The last man you would imagine as the ideal producer for “Sherlock Holmes” (**** out of ****) is none other than high-octane “Lethal Weapon” producer Joel Silver. Nevertheless, between action movie maestro Silver and audacious British director Guy Ritchie, the English counterpart to Martin Scorsese when it comes to making English mobster movies, Silver and Ritchie constitute a dynamic duo. Similarly, American actor Robert Downey, Jr., would seem least qualified to incarnate Sir Arthur Conan Doyle’s immortal sleuth, but the “Iron Man” star makes it a neat fit. Well, neat might not be the appropriate word. While hygiene proves to be an annoyance to him, Robert Downey as Sherlock Holmes is nothing short of brilliant when he comes to making flawless deductions that would never occur to the less observant. Holmes notices the minutest detail, and he is forever cataloguing facts as well as experimenting with his own inventions, such as a handgun silencer. Silver and Ritchie have assembled a top-notch cast, including Jude Law, Mark Strong, and Rachel McAdams. This is the second time this year that historical London has been rendered in computer generated imagery and it looks extremely convincing.
Mind you, Holmes purists may hoist their supercilious eyebrows when they learn that Downey shuns the indispensable Basil Rathbone deerstalker cap and maintains a disheveled appearance. Incidentally, Rathbone played Holmes more times than anybody else in the Twentieth Century Fox/Universal Pictures franchise between 1939 and 1946. Later, when Universal Pictures appropriated the franchise from Twentieth Century Fox, the studio uprooted Holmes from the comforts of 1890s Victorian England and ushered him into the 20th Century so he could help the Allies defeat the Axis Powers. Meanwhile, Silver and Ritchie have lovingly recreated the Victorian setting in London during the 1890s, complete with Holmes’ rooms at 221B Baker Street. The latest Holmes strives to be more charismatic and less haughty than either Nicol Williamson in “The Seven Per-Cent Solution” (1976) or Robert Stephens in “The Private Life of Sherlock Holmes” (1970).
Freshman scenarist Michael Robert Johnson, “Invictus” scribe Anthony Peckman and Simon Kinberg of “X-Men: Last Stand” have penned a preposterous but wholly entertaining screenplay that bristles with 130 minutes worth of serpentine twists and turns. You will definitely get your money’s worth. “Sherlock Holmes” pits Holmes with his faithful colleague, the dapper Dr. John Watson (Jude Law of “Cold Mountain”), against the Voldemortian-style villain, Lord Blackwood (creepy Mark Strong of “Body of Lies”), who conjures up more evil than Holmes has ever faced. The maniacal Blackwood invokes dark magic and kills helpless women to enhance his powers. Initially, Holmes and Watson thwart him from slaying his latest female victim. Scotland Yard’s Inspector Lestrade (Eddie Marsan of “Miami Vice”) packs the predator off to the poky for the inevitable date with the gallows that Blackwood so richly deserves for his dastardly crimes. Watson officiates as the doctor who confirms Blackwood’s demise and signs the death certificate. No sooner has Blackwood been safely buried than the bugger shatters his tomb and walks the earth, creating hysteria in London, and making Watson look incompetent. Like any worthwhile villain, Blackwood has ambitious designs now that he is back among the living. Blackwood convinces everybody in London but Holmes that he possesses paranormal powers that make him indestructible. He plans to implement some sweeping changes in London as well as the world unless Holmes can thwart his evil designs.
Robert Downey, Jr., and Jude Law generate the same chemistry that made Basil Rathbone and Nigel Bruce in the 1940s Sherlock Holmes movies so popular. Unlike Bruce’s bumbling Watson, Law is treated as an intelligent equal to Holmes and they carry on some lively conversations. Usually, Watson isn’t given much to do in these adventures, but Law shares a greater part of the burden. In “Sherlock Holmes,” Watson dresses like a GQ Victorian gentleman and plans to marry Mary Morstan (Kelly Reilly of “Pride & Prejudice”), and Holmes does everything possible to prevent it. Incidentally, the character Mary Morstan appears in the Doyle novel “The Sign of Four” as Watson’s lady friend. Meanwhile, Holmes has his own hands full of a seductress, Irene Adler (Rachel McAdams of “The Notebook”), who likes to slip knock-out drops in his drink and leave him in embarrassing predicaments. Indeed, Adler appeared as a character in multiple Doyle stories about Holmes. She has been sent to confound Holmes by a murky individual in a carriage who sports a derringer on a mechanical contraption up his sleeve that allows him to instantly palm the weapon. Never do we learn his identity for sure, but he might be Holmes’ archenemy Moriarty. Apparently, Silver and Ritchie are saving this character for the sequel.
The bickering between Holmes and Watson seems even more amusing than the larger-than-life action set-pieces that Ritchie orchestrates with vigor and aplomb. The funniest scene has Holmes battling a towering French ruffian who literally destroys a dry dock and sinks the ship under repairs. Ritchie doesn’t direct “Sherlock Holmes” like an ordinary mystery, but spruces it up with flash-forward scenes that dissect the action—usually Holmes’ startling deductions—like something you would see in a “C.S.I.” television episode. For example, in a “Snatch” like scene where Holmes boxes with a superior opponent, our hero explains how he will topple his adversary with various blows and then Ritchie presents it in real time. People who hate the idea of Holmes as a pugilist should go back to the source. Doyle describes Holmes as a formidable bare-knuckles brawler in the novel “The Sign of Four” and Holmes even used martial arts against Moriarty in “The Adventure of the Empty House.” Consequently, Holmes’ exploits as a boxer are not a great stretch since his literary counterpart performed these feats in literature. When Holmes makes a deduction, Ritchie draws us back in time to when Holmes acquired his insight that prompted his deduction. The finale on the London Bridge, which is under construction, caps off this sprawling adventure.
Whatever the case, “Sherlock Holmes” represents the first time in twenty years that a film about Doyle’s eccentric amateur detective has illuminated screens in America since the 1988 comedy “Without a Clue” that starred Michael Caine as a fraudulent Holmes. Ultimately, your decision to see “Sherlock Holmes” will rest on your willingness to accept the makeover that Holmes received. It is really not that radical a stretch when you remember the 1985 movie “Young Sherlock Holmes” where Holmes and Watson were teenage colleagues. Most of what happens here with both characters can be traced back to the literary Holmes. Boasting brains and brawn, “Sherlock Holmes” is anything but elementary.
CINEMATIC REVELATIONS allows me the luxury of writing, editing and archiving my film and television reviews. Some reviews appeared initially in "The Commercial Dispatch" and "The Planet Weekly" and then later in the comment archives at the Internet Movie Database. IMDB.COM, however, imposes a limit on both the number of words and the number of times that an author may revise their comments. I hope that anybody who peruses these expanded reviews will find them useful.
Tuesday, December 29, 2009
Monday, December 28, 2009
FILM REVIEW OF ''THE ZOMBIE DIARIES" (GREAT BRITAIN 2006)
This atmospheric but abysmal British-produced zombie epic endeavors to conceal its threadbare budget by lensing everything from the perspective of the lout lugging around the video camera. Indeed, "The Zombie Diaries" (* out of ****) amounts to another of those queasy first-person photography movies that may send you screaming to your medicine cabinet for Dramamine owing to its nausea-inducing camerawork. Little distinguishes “The Zombie Diaries.” What little value the tremulous first-person photography contributes to this lukewarm chiller is far surpassed by its hopeless shallow narrative. The story appears to be broken into three video diaries about survivors of a mysterious virus that has transformed many of their countrymen into blood-splattered zombies. Unfortunately, freshman co-directors & co-writers Michael Bartlett and Kevin Gates clutter up their narrative with too many characters and none make an impression. Furthermore, these are static, one-dimensional characters so they never engage our sympathy. The survival of one of the characters doesn’t offset the fact that the villains escape without a scratch. Ironically, the zombies pose less of a danger to our protagonist than some other humans. Mind you, a zombie movie were the zombies present less of a threat than humans is rather anticlimactic.
