Rogue One: A Star Wars Story

Posted on December 16, 2016 by Tom

Release: Friday, December 16, 2016

[Theater]

Written by: Chris Weitz; Tony Gilroy

Directed by: Gareth Edwards

Gareth Edwards (Godzilla; Monsters) has been given the none-too-enviable task of linking two of cinema’s most iconic trilogies. Rogue One: A Star Wars Story predicates the ultra-classic original space opera and follows on the heels of the considerably less classic trilogy that kicked off circa the turn of the millennium. With such weight on its shoulders it’s a small miracle the production doesn’t fully implode in on itself. Given what’s at stake and the immense hype building up to it, the “spin-off” saga still can’t help but feel like a comedown, especially when it stands in such close proximity to The Force Awakens.

This is a review from the point of view of a decided non-fanboy. Let us not get that confused with me not being a fan of the anthology at all. There are a lot of things I like about the universe George Lucas envisioned some 40 years ago — not least of which being the immense sense of scale and (cringe) epic-ness that has been established year in and year out. The mythos of Star Wars also brilliantly manifests as a thinly veiled critique of the way we earthlings perpetually endeavor to coexist on a single chunk of rock. Perhaps most critically, Lucas has established characters and character arcs that will forever live on in the annals of not only science fiction but in all of cinema. While you will never find me in a packed house fully dressed in Star Wars attire, I will always have time for Darth Vader. And if you have no interest in Luke Skywalker, Chewie, or Han Solo you basically have no soul.

Rogue One, not without a sense of urgency in its precursive structure, manifests as more a tale of two halves where one goes heavy on the exposition and the other overcompensatory with action. It is a decidedly unbalanced epic, unable to maintain momentum or genuine intrigue from start to finish. And it’s a damn long sit, clocking in at well over two hours. The film only seems to achieve greatness down the back stretch, where shit really hits the fan as a small cadre of rebels led by Felicity Jones‘ Jyn Erso finally puts into action a bold plan to recover the design schematic for the Empire’s megaweapon, the Death Star.

Erso, daughter of the reluctant architect behind said “planet killer” Galen Erso (Mads Mikkelsen — yay!), has lived a life of oppression and isolation. On her own since the age of 15 she’s the very definition of teenage rebel, but not like the ones you see in Nirvana’s music videos. Her journey to become a Rebel leader is built upon a sturdy foundation — the great Ben Mendelsohn gives us reason to be very, very worried as Imperial Director Orson Krennic — but it’s just not very interesting. The entire affair is dark (literally too dark in places, to the point where I couldn’t see what was going on) and sans humor (also sans Hayden Christensen-levels of schmaltz, to its credit), making that first half a slog for anyone who doesn’t subscribe to the infallibility of Star Wars.

After a brief introduction to Erso’s humble beginnings we are introduced to key role players who vary in personality from completely boring to vaguely inspiring. There’s Rebel officer Cassian Andor (Diego Luna) and his android K-2SO (voiced by Alan Tudyk) — sort of a poor-man’s C-3PO; a defecting Imperial pilot by the name of Bodhi Rook (Riz Ahmed) who has smuggled a holographic message from Galen to present to the Rebel Alliance and a Rebel extremist named Saw Gerrera (Forest Whitaker) who was the first to “rescue” Jyn from Imperial forces. Also integral to the cause are blind warrior Chirrut Îmwe (Donnie Yen) and mercenary Baze Malbus (Jiang Wen).

These folks represent an ideological extremism festering within a faction of Good Guys who all have grown tired of being kicked around by the Bad Guys. The Rebels are the ones we should ultimately care about, except in the end we really don’t. (The perspective I’ve maintained throughout this piece has become pretty confused, I admit. Wasn’t this supposed to be from the point of view of a non-fanboy? I’m not intending to speak for all here because I assume my thoughts are not going to be shared by many. But I digress . . .) In the end, I didn’t really feel the feels. But my buttocks did; pins and needles set in circa the 90-minute mark and as I shifted around trying to get comfortable I also started to gain a greater appreciation of what had been accomplished in Episode VII. Jyn = a watered-down Rey; Rook = a not-fun Finn. James Earl Jones barely even sounds like James Earl Jones.

A large part of the problem I have with Rogue One stems from Chris Weitz and Tony Gilroy’s conservative screenplay, one in which narrative coherence is favored over character development. I suppose that, since the arc of the story is itself auxiliary to what comes later — most pertinently the events of A New Hope — the lack of personality or the subtly romantic textures we’ve become so accustomed to over the years is almost intentional. This is a very serious saga, and when humor does meekly surface it arrives absolutely when it is needed, and it doesn’t flow so much as spurt awkwardly; much of Tudyk’s input invokes irritation rather than laughter. In other words, character “growth” here feels more defined by action or inaction, rather than what characters say or feel. Simply put, Rogue One lacks the emotional heft needed to make this a truly memorable chapter in the ongoing saga.

It’s not all underwhelming, though. The aforementioned final third is nothing short of spectacular as Erso and her motley crew successfully infiltrate the highly secured Imperial database on the planet Scarif. The plan of attack is brilliantly devised and fascinating to watch unfold. It’s like the Normandy Beach landing set in space — so convincingly rendered we forget this is all being shot on the Maldivian atoll of Laamu. The contrast between the brutality of the attack and the tropical, utopian setting is, in a word, awesome. The sacrifices made herein also emphasize the ‘war’ in Star Wars. It’s surprising there is emotional resonance behind the losses given the characters are so blandly written.

But even this sequence is not entirely satisfying, insofar as what its execution suggests about the film preceding it. The nostalgia it generates for the ~~past~~ future risks making entirely redundant any momentum that was supposed to be generated in the events that precipitated it. Rogue One is kind of a big tease; it titillates through sheer force of association while never managing to become something that will endure the test of time on its own.

