Paul G — #6

Paul G logo

Last time we were here, Paul was being held hostage by Samuel L. Jackson in a tense dramatic thriller F. Gary Gray made back in the late ’90s. Let’s negotiate our way past that and look at a more substantial supporting role he’s had as part of one of Ron Howard’s many prestige pictures. Here is a character that somewhat flies in the face of a career built upon playing untrustworthy, shady types and you know what? The nice guy act really suits him.

Paul G in Cinderella Man

Paul Giamatti as Joe Gould in Ron Howard’s Cinderella Man.

Role Type: Supporting

Genre: Drama/sport/biopic

Plot Synopsis: The story of James Braddock, a supposedly washed-up boxer who came back to become a champion and an inspiration in the 1930s.

Character Profile: Boxing manager Joe Gould met a then-20-year-old James “Cinderella Man” Braddock at a crumbling gym in Hoboken, New Jersey. Gould immediately liked what he saw: a tough, durable competitor, a well-spoken, decent man with one hell of a right hand. The two struck up a friendship that very soon developed into a mutually beneficial professional relationship, and under Gould’s management Braddock turned pro in 1926 as a light-heavyweight contender. Ron Howard’s 2005 biographical drama, set against the backdrop of The Great Depression, focuses on a tumultuous but ultimately miraculous period in both men’s careers, capped off by Braddock’s historic upset of current World Heavyweight Champion Max Baer in 1935. This was the unlikely result of a series of victories Braddock claimed after Gould begged for him to be re-instated as a boxer following the infamously embarrassing, one-sided loss to light-heavyweight champion Tommy Loughran six years earlier. It was Gould’s pitch that became instrumental in setting the “Pride of New Jersey” back on a course to stardom, necessarily establishing Braddock as one of the few rays of light amidst one of the darkest periods in American history.

Why he’s the man: In an Oscar-nominated supporting turn, Giamatti embraces a much less shifty character than he has in the past, though Joe Gould wasn’t exactly a man without foibles. (In 1942 he enlisted in the Army and earned the rank of First Lieutenant, but was later sentenced to three years’ hard labor for conspiring to accept bribes; and Cinderella Man tends to cast a less favorable light on his decision to pitch Braddock’s comeback as a major profiteering venture for fight promotor James Johnston.) Giamatti, despite a sense of two-facedness, remains a thoroughly likable guy throughout, his closeness to Braddock and the respect he has for Braddock’s love for his family readily apparent. He plays such an excitable, emotional fella, the kind that’s easy to root for, so it was a shame Giamatti lost that year to Morgan Freeman for his work in Clint Eastwood’s Million Dollar Baby. A shame, but also understandable.

Rate the Performance (relative to his other work): 


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Creed

Creed movie poster

Release: Wednesday, November 25, 2015

[Theater]

Written by: Ryan Coogler; Aaron Covington

Directed by: Ryan Coogler

Perhaps it’s the fact that Creed feels more akin to a warm family reunion than a cold cash grab that unnecessarily extends a beloved boxing franchise that has allowed it to curry favor with both critics and audiences alike. The end product certainly doesn’t stand on shaky legs, with early responses seeming to indicate this could be a Dark Horse for Best Picture next February.

Underdog story manifests as a reunion in more ways than one, throwing on-the-rise actor Michael B. Jordan back into Ryan Coogler’s ring for the second time following their collaboration on 2013’s emotional gut punch Fruitvale Station. Meanwhile, an aging Sly returns to Mighty Mick’s Gym for the first time since he abandoned his responsibility to maintain it; it also re-teams Jordan with his The Wire co-star Woody Harris, who plays Tony “Little Duke” Evers, one of the young boxer’s many assistant trainers. Needless to say, Creed benefits greatly from the coziness of familiarity.

This is the tale of the rise of Adonis Johnson, illegitimate son of the legendary Apollo Creed. He adopts his mother Mary Anne Johnson’s last name early in the film even after (or perhaps due to) learning that his father lost his life in the ring at the hands of Soviet brute Ivan Drago. Donnie’s introduced as a rather angry child with a knack for getting into fist fights.