“The Zombie Diaries” is book-ended by scenes of cammo-clad soldiers surrounding a barn. The filmmakers then shift to a series of interviews about the mysterious virus and we learn that nobody knows if the virus is airborne, waterborne, or in contaminated food. Initially, a news crew cruises from London into the country to shoot an interview with a poultry farmer who has had to cull his chickens. When they arrive, the news crew finds nobody at home. Naturally, one of them complains that they have missed the bigger story in London. They find themselves isolated in the sticks and their cell phones don’t work. Bartlett and Gates know how to set up a situation, but the pay-off generates no sizzle. Eventually, they return to the chicken farm and discover to their horror that the gut-munching has begun. This is where the first zombie inserts herself into the narrative. The narrative shifts to a month later and we are riding in a car with three characters that bear no relation to the news crew. John, Elizabeth, and the videographer are out scavenging for food because they have run out of anything to eat. They enter a deserted town, hit the grocery, and load up on food before the zombies appear. The third diary concerns four survivors. They are look like they are simply hunting zombies. The third diary shifts back to the second and zombie bites John and they chow down on Elizabeth. The videographer and John vanish into the woods, but the videographer has to kill John because the latter is too far gone. About 13 minutes before “The Zombie Diaries” concludes, the narrative leaps back to the news crew as they meet Goke and Manny. By now one of the news crew has gone missing and Goke kills Andy.
Obviously, if you are not a fan of zombie movies, then you should not watch this film. The only reason anybody should waste their time on this 81-minute potboiler is that they are die-hard zombie fans. Nevertheless, even zombie fans may their appetite blunted by the vertigo-inducing camera-work and a needlessly complicated plot. Bartlett and Gates may have been the first to capitalize on this first-person shooting gimmick for zombie movies in the venerable tradition of movies like "84 Charlie Mopic," "The Blair Witch Project," and "Cloverfield." The Spanish film “REC,” however, showed more imagination with their application. Unfortunately, very little makes sense and there is not anything dynamic enough about the subject matter or the presentation to warrant more than a single viewing, much less single this saga out for honorable mention. Okay, the Dimension Studios DVD contains two commentary tracks featuring the two directors and the cast. The Bartlett & Gates commentary could serve as a useful primer about the logistical problems involved with movie production. Sadly, this writer/director duo had more potential than they could deliver in cinematic form. Similarly, a decent cast is wasted because we gain no insight into their flat characters, least of all the murderous Goke.
Most of the action has the participants knocking off the zombies as they shamble into sight like a bad nightmare. For the record, the zombies here are old school; they stagger along with little momentum like the zombies in the George Romeo classics. Unlike "Night of the Living Dead" or its sequels, the plague of zombies is attributed here to a flu-like virus, an obvious homage to the half-baked but ultimately superior Danny Boyle movie "28 Days Later." The blood & gore remains minimal, and the worst you see is a zombie munching on intestines. The hysteria that this hand-held, pseudo-documentary approach strives to induce falls short of the mark. Bartlett and Gates show little flair in their use of suspense. The appearance of the first zombie is only mildly shocking. This zombie doesn’t lurch at the camera. Instead, it poses for it and our heroes clear out of the room before it can inflict itself on them. Indeed, it looks precisely like a bunch of lads went into the woods to make just another mediocre zombie movie.
"The Zombie Diaries" qualifies as a monotonous film without a trace of humor but more importantly a shred of suspense. The villains get away so there is no sense of closure. One last thing that needs to be discussed is the cover art for the DVD that depicts a man in a vest with a pump-action shotgun. There is no man in a vest with a pump-action shotgun. Moreover, scenes on the back cover show zombies rampaging through London, but no zombies are ever shown in London. The overall effect of "The Zombie Diaries" is forgettable. An infinitely better movie in the same mode is the Spanish zombie movie "REC" that was later remade in America as "Quarantine." These two films were shot looking through a video news camera.
“The Zombie Diaries” is book-ended by scenes of cammo-clad soldiers surrounding a barn. The filmmakers then shift to a series of interviews about the mysterious virus and we learn that nobody knows if the virus is airborne, waterborne, or in contaminated food. Initially, a news crew cruises from London into the country to shoot an interview with a poultry farmer who has had to cull his chickens. When they arrive, the news crew finds nobody at home. Naturally, one of them complains that they have missed the bigger story in London. They find themselves isolated in the sticks and their cell phones don’t work. Bartlett and Gates know how to set up a situation, but the pay-off generates no sizzle. Eventually, they return to the chicken farm and discover to their horror that the gut-munching has begun. This is where the first zombie inserts herself into the narrative. The narrative shifts to a month later and we are riding in a car with three characters that bear no relation to the news crew. John, Elizabeth, and the videographer are out scavenging for food because they have run out of anything to eat. They enter a deserted town, hit the grocery, and load up on food before the zombies appear. The third diary concerns four survivors. They are look like they are simply hunting zombies. The third diary shifts back to the second and zombie bites John and they chow down on Elizabeth. The videographer and John vanish into the woods, but the videographer has to kill John because the latter is too far gone. About 13 minutes before “The Zombie Diaries” concludes, the narrative leaps back to the news crew as they meet Goke and Manny. By now one of the news crew has gone missing and Goke kills Andy.
Obviously, if you are not a fan of zombie movies, then you should not watch this film. The only reason anybody should waste their time on this 81-minute potboiler is that they are die-hard zombie fans. Nevertheless, even zombie fans may their appetite blunted by the vertigo-inducing camera-work and a needlessly complicated plot. Bartlett and Gates may have been the first to capitalize on this first-person shooting gimmick for zombie movies in the venerable tradition of movies like "84 Charlie Mopic," "The Blair Witch Project," and "Cloverfield." The Spanish film “REC,” however, showed more imagination with their application. Unfortunately, very little makes sense and there is not anything dynamic enough about the subject matter or the presentation to warrant more than a single viewing, much less single this saga out for honorable mention. Okay, the Dimension Studios DVD contains two commentary tracks featuring the two directors and the cast. The Bartlett & Gates commentary could serve as a useful primer about the logistical problems involved with movie production. Sadly, this writer/director duo had more potential than they could deliver in cinematic form. Similarly, a decent cast is wasted because we gain no insight into their flat characters, least of all the murderous Goke.
Most of the action has the participants knocking off the zombies as they shamble into sight like a bad nightmare. For the record, the zombies here are old school; they stagger along with little momentum like the zombies in the George Romeo classics. Unlike "Night of the Living Dead" or its sequels, the plague of zombies is attributed here to a flu-like virus, an obvious homage to the half-baked but ultimately superior Danny Boyle movie "28 Days Later." The blood & gore remains minimal, and the worst you see is a zombie munching on intestines. The hysteria that this hand-held, pseudo-documentary approach strives to induce falls short of the mark. Bartlett and Gates show little flair in their use of suspense. The appearance of the first zombie is only mildly shocking. This zombie doesn’t lurch at the camera. Instead, it poses for it and our heroes clear out of the room before it can inflict itself on them. Indeed, it looks precisely like a bunch of lads went into the woods to make just another mediocre zombie movie.
"The Zombie Diaries" qualifies as a monotonous film without a trace of humor but more importantly a shred of suspense. The villains get away so there is no sense of closure. One last thing that needs to be discussed is the cover art for the DVD that depicts a man in a vest with a pump-action shotgun. There is no man in a vest with a pump-action shotgun. Moreover, scenes on the back cover show zombies rampaging through London, but no zombies are ever shown in London. The overall effect of "The Zombie Diaries" is forgettable. An infinitely better movie in the same mode is the Spanish zombie movie "REC" that was later remade in America as "Quarantine." These two films were shot looking through a video news camera.
Tuesday, December 22, 2009
FILM REVIEW OF ''AVATAR" (2009)
The highly touted and long anticipated "Avatar" (*** out of ****) from writer & director James Cameron of "Titanic" fame qualifies as a predictable but entertaining sci-fi culture clash between the aggressive, technology-driven human race and a primitive, agrarian-fueled alien society. Mankind has shipped in mind-boggling machinery to plunder the planet of a mineral called Unobtanium worth an astronomical fortune. The complication is an entire race of Smurf-colored, Zulu-tall, humanoid aliens called the Na'vi worships a gigantic tree rooted in the same soil as the priceless minerals.
