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(04/27/05 12:00pm)
Award-winning director and daughter of famous playwright Arthur Miller, Rebecca Miller ("Angela" and "Personal Velocity"), delivers her third feature, "The Ballad of Jack and Rose."
It is 1987 and Jack Slavin (Daniel Day-Lewis) lives with his daughter, Rose (Camilla Belle), on a remote island off the East Coast. The island was at one time a commune and, since its breakup, Jack has lived there, sheltering his daughter from the outside world. He is an environmentalist, does not believe in television and protests the idea of building a development on what he believes to be wetlands.
Jack has a weak heart and his health is deteriorating. He invites his girlfriend from the mainland, Kathleen (Catherine Keener), and her two sons (Paul Dano and Ryan McDonald) to live with him and Rose. Rose quickly becomes jealous and her mood turns from innocent to ugly. It is clear from the start of the film that something is off in the relationship between Jack and Rose, yet the depth of the situation becomes more apparent as the film progresses.
Miller uses many contemporary film styles in her direction of "The Ballad of Jack and Rose." Time lapse photography of a beach scene is particularly notable as are the frequent jump cuts. With her skilled approach to filmmaking, Miller is able to highlight the beauty of the island without abandoning the popular elements of recent cinema. Miller wrote the screenplay for the film, in which she creates an uncanny balance between humor and sorrow.
Miller also has a knack for creating moments of extreme intensity. The film's soundtrack is well-chosen, including songs by singer/songwriter and cultural icon Bob Dylan, as well as two different, yet equally appropriate, versions of the song "I Put a Spell on You." The combination of sounds and visuals come together flawlessly.
Day-Lewis, who is married to Miller, gives an inspired performance as Jack. The personal relationship between Day-Lewis and Miller likely factored into his decision to take on the role of Jack (he is traditionally very selective in his choice of roles), but it is clear by his dedicated performance that he believes in the film. Although his character is emaciated physically, his presence in the movie is overwhelming and crucial to the film's success.
Jena Malone gives a noteworthy performance as Red Berry and Beau Bridges is also very good as Marty Rance, the man looking to expand development on the island. McDonald, who plays one of Kathleen's sons, is a pleasant surprise. He is often the bearer of comic relief and one of the characters for whom the audience feels the most compassion.
"The Ballad of Jack and Rose" is a highly ambitious film. There are many storylines in the movie, some of which become apparent only at the end. It is a film that challenges the audience. While the film does not quite reach all of the goals it sets for itself, it should be commended for a valiant effort. "The Ballad of Jack and Rose" is inspiring and unique, picturesque in its appearance and original in its execution.
(04/20/05 12:00pm)
The Philadelphia Film Festival began its 14th run on Thursday, April 7. The festival is dedicated to showcasing a wide variety of projects from all over the world and is quickly becoming one of the hottest film festivals in the country.
Opening night festivities included a film screening and party. Since opening night, the festival has been showing films in four different theaters located in Philadelphia. The Ritz East, Prince Music Theater, The International House and The Bridge hosted some of the outstanding films in this year's festival.
There are 12 thematic categories of films that the festival highlights, including Animation and Short Programs, Cinema of the Muslim Worlds, New Korean Cinema, the Documentary Tradition and American Discoveries. The festival shows nearly 275 films.
Many of the screenings include a question-and-answer period after the film and there are also panels and forums available for the festival attendees. Special guests of the festival include director Gregg Araki, Roc-A-Fella CEO Damon Dash, actor David Duchovny and director and actor Todd Solondz.
The festival shows an assortment of films coming from 40 countries. Filmmakers and actors range in experience levels, from the highly accomplished to those at the beginning of their film careers.
The Artistic Achievement Award was presented to Malcolm McDowell on Friday, April 15, just prior to a screening of "A Clockwork Orange." McDowell ("Blue Thunder," "Star Trek: Generations," "Gangster No.1," "The Company," "In Good Company") was chosen for his ability to play numerous roles and for his international success. Previous Artistic Achievement Award winners include Alan Rudolph (2003) and Mary-Louise Parker (2004).
On Monday, April 18, the American Independents Award was presented to Steve Buscemi. Buscemi, who has become a cultural icon thanks to his excellent acting ability and prolific involvement in the cinema (films include "Mystery Train," "Reservoir Dogs," "The Hudsucker Proxy," "Fargo," "Ghost World" and "Coffee and Cigarettes"), was chosen for his dedication to American cinema. Although recognized more as an actor, Buscemi has also written, directed and produced films, succeeding in both the independent and mainstream film worlds. A previous winner of the award was John Sayles in 2002.
In addition to the Artistic Achievement Award and American Independents Award, films of exceptional merit are also awarded. These awards are broken into two categories - the Juried Competition and Audience Awards.
The festival will come to a close on Wednesday, April 20 with a screening of "Music from the Inside Out," a documentary about the Philadelphia Orchestra. If you missed the festival this year, be sure to keep next April open - the Philadelphia Film Festival looks as though it will only get bigger.
- More information about the Philadelphia Film Festival can be found at phillyfests.com.
(04/13/05 12:00pm)
"Sin City" has been highly anticipated since talk of its release first began. Adapted from Frank Miller's graphic novel series, "Sin City" has an extremely large cast of well-known actors and a unique and innovative style of filmmaking that makes it one of the most important films released this year.
The film follows three main storylines, each with a male protagonist. The storylines are linked with one another (the connections become clearer toward the end of the film), yet the protagonists do not actually meet up with one another. The film incorporates many horrors, including (but certainly not limited to) cannibalism, murder, mutilation and beheadings.
"Sin City" combines the classic elements of film noir - black and white film, voice over, dark, rainy nights and more than one femme fatale - with the comic book look of the graphic novel. The film is shot in black and white, with only certain objects shown in color. With such a little amount of color in the film, the times when it is used are often quite breathtaking. Be it blue eyes, blood or golden hair, the effect is startling. "Sin City" is a visual success; its style is much more necessary to the film than its content.
"Sin City" is directed by Miller and Robert Rodriguez. Rodriguez began his career with the film "El Mariachi," and he has since directed "Desperado," "Spy Kids" and "Once Upon a Time in Mexico," among others. He has been a pioneer in the film industry, often choosing to shoot in digital video and doing much of his work from his home equipment.