Recommendation: Fan service to the extreme makes Rogue One a pandering but occasionally enjoyable outing for those who aren’t diehards. It’s visually spectacular and suitably grandiose, but for those wanting to latch onto classic characters it will leave something to be desired. Not even the great Felicity Jones is a true stand-out. Still, there’s something to recommend about the film — namely its reverence for the ever-expanding universe in which it takes place, and when the action is on — boy is it on. Ultimately I’m confident this will still end up breaking all sorts of box office records.

Rated: PG-13

Running Time: 134 mins.

Quoted: “Be careful not to choke on your aspirations, Director.”

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Photo credits: http://www.joblo.com; http://www.imdb.com

Arrival

Posted on November 14, 2016 by Tom

Release: Friday, November 11, 2016

[Theater]

Written by: Eric Heisserer

Directed by: Denis Villeneuve

I’m just going to say it: Arrival is magnificent. It’s also: 1) another grand gesture from the visionary Québécois Denis Villeneuve that’s both sophisticated and stylish; 2) a film that really “makes you think;” 3) the antidote to the last several days in which the world has been watching and weighing in as the “United” States of America may or may not have been tearing itself apart when Donald Trump went from real estate mogul to president-elect.

Of course, the film has no interest in making a political statement but it is interested in bringing us closer together as a global society. The one thing it is really good at is reminding us of our ability to empathize and cooperate with one another in times of hardship, even when there are competing interests, values and perspectives at play; that the way we communicate is as important as what we are communicating. Arrival, based upon the novella Story of Your Life by Ted Chiang, promotes language as the ultimate tool and weapon mankind has and will ever have. It’s both our currency for clarifying all that is foreign and unfamiliar but just as easily it can create barriers if in no other way than when we use it to obscure what we really feel.

In some sense Arrival feels allegorical for a modern society wherein the furor of social media tends to bring out the worst in people. It uses an alien encounter to elucidate both the simplicity of the act of communicating and the infinitely more complex process of understanding and interpreting. The chronicle centers around an expert linguist, a Dr. Louise Banks (Amy Adams), recruited by the U.S. military to decipher alien code they’ve received from a massive egg-shaped monolith in Montana, one of an apparent dozen that have suddenly appeared at seemingly random locations across the globe. The end game of course is to find out just what they are doing here, on this planet, but along the way we become privy to an altogether unexpected series of revelations.

Villeneuve’s latest is not merely a message film fitted into a pretty frame (although it very much is that). It offers a thrilling and profoundly personal adventure, one that more or less hits the ground running and remains comfortably paced throughout. An ambitious narrative is met with an appropriate sense of scale: Bradford Young’s panning cameras hint at the crippling notion that we may be alone in the universe, brilliantly reinforced by how deserted the college campus looks when it’s evacuated. Then there are the ships themselves — empyreal in their gently curving architecture. We call them ‘shells’ because labels are easier and they somehow feel comforting. Finally, news reports of mass riots and looting in poorer nations set the narrative against a backdrop of fear and panic. These bits serve as the most indicting evidence of what happens when we misconstrue things that are said, done or merely suggested.

Arrival feels grandiose even if the story sticks close to Dr. Banks as she is awoken from another troubled sleep by the surly Colonel Weber (Forest Whitaker) telling her the world needs her help. On the way to Montana, the sole American sighting, she meets theoretical physicist Ian Donnelly (Jeremy Renner), who will prove a calming presence in an otherwise chaotic and prejudiced environment. It is these characters, plus a few faceless soldiers, with whom Dr. Banks will enter the ship in an attempt to open a line of communication. Arrival might be at its most compelling when that first contact is established, when we are formally introduced to the Heptapods — serious out-of-towners with seven tentacle-like appendages from which they shoot a black inky substance. After a failed first trip, nerves eventually calm and Dr. Banks’ intuition proves extremely valuable as work begins in earnest.

Several weeks of sleepless nights and haunting visions of her deceased daughter begin weighing heavily on our ambassador. Making matters worse, China is demanding an ultimatum from our squid-like visitors after one particular translation (‘Use weapon’) incites worldwide panic. In a race against time, Dr. Banks must determine what connection, if any, her visions of Hannah has to what she is doing here in the present. The results prove to be both heartbreaking and galvanizing, the drama culminating in an Interstellar-esque reveal that’s altogether satisfying insofar as it is surprisingly coherent. And almost 100% convincing. Arrival risks devolving into abstraction but the genius lies within the screenplay, courtesy of Eric Heisserer [Lights Out; The Thing (2011)]. It engages intellectually while structurally providing enough of the tangibles — flashbacks become a motif — to support its lofty ambitions. And all-around terrific performances, most notably Adams and Renner, send us out of the theater on a major high.

In a way this film isn’t about an alien encounter at all — it’s certainly not an invasion, per se; rather, this is a forward-thinking, socially responsible drama that celebrates the best of humanity.

Recommendation: A movie for the thinking-man, undoubtedly, Arrival continues the ascension of one Denis Villenueve as it captures him working comfortably within the realm of psychobiological science fiction. It features stellar performances and a great alien presence. Regular collaborator Jóhann Jóhannsson is on hand to bolster the atmospheric feel of the film with a cerebral and moody score, so if you’re needing any other reason to go see this you might see it for that, too. This is one of my favorites of 2016, absolutely. A very exciting film.

Rated: PG-13

Running Time: 116 mins.

Quoted: “Now that’s a proper introduction.”

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Photo credits: http://www.impawards.com; http://www.imdb.com

Southpaw

Posted on September 9, 2015 by Tom

Release: Friday, July 24, 2015

[Theater]

Written by: Kurt Sutter

Directed by: Antoine Fuqua

Like its punch-drunk protagonist Antoine Fuqua’s ode to blood sport sure can throw a powerful jab but its technique fails considerably when on defense. What does the film have to defend against, exactly? Only about three decades’ worth of boxing movie cliches. That’s if we’re using ole Marty Scorsese’s Raging Bull as the standard of comparison. We could probably go with Rocky as well, and we could also sit here all day debating which is a better model, but . . . yeah, let’s not.