Basically, "Avatar" pits tree-huggers against tree-haters. Indeed, the story is as venerable as any cavalry western about the white hero who joins a clueless Indian tribe living atop a hopelessly rich gold strike. Although he acts as a go-between, the hero betrays his own kind and sides with the Indians to preserve the land rather than let his own people rape it. Unfortunately, Cameron generates minimal emotion from this "Dances with Wolves" melodrama. More problematic from the standpoint of credibility is the hybrid storyline. "Avatar" alternates, albeit it smoothly, between being a feature-length cartoon like “FernGully, The Last Rainforest” and a Big Dumb "Matrix" Action Movie stocked with stereotypes. Historically, "Avatar" pays tribute to the legendary Pocahontas and Captain John Smith romance.
"Avatar" takes place in the year 2145, on the distant planet of Pandora, after mankind has depleted all its natural resources on Earth. No, this has nothing to do with the terrible sci-fi thriller "Pandorum" that starred Dennis Quaid. "Avatar" and "Pandorum" are two entirely separate sci-fi sagas. After his intellectually-gifted twin-brother is shot and killed by a mugger, Jack Scully--who is paralyzed from the waist down--is selected to replace him for a top-secret mission. A former Marine, Jake (Sam Worthington of "Terminator: Salvation") is shipped off to distant Pandora to resolve tensions with the native Na'vi people so his fellow earthlings can excavate the Unobtanium. Jake sprawls out in a cylindrical chamber and projects his consciousness into his flesh & blood avatar to control it. The avatar is a genetically bred replica of Pandora's indigenous Na'vi tribe. This avatar includes both human and Na'vi genetic material. Colonel Miles Quaritch (Stephen Lang of "Tombstone") commands the Earth project to extract the Unobtanium and he amounts to a one-dimensional "Rambo" villain. Meaning, he won't be easy to kill. Stephen Lang makes a terrific villain who wants to see this peaceful but noble people destroyed.
Colonel Quaritch considers biologist Grace Augustine (Sigourney Weaver of "Aliens") a complete nuisance, but corporate representative Parker Selfridge (Giovanni Ribisi of "The Mod Squad") lets Grace perform her diplomatic initiative to gain the trust and cooperation of the Na'vi. Secretly, Quaritch has cut a deal with Jake. If Jake can deliver the intelligence about the Na'vi that Quaritch needs, then he will have the medical gurus restore the use of Jake's legs. Meanwhile, Grace treats Jake with nothing but contempt. She refers to him as a "Jarhead dropout." Jake is separated from Grace and company during a helicopter ride into the jungle and he has to fend for himself in the wild. Neytiri nearly kills Jake when she encounters him at first, but something happens that she has rarely seen in nature and she spares Jake his life.
Meanwhile, the wise head of the Na'vi clan, Neytiri's father (Wesley Studi of "Last of the Mohicans") orders her to train Jake, in his avatar form about their ways so they can better study him. Naturally, Jake falls in love with a maiden warrior princess Neytiri (Zoe Saldana of "Star Trek") and she introduces Jake to the jungle and its dangers. Neytiri seems more like an Environmentalist version of "Mulan" and she is no slouch when she has to shoot arrows. Inevitably, as conventions dictate, the heroine falls in love with the hero and they become inseparable. Along the way, Jake learns how to use his tail to ride a giant sky lizard and later an even bigger sky lizard.
According to Hindu mythology, an avatar is a deity who takes human form and descended to earth. An avatar in computer parlance is an icon that a person adopts for use in virtual reality or cyberspace. In "Avatar," the avatar is a prefabricated body controlled by brain waves emitted by a human who functions as the body's driver. Cameron spends most of the first half-hour shoving exposition down our throats because he has to bring us up to speed on a brave new universe and its colorful but mysterious people. Of course, the special effects are awesome, but you need not see "Avatar" in 3-D because it refrains from exploiting the technology the way most 3-D movies do. In other words, rarely does anything come flying out at you. The planet of Pandora with its floating mountains and luminous fauna is a treat for the eye. Pandora looks like an underwater planet without water, and the beasts that lurk in its lush jungle vaguely resemble our prehistoric dinosaurs.
Nevertheless, despite its imposing 160-minute running time, Cameron maintains sufficient momentum to see things through to the kick-butt finale between good and evil. Some of the technology the avaricious earthlings import to the Pandora may remind you of the second "Alien" movie, "Aliens," which was helmed by Cameron. Of course, "Gamer" and "Surrogates" beat Cameron to the punch with their stories about an avatar-oriented society. The visual spectacle and splendor of "Avatar" with its floating mountains and its "Black Hawk Down" aerial sequences will hold your attention. Again, the Zulu Smurfs with Submariner ears and "Lion King" snouts never conjure up a tenth of the emotional charisma of a live-action character. In this respect, Cameron has embraced the performance capture technology espoused by Robert Zemeckis in his last three films. In other words, the sentiment is not sticky enough because they lack depth as characters.
Basically, "Avatar" pits tree-huggers against tree-haters. Indeed, the story is as venerable as any cavalry western about the white hero who joins a clueless Indian tribe living atop a hopelessly rich gold strike. Although he acts as a go-between, the hero betrays his own kind and sides with the Indians to preserve the land rather than let his own people rape it. Unfortunately, Cameron generates minimal emotion from this "Dances with Wolves" melodrama. More problematic from the standpoint of credibility is the hybrid storyline. "Avatar" alternates, albeit it smoothly, between being a feature-length cartoon like “FernGully, The Last Rainforest” and a Big Dumb "Matrix" Action Movie stocked with stereotypes. Historically, "Avatar" pays tribute to the legendary Pocahontas and Captain John Smith romance.
"Avatar" takes place in the year 2145, on the distant planet of Pandora, after mankind has depleted all its natural resources on Earth. No, this has nothing to do with the terrible sci-fi thriller "Pandorum" that starred Dennis Quaid. "Avatar" and "Pandorum" are two entirely separate sci-fi sagas. After his intellectually-gifted twin-brother is shot and killed by a mugger, Jack Scully--who is paralyzed from the waist down--is selected to replace him for a top-secret mission. A former Marine, Jake (Sam Worthington of "Terminator: Salvation") is shipped off to distant Pandora to resolve tensions with the native Na'vi people so his fellow earthlings can excavate the Unobtanium. Jake sprawls out in a cylindrical chamber and projects his consciousness into his flesh & blood avatar to control it. The avatar is a genetically bred replica of Pandora's indigenous Na'vi tribe. This avatar includes both human and Na'vi genetic material. Colonel Miles Quaritch (Stephen Lang of "Tombstone") commands the Earth project to extract the Unobtanium and he amounts to a one-dimensional "Rambo" villain. Meaning, he won't be easy to kill. Stephen Lang makes a terrific villain who wants to see this peaceful but noble people destroyed.
Colonel Quaritch considers biologist Grace Augustine (Sigourney Weaver of "Aliens") a complete nuisance, but corporate representative Parker Selfridge (Giovanni Ribisi of "The Mod Squad") lets Grace perform her diplomatic initiative to gain the trust and cooperation of the Na'vi. Secretly, Quaritch has cut a deal with Jake. If Jake can deliver the intelligence about the Na'vi that Quaritch needs, then he will have the medical gurus restore the use of Jake's legs. Meanwhile, Grace treats Jake with nothing but contempt. She refers to him as a "Jarhead dropout." Jake is separated from Grace and company during a helicopter ride into the jungle and he has to fend for himself in the wild. Neytiri nearly kills Jake when she encounters him at first, but something happens that she has rarely seen in nature and she spares Jake his life.
Meanwhile, the wise head of the Na'vi clan, Neytiri's father (Wesley Studi of "Last of the Mohicans") orders her to train Jake, in his avatar form about their ways so they can better study him. Naturally, Jake falls in love with a maiden warrior princess Neytiri (Zoe Saldana of "Star Trek") and she introduces Jake to the jungle and its dangers. Neytiri seems more like an Environmentalist version of "Mulan" and she is no slouch when she has to shoot arrows. Inevitably, as conventions dictate, the heroine falls in love with the hero and they become inseparable. Along the way, Jake learns how to use his tail to ride a giant sky lizard and later an even bigger sky lizard.