We flash forward to the present where a muscular Jordan is preparing for a brawl in a hole-in-the-wall Mexican arena. He holds down a job at a securities firm in Los Angeles before up and quitting it to pursue boxing full-time, much to the dismay of Mary Anne (Phylicia Rashad). It’s a matter of time before Donnie tracks Rocky down at his Italian restaurant in Philadelphia.

“Train me,” he insists. “No,” Rocky replies.

Then of course Rocky starts training him, scribbling down on a sheet of paper a series of training exercises that Donnie captures on his cell phone for later use. But you know Rocky will be drawn back to the ring, only in a different but no less effective capacity. Coogler builds the relationships in such a way that even all of these potential eye-roll-inducing developments pay great dividends. This is a massively enjoyable film, reminiscent of the pure entertainment value of Ridley Scott’s most recent effort. It remains to be seen how much pull it’s ultimately going to have down the stretch when it finds itself squaring off against the likes of Alejandro González Iñárritu’s upcoming western thriller, critically acclaimed dramas such as Brooklyn and Spotlight or the various other stand-outs from earlier this year.

Its reverence for everything that has come before is both a blessing and a curse. It means newcomers get to share in the experience fans in 1976 reveled in without really having to do any homework. Creed is Rocky VII, that much is obvious, but it also throws so many similar jabs and hooks it’s a stretch to call this a truly original work. There are moments during which we get the sense we’re walking in the shadows of a legend, yet when other sequences beget the euphoric triumphs of Gavin O’Connor’s family feud Warrior, the negatives are somehow easier to shake off. When Rocky warns Donnie that he’s “seen this fight before,” we believe him yet we still have to see it for ourselves; that terrible sinking feeling be damned.

Creed‘s soundtrack thumps with original and familiar beats alike. Its hip hop-heavy focus helps set the feature apart; these songs are all attitude. They represent the spoken portion of Donnie’s near poetic, fully meteoric rise to fame as he soon finds himself taking on the light heavyweight world champion “Pretty” Ricky Conlan (Tony Bellew) in a Liverpool-based match-up for the ages. Tessa Thompson, who inserts herself into the narrative in the form of neighbor-turned-love interest Bianca, a musically-gifted young woman, contributes her voice to a few tracks. She also is a welcomed presence though her character’s career aspirations get lost in the shuffle all too quickly.

And of course this wouldn’t be a complete review without mentioning Stallone returning to these hallowed grounds. The film finds a galvanizing power in his physically broken, emotionally burdened Rocky Balboa. I suppose if Creed stands for anything other than the mesmerizing power of professional boxing it’s the vitality of family, even if that unit has been cobbled together from undesirable (and highly unlikely) circumstance. The most potent conversations take place between trainer and boxer when they have a disagreement over whether or not they’re actually a family at all. Watch Sly struggle to hold back tears as he rattles off the losses he’s experienced in the past.

I wasn’t prepared for the gravitas this unusual acting duo offers up, but that’s what I took home with me after witnessing the reinvigoration of a franchise that once looked to be hanging lifeless on the ropes.

Rocky and his protege atop the steps in front of the Philadelphia Museum of Art

Recommendation: Creed rests on tried-and-true formula but in the process it manages to focus on the emotional power of a legendary character being brought back to life by a possibly never-better Stallone. It finds new life in Jordan’s gung-ho Adonis Creed and I have to admit I wasn’t prepared to be carried so far away from the seat in which I sat over the course of this two-hour journey. The blueprint for future installments has seemingly been laid down. If you’ve been a fan of the Rocky franchise this is a must-see.

Rated: PG-13

Running Time: 133 mins.

Quoted: “This guy right here, that’s the toughest opponent you’re ever going to face. I believe that’s true in the ring and I believe that’s true in life. Now show me something.”

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

The 33

'The 33' movie poster

Release: Friday, November 13, 2015 (limited)

[Theater]

Written by: Mikko Alanne; Craig Borten; Michael Thomas; Jose Rivera

Directed by: Patricia Riggen

Patricia Riggen’s optimistic, spiritual account of the 2010 San José mining accident in which 33 miners were trapped 2,300 feet below ground for nearly three months collapses under the weight of a feebly written and executed script.

