic and the character with whom makes the most sense. The two young ladies are also wonderful. Its just the script that I have a problem with here. Its not bad, but it could have been better and more coherent. A little clearer explanation of the Welsh legend would have been in order. Is the place the dead go a version of Hades, Heaven, or something in between? When people come back from the dead, are they changed or the same? Do they owe something to those that have gone in order to bring them back?

Another tenet of this movie is the supposed bad parenting of Maria Bello, which is I would guess set up to make her ultimate sacrifice all the more appealing. It just doesn't work for me. As someone who has dealt professionally with instances of child abuse in real life, I'm not buying a one time slap in he face of a smart mouthed pre-teen as apocalyptically as the movie seems to want me to. 

Also, the recurring theme of the sheep is something that I knew I was supposed to "get", but I just didn't. It is very possible that sheep are a mystical figure in Welsh lore, but if I don't know that,  there is not much in the movie to tell me why they are. This is not a big deal, but the movie is built on this premise in large part.

The ending of the movie, while predictable (c'mon, if you are any kind of a movie buff, you know from the first time that you see a majestic shot of that beautiful cliff, you can be your life someone is going off of it) doesn't work well but not because the ending is predictable. It just doesn't work or answer the questions brought up by the movie itself. Those who see this on DVD will be treated to an alternate ending that is, in my opinion, significantly better than the one that was used. This is the case primarily because it ends the film where it should have, and does not go on for five minutes too long and give us a conclusion that is inconsistent with where the film was going the whole time.

The Dark is a serious attempt at a serious story that is worth your while, but probably won't be the best movie you have seen of its type or genre.  If you pick it up you will enjoy it to a degree, but it won't make any of your "all time" lists. At least, that is what I think.    

 

Directed by Rob Zombie. Starring Sid Haig, Sheri Moon Zombie, William Forsythe, Bill Mosely, Leslie Easterbrook, Ken Foree, Danny Trejo, Priscilla Barnes, Daniel Roebuck, Ginger Lynn Allen. Horror/Drama. Synopsis: A crazed, murderous family makes one last stand in 1970's Texas as they are cornered by a revenge minded Sheriff  with  murderous intentions of his own.

I'm a little hesitant to say that I really liked this film. Hesitant because I feel like I should be a little bit ashamed, at least, at saying that I liked a film with so much gratuitous violence, torture, wanton sex, foul language, and multiple characters with such a blatant disregard for life in this sequel to House of 1000 Corpses.

But, I'm not ashamed, and I'm not sure why. I have nothing, of course, against violence, sex, and language when they are part of a meaningful movie, since those things are so much a part of life. On the other hand, when excess gore, for example, is used as a substitute for a real story or real acting, its gets old real quick. That's not the case here, although this film is the very definition of a cult film that is not going to be everybody's, as they say, "cup of tea". In fact, strictly speaking, its probably not the majority of people's cup of tea. But those of us who like it will, undoubtedly, really like it, own it , and watch it multiple times, which is what having a good cult classic is all about.

The film is a sequel, and is rare in that it is much, much better than the original. We get right into the depravity with this flick from the opening scenes, with there being a siege on a home inhabited by some of the murdering family: Mother Firefly (Leslie Easterbrook Police Academy), Otis (Bill Mosely) and Baby Firefly (Sheri Moon Zombie). The raid is led by Sheriff John Quincy Wydell (William Forsythe Out For Justice), the "hero" of the film, who is only slightly less maniacal, and every bit as darkly humorous, as the psychotic prey he is stalking. Unfortunately, the raid produces even more corpses (along with the ones already inside the home) and only captures the matriarch of the clan, Mother Firefly.

And where is the patriarch, you might ask? Well, Captain Spaulding (Sid Haig) is entertaining a lady friend, both in reality and in his dreams, and you get the feeling that this is not an unusual occurrence for him or anyone else in the family. Here is the thing about Captain Spaulding, he is a clown, a crazy killer clown, to be sure, but still a clown. He has got some notoriety in the area by appearing on cheesy TV commercials and, in fact, wears his clown makeup most of the time. the combination of a clown with such a depraved figure is delicious and works well in this film.

Well, its only a matter of time before Captain Spaulding and Sheriff Wydell butt heads, as Sheriff Wydell has a rather personal reason for wanting to bring the clan, known-as you might guess- as the "Devil's Rejects". And, no, the Sheriff is not interested in a good, long, jail term either. Along the way is a nonstop parody and stark look at a segment of society, probably a little too stereotypical, but fun nonetheless. You'll see many familiar faces here, including some other cult movie figures such as Charlie (Ken Foree, Dawn of the Dead) and  a barely recognizable Mary Woronov as a victim. Also look out for Priscilla Barnes (Three's Company) as yet another vitim, probably as you've never seen here before. The distinctive and always likable Danny Trejo (Con Air, Heat) makes yet another appearance, basically playing himself' the loud talking ex-con turned bounty hunter. Daniel Roebuck (Late Night, Final Destination)  is the faux narrator of the movie in the role of the cheesy, superficial 70's era talk show host who is following the crimes of the family. He is, simply, hilarious.

This is one you will either turn off two minutes into the film , or keep watching until the end without daring to get up and go away from the set...at times it will be hard to believe what you are seeing and hearing. Some of the more memorable lines can't be quoted here, as this is a family friendly blog. This is sort of a cross between Natural Born Killers and The Fugitive , but even that description does not really do the film justice.

William Forsythe, one of the best character actors working, is brilliant here and worth the price of admission, so to speak, alone.  Think of his great roles in Out for Justice and The Rock, combine them, amp it up about 90%, add some Southern Sheriff steretypical traits and you're on the right track...almost. Sid Haig, long a fixture in cult classics (Coffy, The Big Doll House)  is wonderful as the hideous Captain Spaulding. You will not be able to take your eyes off of him, for more than one reason , when he is onscreen. Leslie Easterbrook (Police Academy) does a better Karen Black than Karen Black in this one and Seri Moon Zombie and Bill Mosely are sufficiently depraved and evil as well.

What is this film about? What's its meaning? What is Zombie trying to tell us? Heck, I  don't know, probably nothing, if you ask me. Maybe its some kind of referendum on the wanton violence that is so much a part of our world, I don't know, I'm not smart enough to figure that out. All I know is that I watched it, and I was entertained...even though there is a voice over my shoulder that told me I probably shouldn't be. But, I was. 

And so will some of you. 

Directed by Michael Caton-Jones. Starring Sharon Stone, Michael Morrissey, David Thewlis, Charlotte Rampling. Action/Drama. Synopsis: Writer Catherine Trammell has moved to London, where her love of the dangerous adventure implicates her in the death of a soccer star, and introduces her to a troubled psychologist and an aggressive detective.

Well, here we go again with the sequels. Basic Instinct 2 was largely panned by critics, much of it coming even before the release of the movie. As always, I try to talk about remakes/sequels apart from the original, and stay away from things that really don't have to do with the movie itself (e.g., pretending that I'm offended that Sharon Stone is doing a nude scene at the age of 48, etc.)

I have to say, given the general negative buzz about this film, I am pleasantly surprised but pleased to say that it carried itself pretty well, in my opinion. The first thing that you have to come to grips with, if you are a fan of the original (and aren't we all) is that this is different film, you will only see Catherine Trammell (Stone) from the original, although there are some references to the first movie. Those of you who did not see Basic Instinct, or who have forgotten some of the plot points, don't worry, you will be able to follow and appreciate this one fully.

Stone is masterful in reprising her role as Catherine, even more sinister and wickedly seductive than she was in the first one. To me, this makes sense, as the movie is told in current time, e.g. its fourteen years later in the movie, too. 

The film starts out with a bang, no pun intended, as we see Catherine and her paramour speeding through the streets of London in a car that cost more than the average three bedroom home. And, well, while they are driving they are....enjoying each other. Well, no good deed goes unpunished and they soon swerve off the road into the drink (or did driver Catherine do it on purpose?)...as you might guess, she survives, he doesn't, the fit hits the shan, and soon Catherine is under suspicion throughout the whole of London as a suspected murderess who, in case you hadn't heard, also writes best selling novels about murders and had the habit of being around people who happened to die violently in San Francisco a few years back.

Well, the only way that old Cath is going to be considered for bail is after she is evaluated by a psychologist (David Morrissey). It also seems that there is a police detective (David Thewlis) who is particularly anxious to keep/put Catherine behind bars and makes no bones about the fact that he believes Catherine murdered before and will again.

Without being a spoiler, Catherine does make her bail, takes a shine, as they say, to David Morrissey, and people begin dying violently. But, as in the first movie, its not entirely clear who is the murder(ess). However, Catherine seems more on the edge here, even more enjoying of the suspicion cast upon her for the crimes, even as facts crop up that point the finger elsewhere, including the psychologist who is treating her and the detective who wants to see her behind bars.

As in the first Instinct, much of the killing happens off screen and none of what we do see involves Catherine. The plot is a little far fetched-as it was in the first one- and the ending will leave some of you hanging, with the possibility of the killer not being who we thought he/she was. Again, this is similar to the first one, but, for me, I thought it was clear who did the killing in that one, as well as this one.

As a strict comparison to the original, this comes in second best, but not by as much as you might be led to believe. Part of what made the original so good was that it was so different from anything that most of us had seen up until that point, and Sharon Stone bursting into the big time with that movie also helped considerably. In this one, although its clear that Morrissey is a fine actor, he doesn't have the star quality of Michael Douglass, who was really the star of the first one, though everyone (rightfully) thinks of it as Stone's movie. The changing of the setting from San Francisco to London didn't bother me at all; as far fetched as it would be that Catherine Trammell would still be running around free with all those dead bodies connected to her, it would have been even more far fetched-too much so for me-if they tried to have her still at home in San Francisco. Another city in another country works well here, and you will see a sleeker, sexier, more modern London than is usually portrayed in flicks intended primarily for American audiences.

The supporting cast is very good, particularly Thewlis as the do-whatever-it -takes cop and Charlotte Rampling as Morrissey's more experienced psychological mentor. On the negative side, the plot was a little choppy, with too much happening outside the story that we need to follow to fully appreciate the story we are seeing onscreen. Also, there is more skin and less implied than in the original, which may be hard to believe, but I think it was overdone in this case. There is a fine line between classically erotic and late night cable raunch.

On the whole, I can't see anyone who liked the first one, likes Sharon Stone, or likes psychological thrillers not finding something that they like about this movie. If you saw the original, you probably will still prefer it, but there should be room for a less appreciated but entertaining sequel, shouldn't there? 

 

Directed by Anthony and Joe Russo. Starring: Matt Dillon, Owen Wilson, Kate Hudson, Michael Douglas, Seth Rogen. Comedy/Romance. Synopsis: A newly married businessman deals with his new marriage, disapproving father in law who is also his boss at the same time he invites his immature lifelong buddy into his home.

You just look the cast for this one and know it should be good. Good actors, funny actors, and a story line with plots and subplots that almost anyone can identify with...if we haven't been there ourselves, we probably know someone who has.

The setup for the story line is fairly simple but brilliant in the way its used for our story. Owen Wilson and Matt Dillon (Crash) are life long best friends who know each other about as well as they know themselves. But, they are not two peas in a pod. No, sir. Matt Dillon's character is driven, serious, and moderately successful in his career. Most importantly, he is about to be married to the love of his life, Molly( Kate Hudson, The Skeleton Key) And, it just so happens that his boss (Michael Douglass) is her father.

Owen Wilson (Dupree, as you might guess) is a thirty-something going on 16 who places nothing above having a good time. After making his belated appearance in Hawaii for the wedding as his friend's best man, we soon find out that Dupree has been a little down on his luck. "Down on his luck" to the tune of being homeless, unemployed, and having no money. Not that this seems to worry him as much it would-say, me or you-but it is a slight issue for him.

Well, his best friend gets wind of this and tells his slightly surprised new wife that Dupree will be staying with them...just for a while. Well, as you might guess, the idea of a guy so dedicated to the bachelor lifestyle moving in with his best friend and his new bride gives us plenty of opportunity for laughs. The good thing is that, even though we have seen some of this and/or no what's coming, its still plays as funny and fresh and does not lapse into comedy cliche.

There is another layer in the film, too, and that is the growing tension between Matt Dillon and his father-in-law, Michael Douglass. Douglass is hilarious, one of those actors who can be very funny in his "straight" roles without overtly trying to be (see Al Pacino, Burt Reynolds). He is the super successful, wealthy businessman who just does not want to completely let go of his little girl....especially when he is not too particular about her choice of a man. In fact, it kind of seems that, believe it or not, he actually kind of likes Dupree (whose stay, as you knew from the minute he moved in, lasts more than a few days) a lot better.

And, of course, Dupree's lovable shenanigans coupled with his friend's growing paranoia lead to a kind of role reversal towards the end of the story. Nice touch. For a film like this to work, there needs to be a connection between the two best friends, and Dillon and Wilson do it well. You really like and empathize with both of them, because we all have a best friend. And, for us guys anyway, its likely that we have had at least one friend like Dupree...you know, the kind of buddy your mom or girlfriend or wife wasn't to happy to have around. Not because she didn't like him, but because he always has a way of dragging you into something.

Kate Hudson has the toughest job here. You know, the one staple character in any good comedy that is chock full of other zany and over the top characters while she seems to be the only one who has it all together. What makes this character tough is to do it and still add to the comedy and she does. Seth Rogen is a significant minor character, basically reprising a more economically viable version of his oversexed and hilarious character in the 40 Year Old Virgin. 

You, Me, & Dupree is one you won't want to miss if you are a fan of any of the four main actors or if you just want to laugh. So, I'd say give it a shot.

But that's your call. 

 

Directed by Dennis Iliadis. Starring: Tony Goldwyn, Monica Potter, Garrett Dilahunt, Riki Lindhome, Sara Paxton, Martha MacIsaac, Michael Bowen. Horror/Gore/Suspense/Remake. Synopsis: A gang led by an escaped convicts abducts two girl, brutalizing both and happen to end up staying at the home of the parents of one of the victims, who take out their revenge when they realize who their guests really are.

 

The Last House On The Left, in its original 1972 version, is one of the seminal movies of the wonderful movie- making decade that was the '70s, in my humble opinion. So, in this era of remakes, it only made sense that we would see this story updated to the particular way of life we experience now in the early 21st century, which is both very similar to 35 years ago...yet wildly different. Those of you of a certain age know exactly what I mean.

The basic premise is still the same, for those of you familiar with the original story: a group of ruthless young thugs, led by one who has just been illegally freed from the chains of the law, abduct and brutalize two young women in all manner of ways. After this, they find themselves in need of shelter while on the lam in a heavy rainstorm and happen upon a nice couple who have a comfy, warm house. Its just that the couple happen to be.....that's right, the parents of one of their victims. When they find out who their guest really are and what they've done, well, as you might guess, there is hell to pay.

Now, lets get something out of the way early. There are two kinds of people who will watch this flick: 1) those who have seen the original movie 2) those who haven't. I know what you're thinking: "Of course, doofus, you can say that about every remake ever made, tell us something we don't know!"

Point well taken.

I mention it, with full knowledge that it will do nothing for the image my already suspect intelligence,  only because I think the lines of who really likes the flick versus those who don't will be drawn starkly along the lines of who has seen the original and who hasn't. Again, that is often the case with remakes, but I think it is especially true in the case of this one.

So, you might ask, did you see the '72 original?

Yes, I did.

Well, did you like the original?

Oh, yeah.

O.k., so, let's cut to the chase. Did you like the 2009 version?!?

Not particularly.

Now, understand what I mean. The newer version is not a bad flick, in fact, its pretty good. Gore fans will be satisfied if not ecstatic at what they see (head stuck in a microwave, yes!!!) and, as we all know, who doesn't love to see a little justifiable revenge. The acting is good, as you might expect with the parents, Tony Goldwyn (Nixon, The Pelican Brief) and Monica Potter (Saw)  as well as the rest of the cast, especially Dillahunt as crazy ringleader Krug, Lindhome as sexy/psycho Sadie, and Sara Paxton as the victimized daughter.

My issue is, knowing the original, this one just didn't measure up as much. And, part of me thinks its because it couldn't. Look, seeing the original is one thing, but if you either saw it during the 70s or have vivid memories of that time period, you understand that there was in that flick an element of shock and "Wow, I've never seen that before!", that you're not going to get telling basically the same tale in the 2000s. And, the original Last House, in my view, went further than this one with less (e.g. budget, FXs, etc.).

Look, not to be a spoiler for those who haven't seen either, but the original has some unforgettable lines & scenes in spite of its low budget campy feel...just to give you an idea, what do you think about lines like "Piss your pants!" and dialogue exhangle like "Oh, poor little guy". "He's not little, you just scared him". That's right, those lines refer to just what you think they do in your nasty little minds and its wonderful.

Rightly or wrongly, I'm judging the current version by that standard and its not as good in spite of superior acting, FX, and cinematography...the more I think of it, maybe its because of those superior things that the remake is not as good.

So, now for the 64 thousand dollar question: is it worth seeing? Of course it is. Just because I wasn't blown away shouldn't mean anything, what the hell do I know anyway? I have a feeling those of you who did not like or did not see the original will like this just fine. I can't look at this flick from that point of view, so I won't try to. You'll just have to watch it yourselves and make up your own minds.

Which is likely what you were going to do anyway, no matter what I said.   

    

    

Directed by Andy Cheung. Starring: Cuba Gooding, Jr., Angie Harmon, James Woods,  Anne Archer, Burt Reynolds. Action & drama. Synopsis: A loyal Secret Service agent and an agressive investigative reporter unearth a cnspiracy in the assasination of the President of the United States that comes from some who were very close to the slain President.

 

Now, I know what you must be thinking. "With a cast this good, this movie must really be something!" Well, I thought the same thing, and all I can tell you is that I was very disappointed in this movie. Picked it up on DVD and, right away, had a a little attitude about the fact that there are no special features, well no real ones anyway, and that doesn't sit well with me, especially with a newer release.

But, there is no other way to say it other than the story and the film itself just aren't very good, and even a cast that features at least four truly fine actors (Reynolds, Woods, Archer, Gooding) can't save it. The first ten minutes are easily the best, as the film jumps right in with the immediate moments before the assassination and the immediate aftermath. From there, things slow way down and we are treated to a simple plot that is obviously trying to be made to seem complex, after all, the assassination of the President, especially when its by a loner with a gun in the open among thousands of people, just has to be a complex conspiracy, doesn't it?  Well, yes and no.

Look, we movie fans know we have to suspend disbelief to a degree, that is the price you pay for enjoymenmt of fiction. But, c'mon. A tenacious reporter for a fictional Washington area newspaper (Angie Harmon) has unfettered and repeated access to some of the major players involved in the murder of the world's most powerful and protected man? I could buy this a little better if it seemed from the film that anyone else had this same access, or if it seemed that anyone else other than about ten people gave a damn the President was killed.  

There are big clues that are so obvious as to be borderline insulting that this assassination is not what it first appears to be, but we all knew that since it was a movie, right? The dialogue does not help, such as when early in the film the agent closest to the President (Cuba Gooding, Jr.) confronts his boss (James Woods Contact) with the startling news that he thinks that the gunman may not have acted alone. (Shocking, since we see the assassin wearing a tag giving him security clearance in the opening frames.) Woods responds, with sublime acting as always, that this thing "... is bigger than us (Secret Service), FBI, CIA, NSA, etc..." O.k., so now we know its a multi-layered plot, up until then we really thought that any old pyscho could walk up and shoot the President at close range any time in this day and age.

Sarcasm aside, the point is that would could have been a nefarious and interesting plot is never really developed. Instead of an Oliver Stone-like labyrinth of shady characters, two-faced compatriots, and suspense that keeps you on the edge of your seat no matter how far fetched the theory is, in End Game, you really don't care, because no one else really seems to care, nor are you really allowed to empathize with any of the characters.

The talents of Archer, Woods, and Reynolds are wasted here, because their characters, without trying to spoil it, are very pivotal to the plot, which is never really developed, but other than who they are- Archer the President's widow and Reynolds a retired General- we never really get to know them or understand their motivation. Again, the problem is you get the feeling that we are supposed to. 

There is no real chemistry between Gooding and Harmon because the script won't allow it. I must say I wondered if Harmon could hold her own in a cast filled with heavyweights, but she does a credible job, moreso because of the limitations of the other characters than anything.

