In theaters. Rated R, 109 minutes. Trailer.
This film had lots going for it: Eric Bana (as King Henry), Scarlett Johannson (as Mary Boleyn), Natalie Portman (Anne Boleyn), and Peter Morgan (The Queen) as the screenwriter. Throw in a decent trailer, and I decided to lift my period piece policy. The film ended up being a mixed bag. Click below for the rest of "Boleyn Girl"
The first act is pedestrian, setting up the circumstances for the King's need for extra-marital help from the Boleyn girls producing a male heir. From the dialogue and acting, it was quickly clear that this was a film that wasn't aiming very high. The second act, as the Boleyn's move into the King's court and Anne becomes scorned and more central to the plot, is very enjoyable, even an A-. Portman is a commanding presence, and she is perfectly cast as the strong-willed and conniving Anne Boleyn. The third act crashes and burns, with a 20 minute pocket that is so boring it nearly ruined the movie. The final few minutes are pretty good, as the story gets wrapped up dramatically.
The movie did succeed in making the whole Boleyn/King Henry scenario very interesting. Her impact on England's separation from the Roman Catholic church and the course of history was significant, and its clear now my history teachers did their best to make it as boring as they could. Johannson is good as the simpler (and fairer) of the two girls, but her character was one-dimensional and uninteresting. The supporting cast were also all one-dimensional and every scene they are in seemed the exact same. The father in particular had the exact same look on his face the entire movie (dismayed and feeble). A disappointment.
Bonus: SNL had a very funny sketch called "The Other, Other Boleyn Girl". Worth your time.
Friday, March 14, 2008
The Other Boleyn Girl - B-
Thursday, March 13, 2008
Recent DVD Releases
All of the following were dutifully reviewed by my collaborators during their theatrical run.
Into the Wild (2007) - Original review: here.
Christopher McCandless (Emile Hirsch) decides to journey to U.S. West after learning that his father (William Hurt) abandoned his first family to start a new family with his mistress (Christopher’s mom – Marcia Gay Harden). On his way to Alaska, he encounters many potential surrogate families, including Catherine Keener and Hal Holbrook in separate anecdotes, but follows in his father’s footsteps by abandoning everyone. While writer-director Sean Penn allows Hirsch to have an epiphany about the meaning of life and the error of his ways, I doubt the real (selfish, foolish, spoiled, etc.) McCandless had such a moment. The film’s structure is distractingly complicated and Penn occasionally overdoes it (like with the Danish couple), but the film is a visual wonder to behold and many of the performances and themes have equal beauty. I really loved the sun-burnt guy talking about God and love. Dense and messy with tangent stories that rarely connect, the film’s just like real life. B+
(click below for 4 more)
The Darjeeling Limited (2007) Original review: here
There’s a lot to like in Wes Anderson’s latest film. He can still place his one-of-a-kind characters in the frame beautifully, but, as with The Life Aquatic and The Royal Tenenbaums (to a lesser extent), the story sort of fades away after a strong start. The three brothers here, (Schwartzman, Adrien Brody, and Owen Wilson) just don’t look like brothers. It should come as no surprise that Wilson is the most comfortable with his character, having helped invent the Anderson modus operandi with Bottle Rocket. Schwartzman’s character is a male-fantasy - an unshaven barefoot schlub who bangs the most beautiful woman in France and India. And Brody’s personality just doesn’t fit into the Anderson style - like Bill Murray (who briefly shows up). The movie is at its strongest while they’re on the train and at its worst during a flashback to New York. And like their mom (Angelica Huston), Anderson doesn’t seem particularly interested in confrontation, closure, or keeping his promises. B-
Gone Baby Gone (2007) Original review: here
Like many first-time directors, Ben Affleck uses too many close-ups, but how can you blame him with a cast which includes the intense Ed Harris, the reliable Morgan Freeman, and the underused John Ashton (Midnight Run)? As the lead, Casey Affleck does a sturdy job having all the characters bounce off of him. Best of all, of course, is the Oscar-nominated Amy Ryan as the cokehead mother whose daughter has been kidnapped. The pacing and believability falters after the funeral scene (no spoilers here) and the overall look of the film while authentic is also unpleasant. The reveals at the end are too jumpy and are piled up too quickly, but a solid effort from the Affleck clan. B
Things We Lost in the Fire (2007) Original review: here.
