Category: Drama

THE IMPOSSIBLE – The Review

The release of the original AIRPORT in 1970 began a new type of cinema genre: the “disaster” movie. For the next ten years or so the big studios (and some small) hit upon the formula of throwing a whole bunch of stars together (often providing work for many former screen gods and goddesses) and have them try to survive a catastrophe. One producer, Irwin Allen, became known as the disaster movie king with THE POSIEDON ADVENTURE and THE TOWERING INFERNO. These films were thought of as grand escapist entertainments, popcorn flicks. But what about a disaster that really happened? True life disasters have been the backdrop for many Hollywood epics such as SAN FRANCISCO and IN OLD CHICAGO. Those films had fictional characters in stories set in those calamities. THE IMPOSSIBLE is the story of how a real family dealt with a real event that we all saw news reports of several years ago. It’s a more intimate tale than those Allen extravaganzas, but the emotions are as large as any of the cast lists and budgets as those 70’s box office champs. This is about the power of Mother Nature and the determination of a family.

This family consists of mom Maria (Naomi Watts), dad Henry (Ewan McGregor), teenage son Lucas (Tom Holland) and his grade-school aged brothers Thomas (Samuel Joslin) and Simon (Oaklee Pendergast). They’ve decided to spend the end of the year holidays at a gorgeous beachfront resort on Thailand. Everyone seems to be having a wonderful time except the sullen, surly Lucas (ah, the teen years!). Then the day after Christmas 2004, early in the morning as they frolic in the pool, a powerful tsunami hits. The gigantic title waves destroy everything and separate Maria and Lucas from Henry and Thomas and Simon. The story follows mother and eldest son as they try to get to safety, survive, and hopefully re-unite with the rest of the family in a faraway, foreign land that’s been transformed into a chaotic hellscape.

The heavy dramatics of this horrific situation require gifted actors to relay the characters’ raw emotions, and this cast is more than up to the challenge. Joslin and Pendergast are indeed adorable, but avoid the stereotypes of child actors. We want to protect these sweet tykes from all the evils and dangers. They’re naturals. McGregor showed a bit of his paternal nature in the Star Wars prequels, but here he gives us a fabulous film father, full of courage and determination. He’s not super-human, though. A scene in which he makes a cell phone call to England is heart-wrenching as all his emotions bubble up to the surface. Watts gets most of the parental screen time and this is some of her best film work. Maria may be the most physically battered of the family, but somehow she pushes through the pain to live on and bring the family back together. Amazingly, she’s also able to inspire her eldest son. Holland as Lucas has perhaps the most challenging role and gives one of this year’s best performances. In the opening scenes he’s snippy and rude to everyone. Lucas is almost an adult and is eager to distance himself from his much younger siblings and, especially, his parents. But when the tides rise he realizes how much he still cares for them all, particularly when he and his Mom encounter a six year-old all alone in the floating debris. Later, Lucas is able to put his selfishness aside and help those much worse off than himself. It’s great work from a remarkable young actor at the beginning of a hopefully long screen career.

Director Juan Antonio Bayona (THE ORPHANAGE) has done a masterful balancing act with this film. There is the grand scale tragedy, with incredible special effects topping the flood sequence in Clint Eastwood’s HEREAFTER. The tidal waves that approach the resort seem to crash forward like classic B-movie giant behemoth. But they are no fantasy, no guy-in-a-rubber-suit. Maria’s stunned confused stare turns quickly to horror and panic as she tries to get to her loved ones. Later, we wince in pain as the rushing waters batter her body and tear her flesh. And then there’s the confusion as she and Lucas try to communicate with the staff at the overwhelmed hospital (the wounded occupy every hallway and closet space). Bayona goes beyond the devastation to explore this family dynamic. It takes the fury of nature to make these people truly cherish their life together. The scenes of death and destruction are powerful, but just as memorable is the love and determination of this couple as they struggle to find each other. Yes, seeing the kids in danger may be tough for parents (well, anyone really) to watch, but its celebration of family will touch your heart. THE IMPOSSIBLE is a disaster film with a stirring paternal love story at its heart.

5 Out of 5 Stars

LES MISERABLES NYC Screening Met With Standing Ovations; Director Tom Hooper And Cast Cheered

Fellow writer Melissa Thompson declared the Best Picture race over on November 13th when she went out on a ledge and moved the film right to the top of the Best Picture pile. “Academy voters will love this type of big production, grand scale slice of old Hollywood! Tom Hooper and the epic he’s apparently made! LES MISERABLES wins Best Picture.” Melissa might just be right. On the day after Thanksgiving, while many were out shopping on Black Friday, New York critics, writers, Guild and Academy members were seeing Oscar-winning director Tom Hooper’s dramatic musical for the first time at the Alice Tully Hall at Lincoln Center.

Previously Hooper and his 2010 film, THE KING’S SPEECH, won Best Director, Best Picture as well as Oscars for Best Actor (Colin Firth) and Best Original Screenplay (David Seidler) at the 83rd Academy Awards. LES MISERABLES is scheduled to be released on December 25, 2012 in the United States and on January 11, 2013 in the United Kingdom.

Associate Culture Editor for The Newsweek Daily Beast Company, Marlow Stern, tweeted out this picture from the screening.

At the movie’s conclusion, followed by a Q&A session with the director, Anne Hathaway (Fantine), Samantha Barks (Éponine) and Eddie Redmayne (Marius Pontmercy), LES MISERABLES was met with cheering and ovations and the same writers took to Twitter and Facebook almost immediately praising the cast and filmmakers –

Scott Feinberg of The Hollywood Reporter: Analysis: ‘Les Miserables’ Wows First Audience in New York, Clearly Headed for Oscars.