The ending is indicative of the major problem with the movie, Gooding's character has "figured it out", but won't tell Harmon. And then it just ends. Well, if you don't want to tell your partner who you have solved the biggest crime in the country with, survived death with, and mutually saved lives with, that's o.k. But how about telling us, the audience? 

End Game is not a horrible movie, but it is by no stretch a good film. Pick it up if you need to be treated to some tasteful eye candy in the form of Gooding and Harmon, depending on your taste, you won't be disappointed. Otherwise, unless you want to whittle away a couple of hours without being really challenged or entertained, give this one a pass.

Directed by David Fincher. Starring Jake Gyllenhaal, Anthony Edwards, Mark Ruffalo, Chloe Sevigny, Brian Cox, Robert Downey Jr., John Carroll Lynch, Phillip Baker Hall. Drama/Historical/True Crime. Synopsis: The story of the investigation into the Zodiac killer- a serial killer who terrorized the San Francisco Bay Area in the late 60's and early 70's and was never positively identified or caught-from the perspective of the lead investigators and newspapermen who were very involved in the case.

Treated myself to this one in the theater for a matinee today and I'm glad I did. Somewhere it was in the back of mind that this had gotten bad reviews, and I can see why it might not be knocking 'em dead at the box office, but this is a quality flick about a subject that will be of a lot of interest to some and maybe not at all to the majority.

The film is based on the still unsolved murders in the S.F. Bay area between 1968 and 1971, which gained notoriety due to the killer's penchant for contacting and taunting the press with his letters and details of his crimes and, also in no small part, from being immortalized in the popular culture. (The antagonist in the 1971 classic Dirty Harry was named Scorpio and clearly based on the Zodiac killings)

This film is made up of ensemble cast, told primarily through the eyes of S.F. Chronicle cartoonist Paul Graysmith (Jake Gyllenhaal Brokeback Mountain) and lead detectives David Toschi (Mark Ruffalo The Last Castle) and  William Armstrong (Anthony Edwards).

The story starts with the first known murder attributed to the Zodiac in July of 1968 and deals with all the following known killings as well as the long time focus on one potential suspect named Arthur Leigh Allen (John Carroll Lynch), who remained a prime suspect until his death in the 1990's.

Director Fincher does a great job of touching on all points of the case: the nervousness of a whole city during the height of the murders; the deep involvement of the press in the case; the actual feel of the early 70's and, of course, the murders themselves.

There are other real life figures portrayed well, here. Columnist Paul Avery (Robert Downey, Jr Chaplin) is depicted as a brilliant reporter with serious addictions who was directly threatened by the Zodiac. Also, the extremely prolific Brian Cox (Running with Scissors) does a turn as high profile lawyer Melvin Belli.)

Chole Sevigny as Graysmith's wife, Clea Duvall, and John Carroll Lynch also add even more weight to a distinguished cast. (Those of you from the 80's might like to look for Ione Skye in an uncredited cameo role as one of the fortunate to escape and/or survive the Zodiac) The best part of the film is the reluctant cooperation over the years between Graysmith and Toschi. The film depicts Graysmith's growing obsession with the case (he later wrote a best selling book on it and became a true crime author).

Negatives? Well, its a long film, clocking in at over 2 hours. I can't say it felt like it dragged, but I think this film is better suited to DVD, especially if its released with special features that include factual information on the case.

I think Zodiac will appeal mostly, if not exclusively, to those with an interest in the case or an interest in true crime and/or serial killers, like moi. 

And, there is nothing wrong with that. 

 

Elisha Cuthbert, Chad Michael Murray, Brian Van Holt, Paris Hilton, Jared Padelecki, Jon Abrahams, Robert Ri'chard. Directed by Jaume-Collet-Serra. Horror. Synopsis: Six friends on a road trip to see a football game camp out one night in a deserted woods area where they encounter an unknown, threatening person, and our later led to the forgotten , small town of Ambrose, LA, where many of the residents seem very subdued and they are soon in the sights of maniacal killers.

Saw this on DVD recently without even realizing that was a remake of a classic 1953 film starring Vincent Price. Basically it looked interesting and I'm a sucker for almost all things horror, so I decided to give it a shot.

I'm glad I did.

Now, House of Wax is not anywhere near a great film, in my opinion, but it is a good one, provided you can suspend your disbelief just a little more than usual to enjoy a horror film. The basic premise is six college kids who get sidetracked on a trip to a football game (I know, I know, the young group of friends who get sidetracked/lost/abducted angle is way overused...but, look at it from the movie maker's point of view:its worked before and, if it ain't broke, don't fix it)  They decide, for reasons that you will have to further suspend your disbelief for, to camp overnight in a lonely wooded area before getting up and hoofing it the rest of the way to Baton Rouge for the game.

The night goes pretty much as you might expect from young kids, a little bit of drinking, some horseplay, some making out. The first strange thing is the presence of an unknown pickup truck driver who mysteriously pulls his truck up near our heroes and shines his high beam lights on them without saying or doing anything else. Rude. And a bad omen, for all fans of horror far but not, of course, for our stars. The most pugnacious of the group, Nick (Chad Michael Murray) shows his displeasure by hurling a beer bottle and knocking out one of the truck's headlights. For those of you who have not seen the movie, remember this point, its kind of key as the story goes on.

The kids awaken to find that one of their cars, mysteriously, has had its fan belt broken. The owner of the car, Wade (Jared Padelecki) insists that his friends go on to see the big game, and bring him a new fan belt on the way back. He's not leaving his car!

Fortunately, a wonderfully crude character enters the story (Damon Merriman) who tells the kids of a small town just up the road and, hey, he'd be happy to give Wade a ride. Of course, Wade foolishly accepts and he and his girlfriend (Elisha Cuthbert) accompany the crude stranger to the strange town of Ambrose, which no one seems to have heard of and, for some reason, does not appear on a the map (or the GPS)

Now, this is the time where I have to say that, all tongue in cheek criticism of Hollywood's penchant for stretching reality to set up a plot in horror films aside, House of Wax  actually does a very good job of giving more depth to its characters than most. We all know the formula for most horror films: group of young, nubile kids, at least one more guy than girl, nerdy guy gets killed first, strong cocky guy gets killed in the most hideous way, hottie/slutty girl gets killed after/during shower/nude scene, compassionate guy (who is usually the smart girl's boyfriend) gets killed last, smart girl thwarts the monster/maniac and emerges as the lone survivor. 

Wax doesn't completely deviate from the formula, but without spoiling it, there is enough difference from the tried and true that we can actually not necessarily predict the order and way our heroes meet their demise, plus there is actually more than one survivor. More importantly, the director took pains to make sure you knew, and hopefully empathized, with the characters before some of them started getting waxed. (No pun intended...well, maybe a little) We know that Chad Murray's character and Elisha Cuthbert's character are brother and sister, actually twins (a point of foreshadowing in the story) and that Chad is a little peeved at sis because he feels she is responsible for his latest arrest, and he's not too particular about her current boyfriend. In fact, neither his parents or sis would bail him out this time, that honor fell to his buddy Dalton (Jon Abrahams, funny as always but noticeably heavier than we've seen him in Boiler Room and Meet the Parents ), who just so happens to be along for the trip, too.

Now, I've probably set the record for talking about this film and not mentioning you-know-who. Listen, I'm don't have anything against Paris Hilton, she's a nice looking young lady.  I'm just not sure what all the fuss is about. Anyway, she is also one of the gang, along with her boyfriend, Blake (Robert Ri'chard) who is the fun loving, hip-hop listening rich kid of the group. Oh, and Paris is afraid to tell him that she might, just might, be pregnant.

See? I told you that there was some depth here. Anyway, when two of our heroes get to the small town ( Ambrose ), they encounter the only one in the town, Bo (Brian Van Holt), who seems, well, animated. From there, the real horror story begins as our two heroes, as well as their friends who decide to give up on the big game, turn back and meet  the evil head on.

The story is well told, even though the first few minutes drag on a little (except for the opening sequence, which is a flashback to 1974, and we see a mother and father who have two sons...one good, one not so good. Its shot so as to not see any other actors from the shoulders up. Very effective and, yes, they tie it together later)

The actors are good overall, even Hilton, who along with Abahams and Ri'chard, don't really have a whole bunch to do. Elisha Cuthbert, Chad Michael Murray, and Holt (Basic) carry the film, however, as they should, since they have 80% of the action in the whole film. I think Cuthbert is the standout, as you empathize with her and can appreciate that she catches on to the town's dirty little secret before anyone else does. Murray will have all the guys-o.k., I'm stereotyping- in the audience saying things like "Hell, yeah, that's just what I would do!" , even when it doesn't necessarily seem like the smart thing. Holt is deliciously evil, psychopathic, but in an understated way. You have got to love the matter of fact demeanor as he severs the tip of one of the star's fingers.

Fans of gore will get enough of it here, as there are several gruesome deaths and, of the only one of our stars who is not killed onscreen, we get to see the horrible, waxy aftermath. For resasons that say more about our celebrity worshipping culture than anything, Paris Hilton is probably the best known-if least talented-member of the cast and, as I said before, she does well in her limited role. The writer and director knew they were not casting Naomi Watts here. Fans will be pleased and Paris haters will probably enjoy her gruesome death onscreen. (Now, that is not a spoiler, you know how these movies work and there is no way you thought that Paris would be the surviving smart girl)

The videography is good and they did well with the whole town of wax thing, although that wasn't the big draw for me. It was the characters, they actually made me care enough to root for, or against them, and when that happens, I'm entertained.  

Also, several real good special features on DVD for those who like that sort of thing.

 Starring:Naomi Watts, Adrien Brody, Jack Black, Colin Hanks, Evan Parke, Jamie Bell, Andy Serkis. Drama/Fantasy/Remake Synopsis: A struggling movie director with an unique vision takes his cast and crew on a voyage to shoot a movie with no financial backing, instead landing on a mysterious and unknown island where they encounter all manner of wonders, particularly a 25 foot ape who captures the heart of the leading lady and is eventually brought back to New York City.

If someone asked me to name the 10 best young actors/actresses ("young" being a relative term), two names that would be in my top 10 would be Adrien Brody and Naomi Watts, no question, especially for Ms. Watts. Those two are the primary reason I got around to checking out King Kong on DVD, as the classic story (franchise really) of the big ape has never really appealed to me, and I have never gotten around to watching either of the two previous stories of Kong (With Fay Wray in 1933 or Jessica Lange in 1979...I think) 

So, it kind of pains me to say that this film didn't do much for me at all. The acting is good, but you kind of expect that with a cast like this. It's just the story...well, its a little too far out there for me, even as a fantasy, to really care about the characters or to believe the "romance" between actress Ann Darrow (Naomi Watts) and the big gorilla.

The film starts out with a pretty good setup/background of some of our main characters. We meet the struggling director (Jack Black) and struggling vaudvillean actress Ann Darrow and we can quickly appreciate their circumstances in Depression era Manhattan. Black is a director with a unique vision and a dearth of scruples who takes after learning that his financial backers are not going to fund his next project, but before they can actually fire him and take back the stock footage that he has already shot.

It seems that he has a vision for a movie to be shot in a faraway, exotic locale, a place that no one knows about (but that he incredibly has a map to) and he just needs to find his leading lady, which he does literally on the street hours before the ship sails.

While on board with this motley crew of actors as well as the actual crew, a budding romance develops between the writer who was actually tricked into coming along, Jack Driscoll (Adrien Brody The Jacket) and Ann Darrow. The film actually does a credible job of showing us the chemistry between these two, which makes it even harder to understand the affection that Ann Darrow will later have for this ape.

Also on board the ship, we witness a strong relationship between two of the crew members, but is never explained or developed, ending with the death of one (Evan Parke) at the hands of Kong himself, again raising a question, at least for me, of Ann Darrow's instant affection for an animal that has killed men trying to save her.

Alas, not the only question that I had in the film, which really stretched my suspension of disbelief quotient, such as: where did Jack Black get the map to the island that knows about? How did the blue people manage to survive on an island with giant apes, dinosaurs, and insects without any modern weapons such as guns? Where did the huge jugs of chloroform come from and why did the crew on the ship just happen to have them? How did the crew and actors get Kong on the little boat back to New York? How could the boat support Kong's weight? How does Jamie Bell's character manage to hit all of those huge bugs attacking Adrien Brody's character with a machine gun while his eyes are closed?

I could go on, but you get the point...a little too far fetched for me, even given that you go into a movie like this understanding its fantasy. To me, the fantasy is that, o.k., "if there were really 25 foot apes, it might happen like this..." But, I just couldn't get there with this film.

Brody and Watts do a good job, but it's not enough to save this film from mediocrity. The real standout is Jack Black, who is wonderfully sleazy in his role and his character benefits from having the best of a suspect script.

The best part of the film, of course, is the CGI and special effects. In fact, it almost seems as if the story was put together to compliment the effects, instead of the other way around.

King Kong is, by no means, a bad film, and the youngsters will no doubt appreciate it very much. But, with such a time tested franchise and with such good actors, it should have been a lot better. 

 

Directed by Robby Henson. Billy Bob Thornton, Sela Ward, William Devane, Patricia Arquette, Julie Hagerty, Marcus Lyle Brown, Hill Harper, Thomas Hayden Church. Drama. Synopsis:A disillusioned sheriff of a small Louisiana county becomes involved in the invesstigation of the murder of a transgendered woman at the same time that his personal and political life take a downturn.

A wonderful smaller budget film with a great and deep cast that is well directed with an interesting story. Funny how that recipe seems to work more often than not, isn't it? In the film, we are quickly introduced to Sheriff Darl Hardwick (Thornton) the consummate good ole boy who just wants to do some good, get along as well as he can with his high powered attorney ex-wife (Ward) and daughter, and, of course, get re-elected. Maybe not necessarily in that order.

The intrigue starts very early as Darl and his two deputies Jackson (Marcus Lyle Brown) and CB (Ray McKinnon) investigate a seemingly victimless accident as a truck carrying a large quantity of shoes veered off the interstate. Darl, skeptical of the driver's claim that a woman had caused him to crash the truck, instead seems more interested in dispatching the shoes, for free, to some citizens-likely voters-at the accident scene. After Darl has played Santa Claus for a while, he is as surprised as anyone when, lo and behold, there is the corpse of a woman lying unnoticed by the side of the road. 

As if this turn isn't interesting enough, the plot, as they say, thickens even more when two things are determined: 1) the young woman died of a gunshot, not being hit by a truck and 2) the woman appears to be a hermaphrodite, not a common thing in small town Louisiana.

Things quickly go from bad to worse for Darl, as his handling of the free shoe affair quickly displeases the County Judge and power-broker (William Devane Bad News Bears In Breaking Training), and his sloppy handling of what now seems to be a murder investigation is just another sticky subject between he and ex-wife and County D.A. (Sela Ward The Fugitive).

The film progresses in an excellent fashion, with the key turn being the sudden appearance of a young woman from New Orleans (Patricia Arquette) who suddenly turns up in town looking for her friend, a dancer who she hasn't heard from in a while. Darl, ever on the lookout, takes a shine to this young lady, and is bemused when she claims to be the dead woman's "wife". 

Henson does a wonderful job of telling us several stories inside of one big story at one time, so that we follow all layers and one strain of the movie does not detract from another. From the burgeoning romance Darl has Patricia Arquette's character, to his relationship with his father and long estranged brother (Thomas Haden Church), to the deepening intrigue of the murder investigation that, suddenly, no one except Darl wants to investigate, the result of which results in Darl facing a reelection campaign against one of his own deputies and new favorite of the power brokers.

The film cannot be done justice in a short review, which just might spoil it anyway, but the descent of Darl, a character we both like and are critical of, is interesting to watch as it unfolds in the midst of a new romantic possibility and a murder case that stretches up to the highest levels of Louisiana politics.

Thornton is wonderful, as he always is for those of us who just like him, and the other main actors bring the characters to life in a way that everyone can empathize with and, if any of you have ever worked or been around law enforcement, particularly in the Deep South, like moi , you will find yourself saying, "I know/knew a judge/lawyer/politician/deputy just like that!" Also, I'll bet you'll find yourself hating Devane's character, but loving him in the role, which is something only the real good ones can pull off.

Arquette is fabulous as well, she has long been my fave of the talented Arquette family. Two characters who have relatively small roles but make a huge mark on this film are Sister Felecia (Julie Hagerty Airplane) and Gizmo (Hill Harper). They both deserve special mention.

Ultimately, however, its Thornton who has to carry this film and he does, as he always will when cast correctly.

This film is a triple. The only thing that keeps it from being a home run on DVD is the lack of special features which, with a cast and story like this, would have been a ton of fun and interesting to watch. 

Directed by John Marbuy. Starring: Adrien Brody, Keira Knightley, Kris Kristofferson, Kelly Lynch, Jennifer Jason Leigh Mackenzie Phillips. Drama/Sci Fi Synopsis: A Gulf War veteran who believes that he has already died and is the guinea pig in a secret scientific experiment that allows him to experience time travel as he has met a young girl by chance and soon after meets her again as a grown woman with whom he is in love

The Jacket is one of those films that is almost impossible to describe or review with any intelligence unless you have a lot of time. So, in the interest of the precious time that 'net surfers have, I will get right to the point.

Its really good. 

Oh, you want just a little bit more than that? Ah, yeah, I can see where you're coming from on that. O.k., I'll give it a shot.

The film starts with Marine Jack Starks (Adrien Brody) in Kuwait in the Gulf War, where he is shot in the head by a child...as the narration of Starks tells us, this was the first time he died.  Well, when you get that scene and narration in the first two minutes of the film, you know it's going to be different...and a little challenging.

Next, we see Jack walking down the country back roads of his native Vermont-apparently recovered, we're not sure, but this is part of the story. Jack meets a young girl and her intoxicated mother (Kelly Lynch Road House) broken down by the side of the road and gets them going. Jack's Good Samaritan act is not returned by the next guy who he meets while hitch hiking. This young cuss gets pulled over by a cop, shots the cop and frames Jack for the murder. Jack, who is not impressing folks that his bread is quite done, gets sent to an institution for the criminally insane, where he is put under the care of a hard bitten doctor (Kris Kristofferson), his borderline sadistic nurse (Mackenzie Phillips), and a sympathetic therapist (Jennifer Jason Leigh) .

O.k., to make a long story short, Kris is more into the punitive thing than the rehabilitation, so he has Jack put in a corpse drawer for hours on end. Sounds ugly, but its funny, when Jack is in the drawer (referred to, as you might guess, as the jacket due to his being tied completely down) a funny thing happens....he is out and about and walking around again. Its not long after that that he meets a young woman (Keira Knightley) who is, in fact, the young girl who Jack just met recently..in his mind. But she is years older and her mother is deceased.

Well, there is quite a bit to chew on here, but the big question is "what's happening?" Is Jack really in the present or is he really in that jacket in the year 1992? Or is it both? I must say that I don't think the point of this film is to play on all of the delicious riddles that come with time travel stories. They are there, particularly when Jack meets his doctor and therapist in 2004, posing as Jack Stark's "uncle", as the real Jack Starks is deceased. But I think the main point is what Jack tries to do with his life with the knowledge he has. For those of you who love "open endings" to films that give you the opportunity to figure it all out, The Jacket is the mother of all open endings. There are several ways you could go.

The acting is brilliant. Adrien Brody (The Village, Oxygen) is superb in the incredibly difficult role of Jack. Jennifer Jason Leigh should patent the role of the big hearted, but flawed and vulnerable, character because no one does it better. I have never seen Kristofferson this evil and I loved it. And it was nice to see Mackenzie Phillips (One Day at a Time) though I must admit that I did not realize it was her until the special features. (Which are excellent, by the way.)

Keira Knightley is really good in not getting blown off the screen by Brody, who has the talent to make the others disappear. I'm not damning her with faint praise, either. This British actress scores-big time- in the role as the hard bitten rural girl who believes Jack when no one else does.

The only drawback for me was that, for a film set in New England, you don't hear that accent at all. I'm no native, but four years in New England did educate my ear to the regional dialect and the actors, as far as I could tell, didn't even try it. But, that's small potatoes for an excellent and thought provoking film.

Don't you think? 