According to Hindu mythology, an avatar is a deity who takes human form and descended to earth. An avatar in computer parlance is an icon that a person adopts for use in virtual reality or cyberspace. In "Avatar," the avatar is a prefabricated body controlled by brain waves emitted by a human who functions as the body's driver. Cameron spends most of the first half-hour shoving exposition down our throats because he has to bring us up to speed on a brave new universe and its colorful but mysterious people. Of course, the special effects are awesome, but you need not see "Avatar" in 3-D because it refrains from exploiting the technology the way most 3-D movies do. In other words, rarely does anything come flying out at you. The planet of Pandora with its floating mountains and luminous fauna is a treat for the eye. Pandora looks like an underwater planet without water, and the beasts that lurk in its lush jungle vaguely resemble our prehistoric dinosaurs.
Nevertheless, despite its imposing 160-minute running time, Cameron maintains sufficient momentum to see things through to the kick-butt finale between good and evil. Some of the technology the avaricious earthlings import to the Pandora may remind you of the second "Alien" movie, "Aliens," which was helmed by Cameron. Of course, "Gamer" and "Surrogates" beat Cameron to the punch with their stories about an avatar-oriented society. The visual spectacle and splendor of "Avatar" with its floating mountains and its "Black Hawk Down" aerial sequences will hold your attention. Again, the Zulu Smurfs with Submariner ears and "Lion King" snouts never conjure up a tenth of the emotional charisma of a live-action character. In this respect, Cameron has embraced the performance capture technology espoused by Robert Zemeckis in his last three films. In other words, the sentiment is not sticky enough because they lack depth as characters.
Tuesday, December 15, 2009
FILM REVIEW OF ''ARMORED'' (2009)
Everything that can go awry in the contrived crime thriller "Armored" (* out of ****)does go awry, but the seasoned, first-class cast, featuring Matt Dillon, Jean Reno, Skeet Ulrich, Milo Ventimiglia and Lawrence Fishburne, cannot salvage this predictable crime-doesn't-pay potboiler. High-octane action fans will grow restless quickly when the action settles into one confined setting and ridiculous things happen. "Vacancy" director Nimrod Antal and rookie scenarist James V. Simpson must have imagined they had a gritty, surefire, little nail-biter of a suspense saga. Two crews of armored truck guards attempt to pull off the ultimate heist and make off with as much as $42 million in cold cash. Indeed, it sounds potentially intriguing, but the polished product—which benefits visually from “Pulp Fiction” lenser Andrzej Sekula’s cinematography—suffers from far too many flaws. Furthermore, the logistics of "Armored" are not only implausible but also the sketchy one-dimensional, cardboard characters emerge as unsympathetic and idealist.
A shift of Eagle Shield Security guards plans to stash the cash in an abandoned steel plant and make it look like they were carjacked. Clearly, these dudes were delusional from the get-go. The perfect plan masterminded by Mike Cochrane (Matt Dillon of "Old Dogs") so that nobody will get hurt blows up in their faces no sooner than they have stolen the money. Cochrane reminds everybody about a $4-million Eagle Shield heist back in 1988 when the robbers were never found. Cochrane contends that their mistake in ’88 was not stealing enough money. Everybody in the two crews has supported Cochrane from the start. The newbie on the crew--Tyler Hackett (Columbus Short of "Cadillac Records")--is harder for Cochrane to win over to the cause. Hackett is an ex-Iraq war hero with a graffiti artist brother Jimmy (Andre Kinney) to raise and two house mortgages on his back. It seems that Ty's mother and father died the previous year and their mounting medical costs prompted the mortgages. When California Child Welfare Services threatens to take away his younger brother, Ty abandons his deep moral values and joins the crew. Before the heist goes down, we meet a conscientious, young L.A. Sheriff’s Deputy Eckehart (Milo Ventimiglia)who patrols the area where the heist occurs.
Initially, in the opening scene, Cochrane and his two crews hazed an unsuspecting Tyler by staging a faux robbery, with Quinn (Jean Reno of “The Professional”) and Dobbs (Skeet Ulrich of “Ride with the Devil”) following the armored truck in a suspicious black van and attaching a fake bomb to the back window. Later that evening, Cochrane assures Ty that they won’t let the bank take Ty’s house. Cochrane pitches the caper to Ty and a flabbergasted Ty turned Cochrane down cold and refuses to let him drive him home. Cochrane pleads for Ty to reconsider his proposition. Just when Ty thinks that the heat is off, he enters his house and finds a California Child Welfare Agent (Lorna Raver of “Drag Me To Hell”) waiting for him. Ty learns to his chagrin that Jimmy has skipped more school days than he has attended. Jimmy argues that he was searching for a job to help with the house payments. The Child Welfare Agent’s hackles rise when she thinks that Jimmy may be have a suitable home environment. She proposes that the state put Jimmy in foster care, but Ty objects strenuously to being separated from his younger brother. After all, his parents entrusted Jimmy to his care. Reluctantly, Ty changes his mind out of expediency. He goes along with the guards. He even helps his accomplices unload the loot, but then something devastating happens that makes Ty change his mind and realize the error of his ways.
Quinn spots a homeless person in the abandoned warehouse that the guards neglected to check before they stashed the Federal Reserve money. After they catch the homeless man, Baines gives in to his violence urges and wounds the man with his shotgun. Originally, Cochrane had promised Ty that nobody would get hurt. Ty tries to save the wounded man, a valiant gesture, and Cochrane finishes the job that Baines started with a second shot. Ty scrambles into the armored truck with the loot still aboard and careens away. Cochrane commandeers the other armored truck and pursues him through the industrial park. Eventually, he crashes into Ty’s armored truck and pins it in a warehouse where everything started. Ty locks himself up and the guards try to get into the vehicle by removing the pins in the door hinges. However, they must beat the pins out while a companion holds a spike on the pin, like drilling holes in rock. The villains are looking at a deadline of less than an hour to pry Ty out of the truck and set things straight. Ty complicates matters when he triggers the siren and a suspicious Eckehart cruises into the industrial park. The deputy confronts Cochrane, and Cochrane almost fools him into believing that nothing is going down when Ty sets out the siren again. Trigger-happy Baines wounds Eckehart with the weapon he used to wound the homeless guy.
Believe it or not, Ty rescues Eckehart from the villains and holes up with him in the armored truck. Now, you're probably wondering how something as improbable as this could happen. Shrewdly, Ty takes a flare and improvises a small explosives device that blows to smithereens the cache of bank bills that the guards stashed before they spotted the homeless man. While the villains are trying to figure out what has transpired with the explosion, Ty hauls the wounded Eckehart into the armored truck. Eckehart will prove to be Ty's salvation at fade-out, but there is no way of knowing what will happen to him and Eckehart. Ventimiglia has little to do for the rest of the action other than writhe in agony on the floor of the armored truck. Cochrane and his men resume trying to remove the pins from the door. Ty plasters the windows of the armored car with bills and manages to open a hole large enough in the floor of the truck to crawl out and try to get a signal using the deputy's radio microphone. This poses a problem. Why didn't the villains, who have spent more time in these armored trucks, not anticipate what Ty might do? Further, why does Cochrane delay until the last minute with a plan that he should have adopted before the robbery: abduct Ty's juvenile delinquent younger brother? The villains in "Armored" are a day late and a dollar short and they don't plan for contingencies.
The lackluster Simpson screenplay is formulaic from fade-in to fade-out and the film concludes abruptly without any closure with regard to the troubled home life of the hero and his juvenile delinquent brother. Worse, most of the action transpires in an abandoned Los Angeles Industrial Park where the armored car crews have holed up, so a sense of claustrophobia sets in long before this downbeat 88-minute fiasco finally fades out. Nothing about "Armored" qualifies as either entertaining or exciting. Indeed, you have to wonder whether the size of the paycheck or the duration of the shooting schedule for this Screen Gems release enticed its stars. Skip this lightweight, PG-13, low body count potboiler.