Hooper could become only the 19th person to win two best director Oscars. Considering the fact that most film people hadn’t even heard of him three years ago, that’s pretty amazing. He seems to inspire a great deal of loyalty and affection from his actors — who rehearsed for this film with him for nine weeks before the cameras started rolling — which matters, since actors account for the largest branch of the Academy. 

Nathaniel Rogers of The Film Experience.net:

Jackman and Hathaway both absolutely sensational in Les Miz #omg #audiencewentwild4it. P.S. Movie also great thank God! Hooper actually pulled it off.

Clayton Davis of Awards Circuit:

Hooper tops The Kings Speech in a big way …Lincoln and Argo better get their #Oscar gloves on.

Steven Zeitchik, Arts + Entertainment writer at the Los Angeles Times:

Tom Hooper’s Les Miserables a very well done if methodical take on the musical staple.

Kris Tapley of HitFix:

Hathaway wins. GOD. I wept. Film’s a triumph. They’re on their feet here. NYC crowd ate…it…up. #lesmiserables. FYI, this afternoon’s “Les Miz” screening was NOT the first audience to see the film. Screened for SAG Nom Comm this morning.

Dave Karger of Fandango:

First #LesMiserables screening went over extremely well. I’d call it a sure thing Picture nominee for Oscar and the probable Globe winner. Hugh Jackman has a great shot to bump out Denzel or Joaquin in the Best Actor race. His singing is quite impressive. #LesMiserables.

Russell Crowe will be polarizing. I liked him but some people won’t like his voice. Supp actor is weak so he has a shot tho. #LesMiserables

On Movie City News’ GURUS OF GOLD chart, film reporter Susan Wloszczyna of USA Today is the only one to have LES MISERABLES in the #1 spot. Overall it’s holding at number 4 – for now. Among the TV spots running presently, the last the public saw of the film was the international trailer that debuted earlier this month and the recently released trailer. They vary slightly, but I venture to guess the “musical phenomenon” will still pack the same punch once it begins screening for Academy members and Oscar voters this coming Saturday in Los Angeles. For those of you who keep track on the awards season and how LES MISERABLES figures into the mix, here’s a rundown:

  • 85th Academy Awards Nominations:  January 10, 2013
  • 70th Annual Golden Globes Awards:  Sunday, January 13, 2013
  • Screen Actors Guild Awards Ceremony:  Sunday, January 27, 2013
  • 85th Academy Awards Ceremony:  Sunday, February 24, 2013

The Working Title/Cameron Mackintosh production stars Hugh Jackman, Oscar winner Russell Crowe, Anne Hathaway, Amanda Seyfried, Eddie Redmayne, Aaron Tveit, Samantha Barks, with Helena Bonham Carter and Sacha Baron Cohen.

Set against the backdrop of 19th-century France, Les Misérables tells an enthralling story of broken dreams and unrequited love, passion, sacrifice and redemption – a timeless testament to the survival of the human spirit. Jackman plays ex-prisoner Jean Valjean, hunted for decades by the ruthless policeman Javert (Crowe) after he breaks parole. When Valjean agrees to care for factory worker Fantine’s (Hathaway) young daughter, Cosette, their lives change forever.

In December 2012, the world’s longest-running musical brings its power to the big screen in Tom Hooper’s sweeping and spectacular interpretation of Victor Hugo’s epic tale. With international superstars and beloved songs – including “I Dreamed a Dream,” “Bring Him Home,” “One Day More” and “On My Own” – Les Misérables, the show of shows, is now reborn as the cinematic musical experience of a lifetime.

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ANNA KARENINA (2012) – The Review

How do you breathe new life into a 100 plus year old story that’s known by mullions worldwide? First you cast one of the most popular young actresses in the title role. And so Keira Knightley stars as Leo Tolstoy’s ANNA KARENINA. But that’s not quite enough for director Joe Wright (ATONEMENT) working from Tom Stoppard’s (SHAKESPEARE IN LOVE) screen adaptation. Wright doesn’t change the time period (the 1880’s) or the setting (Russia), but he uses several modern technology film tricks to make a version that is like no other. But will all these bells and whistles really enhance this new telling of romance and scandal?

The plot primarily centers on Anna (Knightley), the wife of older statesman Count Alexei Karenin (Jude Law) and mother to their 8 or 9 year-old son Sergei. She travels to visit her brother Stepan (Matthew Macfadyen) in order to mend the rift when his wife Dolly (Kelly Macdonald) learns of his affair with their children’s nanny. On the train Anna meets the dashing young cavalry officer Count Vronsky (Aaron Taylor-Johnson), a suitor of Dolly’s younger sister Kitty (Alicia Vikander). Vronsky is immediately smitten with the older Anna, and at a party for Kitty he lavishes all his attention on Anna. Kitty then turns to another suitor, Levin (Domhall Gleeson). In a subplot the two marry and return to his expansive country estate and farm. Meanwhile the affair between Anna and Vronsky causes a scandal in Moscow society circles. When Anna tries to leave her husband, Karenin threatens to cut her off from their son. Soon Anna is shunned by the aristocracy. Will she follow her passion with Vronsky or return to her former dull life?