 

 

Directed by Sidney Lumet. Starring Vin Diesel, Ron Silver, Annabella Sciorra, Peter Dinklage.Drama/Comedy/Historical. 

Synopsis: The true story of the trial involving reputed mobster Giacomo Norsicio and nineteen other codefendants in the one of the longest criminal trials in U.S. history, with Norsicio representing himself throughout the two year trial.  

As someone who was on both sides of the criminal law as a prosecutor and defense attorney in past years, I often take court room dramas with a grain of salt, it is impossible to accurately recreate the drawn out, often boring courtroom procedure that makes the moments of tension and excitement so memorable in a movie. Most times, the directors really do not even try to create an accurate representation of the actual trial, opting instead for a purely theatrical (meaning "made up") version of actual events. (See North Country)  

Find Me Guilty does not do this, using dialogue from the actual trial of Giacomo (Jack) Norscio and nineteen codefendants in the longest running criminal trial in U.S. federal court history. The film is set in the 1980's and Jack (Vin Diesel) and his codefendants are faced with a multitude of charges under the RICO (Racketeering Influenced Corrupt Organizations) Act. Jack, against the advice of everyone, chooses to represent himself.  

Having seen first hand the results of non-lawyers representing themselves in criminal trials, I expected this film to be a lot of laughs and it was, even moreso than I thought. The bulk of the story takes place inside the courtroom, where Jack jovially, if times crudely, does a wonderful job of getting the jury to empathize and like him. He relies somewhat on the advice of one of the lawyers (Peter Dinklage) for his codefendants, members of the Luchese crime family of New York.

Presiding over the trial is a judge (Ron Silver) with the patience of Job who, nevertheless, tires of Jack's antics in court...but comes to show respect for Jack by the end of the trial. The film moves quickly, smartly focusing on Jack's sincere desire not to implicate any of his fellow codefendants, who he shamelessly refers to as his family, as well as his unbelievable court room sayings. Believe me, you will be laughing very hard at some of the things that come out of Jack's mouth when he is questioning witnesses or interacting with the judge. I know its a cliche, but you wouldn't believe it in a million years unless someone told you it was true.

Diesel is masterful in this movie, easily the best thing I have ever seen him do. He shows a range of character and depth that I hadn't seen in him since his supporting role in Boiler Room, and you will root for him all the way, no matter how much distaste you have for crime in general or the Mafia in particular. Ron Silver was as close to the real thing as a judge in demeanor as I've seen in the movies in a long time, if ever. He reminded me of several judges I stood before and obviously, did the research to give a very accurate portrayal. Peter Dinklage is also a standout as the lead defense lawyer who counsels Jack on the side and, again, gives a realistic portrayal of a criminal attorney, a profession that, except for maybe police officers, is the most inaccurately portrayed profession in cinema.

Annabella Sciorra (The Sopranos) takes her turn as Jack's wife and blows everyone off the screen for the few minutes she is on it. She is gritty, sultry, tough and sweet at the same time, the epitome of what we who are not in organized crime expect such wives to be.

Lumet hit a grand slam with the casting in this one and the story, coupled with next level performances from Diesel, Dinklage, and Sciorra makes this one of the best films, if not the best, of '06.

In my humble opinion. 

 

Directed by Wolfgang Petersen. Starring Harrison Ford, Glenn Close, Gary Oldman, William H. Macy, Dean Stockwell, Xander Berkley. Synopsis: The ultimate national security airborne nightmare unfolds as the President's airplane, Air Force One, is abducted in midair by Russian terrorists. Action/Drama.

 This is another one of those older films that I saw back in the day in the theater and have recently seem again through the wonderful magic of DVD. Air Force One is just what you think it will be, but it doesn't disappoint, which is saying something for a big budget, star-studded flick that has the potential to be just another "popcorn movie". Some might place it in that category, but I don't due to the quality of of the acting, which makes an otherwise formulaic, predictable script very entertaining.

Whenever you've got Harrison Ford (Blade Runner) in a movie, you know you are going to have some testosterone pumping. Here, he is the President of the United States coming back from Europe after having given a fairly controversial speech to some of our European allies. As you know, the Prez always flys on Air Force One, the world's most secure flying fortress, and in this case all he wants to do is kick back, relax, kiss his, wife, hug his daughter, and watch the tape of his alma mater-Michigan-playing the big game against Notre Dame on the ride home to the States.

There is a fair amount of action away from the President, too, as Oldman is deliciously wicked as he begins to decide who lives and dies until, and unless, his demand for the release of a high ranking terrorist political prisoner is completed. The interaction between Oldman and some of the airborne hostages-the ones that are still loyal- is very realistic and will have you clenching your fists. Look for William H. Macy (Edmond) in a good but under utilized role as one of the President's staff who is willing to "go down with the ship".

The biggest note of this flick, aside from the fact that some excellent actors save an average script with their acting, is a couple of the action scenes. The midair escape of some of the Air Force One hostages and the finale in which the President is saved (c'mon, that is not a spoiler, there is no way you thought the Prez might not make it) are top notch stuff.

Although this flick is only a decade old, it may feel a little dated due to the changing "face", so to speak, of our greatest enemy. But, that is just superficial. Terrorists come in all nationalities, and Harrison Ford movies come in different packages, but when you open it up, its almost always pretty good.

Air Force One keeps the streak going.

Well, this otherwise idyllic scenario is interrupted when a group of terrorists, posing as journalists take over the control of the plane with the aid of a turncoat Secret Service agent (Xander Berkley Candyman). The terrorists are led by Gary Oldman (Bram Stoker's Dracula) , a terrorist with an ultra violent thirst for revenge with a sadistic-yet sophisticated-outlook on things.

Look, you need to suspend some major disbelief here to get the ball rolling. A group of Russian terrorists posing as journalists taking over Air Force One during the Cold War-or any time- is only slightly more difficult than a group of known bank robbers posing as the cleaning service emptying out Fort Knox with a couple of pistols and some duffel bags with the aid of a turncoat PFC on the base. Ain't going to happen.

But, the thrust of this movie is not on how they get Air Force One, but on what happens after they take it. And, the action is good, from the way the President steals away on the plane long after the terrorists think he has departed in the emergency capsule (very cool if it exists, by the way), to the intense communications between him and his staff on the ground, led by his Vice-President (Glenn Close Mary Reilly).

Its a Harrison Ford action flick, so you know what you're going to get, you know its going to be good, and-especially if you're a Ford fan-you know you're going to like it. If you haven't seen it, pick it up/rent it/whatever...if you have, just see it again. Nothing wrong with having some fun for 2 hours.    

Directed by Oxide Pang Chun. Starring: Race Wong, Rosanne Wong, Anson Leung, Michelle Mee. Foreign language film with English subtitles. Synopsis: Psycho thriller/suspense about a young girl, interested in photography and art, who becomes obsessed with pictures of death. Her new passion for taking photos of dead and dying animals and humans leads her into the hands of a real life snuff film.

I really have no idea why I picked up this film, I'm not normally a big foreign language film guy, I think you lose something with the subtitles (Passion of the Christ excepted) , but I am glad I got this one. Set in Hong Kong, its the story of a young woman who is obviously feeling insecure about herself and her life. Jin (Race Wong) is very into art and photography, but very early on we learn that she feels neglected by her traveling businesswoman mother (Michelle Mee) as well as some disturbing things that happened to her as a little girl.

Jin has a girlfriend, yes that kind of girlfriend, named Jas (played, somewhat surprisingly, by Race Wong's real life sister, Rosanne Wong) who may be just a little bit stifling of Jin, although she obviously cares deeply for her. The only other person seemingly close to Jin is a pursuing suitor named Anson (Anson Leung) who has taken a shine to Jin, much to the displeasure of Jas.

The big moment of the film comes early on when Jin sees a corpse laying on the street right after a automobile accident. Shocked at the sight, she is nevertheless compelled to photograph it, and, soon she is obsessively photographing other accidents, dead/dying animals, and drawing  a blood stained figure in her art class when diepicting the bloodless live nude girl who is the subject.

Jin progressively slips further into this obsession with death, becoming reckless with her own mortality (there is a neat scene where she is swinging carefree from the front side of the bannister on a porch on top of a high rise building to the dismay of Jas), and going to the point of splashing Anson with red paint on their date in order to simulate a bloody corpse. Where does it all lead? Well, lets just say that Jin is not the only one who shares a fascination with death and she finds herself in a real life snuff film setting.

This movie is beautifully filmed and nice to watch. Its clear that the pace and visuals of this foreign film are very different in style from an American film. I didn't say better or worse, just different. But, visually interesting and easy to follow. You feel that Jin is attracted to death, blood, and gore not only because she has issues, but because she sees it as beautiful and artistic. The relationship between Jin and Jas is played in such a way as that you can feel their love and attraction (especially from Jas), but there are exactly zero titillating scenes or implications of physical intimacy. Whether this is a stylistic choice, or due to the actresses being sisters in real life, it works because you believe the relationship, which is important for the story.

The themes involved: murder, torture, homosexuality, killing for sexual gratification, etc., are about as intense as you get, but there is nothing tasteless in the film, or played just for cheap thrills or gore.

Without question, something is lost in the fact that you cannot understand what the actors are saying, and subtitles cannot portray everything in translation fit nicely on your screen. But, its good enough where you soon do not even realize you are essentially reading a movie.

The conclusion of the film leaves a lot to interpretation and probably could have been handled better, but, again, that may be unfair coming from an Americanized movie fan who is used to things being wrapped up, one way or another, in almost every film. This is something to make you think and, if you don't mind pushing the envelope a little (o.k., a lot) in your entertainment, you just might like this film quite a bit.   

Directed by Clark Johnson. Starring Michael Douglas, Kiefer Sutherland, Kim Basinger, Eva Longoria, Blair Brown, Martin Donavan. Thriller/drama.  Synopsis: A veteran Secret Service agent is accused of being a traitor within the agency as his affair with the First Lady is exposed. HIs chief pursuer is his former best friend and supervisor, whose own friendship was broken up over accusations of an affair.

Michael Douglas keeps on going, just like the Energizer bunny, in yet another dramaction (my term) flick where he is surrounded by a bevy of much younger leading ladies...hey, its good work if you can get and there is a reason so many of us are jealous of Mike.

But, lest you think that there is no substance to this flick, I will say that it pretty much delivers as a decent popcorn movie, keeping you entertained but nothing you will be thinking about or quoting a year after you see it.

Pete Garrision (Douglas Wall Street) is the seasoned veteran of the Secret Service, entrusted with the life of the President of the United States, a heady position indeed and one that Pete, who seems to be a living legend in the Service, is obviously well equipped to handle.

There is just one thing.

Pete is having an affair with the First Lady (Kim Basinger Cellular) and, as unbelievable as it may seem, no one knows...although there is one in the Service (Kiefer Sutherland The Lost Boys) who suspects that Pete is, indeed, having an affair...with his own wife. Needless to say, the relationship between the two previous best buds is somewhat strained. To boot, Pete is also breaking in an ambitious new partner (Eva Longoria) who is a protégé of his boss and former friend.  

And, like I said, its a dramaction film so there is some violence, suspense, and intrigue to go with the age old question of whether or not its possible to make time with the First Lady without getting caught. Early on in the flick one of Pete's buddies gets whacked in front of his own home and, immediately, some in the Service suspect a rat as the deceased agent was working on the sensitive issue of whether or not there is a mole in the Service, maybe helping to facilitate the assassination of the President.

Well, things get awful sticky when suspicions, not to mention fingers and guns, began to point Pete's way when evidence starts to pile up against him and everyone notices how strange and suspicious Pete's been acting lately.

From there we get into the meat of the action portion of the film, with Pete on the lamb from his boys in the Secret Service, able only to trust his girlfriend, the First Lady, and his new gorgeous partner who was initially sent to bring him in. Not to mention that Pete is trying to find out who the real mole in the Service is as well as stop the impending assassination of the President.

As modern dramaction movies go, this one is pretty formulaic, but that doesn't mean its stale or boring because it isn't. Douglas delivers his usual strong performance, being tough, tender, and evoking the right amount of empathy. For a while, the film doesn't tell us if Pete is the mole or not but, c'mon, this is Michael Douglas here, people, not Sean Penn. We know there is no way he's the bad guy.   

Sutherland is good, too, although many of you will probably think he needs to loosen up, just a little bit. O.k., in his defense, he thinks his best friend was making time with his wife and, as one who has known of that situation occurring in real life with people I know, lets just say that it can make the aggrieved spouse a little tense.

Longoria is the surprise here, for me, as I thought she held her own very well and maybe even stole a scene or two, which I did not expect going in. As one who is starting to contemplate middle age (still years away...really) I can only hope that all of the women in my circle look like Kim Basinger does at 50, which isn't to diminish her work in this film, she just really did not have a whole lot to do or much opportunity to stand out.

Like I said, the plot is pretty formulaic and veteran movie buffs will not be surprised with the way it turns out, you know all the time that the mole is one of two or three guys as soon as you realize that it isn't Michael (which you should have known before you rented/bought the flick).

All in all, nothing to write home, or to the Academy, about but a decent film all the same. I enjoyed it.

 

 

Directed by Iain Softley. Starring Kate Hudson, Gena Rowlands, Peter Sarsgaard, John Hurt, Joy Bryant. Drama/Thriller/Horror Synopsis: A suspense laden thriller about a young hospice care nurse who goes to work on a plantation in a rural Louisiana town, where she begins to think that the invalid man she is taking care of might be a victim of his eccentric wife.

Now, this is one that just kind of takes your breath away. Awesome story, well directed, beautifully shot, great soundtrack, and outstanding actors. Other than that, nothing much to write home about. The film starts with us being introduced to Caroline (Kate Hudson), an idealistic young hospice nurse who is disillusioned at the uncaring nature of her profession in the big city and answers an ad to become a live-in caregiver at a antebellum plantation home in a rural parrish.

The matron of the home, Violet Devereaux (Gena Rowlands Gloria) seems reluctant and somewhat cool to Caroline at first, but is persuaded because of Caroline's diligence and the recommendation of family lawyer Luke (Peter Sarsgaard) to give her the job. Caroline accepts, much to the surprise of her roommate and best friend Jill (Joy Bryant) and assumes the major responsibility for the care of Ben Devereaux (John Hurt The Elephant Man), an invalid who cannot speak.

Caroline senses immediately that things are a little out of the ordinary at the Devereaux home, what with their being no mirrors anywhere in the huge place and her increasing realization that Violet is a believer in the back waters superstitions associated with voodoo. And, to top it off, there is a room in the house that Caroline is told not to enter, it cannot even be opened with the skeleton key, which opens all other rooms. Well, Caroline, just like any of us, is curious about that room and the secrets it holds.

As she gets to know Ben, Caroline cannot help but feel that he is trying to communicate with her, and that what he is trying to communicate is a fear...and that fear is of his wife. Caroline initially attributes this to the fact that Ben, as violet obviously does, believes in the superstitions and that is the cause of his inexplicable inability to speak. We see her steep herself in voodoo lore and beliefs, in order to convince Ben that she can "rid" him of the demons that he believes spook him. Of course, she comes to the conclusion along the way that Violet really does mean Ben harm, and resolves to get him away from her. She shares her concerns with Luke, and we have a suspenseful drama that will keep you hooked to the very end and, I promise, surprise you with the outcome.

Now, readers of this blog will know that I never spoil a flick when I talk about it here (unless, of course, I just feel like it)  and I won't do that here. Lets just say that the great majority of folks-say, about 90%-won't figure this one out until it hits us in the face in the last five minutes of the movie. The great thing is, we are not even sure that it is a movie where we have to figure it out until the end. 

Suffice it to say, everyone in this movie, at the end, is not who they appeared to be. And, yes, the movie is consistent so when you go back to watch it again, the director and script played by the rules: no holes, you had the chance to see what was coming, the answer was there the whole time, no paradoxes. In other words, wonderful.  

The film is fast paced, with no wasted scenes or characters. It captures a flavor of New Orleans and Louisiana that any one who has been there will be able to appreciate. What makes this movie stand out, of course, like all movies that stand out, is the script and the acting. There are really only 5 main characters, and even within that, Joy Bryant's Jill is not onscreen very much, although she plays an important part in the story, particularly the ending. The minor characters, especially in the flashback scene to the lynching of the voodoo practicing servant couple that spawned the lengends, are spooky and supberb.

But, with any film that is so character driven, there is even more pressure on the leads and Hudson and Rowlands both deliver big time. We see almost the entire film through the eyes of Hudson's character, so it is vital that we like and empathize with her, and we do. Its apparent that she has prodigious talent. Gena Rowlands is one of those actors who everyone knows is good, and we wonder why we don't see more of her. (I know what some of you are saying: Hollywood doesn't have many good roles for females over 35. You're right, of course, but don't get me started)  She has a performance for the ages in this one, just as good-although a much different type of role-as the role she is most known for in Gloria. She is majestic, spooky, evil, conniving, vulenrable, and definitely attractive in middle age in this role. She puts it all together.

Not to short change the boys, Sarsgaard and Hurt are awesome as well, its just that the two female leads are the ones driving this train. Sarsgaard is starting to have the "Malcolm McDowell" effect on me. That is, whenever I see his name as a character in  a movie, I just know that his character, if not the whole flick, is going to be...different. And usually pretty good. You just know the whole time that there is something that just doesn't quite fit with this nice young lawyer who seems to just have one client...but, as I said earlier, its not what you think it might be. Or, if you're sharper than me (no great accomplishment) maybe it is what you think it is.

John Hurt deserves special mention, certainly no surprise given his body of work. It is amazing that an actor can have the effect and communicate the feelings of the character so well without speaking. I think some of you, after you watch the movie, will be amazed when you realize he has no dialogue. I mean, you will know he doesn't, it just won't feel that way because he does such a good job.

And, as if a good movie wasn't enough, there are awesome special features on the DVD. You will see behind the scenes footage, deleted scenes, plus shorts with Hurt, Hudson, and Rowlands dealing with some aspect of voodoo, legend, history and one personal real life ghost story. Further, there are two very informative segments on voodoo and the plantation life in antebellum Louisiana. I love this kind of stuff and I bet you will, too.

Same goes for the movie.   

Directed by John Shiban. Starring Jamie Alexander, Deanna Russo, Joseph Lawrence, Diane Salinger, Michael Childers, Joey Mendicino.  Horror.  Synopsis: A young woman and her boyfriend looking to run away from their home in Texas and go to California are terrozied at a deserted and haunting rest stop by a crazed driver of a truck with floodlights as well as supernatural apparitions.

Those of you who are baseball fans and watch it on TV are very familiar with the refrain, "a swing and a miss!" and that phrase aptly describes Rest Stop, an obvious attempt at making a good, thought provoking horror flick with the necessary gore to satisfy the bloodthirsty fans of the genre, but the film just plain misses, in my book.

The plot is simple and in tune with the primary formula of the horror genre: young people in distress in a remote, deserted location. Nicole (Jamie Alexander) and Jess (Joey Mendicino) are a couple who are going to take off from their homes and families in Texas and hoof it west to California.  Not too much time is given in explanation, which might have added some more depth to the characters or made us empathize with them more, although you do get the impression that Nicole is on the spoiled side.

Well, anyway, at some point prior to getting to the environs of L.A., the two are in a fairly desolate portion of California's desert area when Nicole decides she has to pee, as people are wont to do on occasion.

She enters a truly disgusting rest stop area bathroom-passing an outside bulletin board that is chalked full of more missing persons signs than anyone will see in a year- and goes in to do her thing. Now, I should say that we as the viewers have seen this rest stop latrine before, in the opening scenes a young woman dressed right out of the '70's goes in there and is assaulted by an unseen stranger who comes up to her bathroom stall door. No further information is given, but we know that it will hook up with the main plot again, somewhow.

Anyway, Nicole makes a choice that no other sane woman with any sense of hygiene would and uses the facilities there, noticing some cryptic things written on the stall door. Well, whatever...but things spice up a little when she leaves the bathroom and Jess and the vehicle is no where to be seen.