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A shift of Eagle Shield Security guards plans to stash the cash in an abandoned steel plant and make it look like they were carjacked. Clearly, these dudes were delusional from the get-go. The perfect plan masterminded by Mike Cochrane (Matt Dillon of "Old Dogs") so that nobody will get hurt blows up in their faces no sooner than they have stolen the money. Cochrane reminds everybody about a $4-million Eagle Shield heist back in 1988 when the robbers were never found. Cochrane contends that their mistake in ’88 was not stealing enough money. Everybody in the two crews has supported Cochrane from the start. The newbie on the crew--Tyler Hackett (Columbus Short of "Cadillac Records")--is harder for Cochrane to win over to the cause. Hackett is an ex-Iraq war hero with a graffiti artist brother Jimmy (Andre Kinney) to raise and two house mortgages on his back. It seems that Ty's mother and father died the previous year and their mounting medical costs prompted the mortgages. When California Child Welfare Services threatens to take away his younger brother, Ty abandons his deep moral values and joins the crew. Before the heist goes down, we meet a conscientious, young L.A. Sheriff’s Deputy Eckehart (Milo Ventimiglia)who patrols the area where the heist occurs.
Initially, in the opening scene, Cochrane and his two crews hazed an unsuspecting Tyler by staging a faux robbery, with Quinn (Jean Reno of “The Professional”) and Dobbs (Skeet Ulrich of “Ride with the Devil”) following the armored truck in a suspicious black van and attaching a fake bomb to the back window. Later that evening, Cochrane assures Ty that they won’t let the bank take Ty’s house. Cochrane pitches the caper to Ty and a flabbergasted Ty turned Cochrane down cold and refuses to let him drive him home. Cochrane pleads for Ty to reconsider his proposition. Just when Ty thinks that the heat is off, he enters his house and finds a California Child Welfare Agent (Lorna Raver of “Drag Me To Hell”) waiting for him. Ty learns to his chagrin that Jimmy has skipped more school days than he has attended. Jimmy argues that he was searching for a job to help with the house payments. The Child Welfare Agent’s hackles rise when she thinks that Jimmy may be have a suitable home environment. She proposes that the state put Jimmy in foster care, but Ty objects strenuously to being separated from his younger brother. After all, his parents entrusted Jimmy to his care. Reluctantly, Ty changes his mind out of expediency. He goes along with the guards. He even helps his accomplices unload the loot, but then something devastating happens that makes Ty change his mind and realize the error of his ways.
Quinn spots a homeless person in the abandoned warehouse that the guards neglected to check before they stashed the Federal Reserve money. After they catch the homeless man, Baines gives in to his violence urges and wounds the man with his shotgun. Originally, Cochrane had promised Ty that nobody would get hurt. Ty tries to save the wounded man, a valiant gesture, and Cochrane finishes the job that Baines started with a second shot. Ty scrambles into the armored truck with the loot still aboard and careens away. Cochrane commandeers the other armored truck and pursues him through the industrial park. Eventually, he crashes into Ty’s armored truck and pins it in a warehouse where everything started. Ty locks himself up and the guards try to get into the vehicle by removing the pins in the door hinges. However, they must beat the pins out while a companion holds a spike on the pin, like drilling holes in rock. The villains are looking at a deadline of less than an hour to pry Ty out of the truck and set things straight. Ty complicates matters when he triggers the siren and a suspicious Eckehart cruises into the industrial park. The deputy confronts Cochrane, and Cochrane almost fools him into believing that nothing is going down when Ty sets out the siren again. Trigger-happy Baines wounds Eckehart with the weapon he used to wound the homeless guy.
Believe it or not, Ty rescues Eckehart from the villains and holes up with him in the armored truck. Now, you're probably wondering how something as improbable as this could happen. Shrewdly, Ty takes a flare and improvises a small explosives device that blows to smithereens the cache of bank bills that the guards stashed before they spotted the homeless man. While the villains are trying to figure out what has transpired with the explosion, Ty hauls the wounded Eckehart into the armored truck. Eckehart will prove to be Ty's salvation at fade-out, but there is no way of knowing what will happen to him and Eckehart. Ventimiglia has little to do for the rest of the action other than writhe in agony on the floor of the armored truck. Cochrane and his men resume trying to remove the pins from the door. Ty plasters the windows of the armored car with bills and manages to open a hole large enough in the floor of the truck to crawl out and try to get a signal using the deputy's radio microphone. This poses a problem. Why didn't the villains, who have spent more time in these armored trucks, not anticipate what Ty might do? Further, why does Cochrane delay until the last minute with a plan that he should have adopted before the robbery: abduct Ty's juvenile delinquent younger brother? The villains in "Armored" are a day late and a dollar short and they don't plan for contingencies.
The lackluster Simpson screenplay is formulaic from fade-in to fade-out and the film concludes abruptly without any closure with regard to the troubled home life of the hero and his juvenile delinquent brother. Worse, most of the action transpires in an abandoned Los Angeles Industrial Park where the armored car crews have holed up, so a sense of claustrophobia sets in long before this downbeat 88-minute fiasco finally fades out. Nothing about "Armored" qualifies as either entertaining or exciting. Indeed, you have to wonder whether the size of the paycheck or the duration of the shooting schedule for this Screen Gems release enticed its stars. Skip this lightweight, PG-13, low body count potboiler.
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FILM REVIEW OF ''ORDER TO KILL'' (SPANISH-1975)
Hispanic writer & director José Gutiérrez Maesso has helped pen screenplays for several exciting actioneers, including "Ricco, The Mean Machine," "Train from Durango," "The Hellbenders," "Minnesota Clay" and "Django." Maessco's co-scenarist Massimo De Rita has an interesting list of screenplay credits: "The Valachi Papers," "Companeros," "Violent City," and "Hell's Brigade: The Final Assault." If this surfeit of talent weren't enough, Eugenio Martino of "Bad Man's River," "The Ugly Ones," and "Horror Express" contributed to the "Order to Kill" screenplay. Arduino Maiuri co-scripted De Rita's credits. Finally, Santiago Moncada added his pen to "Ricco, The Mean Machine" as well as "Hatchet for a Honeymoon." As collaborators, this talented quintet should have delivered more exciting showdowns between more colorful characters with enough last-minute reversals to distract us from the obvious ending. Instead, they have concocted a routine potboiler. "Order to Kill" (** out of ****) is enlivened by occasional outbursts of violence. Essentially, this lackluster crime and corruption melodrama concerns a feud between a veteran cop, Inspector Fred Reed (José Ferrer of "The Caine Mutiny") and a wealthy villain, Ed McLean (Kevin McCarthy of "Invasion of the Body Snatchers") who loves to fly around in a Bell Jet Ranger helicopter like the one on the Tom Selleck TV show “Magnum, P.I.”
"Order to Kill" shows initial promise. Appropriately, it opens with a murder, a rather elaborate but far-fetched execution. An assassin, Albert Webster (Romano Puppo of "The Good, the Bad, and the Ugly"), relies on a gadget that will indicate when the railway car in which his target is riding in will align itself with his own railway carriage. At the precise instant, when the two railway cars are opposite each other, Albert squeezes off a burst of machine gun fire into the opposing carriage, killing his target. Albert later describes his target as a McLean
competitor. No sooner has Albert carried out this assignment than he finds himself the target of a manhunt. Clyde Hart (Helmut Berger of "The Damned") has trouble killing his friends.
Clyde's girlfriend Anne Holden (Sydne Rome of "Sundance and the Kid") tries to persuade him not to accept the murder contract. This will be Clyde's first actual hit-man contract, and Clyde reminds Anne that they need the money. Clyde has orders to kill Albert, but he balks when he recognizes his old friend Albert. This doesn't stop another assassin from shooting Albert. Afterward, Clyde goes to the casino to pick up his money. Peter Costello already knows Clyde didn't liquidate Albert. Gastel wants to know why Clyde wants out. "I'm tired of palm trees," Clyde groans. Gastel reminds Clyde about Jamaica, "Try and remember this is an island. No one can leave it unless McLean says it's okay. And in your case, I'm afraid he's not going to say it's okay." A brief gunfight erupts in the casino, and Clyde kills three of Peter's men. Later, another McLean mobster, ruthless Richard Prentice (Howard Ross) shows up and kills Gastel in cold-blood because McLean is not happy with Gastel.