For this new version we must believe in the passionate romance at the story’s center. Unfortunately Ms. Knightley and Mr. Taylor-Johnson just never seem to really click on screen. I’ve enjoyed much of her work (particularly in A DANGEROUS METHOD) and he was very strong in NOWHERE BOY and KICK-ASS, but there’s no real screen sparks here. She seems much too young to be the mother of a nine year-old (and too close to Vronsky’s age) and doesn’t possess the worldliness the character demands. Her infatuation with the young officer is too manic and her final desperate act reeks of selfishness. That same selfishness emanates from Vronsky also. With his impeccable fashions and preening (no hair is ever out of place) he comes across as a 19th teen pin-up. His immediate fixation on the married Anna remains a mystery. Her husband Count Karenin isn’t a cruel monster who would drive his wife into the arms of another. The film makes try to de-glamorize him, but Law’s handsome features are only slightly dulled by a poor haircut, spectacles, and scratchy beard. Sure the guy’s a bit of a cold fish, but he’s got more patience for his wife’s histrionics that most men would have. A great supporting cast can’t make up for the film’s problems with the central love triangle.

The staging (emphasis on stage) also hinders our emotional involvement in this tale of doomed, forbidden love. Wright has set the proceedings in an elaborate, fantasy theatre. The action spills from the stage onto the orchestra pit, then goes backstage with flats and scenery tucked into corners. Characters even climb stairs and have dialogue in the theatre’s rafters next to cable and sandbags. These intricate camera tricks just distract us from the plot and make everything seem distant and artificial. Wright does a bit of cheating when dealing with Levin’s country home (we’re trudging through endless fields of snow with him), a horse race, and a fireworks display (the theatre’s roof opens up to allow the rockets to explode in the night sky). I’m reminded of the elaborate Busby Berkley numbers from his thirties musicals. The sequences would end with unintended laughter when the final shot revealed the appreciative theatre audience split screened with the waterfalls and dancing multitudes. The actors are also saddled with outrageously intricate hand gesturing at a formal dance and the rhythmic filing and stamping by the minions at Stepan’s massive office. It’s clever, but they ultimately get in the story’s way. The costumes and hair styles are lovely, but they can’t overcome the film’s forced theatricality. Either make a movie or produce a play for goodness sake!  The decision to do both does no service to Tolstoy’s immortal heroine.

2.5 Out of 5 Stars

BETWEEN US – SLIFF Review

Dan Mirvish’s new film based on the play by Joe Hortua examines the friendship of two couples long after they bonded in college. At one point the film resembles the classic WHO’S AFRAID OF VIRGINIA WOOLF? with one seemingly happy couple uncomfortably watching another couple engage in a vicious verbal battle. Soon it’s similar to the recent CARNAGE with a tag team screaming match. While those earlier films took place over one evening or afternoon, BETWEEN US toggles back and forth between the present day and a nightmarish evening a few years in the past. As the film opens, Grace (Julia Stiles) and Carlos (Taye Diggs) are stunned to see old friends Sheryl (Melissa George) and Joel (David Harbour) at the door of their NYC apartment. Cut to their last time together. Grace and Carlos flew out to visit Sheryl and Joel at their remote Midwestern estate. Both men were photography majors in college. Carlos has stayed in the city to sell his work through galleries while Joel has done well (really well) in the world of advertising. After a leisurely, wine soaked dinner the two couples head back to the mansion-like home to sleep-over and see Sheryl and Joel’s adorable baby boy. Suddenly a phone call becomes the spark that ignites an explosive evening that horrifies the (seemingly trapped) visiting couple. Back in the present, the once bickering couple are in the Big Apple on a second honeymoon getaway. A freak accident has brought them back from the brink of divorce. But all is not well with Grace and Carlos now. In the last couple years they’re gotten married and have produced their own baby boy. But financial problems have taken a toll on them. During that long evening the couples drink lots of milk shakes (you’ll see), vent their frustrations, and expose their secrets. Envy, jealousy, infidelity are all part of the mix that night. Some of these exchanges are almost too painful to watch (at different points you may want to scream, “Get outta’ there!” to one of the couples), but the film boasts some great acting performances as it explores the effect of time and distance on BFFs when they leave school and try to survive in a cut-throat world.

BETWEEN US screens as part of the 21st Annual St. Louis International Film Festival on Sunday, Nov 18 at 4 PM at the Tivoli theatre

FLIGHT (2012) – The Review

The portrayal of alcohol use in film as been a complex one through the years. At the birth of cinema it conveyed sophistication (cocktails and champaigne at the high society to-dos) and also begat the comic drunk (Charlie Chaplain departed from his tramp character to play a rich hung over fop in one short). This was only slightly curtailed during prohibition which saw the popularity of funny, a tad tipsy W.C. Fields throughout the 30’s and early 40’s and the buzzed crime-solving of Nick Charles in THE THIN MAN film series. Things changed with the Billy Wilder’s landmark 1945 drama THE LOST WEEKEND. This tough look at alcohol abuse swept the Oscars. But several types hung on with James Bond’s shaken martinis and comic entertainers like Jackie Gleason, Foster Brooks, and Dean Martin all the way through to Dudley Moore in the 1981 original ARTHUR. But things have changed in the last couple decades with the many people (including lots of show biz folk) admitting to an alcohol dependency (the recent ARTHUR remake ends with Russell Brand in a support group). This holiday film season presents two dramatic looks at folks with drinking problems: the indie SMASHED (soon to be reviewed) and the major studio big budget FLIGHT. The latter shows how one man’s addiction can affect more than his family and friends, and that it can truly impact everyone.