With Miller involved in every aspect of the filming, "Sin City" is as true an adaptation as one can get. Rodriguez insisted, despite discouragement from the Directors Guild of America (DGA), that Miller be listed as co-director of the film. (Rodriguez has since resigned from the DGA over the matter.) Quentin Tarantino, who has been close with Rodriguez for some time, stepped in as a special guest director, contributing one sequence to the film.
The film is very well acted, as one would expect from the strength of the cast. For me, it was Clive Owen who stood out most as the character Dwight. He is extremely charismatic and the black and white only magnifies his strong screen presence.
Bruce Willis and Mickey Rourke also deliver terrific performances as the other two male protagonists. Benicio Del Toro is almost unrecognizable as the character Jackie Boy, and Jessica Alba is wonderful as Nancy Callahan. Rosario Dawson, Brittany Murphy, Nick Stahl, Elijah Wood, Alexis Bledel and Josh Hartnett, among many others, make up the rest of the cast. Miller also acts in the film, taking on the role of a priest.
Despite the film's often gruesome and violent nature, it is still a pleasure to watch. Even without much color, the picture is vivid and full of energy. It takes risks and is rewarded for doing so. "Sin City" is an exceptional film with an uncompromised vision. The city the film portrays is not one I would ever want to visit, but the film is something I can see myself revisiting again and again.
(04/06/05 12:00pm)
The prolific and highly respected filmmaker Woody Allen is back with another feature, "Melinda and Melinda," an exploration of the notions of tragedy and comedy in life and storytelling.
The film begins in a restaurant as four friends prepare to enjoy dinner. A playwright (Wallace Shawn) begins to debate with another playwright (Larry Pine) about whether the world is essentially tragic or comic. To settle the debate, their friend gives them a hypothetical situation, just the bare bones of a story, and asks them to fill in the blanks. The two playwrights give their respective takes on the story - one tragic, one comic - between which the film weaves back and forth.
The film occasionally returns to the four friends in the restaurant, as Allen reminds us that the stories we are seeing are not planned out but are being created moment by moment as we see them. It is also a reminder of the nature of the film-going experience - what we see is not a complete reality, but instead just the elements of reality that someone has chosen to show us.
Both versions of the story focus on a woman, Melinda (Radha Mitchell), who unexpectedly arrives at a dinner party. In the tragic version, Melinda is an old college friend of Laurel (Chloe Sevigny). Laurel is married to Lee (Jonny Lee Miller), a struggling alcoholic actor. Melinda begins a relationship with Ellis (Chiwetel Ejiofor), a piano player she meets at a party, but as one would expect from a tragedy, things do not go as she had hoped. In the comic version, Melinda is the downstairs neighbor of a filmmaker, Susan (Amanda Peet), and her out-of-work actor husband, Hobie (Will Ferrell).
The acting of the film is superb, with Ferrell, Mitchell and Ejiofor standing out. Ferrell ("Anchorman," "Elf," "Old School") is playing a different character than we are used to seeing him as. However, he is able to play it perfectly, never abandoning the comedic talent for which he is known. Mitchell ("Finding Neverland," "Man on Fire," "Phone Booth") takes on both roles and does a terrific job with them - she is able to act completely different in both stories, yet still retain a sense of similarity between the two characters. Ejiofor ("She Hate Me," "Love Actually," "Dirty Pretty Things") is charming and elegant in his role as Ellis the piano player.
The actors in the tragic version of the story act very much like they would if they were acting in a play. Their lines are delivered in dramatic fashion, as if on stage, and even the scene setups are constructed to look as if they could be part of a play. The comedic version of the story is much lighter and the contrast between the two stories works well to highlight their differences.
Interestingly, certain aspects of the story overlap in the two different versions. For example, a dentist is involved in the two stories and a day at the racetrack is also a key part in both versions. I liked this overlap very much; in fact, I wish there was more of it. It says a lot about the nature of telling stories, the various perspectives one can take and the direction we can choose to go with any given material.
In "Melinda and Melinda," Allen takes a look at the duality of life, the two sides of human nature, and he manages to do it with his own successful style. At one point in the film, Melinda is asked, "Are those tears of sorrow or tears of joy?" To which she answers, "Aren't they the same?" Allen reiterates this point over and over again throughout the film, right up to the very end.
I suspect that some people will love the film from the start and enjoy it the whole way through. For others, it will seem pretentious or gimmicky. Yet this only helps to enforce the point that Allen tries to make, a message he never loses sight of during the course of the film - perhaps there are always two ways of looking at things.
(03/30/05 12:00pm)
"The Upside of Anger," which features an outstanding ensemble cast, takes an imperfect yet engaging look at a family and its relationships. Terry Wolfmeyer (Joan Allen) is the mother of four daughters (played by Erika Christensen, Evan Rachel Wood, Keri Russell and Alicia Witt). When her husband disappears without warning, she is left angered and must overcome the emotions that come with losing a loved one.
She starts a relationship with her neighbor, Denny (Kevin Costner), a former baseball star turned radio DJ, who soon becomes more than just her drinking buddy. The pair is charming and the characters compliment each other in refreshing ways.
As one would expect, Kevin Costner is at the top of his game as the former baseball player, a role he has managed to play so convincingly so many times. The accomplished Joan Allen gives a validity to the film and her presence helps to raise it up a level. Erika Christensen, Evan Rachel Wood, Keri Russell and Alicia Witt all contribute great performances as the four daughters. They are all extremely talented young actresses.
Director Mike Binder shows skill behind the camera, carefully putting together an attractive looking film. Binder also stars in the film as a radio producer. His character, Shep, likes to date women much younger than himself. Shep is an interesting screen personality - he is clearly a jerk yet there is something fun and likable about watching him on screen.
Oddly, it is often difficult to tell if the actors are perfect for their roles or horribly miscast. At times, the actors seem secure in their roles and totally believable as the characters they are playing. However, at other times, the actors seem awkward and unsure. While this seems like it would work against the film, it actually has quite an interesting effect. In our own lives, we often experience moments when we feel "miscast" and that sense of uncertainty becomes very convincing in the film.
The film has one other unique problem that actually works in its favor. Many major moments of the film are not earned, while other events are built up to without a payoff. This problem makes the film slightly difficult to embrace, yet at the same time it seems to mirror real life very accurately. So often the most unexpected happenings mean more than the events we plan for far in advance. In life, there are buildups and payoffs, but often they do not coincide with each other.