Meanwhile, Clyde relaxes with Anne at the beach. He assures his blond girlfriend that they will make it off the island. The following day they go to get their boat and discover that McLean's thugs have not only beat up the boat owner but destroyed the outboard engine. Clyde doesn't get far before McLean's ruffians beat him down to the ground and leave him sprawled unconscious in the street. Anne takes him to a native woman they both know and Clyde recuperates there. Plainclothes police turn up and they take Clyde into custody. Inspector Fred Reed (José Ferrer) pulls strings and has Clyde put into his custody. Reed knows everything about Clyde's background. For example, Reed knows Clyde emigrated to America with his German parents. After spending to two years at USC, Clyde went to Vietnam, deserted and then got on McLean's payroll. He is tired of running when Reed picks him up. Reed shows Clyde that there is no way off the island. Reed wants Clyde to train three other men--Juan, Danielle, and Hugo--and then hit McLean and kill him. Clyde observes that he has never been asked to kill anybody by the police. Reed warns Clyde that one of the three will kill him if he tries to make a break for it.
Meanwhile, Reed has a telephone conversation with McLean. McLean knows
that Reed plans to retire in a couple of months. Instead of leaving McLean alone, Reed still wants to kill him. McLean accuses the inspector of nursing a 15-year personal grudge against him. He points out to Reed that Reed refuses to accept bribes and doesn't abide by the orders of his superiors to leave Mclean alone. Clyde and the three men practice getting atop a 18-wheeler without being seen. Reed has laid out a plan for them to break into McLean's compound, blow-up the big rig, and kill him. By now Anne regards Clyde as "a walking corpse" and wants nothing to do with him. She hates going to bed with Richard but fears that he will kill her if she doesn't accommodate him.
Later, Richard locates Reed and lines up the cross-hairs of his sniper scope on the old cop. Clyde and his men sneak aboard the 18-wheeler heading into McLean's place. They blow up the tractor-trailer, wipe out McLean's men, but Clyde doesn't kill McLean. Hugo winds up having to shoot McLean. When Clyde calls Reed to inform him of their success, he gets Richard to shoots and kills Reed on the phone so Clyde can hear it. Clyde heads off to tangle with Richard. Basically, everybody bites the dust in this cynical melodrama.
The obvious moral of this conventional but cynical shoot'em up is if you live by
the gun, then you will die by the gun. "Order to Kill" never generates any momentum. Everything is rather matter-of-fact. The quintet of scribes do serve up some spicy dialogue: "It's funny, whenever they give me a dirty job to do, they wish me good luck." "It's too late for doubt." "You're under orders to do it." The premise about a cop resorting to illegal means to dispose of a high-level mobster is mildly intriguing, but the film falls apart half-way into the second act that not even the sloppily handled combat scenes in act three can salvage. Interestingly, there are no zoom shots here back when zoom shots were the rage.
"Order to Kill" shows initial promise. Appropriately, it opens with a murder, a rather elaborate but far-fetched execution. An assassin, Albert Webster (Romano Puppo of "The Good, the Bad, and the Ugly"), relies on a gadget that will indicate when the railway car in which his target is riding in will align itself with his own railway carriage. At the precise instant, when the two railway cars are opposite each other, Albert squeezes off a burst of machine gun fire into the opposing carriage, killing his target. Albert later describes his target as a McLean
competitor. No sooner has Albert carried out this assignment than he finds himself the target of a manhunt. Clyde Hart (Helmut Berger of "The Damned") has trouble killing his friends.
Clyde's girlfriend Anne Holden (Sydne Rome of "Sundance and the Kid") tries to persuade him not to accept the murder contract. This will be Clyde's first actual hit-man contract, and Clyde reminds Anne that they need the money. Clyde has orders to kill Albert, but he balks when he recognizes his old friend Albert. This doesn't stop another assassin from shooting Albert. Afterward, Clyde goes to the casino to pick up his money. Peter Costello already knows Clyde didn't liquidate Albert. Gastel wants to know why Clyde wants out. "I'm tired of palm trees," Clyde groans. Gastel reminds Clyde about Jamaica, "Try and remember this is an island. No one can leave it unless McLean says it's okay. And in your case, I'm afraid he's not going to say it's okay." A brief gunfight erupts in the casino, and Clyde kills three of Peter's men. Later, another McLean mobster, ruthless Richard Prentice (Howard Ross) shows up and kills Gastel in cold-blood because McLean is not happy with Gastel.
Meanwhile, Clyde relaxes with Anne at the beach. He assures his blond girlfriend that they will make it off the island. The following day they go to get their boat and discover that McLean's thugs have not only beat up the boat owner but destroyed the outboard engine. Clyde doesn't get far before McLean's ruffians beat him down to the ground and leave him sprawled unconscious in the street. Anne takes him to a native woman they both know and Clyde recuperates there. Plainclothes police turn up and they take Clyde into custody. Inspector Fred Reed (José Ferrer) pulls strings and has Clyde put into his custody. Reed knows everything about Clyde's background. For example, Reed knows Clyde emigrated to America with his German parents. After spending to two years at USC, Clyde went to Vietnam, deserted and then got on McLean's payroll. He is tired of running when Reed picks him up. Reed shows Clyde that there is no way off the island. Reed wants Clyde to train three other men--Juan, Danielle, and Hugo--and then hit McLean and kill him. Clyde observes that he has never been asked to kill anybody by the police. Reed warns Clyde that one of the three will kill him if he tries to make a break for it.
Meanwhile, Reed has a telephone conversation with McLean. McLean knows
that Reed plans to retire in a couple of months. Instead of leaving McLean alone, Reed still wants to kill him. McLean accuses the inspector of nursing a 15-year personal grudge against him. He points out to Reed that Reed refuses to accept bribes and doesn't abide by the orders of his superiors to leave Mclean alone. Clyde and the three men practice getting atop a 18-wheeler without being seen. Reed has laid out a plan for them to break into McLean's compound, blow-up the big rig, and kill him. By now Anne regards Clyde as "a walking corpse" and wants nothing to do with him. She hates going to bed with Richard but fears that he will kill her if she doesn't accommodate him.
Later, Richard locates Reed and lines up the cross-hairs of his sniper scope on the old cop. Clyde and his men sneak aboard the 18-wheeler heading into McLean's place. They blow up the tractor-trailer, wipe out McLean's men, but Clyde doesn't kill McLean. Hugo winds up having to shoot McLean. When Clyde calls Reed to inform him of their success, he gets Richard to shoots and kills Reed on the phone so Clyde can hear it. Clyde heads off to tangle with Richard. Basically, everybody bites the dust in this cynical melodrama.
The obvious moral of this conventional but cynical shoot'em up is if you live by
the gun, then you will die by the gun. "Order to Kill" never generates any momentum. Everything is rather matter-of-fact. The quintet of scribes do serve up some spicy dialogue: "It's funny, whenever they give me a dirty job to do, they wish me good luck." "It's too late for doubt." "You're under orders to do it." The premise about a cop resorting to illegal means to dispose of a high-level mobster is mildly intriguing, but the film falls apart half-way into the second act that not even the sloppily handled combat scenes in act three can salvage. Interestingly, there are no zoom shots here back when zoom shots were the rage.
FILM REVIEW OF ''INVICTUS'' (2009)
Morgan Freeman has so much talent that he makes acting look easy. In director Clint Eastwood's latest movie "Invictus,"(***1/2 out of ****) based on John Carlin's non-fiction book "Playing the Enemy," Freeman impersonates controversial South African President Nelson Mandela. Interestingly, Mandela said that Freeman was the only actor who he felt could do him justice on the big-screen. Basically, this inspirational sports saga about rugby concerns more than just capturing the 1995 World Cup. "Sherlock Holmes" scenarist Anthony Peckham and Eastwood have produced a solemn, straightforward, but contemplative film about how Mandela shrewdly appropriated a hated symbol of apartheid and wielded it so that he could unite a racially torn nation. In other words, the savvy politician pulled the ultimate public relations ploy and used a rugby team. This factual social activist melodrama with its liberal perspective seems rather predictable at times, but it is remains nevertheless as reassuring as it is absorbing. Essentially, two minds meet in "Invictus" and forge a change that solidified a country. The performances by Morgan Freeman as Mandela and Matt Damon as a conscientious rugby coach are flawless. Damon appears physically fit for such a demanding role and his accent sounds reasonable. Some scenes seem almost too good to be true, particularly the camaraderie between a young black teen and two gruff-looking South African beat cops during the World Cup game. Unlike most sports films, "Invictus" dwells more on how the game of rugby engineered racial harmony in a repressive society than about the game itself.