The film fades in on a “value” hotel room in the wee hours of the morning after what looks to be a raucous party. Countless empty bottles of several varieties are strewn among the beer cans and brimming ashtrays. But only two people are in the room: Katerina Marquez (Nadine Velazquez) and Whip Whitaker (Denzel Washington). The two scurry about, rushing to head off to work. Shortly Whip emerges in the hallway, wearing his airline pilot’s uniform! He boards the plane after being greeted by flight attendant Ms.Marquez (“Good morning, Captain Whitaker”). Sliding into the cockpit, he prepares for what should be a routine 50 minute jump from Orlando, FL to Atlanta, GA. After a bumpy takeoff through a nasty storm, the plane gets past the clouds for a smooth flight. Or so it seems. Thirty minutes later the airline suffers a catastrophic mechanical malfunction. The plane is going into a dive.Whip bolts to attention, and co-ordinates a roll-the plane flies upside down in order to stabilize. He guides the airliner into an emergency landing in a field outside Atlanta. The impacts knock him out. When Whip awakes he’s at a local hospital. Then he gets the news that his quick thinking prevented a major disaster, but four passengers and two crewmen were killed. The officials begin their investigation. Although the media’s hailing Whip as a hero, how long will it be before the investigators learn the truth about his condition? Can he get clean before his turn at the inquiries begin?

The commercials highlight the harrowing flight, but the film is really an intense character study of a man teetering on the edge. Luckily this role is played by one of the screen’s most gifted actors. Washington continues on the tradition begun by Ray Milland in WEEKEND and Jack Lemmon in THE DAYS OF WINE AND ROSES by giving audiences a searing, “warts and all” look at a man in the throes of alcohol dependence. We see how the disease takes over his psyche. He’s cocky and arrogant as he screams at his ex-wife on the phone. He tries to hide his boozing on the job. Of course, when found out he denies there is a problem (“I choose to drink!”). Finally, when the walls are closing in, he becomes meek and tries to elicit support from co-workers that know the truth. He’s aggravating, frustrating, and pathetic all at the same time. In a career of exceptional screen work, Washington is in the acting stratosphere with another Oscar-worthy performance. And he’s got a great cast supporting him. Kelly Reilly is very impressive as a longtime substance abuser who meets Whip at the hospital. She brings out the tenderness and vulnerability in him and we’re rooting for them to help and guide each other. After playing Mrs.Watson in the Guy Ritchie Sherlock films, she holds her own in the tense scenes with Washington. His DEVIL IN A BLUE DRESS co-star Don Cheadle is terrific as the Chicago lawyer brought in to help Whip. We can see his frustration bubble up as Whip’s lies become more and more transparent. Bruce Greenwood continues to be one of our best character actors with his work as Whip’s old flying pal who thinks he can pull his buddy through this mess. He knows of his friend’s problems, but has no idea of its severity. On the other end there’s welcome comic relief in John Goodman’s performance as Whip’s very own “Dr.Feelgood”, Harling Mays (“Ahm on the list”). This film and ARGO are showing what a really fantastic screen presence this actor has become. This is one of the best acting ensembles on screen this year.

After over a decade of motion-capture animated features, Robert Zemeckis gives us a very powerful, grounded human drama. He first made a name with several wonderful audience-pleasing fantasies (WHO FRAMED ROGER RABBIT, the BACK TO THE FUTURE trilogy) before delving into character studies with Tom Hanks (FORREST GUMP. CAST AWAY). Now he’s made an intimate portrait of a man struggling as so many real people do. Zemeckis has dazzled us with special effects, now he’s impressing us with real emotions and compelling acting performances. That’s not to say that the film’s effects are shabby. This is the scariest, white-knuckle plane ride since ALIVE. I just hope it doesn’t fuel the considerable fears of the folks that have a flying phobia. Remember what Superman said on screen in 1978! In the end, Whip’s twisted, long road toward sobriety may be more harrowing than this very bumpy trip. But there’s no bumps in this masterful film. FLIGHT is truly a first class ticket.

4.5 Out of 5

I DECLARE WAR – Fantastic Fest Review

If you’re school was anything like mine growing up, you may have been assigned to read William Golding’s Lord of the Flies, but if not, maybe you’ve seen one of two film adaptations that have been made. This serves as a jumping off point for better understanding I DECLARE WAR. No, this isn’t another remake of LORD OF THE FLIES, but it does share some of the classic thematic content. If you have no idea what I’m talking about, it’s all right. It’s far from mandatory for enjoying this hidden gem.

Written by Jason Lapeyre and co-directed with Robert Wilson, I DECLARE WAR tackles the darker heart of what happens when innocent fun evolves into real-life danger. I can imagine the contemporary societal obsession with video games and the abundance of violence prevalent in these games as having an inspiration, but are the video games really the focal point? I think not. With the world we live in becoming increasingly violent and the access to real-time, uncensored live media not slowing, it could be read as commentary on what led these children to the film’s climax. Even this, as logical as it sounds, I don’t believe is at the heart of the film.

I DECLARE WAR follows a group of pre-teen aged kids in the midst of war. Not a “real war” — although an argument could be made that it becomes just that — but a “war game.” Here we have two opposing forces, in this case a band of 5-6 kids on either side, both led by their respective generals. For the group of kids through whose perspective the story is being told, the general is PK, played by Gage Munroe. If this kid looks familiar, you may have seen him in IMMORTALS (2011) on on the TV series ALPHAS. However, Munroe also has one of those faces that encourages a sense of deja vu, while his talent is impressive for delivering sophisticated lines of military dialogue with accuracy and conviction while still allowing the viewer to believe he’s just a kid.

As PK leads his troops through the local woods in search of the enemy’s base, which of course holds the all-important “flag,” they get ambushed by Skinner, played by Michael Friend. Skinner is not the opposing general, but rather one of his ranks gone rogue. Skinner and his small band of soldiers of fortune take PK’s best friend Kwon (Siam Yu) prisoner with the intent of getting him to talk, revealing the location of his base and therefor securing victory over the yet-to-be-defeated General PK.

