After watching a morally bankrupt celluloid character one night, and a righteous film family the next, you'd think each of the subjects would equate to the film's quality. Wrong. Roger Ebert has said (and I'm paraphrasing), that its not what the film is about, but how it is about it. Two great examples of this are Woody Allen's MATCH POINT, and Tyler Perry's MADEA'S FAMILY REUNION.
MATCH POINT surrounds the rise of tennis pro Chris Wilton into Britian's social uppercrust. There isn't anything that will stop Chris from obtaining whatever he wants, be it professional, social or sexual. Jonathan Rhys Meyers plays Chris nearly perfect, and although we despise his intentions, actions and emotions, there's a certain draw to him despite his amoral behavior.
MADEA'S FAMILY REUNION is in dark contrast. Each of the main players is a righeteous person, attempting to make sound judgements based on their family, friends and God. There's a genuine concern for each family member, and despite their flaws, behavior and past sins, a strong willingness to forgive one another.
In terms of quality, these two films couldn't be farther apart. Allen lures us into Britain's high society by intoxicating us with a family's luxurious estate, attractive individuals and wordplay that sizzles between the characters lips. In spite of all the misdeeds, MATCH POINT is throughly engaging due Allen's sharp, yet realistic twists and a morally provactive script which doesn't have to scream its message to be heard. Perry's FAMILY REUNION is all about yelling, and if you haven't heard the message, Great Granny Madea will beat it into you. Several scenes are staged to have "wise" characters spill lengthy monologues of right and wrong, treating its audience like a child in grade school.
Many viewers will see MADEA'S FAMILY REUNION as a good-hearted, spiritually enriching romp, while MATCH POINT will be deemed a dark and disturbing drama which rewards the wicked. This is too simplistic of a take for both films, one which many will determine based on each film's synopsis, and not the subtlety, or lackthereof, of each film.
Friday, February 24, 2006
Tuesday, February 21, 2006
FEVER PITCH
(Spring Training has just begun, and since my review for FEVER PITCH never made its way to the blog last Spring, here it is)
Drew Barrymore competes against Jimmy Fallon’s first love in the Farrelly brothers’ romantic comedy FEVER PITCH. Fallon is Ben, a school teacher, who meets Barrymore’s Lindsey during a class field trip at her place of employment. The two begin dating in the Fall, and everything couldn’t be going better, at least until Spring hits. Fallon is a die-hard Boston Red Sox fan, and from April to October his life is devoted to Red Sox baseball. His obsession with the Sox could jeopardize his relationship with Lindsey.
At times I felt as if I was watching my own reflection in FEVER PITCH. Although I’m a die-hard Reds, not Red Sox fan, there are far too many eerie similarities between Ben and I. The script, written by Lowell Ganz and Babaloo Mandel and based on the Nick Hornby novel, is sharp in its dissection of sports obsessed individuals and those who love them. I’ve never read a Hornby novel, but following his other adaptations, HIGH FIDELITY and ABOUT A BOY, it's no wonder they’ve been plucked for big-screen material. The Farrelly brothers work here is just as impressive as the writing. Although known for their absurd humor, they work a stroke magic with FEVER PITCH. They take advantage of bizarre, yet realistic scenarios, layer them with a touch of their quirky humor and ground them with two utterly likable characters. In addition to the skillful direction and wonderful script, FEVER PITCH gets an unexpectedly good performance out of Fallon. Barrymore is again charming, but Fallon is the surprise, bringing a warm-hearted interior to his outward fanaticism. FEVER PITCH isn’t a perfect game, but it's darn close.
Grade: A-
Drew Barrymore competes against Jimmy Fallon’s first love in the Farrelly brothers’ romantic comedy FEVER PITCH. Fallon is Ben, a school teacher, who meets Barrymore’s Lindsey during a class field trip at her place of employment. The two begin dating in the Fall, and everything couldn’t be going better, at least until Spring hits. Fallon is a die-hard Boston Red Sox fan, and from April to October his life is devoted to Red Sox baseball. His obsession with the Sox could jeopardize his relationship with Lindsey.