"The Upside of Anger" is flawed, but it manages to use its imperfections to its advantage, making the film all the more endearing. The surprise ending is almost too unpredictable, but I suppose that many events in life are just as unexpected in different ways. At one point in the film, a character says, "Truth is, at best, a partially told story." In "The Upside of Anger" we get truth at its best, incomplete yet emotionally charged and beautifully real.
(03/23/05 12:00pm)
"Travellers and Magicians" is a film of unexpected charm. I knew very little about it before entering the theater and was honestly feeling slightly detached when the film began. However, not too far into the film, I began to feel myself relating to the foreign story. Soon I realized that while "Travellers and Magicians" is a foreign language film, the ideas are very close to home.
Written and directed by Khyentse Norbu, "Travellers and Magicians" is the first movie to be filmed entirely in Bhutan. It is the second film made by Norbu, a lama and a member of one of Bhutan's most noble families. His first film, "The Cup" (1999), is a story about young boys training to be monks who love soccer and are determined to see the upcoming World Cup match. The film was an international success. In "Travellers and Magicians," Norbu explores similar cultural themes.
The film follows Dondup (Tshewang Dendup), a restless man who decides that he will be better in the United States than in his small village. He sets out, in an "I heart NY" T-shirt, with boom box in hand, ready to go to America. He struggles to find a bus and must hitchhike to get out of the village. Along the way he meets up with an apple picker, a monk, a paper maker and his beautiful daughter, Sonam (Sonam Lhamo).
The odd troupe is quite charming and often very funny. The cast is comprised of entirely amateur actors, which makes their performances even more respectable. They are convincing in their roles and it is fun to watch as they travel together across the beautiful countryside.
As they travel along, the monk (Sonam Kinga) tells the story of a young man who is very similar to Dondup. His name is Tashi (Lhakpa Dorji) and he too is tired of what he believes to be a boring village. The fable is told in parts and it parallels many of the same feelings that Dondup is experiencing.
"Travellers and Magicians" is a beautifully shot film. The location is spectacular and Norbu highlights its beauty with his direction. The monk's story is told with a chilling surrealism. A green forest will have a blue hue; a white horse will seem to glow. The entire film is very mystical and sometimes even magical enough to take your breath away.
"Travellers and Magicians" is a film about place and about finding out where we belong. It is able to avoid clich?s and instead focus on truth and the lack of clarity that is often present in our emotions. It is about people and the connections that we make with one another, even if just for a short while. "Travellers and Magicians" is an enchanting film and though I had difficulty getting into it, I hated to see it end.
(03/16/05 12:00pm)
Is a good cast alone enough to carry a movie? Well, judging by the new film "Be Cool," the answer is no, probably not. Even though the movie is loaded with stars, the sequel to the 1995 comedy hit "Get Shorty" often falls flat.
Hollywood producer Chili Palmer (John Travolta) is back, but this time he is in the music business. After his friend gets killed, Chili pays a visit to the widow, Edie (Uma Thurman). He offers to help her run an independent record label and has already hand picked their first star, Linda Moon (Christina Milian).
But before he can succeed in the music industry, Chili has to contend with Linda's manager, Raji (Vince Vaughn), a man who acts much more urban than he really is, Raji's bodyguard, Elliot Wilhelm (The Rock), a homosexual who dreams of being an actor, and music producer Sin LaSalle (Cedric the Entertainer). A slew of Russian mobsters looking to kill Chili is added into the mix, and even the top notch cast cannot save the jumbled plot.
What a good cast can do, however, is make a mediocre movie difficult to criticize. The cast of "Be Cool," which includes Andre Benjamin, Danny DeVito, Steven Tyler, Harvey Keitel and Robert Pastorelli, in addition to the actors already mentioned, is so talented that it becomes hard to knock the film. "Be Cool" also enjoys some entertaining cameos, which add to the experience. While the jokes might miss, the actors are consistently on target, making the film fun, even if not always funny.
Travolta and Thurman play off of each other wonderfully, as usual, and their combined charisma helps carry the film along. The highly anticipated dance sequence between the pair is a far cry from what we saw in "Pulp Fiction," but is nonetheless charming and enjoyable to watch.
Cedric the Entertainer is very funny, as is The Rock, and they both contribute greatly to the film. While they are not necessarily central characters, they still make a large difference, and the scenes involving their characters are some of the best in the film.
Centered on the music industry, the film incorporates some great sounds. From pop to rap to classic rock, many genres are represented. Arguably the best 45 seconds of the film take place during a conversation about Bob Dylan and the song "Knockin' on Heaven's Door." Then again, if you know me, you know I may be biased.
The film is never afraid to poke fun at itself, incorporating jokes about sequels and the people in the film. There is something refreshing about a movie that doesn't take itself too seriously, because it means that we don't have to either.
It has been 10 years since "Get Shorty" met with critical and commercial success. As a sequel, "Be Cool" cannot compete nor compare with the original, yet on its own, the film does quite well. "Be Cool" is not a great film, but it tries to have fun. For the most part, it succeeds, if in no other way than on the legs of its cast.
(03/02/05 12:00pm)
John Constantine has the ability to see things that other people cannot. He once tried to commit suicide and was dead for two minutes. During these two minutes, he traveled to hell and back. Since his return, he is able to use his powers to recognize those working for Satan.
Constantine is a chain smoker, suffering from the effects of lung cancer and aware that he is destined for hell when he dies. In an effort to buy his way into heaven, he works to fight Satan's helpers and the evil they bring to humanity.
The film opens with a startling exorcism that sets the pace for the rest of the film. While "Constantine" is not psychologically scary, it is graphically frightening. Director Francis Lawrence, a popular music video director, capitalizes on his strengths and many of the scenes of the film incorporate the high energy that is often found in music videos.
Based on the DC/Vertigo comic book "Hellblazer," "Constantine" incorporates some very interesting special effects and quite a few startling images. I spent a good deal of the film with my hand over my eyes, peeking through my fingers, afraid of what disturbing images I would be presented with next.