After 27 years in prison, Nelson Mandela (Morgan Freeman of "Unforgiven") emerges and wins the presidency of South Africa. Mandela's victory ushered in many striking changes, and his fellow blacks wanted to disband the South African team, the Springboks, because it reminded them of racial oppression. No sooner does Mandela hear about this rash decision than he races out to appeal to his constituents about the error of their ways. Of course, they hate the Springboks, but Mandela urges them to support him and his request to leave the Springboks alone. Mandela convinces them that this represents a splendid opportunity to allay white fears about black power. Initially, Mandela's closest adviser warns him about this kind of activism. Meanwhile, the Springboks are doing themselves no favors with their abysmal performance on the playing fields. A Mandela adviser observes that winning the World Cup would create a lot of ppsitive publicity for the new government and Mandela summons blond Afrikaner, Francois Pienaar (Matt Damon of "The Bourne Ultimatum") who bears no political crosses, and encourage him to win the World Cup. The messiah-like Mandela exerts considerable influence on Pienaar and the coach takes his pampered team on promotional tours into the most squalid of black ghettos to teach the children the basics of the game. Early in "Invictus," one of Mandela's white bodyguards describes to his black cohorts the essentials of rugby: "Soccer is a gentleman's game played by hooligans, rugby is a hooligan's game played by gentlemen."
When Peckham and Eastwood aren't concentrating on Mandela's cagey political maneuvers, they depict the changes that occurred all over South Africa with a subplot about the president's integrated team of bodyguards. Mandela's chief of security had requested more bodyguards, so the president obliges him with British-trained, Afrikaner cops. Indeed, Mandela discourages any whites from leaving government service because he needs them as examples of unity within his administration. Time gradually erodes white anxieties about black aspirations as reflected by grudging cooperation between the black and white bodyguards. Again, rugby takes center stage with the whites explaining the rules of rugby to their colleagues.
Nelson Mandela comes off looking as slippery as James Stewart in "Mr. Smith Goes to Washington." Mandela doesn't miss a trick in his political calculations and he impresses his closest adviser. Indeed, Mandela emerges in "Invictus" as an Abraham Lincoln of sorts. He survived 24 years of brutal, back-breaking imprisonment on an island and slept on a mat for a bed. This same individual, who endured enormous hardship, later ascended from the lowest position in society—a prison inmate—and attained the highest post—president of the same country that had incarnated him. Mandela realized from his pinnacle of power that the only way to thwart an immanent civil war that threatened to tear South Africa apart that he had to exercise accommodation toward his fellow whites.
Wisely, director Clint Eastwood doesn't have much truck with politics in "Invictus." Peckham and he provide the basic ground work about the sudden changes that rocked South Africa with Mandela's election as president. They present us with the struggles that the Springbox with their green and gold outfits endure. Mandela demonstrates true insight into his fellow men when he decides to let a predominantly white rugby team become a rallying cry for intolerance and unity. No, "Invictus" is not the kind of movie that you would expect from Clint Eastwood and—like his protagonist who prefers to make risks—Eastwood has helmed and honed another classic. "Invictus" ranks as a sentimental sports saga that never gets sappy. Incidentally, "Invictus" translated means as invincible.
After 27 years in prison, Nelson Mandela (Morgan Freeman of "Unforgiven") emerges and wins the presidency of South Africa. Mandela's victory ushered in many striking changes, and his fellow blacks wanted to disband the South African team, the Springboks, because it reminded them of racial oppression. No sooner does Mandela hear about this rash decision than he races out to appeal to his constituents about the error of their ways. Of course, they hate the Springboks, but Mandela urges them to support him and his request to leave the Springboks alone. Mandela convinces them that this represents a splendid opportunity to allay white fears about black power. Initially, Mandela's closest adviser warns him about this kind of activism. Meanwhile, the Springboks are doing themselves no favors with their abysmal performance on the playing fields. A Mandela adviser observes that winning the World Cup would create a lot of ppsitive publicity for the new government and Mandela summons blond Afrikaner, Francois Pienaar (Matt Damon of "The Bourne Ultimatum") who bears no political crosses, and encourage him to win the World Cup. The messiah-like Mandela exerts considerable influence on Pienaar and the coach takes his pampered team on promotional tours into the most squalid of black ghettos to teach the children the basics of the game. Early in "Invictus," one of Mandela's white bodyguards describes to his black cohorts the essentials of rugby: "Soccer is a gentleman's game played by hooligans, rugby is a hooligan's game played by gentlemen."
When Peckham and Eastwood aren't concentrating on Mandela's cagey political maneuvers, they depict the changes that occurred all over South Africa with a subplot about the president's integrated team of bodyguards. Mandela's chief of security had requested more bodyguards, so the president obliges him with British-trained, Afrikaner cops. Indeed, Mandela discourages any whites from leaving government service because he needs them as examples of unity within his administration. Time gradually erodes white anxieties about black aspirations as reflected by grudging cooperation between the black and white bodyguards. Again, rugby takes center stage with the whites explaining the rules of rugby to their colleagues.
Nelson Mandela comes off looking as slippery as James Stewart in "Mr. Smith Goes to Washington." Mandela doesn't miss a trick in his political calculations and he impresses his closest adviser. Indeed, Mandela emerges in "Invictus" as an Abraham Lincoln of sorts. He survived 24 years of brutal, back-breaking imprisonment on an island and slept on a mat for a bed. This same individual, who endured enormous hardship, later ascended from the lowest position in society—a prison inmate—and attained the highest post—president of the same country that had incarnated him. Mandela realized from his pinnacle of power that the only way to thwart an immanent civil war that threatened to tear South Africa apart that he had to exercise accommodation toward his fellow whites.
Wisely, director Clint Eastwood doesn't have much truck with politics in "Invictus." Peckham and he provide the basic ground work about the sudden changes that rocked South Africa with Mandela's election as president. They present us with the struggles that the Springbox with their green and gold outfits endure. Mandela demonstrates true insight into his fellow men when he decides to let a predominantly white rugby team become a rallying cry for intolerance and unity. No, "Invictus" is not the kind of movie that you would expect from Clint Eastwood and—like his protagonist who prefers to make risks—Eastwood has helmed and honed another classic. "Invictus" ranks as a sentimental sports saga that never gets sappy. Incidentally, "Invictus" translated means as invincible.
Monday, December 14, 2009
FILM REVIEW OF ''EVERYBODY'S FINE" (2009)
Somebody lied! Nobody is fine in "Waking Ned Devine" writer & director Kirk Jones' family problem potboiler "Everybody's Fine." This maudlin soap opera about a retired widower who embarks on an odyssey of self-discovery is occasionally contrived, constantly predictable, and wholly forgettable. Robert De Niro, Drew Barrymore, Kate
Beckinsale, and Sam Rockwell were simply picking up paychecks when they made this mundane melodrama. Nevertheless, "Everybody's Fine" (** out of ****) belongs to De Niro and his performance is appropriately solemn. There are no outbursts of the primitive rage that occur in his crime pictures. Jones scatters a modicum of humor throughout this 99-minute, PG-13 yarn, replete with low impact surprises. The overall effect is rather bland. We the audience see everything from the father's perspective. Often we are several steps ahead of Frank because Jones allows us to eavesdrop on telephone conversations among the siblings. The most important character here is the deceased off-screen wife who served as the intermediary between the father and his children. Ultimately, "Everybody's Fine" amounts to everybody's bored. Too much bathos and not enough humor paralyze this yawner.