The easier argument to settle for now is that Southpaw is not as good as either of them. Southpaw is the amateur in the ring, visibly nervous but psyched up to land the first punch. As a truly potent tale of redemption, Fuqua’s latest is about as effective as Billy Hope (Jake Gyllenhaal)’s oral communication following a match. In case you have yet to see this, that’s pretty poor. Indeed, Southpaw is far more convincing reinforcing what should already be a clear message: the sport is violent. A person enters the ring, an oft-unrecognizable mass of muscle typically leaves. That reality constitutes 75% of what’s required of Gyllenhaal here — much to the benefit of a narrative that drapes lazily around this venue like the excessive advertising no one really pays attention to. I feel a little weird championing the film’s violence, but I can’t deny Southpaw is at its best when it goes on the offensive.

Gyllenhaal ought to be relieved that his grueling training regimen for this role is put to good use in three key fight sequences. The story of Billy “The Great” Hope is defined mostly by tragedy and suffering. Big picture: this is essentially the story of every cinematic boxer we’ve watched beat themselves up in an ironic effort to improve their lives out of the ring. Yet there are moments where Fuqua’s emotive direction feels unique, inspired. During a public altercation between the hot-headed Billy and a rival named Miguel “Magic” Escobar (Miguel Gomez) Billy’s wife Maureen (Rachel McAdams) is inadvertently shot and killed, leaving Billy devastated. He quickly spirals out of control, resorting to drugs and alcohol as he simultaneously tries to come to terms with the loss and rectify it by finding the man responsible.

Billy’s inability to cope and his aggressive boxing style don’t remain mutually exclusive for very long. His attacking of a referee results in perhaps the biggest gut-punches, and they come three at a time, in rapid succession: he’s first suspended for a year from boxing. Then goes the beautiful mansion via repossession thanks to the lack of a steady paycheck. Rock bottom is finally struck when he drives his car into a tree, landing him in the hospital and then in court where a judge strips Billy of his custody and sends Leila to a foster home (well, you know . . . for the time being). That third punch is more of a massive blow delivered in slow-mo, as the once-close relationship he shared with his daughter slowly unravels — Leila unable to understand what’s become of her family.

Starting over’s as simple as dropping in on a dilapidated training facility managed by a surly has-been, and asking for help in getting back to the top. Forest Whitaker brings gravitas to the part of ex-pro trainer Tick Wills, who is hesitant to give Billy some . . . you know, hope. Obligingly he offers him a night job cleaning up and maintaining the facility. While there was an opportunity for an upbeat clean-up montage here, unfortunately it was missed; however, we do get the critical training montage, a staple of the genre that dates back to Stallone, wherein Billy finally sees a glimmer of his own last name (does anyone else see the genius in naming the character the way they did?). Crowbarred in after he’s informed by his former fight promoter Jordan Mains (Curtis ’50 Cent’ Jackson) of an opportunity to make some good money in a title fight in Vegas, the scene at least makes good use of Eminem’s ‘Phenomenal.’

Southpaw‘s grueling fight sequences go a long way in covering up some of the narrative shortcomings. So does another excellent performance from Gyllenhaal. Unfortunately Kurt Sutter’s script suffers heavier bruising than Billy’s face. From poor character development to cliche-ridden dialogue — those representing the legal system perhaps bearing the brunt (Naomie Harris is simply wasted) — the film won’t do much, if anything at all, for those with concerns of it being ‘just another boxing movie.’ The film title is derived from a specific stance wherein a left-handed boxer leads with his right hand and foot. Opposite the southpaw stance is orthodox, one taken by right-handed fighters. I don’t know whether Fuqua is right or left-handed, but I do know his film prefers the orthodox, fighting (suffering?) through flurries of jabs and the occasional hard left-hook. If it weren’t for such enduring work from its cast the film’s all too conservative strategy probably wouldn’t last beyond the second round.

Recommendation: Emotionally resonant tale just manages to overcome its undeveloped and overly familiar story thanks to knock-out performances from Gyllenhaal, Laurence and Whitaker. As a fan of boxing movies, I have seen better but this is by no means, and despite the sheer amount of cliches, a bad movie. It’s just not exactly the title fight we’re expecting to see with a name as large as Gyllenhaal apparently replacing Eminem in the lead. If you’re not expecting much out of the film other than some good fighting scenes, then Southpaw will surely deliver.

Rated: R

Running Time: 124 mins.

Quoted: “Don’t let him take this from you. Don’t let him get into your head. You got one shot. Go southpaw. Go southpaw on his ass. You got to go out there and you . . . beat his ass!”

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Photo credits: http://www.impawards.com; http://www.imdb.com

Dope

Posted on June 19, 2015 by Tom

Release: Friday, June 19, 2015

[Theater]

Written by: Rick Famuyiwa

Directed by: Rick Famuyiwa

Rick Famuyiwa’s Sundance darling isn’t particularly revelatory filmmaking, but it’s much more intelligent than its dopey title suggests, rejecting racial stereotypes and erasing cultural gaps as confidently as it embraces its young leading trio as a righteous symbol of individualism.

Dope channels an infectious spirit à la executive producer Pharrell Williams’ hit single ‘Happy’ via a cast brimming with fresh, relatively undiscovered talent, evolving its giddy comedic approach through a series of misadventures experienced by three geeky teens growing up in a rough Los Angeles neighborhood referred to as “The Bottoms” — translated geographically, Inglewood.

There’s Malcolm (newcomer Shameik Moore), who’s trapped in the ’90s with his flat-top haircut and loud clothing; Diggy (22-year-old Kiersey Clemons in her first big screen role), a lesbian who cares not for what anyone thinks about her preference for dressing a little differently; and Jib (The Grand Budapest Hotel‘s very own Tony Revolori), who may seem like a misfit but his 14% African blood speaks for itself, thank you very much. The threesome jam in a punk-rock band and are very close, but the film places extra emphasis on Malcolm as his investment in academics and in trying to get into Harvard make for a character that shames most archetypal movie teens. He’s focused on what’s most important to him, while trying to avoid ending up on the wrong street corner at the wrong time.