Halle Berry becomes a widow when husband David Duchovny is murdered. She forms a bond with his best friend Benicio del Toro, a heroin addict trying to go straight. The acting is strong across the board, everyone believable in their situations and reactions. Director Susanne Bier (following up her Oscar-nominated After the Wedding) is clearly a humanist and directs with her heart, but I just couldn’t believe Berry would allow a heroin addict (one she blames for her husband’s death) to move into her home with her 2 small impressionable kids. It’s rough film to sit through, and without the spectacular framing, lighting, and top-drawer acting of, say, the thematically similar 21 Grams, the end result lacks. B-
Michael Clayton (2007) Original review: here 
The writing, acting, and direction are firing on all cylinders in this tale of corporate malfeasance and legal corruption. Its greatness is partly related to the way it subverts the genre. It’s a lawyer movie without a courtroom in sight. It has a hero whose moral compass is broke and he’s not sure he wants it fixed even if he knew how. The bad guy (Tilda Swinton) is one decision away from being the good guy. First time director Tony Gilroy achieves strong visuals and uses the cold color palette of blue/gray/black to great effect. Gilroy’s also the writer and previously wrote the Bourne trilogy. He occasionally is too reliant on the killers/action scenes but this is a minor quibble and only noticeable because of the excellence of the dialogue scenes. A-
Quick Hits
Hannah and Her Sisters (1986).
One of Woody Allen's finest, this classic explores the lives and personas of three New York sisters and their flawed male companions and suitors. I love Michael Caine's performance as the bumbling Elliot (he won an Oscar for his performance), and Dianne Wiest as the flighty sister who succeeds in the end. Barbara Hershey is terrible and miscast as the 'attractive' Lee, and she drags the movie down in several places. Woody has several great lines as the neurotic tv producer searching for meaning in life and dealing with his hypochondria. The scene where his character comes to terms with his search while watching the Marx brothers movie takes the film to another level. B+
Blade Runner 
(1982) I finally filled a gaping hole in my viewed filmography this week. I didn't enjoy watching this film at all. I do not like science fiction in general, and the cluttered and dark visuals combined with the nearly comedic 80's synth-sounds nearly drained all of my life force. That said, the film works as a deep and nuanced comment on the human condition, and I agree with the points made by Priest in his essay on the film. If only Ridley Scott could've featured less midgets and more Darryl Hannah. No grade.
Wednesday, March 12, 2008
Michael Clayton - in 10 Pictures
Michael Clayton (George Clooney), handling the situation and knowing what to do, remains in focus.
(click below for the rest)
As his car explodes, so does his conscience. (reference: Bob Dylan’s Vision of Johanna)
Lots of empty space throughout the movie, commenting on Clayton’s inner self.
Tilda Swinton really goes for it, allowing herself to be physically and emotionally vulnerable.
In another year, Tom Wilkinson would have won that silly statue named Oscar.
A nice touch has the killers avoiding eye contact.
As a senior partner, the great Sydney Pollack commands every scene he’s in.
Clayton, deciding between the money/his future and the truth/his soul. Far right reflections in the glass door echo the choice.
This escalator also shows the 2 paths. Clayton chooses to get out.
Great and unique end title sequence also has an impressive subtle performance by Clooney, portraying inner turmoil as well as anybody.
Tuesday, March 11, 2008
Sinbad and the Presidential Race
As a fan of Sinbad, I couldn't resist posting this. He accompanied Hillary Clinton on one of her trips that make up her 'foreign policy experience', and humorously dismisses her recent characterizations of the trip. And here is the rest of it.
Continue reading this postMonday, March 10, 2008
Snap Judgments - a Quick Review of 5 Movies
In the Shadow of the Moon (2007) – B+ 
The Apollo space program is rightfully celebrated in this documentary where the astronauts who traveled to the moon discuss their experiences. The Apollo 11 mission is the centerpiece, receiving the bulk of the running time. Most of the interviewees agree that the reclusive Neil Armstrong was the right choice for the first man on the moon, an unflappable genius of a man. The narrative structure of the film is simple and appropriate and the editing of the archival footage with the interview material is seamless. After watching dozens of films trashing America, it’s nice to see one that commemorates one of her greatest accomplishments.