As you might guess, this is somewhat perturbing but not nearly so much as when the mysterious pickup truck later drives near Nicole and tosses Jess' bloody cell phone out the window. Now Nicole "thinks that something might have happened to Jess", the obviously understated phrase she uses when trying to call for help on the CB radio she finds in an abandoned office near the rest stop (in addition to a bottle of bourbon that she slams down while waiting for help...in addition to looking at a porno movie...I'm not kidding)

There is an RV which has been present and in plain view of the rest stop area since the beginning of Nicole's ordeal, and Nicole did go there, but no one answered, despite the clear sound and flash of a camera clicking away inside. Hmmm.

Now, Nicole's situation started off in broad daylight, but as time goes by, and it begins to get dark so she has a decision to make. Should she go to the highway and start walking, hoping to flag down a Good Samaritan or someone with a flippin' phone? Should she maybe give the folks in the RV another try? How about another shot on the CB to try to raise someone a little closer than two hundred miles away (which you might think she could do in the most populous state in the country)? 

Nope! Its back to the bathroom for Nicole only this time she has company...in the form of a young woman trapped in a room behind a partially open door in the bathroom (again, I'm serious) who tells wild wooly tales of a man in a truck who has tortured her. Her name is Tracy (Deanna Russo) and, prior to regurgitating copious amounts of blood and showing Nicole her hands with several severed fingers, she does ask how long she (Tracy) has been there. Well, we know from the movie that Tracy, the girl from the opening scenes as well, was last seen in 1971 so she has been there a while...and aged well, which is to say not at all.

Now, I won't go blow by blow here, except to say Nicole will eventually run into the family in the RV, headed by a middle aged husband (Michael Childers) who spouts bible verses and a wife (Diane Salinger) who spouts profanities at Nicole. They have twin sons who seem to do everything in unison and another son who is a deformed dwarf that takes pictures constantly. O.k., they are creepy but only in the story for a few minutes and I can't tell you what they have to do with anything.

Nicole  also finally meets up with a police officer who answered her initial call over the radio. Now, this officer (Joseph Lawrence), though clean cut and fairly cordial, is no Sherlock Holmes, folks. He actually goes up to the mysterious truck and gives the unseen tormentor directions after Nicole has told him that the truck driver is the bad guy. He probably regretted this a few minutes later when the truck runs him over while he is inexplicably standing in the middle of the road, shooting the breeze with Nicole.

Not to worry, he survives for a while, long enough to give some long winded and unnecessary dying speech about his family and imploring Nicole to shoot the bad guy....oh, and of course, Nicole drags him to the bathroom....

Listen, I think this movie was a legitimate effort at putting together an interesting story and, if you see this on DVD-the only place where you will probably ever be able to see it-its clearer what they were trying to do. The actors are saddled with a silly script and ridiculous dialogue at times. The best way to sum it up is that no one makes any sense. Its hard to empathize with our heroine when she does such stupid things. (When the trooper is laying in the middle of the road and the truck driver gets out of his truck to chain up the cop's motorcycle and drive off-coming within feet of Nicole and the prone cop-why not take the cop's gun and try to shoot him then instead of waiting to try this when they are barricaded in the bathroom?) 

I know that good movies often don't explain everything, leaving it to us to try to figure it out (Silent Hill and Basic Instinct come to mind) but, we've got to have enough information to form a theory...for example, if the rest stop is a metaphor for hell or another dimension or whatever, how did-not to mention why-Nicole and Tracey get there? And at the end, are the throng of people milling around the now populated rest stop when we meet the next victim part of this supernatural thing? They don't seem to be. If it's not supernatural, how does the truck driver keep running over people and ramming into things with not even a dent in the truck? What happened to all of that blood Tracey puked up and where did the cop's body disappear to? Or is this just all in Nicole's mind? If the strange family was part of this, why did they let Nicole go? If they were not, what was the point? I don't know, too open ended for me.

Gore/torture scene lovers will find plenty here to cheer about, however. I don't mind those two things, but when they are up there with an absence of explanation or depth of character or plot, its just not as effective. Sort of like sex without love, you know? O.k., back on point: I'm not putting this in the dud category...barely, because there was a serious and professional attempt to entertain and be provacative, it just didn't work.

So, if you asked me, I wouldn't recommend Rest Stop. 

Of course, I realize that you didn't ask me.   

Starring: Dennis Hopper, Kelly Brook, Raffaello Degruttola, Susie Amy, Ashley Walters, Morvin Christie, Hipplyte Girardot, Peter Capaldi, Julienne Davis. Suspense/Drama. 

Synopsis: Nine people are abducted and placed in a house by an unknown man who promises 5 million dollars to the one who will leave the house alive.  The nine people face, struggle with, and are ultimately defeated by  their inability to overcome their differences and by the selfish fight for food and survival.

Some people might consider this a poor(er) man's Saw 2, but it does seem from the information that this was in production back in '03, even before the original Saw. Its always interesting to me to see the natural progression or deterioration of the human condition when people are placed in intense and life threatening situations with others that they do not know. I'm not smart enough to psycho analyze it overall, but it seems to me that its is going to be really good or really, really bad. Simplistic, yes, but I think a fair description of what we expect to see, we just don't know which.

In House of 9, we quickly anticipate that it is all going to hell in a handbasket pretty quickly. The start of the movie deals with a couple of the abductions, but it is important in this type of story to really go overboard with your suspension of disbelief, because we have to believe that several adult people are abducted, almost simultaneously, with not one of them having a clue why or really how...yet they all manage to land in this super secure house at the same time. Well, o.k. Once you get by that, it is possible to enhoy the story...to a degree.

Surprisingly, House of 9 deals very little with any real attempt at escape from the house, the nine heroes are told by a mysterious voice that they are effective participants in game, with the winner walking out with a cool 5 million dollars. (One wonders, since the film is set in Britain, why the offer wasn't for pounds, but if its 5 mil, I guess you don't worry about stuff like that). There is no direction or hint from the Voice as to whether or not they are expected to kill one another, or whether they will encounter some pitfalls from the Voice himself. Immediately, we sense that the Voice might just be counting on the inevitable mistrust, envy, and narrow mindedness that comes in any crowd of humans. We soon see that he is right, which might just be why he picked these people in the first place.

Now, you might think that a gRoup of people containing a priest (Dennis Hopper Hoosiers) and a cop (Degruttola) would not lack for for unquestioned leadership, but you would be very wrong. In fact, only one of the gorup seems to pay the priest the type of respect you might think he'd deserve, former dancer Lea (Kelly Brook). The primary reason that anyone follows the cop's lead is that he has a gun. Ahhh, maybe a hint that the deck has been stacked a little. The angry young aspiring rap artist (Ashley Walters) sure thinks so, as well as the ankle bracelet wearing ex-con Shona (Morvin Christie). The former tennis star (Susie Amy)  makes it real clear that she is not going to lift one finger to help do anything and seems most intent on polishing off the liquor that has been graciously provided by the Voice. The May-December couple (Peter Capaldi, Julienne Davis) seem more concerned with their descent from their previous lofty financial status. Well, that's about it for any interesting subplots, to the extent that you find that interesting.

There is a scarce supply of food provided for the nine members at first, so rationing becomes the name of the game, but, once they start dying, the portions substantially increase.  The deaths come in the three of the four major categories: accidental, suicide (or was it?), and old fashioned murder. Frankly, there is not much sense to it, which was the point, in my opinion. When you get right down to it, how much sense does it make to kill another person?

The acting is uneven, Hopper fans, like myself, will be disappointed. First, he needed to decide whether he was an American priest in the U.K. or an American actor playing an Irish priest. Either would have been fine, but the accent shifts back and forth between the two for most of the movie. Second, the priest thing just didn't work.  Most of the  characters really were not given a chance to develop. The most interesting was Morvin Christie's Shona, the only character who was most evidently not one-dimensional.  Capaldi's Max is the most enigmatic and psychopathic, and its always good to have at least one of those. Kelly Brook's Lea is the most empathic, and its a toss up in my book for most irritating character between Walters Al-B and Susie Amy's Claire.

The ending is both predictable and unpredictable. Predictable because you just know there is going to be a twist and the "winner" will probably only get fool's gold, so to speak, but when that comes, it is a fairly fresh take on the lust for money. Its not thoroughly explained, but it is sufficiently shown so as to let us draw our own conclusions, which I like. I won't play spoiler here, but the one who does walk out with the dough is one you wouldn't have initially thought...unless, of course, you've seen enough movies (say more than three) to realize that there is almost always a formula, and in this type of movie the formulaic ending just all but tells you that it will be one of the "meek" characters. 

You might see this in your video store or online as a horror, but it is most certainly not a horror movie, nor does it pretend to be(except maybe on the DVD cover). I don't think there is quite enough depth in the script for it to qualify as a psychological thriller, after all, we would need to know something about these characters other than their names and occupations in order to get into their psyche, wouldn't we? Its a suspense/drama, and an average one at best. But, you could do a lot worse and, if you watch movies on a regular basis, you most definitely have.

 

Directed by Ray McKinnon. Starring Billy Bob Thornton, Lisa Blount, Ray McKinnon, Harry Lennix, Walton Coggins, Grace Zabriske, Colin Fickes, Harry Dean Stanton, Johnny Galecki. Drama/Romance.

A story of a couple whose married life is ripped apart by an automobile accident that leaves her injured, their child dead, and him in jail for years. Upon his release, he surprisingly returns home to rebuild his life and, hopefully, hers, but they both find that as  much as things change, they remain the same.

This one goes under the header of quality small budget movies that are character driven, based on a good story, good script, and well directed. It reminded me in feel and texture from the opening credits of The Badge, which isn't surprising when you consider that two of the stars in this one (Thornton, McKinnon) had major roles in The Badge, plus McKinnon directed this one, as well.

The story is set in the Ozark mountain region of Arkansas, and begins with a long haired (and presumably younger) Joe (Thornton) driving very fast along the winding mountain roads with his wife Chrystal (Lisa Blount) and young son in the car. A horrible accident occurs as the car careens off the road and we see Chrystal laying motionless after being thrown from the car, and the young boy standing apart from the scene, watching quietly, with no hint of emotion.

The film cuts abruptly to a scene where Chrystal is giving sexual favors to a young man in the back seat of an old car. We see Joe striding up the road and only later do we learn that he has been in prison for twenty years. (Note of warning: the movie progresses for a good 4-5 minutes before there is any dialogue. There is nothing wrong with your DVD player)  

The relationship between Joe and Chrystal is odd, to say the least, as there is little communication between the two of them until late into the picture. We learn from conversations with other characters that Chrystal is well educated and well read for her group of peers, might have some mental stability issues as she believes she is carrying a child in her neck, and never got around to divorcing Joe. (We also get the impression that Joe didn't bother to tell Chrystal that he was being released...or coming home)

We also learn that, while in prison, Joe tried several times to escape, would be known to yell for his release to go look for his son, and used to be a premier marijuana dealer in the area. Oh, and one more thing to whet the appetites of those who have not seen the film: the body of their son was never found nor was any trace of him ever recovered.

As Joe is trying to re-acclimate himself to life on the outside, while sleeping on Chrystal's porch and hanging out with her ne'er do well cousin Larry (Walton Coggins), he is approached by the current big wig in town, at least in the area of drug running (and possibly using), Snake (McKinnon). There is an undefined but palpable history and tension between Joe and Snake and Snake makes it clear to Joe that he is not to resume is marijuana growing habits...unless, of course, he agrees to do it for the entrepreneurial Snake. Let's just say that the two don't have a warm fuzzy for each other, but things don't boil over until Snake insults the honor of Chrystal, who apparently "got around" quite a bit when Joe was in jail.

An interesting sidebar to the story is the presence of Kalid (Harry Lennix) a blind music professor from Chicago who, let's say, sticks out in the Ozarks. He is there to do a study on folk music in the region, having an old friend in Chrystal's grandfather, Pa Da (Harry Dean Stanton). Chrystal and Harry meet and its clear that Chrystal has an interest in Harry, though she remains, in her own way, committed to Joe.

There are other interesting characters in the film who help weave the fabric of the movie. Colin Fickes is lovable and funny as the good natured Hog, and Grace Zabriskie hits a homer with her portrayal of Chrystal's mother, Gladys.

This is a very good drama that almost disguises the fact that it is really trying to be a romance. Without spoiling it, don't think you are going to see the classic boy meets girl/boy loses girl/boy gets girl theme. Well, its there, but there is a twist on the ending of that theme which makes for a very good ending for the film.

I've only been to the Ozark region once, and even then not as deep into it as the setting of this film (I guess I was in what you would call the tourist part), but I would be stunned if it was not filmed on location. McKinnon, in addition to doing a fine job as the evil Snake, also directs the movie in fine fashion, not spoon feeding us anything, leaving the appropriate things open for our own interpretation, but giving us what we need to make that determination. If that is not enough, he also wrote the screenplay.

As you might guess, the cast is, overall, excellent with Blount (McKinnon's wife) giving an amazing performance. And, for anyone who is a Billy Bob Thornton fan (c'mon, aren't we all), you need to get this one asap.

Negatives? None that I can think of, unless you are just not into something so character driven and so region specific. Oh, and there are no special features on the DVD.

That's a shame. The features, like the movie, would have been excellent.         

Directed by Dough Atchison. Starring Laurence Fishburne, Angela Bassett, Keke Palmer, Curtis Armstrong, J.R. Villarreal, Sean Michael. Drama. Synopsis: A precocious child goes under the tutelage of professor with a tragic past to help her make an improbable run for the national spelling bee championship.

Sometimes it's good to see a feel good story with universal themes and, if it does not drift into the realm of being hokey, it stands a chance of being a memorable flick, worthy of making it into the collection of even the most critical movie buff. Akeelah and the Bee fits that bill to a tee.

The story is based on Akeelah (Keke Palmer) am ambitious middle school student who is still dealing with the death of her father and entering that tough adolescent faze of the relationship with her mother (Angela Bassett). Akeelah is a talented but somewhat underperforming student who has a natural knack for spelling and is discovered by a professor and former spelling bee contestant himself (Laurence Fishburne)

Akeelah is at first reluctant to pursue her talent, especially the strict demands and hard work demanded by her tutor, not to mention his obvious disdain for the casual slang ways and attitude that Akeelah brings from her South Central neighborhood. Akeelah drives on, warming up to the professor and learning of his own heartbreak in losing his own daughter prior to finding Akeelah. Akeelah's mother is reluctant initially to encourage her daughter's pursuit of the spelling bee in light of her lacking performance in the other areas of her work as well as her exposure to the other side of town in the form of rich kids and friends that just may spoil her.

As you would expect, Akeelah pushes on, befriending one smitten young male friend named Javier (J.R. Villarreal) along the way and meeting equally driven, rich kid nemesis Dylan (Sean Michael) on more than one occasion, including the finals of the national spelling bee.

Keke Palmer is fantastic as Akeelah, a child actor who has the spunk and tenderness to attract you in yet holds her own with heavyweights Bassett and Fishburne. Ditto for the other two main child characters, though to a lesser degree (Villarreal and Michael) This is a different type of role for the ultra sultry and talented Bassett, devoid of glamour and somewhat harsh, though you do empathize with her as she clearly wants only what is best for Akeelah. Its just that, sometimes in the film, that is not as obvious to her character as it might be to you and me.

Fishburne portrayal of Akeelah's tutor evokes memories of a similar role he played in Higher Learning some years back, only this time he is much more a figure of sympathy as the demanding educator, and Atchison's direction and the script do a great job of making him multi-dimensional and therefore very real to us. This, of course, is only possible due to the talent of Fishburne, who is wonderful in the role.

There is something in this film for everyone, and while you won't see a thing in here that you haven't seen before, that will not stop you from rooting for Akeelah all the way, in addition to laughing along and maybe even shedding a tear as well.

A fine movie that proves you don't have to come back from the future, interact with ghosts who don't know they are dead, kill a dozen people, or be in animation to make a truly good and important film.

No matter who or where you are in life as you read this, if you have not already seen Akeelah and the Bee, fix that as soon as you can. 

 

 

One of the best movies I've ever seen. I guess I could just stop there with my thoughts, but I probably should say just a little more. So, I will.

It can be really tricky to evaluate a movie that many of us will or have seen for the first time years or decades after its release, especially when it is a 'futuristic' movie, made at a time when the 1980s and 1990s seemed far, far off. I think the way to look at this type of flick is not to 'judge' it in the sense of what we now know happened, but in the sense of the view of what people 40 years ago thought the near future might hold for us.

In that way, when I look at A Clockwork Orange, I see a time when people felt, or feared, that crime and violence would become pervasive in society and that society would find a way to fight back that, at some level, might be just as bad as the violent crime itself.

Now, the story is set in London, but to me, the only thing that makes this story different than one that could have been set in any large American city is the accents of the actors. We are never told precisely what year its supposed to be, but its obvious the film contemplates the not too distant future. The cinematography and feel of the flick are vintage 70s, bright and loud colors, garish wardrobes, the whole nine yards. When you couple that feel with the attempt to look futuristic, you get a flick that, visually at least, you won't soon forget.

Our protagonist and narrator is Alex (Malcolm McDowell The Book Of Eli Blue Thunder) , a ne'er do well youngster (you'll have to suspend disbelief here to buy McDowell, nearly 30 at the time of this movie, as being young enough to still be in school) who lives with his parents and pretty muich spends all of his waking hours-mostly at night-roaming the streets with his gang of hoodlums where they commit crimes, petty and violent, battle rival street gangs, and find time for a little fornication (referred to in passing by Alex as "the old in out, in out").

All is going along swimmingly until, as these things tend, there is dissension in the ranks. Alex is the leader of the gang but one of his underlings, Georgie, has designs on the job not least because of the way Alex picks on another member of the gang, the less than mentally astute Dim.(There is a fourth member but, in any version of the film I have ever seen, he does not have a speaking role...let me know if any of you have seen anything different) Alex manages to quell one attempted coup d'etat but its a hollow victory as the rest of the gang soon betrays Alex by assaulting him and leaving him helpless at the scene of their most horrific crime.

Well, betrayal is bad enough, but a long prison term is even worse and things do not look particularly sunny for Alex in prison, until he learns of a new scientific experiment which claims to "cure" the impulse for violent or criminal behavior. If Alex successfully completes the treatment, not only will he be cured of his violent hooliganism, he will be rewarded with early parole!

Now, that is just too good to be true so Alex jumps at the chance (who wouldn't). There is just one thing. While Alex is enduring the treatment by, among other things, being forced to look at constant loops of violent scenes with his eyes secured so he's unable to close them, he is inadvertently programmed to become sick when listening to Beethoven.

What makes this so cruel is that Beethoven, as we learn early in the film, is Alex's favorite, he listens to the glorious classical music from the early scenes of the film, sometimes almost to the point of seeming ecstasy.

Now that he is cured, Alex is released from prison, but the reality of his current situation soon hits him. You see, Alex becomes physically ill every time he has a violent urge or attempts a violent action, even in self defense. And, of course, you know about his favorite tunes.

It couldn't be worse for Alex because his first few days out of prison are the epitome of getting what's coming to you. See, Alex's parents not only reject him from coming home, but they have taken in a boarder, a figurative if not literal replacement son for the one who caused them so much pain. That would be difficult for any child to come to grips with, no matter how bad he or she had been, but poor Alex can't even bash the guy in the mouth, though he tries. And it gets worse.

As luck would have it, he soon runs into an old drunk who he and his buddies assaulted back in the good old days. Well, now is the time for revenge, and the old drunk has plenty of old drunken friends. Poor old Alex can't fight back so he does what any citizen in distress would do, he calls for the police. Two officers respond, but they are less than sympathetic because, well, Georgie and Dim have moved on since Alex has been away. And last, but not least, Alex-battered, bruised, cold, and wet-makes his way to a home...which happens to be one where he previously had participated in the sexual assault of the wife and physical assault of the husband.

Revenge will be sweet.

Listen, it is hard to describe this movie, as my poor attempt was only meant to give those of you who have not seen it a rough idea, but understand that there are so many levels to it. What it is ultimately saying is, of course, up to the viewer, but there are issues of violence in society that are still topical today, and probably will be decades from now. 

You might think this is a curious statement about a movie featuring one onscreen murder, at least two rapes of females-not counting the depictions of attempted ones-and one brutal assault on two elderly people, but this film is, in many places, funny. This is primarily by McDowell's sardonic narration, but other characters, most notably the Adolph Hitler lookalike prison guard, provide some guilty laughs as well.