One afternoon he’s not so lucky, targeted by A$ap Rocky’s Dom as he bikes home from school down a particularly dangerous street. The encounter introduces Malcolm to a whole new world he’s woefully ill-equipped to deal with, a world where drugs, violence and gang affiliation reign supreme. When his delicate flirtations with Dom’s former flame Nakia (Zoë Kravitz) grant him admission into a club party, he ends up with some precious cargo in his school bag, subjugating him and his friends to the kind of sudden attention no one wants or needs.

Dope is sheltered comfortably under the ‘coming-of-age’ umbrella, making quick work of establishing an environment which its oddball characters desperately need to outgrow and move away from. Contrary to the relationship Malcolm shares with his geeky friends, it is with Nakia whom he chases the same light at the end of the tunnel. They both are college-bound hopefuls, though unfortunately Nakia’s aspirations hardly take center stage or much of the stage at all. The negligence doesn’t come at the cost of the film’s enjoyability, though Dope‘s failure to fully develop Malcolm’s female equivalent is a backwards step given its adherence to creating real people in real environments. Ultimately, Kravitz fulfills the requirements of a slightly less obvious token girl, one whose preference for book-smart boys rather than the street-wise thugs she’s surrounded by isn’t enough to escape cliché.

Nonetheless, and despite strong supporting performances, Moore’s fish-out-of-water remains the driving force behind Dope‘s emphasis on individuality. Malcolm, determined to put “The Bottoms” behind him, ironically turns to dope-dealing as a way to rid himself of the contents of his bag. Handing the bag over to the proper authorities is obviously out of the question. The narrative devotes most of its time to the boy desperately attempting to dispose of the stigma of a misled youth possessing illicit drugs and weapons. One scene in particular brilliantly showcases how close Malcolm comes to succumbing to stereotypes. Fortunately, the incident is a rare blemish on an otherwise thoroughly endearing character.

It’d be more accurate to describe the moment as Dope‘s most piercing truth about human nature, on how certain societal pressures render even the most strong-willed susceptible to change. Malcolm, even with his myriad rare qualities — you know, the kind that afford him a daily ass-beating in school hallways — is far from a role model. One of the more ridiculous but oddly satisfying cultural probes is this group’s fascination with talking as though they were from the street. They constantly refer to ‘bitches’ and ‘dope’ despite their physical appearance indicating they’ve rarely (if ever) been in tough circles, at least up until this moment wherein they’ve been forced to conform to them.

Dope‘s vibrant characters brushing shoulders with the brutal realities of street life in particularly impoverished communities like “The Bottoms” makes for surprisingly entertaining viewing. The title may betray Famuyiwa’s seriousness of purpose, but there’s no denying the dynamic energy and off-beat, charming performances from his young stars do its coming-of-age themes justice.

Recommendation: To belabor the point, the film’s title is unfortunate. It’s likely going to have a negative effect on attendance. Although, its wide release is exciting and the sharp wit and incredibly fun characters deserve to be seen by far more than those who are actually going to spend the money on a theater viewing. Anyone up for an alternative to this weekend’s major Pixar release ought to take a chance on this one.

Rated: R

Running Time: 103 mins.

Quoted: “Some brother really needs to invent an app like Ways to Avoid All These Hood Traps.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.imdb.com

TBT: Fast Times at Ridgemont High (1982)

Posted on August 7, 2014 by Tom

The dog days of summer are upon us. It’s August, and that means back to school for some and the vacations are mostly over for the families who have been basking in the glorious summer sun (though I look forward personally to some more reasonable temperatures. . . we pasty-skinned Brits burn just embarrassingly easily). Yes, August is the one month pretty much everyone aged 10 – 22 sort of thinks is a major buzzkill. But it’s not all bad news, when you think of some of the good old back-to-school (or even just school-related) flicks that have graced our screens over the years. Though they all pretty much boil down to the typical coming-of-age tale, who’s to say that’s not perfectly acceptable escapism from what really lies around the corner. . . . ?

Today’s food for thought: Fast Times at Ridgemont High.

Hanging with Mr. Hand after hours since: August 13, 1982

[DVD]

Oh, to be young and Spicoli again.

I wonder if that’s what Sean Penn thinks every time he glances back on this role (I don’t know what says he does, but humor me for a second, would ya?). . . .if he thinks this role in particular was his true blue Oscar. Truth be told, it is actually difficult picturing a stoner role landing the big whale in February but if there ever were a person. . .a character who came close, I’d say it’d be Penn’s righteously blown-out pot-smoking slacker.

No doubt he’s a highlight, but fortunately Penn’s representative of only one portion of the total population. Granted, his clique might be one of the more amusing and entertaining to hang with, but it’s a credit to the considerations of writer Cameron Crowe and director Amy Heckerling (Clueless) that the story is filled with so much more, so many more different avenues that collectively create the high school experience. Sure, the decades have changed, but we all know the biggest thing that has affected is the hairstyles.

There’s something deeply true and honest about this immersive experience, something that goes beyond the dynamite chemistry between the vacuous Spicoli and the dreaded English teacher, Mr. Hand. In fact, I’ve got you covered. Here are (the) five reasons this classic is already in your collection (and if it isn’t, well then you’ve got your next project to work on. Rent it, and pronto Tonto!) . . . because, well, let’s face it. Not only are these five images amazing moments from the film, they do quite a thorough job pinning the high school population down to its core groups:

Spicoli vs Mr. Hand (Ray Walston) These two have a very special relationship. Spicoli is not only one of Ridgemont’s most notorious pot-heads, he’s always late to class, a fact that never sits well with the disciplinarian Mr. Hand. Love ’em, hate ’em, but you just can’t get rid of ’em — the lazy student who always provides the rest of the class entertainment with his combative form of self-expression, and the teacher who is seemingly out to get everyone and make the semester hell. They make an entertaining combo for the film as well as prove to be a compelling example of teacher doing his job, while World’s Worst student learns the same about him. There’s beauty in the mutual respect they end up stumbling upon.