Lust, Caution (2007) – C+ (NC-17)
Porn, Asian. Core, Soft. In Shanghai 1942, a woman goes undercover for the resistance to trap a powerful man (Tony Leung). They end up having lots of sex and she falls in love. Directed by Ang Lee (Oscar winner for Brokeback Mountain), the sets and costumes of the period are impeccably recreated. And the cinematography is beautiful. But it’s over 2 ½ hours, and drags with lots of talking from too many characters (mostly in Mandarin). Its theme of men and women’s differing attitudes toward sex and love is universal though. Women fake sex to get to the love. Men fake the love to get to sex.
Slipstream (2007) – C
A vanity project from actor Anthony Hopkins who writes and directs here. A “dream within a dream” movie which makes zero sense for over an hour. Every scene is edited so much, you’ll get a headache. Color changes, subliminal images, and image-flipping add to the cephalgia. The subliminal images of atrocities (Hitler, Vietnam, etc.) are pointless. But the critique of the movie-making business works much better - clearly inspired by Hopkins’s contempt for actors who feel like they’re curing cancer. Great performances by Christian Slater and Jeffrey Tambor help, but the result is too messy and ultimately too obvious (spoiler: he’s a writer and it’s all in his head).
Across the Universe (2007) – C-Dozens of Beatles songs are wasted on this story of young love torn apart in the late 60s. Directed by the overrated Julie Taymor who prefers showing visuals to telling an actual compelling story, the plot only exists to connect the great songs. The 60s counterculture has been done better countless times before with more interesting actors. And of course there are several cheap shots about the Iraq War and George Bush. The fantasy sequences (especially Mr. Kite) are overly ostentatious and even Bono is embarrassing singing “I am the Walrus.”
Romance and Cigarettes - D+A disastrous vanity project from actor John Turturro who writes and directs here. James Gandolfini, Susan Sarandon, Christopher Walken, and Kate Winslet burst into bad songs to express their inner emotion. (Winslet overdoes it the worst). There’s too much aimless camera movements and one nasty scene after another with people yelling at each other. In the final act, the movie settles down for some nice dramatic scenes between Gandolfini and Sarandon as they reconcile and rekindle their marriage. I like Turturro’s passion for 1950s music, but the result is painful.
Saturday, March 8, 2008
The Candidate - B-
On DVD (1972). Rated PG, 109 minutes. Trailer.
The Candidate plays out like every liberal actors dream: a handsome, wealthy liberal is toiling away at a legal aid clinic when he is approached to run for US Senate against the incumbent, an older white man that dares give a speech emphasizing personal responsibility. Robert Redford stars in this "dream scenario" as the golden haired son of an ex-governor that only wants to run if he can say the things he wants to say in his own way. Peter Boyle is the wily political operative that convinces Redford to run and then masterminds the campaign. Click below for more.
The film opens with the concession speech of the last guy they convinced to run, and tracks the year of Redford's candidacy, ending on his election night. Parts of it are very funny and well done, in particular the coterie of political advisors. The script captures the cynicism and fatalistic nature of those who are veterans of political campaigns. The scenes with them are funny and effective. Where the film jumps the track is when it tries to get serious, especially with Redford's preaching. If the liberal points were just part of his character and didn't bleed into the point of view of the film, they would work. Here they are central to the theme of the film, and the director and screenwriter are audacious enough to presume anyone watching their film couldn't contemplate anyone actually voting for a Republican incumbent.
The funny thing about the film is that it exposes the immaturity and naivete inherent in most liberal positions. For instance, Redford is a big environmentalist, preaching that roads and houses are being built to quickly and are ruining the environment, a classic liberal position. Problem is, as a conservative, I totally agree with that position, except that the world isn't a perfect place and you have to have those things in order to keep the economy going, honoring property rights, and allowing for housing that is affordable.
Anyway, I am a political guy, and this one didn't do it for me.