The dark humor is laced throughout the film. It might also be a little disconcerting to see scenes of violence with Beethoven or Gene Kelly's "Singin' In The Rain" as the score, but it does work. The only way this type of thing could work, in my opinion, is with the genius of a director like Kubrick. (Full Metal Jacket Eyes Wide Shut)

Some of you may know this film was originally released as an "X-rated" movie, before the X rating was co-opted totally by porno films. My research into it shows that the film was widely protested both here and in the U.K., but what is interesting is that the most of the protest here was based on the abundant nudity and sexual content, while over in Europe it was primarily the violence.

For you younger pups who cut your teeth on the Saw movies, you probably won't blink at the violence in the movie, as it is not as graphic as what you see today, but very casual, which likely makes it more disturbing for many.

Malcolm Mcdowell is wonderful as Alex and I can't help but think his performance was so indelible that is the primary reason he seems to have primarily only played characters with slightly unstable and/or violent tendencies (Caligula The Barber), you also will see an outstanding performance from Patrick Magee as the victim of Alex who takes out the most evil revenge. Just for fun, Julian(David Prowse)-the the big bodyguard of Magee's character-is the one who is actually in the Darth Vader costume in Star Wars, though the voice we all know is that of James Earl Jones. 

I know not everyone will like or even understand this movie, but I just think all serious film buffs should make sure they see it once.

 

And I'll bet most will want to see it again.  

 

This movie is not what I expected when I first looked at the DVD cover. Make no mistake, Beyonce's presence in this one should not lead you to conclude its a romantic comedy or lighter fair. This is a dramatic story with some depth, and the three main characters all more than carry their weight in sustaining the suspense of the story, which doesn't exactly take you where you think it will.

 

Derek Charles ( Iris Elba American Gangster) is a financial analyst who is on the fast track and loving it at his firm. His wife, Sharon (Beyonce Knowles The Pink Panther) is his former secretary who is now a happy stay at home mother to their infant son. All seems well, even when Derek is introduced to a nice new "temp" worker at the firm, Lisa (Ali Larter Final Destination)   Lisa seems friendly, more than efficient at her job, and its obvious that she is just a little smitten with her temporary boss, Derek. But, who wouldn't be? And, a little innocent inter-office banter and friendliness on Derek's part when Lisa gets dumped by her boyfriend isn't that big of a deal. Or, is it? I won't play spoiler on this one, but the situation between the two soon ecalates into one of pasion, a heated and intense love affair between the two.

There is just one thing.

None of that actually happens. But, Lisa thinks its happening. And, soon, we the results of someone living in their own reality and how it effects everyone around her. Now, I told you earlier the flick would not take you exactly where you expect it to, and right now you might be thinking this will be an updated version of Fatal Attraction. Its not, either in intent or or result. I think that is mostly because Larter makes her character empathetic, if not sympathetic, and it is easy for us to see why it takes Derek, and everyone else, to see just how combustible this situation will be.

For you Beyonce fans, as well as those of you who might be skeptical of her acting "chops", understand that her character-Sharon- is not one dimensional, nor is she there just as eye candy playing the wife in the backround. Oh, no. Sharon is, in many respects including the climax of the film, the hero. The final conflict is between her and Lisa, so forget the sterotypical man coming in at the last moment to save her.

I can see how some might view the hand to hand combat scene between Lisa and Sharon as a little bit cmpy, but I disagree. Its just very seldom we see movfie fight scenes between women in a realistic fashion. They are either set up as superheroines (Kill Bill Vol II), or the quintessential male fantasy of two chicks ripping each other's clothes off. Now, speaking for most of the males out there, it would be fun to see that with Ms. Knowles and Ms. Larter, bu it would be beneath a film of this caliber so, for those of you hoping to see a little of that, you'll be disappointed.

What isn't disappointing is the way the emotional arc of each character is built up and presented to us in a beleivable way, which makes Obssessed more than worth your while if you decide to take a look at it.       

Starring: Piper Perabo, Lena Headey, Matthew Goode, Celia Imrie, Anthony Head.Synopsis: A young woman who is finally marrying her long time boyfriend sees someone else for the first time and falls in love at first. The person she sees is another woman, which makes her feelings even more complicated in dealing with her new husband. Romance. Directed by Ol Parker.

Imagine Me & You a flick that deals with the legend of "love at first sight". The fly in the ointment here is that Rachel (Piper Perabo Edison Force ) is finally marrying her long time boyfriend, Heck (Matthew Goode Match Point). Rachel and Heck are happy together, and finally getting married will be the high point of their relationship.

As Rachel is walking down the isle, she sees Luce (Lena Headey 300) for the first time and the spark is there for both of them. Luce runs a flower shop in town and knows Heck, which is how she got the gig of setting up the flowers for the wedding. Luce is in between girlfriends and Rachel is, of course, married, so things build slowly, with Heck at first wanting Rachel to hang out with Luce when he's tied up with work.

There is a great scene where the two of them attend a football (soccer) game and Luce teaches Rachel how to really yell which is also the first close physical contact that they have. Of course, if you have seen any romantic comedy before, you know that after the realization of the initial attraction, there is the road to finding out if it is mutual, then the roadblocks/denial, they the finale where we find out if the two will get and stay together.

Well, you know me well enough to know that I am not going to give that away, here, but I will say that the fact that the two lovebirds are of the same sex and that one is newly married does throw a wrench into the typical story line. Having said that, I really want to emphasize that, for me, this is really not a "gay" movie, something that the director said as well in his commentary. By that, I mean that the same sex angle is not the only, or even the main focus of the story, its Rachel's struggle with her feelings for Luce in the context of her love and long relationship with Heck.

The story is set completely in London, and all the actors except Perabo are British. But, Perabo deserves a big shout out for her performance, her accent is wonderful and if you don't know that she is a Jersey girl, you would probably think she is British. Goode is, well, good in his role as Heck, which might remind you a little of his role in Match Point.   Headley does well to play Luce in a likable way, unabashed about her preference for women but not a home wrecker and we can certainly empathize with her character.

I'm not big on romance films, but this one is a real good flick, the only potential drawback is that, at times, the accents are so thick and fast, that some American viewers might miss something. But, no big deal, there. That is what the chapter selection or rewind button is there for. This is an interesting story and a pretty good flick. Simple as that. 

Synopsis: The story of six real life individuals, one female and five males, who were convicted of various crimes always including murder, sentenced to death, and subsequently freed after evidence came forth of their innocence. Starring Susan Sarandon, Danny Glover, Brian Dennehy, Aidan Quinn, Delroy Lindo, David Brown, Jr. Directed by Bob Balaban 

Exonerated is a film adapted from a play based on interviews with six real life survivors of Death Row. The entire dialogue in the film, with the exception of some interchange between the characters and their spouses, is taken verbatim from court transcripts, depositions, and interviews with the six individuals.

The movie is shot, almost in its entirety, against a stage-like dark backdrop, and even the few "reenactment" scenes are shown the same way. The six main characters tell their story(ies) while seated on a stool and in a montage, so that we get the stories all at once in similar stages for the six: background, circumstances of arrest, feelings of incarceration, the circumstances of their respective exoneration(s), and their feelings/activities upon being freed.

The first thing that I would state is that this is not a poster child for the abolishment of capital punishment, although it might certainly be viewed that way and, in the special features of the DVD, it is clear that at least two of the actors (Susan Sarandon, Brian Dennehy) favor abolition of the death penalty. In my view, and I think that of the director and writers of the script, the main focus is on the people who were the victims of misfortune, legal ignorance, political pressure, law enforcement's narrow focus, and the age old "being in the wrong place at the wrong time".   

The characters are uniform in their stories in one respect: their relative lack of spite for their situations. To be sure, some of them carry spite, David Brown, Jr.'s character is noticeably less than magnanimous regarding the system and his jailers, but it falls far short of what most of us would think someone who has been imprisoned and on death row for years would feel. The people in this story spent from 7 to 22 years on death row. I think the fact that well known actors tell their stories makes it more powerful than it would have been had the original victims done so, although we are briefly introduced to 5 of the 6 at the conclusion of the film.

There is no one unifying them among these six people. There are three blacks, three whites, one female, and five of the six had their cases in the Deep South, the most active region of the country for death penalty cases. As one who has had experience in working on both sides of the criminal law in murder cases, and has visited death row in one state, I can honestly say that, in a couple of instances, it is not surprising to me that two of the individuals were sentenced to death. (Danny Glover's character and Brian Dennehy's character).        

The issues of race, poverty, and government cover up are there, but only specifically talked about or alleged with three of the characters (David Brown, Jr. Aidan Quinn, Delroy Lindo). The main focus is on the irreplaceable loss each has suffered and the means in which they dealt with their incarceration and now appreciate their freedom.

I won't waste a lot of time telling you what you already know, that is that Susan Sarandon, Brian Dennehy, Aidan Quinn, Danny Glover (Missing In America), and Delroy Lindo are great actors and do a great job here. They always do. But, in my view, special mention needs to be made of Quinn, Lindo, and David Brown, Jr (the only actor from the play to appear in the movie).

Aidan Quinn does a fantastic job, although it must be said that I found his character's story to be the most compelling, evoking the dual sense of sympathy and fear, because the undercurrent message in all of these stories is that it could happen to you...or someone you know or love.

Delroy Lindo's character is the de facto narrator of the film, and the only one of the characters to talk almost entirely in broad strokes about the justice system and capital punishment. The character is a poet, and Lindo's presence and commanding voice bring his words to life o the point that you can't help but be moved.

David Brown, Jr. plays the most animated of the characters and, probably, the most likable as he is the only one to have his harsh reaction to his situation made very, very clear to his accusers. Also, the dialogue between he and his wife is pointed, real, and funny, which is to good effect in a film with this serious a level of content and tone.

As for the direction of the movie, it proves the old adage less is more, as Balaban, an accomplished actor himself, pretty much just lets the actors tell the true words of their characters and makes no noticeable effort to artificially make it more or less than it is, which is the major triumph of the film. The truth of this film is more than enough, and wherever one stands on the death penalty: pro, con, or indifferent, this movie will have affect as all true stories do that deal solely with the human feeling and condition that arises out of the tragedy.

You are cheating yourself if you don't see Exonerated.    

Directed by Larry Collyer. Starring Maggie Gyllenhaal, Giancarlo Esposito, Brad William Henke, Danny Trejo. Synopsis: A young woman who has just been released from prison continues to battle her drug addiction and personal demons as adjusts to life on the outside in a halfway house and tries to reorient herself into the life of her daughter.

Sherrybaby is one of those lower budget films that nevertheless has a strong cast, good story, and makes it a quality film. This flick is certainly not upbeat, but it is not the total downer the subject matter might lead you to believe. Sherry (Gyllenhaal) begins the story just released from prison and on her way to her new home in a halfway house- a place that will be, in many ways, more difficult for her than prison.

She also meets her no nonsense parole officer (Giancarlo Esposito Taps) who makes it clear that he has to walk the straight and narrow or he has no problem with bouncing her back into prison. To top it off, Sherry is also anxious to reunite with her small daughter, who has been living with her brother and sister in law for most of her short life.

Sherry's problem, you see, is drugs and the film does a wonderful job of showing us the pressure and the temptation for those with that addiction to get back into the day to day world. Particularly when it comes to young females, as Sherry finds when she has to provide sexual favors to acquire the job she wants but is not qualified to land. There are subplots here, too, and I like the way that director Collyer shows them to us, without making them the focal point of the film but weaving them into the overall fabric of the story. Good examples of this are the implications of abuse from Sherry's successful father and her competition with her sister-in-law as the dominant "mother" figure for her young daughter.

Gyllenhaal does well to make us empathize with Sherry, even when we don't agree with what she is doing. We also understand where she is coming from. A very welcome sight for me in this film was to see Danny Trejo (The Devil's Rejects) in a straight dramatic role as Sherry's drug counselor and love interest. Trejo shows that he has more range than you might think, judging from his usual casting as the likable, cool, tough guy that you would not want to cross.

This is very similar to the wonderful film Down To the Bone with Vera Farmiga , but not nearly as dark. A pretty good flick, in other words.   

 

 

Directed by Mario Van Peebles. Starring Wesley Snipes, Cybil Shepherd, Jackie Quinones, Luis Guzman, James Hiroyuki Liao, Mario Van Peebles. Synopsis: A reformed gangster from back East is trying to turn his life around when his luck turns for the worst, losing his wife and everything else in the devastation of Hurricane Katrina. He goes back home and is unwillingly drawn back into the gangster lifestyle, but with an opportunity to make one big score if he can dodge the cops and robbers chasing him, not to mention his chance encounter with a couple of serial killers. Will his luck change?

Hard Luck is certainly an interesting type of vehicle for director Van Peebles, as it is, in a lot of ways, a different type of role for Snipes, too. Now, the first thing that jumps out at you, or at least jumped out at me, was the lead actor/actress in the film. I don't know about you, but about the last thing I ever expected to see was a Snipes/Shepherd pairing in a flick. I said to myself, "Hum, this should be interesting." And, it was, though the main question of whether or not this is a good flick is harder for me to say, even after viewing the movie a couple of times.

One thing that I can say that I know anyone, and I mean anyone who is familiar with Cybil Shepherd and watches this movie will agree with is that you have never, ever seen her in a role like this before, nor would you have thought of her for this type of role.

The plot of the film has several layers, really telling two seemingly unrelated stories that don't so much as relate at the end of the film as...well, run into each other.

Lucky (Snipes) is an ex-con who made a pretty successful run of getting his life on the straight and narrow down south in New Orleans...that is, until Katrina took away everything, including his wife. Next thing we know, Lucky his back home in the big city, determined to stay clean but improbably finds himself in the middle of a ganster on gangster heist, with the opportunity to walk away with a lot of cash. The only problem is that he has two sets of gangsters who want him, one of which is woking in tandem with a group of dirty cops. And, of course, the clean cops are chasing him to boot.

As if that weren't enough, his luck is so bad now that even by getting out of the nightclub where the heist went down and the money fell into his lap, he is saddled with a fiesty exotic dancer named Angela (Jackie Quinones) who is determined to get a share of the money, whether Lucky likes it or not...thrown together in some very close, trying, and funny circumstances, they begin to develop a bond that neither was looking for.

Our other side of the story plays out parallel to the tale of Lucky, with a couple who are offbeat serial killers. Cass (Shepherd) and her younger boyfriend, Chang (James Hiroyuki Liao) are different, to say the least, with their abduction of strangers and videotaped torture routines, often played out as Cass is busy making dinner for her adult and mentally challenged son (Mike Messier...no relation to the great hockey player as far as I can determine) Frankly, several of the scenes between them are clearly intended to play humor against the dramatic scenes, which never get gory but you know what the implication is. For example, Cass and Chang bicker between them in the classic way that the genders do when they are involved with one another, one raising some dissatisfaction and the other bringing up past transgressions and soon the spat is off to a silly back and forth. The triggering event? The sudden death of an abducted woman who has the temerity to die of a heart attack in the chair she is strapped to in their "dungeon" before Cass and Chang have a chance to have their fun. Not, its not funny, but...  

Van Peebles, himself having a major role in the flick as the clean cop, obviously wanted to make a picture that had different dimensions and multi layered characters. He succeeds at times and, frankly, not at others. Basically, as he said in the special features portion of the DVD, he thought of this as a tale of two couples, and, in retrospect, you can see elements of that, though one half of each couple was relatively one dimensional, if entertaining in the film. (Liao as Shepherd's other, Quinones as Snipes') The movie is uneven at times, which you realize that Van Peebles wanted to do, but it does run the risk of losing your interest, especially in the first 20 minutes or so when you really don't have much of an idea what the hell is going on or where the story is going.

The performances of the main actors are good overall. Although this movie has elements of the gangster/action genre, its really not and do not let Snipes presence lull you into thinking that it is, if that is what you are looking for. No jumping off high rise buildings, hanging out of planes, or fighting wise cracking vampires for Wesley here. I haven't seen Wesley this muted since One Night Stand, and his performance here is not up to that level, although that may have been his best pure acting to date.

Quinones is wonderful in her role, heating up the screen and eliciting more than one laugh and several giggles as she plays off of Snipes' relative straight man. A very eye opening performance from an actress I didn't know anything about before this flick. Now, I'm not saying that Oscars will be piling up on her doorstep like newspapers, lets not get carried away. I am saying that, if there i a flick that I'm thinking of watching in the future that I could go either way on, her presence in it would probably cause me to give it a shot for that reason alone.

Shepherd is very good in her role, surprisingly, as it is so out of character for her and is easily the most psychotic in the movie. I don't know how Shepherd fans will react to her in this one. Though I have liked most of the roles I've seen her in, I can't say that I'm a huge fan, but I just loved her in this one, psychotic and evil with a tinge of that offbeat humor. My favorite Cybil scene in this one: her looking down on a tied up Wesley Snipes, complete with her apron and serial killer pervert mask and saying "Abu Graib doesn't have anything on us". I don't know, I just loved that.

Also of special note is Luis Guzman's brief turn as the gay porno director friend of Lucky's who helps out Lucky and Angela when they are on the run...but not before trying to recruit Angela into the "business" for a quick scene. Believe me, its a hilarious scene.

Van Peebles also gets props for some homage in the movie, for those of you who like that sort of thing, by casting his father, Melvin (Sweetback's Badass Song, Sophisticated Gents) in a cameo role at the beginning of the flick for some "don't trust the man" advice to Lucky and for shooting a scene with Bill Cook talking to Lucky, who some of you will recognize as the Bible quoting older man who kills Wesely Snipes' character in New Jack City . Here, Cook has one brief scene and does utter the "you reap what you sow" line again in homage, but in different circumstances and, of course, he doesn't blow away Wesley like he did after saying the line in New Jack. Just a nice homage. 

If you do give Hard Luck a shot, I would say that you definitely will need to watch it all the way through to determine how you really felt about it. For what that's worth.

 

 

Starring Salma Hayek, Rhys Ifan, Lucy Liu, Burt Reynolds, George DiCenzo, Saffon Burrows, Danny Huston, David Schwimmer, John Malkovich, Max Beesley, Lucy Liu. Drama. Synopsis: A group of actors and crew gather in a hotel in Venice to shoot a movie based on a well known play in an unconventional manner. However, there is cannibalism going on at the hotel. Directed by Mike Figgis.

Wow. Where to start with this one. You look at the DVD cover and that ensemble cast and you think it should be pretty good. Its not. Not even close. Its hard to even talk about this film because there is no plot, no real story line, and, as we find out in the Special Features, no script.

I'm serious. This film was total ad lib and it fails miserably. Since there is no coherent plot and the actors had no story line under which to create, the film meanders all over the place made worse by the fact that they tried to put it all together to make some form of a movie. It might have been better if they had made it a collection of skits or something, I don't know. I can appreciate trying to give the actors freedom to create, but how can that be done with no framework?

In the Special Features, we see a bewildered Saffon Burrows (The Bank Job) and a disbelieving Burt Reynolds (Boogie Nights, Deliverance) in a meeting of the actors, when it becomes clear that their characters have no names, no backgrounds, no motivation, and no guidelines. In fact, an increasingly irritated Reynolds seems to be almost stunned when Figgis tells him that the actors can create that on their own, but its totally up to them whether they want to share it with the director or not.

I'm not sure what the thinking was that this would turn out to be a good film. There are some funny scenes, and it is a tribute to the actors that this movie turned out as good as it did when you realize how little they had to work with. And its bad. As far as I could determine, there was an implication of cannibalism somewhere in there, described on the DVD cover as a major plot point. The rest of the film was primarily the actors reacting to each other in different situations, a good bit of steamy but meaningless sex scenes, and a whole lot of use of the F word. That is pretty much it.

A big mess and, honestly, an embarrassment for those involved. Anyone who has seen this and has a different take or can make some sense out of it, please let me know. I'm stumped.

Directed by Mike Nichols. Starring John Travolta, Emma Thompson, Billy Bob Thornton, Kathy Bates, Adrian Lester, Maura Tierney, Larry Hagman, Diane Ladd, Tony Shalhoub, Paul Guilfoyle. Comedy/Drama/Political.  Synopsis: A governor from a small southern state makes an unlikely bid for the Presidency, but his public persona does not always match up with his private life.