Quinn (Aidan Gouveia), the general challenging PK’s undefeated status, desires to best him at his own game, proving he has the military mustard. Unfortunately, Skinner proves to be an obstacle that destroys Quinn’s hopes and threatens more than the fate of a game for Kwon and PK. When the game begins to unravel, the reality of childhood emotions begin to take over. Fear, paranoia, envy and anger become the driving force in a battle that turns ugly, pitting wits against rage. Meanwhile, Jess (McKenzie Munroe) becomes a wild card that could turn the tables of this war either direction with her cunning tactics driven by love.

I DECLARE WAR works so well, not just for the talent of its young cast, but because the filmmakers chose to make a family-friendly — that is, with parental guidance — film that takes on such a subject, but did so without dumbing it down or lightening it up. This is a rather dark, but realistically portrayed story of a series of events that I can absolutely see occurring in real life. No real guns are ever used by the characters, but their imaginations are depicted in such a way that the viewer is transported into their minds, allowing us to perceive the sticks and other various objects thrown together to vaguely resemble a gun, with creativity filling in the details.

While the film clearly focuses on children, I DECLARE WAR could also be considered a commentary on adults. Everything that occurs in this film, occurs between adults in real life. Simply change the setting and what’s at stake, and you have the rat race, etc. The film actually paints a pretty vivid portrait of a society that, for the most part, never truly grows up emotionally. We may think we do, but in most cases we just give these conflicts grown up names to make ourselves feel better. Food for thought.

Overall Rating: 4 out of 5 stars

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ARGO – The Review

So, it turns out that what is perhaps this year’s most riveting espionage thriller did not originate from the pen or typewriter of Robert Ludlum John leCarre’ , or…Ian Fleming. ARGO is based on a real undercover operation that was finally declassified by President Clinton in 1997. And the man in the director’s chair is almost as surprising as the mission itself. I’m speaking of actor Ben Affleck ( who also stars ). What an interesting career! After toiling away as a child actor he became part of Kevin Smith’s repertory company with a role in MALLRATS and the lead in CHASING AMY. Then came Oscar for the screenplay he co-wrote with Matt Damon for 1997’s GOOD WILL HUNTING ( he played Matt’s best buddy in the flick ). This propelled him into the big leagues and he seemed to have a movie at the multiplex every couple of weeks. He balanced light “rom-coms” with big action epics ( even playing a Marvel superhero in 2003’s DAREDEVIL ). Ben also became a target of the tabloids ( remember ” Bennifer” ? ) and was on the verge of being a late night TV comedy punchline. Fortunately he changed course, was more selective, and took on a few offbeat roles ( like his excellent supporting turn as tragic TV iconic hero George Reeves in HOLLYWOODLAND ). And he went behind the camera to direct the Boston-based thrillers GONE BABY GONE in 2007 and THE TOWN in 2010 ( this time in the lead role ). Now with ARGO, Affleck has gone past his home town and tackled a real-life globe spanning story and proves that his superb previous works were not flukes.

Side by side. Ben Affleck in the film ARGO on the left and the real Tony Mendez on the right

To get us in the proper mood, we’re treated to the return of the simple white bar on black graphic Warner Brothers logo of the 1970’s and early 80’s. Then it’s time for a quick primer on the history of Iran using film story board art, focusing on the 20th century. Quickly we’re dropped right into that fateful day in 1979 when an angry mob stormed the United States embassy compound in Iran. But before the armed group burst through the front door, six Americans dashed out the back door and out into the street. In the states we learn that this group was taken in by the Canadian ambassador and are now ” guests ” at his living quarters. Things continue to heat up and Canada demands they leave this safe haven. The state department calls on the CIA’s Jack O’Donnell ( Bryan Cranston ) who brings in extraction expert Tony Mendez ( Affleck ). After hearing some of the odd ideas proposed, Mendez is determined to come up with a plan that can get the six out of Iran. Watching TV with his son that night, a light bulb goes on over his head. He’ll pose as a film producer, fly there to ” scout locations” and fly out with six members of his production team. But he doesn’t know film ! Luckily the agency has a friend in Hollywood : make-up whiz ( an Oscar winner for the original PLANET OF THE APES and designer of a mobile disguise kit for undercover work ) John Chambers ( John Goodman ). He, in turn, enlists the help of veteran movie producer Lester Siegel ( Alan Arkin ) and they find an available script for a space opera titled ” Argo “. After planting the seeds using Hollywood hoopla and hype ( the trade paper poster art is below ), the mission is approved. Mendez flies out to meet the ” guests of Canada “. Can he train this group to pass for film makers ? The clock is ticking away. If he fails, as O’Donnell puts it ” They die…badly”.

The real John Chambers transforms Fred Astaire into Mad Magazine mascot Alfred E. Newman for a TV special

The first-rate performances really bring this true tale of derring-do to life, anchored by director Affleck’s understated work as masterspy Mendez. Like many screen heroes dating back to Gary Cooper, he’s stoic when necessary, saving his energy for the moment demanding action…or very quick thinking. We can see the weariness in his eyes from too many late nights away from loved ones and too many brushes with death. This undercover working stiff is a true unsung hero. No fame or glory, just satisfaction when the mission is complete. Affleck and Cranston work well together in their scenes back at Langley. The indulge in some good-natured ribbing while having complete respect in each other. O’Donnell will stand up to the pencil pushers so Mendez can get the job done. The real scene stealers are back in ” Tinsle Town “. Goodman as the make-up magician has seen nearly everything and has a cool laid-back cynicism explaining the mechanics of the movie biz to Affleck. Arkin matches Goodman perfectly as the film vet who has seen everything and knows how to speak the language of the ” deal “. Most of the young studio turks have written him off, but Arkin dives back in motivated perhaps by a renewed sense of patriotism ( he views the grim newsfootage on the TV in his mansion ). In the hollywood section of ARGO Affleck almost becomes a straight man to this terrific comedy team. Luckily the rescue scenes are so riveting that we don’t miss them too much. Affleck also peppers the film with wonderful character actors like Phillip Baker Hall, Titus Welliver, and Zeljko Ivanek back in DC and includes Clea DuVall and Rory Cochrane as part of the ” six guests “. Superb work from all the actors involved here.