New Trailers
Righteous Kill – the third film starring both Pacino and De Niro. From the director of Fried Green Tomatoes and Up Close and Personal – A crap alert if I’ve ever seen one. Also here.
Step Brothers – the second film starring Will Ferrell and John C. Reilly. Looks funny – dumb, but funny. Love Richard Jenkins and Mary Steenburgen.
There Will Be Bud – a great faux-trailer. Still hilarious after several viewings. Love the anti-hippie stuff. Also here at http://www.joblo.com/, a great movie site.
Thursday, March 6, 2008
20 Great Rock Songs: 2000 – Present
[Guest Post - Appraiser]
20 Great Rock Songs 2000 – Present...In no particular order:
Muse - “Citizen Erased” (2001) One of the best live bands around. Great performers.
The Vines - “Ride” (2004) Interchangeable with “Get Free”. I like the solo more on this one.
Audioslave - “Cochise” (2002) 3 parts Rage and 1 part Cornell, works perfectly.
Built to Spill - “Conventional Wisdom” (2006) Indie guitar rock from Idaho!?
Click below for the next 16 and pictures of a Priest look-a-like.
22-20’s - “Shoot Your Gun” (2005) Great song from a now defunct Brit Band.
The Darkness
- “I believe in a Thing Called Love” (2003) More fun than you can shake a stick at.
Note: Lead singer oddly looks like Priest.[ed. note: Appraiser said it, not me]
System of a Down - “Chop Suey!” (2001) On the edge, but what energy.
Radiohead - “2+2=5” (2003) The last 90 seconds are reminiscent of Pearl Jam’s “Do The Evolution”.
Ours - “Sometimes” (2001) Great voice and guitar riff, can’t go wrong with that combo.
Seether - “Fine Again” (2002) Really good lyrics and sound, the best modern homage to Nirvana.
Wolfmother - “Dimension” (2006) Throwback to 70’s power rock, it will rock your ass.
Johnossi - “There’s a Lot of Things to do Before You Die” (2007) Sweden’s White Stripes starter kit.
Black Angels
- “Young Men Dead” (2006) Great band from Austin, TX. Hottest drummer in Music.
Tool - “Schism” (2001) Just a cool song, like all Tool songs, every note counts and has meaning.
The Sword - “Freya” (2006) They’ve picked up the torch that was dropped by Metallica.
Arctic Monkeys - “I Bet That You Look Good on the Dance Floor” (2006) The Song that took the UK by storm.
White Stripes - “Seven Nation Army” (2003) The best work Jack White has done.
…And You will Know Us by the Trail of Dead - “Another Morning Stoner” (2002) Another great band from Austin.
The Soundtrack of Our Lives - “Sister Surround” (2002) Swedish band, huge in Europe, with not much mention in the U.S.
Smashing Pumpkins - “Tarantula” (2007) A nice return from their most recent overly electronic stuff.
Disclaimer: This list does not include any “emo/screamo” bands or “rock/rap” acts.
A Terrence Malick Moment
"This Great Evil - 
Where's it come from?
How'd it steal into the world?
What seed - what root did it grow from?
Who's doing this?
Who's killing us?
Robbing us of life and light.
Mocking us with the sight of what we might have known.
Does our ruin benefit the earth?
Does it help the grass to grow? The sun to shine?
Is this darkness in you, too?
Have you passed through this night?"
The Thin Red Line (1998)
Wednesday, March 5, 2008
The Dying Gaul - D+
On DVD (2007). Rated R, 105 minutes. Trailer.
I guess I only have myself to blame for renting a movie with this plot (from IMDB): A grief-stricken screenwriter unknowingly enters a three-way relationship with a man and his wife - to chilling results. Fun! The draw for me was Peter Sarsgaard (aka the new John Malkovich), as he is one of my favorite actors. The film feels like a really bad gay play, complete with at least 20 minutes of bizarre scenes wherein the characters read their chat room discussions. Click below for more fun details on the movie I hated, but just couldn't turn off.