I've seen this one several times, and I think it is the best use of a heavyweight laden ensemble cast that I have ever seen. As the politically astute among you might recall, the novel of the same name by "anonymous" (turned out to be well known political writer Joe Klein) caused quite a stir around Bill Clinton's Washington, D.C. in the mid 90's and, for reasons that I could never understand or take seriously, the filmmakers insisted on denying that President Clinton was the inspiration, in any way, for the film.

Uh, yeah, o.k. I also believed the officials from Hooters when they say their logo is just about the owl, nothing else. Anyway, getting back on tract, Primary Colors is the story of the campaign of governor Jack Stanton (John Travolta The General's Daughter)  who is making his run for the Presidency. We jump right into the-as you might guess from the title-primary season as the governor, his wife Susan (Emma Thompson Stranger Than Fiction), and his staff with newly hired Henry (Adrian Lester The Day After Tomorrow) land in New Hampshire for the beginning of the long road to the White House.

Right away, it seems that the gregarious and empathetic Stanton is not as wholesome as he appears to be and political aficionados will recognize all of the stories, true and otherwise, from came from the Clinton years: the womanizing, allegations of past drug use, suicide of a key long time supporter, allegation of a teen pregnancy, and so on. There is also the ability to make common folks feel so much a part of the campaign, the "he cares about people like me" thing that almost all successful candidates for office have.

But, don't make the mistake of thinking that this is strictly a political comedy...it is, but there is so much more elements of drama and really a reflection on what we as voters get from our politicians based on what we demand, I said before that it was wonderful use of an ensemble cast, but that does not take away from the brilliance of Thompson and Travolta. They both nailed their respective "Bill" and "Hillary" roles. Adrian Lester is more or less the eyepiece through which we see this happening and he is the only one in the film we root for the whole time.

Billy Bob Thornton (Chrystal, The Man Who Wasn't There) is brilliant as Richard, the unorthodox campaign genius who is a direct take off of the real James Carville. Likewise, Kathy Bates (Failure to Launch) does a great turn as the manic Libby, the most tragic character in the film. And, there is so much more talent, all put to good-if sometimes short-use: Allison Janney, Rob Reiner, Larry Hagman, Maura Tierney, Robert Klein, Mykelti Williamson, Gia Carides, and Paul Guilfoyle to name a few. Personally, my favorite star cameo was Tony Shalhoub (Monk) who is the source of Governor Stanton's deliverance from his most powerful rival in the primary season.

Quick moving, hard hitting, entertaining, and funny. If not for the heavy contemporary political overtones, you have to think this one might have been nominated for a Best Picture Oscar. It was that good.

But, that is just my opinion.  

 

 

Directed by Chris Fisher. Starring Cuba Gooding, Jr., Clifton Collins, Cole Hauser, Keith David, Wood Harris. Drama

Synopsis: Two former gang members turned gang unit cops  come face to face with their past actions as cops in the LAPD. They face off against the general public, their superior in the force, gang bangers, and each other in pursuit of quick money. Where exactly is their loyalty? To the force, to their own, to each other? Action packed thriller.

 

I thought this movie was an excellent portrayal of the emotions and conflicts that go through the minds of law enforcement officers, particularly those in large urban areas who come from those same areas themselves. This movie, set and shot in Los Angeles, features Cuba Gooding and Christopher Collins as uniform officers who are partners and part of an anti-gang unit. Both are former gang members themselves, though that part of their background is only alluded to, not shown. The movie begins with a flashback of the shooting of a civilian, and then proceeds directly into a day in the aftermath of that shooting. There is a surprising twist on the flashback at the end of the film, which makes us question some assumptions we had during the course of the movie.

In the manner of similarly shot and themed films such as Cellular and Training Day, Dirty unfolds and takes place over the course of a single day. Before anyone thinks it is a simple knock off of those two fine movies, I would hasten to add that it is just elements of those movies that are referenced here.

The heart of the movie is the internal and external struggle that Christopher Collin's character goes through with a pending Internal Affairs investigation into the civilian shooting, the present dilemma of going out on contract for a high powered local dealer, and the wild actions of his partner. Collins is a powerful actor who first caught my eye in the movie 187, and was recently lauded for his portrayal of the condemned killer in Capote. He seems to move effortlessly between unapologetic butt kicking cop and guilt ridden, defeated cop, often in the same scene. 

Cuba Gooding's  character is played almost over the top. In fact, in several scenes, characters ask and/or accuse him of not being a "real cop" due to his gangster like talk, manner, and lawless actions in the performance of his job. To me, the ultimate in evil/boderline deranged police officers was set by Richard Gere in Internal Affairs and taken to a slighly higher level by Denzel Washington in Training Day. Gooding's performance in this one does not quite reach that level, but it is strong, believable, and, for those familiar with some or all of his past leading roles, shocking because this is a stark departure from his wholesome, "good guy" image.

The supporting cast is very strong, and a movie with so many characters central to the flow of the story needs that, it can't be carried by the stars alone. I'll mention three here. Keith David (Platoon, Road House)  plays the Captain in charge of the anti-gang unit that Gooding and Collins serve in and he is wonderful. Its a very similar tough, wise, grizzled cop role as he played in Crash. In this one, he gets a lot more screen time and, although his character is far from likable, you can't help but think that you want someone like him protecting the streets you live on.

Cole Hauser (Higher Learning, Last Shot At Glory)  plays the clean-cut on the surface Lieutenant of the unit who just might be the only true bad cop of the whole bunch. I think Hauser has a chance to become one of those Sean Penn type actors who has the ability to reinvent himself from movie to movie, although I'm not saying he has the ability to carry a movie as the lead like Penn does, although few actors do.

Wood Harris plays a low level drug dealer who thinks he's the Don Corleone of South Central. It is exactly one-hundred eighty degrees from the role that most probably know him for, as the best buddy of the paralyzed team captain in Remember The Titans.

This film is dark, king of ironic as it takes place almost entirely in the sunshine, if gritty and hard, Los Angeles that will be familiar to those who are familiar with the real L.A. There is some graphic violence and am implied sexual assault of a young woman by Cuba's character while on duty, again reminiscent of Crash, only much more vulgar. Again, this scene is not gratuitous, as, in the end we realize that we were made to empathize with one of the cops over the other, but things weren't exactly as we thought them to be in the beginning.

I won't talk more specifically because of my fear of spoiling the ending for anyone who has not seen the movie. And I think that anyone who enjoyed any of the police thrillers I mentioned above, or who wants to see a realistic portrayal of the conflicts that go one within and between cops who work in the toughest areas of our cities, should check this one out. Also, I believe anyone who is former law enforcement, like me, will respect the reality involved in making this film.

So, far, its the best movie I've seen this year.   

Directed by Stuart Gordon. Starring William H. Macy, Julia Stiles, Joe Mantegna, Ling Bai, Denise Richards, Debie Mazur, George Wendt, Lionel Mark Smith, Bokeem Woodbine. Drama. A man who has long marched to his own beat decides to step out of his life on a whim and the experiences he has in that one night bring him in contact with people and circumstances that forever change his life.

Edmond is based on a play that was written by David Mamet and has, apparently, been performed on stage many times in the two decades since it was first penned, but this is the initial foray onto the big screen. While I had not ever seen the play or, frankly, even heard of it, I feel comfortable enough to say that the film does it justice. Edmond is a good movie and I think we can all conclude that the play must have been good as well since it is evidently being performed regularly for twenty years...not to mention that David Mamet has been known to write some good stuff.

First of, if you are thinking of renting/purchasing this one, understand that this is not the ensemble cast that you might think it is when reading the box cover or reading about it online. Yes, there are several fabulos actors in this one, as well as some well known celebs. But, this film is Macy's baby all of the way. Not to put down the wonderful performances by some of the other cast, but they are really glorified cameo scenes, as only Stiles and Woodbine of the main supporting cast has more than one scene. Macy, on the other hand, is in literally every scene.

I don't write this to alarm you because Macy more than delivers...but then he always does in my opinon. Really, no matter how big or small his role (Civil Action, Air Force One, Thank you for Smoking, Cellular, The Murder of Mary Phagan, etc. etc.) , have you ever seen Macy when he is not good? Nope, me either.

Anyway, Edmond (Macy of course) is an enigmatic, seemingly successful business man who is tired and disappointed with his lot in life, as well as life in general. We know this from the opening frames, though precious little, if any, time is spent explaining why this is so for Edmond. It almost makes it seem as though Edmond's life is beginning now and we'll see where it takes him. Well, to get the ball rolling, Edmond matter of factly tells his understandbly incredulous wife that he's outta' there...and hasn't wanted to be there for a while. This goes over about as well as you think it would, nut Edmond doesn't seem to care. Soon, he is off into the New York City night, where he will meet several strangers, the first of which is Jo Mategna, a gruff and somewhat insesitive businessman type who is looking for a short term drinking and bit***** buddy, and Edmond fills the bill.

It might be the coarse advice of (the brilliant) Mategna's character that really gives Edmond the encouragement to now, right now, start making the most of his life. His adventures include a negotiation with a hostess in a stip club (Denise Richards), another one sided attempt at an on the level transaction with a stripper (Ling Bai) performing behind the glass in one of the seedy Times Square peep shows; being sold on the need for a big knife from a persuasive pawn shop owner (an almost unrecognizable George Wendt); a tussle with a talkative pimp who was friendly starting out (Lionel Mark Smith) and the most fateful meeting of the night, a flirtation and conquest of a young cocktail waitress named Glenna (Julia Stiles).

Now, its hard to even give a quick review of the two scenes with Mact and Stiles without playing spoiler, but I have to say that what probably jumps out at those of you who know these actors but have not seen the film is the May/December aspect of the relationship, which is definitely an aspect of it, but to me, Stiles' character is the only one who might be as messed up in the head-though for different reasons-than Edmond, which is the primary reason that this one night stand, as they say, ends very badly.

I can't even comment on Bokeem Woodbine's character's association with Edmond without totally spoiling the whole thing, but lets just say that those of you familiar with Woodbine (The Rock, The Sopranos, Freeway) have not seen him like this before.

Edmond is a short film, and its one of those that you can really take from it whatever you want. At turns tragic and, frankly, funny, I think it will probably leave most people ambivalent about how they feel about it. To me, Edmond, as messed up as he is, is doing something to an extreme that all of us might do from time to time...trying to make sense of it all. He fails, of course, but his real problem is in not understanding that he can't make sense of it all (life). At least that is what I got oout of it...in addition to being entertained for a little over an hour. Fans of Stiles, Richards, Wendt, and Woodbine will be pleased in this one, fans of Macy, Mantegna, and offbeat NYC based drama just can't miss it.                         

Directed by Tom Hooper. Starring Hillary Swank, Chiwetel Ejiofor, Jamie Bartlett, Ian Roberts. Drama. Synopsis: A South African native turned New York lawyer returns to her native South Africa to represent the interests of a former poltical agitator turned member of Parliament, who is opposing the amnesty request of the former police officer who beat and tortured him and his friend, before the Truth and Reconciliation committee.

This film takes on one of the more amazing stories of the last twenty years or so, the progress towards reconciliation and the change in government in South Africa. Though it hasn't gotten the attention such a monumental task might deserve, it is almost unbelievable that there has been a-relatively-peaceful change in government and effort to build a multi-cultural society in the former apartheid country.

Considering that very real historic backdrop, that is still playing out, any movie that tackles the awesome topic of victims facing their torturers really has its work cut out to do it justice. I think Red Dust, though flawed in some respects, does a very good job of this.

The story centers around two primary characters, Alex (the shockingly versatile Chiwetel Ejiofor...Amistad, Four Brothers), a former member of the ANC party that was one of the most aggressive in trying ot overthrow the former apartheid government, who is opposing the amnesty application of his former tormentor, Dirk Hendricks (Jamie Bartlett) who must go before the Truth and Reconciliation committee and detail his crimes, including his torture of Alex and his friend, whose body has not been found in the fourteen years since.

Representing Alex is Sarah Barcant (Hillary Swank Iron Jawed Angels Insomnia), a native South African who tasted the brunt of the apartheid government as a teenager for the crime of dating a black man, who left her country and is now a notable defense lawyer in New York City. Both Sarah and Alex have their own demons to exorcise.

The film starts off slowly, but builds well in its drama and mini surprising ending. This is, in effect, a court room drama with much of the relevant story told in flashback, a technique that is used very frequently but is not always effective. It worked for me here.

Whenever two characters are as vital to the plot as Alex and Sarah, the chemistry between them is very important. Ejiofor and Swank do a pretty good job here, although with such two talented actors, I expected it to be for the ages. There is no implication of a romance, though that might seem to be the logical story line based on what we learn in the first few minutes of the film. They come to more deeply understand and trust each other, which is necessary to the plot. 

The surprise standout in the acting department is Jamie Bartlett as Dirk, who gives a great multi dimensional performance as the bad guy looking for redemption, and is at turns sadistic, disgusting, empathetic, and admirable. Yeah, I think he pulled it off, i think. Piet Muller (Ian Roberts) is also notable as the unrepentant apartheid hit man.

The movie is filmed on location in South Africa, and many of the actors are obviously South Africans and a good part of the dialogue is in Afrikaans, the language of the region. It is beautifully shot and felt authentic.

Red Dust is a very good story, fiction based on events that are all too real. I didn't see any attempt to ram a political message home, but I'm sure South Africans of different political persuasions might disagree. There is no amazing ending or great action sequences, but a story this good with actors doing this good of a job will, I bet, hold your interest from opening credits to ending credits. 

 

Directed by Gabrielle Savage. Starring Danny Glover, Linda Hamilton, Ron Perlman, Zoe Weizenbaum, David Strathairn. Drama. Synopsis: A man who has spent years living in a small remote community of Vietnam veterans in the Pacific Northwest has his life changed dramatically and is forced to confront some of his own personal demons when a friend of his from Vietnam finds him and leaves his daughter with him to raise under false pretenses.

I've always loved movies (got that from my mom) and the older I get the more I realize that one of the things I love most about being a movie buff is finding a flick that didn't have a lot of hype or a huge budget-not that I have anything against studios making money, I am an entrepreneur at heart (got that from my dad)-but put together a good cast with a high quality script and good directing and, voila, we have a great story and, by definition, a great movie.

Actually, saying this is a good caste is a little bit of an insult. All the main characters here are either great actors or act great, however you want to look at it, even if there are no "box office" stars (with the possible exception of Danny Glover).

Jake (Danny Glover) is a hard bitten veteran almost living off the land and in solitude when he gets a surprise visit from an old Vietnam buddy, Henry (David Strathairn  We Are Marshall) who has surprise with him, his daughter Lenny (Zoe Weizenbaum). Lenny is lovable, talkative, and most surprising of all, half Vietnamese. Henry just wants Jake to watch Lenny for a little while, he has to go on a trip to a clinic as he is suffering from cancer induced by Agent Orange.

Well, we find out soon that this arrangement was meant to be permanent, though Jake does not realize it, and the fact that Henry is definitely going to die, until it is too late and Lenny is effectively his child now.

The interaction and the scenes between them are priceless. Anyone who has ever been a parent or a child will relate to something here. Lenny begins to chip away at Jake's tough, gruff exterior, which isn't just directed towards her, but everybody, most of all the store owner in town, Kate (Linda Hamilton) who has been trading barbs with Jake for years.

Jake is forced to confront his personal demons from Vietnam and its aftermath, but he is not the only such vet in town. The most compelling and intriguing of them in the film is Red (Ron Perlman) a disfigured vet who does not speak, boobie traps his property, and is initially very hostile to Lenny.

This is a wonderful movie, folks. Its funny, tragic, touching, and a wonderful ode to our Vietnam veterans. I will tell that the tragedy comes in the death of one of the main characters, but you know me well enough to know I will not tell you who and spoil it for those who have not seen this film. And, my little review does not even begin to do this movie justice, its a great first movie for the first time director, and she is going to be hard pressed to top this one when she directs her next film.

The Vietnam/post Vietnam movie genre has spawned so many good movies, and a few great ones, from Apocalypse Now to The Deer Hunter to Platoon   and so many others. This film deserves mention with all of those, its that good.  And might even be a little better. You don't have to take my word for it.

But, I hope you do.    

Starring Mira Sorvino, Donald Sutherland, Robert Carlyle. Drama. Synopsis: A movie original airing on the Lifetime Network, now on DVD, about the  sale and trafficking of young women, particularly children, for the purposes of sexual favors and sexual slavery. Told against the backdrop of three separate stories woven into one drama that follows a goverment agency on the trail of an international trafficking ring run by a Russian crime boss.

"Human Trafficking" is one of those made for cable movies that tackles a sensitive and serious issue not suitable for family consumption in a way that only a movie can, yet does it without emphasizing or trying to capitalize on the titiallation or gruesome factors in the way that a TV program must.

It is effective and heart wrenching. First, as most would guess but has to be said anyway, this is a movie not a documentary. Having said that, those who were unaware of this issue, or at least its scope, will learn a lot of genuine facts in watching this in the way that you learn from a good, informative documentary.

Mira Sorvino and Donald Sutherland play agents for ICE, the International Customes Enforecement Agency. They are charged with stemming the tide of young girls, some preteens, who are abducted and/or falsely lured to this country, ostensibly to model, be a mail order bride, or some other more innocuous reason, but in reality  for the purpose of forced prostitution.

The film is told with the focus on three young women, one a poor teenage girl from an Eastern European family lured to the U.S. by a phony "modeling" agency, one young woman-also a mother-who was effectively sold into prostitution by her "boyfriend", and the third a preteen American girl who is literally snatched from her parents on the streets of Manila. The film also touches on and reveals the plight of some of the other young women: their various reactions to forced prostitution, in the form of street work, higher class call girls, and/or pornographic movies as well as the means of physical and mental abuse that keeps them relatively docile and subjugated.

Although this is not an easy film to watch-no matter who or where we are, or what our political/religious affiliations might be, I've long been of the opinion that the abuse of children is the one thing that we all agree on as an unspeakable evil without qualification-but it does not get too lurid with showing us the actual sexual abuse of children. It is, however, strongly implied and we do see the mental and physical abuse, with the younger children mostly in the form of denial of adequate food and medical care.

You also get to see the ones who make this possible, the crime lords (played very effectively by Robert Carlyle as a Russian mob figure with an extensive syndicate here in the U.S.), their collaborators, the well meaning but ignorant families that allow their young girls to pursue "jobs" or "careers". One poignant scene shows the child pimps approaching a subsistence farmer, literally living in a nineteenth century type hovel with his wife and several children, and offer him more money than he has probably ever seen for his daughter. You see the look in his-a man who has probably done more manual labor in his life than 10 average Americans combine-  eyes as he now, maybe for the first time, has more than enough to feed and clothe the rest of his family, at the expense of his precious daughter. No, I'm not saying you will feel sorry for him , or that his actions are not disgusting, but it is done in such a way as to make us understand the crushing poverty and hopelessness in some countries-particularly Asian nations and former Eastern European bloc countries-that would make this type of thing not totally uncommon.

You also see the other side of it, US children snatched off the streets and the huge uphill battle that has to be fought to find them in countries where the infrastructure is not nearly aas conducive to finding criminals...particularly when those criminals pay very well.

The buyers of these exploited women and children are shown as well...yes, the stereotypical dirty old men are represented, but you also see the yuppy types at 6 figure mansions, and one particularly disgusting American doctor, who is seeking a little something different on his vacation to the Phillipines.

The heroes are there, too. The mother of the American child who refuses to leave the Phillipines or rest until she has found her daughter, the father of the teen age girl lured from Europe who comes to America with no clue as to find his daughter, but immerses himself in the child sex culture as a enforcer, in hopes that he will cross paths with her, and, of course, the tireless work of the government agents, played wonderfully by Sorvino and Sutherland.

These are fictional accounts, but they are the type of stories and done in such a way as to make it obvious that such things can and do occur. The international scope of the film shows how difficult the problem is, but it also that, like all problems that are human in creation, there is a solution, not just from the government, but from all of us. Any child that we can help-in any way: Little League coaching, den mother, crossing guard, whatever-whether our child or not, is one child that is just a little less likely to fall prey to these perverts. And, for those of us unable to do those kinds of things, just keeping your eyes and ears open, especially in larger cities, can help, or giving any extra $10, $100 or whatever-one time or on a regular basis, it all helps-, to one of the many private organizations that do so much to help exploited children. Anything helps.