Comissioned production art for ARGO by Jack Kirby from kirbymuseum.com

 

Working from a lean, taut screenplay by Chris Terrio, Affleck really puts us in that tense time period. Aside from the campy fashions and hairstyles ( big mustaches and sideburns ) , all the background TVs  provide a constant stream of info using real news clips ( there’s ” Uncle ” Walter Cronkite, and Frank Reynolds, and… ), some that foreshadow current events. Affleck goes to a brighter, more colorful style for the mid section set in LA as they set up the phony flick. Speaking of which the phoniness of the film biz ( and the folks that run the town ) almost oozes off the screen. In one scene an agent insults Siegel to his face , but each man retains their frozen smiles. I only wish we could see a bit more of Michael Parks as the fake film’s artist, Jack ” King ” Kirby ( the real life Marvel Comics master ). But then Affeck plunges us back in the danger zone. Here Iran is a land of random violence. A wrong look or word can mean the end. Affleck uses subtitles sparingly in order to heighten the disorientation. A tour of the marketplace becomes a nightmare of claustrophobic terror, as glaring wild eyes and snarling bearded faces envelop them. Affleck even cranks up the tension in the ” safe ” house. One of the six just doesn’t trust Mendez. Will he be their weak link? ARGO is a remarkable achievement. Ben Affleck can now join the ranks of actors like Clint Eastwood and Woody Allen, actor who are exceptional film makers. This is an expertly produced thrill ride that grabs you by the throat in its opening minutes and doesn’t let up til the final fade-out ( oh, be sure and stick around for some great photos during the end credits ). I’m sure it will be well represented during the upcoming awards season. To paraphrase a joke exchanged during the film, ” ARGO…see this film! ”

5 Out of 5 Stars

THE MASTER (2012) – The Review

THE MASTER has been generating a steady buzz in cinemas circles for the past few months for several reasons. For one thing, it’s writer/director Paul Thomas Anderson’s sixth film, his first in nearly five years ( 2007’s THERE WILL BE BLOOD ). It’s also Joaquin Phoenix’s first fiction film in four years ( 2008’s TWO LOVERS before his ” performance art ” documentary I’M STILL HERE ).  The hard-core movie tech fans are interested because Anderson shot the film in 70 mm, the format of cinema spectacles like 1959’s BEN HUR. But the biggest question floating about the flick is whether it’s about the controversial founder of Scientology. This after Anderson directed the world’s most famous Scientologist, Tom Cruise, in MAGNOLIA ( earning Cruise a supporting actor Oscar nomination in his best screen performance ). Well, the film is now out. Audiences will be able to see if THE MASTER is a scathing expose. That will be the subject of much discussion ( and litigation, perhaps ). Hopefully this will not overshadow Anderson’s compelling script and directing skill along with the superb work from all the actors involved. These thespians along with the film maker will be recognized in the year-end film lists and award season.

Although the film’s title is THE MASTER, it really focuses on the journey of WWII vet Freddie Quell ( Phoenix ). An erratic, troubled alcoholic, Quell spends his last days as a sailor in the psychiatric ward. The Navy doctors and counselors do their best, but are ill equipped to help this damaged man ( this was before treatments for PTS, post traumatic stress, were created ). Quell is released from the service and fails to hold down a job ( family photographer, migrant worker ). Coming off a bender, he is drawn to a yacht hosting a party for some rich ” swells”. He sneaks aboard and eventually meets the ship’s captain, Lancaster Dodd ( Philip Seymour Hoffman ). Dodd is impressed with Quell’s mixology talents ( he can make ” hootch ” out of anything ) and permits the drifter to stay. On the boat are Dodd’s family and believers in the spiritual movement he presented in his book ” The Cause” ( the followers address him as ” master ” ). Over the next few years ( into the early 1950’s ) Quell travels with the Dodd family as strong-arm enforcer ( got to squelch those skeptics ) and experimental subject for treatments outlined in ” the Cause ” as they spread the master’s teachings.

This fairly simple story is brought to vivid life by an extremely gifted cast. We should start with the master himself. Hoffman’s been in all of Anderson’s films except for THERE WILL BE BLOOD. Here he deftly handles the many facets of Dodd : huckster, salesman, philosopher, intellectual, mischievous child, and flawed man. For the believers and wealthy sponsors, he’s the calm truth-seeker ( until he’s challenged when Dodd unleashes his rage ). And then there’s that taste for the grape. He’s able to keep his appetites ( and growing ego) in check for the most part. Somehow Quell melts his heart. When his family stages an intervention to get Dodd to cast Quell out, the master will not budge. Freddie’s more than a project, he’s Dodd’s ideal son. The real male heir, Val, doesn’t have a passion for ” The Cause “. He seems to be there for the ride and , hopefully, the big pay-off. There’s a few moments when Dodd’s affection alarms the group ( particularly an impromptu wrestling match on the lawn of a rich sponsor ). Most alarmed may be Dodd’s pitbull of a wife Peggy, played with steely determination by Amy Adams. The pregnant Peggy believes that Quell takes away from Lancaster’s focus. Peggy often seems more fervent on  spreading Cause beliefs than her hubby. She also is much more protective. At a party where Lancaster is debated by a skeptic you can almost see 3D daggers projecting from her wide eyes at the questioner. Later she lays it all out, ” No defending! Attack! Attack! “. This is surprisingly strong work from Adams, whose talents have been squandered in too many frothy ” rom-coms “. I expect both performances will be rewarded with supporting actor nominations.