At times I felt as if I was watching my own reflection in FEVER PITCH. Although I’m a die-hard Reds, not Red Sox fan, there are far too many eerie similarities between Ben and I. The script, written by Lowell Ganz and Babaloo Mandel and based on the Nick Hornby novel, is sharp in its dissection of sports obsessed individuals and those who love them. I’ve never read a Hornby novel, but following his other adaptations, HIGH FIDELITY and ABOUT A BOY, it's no wonder they’ve been plucked for big-screen material. The Farrelly brothers work here is just as impressive as the writing. Although known for their absurd humor, they work a stroke magic with FEVER PITCH. They take advantage of bizarre, yet realistic scenarios, layer them with a touch of their quirky humor and ground them with two utterly likable characters. In addition to the skillful direction and wonderful script, FEVER PITCH gets an unexpectedly good performance out of Fallon. Barrymore is again charming, but Fallon is the surprise, bringing a warm-hearted interior to his outward fanaticism. FEVER PITCH isn’t a perfect game, but it's darn close.
Grade: A-
Thursday, February 16, 2006
THE MATADOR
A salesman makes an unlikely friendship with a hit man in the dark comedy, THE MATADOR. Danny Wright, played by Greg Kinnear, heads south of the border in order to convince a prospective company that his firm should handle their account. While in Mexico, he meets Julian Noble, an Irish assassin who has just performed his latest hit. After an uncomfortable exchange between the two at the hotel bar, the two men hit it off and head to a coliseum for a bullfight. After the fight, Julian decides that Danny may be up for something more, maybe a bit role in Julian’s next assignment.
I’ll be the first to tell you that recent dark comedies have either lacked an edge, a comic sense or both. THE MATADOR surprised me, being both impetuous and humorous, riding the slippery slope between comedy and distaste. Writer-director Richard Shepard has crafted two characters who are headed in opposite directions, Julian towards a softer center, and Danny on the brink of a nervous breakdown. With Danny and Julian’s unpredictability, it opens the possibilities and suspense up to unforeseen conclusions, and several funny moments. Kinear has found his niche as the average schmuck, while Brosnan is especially good in a performance I didn’t think was in him. Tossing aside his debonair demeanor, Brosnan chews up every scene, enabling Julian to be many things: uneasy, alluring and even pathetic. THE MATADOR doesn’t break any new ground for dark comedies, but it does provide a fresh and welcomed relief from the genres more recent entries.
Grade: B
I’ll be the first to tell you that recent dark comedies have either lacked an edge, a comic sense or both. THE MATADOR surprised me, being both impetuous and humorous, riding the slippery slope between comedy and distaste. Writer-director Richard Shepard has crafted two characters who are headed in opposite directions, Julian towards a softer center, and Danny on the brink of a nervous breakdown. With Danny and Julian’s unpredictability, it opens the possibilities and suspense up to unforeseen conclusions, and several funny moments. Kinear has found his niche as the average schmuck, while Brosnan is especially good in a performance I didn’t think was in him. Tossing aside his debonair demeanor, Brosnan chews up every scene, enabling Julian to be many things: uneasy, alluring and even pathetic. THE MATADOR doesn’t break any new ground for dark comedies, but it does provide a fresh and welcomed relief from the genres more recent entries.
Grade: B
FIREWALL
Harrison Ford must crack a systematic safe he created, in order to stave his own wife and children’s lives in the thriller, FIREWALL. Ford is Jack Stanfield, a security expert at a high-volume bank. Jack has created a computerized security system designed to prevent illegal money transfers, protecting the bank’s clients from fraud. With knowledge and access to a tremendous amount of money, Jack becomes a target and a means to someone’s greedy aspirations. Jack’s wife and children have been kidnapped, and he must break into the bank’s computerized system, in order to save his loved ones.
The skill displayed by director Richard Loraine and writer Joe Forte is in keeping FIREWALL moving at a quick enough pace, where discrepancies and unlikely events are overshadowed by tense situations and suspenseful moments. The film isn’t a great example of authenticity or plausibility, but it’s constantly shifting script, and the actors’ on-key performances keep FIREWALL exciting and consistently entertaining. Ford and Virginia Madsen, as his wife Beth, convey smart, head-strong and calming presences, enabling their characters to be realistically resourceful and emotionally grounded. The best of the performances comes from Paul Bettany’s Bill. Bettany, who’s last big role came in Loraine’s WIMBLEDON, shows off a side rarely seen from the Brit. In Bill, he’s created a cold, calculating and callous individual capable of almost anything. Due to Bettany’s performance, we’re given more than enough pull to hope the Stanfield family survives.