While the film enjoys a talented cast, arresting visuals and some fairly provocative ideas, it never quite comes together. The dialogue is often forced and this makes the material seem more comical and less stimulating than it could have been. The first half of the film, with the exception of the visuals, is otherwise fairly dull. It does pick up about halfway through, and for a brief time I cared about the characters and what would happen to them.
However, by the end of the film, I was back to feeling removed and disinterested. I was not rooting for good or evil because I was never hooked enough to care who won or lost. A part of me was curious to see how the film would end, but in a film that poses good verses evil, curiosity is not enough. There should be a sense of urgency, a realization of impact and "Constantine" does not possess these crucial elements.
Constantine is played by Keanu Reeves, who handles the awkward material as best he can. However, he seems detached and mechanical, in typical Reeves fashion. While that style can add to films like "The Matrix," it only draws away from "Constantine." He is the character that the audience is expected to follow, yet we never feel close to him.
Rachel Weisz ("About a Boy," "The Shape of Things," "Envy") plays a detective who teams up with Constantine after her twin sister's suicide. Weisz is a talented actress and she handles the role well. Djimon Hounsou ("Amistad," "Gladiator," "In America") is great as a character called Midnite and Tilda Swinton ("The Deep End," "Young Adam," "The Statement") joins the cast as the angel Gabriel.
"Constantine" is a grab bag of ideas, and there is a lot going on both visually and thematically. I suspect that the film will hook some devoted fans, but for me, it never came together as it could have. "Constantine" is at once both intriguing and tedious, yet it is always ambitious. Ultimately, the film has big ideas, it just never quite achieves them in its execution.
(02/23/05 12:00pm)
Raising over $43 million in its first week of release, "Hitch" is currently a box office success. Possibly even more notable, however, is the fact that it is receiving extremely positive reviews from moviegoers who whole-heartedly recommended it to friends and family.
Alex "Hitch" Hitchens (Will Smith) is a "date doctor." He helps men who lack confidence get the attention of women who would otherwise be considered out of their reach. We follow as he attempts to help Albert (Kevin James), an awkward, clumsy financial advisor looking to woo the high-profile Allegra Cole (Amber Valletta). Meanwhile, Hitch himself becomes hooked on a gossip columnist (Eva Mendes) so cynical that even the date doctor struggles to impress her.
The film incorporates many of the same plot twists and gimmicks that we have grown accustomed to seeing in romantic comedies. So what, then, is so good about this fairly traditional romantic comedy?
For starters, while the plot conventions are recognizable, the film always seems new. This is largely due to the cast's performances. Most people have come to expect that a film starring Will Smith will at the very least be entertaining and he doesn't let anybody down with his performance in "Hitch." He is funny, sincere and attractive, the perfect mix for a romantic comedy lead.
Possibly even more impressive is Kevin James, best known for his television acting on "The King of Queens," who is funny and fresh. James and Smith play perfectly off of each other and the scenes involving the comedic duo are often quite hilarious.
Eva Mendes ("Stuck on You," "Once Upon a Time in Mexico," "2 Fast 2 Furious") plays a wonderful gossip columnist, always doubting the intentions of men. While she and Smith seem to lack the on-screen spark that drives many romantic comedies, they work well together in other more humorous and quirky ways. Both actors have a likable edge and it is great to see them come together on the screen.
Directed by Andy Tennant (who also brought us "Sweet Home Alabama" in 2002), "Hitch" is impressive in its comedic approach. It uses traditional slap-stick humor, yet it does not go too far over the top. Much of the humor is simply very funny and not overdone.
"Hitch" takes a traditional story and successfully jazzes it up a bit. It is a film that will likely appeal to all audiences. Both men and women cheered and shouted when I saw it in the theater and I can only assume that this meant they were enjoying the film, or, at the very least, engaged enough to care about what happened to the characters. And, although I didn't cheer or shout, I was certainly one of the people engaged enough to care.
"Hitch" is an enjoyable and entertaining movie. As my roommate explained while we were leaving the theater, when you watch the film, you think, "Ooh, yeah, love." Then, when the movie is over, you leave thinking, "Oh, back to reality." Nonetheless, "Hitch" is fun to enjoy for a couple of hours and I suspect that, even after the movie is over, you will think back on it at least once and smile.
(02/16/05 12:00pm)
Walter is released back into society after 12 years in prison for molesting 10- to 12-year-old little girls. The only landlord that will take his money rents him an apartment overlooking a playground. He notices a man preying on young boys across the street from his window.
This is the story of "The Woodsman." While it may seem more than slightly contrived, the film is nonetheless magnificent, far exceeding any of my expectations. It is profound and disturbing, willing to take many risks and never falls flat.
When Walter (Kevin Bacon) gets out of jail, he finds a job at a lumberyard. He is content to go through the daily routine of life and committed to becoming "normal" again. He regularly sees a psychologist and even begins keeping a journal. Vicki (Kyra Sedgwick), a tough woman with her own secrets, begins a relationship with Walter. Life seems to be going smoothly until Walter begins to feel some of his old desires creep up again.
Bacon gives what many have called the performance of his career. He is able to convincingly play the quiet, twisted pedophile and successfully convey the human emotions that he feels. Unfortunately, Bacon is so consistently good that he is often overlooked. Sedgwick, Bacon's real-life wife, is solid as Vicki. Her character is slightly annoying at the start of the film, but as the two characters become closer and she sheds her hard exterior, she becomes much more accessible. Benjamin Bratt, Mos Def and Eve also give noteworthy, above-average performances.
First-time feature director Nicole Kassell is definitely a filmmaker to watch. Having originally seen "The Woodsman" as a play when she was a graduate student at New York University, Kassell bought the rights to the play from writer Stephen Fechter. She clearly had a vision in her plan to adapt the play into a film, and it seems that she achieved it with great style.
Using jump cuts and fast editing, Kassell keeps the audience on edge. The film is short, just about an hour-and-a-half long, and there is never a wasted scene. Kassell not only tackles a difficult subject, but she also does it with an admirable, artistic flair.
"The Woodsman" is often difficult to watch because of its risky subject matter. Some scenes are almost unbearable to sit through, but not because of any graphic material shown on the screen. Instead, it is what is not there, what is spoken and what the audience can sense that makes the film so disturbing. Pedophilia is one of the most socially condemned conditions, yet it is treated with compassion in the film. It is clear that Walter is capable of doing bad things and he is never glorified. At the same time, he is never made out to be a bad person.