Disaster films aren’t known for their star-making performances nor their Oscar-baiting screenplays, and The 33 is perfectly okay with continuing that trend, rendering everyone whose name isn’t Antonio Banderas cardboard cut-outs of characters. Because disaster films aren’t known for their acting pedigree, it might seem odd that my major complaint with this picture is the abysmal acting on display. And yet, this thing is painful to sit through folks, even despite an outcome that is quite uplifting because, you know . . . it really happened.

Riggen finds herself combatting the odds with a roster the size of two Marvel films put together. There are at least 33 main characters, and those are just the miners trapped beneath the earth — more specifically, under a rock that apparently weighed twice as much as the Empire State Building. Collectively, I suppose, you could consider them one singular character, only one that’s not very exciting to watch. On the surface, both literally and figuratively, we deal with Chilean government officials, concerned more with public image than the safety of those involved and the grieving family members whose desperate requests are often stymied by bureaucratic bullshit.

Speaking of, there’s Bob Gunton as President Piñera, a far cry from his Warden Norton and Rodrigo Santoro as Chilean engineer Laurence Golborne, whose handsome exterior makes him the perfect candidate as a pseudo-public relations manager, a character so ill-defined I don’t think I’m making that title up. He’s meant to be an engineer, although he’s reminded several times by Gabriel Byrne‘s Actual Engineer character that he should start thinking like one. Duh. Isn’t it obvious? People’s lives are in danger, get it together man!

Gunton and Santoro are rendered as puppets, wooden and largely void of charisma in their Suits, the kind you expect to see in films dealing with real lives hanging in the balance, lives dependent upon their political clout to ironically save them. Even more nebulous are the aforementioned family members, though one in particular stands out because she’s played by Juliette Binoche (for some reason). She’s sister to the alcoholic Darío Segovia (Juan Pablo Raba); the pair have more issues communicating than Hellen Keller. Apparently they’ve suffered some sort of trauma in the past.

Clearly, something was going to have to be sacrificed given the extensive roster. But Riggen, along with a quartet of writers, sacrifices the wrong thing, reducing virtually every miner and their corresponding family members to a few lines at most. It’s nigh on impossible to root for these people when we already know the outcome and when we can’t tell Adam from Eve. Fans of The Office will get some mileage out of Oscar Nuñez as Yonni Barrios, one of the miners who is experiencing marital woes and who apparently farts in his sleep. If I weren’t such a fan of his character in that show I’d label this characterization as annoyingly juvenile. Actually, it still is just juvenile, but at least there’s an attempt to shove some humor down into these dank caves.

There are a few positive takeaways, however. What saves this largely uncharismatic cast is the level of diversity in the casting itself. Chilean, Brazilian, Filipino, Mexican, Cuban and Colombian actors congregate to play their Chilean parts, and once again it’s apparent how much Banderas believes in this material. His Mario Sepúlveda is one of an elite few with energy and passion. And quite frankly I was prepared for the religious overtones to be off-putting. Instead this adds weight to proceedings. It’s also one of a few elements that signify the passage of time, lending gravity to the collective despair.

Unfortunately these elements are not enough to qualify The 33 as a natural disaster/biopic worth digging into.

Antonio Banderas inspiring his mining brothers to keep the good faith in 'The 33'

Recommendation: The 33 represents a cinematic treatment of a fairly recent and highly unlikely rescue mission that garnered global attention and support. The optimism is a welcomed attribute, but weak writing and poor acting do a lot of damage here. If you’re looking for basic coverage of the event in cinematic form, I think this is currently your only option (unless there’s a documentary out there somewhere). Inspired by the book ‘Deep Down Dark,’ written by Hector Tobar.

Rated: PG-13

Running Time: 127 mins.

Quoted: “That’s not a rock, that’s the heart of the mountain. She finally broke.”

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

McFarland USA

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Release: Friday, February 20, 2015

[Theater]

Written by: Christopher Cleveland; Bettina Gilois; Grant Thompson

Directed by: Niki Caro

Is this the part where I openly admit to becoming teary-eyed watching a Disney film? Or is that just way too honest?