Well, the purpose of this blog is not to be preachy, but that is the effect a film like this can have. And, you won't forget it.

 

Directed by Rod Holcomb. Starring Scott Glenn, Zachary Ty Bryan, Theo Rossi, Jeff Roop, Corey Sevier, Adam Grimes, Jake Busey, Richard Zeppieri. Drama/Historical/Sports/TV Movie. Synopsis: The story of the 1950 Army football team and its involvement in a historic cheating scandal and breaking of the honor code. The scandal ended the West Point careers of 30 football players, bo other cadets, and shocked the nation during the height of the Korean War.

This is a very good historical drama that is, surprisingly, relatively absent from the consciousness of many die hard college football fans (like me)-and not just because it happened more than 50 years ago. Believe me, a lot of die hard college football fans can tell you plenty about Red Granges' epic 6 touchdown effort or the Four Horseman of Notre Dame, both of which happened decades prior to the events in this movie. 

Code Breakers is made by ESPN, but those of you who are not sports/football fans per se shouldn't worry, this is a quality drama and not shot just for jocks. And, its not the first time (The Junction Boys) ESPN has hit paydirt with a movie based on a historical period of college football.

The film is set in 1950, with the West Point (Army) football team coming off of two straight undefeated seasons, and heavy favorites for a third, a feat then unmatched in college football. Army was, unlike today, one of the glamour teams in college football with only Notre Dame being comparable in the national consciousness. The euphoria of the victory in WWII was still fresh, yet the specter of Korea looms large. The football team was coached by the legendary Earl "Red" Blaik (Scott Glenn Training Day Urban Cowboy), well on his way to college coaching immortality and helped by an impressive staff that included future NFL coaching legend Vince Lombardi (Richard Zeppieri)

Holcomb does a great job of bringing this all to us and setting the mood in the first few minutes of the movie with a very good replica of the West Point campus and good use of period newsreels. The cast is ensemble, as you might guess, but the most important characters for the purpose of introducing us to the scandal are George Holbrook (Jeff Roop), a key football player who struggles with some of his subjects and his swim team roommate Brian Nolan (Zachary Ty Bryan). The two are best friends and mutually worried about their grades amidst the incredible pressure and expectations of the Academy.

Holbrook is introduced to a ring of cadets, including several key football players, who are able to share questions and answers with each other to get borderline academic qualifying players over the hump. The main players in telling the story of the ring, which was so sophisticated and ingrained that there was actually a member of the ring on the honor committee, include the quarterback-and coach's son-Bob Blaik (Corey Seveir) and the aggressive star running back DeSantis (Theo Rossi)

Holbrook reluctantly gets drawn into the cheating, though he, like so many of the cadets involved, did not directly benefit from cheating yet did break the code to help others, and ultimately confides the existence of the cheating ring to Nolan, who in turn goes through his own struggle in deciding how to proceed. I never want to play spoiler, but if you want to see this movie, even if you know nothing about this story, you know that the cheating ring was exposed just from the title. 

But, without giving you a overview of what happens next, I can do it justice by saying that it is done in such a way as to make it ambiguous, at least to me, as to what the truly honorable thing to do and the personal struggle some of these cadets went through in reaching their decisions, honorable or not.

The desire of some of the players not to want to tell on their friends-some of whom were literally weeks away from going to the war in Korea after graduation-is done in such way as to not be superficial or cheesy. On the other hand, the necessity of upholding the honor code and to tell the truth is presented with equal strength.

The acting is excellent. Scott Glenn (Urban Cowboy, Silence of the Lambs, Courage Under Fire)  is incredible as Coach Blaik. The young actors who portray  the cadets seem to me, an Army veteran, to be legitimate military men and, as you would guess, an ESPN produced film is righteous with the football as well. To me, Bryan, Roop, Sevier, and Rossi were all excellent in their roles and brought their characters to life as well as you could expect. The rest of the cast is good, too, with Jake Busey probably being the most recognizable for the obvious reason that he is an exact replica of his father.  

Some of you know that special features in a DVD are important to me, and the special features in this film are an A+. They are informative and substantive. There is a nice feature on the actual team complete with contemporary news footage, a touching feature on both the Army and Navy teams leading up to their big game in 2001 in the wake of the terrorists attacks on America, and several excellent interviews with famous Army men and West Point graduates such as Norman Schwarzkopf, several West Point Graduates who were there during the scandal such as Bill Yeoman, whom some of you college football fans will remember as the successful head coach of the University of Houston in the '80's, 1959 Heisman Trophy winner Pete Dawkins, and even some notable Navy men, such as Roger Staubach and John McCain. All of this, plus the standard stuff: interviews with the cast and on the set, director's commentary.

The special features last as long or longer than the film and you just couldn't ask for more if you are interested in this movie, the making of the movie, learning more about the story, or the Army-Navy football rivalry.

The only complaint I have about the film is that it could have done more in telling us what happened specifically to some of the characters who were featured. Instead, we got general stuff at the end like "..so and so went on to serve with distinction in the U.S. Army after leaving West Point..."    But, I do understand that this is still a touchy subject a half century later, some of these men are still alive, the facts are undoubtedly still in dispute, and I would guess that not everyone who was involved in this affair, at any level, was on board for the movie. So, its a small complaint.

Most movies that make it to my favorites have to be viewed at least twice (how good can it really be if I don't want to watch it again....and again...?), but Code Breakers made it after one viewing.

For what that's worth.     

Drama. Directed by Atom Egoyan. Starring Kevin Bacon, Colin Firth, Alison Lohman, David Hayman, Rachel Blanchard. Synopsis: An aggressive young investigative journalist assumes her friend's identity for the purpose of getting to the truth of the death of a young woman fifteen years previously in the hotel suite of two well known performers. Her investigation takes her closer to each of the stars and their secrets than she ever dreamed possible.

This film is an interesting telling of a fairly unique story that is well directed and well acted. The story is set in 1972, when ambitious young writer Karen (Alison Lohman Drag Me To Hell) undertakes the task of finding out the truth behind the mysterious death of a young woman named Maureen O'Flaherty (Rachel Blanchard) in the hotel suite of famed entertainment duo and polio telethon hosts Lanny (Kevin Bacon JFK, Mystic River) and Vince (Colin Firth) in 1958.

The story jumps between 1958 and 1972 often and seamlessly, without confusing the story or the characters. Its important in a film that does not follow a traditional chronological order to present its story in a way that allows the viewer to not only follow what is happening, but to know when a scene is taking place in the past or the present and this movie does that well.

It captures the spirit of the telethon and innocence of an earlier time, when many fans thought of their stars and heroes of the screen only in wholesome terms in nice comparison to the seedier reality of their often sordid personal lives.

The overriding theme of the movie is the question of what really happened to Maureen O'Flaherty, why it happened, and how. Karen is determined to find out these answers, as well as expose the cover up. She finds herself closer than she ever thought with womanizer Lanny, as well as his personal assistant (David Hayman) as well as becoming a confidant-and later a victim-of the emotionally tortured Vince. The movie does a good job of giving us clues as to what really happened, and we find out along with Karen. The conflict in the film is Karen's relentless pursuit of the truth as compared to her reluctance to share it when she finds out. I can't say that the ending will take you totally by surprise, there is a twist, but what makes this film is the telling of the story and the character development, not an incredible ending.

Alison Lohman does a good job in the most important role in the film. She puts energy and is totally believable in her character which has to show strength, vulnerability, compassion, and aggressiveness in alternating scenes of the film.

Kevin Bacon, again, reinvents himself as the likable, yet degenerate Lanny as we see him at his height of popularity in the movie and his descent which is obvious to all but him. Colin Firth has the most difficult part, playing the tortured sole with the terrible secret, yet is it really a burden that he should be carrying?

That, of course, is the whole question of the film and I won't spoil it for anyone who has not seen it. But, if you haven't seen this one, take it in if you have the chance. I can't say that its' a "can't miss", but if you appreciate a good story that is well done, you won't be disappointed.  

Directed by George Tillman, Jr. Starring: Robert DeNiro, Cuba Gooding, Jr., Charlize Thereon, Powers Boothe, Aunjanue Ellis, Hal Holbrook,David Keith, Michael Rapaport, Carl Lumbly, Lonette McKee. Drama/Biographical/Historical. Synopsis: The story of Carl Brashear, who enlisted in the Navy as a teen shortly after World War II and rose up through the ranks to become the first African-American Navy diver, Master Chief Diver, and also the first amputee to serve in that capacity.

Anytime you have a story that focuses on the true life triumph of the human spirit and shows the kind of determination that makes the impossible possible, you have a good chance for a good flick. Its not a given though, the film still has to be well acted and directed. Men Of Honor is well directed, and when you throw in a cast with multiple Oscar winners, past and future, the recipe for success is complete.

Cuba Gooding, Jr. (Wrong Turn At Tahoe)  plays Carl Brashear, Jr., a man who came from the fields of Kentucky, enlised in the Navy in the post WW-II years, and was determined to better himself in all ways through his time in the service. He had an indomitable spirit and never quit attitude, which he got from his parents (Lonette McKee Jungle Fever Carl Lumbly Pacific Heights The Alphabet Killer) in general and his father in particular.

As some may know, the Navy and its department (U.S. Marine Corps) were likely the most inhospitable branches of the service to African Americans in the post WWII, pre-Civil Rights era and that is portrayed vividly throughout this film, with one memorable scene being where Carl decides to jump in the Pacific for a swim on a day when only whites were allowed off the ship and into the ocean. Of course, he is pursued but swims so fast he beats everyone to the buoy. After landing in the brig, his speed in the water leads the ship's Captain (Powers Boothe Southern Comfort Sin City) to make him one of the ship's rescue swimmers an unprecedented position for an African American. Brashear quickly decides his ultimate goal in the Navy is to become a Navy diver after seeing the rescue heroics of one such Master Chief Diver, Leslie Sunday (Robert DeNiro Casino Limitless), an elite position that, at that point in time.

And, through the magic of creative license, when Brashear finally is accepted at diving school, guess who his class instructor is? Give yourself a pat on the back if you said Chief Sunday who is, lets just say, less than enthusiastic to have an African American diving student in his course.

Brashear's time in the diving school is the heart of the film, as Tillman does a good job of making clear the hurdles he faced, not only because of racism, but due to his severe lack of education. We do have some stereotypical characters, likely composite characters like Deniro's Chief Sunday, but that does not mean they aren't effective. Michael Rapaport (Grilled) plays Snowhill, the 'liberal' sailor who offsets the bigotry and prejudice Carl experiences in diving school by befriending Carl and being the only sailor to stay in the barracks when the rest are urged to move out by Sunday.

Also standing out in a smaller role is the legendary Hal Holbrook (Magnum Force) as 'Mr. Pappy', the outwardly bigoted and near senile Commander assigned to the diving school whose distaste for Carl remains steadfast even as those around Carl, including Sunday, begin to soften with appreciation of Carl's work ethic and courage.

Neither Brashear nor his chief protagonist, Sunday, are shown one dimensionally, they both have love interests, Carl has his future wife (Aunjanue Ellis Freedomland) and Sunday has a much younger wife, Charlize Thereon (North Country) who is both the enabler and possible hope for his drinking problems. Its not a huge role for Thereon, but she knocks it out of the park, as does Ellis, an actress whom I've long thought was an underappreciated talent.

The film follows Carl's career in the Navy, going directly from his trying time in diving school to his assignment as a diver on a ship in which he becomes a national hero by recovering a lost Russian explosive from the bottom of the sea, and then tragically suffers a serious injury to his leg shortly thereafter which seems to put the end to his diving career. But, Carl demands his leg be completely amputated so a prosthetic can be attached so that he might continue his career. The reluctance of the Navy and the reemergence of Sunday into Carl's life mark the second portion of the film. Its hard to be a Navy diver with two legs, to see Brashear do it with one is nothing less than inspiring.

As with any great film, there are several iconic scenes, the standouts for me being the bar room challenge between Brashear and Sunday to see who could hold his breath the longest, with the stakes being Carl's spot in the diving school versus the readmittance to diving school of Carl's buddy Snowhill (I read an interview with the real Carl Brashear in which he said the scene was true, except they did not use the water filled apparatus shown in the film, but merely dunked their heads into fish tanks); Carl's final test in diving school in which there were deliberate steps taken to ensure his failure and he remained underwater for twenty hours until his task was complete; and the stirring finale, when Brashear, with Sunday as his coach, demonstrates his physical prowess with his prosthetic leg before a high ranking Naval board.

The film follows 20 + years of Brashear's life and Gooding is believable both as the teen aged character and as a 40 year old navy veteran. With all due respect to his Oscar winning peformance in Jerry Maguire , to me this is his outstanding peformance to date. As for DeNiro, what can I say that hasn't been said? Incredible as Chief Sunday.

Understand this genre, though it shows both the ugly side and honor in our military, its not a military movie per se , but the story of an incredible man who happened to live his life in the service.

Great story, great acting, great film.        

Directed by Lucky McKee.Starring Patricia Clarkson, Agnes Bruckner, Rachel Nichols, Bruce Campbell. Horror/Drama. Synopsis:A troubled young girl is sent to a boarding school that is located next to some woods that harbor old and supernatural secrets.

I have mixed feelings about this one. I was primarily interested in picking it up because it had Patricia Clarkson (The Dead Pool, The Green Mile)  who is an actress that I like but have not seen in many leading roles. I also like horror, which this film was billed as, though I don't know if that is really the best fit for it as it is mostly a drama with tinges of mystery and some horror, with a dose of pure camp and references/homage to the sub genre of "girls in boarding school/prison" theme which specializes in pure titillation. But, The Woods does not go all the way with any of these themes. 

The plot of the film concerns a troubled teen girl named Heather (Agnes Bruckner) who has some issues, including pyromania, an inattentive mother, and the voices she hears. As such, mom and Dad (Bruce Campbell) elect to place her in a remote, yet supposedly elite, boarding school.

Well, Heather, not to mention the viewers, immediately sense that something is not quite right with this school and its Gothic setting next to some foreboding woods. And that does not even take into account the faculty, a group of women who are courteous without emotion and, well, strange. Chief among those is the headmistress, Ms. Traverse (Clarkson). Right from the beginning, Heather seems to be a square peg in a round hole here, befriending only a couple of other misfits in the school, where the girls all seem to bunk down in the same room. And, of course, whenever a protagonist goes into a new school against his/her will in cinema, you know there will be a chief tormentor and, true to form, there is here. Her name is Samantha (Rachel Nichols G.I. Joe: Rise Of Cobra) and she has a strong dislike, in addition to an implied attraction, for Heather from the start, leading to a couple pf physical altercations.

But, the story does not really follow or develop that plot line, as Heather stays in the school and realizes that her parents will not come get her, other strange things happen, chiefly the disappearance of some of the students, which is troubling because no one seems to be overly concerned.

At this point, Heather begins to learn the history of the school and the dark legends of the neighboring woods, with tales shrouded in a belief in witchcraft.

For me, the first part of the film, though relatively slow moving, is the more interesting and better scripted. When things start to pick up in the second part of the movie with regard to pace, it becomes kind of jumbled and harder to follow the plot. Having said that, I can't say that it is an uninteresting film. It is certainly not scary or the kind of movie that will keep you on edge or surprise you, but you can be entertained.

I knew nothing of Bruckner prior to seeing this flick, but I was impressed with her work here as she needs to carry the story, being in almost every scene, and she does. I think Heather needs to be a head strong girl without coming across as a bad girl and Bruckner does this and there is actually some depth and different layers to her character, something you can't count on with a film that is walking the thin line of being a campy pseudo horror flick.

Patricia Clarkson didn't seem to have much to do except be the creepy, foreboding presence that flits in and out of the film until the end, when the whole truth comes out. She does this well and it's a very different type of role for her.

My chief criticism of the acting would be that this story is set in the '60's and, other than some scenes with the girls listening to a transistor radio, you really don't get the sense that this is supposed to be happening 40 years ago. These come across like Generation Y girls in school uniforms to me. But, that could be more of a criticism of the script or direction and, honestly, there are no glaring anachronisms that I saw and I'm not sure how important that is to the film, just something I wanted to share.

After all, witchcraft is timeless, isn't it?  

 

Synopsis: A young ship builder realizes a dream when he receives an appointment to the Naval Academy and then struggles to find and keep his place among the more qualified, better prepared plebes during his first year. His struggle is made more difficult by a demanding upperclassman who seems to have a particular dislike for him. Starring: James Franco, Tyrese Gibson, Donnie Walhberg, Jordana Brewster, Chi McBride. Drama.

Its always a good time for a feel good movie with patriotic overtones and its especially a good time when our soldiers are in harm's way, as they are now. I thought these things as I watched Annapolis, putting aside my olive drab Army sympathies, and was pleasantly surprised that the film does not dwell or hammer away mercilessly at patriotic or political themes, which would have been very easy to do. (In fact, I don't think the war in Iraq is ever expressly mentioned, but is alluded to in the character of Midshipman Cole). The film is really human drama focusing on one man's dream and desire to achieve something that most, including his own father, think is outside the realm of his capabilities.

Jake Huard (James Franco Milk)) is a young shipbuilder, with a love of boxing, who works with his father across the water from the Naval Academy, a school that he has dreamed of attending. Much to his shock, merely a day before orientation begins, a Naval Lt. Commander (Donnie Wahlberg The Sixth Sense) shows up at work to tell Jake that a spot has opened up in the incoming class and, despite his meager credentials, the Academy has decided to give him a shot.

Jake decides to take his shot and shows up for orientation where he meets, along with the rest of his plebe class, his upperclassman commander, Cole (Tyrese Gibson Four Brothers), a combat veteran from the Marine Corps who saw action prior to coming to Annapolis and makes no bones about the fact that poor officers equal dead soldiers. While Cole is not warm and chummy with any of the plebes, he has a particular distaste for Jake, who is otherwise doing well with his other social contacts, particularly upperclassman Ali (Jordana Brewster).

The film follows Jake through the ups and downs of his first year, particularly his involvement in the Academy required boxing course and his desire to enter as a heavyweight in the Academy boxing tournament where-I bet you didn't see this one coming- Cole reigns supreme. 

Without being a spoiler, there is a matter of Jake putting his place in the Academy in jeopardy due to his desire to help a fellow plebe and friend, with everything coming down to the big bout against Cole in the finals.

You're not going to see anything new here, but that doesn't mean the film isn't good, because its very good. The main characters, including Cole, have depth, and it would have been very easy to portray Cole or even Donnie Wahlberg's character as one dimensional. Thankfully, they are not. Those expecting to see a kind of cinema documentary about the first year at Annapolis will probably be disappointed, as the class room instruction and hazing scenes are to a relative minimum. Also, though I don't know for sure, I'm sure the fraternization shown between male and female plebes has to be dramatic license.

James Franco is wonderful as Jake. You'll like him and root for him from the beginning, which is just what he needed to have happen with his character. Tyrese Gibson also gives a strong performance as the antagonistic Cole. These two stand out, but the rest of the cast is good, too, with Donnie Wahlberg stepping up very well in his role as does Jordana Brewster. Its always nice to see Chi McBride, too.

No complaints here about Annapolis.

 

This one is really, really funny. Not the slapstick or over the top humor, but the tongue in cheek kind of humor where you will find yourself chuckling thoughout the movie, only stopping to laugh out loud.

The plot is fairly intricate for a comedy, but when you have an ensemble cast this talented, it flows very nicely and is easy to follow. The story focuses on a group of middle and near middle age folks living in the D.C. area, who are-to some degree-dissatisfied with their current lot in life.

We first meet an arrogant CIA analyst (John Malkovich The Libertine) who hits the bottle too much and is in a marriage to a doctor (Tilda Swinton) that is short on love and long on irritation.Things immediately go downhill when he quits instead of taking a demotion, then somehow loses a computer disc containing information he was going to use to write a memoir.   

Into that breach come two employees (Frances McDormand Fargo, Brad Pitt Seven)  at an upper scale fitness center who happen upon the disc and decide, by golly, they are going to cash this ticket since McDormand's character has a serious hankering to pay for some cosmetic surgery.

And, of course, no comedy would be complete without the cad and, in this flick, its played by George Clooney (From Dusk 'Til Dawn) who loves the ladies, in addition to his wife, and two of his gal pals are, you guessed it, Tilda Swinton and Frances McDormand.