"The Woodsman" is not a scary film, but it is certainly haunting. It challenges the way we feel about others and our capacity to understand and forgive what most would consider unforgivable. "The Woodsman" is a wonderful character study, a stunning piece of art and a truly remarkable film.
(02/09/05 12:00pm)
When discussing "Million Dollar Baby," there is one term that seems to be coming up again and again - knock-out. While this boxing pun may be slightly overused, it is nonetheless difficult to argue. "Million Dollar Baby" is, simply put, a knock-out.
Frankie Dunn (Clint Eastwood) is a former boxing manager who owns a rundown gym. His buddy Scrap (Morgan Freeman), a retired fighter who lost sight in his one eye during a match, works as a cleaning man in Frankie's gym. Life seems to be draining out of the place, especially after the one fighter Frankie still manages leaves to go to a manager that can get him a shot at the title.
When Maggie Fitzgerald (Hilary Swank), a waitress determined to become a boxer, joins the gym, Frankie immediately states that he does not train girls. Even if he did, he tells Maggie, she would be too old to fight. Yet despite his best efforts to prevent it, Frankie becomes Maggie's trainer, and the two form a relationship that extends far outside the boxing ring. Before long, they are able to compliment the missing pieces in each other's lives.
The film, which was adapted from a combination of two short stories in the collection "Rope Burns" by F. X. Toole, is deeply moving. While I will not give away the ending of the film for those who have yet to see it, I will say this: there is an ending worth discussing. It raises questions that I am not ready to answer, and I praise it for doing so.
Released just under the wire, "Million Dollar Baby" is nominated for seven Oscars, including Best Picture, Best Director, Best Actor, Best Actress, Best Supporting Actor, Best Screenplay (Adapted) and Best Editing. Eastwood, who also directed the film, delivers a stellar performance. He is gritty and real and gives an honorable depth to the character of Frankie. Swank is deserving of all the praise she has received for her role as the charmingly dedicated female fighter, a unique character to grace the screen. Freeman seems to really understand the character of Scrap and, with a voice that could make reading from a phonebook sound good, gives soul to the film through his narration. Although Scrap can only see out of one eye, his insight is far greater.
"Million Dollar Baby" is not able to avoid many of the recognizable film clich?s, yet there is something moving about the way in which they are executed. We have seen certain scenes before, but we are willing to forgive that because they are a part of our lives. In a film that takes an unexpected turn, the clich?s work as a comfortable reference to things we understand. Eastwood is at his best, and, under his direction, a film centered around female boxing gains a distinct lyricism that only the great sports films have been able to achieve.
Female boxing may not appeal to all people, but it doesn't need to do so. The film is about relationships and the way they complete our lives. It is about, as Scrap puts it, fighting for a dream that only you can see. "Million Dollar Baby" captures the very essence of these things, placing relationships and dreams into the center of the ring, showing them as they truly are and revealing the profound way in which they can affect our lives.
(02/02/05 12:00pm)
Can a movie about two middle-aged men on a wine tasting tour through California's wine country be interesting? Yes, it most certainly can. In fact, "Sideways" is not only interesting, but it is also truly superb in every aspect of filmmaking. It is one of those unique films that can successfully cross boundaries, ultimately appealing to just about everyone who sees it.
The film follows two men, Miles (Paul Giamatti) and Jack (Thomas Hayden Church), as they take one last road trip before Jack's wedding. Miles, an eighth grade teacher, dreams of being a novelist, and Jack, an actor best known for his voice on commercials, is looking to have some fun before he gets married. The pair travels through California's wine country, making stops for wine tasting. Along the way, they hook up with another pair of friends, Maya (Virginia Madsen) and Stephanie (Sandra Oh). Relationships form and soon the audience understands just as much about the characters as they do about the wines they drink.
The film is skillfully acted all around. Giamatti gives a perfectly nuanced and natural portrayal of Miles, the divorced middle-aged xenophile, and Church is clearly a comically gifted actor. Director Alexander Payne ("Citizen Ruth," "Election," "About Schmidt") again proves his deft ability at directing films that capture the natural insights found in everyday life.
"Sideways" is the type of movie that makes you smile even when it's not funny. I found myself smiling at even the sadder moments because I was genuinely touched. There is magic in every scene, especially when Maya explains to Miles the reasons she loves wine, explaining the wonder of its evolution and peak.
The film does incorporate many clich?s, and where that would pull down many films, it only elevates this one. The clich?s all seem somewhat necessary as they are followed by moments of great insight or unique humor. In this sense, the film remains essentially flawless.
The film has already won numerous critic awards, including the Golden Globe for Best Musical or Comedy. It is nominated for five major Academy Award categories, including Best Picture, Best Director, Best Adapted Screenplay, Best Supporting Actor and Best Supporting Actress. Giamatti (who some say the Academy snubbed in 2003 for his work in "American Splendor") is a notable omission from that list.
See "Sideways" in the movie theater - it will be a real treat. I saw it amidst a packed audience and loved every minute. The audience rallied around the film and even stayed all the way through the credits. "Sideways" does what good movies intend to do and great ones carry out - it transports you into a different world, one in which you cannot help but smile from the sheer joy of belonging to it. If you miss the film in the theatre, do not let it get away. Rent it. Buy it. Then hunker down with a good bottle of wine and enjoy every minute watching it.
(12/08/04 12:00pm)
I went to see "Closer" this past weekend, thinking that it would be a light movie, possibly mixed with some troubling romance. When I heard someone compare the film to "Who's Afraid of Virginia Woolf?" I thought he was surely mistaken. There was no way that "Closer" could possibly be as biting and insightful as the classic Edward Albee play and respected Mike Nichols film. As it turns out, I was the one mistaken.
"Closer" is, in fact, a truly insightful film, filled with the honesty that is so often left out of the movies and the veracity that we miss in our lives. It is the story of two men and two women, Dan (Jude Law), Larry (Clive Owen), Alice (Natalie Portman) and Anna (Julia Roberts). Although Dan and Alice are dating and living together, Dan falls in love with Anna, a photographer, who marries Larry.
We see the couples interact with each other and the spite that only love can bring out in people. As the characters choose and change partners, new lives are created and destroyed. Along with the ideas of love and fidelity, the film addresses the concept of honesty and its place in a relationship. It details the challenge to form an identity from a life we do not understand and the relationships we must struggle to hold together.