. . . . . hello . . . ? Guys . . . . . . ?

Ah well, whatever. Good chance I’m just talking to myself now, but nonetheless it’s nice being reminded of how many ways movies can offer surprises. Family-friendly McFarland USA is the most recent example, transcending mediocrity while still relying on shopworn techniques to construct its story, one that is as wholesome as it is sensational given its drawing upon real life events.

Kevin Costner is a disgraced high school football coach named Jim White who finds himself having to relocate his family to Nowheresville — er, excuse me, that’s McFarland, a tiny Californian town few maps have ever bothered mentioning — as he seeks another coaching job at a high school that’s predominantly Hispanic. Although hired because of his football résumé Jim suggests to the school’s principal, much to the chagrin of Assistant Coach Jenks (Chris Ellis), that McFarland High start up a cross country running team. He sees in several members of the squad some serious talent, but talent that’s more useful off the gridiron. Having no experience coaching track or cross country before Jim’s chances of finding success are pretty apparent from the get-go, but it’s not until he manages to corral seven young boys, including the unstoppable Thomas Valles (Carlos Pratts) that a real opportunity begins to present itself.

McFarland USA begs comparisons to the inferiorly budgeted and marketed Spare Parts, a production featuring George Lopez that shines a light upon four young Latino high school students possessing brilliant minds but lacking the financial and societal support needed for their potential to be fully realized. Trade intellect for athleticism, Arizona for California and a talk-show host for a seasoned action star and you get the latest effort from director Niki Caro. The drama at times mirrors that of the kids of Carl Hayden High, in particular a scene in which Jim White drives his rapidly rising young star athletes to the beach so they can have their first glimpse of the ocean. It should be said that this sequence is handled with much more grace and passion but it’s difficult shaking that feeling of déjà vu if you’ve sat through both films.

But where Spare Parts had the difficult task of selling audiences on the magnitude of the motivation required for these immigrant youths to compete in something as obscure as an underwater robotics competition, McFarland USA embraces its broader audience appeal by crafting a sense of warm community and fictionalizing a rallying cry behind an upstart sports team. Cross country running makes for an interesting twist on an all-too-eager-to-inspire genre. At the risk of scribbling out yet another cliché, we’ve been beaten over the head more than enough times with the pressures, heartbreaks and pitfalls of football stardom. As an avid sports fan, I say this not because my goal is to mislead anyone but because it’s simply true: football dramas are far too easy to find.

It’s also no secret Disney prefers creating cinema that values community-building rather than the destruction thereof, and McFarland USA continues in that tradition. As the Whites transition from minority status in a town where no one’s a stranger to another, to becoming the reason McFarland begins receiving recognition amongst the more affluent surrounding suburbs there is a surprising amount of satisfaction gained in experiencing the growth, both personal and communal. Jim goes from being jokingly nick-named ‘Blanco’ to being revered as Coach as a series of growing pains galvanizes the group over the fall of 1987.

Added to this, Caro’s ability to homogenize these two cultures cohabiting within the Californian border. We see Jim’s eldest daughter Julie (Morgan Saylor) entering into young womanhood upon her 15th birthday during an extended vignette that serves as a highlight of the film when her father throws her a “quinceañera,” and her burgeoning romance with Thomas (arguably the best runner) furthers the notion that this family is not likely to abandon McFarland, even if Jim may have better job prospects on the horizon given his remarkable achievements. The respect between both groups is something that helps to balance out the film’s fixation on competition during the race day events.

There’s nothing truly original about McFarland USA, and yet the film excels in delivering entertainment and packaging an inspirational true story unlike many mainstream sports dramas have in recent memory. Anchored by wonderful performances from Costner and Bello in tandem and visually enhanced by a vibrant Disney color palette — this is a beautifully shot film, with particular emphasis on the landscapes during the races as well as the costume design — you might find yourself every now and then counting cliches but at the end you shouldn’t be too surprised to find yourself secretly cheering.

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3-0Recommendation: McFarland USA relies on some old-hat filmmaking techniques but that doesn’t distract from the pure enjoyment of watching this town come together. There is so much to like about this one that anything less than a solid recommendation just wouldn’t be fair. Any fan of Kevin Costner shouldn’t pass this one up, either.