Quoted: “You dick!”

Mike Damone (Robert Romanus) vs Unplanned Pregnancy Everyone knows a Damone — a lone wolf, the tough guy in the crowd. . .and, okay, so the one you know may not scalp movie tickets but this guy you know has similar schemes. He’s mostly a decent guy who has been endowed with the gift of gab and as such, fancies himself a ladies’ man. A bit misled, sure, but his constant confidence makes you feel good about not only yourself but the times you spend with him. However, is this the kind of dude who sticks around for the harder times? Is there more underneath, or is this just what you get — just a good-looking façade?

Quoted: “I mean, don’t just walk in. You move across the room. And you don’t talk to her. You use your face. You use your body. You use everything. That’s what I do. I mean I just send out this vibe and I have personally found that women do respond. I mean, something happens.”

Charles Jefferson (Forest Whitaker) vs the Lincoln High football squad After Spicoli wrecks the crap out of Ridgemont’s star athlete’s beautiful Camaro during a joy ride, it’s all Spicoli can do to hide the fact it was him responsible, so in a panic he disguises the accident as an intentional act on the part of a rivaling high school football team. This causes Charles to fly into a rage, injuring several players in their next game in the process. True, there may be some sort of personality lurking deep inside, but you best not come across this jock after his most valuable possession has just been destroyed. We all have that special thing we can’t afford to lose. For most of us, though, that ain’t a Z-28.

Quoted: [forget the quote. Watch this clip.]

Brad vs. Linda in Stacy’s bathroom Poor Brad’s had a heck of a senior year. Lost his job because of an obnoxious customer. Lost his second job because they made him wear a pirate costume (and also deal with obnoxious customers). Lost his girlfriend Lisa in the crossfire, and when he gets caught, shall we say. . . sorting something out in the bathroom at Stacy’s, he essentially loses his pride. But Brad’s not a bad guy, he’s just going through a rough phase and wants out of it, now. Who can’t identify with this feeling?

Quoted: “Mister, if you don’t shut up, I’m going to kick one hundred percent of your ass!”

Mark (Brian Backer) /Stacy (Jennifer Jason Leigh) vs Sexual Tension Without a doubt, here’s the pair that come the closest to anchoring the romantic component of those four angst-y, awkward years. Neither Mark nor Stacy have much of a clue when it comes to dating and romance, so when their respective friends Damone and Linda give them a few pointers, all bets are off when it comes down to taking friendly advice or doing what they both feel is the natural thing to do. They’re both sweet and charming and you’d be hard-pressed to find someone who can’t find something of their self in these two lovebirds.

Quoted: “You know Damone I always stick up for you. They say oh, Damone that loud mouth — and they say that a lot. I say ‘Oh, no you just don’t know Damone.’ I mean when they call you an idiot, I say Damone’s not an idiot. Well, you know something maybe they know you pretty good. Maybe I’m just starting to find out.”

Recommendation: Fast Times at Ridgemont High is a staple of the early ’80s. While it hardly breaks free of its fair share of era clichés (well, I guess they’re more like stereotypes at this point), this fast-paced ride sheds light on all corners of the high school experience, carrying an optimistic and truly fantastic energy from start to finish, much in the same vein as The Breakfast Club, Dazed and Confused along with a handful of other lesser-known silver screen signets now owned on home video by millions of children of the ’70s and ’80s. I’m going to sound like a very broken record, but they just don’t seem to make comedies (or movies in general) like this anymore. And at the very bare minimum, see this one for one of Sean Penn’s greatest performances ever in his break-out role as Spicoli. You (probably) won’t be sorry.

Rated: R

Running Time: 90 mins.

TBTrivia: Phoebe Cates’ reaction face in the above image is very, very real and natural. Fortunately, the thing she is reacting to is not. . .so much. . . .

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.imdb.com

Ernest & Celestine

Posted on April 16, 2014 by Tom

Release: Friday, February 28, 2014 (limited)

[Theater]

Ernest & Celestine may only be an hour and twenty minutes long, but within such a short time span a world is created that no viewer can possibly walk away from willingly. No, they’ll have to call upon the indie/arthouse theater bouncers to physically remove me from this theater seat! (And. . well, it looks like they are doing that right now so I’ll have to be brie. . . .)

The one word that perfectly sums up this adventure? ‘Adorable’ comes to mind. ‘Warm.’ ‘Fuzzy.’ Yes, these are all good. But the one that really sticks out:

‘Awwwwww. . . .’

Work with me, people. Onomatopoeia counts, especially if the film in question is an animated feature, because that’s the sound we make throughout most of these things. This one in particular is an English-language version of a French adaptation of a popular Belgian children’s book series. It tells the story of an intrepid little mouse, Celestine (voiced by the young Mackenzie Foy) who melts the icy heart of the big, lumpy bear Ernest (Forest Whitaker).

Neither of the two seem to really fit in to their respective societies: with the bears living above ground, and the mice being relegated to the network of sewage systems below. Each population must fend for themselves in a world dominated by fear and a hilarious misunderstanding of one other. Mice fear bears for bears love to eat mice, but the sheer irony of it is that bears are just as fearful of the little rodents they’d sooner throw their paws in the air and surrender than put up a fight.

Ernest is a poor bear who lives alone and is now having trouble finding any food to survive the winter that is officially upon his doorstep, so he scrounges his way through the local village in a feeble attempt at filling his tummy. Police aren’t having any of it, though, and justice is swiftly brought to the panhandling bear. However, Ernest and his problems aren’t the first things introduced to us. Instead, the film opens up and immediately immerses us in the underground society of mice, where Celestine is settling into bed for another unpleasant night at the orphanage overseen by a dreadful mousekeeper (yes, that’s a term invented by yours truly) mysteriously referred to as The Gray One (Lauren Bacall).