As one would expect from the accomplished cast, the acting is excellent. The actors abandon melodrama and instead opt for a passionate honesty. Alice becomes real with Natalie Portman's depth and Julia Roberts gracefully captures Anna's awkward maturity. Jude Law is again striking as Dan, but it's Clive Owens who steals the show as Larry. He is vulgar and distasteful, yet we feel for him as we do for the other characters. In this film, everyone and no one is guilty at the same time. The actors capture those mixed feelings perfectly.
Director Mike Nichols ("Who's Afraid of Virginia Woolf?," "The Graduate," "The Birdcage," "Angels in America") uses his experience to his advantage, creating a quality and well-made film. He does not apologize for the mean spirits of his characters, but showcases them as proudly as the character Anna displays her photographs - they are both out to capture the truth. Nichols directs his film with confidence and the result is wonderful.
The structure is not a narrative in the traditional sense, as it makes large leaps in time and perspective, leaving the audience to piece things together on its own. The film also chooses to leave out many of what could be considered the most important scenes. While we know about certain affairs, we do not see them. Instead, we see the consequences. The dialogue is sharp and often vicious, sometimes even sexually graphic, but it never shies away from the truth.
"Closer" is dismal yet thought-provoking and not ever afraid to confront and challenge the actions and emotions of its characters. It is startling and real, a true accomplishment for all involved.
(12/01/04 12:00pm)
With just three movies behind him and a fourth - "The Life Aquatic" - that is due in theaters soon, Wes Anderson has quickly become one of the most popular contemporary directors. He is loved for his quirkiness and dark humor and admired for his uncanny visuals and creative ability behind the camera. Anderson released his first film, "Bottle Rocket," in 1996 to mixed, but overall favorable reviews. "Bottle Rocket" tells the story of two friends who attempt to become modern-day robbers.
The film marks not only the start of Anderson's career, but also the beginning for brothers Luke and Owen Wilson. The Wilsons, who have collaborated with Anderson in some way on all of his projects, comprise one of the biggest sibling acting duos working today.
Anderson's sophomore effort came in 1998, with the release of "Rushmore." The film was met with an extremely positive critical response. Jason Schwartzman plays a young oddball who refuses to leave his prep school, falls in love with a first grade teacher and befriends a local tycoon, played by Bill Murray.
The film is quirky and its humor is subtle, both trademarks of its director. In just his second film, Anderson had earned the respect of film critics and moviegoers and had established a valid and recognizable style.
Anderson released "The Royal Tenenbaums" in 2001, and if there was any remaining doubt about his talent as a filmmaker, it quickly vanished. The cast included such stars as Gene Hackman, Ben Stiller, Anjelica Huston, Bill Murray, Luke Wilson, Owen Wilson, Gwyneth Paltrow and Danny Glover.
With the experienced and talented cast, along with Anderson's stylistic direction, the dark comedy about the wacky Tenenbaum family was able to come alive.
"The Life Aquatic," scheduled for wide release on Dec. 25 (but will play at The Museum of Modern Art in mid-December), will star Anderson favorites Bill Murray, Anjelica Huston and Owen Wilson as well as Cate Blanchett and Willem Dafoe.
The premise, as we have come to expect from Anderson, is as wacky as ever - a famous oceanographer, Steve Zissou, sets out to find the shark that killed his partner during the documentary filming of their latest expedition.
Anderson has hooked an almost cult-like following. It seems that fans of one of his films are at the very least familiar with his other two, most having seen all three.
And, as with other cult films, Anderson's movies have for the most part been ignored by the Academy Awards.
Although Bill Murray won the Independent Spirit Award, was named Best Supporting Actor by the National Society of Film Critics and was nominated at the Golden Globes for his performance in "Rushmore," he did not receive a nomination for the Academy Award.
While Anderson and Owen Wilson received a nomination for Best Original Screenplay for "The Royal Tenenbaums," it is safe to say that the film was otherwise ignored by the Academy.
So what can we expect from "The Life Aquatic?" It will no doubt contain all of the quirkiness that has come to define a Wes Anderson film.
The premise is such a comedic stretch that it could possibly alienate viewers. However, I predict that it will instead reel them in, just as Anderson's other films have done.
We can expect quality performances from the familiar cast. In fact, I have a feeling that Anderson newcomers Blanchett and Dafoe will flourish under his direction.
With its late release, "The Life Aquatic" has its timing down for award consideration, but will Anderson, one of the true auteurs of the young contemporary directors, be snubbed yet again by the Academy Awards? We can only wait and see.
For Anderson fans, the film represents more than just a shot at commercial success. Each of Anderson's films has been better than the last, and many look forward to more of the lively visuals, dark, subtle humor and offbeat style that Anderson has mastered.
With each film he releases, Anderson proves to be more and more in command of his craft and it will be fun and fascinating to see what he does with "The Life Aquatic."
(11/17/04 12:00pm)
We've all heard of Ray Charles. As possibly one of the most innovative and unique musical performers of recent times, we are familiar with his look and his sound. After his recent death in 2004, we were reminded of what a large impact Mr. Charles has had on music and on our country.
Now, with the release of the film "Ray," directed by Taylor Hackford, we can learn a great deal more about a man who changed the sound of music.
Beginning with Ray as an adult, the film shows the rise of the blind musician. It chronicles his romance with his future wife, bouts with a heroine addiction, his affair with a back-up vocalist and the struggle to stay on top in an industry that is not always kind.
Dispersed among these elements of his life are flashbacks from his childhood. Among other memories, we see his brother die and his mother teach him how to deal with his blindness.
Despite many visual taglines and dates onscreen, it is often difficult to put the events of the film into context. "Ray" lacks the continuity that would seem natural in a biography.
The film runs for two and a half hours, a sign that there was a lot of footage to be edited. Possibly because of this, the presentation of the story is often disjointed and lacks the coherence that can make a life story powerful.
Hackford ("An Officer and a Gentleman," "The Devil's Advocate") treats each theme and each part of Ray's life equally within the film, opting for a larger scope instead of more probing depth. The drugs, affairs and struggles are portrayed in the same fashion as the talent, dedication to music and commitment to civil rights.