Rated: PG

Running Time: 129 mins.

Quoted: “That’s not Danny Diaz. . !”

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

The Theory of Everything

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Release: Wednesday, November 26, 2014

[Theater]

Written by: Anthony McCarten 

Directed by: James Marsh

If you want to talk ambition, meet British director James Marsh. He once thought it realistic to stuff everything Stephen Hawking-related into a two-hour romantic drama. There are obvious issues with such a strategy. Not so obvious perhaps are the compromises he’s made in producing something worth watching.

Or, maybe they are. Either way, it looks like it will still be some time before we get the definitive guide on the inner workings of one of the greatest minds this world has and likely will ever see.

Marsh (Man on WireShadow Dancer) blends elements of the standard biopic with those of a romantic drama while infusing the production with at least the pretense of science. More often than not intellectual stimulation is sacrificed in favor of powerful emotional recoil at the sight of a body enduring prolonged deterioration. Yes, the experience fails to manifest as an interesting journey as much as a heartrending commitment to watching what we already are aware has happened. But it’s a perfectly inoffensive approach all the same.

Considering the number of similar films attempting to fashion glamorous takes on the lives of many an ill-fated genius or savant — Ron Howard’s A Beautiful Mind being one of the most memorable in recent years — it’s hard not to feel the nagging tension of having been there, done that this time around. Howard’s muse happened to be brilliant economist John Forbes Nash. The crux of that particular film revolved around schizophrenia and how it nearly eroded the passionate love shared between an ailing Nash and his fiercely determined wife Alicia Lardé. Fast-forward to 2014 and you simply change the variables. The constants remain, though: bodily dysfunction, emotional trauma, and the very human ability to somehow ignore and even triumph over it all.

The Theory of Everything plays out like the autobiography Professor Hawking will probably never write. (That’s not intended as a cruel joke, in any way, shape or form. I simply just don’t envision this man ever writing one.) And by rights, it should. While camera angles hew intimately to Hawking’s views of the world, it’s his first wife whose work has most directly inspired this particular Oscar-hopeful. Adapted from her memoir ‘Traveling to Infinity: My Life with Stephen,’ the film logically detours away from the scientific to focus on the romantic aspects of a life less ordinary.

Leaning on mush and sentimentality does not crush Marsh’s project, luckily enough. After all, he has been afforded a pair of breathtaking performances in the form of Eddie Redmayne and Felicity Jones. The pair of young performers will seem inseparable after this. In the last several weeks, a certain someone has been knocking on this blog’s door with more questions about whom he should consider grooming next for the big stage in the Dolby Theatre. Now it would seem to be the young and freckled Londoner’s turn to be called upon. What he accomplishes in Theory is nothing short of revelatory in practice.

Twisted, pained expressions dominate Redmayne’s facial features for the film’s later stages, a development made all the more heartbreaking when given his cheerful, exquisitely nerdy countenance early on. It’s one aspect of the film that absolutely demanded perfection regardless of the surrounding material or narrative flow. Redmayne understood this and courageously ran with what will down the road be described as one of his career’s most challenging and daring decisions.

This is also Felicity Jones’ finest hour. She is a force to be reckoned with alongside the towering Redmayne, channeling her inner Jennifer Connelly appropriately. As Jane Wilde, Jones exudes strength and bravery in a situation that would surely demolish both in any ordinary mortal. There is nothing theoretical about the performances here. The film radiates sincerity and the rapport between Jones and Redmayne single-handedly elevates a somewhat pedestrian narrative. That much is most certainly clear.

What’s less clear is how much Marsh actually appreciates Hawking himself. Regrettably The Theory of Everything ends terribly. The final scenes threaten to drown out any sense of originality on the subject, as the narrative merges with the collective populace’s impressions of the guy: he’s no doubt an inspiration. But we know this already. That’s why there’s now several movies made about him. These last shots may resonate, but they resonate for the wrong reasons. It becomes evident in Theory‘s awkwardly sweeping yet rushed conclusion (why do these stories always end in big auditoriums or conference halls?) Marsh doesn’t want to put too fine a point on the harsh reality of Stephen’s triumph. He doesn’t want to betray the public perception of the iconic wheelchair-bound professor.