This misery of a mouse likes to tell her children all sorts of horrible stories about the bears, though Celestine is inclined to not buy into them. Her encounter with one in particular will affirm that indeed, not all bears are bad. In fact, they can be quite lovable.

As a member of a society that builds and chews things for survival, Celestine is studying to be a dentist. Her instructor, the Head Dentist (voice of William H. Macy), has taken a keen interest in Celestine, as she hasn’t been keeping up with her teeth collecting like all of the other students. He demands she go out and scoop up 50 in a single night. During this mission, Celestine finds herself in hot water when, in the process of taking a tooth from one bear cub, she is caught in the act and chased out of the house by the terrified bears. She proceeds to stuff herself into a trash can to sleep for the night, where she is later found by Ernest while he’s out looking for leftovers again.

From minute one, Celestine is intent on Ernest forming a different opinion of her, other than the one he probably already has thanks to his being a bear and all. But Ernest isn’t like most and would rather Celestine just disappear not because she’s a mouse but because he’s a grouch and prefers to be left alone. When the two find themselves wanted fugitives after breaking into a candy shop, Ernest has no choice but to put up with Celestine for the time being. He takes her back to his secluded woodland hut, where he at first puts her in the basement. . .below ground, where mice belong.

As days turn into weeks and weeks into months the odd pair’s bond only strengthens, with Ernest slowly warming to the mouse’s presence. . .after his initial reluctance to break the rules. And the little squeaky one is just happy that someone finally cares about her. Unfortunately, while all is bright in Ernest’s neck of the woods, the town has formed a search party (bear and mouse police forces remain segregated until a hilarious scene in which they all meet in pursuit of the pair) to arrest and jail the pair of perceived renegades. The proceeding adventure is incredibly endearing to watch unfold.

Joint directorial efforts from Stéphane Aubier and Vincent Patar ensure Ernest & Celestine is consistently charming, absorbing and gleefully funny. Imaginative use of animation, coupled with the film’s innocuous tone and subject, might make the film seem as if its catering to a young crowd. Yes, the film is relatively harmless, and yet there are larger themes at play here, even beyond the amusing comparisons to the outlaws Bonnie & Clyde. The friendship between the two animals certainly functions on the surface as an odd-couple dynamic. These characters are well-developed and well worth loving.

On the other hand, as the film develops, we see more than a. . e-hem. . .bare resemblance to the relationships in our world that often face judgment — relationships of a non-traditional variety. The beauty of the film is that it’s open-ended in what qualifies for ‘non-traditional;’ defining what these are doesn’t matter, but recognizing the parallel does. This is a concept that children won’t necessarily pick up on while watching mice and bears running around on a beautiful watermark palette. But the allegory is as obvious as a bear caught in a mousetrap.

Recommendation: A great little escape that features a terrific voice cast who turn in endearing work. There is no harm in bringing the kids along for a family viewing here, but a wide audience ranging from the single adult to the young married couple truly benefit more from some of the story’s subtler suggestions about coexisting in a judgmental and often misinformed society.

Rated: PG

Running Time: 80 mins.

Quoted: “Do you know the story of the little mouse who did not believe in the big, bad bear. . .?”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.imdb.com

Out of the Furnace

Posted on December 7, 2013 by Tom

Release: Friday, December 6, 2013

[Theater]

Sneaking up on you quietly, toxically, like steam billowing from the chimneys that scratch and tear at a skyline of charcoal gray, this original screenplay from Scott Cooper is most likely not the product most people were expecting. It is a solemn look at the not-so-quiet life in the Appalachian region; a story that’s as laced with brilliant performances as it is populated with shots of its gorgeous, rustic backdrop.

That the affairs ongoing in this unrelentingly dark tale might lead anyone other than Russell Baze (Christian Bale) to the breaking point much sooner than the two hours it takes for him is not really the surprising factor that I refer to. A title like Out of the Furnace is — yes, okay, grimly poetic — but moreso foreboding, and the title alone should be enough for most people to realize that what they are laying down $10 for is not for the sake of comedy.

Just as the thick plumes of smoke snake ever higher into the air, eventually to caress and blend in with the clouds, expectation levels of this particular story have similarly soared. Not that that was an unexpected phenomenon, or anything. Cooper’s ensemble cast in 2013 far and away outdoes that of his critically more successful debut film in 2009, and is probably one of the best casts of the year. Understandably, it’s difficult not to imagine a film featuring a cast like this offering up dramatic and epic grand gestures, scene after scene.

That’s not the case here, though. There is such a thing as actors also humbling themselves.

If the main impetus for seeing Out of the Furnace is for the performances, then it is going to be equally difficult to consider this an underwhelming experience. The talented cast should leave audiences speechless, as only one this good can.

Bale in particular is exceptional. In fact, he might be less recognizable as this down-and-out, soft-spoken countryboy than he was behind a cape and cowl. As Russell, Bale plays the elder brother to Rodney (Casey Affleck) with a heartbreaking tenderness and vulnerability that should virtually wipe clean any memory that he was indeed our Dark Knight.

He works a dead-end job at the local steel mill in an effort to keep a roof over his and his beautiful girlfriend Lena (Zoe Saldana)’s heads. At the same time, his family life burdens him. Russell splits his time working longer hours to pay off Rodney’s ever-mounting debts — for reasons he doesn’t quite know — and caring for their terminally ill father. As if this isn’t stress enough, Russell is for the longest time left oblivious to the real reasons his younger brother is in such debt. Until the day Rodney goes missing in New Jersey.

Rodney, desperate to pay off the debt himself and already having fallen in with a tough crowd, forces local bar manager John Petty (Willem DaFoe) to put him into a legitimate street fight in which he could stand to win good money. Rodney’s been serving in the military for years and whenever he’s back home he fights for money, finding himself unable to take up a normal job or joining his brother at the steel mill. Unfortunately his pride, blind determination and short temper land him in a ring overseen by the notoriously violent and demented redneck Harlan DeGroat (an ice-cold Woody Harrelson). He’s told to take a dive (intentionally lose) in this match, but will his ego be too big to obey this simple request?