Campbell Scott is the married husband/film producer that seduces Sarsgaard's character, Robert. Robert is recovering from his partner's recent death, which he helped happen because of said partner's painful TB treatments that involve drilling into his brain. Campbell's character is married to Patricia Clarkson, who is decent as the scorned woman in this bizarre plot. After she finds out about the relationship through nefarious anonymous chatting, she tries to ruin them both. The thing goes bad, and ends with an accident killing Clarkson along with her kids. Just for fun, here are the IMDB keywords for this one: Plant Life / Homosexual / Screening Room / Marriage / M*sturbation Scene. Unbelievable.
Michael Buble Concert Mini-Review, OKC, March 4, 2008
I say mini-review because I’m not familiar enough with Buble’s work to right a respectable review of his concerts. That said, this was a great show. Pre-show, my take on Buble’ was this: Okay music, but his best songs Sinatra already sang better. And, frankly, that’s probably still true. But here’s the thing, Sinatra’s not around any more, and Buble is one heck of an entertainer.
The concert kicked-off with a cappella group Natural 7. Basically, they were a seven-man Bobby McFarlin band. While they weren’t breaking new musical ground, they had stunning voices and were the perfect 35-minute opener for a crooner like Buble. They left the sold-out crowd of 9,300 to a standing ovation.
After a short interlude, the curtain rose to Michael in a black suit and skinny black tie looking every bit the part of rake-about-town. He was joined by a crack eight-man brass section, a bass player, drummer, pianist, guitarist, and all-around percussionist. The stage was made of shiny black linoleum tilted forward on a 25 degree angle, just enough to allow Michael to walk up it and slide back down. The stage was framed by two large screens with a series of curtains serving as a backdrop. The media shot on the curtains and screens accentuated, not overpowered, the songs and never crossed the line to schmaltzy—not an easy task even at a rock ‘n roll concert. The opening song was I'm Your Man, followed by a simmering Mrs. Jones then a blistering version of Fever. He belted out song after song for 100 minutes, from slow, simmering jazz to rock ‘n roll. Other standouts included Willie Nelson classic You Were Always on My Mind, his own Feeling Good and Home, James Taylor’s How Sweet It Is (To Be Loved by You), That’s Life, Queen’s Crazy Little Thing, and Ray Charles’s Song for You. One nice thing about singing standards is that every song is a great one.
Throughout his show was peppered with PG-13 asides and slightly too-edgy-for-Oklahoma dialogue. Still, the ladies in attendance (my guess is the female/male split was 60/40) didn’t seem to mind, and the guys (or this one at least) had to laugh and salute the bravado. That brings to mind what Buble really has going for him. It’s not the voice, although that was certainly in great form, it’s the charm. That’s what makes his songs good, and that’s what he’s selling. Good old fashioned bad boy swagger. Furthermore, while I haven’t given his music a good spin in about six years, I noticed that he’s developed some style in the last half-decade. He’s not just a pretty voice now. He feels the songs a lot more and doesn’t seem so impressed with himself when he holds a note.
He closed the show with a truly classy “Thank You” for all those who’d saved up their money, hired babysitters, taken off work, and drove in from out of town. While this often seems trite from other bands, it seemed heartfelt this time-- maybe because the concert was packed full of every age and demographic. While I was lucky enough to be taken to this show, I’ll plunk down my money next time he comes to town. Married men, swallow your coolness and take your wives. You’ll enjoy it, and she’ll love it. Single guys, don’t hesitate. No girl will turn you down with these tickets.
Monday, March 3, 2008
Vantage Point – C
In theaters. 90 Minutes Rated PG-13.