That’s why he saves one of the film’s most inspiring lines for the very last moment. Too bad I can’t say the same for this review.

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3-5Recommendation: Arguably laden with cheese and sentiment, The Theory of Everything features a lot of heartbreak and cold science (of at least the medical variety) to help try to balance the equation. Two incredible performances help stabilize it a little more, though ultimately this is a movie that belongs on the Hallmark channel more than anywhere else. This is a light year away from being a bad film, but it’s just as far from being original or truly moving. 

Rated: PG-13

Running Time: 123 mins.

Quoted: “There should be no boundaries to human endeavor. We are all different. However bad life may seem, there is always something you can do, and succeed at. While there’s life, there is hope.”

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

TBT: Hoosiers (1986)

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Well hello there. Welcome to a new month of some blasts from the past, and this time we indeed do have a few of those. I’d like to officially welcome you to NBApril. The NBA Playoffs are just around the corner at the end of this month. One film that comes to mind that is a great ambassador for the sports genre is the highly improbable story of an Indiana high school basketball squad that defies all odds to compete in the state title game. With impacting performances, a strong sense of nostalgia for a more simple time, and a wonderful if not familiar story, this week’s entry quickly gets us into the spirit of the post-season. 

Today’s food for thought: Hoosiers.

Hoosiers

Release: November 14, 1986

[DVD]

Welcome to humble old Hickory, Indiana, a hardened agricultural community that comes together every fall to get behind their high school basketball team, the Hickory Hoosiers. Small-town Indiana isn’t the kind of place that takes quickly, if at all, to the idea of change or going against the grain of tradition and routine. Getting set in a certain way gives the impression of consistency and stability. But when a new head coach is hired to coach the boys and he is anything but their ideal candidate, how will the town cope with the choice they are more or less forced to accept?

To put it insanely complicatedly, David Anspaugh’s riveting sports drama Hoosiers is a classic. One cannot think of a basketball movie and not have the iconic images found in this love-letter to the fifties in mind almost immediately. The throwback look and tones in his film recall a much more simple time, but it’s not so old-school as to avoid being relatable. It tells the story of a very unlikely high school team that goes on to compete in the Indiana State Championship game, adding in a few excellent twists on the conceit and establishing a strong sense of nostalgia not to be forgotten by those who have seen it.

The modest school had been looking for a new coach, when they finally came across Norman Dale (Gene Hackman)’s résumé. Dale was a man with an interesting reputation, with his last job ending in a firing for physically abusing his players. He arrived in Hickory, somewhat hat-in-hand, knowing his old friend Cletus (Sheb Wooley) would approve of his credentials.

But no sooner the news of the hiring broke out did Coach Dale get mobbed with questions from the inquisitive community at an impromptu town meeting held at the barber shop (of all places). From the get-go it’s apparent the outsider never had made friends quickly, and with this particularly opinionated crowd, Dale drove a much harder bargain by being short on words and light on reassurance that he was on their side. The way in which he performed his job would prove to be an even bigger shock, though the film’s overriding tension is established in the aforementioned scene.

Hickory High is a town so small its basketball team originated with seven players. On the first day of practice Coach let two of them go since they refused to pay attention while he was addressing them. It would be but one of many instances of him demonstrating his desire to control and drive his basketball team hard. He had purpose in Indiana, and was willing to do whatever it took to prove he had coaching chops despite what his personality may have lacked. Thanks to Gene Hackman’s committed performance, Dale was portrayed as a man with a fiercely competitive spirit that bordered on obsessive. It’s his clash with the community and the odds that were stacked against him personally that made Hoosiers such an engaging watch.

Though Hackman brought on a tour de force performance playing the controversial high school head coach, there was a second contribution that stood out as particularly memorable and emotional. In one of the film’s more memorable scenes, Coach Dale approached one of his player’s fathers, the town alcoholic Shooter Flatch (Dennis Hopper) and requested he become the team’s assistant coach. It was an offer not without strings attached, however. Dale informed Shooter he would need to clean up his act in order to be present at the games. It’s a memorable scene given Hoosier’s undeniable thematic search for second-chance opportunities. For Shooter, this was his own pivotal moment of redemption.