Since the film has an objective point of view, we never get the feeling that Hackford is trying to lead us to a specific conclusion; instead he guides us with facts, allowing us to come to our own about the music legend.
The one truly wonderful aspect of the film is the performance given by Jamie Foxx. He is simply astonishing as Ray, nailing the mannerisms and appearances dead on. Having played the piano since he was three years old, Foxx seems all the more comfortable playing the role.
The early Oscar buzz surrounding the film and lead actor is definitely warranted, and I would be very surprised if Foxx wasn't nominated come January.
All the performances were very impressive, as was the overall quality of the film. It was enjoyable to watch. The atmosphere was constantly alive, be it in the deep south, a smoky bar or an elegant concert hall.
"Ray" is a film that will definitely touch its audience. "Ray" may not be fully complete as a film, but it does succeed in many respects and gives an honest portrayal of a musical legend.
(11/10/04 12:00pm)
After two unsuccessful attempts to see "Alfie" in sold-out theaters, and many more failed tries at renting the original, I finally managed to see the film, which has been quite successful in its first weekend of release. Based on the original of the same name, "Alfie" is the story of a man who jumps from woman to woman, afraid to make any real connection with anyone.
While the films starts out slowly, it soon becomes extremely engaging. Just as I was wondering if maybe my previous failed attempts at seeing the movie were some kind of sign that I should have dodged "Alfie" at all costs, I became very interested in this character of Alfie (Jude Law).
Just like the women in the film, I, too, became smitten with Alfie. However, for me, it was not his charm that was so alluring, but rather his complexity as a person. Clearly not the innocent protagonist, Alfie goes around hurting other people. Yet, for some reason, he is likable in the truest sense of the word.
The film is surprisingly well-made. It is clear that director Charles Shyer, who apparently is fond of remakes ("Father of the Bride," "The Parent Trap"), had a vision when he set out to make the film.
Along with screenwriter Elaine Pope, Shyer moves the setting from England to New York in an effort to modernize the tale.
The whole story is very tightly written and every character has a clear and distinct purpose.
The soundtrack is also notable, featuring some great performances from Mick Jagger of The Rolling Stones and Dave Stewart, formerly a member of the Eurythmics.
Law gives an admirable performance as the main character. Speaking directly into the camera, he is filled with the nuances that make a character accessible to the audience. Omar Epps also gives a solid performance as Alfie's best friend. Marisa Tomei, Sienna Miller, Susan Sarandon, Jane Krakowski and Nia Long jump on board as the women of Alfie's life. All of these women hold their own alongside Law, giving well-above-par performances.
"Alfie" is not the light romantic comedy I thought it would be. While the plot is not as shocking as it originally was in 1966 when Michael Caine played the lead, it still manages to touch upon some serious topics. Questions of death, abortion, race and single parenthood are just some of the issues that the film manages to address in its relatively short-running time.
"Alfie" may not be a necessary remake, and it probably is not even a necessary film. In fact, it is a film that people can ultimately do without. However, there is something in the movie that gives it the potential to have a profound effect on the way we view ourselves and our relationships.
While this potential may not have been fully realized on screen, "Alfie" is the result of a valiant effort and a film that is certainly worth all necessary tries to see it.
(11/04/04 12:00pm)
Perhaps we've all wondered, at one point or another, why it is that we are here. Is our entire existence part of some interrelated work? Are there no coincidences? Or, does everything stand on its own, isolated from some larger meaning?
In David O. Russell's latest film, the existential comedy "I Heart Huckabees," these are the questions that poet and environmentalist Albert Markovski tries to answer. After experiencing an alarming series of coincidences, Albert (Jason Schwartzman) sets out to find meaning. He hires two "Existential Detectives" (Dustin Hoffman and Lily Tomlin) to help him understand his life, his relationships and his conflicts with the popular executive Brad Stand (Jude Law).
Soon, Brad hires the detectives as well, who dig deep into his life and his relationship with girlfriend Dawn Campbell (Naomi Watts). Albert partners with firefighter Tommy Corn (Mark Wahlberg), who swears that all of the country's problems are a result of the use of petroleum. Together, Albert and Tommy try to understand the meaning behind life, eventually teaming up with a French radical, Caterine Vauban (Isabelle Huppert).
This may seem like a lot, and it is. The premise of "I Heart Huckabees" is often wacky and always quirky. What makes the film so good is its ability to cross genres and finally rise above any category. It shares strong connections to the films "Being John Malkovich" and "Eternal Sunshine of the Spotless Mind," while the style and characters of the film are quite reminiscent of "The Royal Tenenbaums" and some of the themes even bring us back to "Fahrenheit 9/11." Ultimately, it is its own entity, separate and unique from other popular movies and possibly the oddest and most off-the-wall film that has enjoyed mainstream release this year.
Russell ("Spanking the Monkey," "Flirting with Disaster," "Three Kings") takes the ideas of the film one step further, also incorporating them into the film visually. At times, a character's eyes, nose and mouth will literally float off his or her face. Russell also includes some interesting sequences in which we enter the mind of Albert, sometimes seeing him chop off people's heads with a machete.
The performances raise the film far above the standard level of filmmaking. Loaded with stars, the movie enjoys the energy which great acting can bring to the screen. Schwartzman is a natural in his role and a shaggy-haired Hoffman comes off as quirky as ever.
Law also contributes a top-notch performance - he constantly proves himself to be more and more capable with each role he plays. It was Wahlberg, however, who stole the show. His fireman character was not only a major part of the plot and theme of the film, but also fun to watch as he would ride his bike to fires in an effort to protect the environment.
"I Heart Huckabees" is entertaining and funny, yet it is also probing and thought-provoking. Over and over, it forces audiences to ask, "How am I not myself?" - a question which will puzzle the characters of the film along with even the most intelligent moviegoer. While it is a film that some people will dismiss for being either too heavy or too light, it is creative and bright, filled with the issues that people face everyday. But ultimately, what makes "I Heart Huckabees" a success is its own existence.
(10/20/04 12:00pm)
"Friday Night Lights" is not your typical sports movie.
Based on the true story of the 1988 Permian High Panthers football team, the film explores not only football, but also all of the people involved with the sport. And, do not take the phrase "all of the people" lightly.