Dennis Quaid is a secret service agent protecting the President of the United States (William Hurt) while he makes a speech in Spain. An assassination attempt is witnessed from several view points including a TV director (Sigourney Weaver) and a tourist (Forrest Whitaker). While the film takes this basic premise from Rashomon (Akira Kurosawa’s 1951 film), it presents filmed evidence of the event, thus providing an objective account. Rashomon has 4 characters telling the same story and the changes in the stories challenge the viewer with the nature of reality and truth. The only thing challenging about Vantage Point is trying to figure out how someone of Forrest Whitaker’s size can keep up with a speeding car chase on foot. (Click below for more lapses in logic) 
But the twists are only there for their own sake – the whole movie comes down to Quaid and a single piece of video. It would be more interesting if he had to piece all the videos/points-of-view together to figure it out. The car chase scene at the end is exciting enough but the climax has all the characters in the same place whether they were on foot or driving. I can get past Quaid not reloading after 50 or so shots, but sometimes the suspension of disbelief is too heavy to carry. CContinue reading this post
Flight of the Conchords SXSW Documentary
Legendary New Zealand parody folk duo Flight of the Conchords made a documentary back in 2006 on their appearance at the SXSW music festival in Austin, TX. While I'm sure many of you have seen it, I just discovered it and would commend it to you. Find it here
Next Year's Oscar Race
Hollywood Elsewhere has a great list of next year's Oscar contenders:
The top eight: (1) Baz Luhrmann's Australia (20th Century Fox) with Nicole Kidman and Hugh Jackman; (2) Steven Soderbergh's The Argentine and (3) Guerilla (Focus Features) with Benicio del Toro; (4) Gus Van Sant's Milk (Focus Features) with Sean Penn; (5) Gabriele Muccino's Seven Pounds (Sony) with Will Smith; (6) David Fincher's The Curious Case of Benjamin Button (Paramount/Warner Bros.) with Brad Pitt and Cate Blanchett; (7) Joe Wright's The Soloist (DreamWorks) with Jamie Foxx and Robert Downey Jr.; and (8) Ridley Scott's Body of Lies (Warner Bros.) with Russell Crowe and Leonardo DiCaprio. Click below for more possibilities.
Also in the mix: Sam Mendes' Revolutionary Road (Paramount Vantage/DreamWorks) with Leonardo DiCaprio and Kate Winslet; Clint Eastwood's The Changeling (Universal) with Angelina Jolie; Ron Howard's Frost/Nixon (ditto); Joel & Ethan Coen's Burn After Reading with George Clooney and Tilda Swinton; John Patrick Shanley's Doubt (Miramax) with Meryl Streep and Philip Seymour Hoffman; Fernando Meirelle's Blindness with Julianne Moore and Mark Ruffalo; Ed Zwick's Defiance (Paramount Vantage) with Daniel Craig; Saul Dibb's The Duchess (Par Vantage) with Keira Knightley; Bryan Singer's Valkyrie (MGM-UA) with Tom Cruise; and Stephen Daldry's The Reader (Weinstein Co.).
Sunday, March 2, 2008
Semi-Pro - B-
In Theaters. 90 minutes. Rated R for language
In 1976, Coach-Owner-Player Jackie Moon (Will Ferrell) must lead his ABA basketball team, the Flint Tropics, into 4th place before the NBA merges with the best 4 teams and the American Basketball Association disbands. The movie’s just an excuse to get Ferrell to dress up in 70s garb and play vintage music. While this mostly works for me, non-fans of Ferrell should probably pass. (Click below for the rest)
Moon is a terrible player and coach but he’s a terrific promoter with great ideas – he knows how to put butts in the seats. Sometimes he gives away corn dogs and sometimes he fights a bear. These are the best moments in the movie since they are original and Ferrell is unleashed. The basketball moments are OK, but they’ve been done before as has the derivative plot - a near carbon copy of Slap Shot (1977) with a little Major League (1989) thrown in. 
The supporting cast (including Will Arnett, Woody Harrelson, and Jackie Earle Haley) are fine but have been much better elsewhere. First time director Kent Alterman has served as executive producer from titles as diverse as Mr. Woodcock and Son of the Mask to A History of Violence and Little Children. He’s as inconsistent as a director, too, and struggles with the tone. But this isn’t a contemplative drama about violence or suburbia’s secrets. It’s just a Will Ferrell movie. I rank it below Talladega Nights and slightly below Blades of Glory, but way above Kicking and Screaming. B-
Other Takes
Black Snake Moan B-
Black Snake Moan gets small town south right. Christina Ricci as Rae spends over half this film in a half-tee and underwear chained to a radiator in the home of recently single Lazarus (Samuel L. Jackson). Molested repeatedly by her mother’s boyfriend when she was younger, Rae is now planning to marry Ronnie (a solid Justin Timberlake) but sleeping with everyone else in the county. Lazarus finds her unconscious on the road, takes her home to nurse her back to health, and decides to cure her of her wickedness. Lazarus is a blues singer (Jackson, doing his own vocal work, is surprisingly good), and this film is a blues song put on film, replete with over-the-top themes and imagery. While the film wants to condemn the men who use Ricci for sex, the voyeurism of its camerawork uses Ricci in much the same way. Maybe that’s part of the point, but it comes across as contradictory. Still when Rae confronts her mother in the convenience store the scene is combustible and feels true. An interesting story of redemption and the power of caring, I liked it and disagreed with the Doctor’s review (D+) here. Note: This is a really rough movie which I watched after having it highly recommended to me as being theologically interesting. Consider yourself warned.