But for the young squad, their moment of redemption was standing behind a coach frowned upon by the entire Hickory community. During a second community meeting at town hall, in which a vote was to be taken regarding the future of Coach Dale as head coach, his players decided in order to do the impossible this season it would have to be with him and no one else. While it may be the movie’s most outstanding cliché, it hardly feels like one at the time. The team unity from this point on is actually incredibly inspiring. The Hickory Hoosiers proved almost everyone wrong as they advanced further in the tournament, eventually stunning the state by proving themselves worthy of a trip to Indianapolis to face the much more athletic and physically dominant team from South Bend.

Anspaugh did little with his direction to sway opinion on the film’s tendency to walk a cliched path. It’s very easy to set this fact aside, though, when the performances and circumstances were this good. Hackman is eminently watchable as the rough Coach Dale. The kids are a likable bunch of no-named actors who provided just enough charisma to give the illusion they were all the actual basketball team who accomplished the unthinkable. The illusion is one to be watched again and again. On top of being a thoroughly enjoyable throwback to the fifties, Hoosiers has incredible relevance. Though it was made in the 1980s, it’s unrelenting passion and focus on the game withstands the test of time as it seems just as inspirational a film for coaches to show their teams before competing in this year’s Final Four games as it probably was in the decade it came out in.

Exciting, engaging and tremendously earnest, this is a sure-footed underdog story that remains to this day a thoroughly investing and nostalgic watch. It’s one that can be enjoyed again and again, especially this time of year.

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4-5Recommendation: Though it undoubtedly helps to be a follower of the sport, Hoosiers compels as a true story dramatization even for non-fans. It’s beautifully shot and is imbued with a heartwarming tone that allows its central performances to truly flourish. If you want to talk classic basketball films, let’s talk Hoosiers.

Rated: PG

Running Time: 114 mins.

Quoted: “Let’s win this game for all the small schools that never had a chance to get here.”

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 

TBT: Miracle (2004)

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Ladies and gentlemen, the 2014 Winter Olympic Games are upon our doorsteps. While most of the world’s eyes are going to be set on Sochi and their questionable accommodations, hopefully there will be a few to spare as we push forward into February on TBT. After the polls closed on Facebook in which I asked which theme would be most suitable for the month of February, my buddy Josh suggested I look back on films that dealt with the Olympics. Great call, since I both love sports stories (despite the cliches) and I absolutely am transfixed by anything Olympics-related. The amount of talent and competition on display is something we should all marvel at, even if we don’t understand a damn thing about curling; even if we don’t care much about men in tights spinning in circles on ice to music that sucks. The point is that, for a brief moment, the world seems to put all of its cat-fighting on hold for the sake of watching some truly compelling competitive drama in a variety of disciplines across a wide range of sports action. Behold, the month of February on TBT

Today’s food for thought: Miracle. 

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Release: February 6, 2004

[Netflix]

Kurt Russell is Head Coach Herb Brooks. His team is an unlikely band of collegiate hockey players. The opponent is the dominant Soviet Union hockey team, who haven’t lost in 15 years. The stage is the 1980 Olympic Winter Games in Lake Placid, New York.

Miracle may not break free of the genre’s cliches, but let me know of a sports film that really and truly does. If you want to sit there and gripe about how many ways in which this film sticks to formula, you can go ahead and sit in the penalty box. Or be a benchwarmer, for Gavin O’Connor’s film is a sensational realization of a most absurd circumstance, one that helped transfer the bitterness of the ongoing Cold War onto the ice.

At the time of the XIII Olympic Games, anti-Communist sentiment had reached a fevered pitch in the United States as the U.S.S.R.’s involvement in Afghanistan became increasingly violent and unstable. This was reflected in the sea of signs and banners present at the many venues in Lake Placid, also evidenced in many shots throughout O’Connor’s film. The politics made the showdown between American collegiate athletes and the heavily favored Soviet juggernaut all the more epic. Since the Russians had dominated virtually all levels of men’s ice hockey since 1954, logic follows that Coach Brooks would bring top American talent to the Games in an attempt to match their skill and athleticism. Such was not the case.