Out of the Furnace examines these issues — pride before the fall; showing mercy versus seeking vengeance; the deliberate counting of one’s own sins — using a myriad of characters facing a different set of circumstances to show what they would do to right the wrongs. In so doing, the film takes a much more graceful, deliberate pace than many might be expecting to undergo. It might be difficult to understand that each of these brilliant actors, each with a legend preceding them, are much less of a “key” factor in the story as they more quietly assume puzzle pieces in a tragic story — much like the gigantic cast of Prisoners. Instead of jumping off the page as we all might expect them to do — an exception might be Harrelson, as he’s truly the personification of vile filth here — they end up passionately coloring in an otherwise black-and-white story of loss and redemption.

There are more than enough emotionally charged and nuanced performances that, even if are unsuccessful in breaking your heart, will at least make it ache.

The last thing screenwriters Scott Cooper and Brad Ingelsby are likely to be accused of here is a convoluted script. The hotheaded Rodney falls into the wrong crowd and it is up to Russell to try to bail him out. While the describable “problem” that arises out of the story is about as simple as that, the overarching story is actually an emotional journey that is something to behold.

The steam that belches out of the factories suitably obscures good guy from bad here. The moral ambiguity on display runs fathoms deep; hence, the beauty of this film. Each character, acting on his or her own reasons, is rendered with deep flaws, some perhaps more severe than others. DaFoe operates as a bartender, yet he finds himself balls-deep in debt with DeGroat and several nasty fellas up north as he spends a lot of money betting on bad street fighters. . .namely, Rodney. Saldana’s limited role as Lena is not without complication, either. Undoubtedly though, Bale’s character is the one who stands to lose the most, and becomes the centerpiece to this grim tale.

It’s not a film without its shortcomings, however. Forest Whitaker, as Sheriff Wesley Barnes, feels a little underused to say the least. As does Saldana. In fact, trailers seem to be quite misleading as the cut that is used in a rather dramatic moment involving Whitaker’s character does not actually make final cut. (This appears to be one of the movies that suffers from a pretty misleading trailer, in terms of its editing anyway.) Suffice it to say, though, that the limited screen time Whitaker gets he uses to its full potential. Ditto Saldana. The two add more concrete evidence for the argument that each character involved is deeply flawed, on some level.

There are also a few moments that feel a bit drawn out and redundant, but mostly these boil down to editorial issues rather than the innate elements that compose this surprisingly harrowing story. It’s again nothing to do with how unwelcome these people will likely make you feel; these are their woods you are trespassing in, and Harlan DeGroat’s neck of the woods is the meanest of all.

The acting is inspirational. It’s cinematography almost dreamlike. Cooper’s follow-up film respectably relies on its remarkably talented cast to bear the weight of the heavy emotions that penetrate these small towns and unstable relationships. It doesn’t need to lean on big-budget police chases, the high-stakes dramatic stunts and whatever else may go into what may be getting misperceived as a blockbuster film to get its brooding message across.

Recommendation: The film is quite simply incredible, while still possessing a few dents in the armor. Look to this film for it’s powerful performances and beautiful scenery; the story may be a bit lacking for some, and it’s likely this will become more obvious on repeat viewings; however it’s more than easy to overlook simplicity for the sake of some of the year’s most provocative performances.

Rated: R

Running Time: 116 mins.

Quoted: “The people up in those hills, they have their own breed of justice, and it does not include us.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.wegotthiscovered.com; http://www.imdb.com

Lee Daniels’ The Butler

Posted on August 20, 2013 by Tom

Release: Thursday, August 15, 2013

[Theater]

I think the real question here is, “Is it pretentious for the director to include his name in the title of the movie?” Or is it just pretentious to think about this being pretentious? ~~Perhaps I’ll address that later~~ Nick addresses this down below in comments, but in the meantime — the answer to the first is a resounding “Heck no.” Daniels’ film, featuring Forest Whitaker in a possible career-defining role, is both a heartwarming and tragic epic that unfolds similarly to Robert Zemeckis’ multiple-Oscar-winning Forrest Gump in that we visit several crucial periods in American history and see how they impact the life of a strong central character who undergoes both external and internal changes throughout.

The resultant timeline is full of emotional highs and lows. As one might imagine, there’s likely to be a lot of lows, since the material incorporates the violence from the civil rights movement along with the Vietnam conflict, just as two major examples. Despite the horrors on display however, there is a substantial amount of pleasantness to the proceedings. A lot of it stems from Cecil Gaines’ family life and the general essence of Whitaker in this role. He is absolutely fantastic — it’s clear he’s fully embraced the importance of what his character meant (his Cecil Gaines is actually based on the real-life story of Eugene Allen). Nominations should be awaiting with this one.

Even despite the movie being a rather loose adaptation, his life story is miraculous, to say the least. Growing up on the Westfall plantation, Cecil bears witness to gut-wrenching violence of the worst (most personal) kind. After it happens, the elderly Annabeth Westfall (Vanessa Redgrave) tells Cecil he is to start working inside the house from now on. Though the job was offered out of pity, his general treatment doesn’t exactly improve much as the notion of being an invisible servant in whatever room was impressed upon him rigorously. As gloomy as his situation initially seems, and Cecil doesn’t know it yet, this is finally a job with transformative powers.

Similarly to Forrest Gump, The Butler is a lengthy journey and takes its time to unfold. Patience may be required, but also it is with great ease that most people should be able to adhere. Daniels’ vision may wander around a bit, but the transitions made from scene to scene are often subtle yet very powerful. From the plantation house Cecil moves on for the city life in search of his next job. The woman he used to work for is nearing her death and he sees no future staying around the plantation anymore. He soon comes across a man named Maynard (Clarence Williams III) under dire circumstances and asks him for a job doing anything at all. Maynard reluctantly agrees to temporarily help out a malnourished Cecil. However, Maynard quickly learns just how good Cecil’s skills are and he suggests the boy move on to still bigger things. He informs him of a job opening at a ritzy hotel in Washington, D.C. and that he should consider applying. From the hotel, Cecil’s gainful employment continues as he moves up to the White House after discovering an open position for a butler there.