But as I stated earlier, this is Freddie Quell’s story and it may be the role of Phoenix’s impressive screen career. Quell is a loose cannon, a live wire in that 40’s jargon. He’s also a wounded man-boy who tries to dull his pain with gallons of booze and casual sex. His twisted psyche manifests itself physically in his tightened facial features and stilted, stiff body language. Often his rage explodes in messy, violent acts ( many in defense of his master ). Phoenix somehow makes this furious, frustrated stunted child sympathetic. We really hope that his new family can fix him, or at least calm him down. He’s heartbreaking, riveting, and unforgettable. Certainly Freddie can take a place next to Daniel Plainview and Dirk Diggler in Anderson’s list of flawed heroes. If the Academy can find five more compelling actors this year, I will be very pleasantly surprised.

Anderson’s 70 mm decision pays off handsomely in several memorable sequences. A montage of people posing for Freddie at a department store photography salon is incredibly striking, capturing the artificial formality of those old heirlooms. The opening scenes of Freddie and his sailor pals cavorting on a Pacific beach seems to sparkle as do the shots of the churning ocean behind their ship. It also helps the more intimate moments as when Lancaster ” processes ” Freddie ( processing is an intensive interview with certain questions rapidly repeated ). And it heightens the claustrophobia when Freddie must perform a ‘blind’ exercise for hours on end. Special kudos to the all the artists that recreated the post-war years, from the wardrobe, hairstyles, and sets. Everything looks spot on.  Anderson keeps this sprawling story under control making it seem much shorter than its 137 minutes. He only falters during a confusing final act. It’s not really clear what is real or imagined in those last few minutes. I don’t want to harp on that since everything up til then is so well done. So, is it about the S. movement? Well, from what I’ve researched , there are many, many striking similarities. There’s no space aliens and volcanos that TV’s ” South Park” so hilariously skewered several years ago ( those ideas didn’t arrive till well into the 60’s ), but many other concepts are represented in the film. Hopefully moviegoers won’t be going in for a ” blow the lid off” expose’. What they can look forward to is an exceptionally well made drama  with compelling characters brought to memorable life by a group of exceptional actors directed by one of the most gifted film makers working today.

4.5 Out of 5 Stars

ARBITRAGE – The Review

The shelf life of a Hollywood leading men can sometimes be quite short. When the A-list scripts or name directors cease to call ( or return calls ) many leading men have turned to television (especially now with the quirky shows on basic cable and premium channels ). Some actors will turn to smaller supporting or character roles: the gruff father or grumpy grandpa’ parts. And then there’s Richard Gere. He emerged as a major heart-throb in the late 70’s with splashy performances in BLOOD BROTHERS and LOOKING FOR MR. GOODBAR. Of course, posters of him in AMERICAN GIGOLO adorned many a bedroom wall in the early 80’s. Even then he balanced these main stream flicks with quirkier fare like DAYS OF HEAVEN. Through the next decades he cemented his box office status with romantic roles in box office smashes such as AN OFFICER AND A GENTLEMAN and PRETTY WOMAN. But Gere seems more eager now than ever to take a chance, whether learning tap for CHICAGO or playing a real life fraud, Clifford Irving, in HOAX. Now he’s parlaying his still considerable charms ( making that silver mane look good! ) as a character loosely based on recent, shady Wall Street-types in the dramatic thriller ARBITRAGE. And this time out, Gere just may finally take that gold statuette home.

In ARBITRAGE Gere plays Robert Miller, one of the so-called ” masters of the universe “. You can imagine him downing a scotch with Gordon Gekko at a swank private club. But, not as the film opens. Miller’s private jet touches down after a fruitless business meeting. He’s immediately transported via limo to the plush NYC digs he shares with his gorgeous socialite wife of many years, Ellen ( Susan Sarandon ). Ellen’s put together a birthday party for him with his son ( and wife, and grandkids ) and business partner daughter Brooke ( Brit Marling ) in attendance. Rushing out early ( ” Gotta’ stop by the office” ), Robert dashes to meet his mistress, up-and-coming artist Julie ( Laetita Casta ). She’s frustrated that he spends so little time with her, while he insists he’ll be at her big gallery opening tomorrow night. When he really goes into the office the next morning, things are not as rosy as the media believes. Miller has borrowed millions from a colleague so that his hedge fund company will look more attractive for a potential buyer. Robert’s itching to cash in and retire, while Brooke knows nothing of the loan. That night, after the gallery reception, Robert whisks Julie away for a relaxing country weekend upstate. Tragedy strikes. Robert calls on Jimmy Grant ( Nate Parker ), the son of his deceased driver, to help him out. Police detective Michael Bryer ( Tim Roth ) investigates the incident and becomes aware of Grant’s involvement. Will Grant expose Robert before he can sell his firm and hide his secrets from his family?