Suffice it to say, when the blackmail plan goes awry and cheating hubbys and wives are exposed, the plot thickens and its hilarious. What makes Burn After Reading work so well, as you would think, is the acting. Clooney, Malkovich, McDormand, and Swinton are all fantastic, all very funny in their understated way, though you will probably expect what you see from McDormand, an actor more associated with comedic roles than the others. Pitt deserves special mention, however. He is side splitting playing a less-than-astute geek, I challenge you to not laugh at any scene he's in when you see the flick. 

I also liked the fact that the film was not afraid to portray these characters, including two of the bigger hearthrobs of the past decade or so, as vulnerable, not so tough, not so smart, and therefore, easy to laugh at and with. I also need to say how refreshing it was to see 40 something leading men paired with 40 something leading ladies, something you don't see as often as you'd think as big Hollywood films look for the hot 23 year old to pair opposite 70 something Sean Connery or 60 something Michael Douglas. 

So, those of you who might go into this one thinking your primary reward might be some Clooney/Pitt beefcake, you'll be disappointed, though Pitt does look like someone who works in a fitness center. Just understand that this movie is not about eye candy.

The heavyweight big name stars are not the only ones who deliver, either. Richard Jenkins (Stepbrothers) is good as the manager of the fitness center who just can't seem to get McDormand's attention and J.K. Simmons (New In Town) is hilarious as the mysterious CIA big wig who simply reacts to the circus of events that unfold with the missing disc.

This film is hard to briefly describe, but trust me, if you like any of these excellent actors and you don't need over the top slapstick or bodily function humor to make you laugh, I can pretty much guarantee you'll like Burn After Reading.    

 

Directed by Richard Donner. Starring: Bruce Willis, Mos Def, David Morse, Jenna Stern. Action/Drama. Synopsis: A burned out cop receives a simple assignment at the end of his night shift: transport a prisoner 16 blocks to the Courthouse to act as a witness before a grand jury. The assignment turns out to be anything but simple when there is an attempt on the life of the witness, and it turns out that the people he was going to testify against, and now be prtoected from, are police officers. For a guy like me, an action movie buff who likes Bruce Willis and thinks David Morse is one of the better character actors of the last twenty years or so, picking this one off the shelf was pretty much a no brainer. Sometimes, when you go into a movie knowing that you like the genre, like all of the main actors, and know it was directed by someone with a reputation for good movies, you're disappointed.

Not me.

Not only is 16 Blocks as good as I thought it would be, its better.  The plot is fast moving, hard hitting, and grabs you right from the start. Jack Foster (Willis) is a burned out-both mentally and physically-cop who is a sporting a paunch and fighting a losing battle with the bottle. After a long  night's work, he just wants to go home and crash, when he is given the unusual assignment-for a detective-of picking up a witness who is in custody and driving him a few blocks to the Courthouse so that he can testify for the District Attorney.

Jack is reluctant, to say the least, but grudgingly follows orders and goes to pick up Eddie Bunker (Mos Def The Woodsman, Bamboozled) an unimposing, talkative, and naive convict who is anxious to testify so that he can have his charges dropped.

We see the relationship building between Eddie and Jack from the beginning, as Eddie, almost literally, talks non-stop and Jack makes no effort to hide his disdain and disinterest in Eddie. Even stating at one point that 'life is too short".

The plot turns when Jack pulls over to limp into the liquor store (at 8:00 a.m) in a neat symbolic scene. We know that Jack is a serious drinker from his first scenes, but is he stopping in the middle of an assignment and breaching operating procedure because he needs the gulp, or has three blocks of Eddie's chattering driven him to it earlier in the day than usual? The film leaves that the viewers interpretation, but what is clear is that Eddie is a lot more important witness than even he realizes when a man approaches the hand cuffed Eddie seated in Jack's car in an assassination attempt. Fortunately, Jack drops his bottle in time to foil the would be killer.

Well, the ante is now raised quite a bit and its clear to Jack that Eddie must be the target of some pretty bad and dangerous folks, so he hides Eddie in a bar that he's familiar with and waits for some of his brother officers to arrive. Not the good move as it turns out they are met by a contingent of detectives led by Jack's old buddy and former partner, Frank Nugent (Morse). Turns out that this group of cops are the ones who don't want Eddie to testify and hired the druggies to try to whack Eddie on the street. That didn't work, so now they want to finish the job themselves and they just expect Jack to go along, of course. He doesn't and, ladies and gentlemen, we have a movie.

Jack and Eddie's narrow escape from the bad cops is just the first as they both try to navigate the mean streets of NYC, trying to get Eddie in front of the jury before the 10:00 dealine, while knowing that they can't trust police to help them, in fact, they are not sure who they can trust...even each other. The film does a good job of working in the developing bond between Jack and Eddie without slowing down the action. It also tells us a sub-plot in reverse all the while. We know from the opening voice over and first two scenes that Jack is a cop on the downside, but how did he get that way and what went down between him and Frank back in the day? These answers are important to the plot and ending of the film, and are revealed near the conclusion of the movie in a effective way.

For an action film, the story is unusually centered almost completely on the three main characters, although the minor players who make appearances in one or two scenes keep the flavor of the movie, especially Jenna Stern, who shows up in an important role in the final 15 minutes as Jack's sister.

As for Willis, Mos Def, and Morse, I have never seen any of them better. Especially Willis, who tells us so much about his character in his body language and actions without the use of dialogue. In fact, he probably speaks less in this film than any other he has starred in, but says more. Willis fans will not see the wise cracking action hero with the s*** eating smirk that we've all grown accustomed to over the years...I don't think he even smiles until the final ten minutes. The difficult thing about this role is that you have to believe, at least initially, that Jack Foster is not only burned out, but borderline incompetent as a cop. However, the story has him outthinking the pursuing officers, and he would have to be gutsy and courageous to help Eddie get to court, when it apparently does not benefit him at all. Willis does both sides of Jack without compromising the other.

Mos Def is wonderful as well, though his artificially high pitched voice and non-stop chatter might irritate some, it is essential to the character and, as some one formally involved in law enforcement, I can tell you that there are a ton of Eddie Bunkers out there; ultimately harmless, likable screw ups who are in trouble and keep getting in trouble, but want to turn their lives around with some dream that is usually pie-in-the-sky, in Eddie's case, opening a bakery. (Get it? Bakery,pie in the...oh, never mind)  If you've seen Mos Def in more than one of his movies (Bamboozled, Something The Lord Has Made, The Woodsman, etc.), you realize that his range as an actor is stunning.  

David Morse (The Rock, The Negotiator,12 Monkeys, Green Mile)   shows once again why he seems to be on the short list for important character roles in so many good films, particularly action films. In 16 Blocks, I'm happy to tell you that he has perhaps his biggest role since Inside Moves and he delivers. Big time.

If you pick this one up on DVD, you will be treated to a very good alternate ending that is much different from the one they went with in the film, though you might agree with me in that I'm glad they choose the one they did.

This movie is a very good, top tier action film, one of the better ones in recent years and maybe the best yet for Bruce Willis other than the Sixth Sense.  

 

Directed by Monika Mitchell. Starring John Cassini, Molly Parker, Jennifer Beals, Sandra Oh, Kevin Corrigan, Eric Roberts, Rene Rivera, Danny Nucci, Frank Cassini. Drama/comedy.  Synopsis: An offbeat and darkly humorous story of a talented, but struggling actor who finds long awaited success of after going to great lengths to beat out his fellow actors when competing for roles, then finds he cannot stop doing it as his career takes off, even though he has found success and the right girl.

Now, this is one that I really, really liked. Picked it up without knowing anything about, just reading the DVD cover and seeing two of my favorite actresses, Parker and Beals, in the movie was enough to convince me to give it a shot.

And I was not disappointed.

The story is a neat one, that of a struggling actor (John Cassini) who seems to have the drive, the talent, and the work ethic to make it as an actor, he just does not have the luck. Behind on his bills, and playing in empty theaters while his good friend in acting (Jennifer Beals) gets a big break and then loses it, our hero is at his wits end. It seems that he is always second best in getting the big parts.

All of that changes when, after yet another audition in which he will come out second best, he has the impulse to break the leg of the star (Danny Nucci The Rock). Incredibly, a freak accident occurs during the assault that results in the death of the star, something that was not planned.

Shocked at the outcome, his initial guilt is soothed by the fact that he does get the role, performs well, and starts to make a name for himself, not the least of which is catching the eye of a beautiful model (Molly Parker Iron Jawed Angels) who quickly becomes his girlfriend. Things start to go better, but there is still the fact that he is not on the A list, and still might get passed over for choice roles, Enter another star (Eric Roberts) a big name who is going to sweep up a role that should go to Cassini. With less planning than before, Cassini nudges an unsuspecting and unknowing Roberts down the stairs at the audition and, once again, he has the big role.

Things go even better for Cassini's career, and everything should be wonderful for him, now driving a Mustang and on the short list for an award, but, of course, the guilt begins to eat away at him, small enough at first, but then big enough where we see a change in Cassini, affecting his relationship with Parker and his whole persona as an actor, as he starts to become what he has previously detested.

Unbeknownst to Cassini, two detectives (Rene Rivera, J.J. Johnston) are on his trail, deterred only by the fact that they have no evidence to back up their suspicions.  They cook up a scheme to entrap Cassini, which leads to a very unusual and interesting end to the film.

This movie is funny, not in the slapstick, giggle every minute type, but of the understated, dark humor as the film and its actors make fun of the very industry that they are part of in real life. The fun and dark humor is mostly subtle, a good part of it in the ongoing dialogue between Cassini and his agent (Barry Primus). There is an unforgettable scene between the agent (Sandra Oh The Night Listener) for the actor Cassini bumped off and the detectives.

Molly Parker is wonderful in her part, the right mix of ditziness and offbeat sexiness. Jennifer Beals (The L Word, The Book Of Eli) is hilarious, one of the only times that I've seen her in a purely comedic role, my only complaint is that she was not onscreen enough.

Cassini is the standout, as he has to be in the role, and he comes through big time. He is funny and empathetic at the same time, you'll find yourself kind of rooting for him, even as he is trying to eliminate his competition by unlawful means.

I really wish this DVD had some special features since a pet peeve of mine is when films, particularly when its a film I really like. It would have been neat to see some behind the scenes footage, but, if its not there, its not there.

This is an excellent film anyway.           

Directed by Lexi Alexander. Starring Elijah Wood, Charlie Hunnam, Claire Forlani, Leo Gregory. 

Drama/Action/Sports.Synopsis: A young journalism student is unfairly expelled from Harvard and travels to London to stay with his sister and her British husband in the aftermath. There he is introduced to the world of English football and joins a fanatical group of young man fiercely loyal to the West Ham United Football Club. He finds strong friendship, happiness, and loss as he discovers for the first time that there is a time to stand up and fight for yourself. 

Well, I took a look at this one with my hopes up but prepared to be disappointed coming so soon on the heels of what, I thought, was a similarly themed film called The Football Factory. I don't know, maybe its just my love of soccer, or the fact that the World Cup is coming soon, or both, or neither, that drew me to seek out another film about soccer (known in this film, and throughout 95% of the world, as football), but I can tell you that I'm glad I did.

First, this movie is definitely told from an American perspective, so cancel any worries you might have of Iowa born Elijah Wood trying to sound like a tough Englishman. We meet both of the two main characters in the opening scenes, first brash, loud mouthed Pete (Charlie Hunnam) who is leading his group of tough young guys in a heated yelling match against a group of equally tough young guys  in  London subway. The verbal taunts quickly lead to a  brawl and we leave the scene with the image of Pete head butting a rival into submission...quick fade to Cambridge, Massachusetts and the tony ground of Harvard where Matt Buckner (Wood Sin City) is reluctantly and involuntarily leaving the school, having been expelled just shy of graduation. We learn then that his roommate might have, in fact, been the guilty one and Matt is just taking the fall.

Matt hops on a plane headed to Britain to visit his sister, Shannon (Claire Forlani The Rock) and her British husband, who has a brother named Pete. Yes, you guessed it, our gang fighting friend from the subway is being told to entertain unimposing a relatively meek Matt. Pete warms up quickly to Matt, aside from Matt's annoying habit of referring to English football as "soccer" and the fact that he is a Yank.

Pete takes Matt into the world of diehard English football fans, introducing him to the Green Street Elite (GSE), a group of young men (called a "firm") who are united by their allegiance to the West Ham Football Club. Matt adjust quickly to the pub oriented, beer swilling cameraderie among his new friends in spite of their propensity to fight other "firms". We get to see the literal metamorphis of Matt as he takes enthusiastically to Pete's way of life, if with some reluctance from one of Pete's boys in the firm. We also see that Pete has more depth than we would have thought from the opening scenes. Both characters are empathetic, and drive the whole film. We believe the unlikly friendship that forms against the beer swilling, fighting backdrop of English football. I recently reviewed another film much like this one called The Football Factory. I thought this one was a little better because of the character development.

Like Football Factory, this film, to me, is not really about English football or sports in general. Its about what drives the maniacal fans and the bond between them, as well as with those who are just like them, but following other teams. There is some soccer action in this one, including some footage from the English League as well as a scene in which Matt is hapless as the goaltender against some 12 year olds coached by Pete.

The fight sequences, of which there are more than a couple, are well shot, set to music, and very believable. Alexander does a very good job with this aspect of the film. The acting is very good. As I said, the story revolves almost completely around the two main characters, but the supporting players carry the ball well. Claire Forlani (Meet Joe Black, The Rock) does well-although I wanted to wring her character's neck at times-as Matt's sister and it was not until the special features on the DVD that I realized that she is really British.

Some people might have a hard time buying Elijah Wood in a role that turns him into a "tough guy", but I think that was probably a point in casting. I think he does well and even flashes some of those creepy looks from his character in Sin City. Well done, Elijah.  

The one who has to take the prize, however, is definitely Charlie Hunnam. He is the center of almost every scene he's in. I don't believe it was necessarily written that way, but his creen presence and acting were perfect for this role. I imagine that some of our British friends might have an issue with his dialect, but it sure worked for me in this film.

A real good film. Plain and simple. 

Directed by James Gunn. Starring Michael Rooker, Elizabeth Banks, Don Thompson, Nathan Fillion, Gregg Henry, Tania Saulnier, Jenna Fischer. Horror/Sci-Fi.Synopsis: A small town is overrun by symbiotic extra terrestrial creatures who have an insatiable taste for all kinds of meat.

There is always room for a couple of good snickers not to mention some outright laughs when you're looking a lower budget horror movies. And, when your main protagonist has the same first and last name, "Grant Grant" (Michael Rooker Eight Men Out) you know the flick is not going to take itself too seriously, which is more often than not a good thing when it comes to this genre.

Grant seems like a decent enough guy, married to a beautiful though much younger wife, Starla Elizabeth Banks(40 Year Old Virgin, W) who both might have just a little bit of the old wandering eye, though neither has acted on it...yet. One night, when Grant is very close to doing so, something strange happens...some kind of funny looking thing-a-magig is right near a tree in a spot where Grant might be breaking his vows. When going over to investigate, something shoots out quickly, entering his mouth (the preferred orifice of entry for our creatures, we will soon learn).

Things kind of get going from there, Grant is feeling real hot, but he can't say much because he was kind of being almost naughty when this weird thing happened. The big thing is he is just developing this hunger for meat...raw, cooked, and otherwise. When his appearance starts to deteriorate and his "infects" his intended mistress by letting the slithery thing out of his mouth into hers, well, the cat is out of the bag and soon the whole town is in danger.

The thing about these snake looking creatures is that they enter the mouth and sometimes incubate, as in the case of Grant's unfortunate intended fling, who blows up to four times her normal size before she, ready for this? Bursts with countless slithery things coming out of her. Very good schlocky horror movie stuff.

Grant is, if you will, the "host" or the "main" slither thing and even we morphs into some half human, half slither thing that preys on live meat like cows (the 16 oz. cuts from the grocery store just don't satify anymore) he still has mad love for Starla. And, Starla, being the faithful wife, tries to reciprocate...its just that Grant isn't looking so good anymore. One of my favorite scenes is when Starla, looking like she is trying to keep her food down, approaches the mutant that is now Grant (in an effort to lure him for the kill by the other survivors) and mouths the "we said it was for better or worse, Grant, I'm still with you..." I don't know, just loved that scene.

As I said, the humor is always there in this flick without going into too much slapstick. A special shout out has to go to Gregg Henry (White Lie,  uncredited as a corrupt congressman in Scarface) as the fast talking local politician who is long on complaining and sex drive, short on courage and couth. He was hilarious.

The good thing is that, despite the dark humor, the film stays true to the genre, we have creepy and disgusting creatures, empathetic heroes, and the obligatory messy 'kill scenes' and one god bathtub scene. You'll get what you expect and probably even a little more with Slither, I predict one day it will qualify as a cult classic. Some actors have a low budget horror in their past they probably wish they could erase from the CV (e.g. Kevin Bacon Friday The 13th, Laurence Fishburne & Johnny Depp Nightmare On Elm Street)

I don't think any of the actors in this fun little horror flick will feel that way, nor should they.

Starring: Ray Romano, Kevin James, Michael Rappaport, Juliet Lewis, Burt Reynolds. Comedy. Synopsis: Two meat salesmen who are down on their luck in both their business and personal lives set out to close a big sale with their last batch of leads and find themselves involved with an attempted hit on an organized crime figure.

I am not a big network TV guy, so although I have heard of Romano and James, I have never really watched either of their hit shows, but I wanted to check this one out because its always good to laugh every once in a while.

Well, laugh I did, because this one is funny, folks. Maurice (Romano) and Dave (James) are sales partners for a meat company. Yes, they follow leads and go door to door trying to sell high quality meat. Right off the bat, you can guess some of the one liners and funny situations with that premise. (Although, as a guy who has bought plenty of cuts from Omaha Steaks, I really never thought of it as a funny thing until I got into this flick) Not surprisingly, both Maurice and Dave are a little down on their luck with bringing in the sales quota (that is not a spoiler...think about it...in a movie-especially a comedy-the sales guy(s) have to be down on their luck for their to be an interesting story)  and, in addition to the pressure of their jobs hanging over their heads, they both have personal reasons to hit the big sale. Maurice needs his commission to pay for his last semester of school in order to become a doctor, Dave wants to buy his daughter the top of the line swing set she wants and, implicitly, impress his skeptical ex-wife.

Well, as anyone who has dabbled in sales knows, a desperate salesman is a dead salesman, and the first few minutes of the movie deal with the two of them running into every sort of dead end and making the crucial sales mistake, e.g. Maurice complimenting the interested prospect on his picture of himself with NFL football coaching legend John Madden, only to have the unbelieving man softly say "that's my mother". 

On their last lead, the two run into the sultry Loridonna (Sofia Vergana) an interested prospect who has an eye for Maurice and is just about to sign the big order when she is pulled away by a frantic call from her friend Suzanne (Juliette Lewis) who is, again, contemplating suicide. The three rush over to intervene, the order still not having been signed.

From there, Maurice and Dave are witnesses to a hit on Suzanne's mobster boyfriend and, after taking the time to try to sell some cuts and a refrigerator to the hit men, end up being kidnapped to a club where the bar mitzvah of a young man is taking place. It seems that they hit guys also want to whack the father (Burt Reynolds) of the bar mitzvah boy that night.

Sound silly? Of course, but this is well acted and directed. The chemistry between the two lead actors is wonderful and, I heard from a friend that they are actually close friends in real life as well. Doesn't surprise me. Additionally, the supporting cast is hilarious as well. Juliette Lewis stands out as the scatter brained, ditzy girl who really starts the boulder going downhill, as they say, for Maurice and Dave. Michael Rappaport is funny as one of the disbelieving hit men and Burt Reynolds, to me, has always been as much of a comedic star as an action hero and he shows it again in this one.

Also, the laughs are there without the annoying tendency of some recent comedies to delve into the adolescent "toilet humor" and bodily function stuff. That's a plus for me. Sure, there is some play with double entendres ("you can't beat our meat"), mild profanity and some violence, but its-I'm serious-all in fun. In other words, fans over 15 will appreciate this, I think.

So, if it means anything coming from me, Grilled is well worth a shot...and I think you just might like it a lot.