Daniels allows each scene to speak for themselves. As each one unfolds, Gaines’ worldview widens steadily and our respect for him grows accordingly. There’s a wonderful flow to the way small villages give way to the rush of the bigger city. The audio narration, read by Mr. Gaines, explains circumstances to us so even though we don’t have many “images” of these places, the time and places are anchored efficiently with what he has to say about them. Eventually we will meet a fantastic crew of other butlers who staff the busy American landmark: some who stand out the most are Cuba Gooding, Jr.’s upbeat Carter and Lenny Kravitz’ more reserved, but respectable James.

And of course, once we’re inside the White House we also will be getting to see the current leaders of the nation at the time. One of the most effective elements in Daniels’ film is his rotating door of great actors filling in significant roles, specifically the eight different presidents under which Cecil serves throughout his 34-year career. When Cecil first enters the Oval Office, we see a very thinly-haired Robin Williams as President Dwight D. Eisenhower. He’s discussing something with members of his Cabinet while Cecil politely serves tea. The moment is just enough to give us the impression that a significant wind of change is about to start blowing given the discussions ongoing. All those who fill in the presidential roles are terrific and similarly contribute to the scale of this story. Other famous personalities in the White House that we get to revisit include John F. Kennedy (James Marsden); Lyndon B. Johnson (Liev Schreiber); Richard Nixon (John Cusack); and Ronald Reagan (Alan Rickman). Each actor really makes their mark on each of their respective presidential roles and it’s quite a bit of fun seeing how the attitudes and atmospheres change with each new leader.

While these sweeping changes are being examined at the top tier of the political ladder, Cecil must always mind his business and be sure to strictly stick to his job. . . . . . that old nasty adage of being seen, but not heard really applies here. By doing just that, the mild-mannered Cecil becomes one of the most entrusted employees within the building which is by no means an accidental occurrence. As he has attempted to be all his life, Cecil is simply a patient and humbled man who retains every ounce of his dignity even though things at home aren’t exactly perfect. His eldest son, Louis, isn’t particularly proud of his father and often overlooks the fact that he’s had to work extremely hard to get to where he’s at now. Louis leaves for college in Tennessee, where Cecil knows trouble is likely to find him, but Louis isn’t listening. His wife, Gloria (a beautiful and heartwarming performance from Oprah Winfrey was a terrific surprise for me) is more supportive of her husband but also more supportive of her son making up his own mind. A nail is driven between Louis and Cecil’s point of view on the issue of segregation that’s currently ravaging the nation and this becomes a major focal point of the latter half of the film.

With that said, it becomes increasingly obvious as the years pass and the story amasses more and more historical significance that Daniels’ has essentially created two movies in one. One is the story of Cecil and his evolution from the terrible cotton fields to the dignified role he plays in serving the many presidents. This is arguably the overriding narrative. The second is clearly the idealogical struggle between Cecil and his eldest son, who both obviously want policies and social status to change for blacks. Whereas Cecil is content to fight the good fight that he always has by maintaining his calm and working hard, Louis feels drawn more to the revolutionary points of view shared by the Black Panthers — and I needn’t say much more about that. We can see where that story may or may not go.

Because of the heavy emphasis on the struggle between father and son, the movie seems to take on a bit too much, perhaps more than it rightfully should have to handle in this limited run time. Had the movie lasted in excess of three hours the cumulative effect might have been more profound. Instead, the story moves back and forth between Cecil and Louis for about an hour and it can get a little confusing. Who should we have to care about more? There are definite answers to that question, but Lee Daniels doesn’t really know what to say. It’s not the worst complaint you can have for a movie with this much history tied into it, but it’s difficult to ignore the obvious transitions between the three major acts.

These moments are marked by Cecil’s entrance into the White House for the first time (thus identifying Act Two), and the start of the Vietnam War (Act Three). Although the fact that the two stories — that of Cecil and that of the relationship between him and his oldest son — don’t mesh as smoothly as they could have, this seems to be a relatively small issue with a movie carrying this much weight. Not to mention, every member in the Gaines household are represented with brilliant performances by young actors David Oyelowo (who plays Louis) and Isaac White (who plays the younger sibling, Charlie). It may be obvious when we’ve shifted gears a little, but their screen times are both equally captivating and White is absolutely hilarious as Charlie.

I really can’t say enough about the cast. Everyone involved turns in stellar performances and considering that, this movie is far better than it maybe should have been. It’s hardly a groundbreaking story that we learn of here, even despite the incredible truth behind it and when one considers the horrible political culture in America at the time. One man comes from behind to get ahead of most everyone else and of course, things go all but smoothly for him along the way. Gaines suffers terrible personal losses, as well as he experiences the pain of a nation suffering from prejudice, hatred and division. Even though we’ve journeyed through the filth and grime with other public figures in movies before, Whitaker’s performance truly makes Eugene Allen iconic — a label which he perhaps earned himself; but the actor confirms it.

Recommendation: Although it’s not perfect and at times darts between historical and familial themes of devotion, betrayal, respect and dignity, the direction by Lee Daniels affords the film a beautiful aura, a respectful tone and a richly detailed culture from start to finish. It’s both funny and extremely serious; simultaneously poetic and dispassionate. Juggling these extremes cannot have been an easy task, and if you’re willing to see how it’s handled, I highly recommend you give this one a try.

Rated: PG-13 (hard)

Running Time: 126 mins.

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.imdb.com

Thomas J

My Journey Through Film

Tag Archives: #forestwhitaker

Rogue One: A Star Wars Story

Arrival

Southpaw

Dope

TBT: Fast Times at Ridgemont High (1982)

Ernest & Celestine

Out of the Furnace

Lee Daniels’ The Butler