ARBITRAGE is almost two films. One is the police investigation led by Roth’s character. His dogged detective is almost the Columbo of the occupy movement. He wants  Robert Miller, that slick one-percenter,  in the slammer, pronto. Parker brings a lot of intensity to this young man caught between two worlds. Will he crack? Roth does a serviceable street accent, but this plot seems too similar to stories on any of the ” Law and Order ” TV spin-offs. What’s really interesting is the story of financial deception. It’s a bit flashier here than in last year’s MARGIN CALL and the WALL STREET flicks. The Millers must constantly put on a show for the public, so that no one will know that he and his company are barely treading water. The macho posturing of buyer and selling is on full display along with veiled threats and passive/aggressive behaviors. Every phone call or text may be a another deadly attack. Can the accountants keep quiet will the feds are sniffing about?  These fellas may look civilized, but they’re really sharks, waiting for that first hint of blood.

And Gere’s Robert Miller is the smoothest, deadliest shark of the bunch. This guy’s done a lot of rotten things, but somewhat Gere has us rooting for him. He lets us see the confusion on his face as Robert struggles to keep all the lies from strangling his brain. This is stand-out work from an actor who keeps surprising us. But he also helps his co-stars shine. Marling was quite an indie smash in last year’s ANOTHER EARTH, and here she jumps into the big leagues with a terrific duet with Gere in a powerful father and daughter confrontation on a bench in Central Park. She’s very strong in this role as is Sarandon as her, apparently clueless,  mother. This woman who runs the house staff and arranges charity events proves her own strength as she also confronts Robert late in the film. Being a big fan of TV’s ” The Rockford Files “, I was so pleased to see Stuart Margolin in a quietly scene stealing role as Robert’s long time attorney ( ” I can’t hear this.”, as he exits the limo ). Way to go ” Angel”! ARBITAGE is an involving look at the lies and secrets that are part of the business scandals that make up so many news headlines. And it’s a showcase for Gere. In his fifth decade as a film star, he’s doing some of his best work ever. Turns out that dreamboat poster guy is still quite an actor.

4 Out of 5 Stars

 

THE WORDS – The Review

When film makers are looking at a profession for serious subject matter ( super spies, reckless cops, and costumed crusaders are for the lightweight Summer action blockbusters ), they often turn to the literary. Namely, the lonely, unglamorous writer can make for a somber hero ( of course this might be a bit of navel-gazing since somebody’s got to whip up a script ). Movies from THE LOST WEEKEND through last year’s THE HELP have shown the authors pounding away at the typewriter keys well into the wee hours of the morning ( of course modern-time movies have substituted a laptop computer for the noisy old Underwoods and Coronas ). Instead of battling monsters and beasties these knights of the pen fight with another formidable foe : the blank page AKA writers’ block. This can often have the hero facing a moral quandary of fabrication ( THE HOAX ) or outright thievery ( YOU WILL MEET A TALL DARK STRANGER ). The later is the main theme of the new drama THE WORDS, which takes a cue from THE HOURS and interweaves one book about another book about, etc. Is this cinematic nesting doll worth the time and effort of keeping track of who’s writing what?

In the opening scene we’re introduced to celebrated author Clay Hammond ( Dennis Quaid ) as he reads a passage from his latest best-seller to an enthusiastic audience that includes graduate student Daniella ( Olivia Wilde ). The novel begins with The Old Man  ( Jeremy Irons ) watching celebrated author Rory Jansen ( Bradley Cooper ) and his wife Dora ( Zoe Saldana ) climb into a limo that will whisk them to a fancy literary event. Cut to several years ago as Rory and Dora, fresh out of college, move into their Brooklyn loft. Rory struggles to establish himself as a writer, and has to ask his blue-collar father ( JK Simmons ) for a loan. When Rory and Dora travel to Paris on their honeymoon he buys a beat-up old leather briefcase at a shop. Once they return to the states, Rory takes a job in the mailroom of a publishing house. Filing away his old stories and rejection letters, Rory discovers a weathered, hand-typed manuscript hidden in one of the old briefcase’s compartments. He’s so moved by the story that he begins to re-type it, word for word, on his laptop. Dora stumbles across the file and insists that Rory submit it for publication. Rory slaps together a title page ( with himself as author) and gives it to one of the agents ( Zelijko Ivanek ). Before you know it he’s on the best seller lists. All’s going well for this rising literary star until The Old Man plops down on the park bench next to him. The Old Man tells him of the years spent in Paris at the end of World War II as a Young Man ( Ben Barnes ) and his love affair with a beautiful Frenchwoman, Celia ( Nora Arnezeder ) that inspired his lost novel. Rory’s been found out. What will he do to put things right? And what will happen with Clay and Daniella after the public reading and the after party?

There’s a compelling story of plaugerism buried somewhere in this overly complicated, much-too-heavy drama. The sudden scenes shifts don’t help quicken the pace one bit ( this is a very long 95 minutes ). Most of the confrontations seem to fizzle out, particularly a murky confessional between Quaid and Wilde near the conclusion. The actors strain mightily to make this material work. Cooper seems to be repeating his LIMITLESS role here minus that super pill. His take on the flawed golden boy was essayed much better by Robert Redford decades ago. Saldana has little to do in the loyal, supportive wife part even as she is torn by his deceptions. Quaid makes for a believable veteran writer, but he remains an enigma by the film’s end. Wilde’s always a welcome addition, but her book groupie turned inquisitor never really gels. The short supporting work from Simmons, Ivanek, and John Hannah ( as a writing rival ) do create a few brief sparks. Luckily there’s Mr. Irons, who commands the screen as the true literary master. Every emotion is etched on that ravaged face ( nice makeup work). At first he’s sad and pathetic, but soon becomes a rage-filled lion as he exposes the young fraud. If they rest of the film were up to his level, THE WORDS would be a strong awards season contender. Unfortunately the movie sputters and stumbles when Irons is off stage. A muddled, over-wrought, morality melodrama, THE WORDS never really leaps off the page…or screen.

2 Out of 5 Stars