When we meet Frank Goode (Robert De Niro of "Goodfellas"), he is dutifully vacuuming the carpet in his living room, watering the flowers, and mowing the grass. He has a stone cherub fountain on his lawn and the water spouts from the little guy's peter. Clearly, writer & director Kirk Jones must have adored this statue because he sticks it in three shots. This is as close as "Everybody's Fine" comes to irreverent humor. When none of his four grown-up children can make their annual pilgrimage to his house, Frank--who lost his wife eight months earlier--sets out on a cross-country journey to surprise them. He delivers mysterious envelopes to each that contain an old family photograph of his wife and he when the children were youngsters. Frank's conscientious physician, Dr. Ed (James Murtaugh of "Romeo Is Bleeding") warns his patient that he should settle down in the garden and work on his green thumbs rather than go gallivanting all over the country. Most of the surprises that Frank encounters have already been revealed in the trailer.
First, Frank visits his artist son David (Austin Lysy of "Hitch") in New York City, but nobody answers the door. We catch only a couple of glimpses of David, but he figures prominently in this tale. Frank's genuinely troubled son went off to the Big Apple to make a name for himself as an artist. Initially, David wanted only to paint. Frank warns him that painters only paint walls and dogs pee on those walls so
David becomes an artist. When Frank cannot hook-up with David, he slips his letter under his door and heads off to his next stop. Second on Frank's list is Amy (Kate Beckinsale of "Underworld"), his oldest daughter. She works as an advertising executive with a spacious office and has a son, Jack (Lucien Maisel of "Fast Track"), but things are far from right at home. Amy and her husband have separated because she caught him cheating on her with another woman. Jack and his father
don't get along together during a family dinner. Naturally, Frank has no idea why Jack behaves in such an unfriendly fashion toward his father at the table. Amy has to cut short Frank's visit because she has to fly out of town the following day, and Frank hits the road again. Third on his list is his oldest son, Robert (Sam Rockwell of "The Green Mile"), who Frank mistakenly believes is the conductor of a symphony orchestra. Actually, Robert does nothing more than bang the drum. Robert points out to Frank that he is a conductor in other musical venues, but nobody will pay him to be a conductor. He isn't married and he doesn't have children. Fourth, Frank meets his daughter Rosie (Drew Barrymore of "Whip It") in Las Vegas. He learns later during a surreal scene around a picnic table that Rosie is a lesbian with an infant child. Rosie claims that she works as a casino dancer. Despite his medical condition, Frank has no problem riding trains and buses to see his children. He has a brush with a pathetic mugger at a depot, but he manages nicely by himself.Finally, after he sees Rosie, Frank decides to fly home. Frank has a fear of flying, but he is so upset by all the revelations about his children that he just wants to clear out of town pronto. Once he is aboard the plane, he suffers a heart attack and
winds up in the hospital.
More often than not, "Everybody's Fine" seems like a made-for-cable Lifetime movie for old guys. Frank learns that he pushed his kids too hard and that they related better to his now defunct wife than to him. It seems that she kept several important things about their children from him. The most imagination thing about "Everybody's Fine" is when Frank sees his grown-up kids, he sees them as they were when they were
munchkins, very sweet and adorable. No, Frank doesn't die at fadeout, but the ending qualifies as only semi-happy. Eventually, Frank learns what happened to his talented but troubled youngest son. Nevertheless, three out of four isn't bad. This tame tearjerker is only for those who enjoy wiping their eyes and nose with Kleenex every twenty or so minutes. Incidentally, "Everybody's Fine" is a remake of Italian filmmaker Giuseppe Tornatore's "Stanno Tutti Bene" (1990). The cinematography is spectacular and the settings are scenic. Nothing memorable happens in this Miramax underachiever.
Beckinsale, and Sam Rockwell were simply picking up paychecks when they made this mundane melodrama. Nevertheless, "Everybody's Fine" (** out of ****) belongs to De Niro and his performance is appropriately solemn. There are no outbursts of the primitive rage that occur in his crime pictures. Jones scatters a modicum of humor throughout this 99-minute, PG-13 yarn, replete with low impact surprises. The overall effect is rather bland. We the audience see everything from the father's perspective. Often we are several steps ahead of Frank because Jones allows us to eavesdrop on telephone conversations among the siblings. The most important character here is the deceased off-screen wife who served as the intermediary between the father and his children. Ultimately, "Everybody's Fine" amounts to everybody's bored. Too much bathos and not enough humor paralyze this yawner.
When we meet Frank Goode (Robert De Niro of "Goodfellas"), he is dutifully vacuuming the carpet in his living room, watering the flowers, and mowing the grass. He has a stone cherub fountain on his lawn and the water spouts from the little guy's peter. Clearly, writer & director Kirk Jones must have adored this statue because he sticks it in three shots. This is as close as "Everybody's Fine" comes to irreverent humor. When none of his four grown-up children can make their annual pilgrimage to his house, Frank--who lost his wife eight months earlier--sets out on a cross-country journey to surprise them. He delivers mysterious envelopes to each that contain an old family photograph of his wife and he when the children were youngsters. Frank's conscientious physician, Dr. Ed (James Murtaugh of "Romeo Is Bleeding") warns his patient that he should settle down in the garden and work on his green thumbs rather than go gallivanting all over the country. Most of the surprises that Frank encounters have already been revealed in the trailer.
First, Frank visits his artist son David (Austin Lysy of "Hitch") in New York City, but nobody answers the door. We catch only a couple of glimpses of David, but he figures prominently in this tale. Frank's genuinely troubled son went off to the Big Apple to make a name for himself as an artist. Initially, David wanted only to paint. Frank warns him that painters only paint walls and dogs pee on those walls so
David becomes an artist. When Frank cannot hook-up with David, he slips his letter under his door and heads off to his next stop. Second on Frank's list is Amy (Kate Beckinsale of "Underworld"), his oldest daughter. She works as an advertising executive with a spacious office and has a son, Jack (Lucien Maisel of "Fast Track"), but things are far from right at home. Amy and her husband have separated because she caught him cheating on her with another woman. Jack and his father
don't get along together during a family dinner. Naturally, Frank has no idea why Jack behaves in such an unfriendly fashion toward his father at the table. Amy has to cut short Frank's visit because she has to fly out of town the following day, and Frank hits the road again. Third on his list is his oldest son, Robert (Sam Rockwell of "The Green Mile"), who Frank mistakenly believes is the conductor of a symphony orchestra. Actually, Robert does nothing more than bang the drum. Robert points out to Frank that he is a conductor in other musical venues, but nobody will pay him to be a conductor. He isn't married and he doesn't have children. Fourth, Frank meets his daughter Rosie (Drew Barrymore of "Whip It") in Las Vegas. He learns later during a surreal scene around a picnic table that Rosie is a lesbian with an infant child. Rosie claims that she works as a casino dancer. Despite his medical condition, Frank has no problem riding trains and buses to see his children. He has a brush with a pathetic mugger at a depot, but he manages nicely by himself.Finally, after he sees Rosie, Frank decides to fly home. Frank has a fear of flying, but he is so upset by all the revelations about his children that he just wants to clear out of town pronto. Once he is aboard the plane, he suffers a heart attack and
winds up in the hospital.
More often than not, "Everybody's Fine" seems like a made-for-cable Lifetime movie for old guys. Frank learns that he pushed his kids too hard and that they related better to his now defunct wife than to him. It seems that she kept several important things about their children from him. The most imagination thing about "Everybody's Fine" is when Frank sees his grown-up kids, he sees them as they were when they were
munchkins, very sweet and adorable. No, Frank doesn't die at fadeout, but the ending qualifies as only semi-happy. Eventually, Frank learns what happened to his talented but troubled youngest son. Nevertheless, three out of four isn't bad. This tame tearjerker is only for those who enjoy wiping their eyes and nose with Kleenex every twenty or so minutes. Incidentally, "Everybody's Fine" is a remake of Italian filmmaker Giuseppe Tornatore's "Stanno Tutti Bene" (1990). The cinematography is spectacular and the settings are scenic. Nothing memorable happens in this Miramax underachiever.
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