As the iconic Coach Brooks, Russell delivers an impressive, intimidating performance. He makes sure that for the majority of the film, he won’t be your buddy. His dedication to whipping his players into shape through brutal training is put on display in this two-plus-hour sports drama. Instead of relying on naturally gifted players, he built up a team whose power would be generated from their conditioning and hard work. Under the leadership of this less-than-personable coach, life for Team U.S.A. was more akin to life in the military.

One moment in particular remains vivid: during a qualifying game for a spot in the Olympics, a few players on the bench are commenting on some of the girls in attendance. After the game, Coach ‘rewards’ the team’s distraction during gameplay by forcing them to do ice sprints (later termed ‘Herbies’) for an unspecified amount of time — needless to say, this punishment lasted long enough to ensure they were the last people out of the building that night.

Coach Herb Brooks didn’t only invoke questions from his own players, but his unorthodox methods — an overhauled training schedule and his unwillingness to allow anyone other than himself select the final team roster — sparked serious concerns from the overseeing Olympic Committee from the outset. Miracle opens with an immediately engrossing discussion between Coach and the governing body as to how they might go about facing a seemingly unstoppable Soviet Union squad. In a single scene we get the impression of a team leader endowed with supreme confidence. As the movie expands, we learn where such confidence is derived from.

Though this is that same story of a man haunted by his own personal shortcomings, using a deep pain to fuel his team’s future, it’s nonetheless inspiring, without ever going over-the-top. Given that we know the real-life outcome, the film’s a foregone conclusion in which beauty lies in the details. O’Connor sets a brilliant pace that guides us through all the requisite growing pains, the failures and the tiny window of success Coach Brooks managed to squeeze his team through. It’s a two hour film that is over in what feels like a few minutes. Rocketing towards an awesome final half hour of hockey action, in which almost no detail is spared — save for the excessive swearing and trash-talking that undoubtedly occurred — the other three-quarters of Miracle is equally moving, as we also learn of the personal challenges faced by Coach Brooks. Having to balance work with family life can never be an easy task, and because of the magnitude of his own ambition, it’s a miracle in itself the guy doesn’t wind up in a divorce.

Patricia Clarkson portrays Patty Brooks with a warm empathy that offers a welcomed change of pace from the cold machinations of a former player-turned-coach trying to do whatever it takes to drop the prefix ‘im-‘ from ‘impossible.’ Though he must often be away from family, Patty keeps Herb from disappearing completely into an obsessive state.

In many senses, O’Connor’s third directorial effort is a classic. Providing all the hallmarks of a biographical sports drama, it perhaps sets a new standard for inspirational. How one former University of Minnesota hockey coach managed to unite 20 players from different schools is one step. Taking them to the Olympics, quite another. And then going on to claim the gold medal? Scripts like that would ordinarily seem hokey if drafted for fictional purposes. Some moments in sports history are naturally born to produce winning films, and this belongs among the best of them.

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4-5Recommendation: It took yours truly until this year to get to Miracle, which is pretty embarrassing. Sure, it’s a sports film through-and-through, but the underlying story, coupled with great performances, makes for a great movie for even the casual viewer. If you haven’t checked this film out yet, then no time is better than now, particularly as we head back to Russia for another fortnight of spirited competition. Tell me, where do you hail from, and who will you be rooting for this year?

Rated: PG

Running Time: 136 mins.

Quoted: “Great moments… are born from great opportunity. And that’s what you have here, tonight, boys. That’s what you’ve earned here tonight. One game. If we played ’em ten times, they might win nine. But not this game. Not tonight. Tonight, we skate with them. Tonight, we stay with them. And we shut them down because we can! Tonight, WE are the greatest hockey team in the world. You were born to be hockey players. Every one of you. And you were meant to be here tonight. This is your time. Their time is done. It’s over. I’m sick and tired of hearing about what a great hockey team the Soviets have. Screw ’em. This is your time. Now go out there and take it.”

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