In Odessa, Texas, high school football is everything for everyone. Stores shut down on game nights, dinner conversations center around the Panthers' next game and anything will be done to bring home a championship. One thing that makes this film so good is its willingness to explore the way football affects the town and those who live there.
The season looks promising for the Panthers. They have new coach Gary Gaines (Billy Bob Thornton) and a star athlete Boobie Miles (Derek Luke). But when Boobie gets hurt early in the season, the team faces many challenges it will need to overcome to make it to the playoffs.
The film chronicles not only the team's season and the struggle for perfection, but the lives that are affected by each and every pass as well. We see a troubled mother desperately hoping for her son to move out of the small town and on to something bigger. We see a father pushing his son to be the best, to win a championship ring and to enjoy the time he plays football because it is all he will get in life. We see the pressure to be perfect.
The small town of Odessa struggles to be known for something. While the film succeeds in many respects, possibly the most admirable is its portrayal of the hopes of the townspeople. It does not downplay the importance of football for them, nor does it make their desire to win seem silly. Instead, it explains that every game for them means something more. Each game is an opportunity to win at something, one that they may not have again.
Peter Berg, who wrote and directed the film, chose to film much of it with a hand-held camera and grainy footage. The atmosphere this technique creates is real, making it appear to be a video, not a movie. It shows the good with the bad, the beautiful beside the ugly. We get the feeling that we are entering the life of each player. For two hours we become a part of the team, a part of the community, and soon we want the Panthers to win just as much as the characters do.
"Friday Night Lights" rises above the typical sports movie in its attempt to understand the athletes who play football and the people who have an investment in the team. The film studies the struggle to win and the motives behind the struggle. It explains to us that football, for the people of Odessa, is more than just a game. It is a representation of their dreams and expectations, and most importantly, an opportunity to have pride in themselves.
(10/13/04 12:00pm)
While there are many action films that focus on the impossible quests of a perfect hero, there are very few films that focus on the heroics of everyday men. "Ladder 49" is one of these few: the film tells the story of firemen, a group that is all too often left out of the headlines.
The film begins as firefighter Jack Morrison (Joaquin Phoenix) bravely risks himself to save another person from a burning building. Jack then becomes trapped inside the building himself.
What follows is a series of flashbacks, as Jack recalls the major events that formed his life. We see him as a rookie firefighter, a bachelor, a husband, a father and a friend. Most importantly, we see him as a hero.
The film details the importance of firemen, reminding the audience that while most people are running out of burning buildings, firemen are running in. The way in which the film celebrates the ordinary person is very admirable.
Jack, his mentor and chief, Mike Kennedy (John Travolta), and the other men of the firehouse are portrayed as normal, likable people. They pull pranks, drink beers and have families. Their job, however, is to save people, and they do it with the style and grace that some film heroes lack.
"Ladder 49" is extremely strong in its visuals and ambiance. Whether it be in the bar, at the firehouse or walking through the supermarket, the atmosphere is always inviting. It is the kind of film that makes you want to join the characters on the screen, to share in what they're doing and be a part of their group. The moments of frivolity in the firehouse are especially fun to watch as the men bond. The interactions with their friends and families are also enjoyable to watch.
Director Jay Russell ("Tuck Everlasting") doesn't pull any tricks. He does create some interesting shots during the fire sequences, but mostly he lets the plot play out on its own, allowing the bravery of the firemen to speak for itself. Screenwriter Lewis Colick ("October Sky") managed to touch some emotional cords in his audience. While the screenplay is flawed and not written as tightly as it could have been, Colick seems to have a real knack for connecting with his audience. He creates characters that may not be entirely true to life, but are likable, so it is a fault the audience is willing to forgive.
The film also explores some interesting issues regarding the mindset of firemen. In a way, they become addicted to the rush of saving lives. Even Jack's wife (Jacinda Barrett) seems to have a certain attraction to the job of her husband. Although she recognizes the dangers for Jack as well as the repercussions on their family, she seems too smitten with pride for Jack and respect for his work to let it go.
"Ladder 49" is entertaining and emotional. It is a film that will strike a cord with many people for many different reasons. While the film is not perfect and far from outstanding, it nonetheless represents a good effort from those involved. It is a film that chronicles the lives of those who save other people, and with that you can't really go wrong.
(10/06/04 12:00pm)
Fearing that he is getting too old to compete, Peter Colt (Paul Bettany) gears up for his last stint at Wimbledon. And thus begins "Wimbledon," a film about a quest not only for victory, but for love as well. While flawed in many respects, "Wimbledon" is an enjoyable film that captures some genuine emotion on screen.
Having never reached his full tennis potential and growing older every day, Peter lets his confidence gradually slip away. When he meets Lizzie (Kirsten Dunst), she is at the start of her tennis career. Young and aggressive, she represents everything that Peter has left behind. It is only after the two begin dating that Peter is able to bring himself out of his tennis rut and onto center court.
Director Richard Loncraine takes some chances with "Wimbledon" in an effort to rise above the typical romantic comedy. He avoids many of the conventional filming techniques and shoots the film as if the material is far more important than it actually is. He combines interesting shots with some minor special effects to develop his film into something that is cinematically superior to other modern-day romantic comedies.
The performances are wonderful, especially Bettany's ("A Beautiful Mind," "Dogville"). While Dunst ("Spiderman," "Eternal Sunshine of the Spotless Mind") is convincing and reliable, as usual, Bettany is able to carry the film, giving it a sense of reality to which the audience can relate. He is at once assured and frightened, and it is this mix of complex emotions that makes his character realistic. Bettany succeeds in carrying out his character's intentions perfectly.
Unfortunately, the screenplay is not on the same level as the other elements of the film. Predictable and often inconsistent, the film barely makes it as a romance. Oddly enough, it succeeds much better as a sports film because it delves into the mindset of athletes. It is well researched and tennis fans will definitely enjoy the fast-paced matches. So while the film may provide some lessons in tennis, there is very little to gain from it in the love department.
The film is basically well-made but ultimately light-weight. While "Wimbledon" may entertain many while they are watching it, it will resonate with very few afterwards. The film is fun to watch, and at times even exciting. It succeeds in being an entertaining film, but it fails to reach the goals it sets for itself. Still, it is a movie that I would recommend. If you're hungry for excellent cinema, this is clearly not the film to see. But, if you just feel like a light snack, check out "Wimbledon" and you won't be disappointed.