American Gangster B
With Denzel, Crowe, and director Ridley Scott, I expected a bang and got a whimper. The true story of ‘70’s heroin kingpin Frank Lucas (Denzel Washington) and the detective that would take him down Richie Roberts (Russell Crowe) can never decide if it wants to be about Lucas or Roberts and ends up being about neither. Scott sets-up a moral tension between the family-man and faithful, yet drug-dealing, Lucas and the adulterating bad father, yet honest-too-a-fault cop, Roberts. But I’m not buying it. Is it bad to sleep around? Yeah. But as bad as covering a man in gasoline and lighting him on fire? Or bringing cheap, pure heroin to town, leading to literally thousands of deaths and exponentially more ruined lives? No, it’s not nearly as bad. Attempting to maintain that tension leads Scott to leave in pointless divorce proceedings and needless family time. American Gangster could have used another hour or should have focused on Lucas or Roberts. As it was, Scott had a dream double-billing of Denzel and Crowe but never maximized either one. I liked We Own The Night better. See Lawyer’s review (B+) here.
Saturday, March 1, 2008
Celebrities and Politics
Argument for:
Here is Angelina Jolie's op-ed piece arguing that the US should STAY in Iraq for humanitarian reasons and that the surge is working.
Argument against: Though cool and hip, this new Obama video (from will.i.am, same guy that did the Yes, We Can video) shows how staggeringly naive and ignorant these folks are. Plus, do you really, really, care who Theo Huxtable is supporting? Jammin' on the one.
Waking Ned Devine B+
1998, On DVD, PG-13, 91 minutes
Ten years ago the little Irish film Waking Ted Devine charmed audiences, garnered some critical praise and picked up a few minor awards and a handful of slightly larger nominations, the most notable being a SAG. In the ten years hence little films have lost a bit of their charm but not Ted Devine. The story centers on Jackie O’Shea and Michael O’Sullivan, lifelong Irish friends who’ve slowly become codgers together. They, with 49 others, inhabit an ancient village within motorbike distance from the Irish coast. Shot in the glorious golds of the Irish summer, every scene’s a postcard. The two old gents read in the Dublin paper that someone in their county, which pretty much means their village, has bought a winning lottery ticket. However, no one acknowledges the win, leading to a spree of wining, dining, and flattery as they butter up every possible winner with the hope of sharing in their windfall. Turns out the buyer of the ticket, Ned Devine, passed in his joy, leaving O’Shea and O’Sullivan to impersonate Ned to the officials as they try to procure the money.
Although you’ll probably only recognize O’Sullivans David Kelly (Uncle Joe from the new Chocolate Factory) and maybe O’Shea’s Ian Bannen, this cast is wonderful, perfectly mirroring the small town rhythms and eccentricities that develop in lives consisting of daily interactions with the same fifty people from the cradle to the grave. It’s in these relationships that the subtle allure of Ned Devine is felt. It’s the rare movie that knows exactly what it is and is comfortable in its smallness, a characteristic even tougher to find in people. For that give writer/director Kirk Jones serious kudos. He’s made only one other film, 2005’s well-received Nanny McPhee, but his grasp on the beauty in the simplicity and relationships of life is perfect. Waking Ned Devine is a life-affirming treat and a pretty solid advertising campaign for Ireland. B+
Daniel Johnston Interview
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The A.V. Club has posted an interview with Daniel Johnston, the subject of the film The Devil and Daniel Johnston which Lawyer reviewed here. The interview is here. And here is the rest of it.