Grade: B-
The skill displayed by director Richard Loraine and writer Joe Forte is in keeping FIREWALL moving at a quick enough pace, where discrepancies and unlikely events are overshadowed by tense situations and suspenseful moments. The film isn’t a great example of authenticity or plausibility, but it’s constantly shifting script, and the actors’ on-key performances keep FIREWALL exciting and consistently entertaining. Ford and Virginia Madsen, as his wife Beth, convey smart, head-strong and calming presences, enabling their characters to be realistically resourceful and emotionally grounded. The best of the performances comes from Paul Bettany’s Bill. Bettany, who’s last big role came in Loraine’s WIMBLEDON, shows off a side rarely seen from the Brit. In Bill, he’s created a cold, calculating and callous individual capable of almost anything. Due to Bettany’s performance, we’re given more than enough pull to hope the Stanfield family survives.
Grade: B-
SOMETHING NEW
An interracial romance creates conflict for a successful black female and her traditional family in SOMETHING NEW. Sanaa Lathan is Kenya, a successful, professional and beautiful black woman who hasn’t landed a beau due to her own insecurities, hang-ups and unwieldy expectations. She decides to take a chance, and sets up a blind date via the internet with a man named Brian. Brian is white, and once Kenya realizes this, their date is no longer. After meeting again through a common friend, Brian becomes employed by Kenya as her landscaper.
Although it doesn’t break any new ground in race relations, SOMETHING NEW does add a little more weight to the sentimental genre. A recent Gallup Poll showed that 60% of individuals ages 18 to 29 have dated someone of a different race. The film, if anything, may not be something new for many, but instead something to relate to. Regardless of the social commentary, SOMETHING NEW works as a charming love story where in addition to race, personality conflicts, income and family acceptance stand in the way of two individuals romantic bliss. Lathan turns in another winning performance in a romantic comedy, conveying a strong female in professional and social situations and a more inhibited individual when she shares time with family and friends. Similar to her turn in LOVE AND BASKETBALL, Lathan demonstrates a beauty with brains. SOMETHING NEW is a fresh and warming romantic diversion which arrives just in time for cupid.
Grade: B-
Although it doesn’t break any new ground in race relations, SOMETHING NEW does add a little more weight to the sentimental genre. A recent Gallup Poll showed that 60% of individuals ages 18 to 29 have dated someone of a different race. The film, if anything, may not be something new for many, but instead something to relate to. Regardless of the social commentary, SOMETHING NEW works as a charming love story where in addition to race, personality conflicts, income and family acceptance stand in the way of two individuals romantic bliss. Lathan turns in another winning performance in a romantic comedy, conveying a strong female in professional and social situations and a more inhibited individual when she shares time with family and friends. Similar to her turn in LOVE AND BASKETBALL, Lathan demonstrates a beauty with brains. SOMETHING NEW is a fresh and warming romantic diversion which arrives just in time for cupid.
Grade: B-
FINAL DESTINATION 3
Director James Wong returns for more bloodshed in the third part of the death destiny series, FINAL DESTINATION 3. The set up is the same as the first two FINAL DESTINATION films. A high school student envisions a horrific disaster just minutes before it occurs, tries to convince everyone that the vision is true, and then following the catastrophe attempts to cheat death in order to spare her and many others lives. This time around, the premonition comes to Wendy, a high school yearbook photographer, and it surrounds a disastrous roller coaster ride.
FINAL DESTINATION 3 is like watching a chain reaction version of a series of ITCHY AND SCRATCHY episodes. Neither of the films are as funny or half as clever as THE SIMPSONS fictional cartoon duo, and the pain in watching some of the film’s deaths is nearly unbearable. The enjoyment of the movie is supposed to be derived from watching elaborately staged death sequences where teens are mutilated via nail guns, car crashes, tanning beds and other assorted objects and devices. For those with a more sick and twisted funny bone, FINAL DESTINATION 3 is merely an extremely violent cartoon to laugh at. My problem is that the film doesn’t play that way. Certain scenes and characters provide some semblance of humanity, and these individuals genuinely struggle with the events that are occurring around them. FINAL DESTINATION THREE is a continued testament to the drastic decline in horror films. Avoid this painful dance with the reaper.
Grade: F
FINAL DESTINATION 3 is like watching a chain reaction version of a series of ITCHY AND SCRATCHY episodes. Neither of the films are as funny or half as clever as THE SIMPSONS fictional cartoon duo, and the pain in watching some of the film’s deaths is nearly unbearable. The enjoyment of the movie is supposed to be derived from watching elaborately staged death sequences where teens are mutilated via nail guns, car crashes, tanning beds and other assorted objects and devices. For those with a more sick and twisted funny bone, FINAL DESTINATION 3 is merely an extremely violent cartoon to laugh at. My problem is that the film doesn’t play that way. Certain scenes and characters provide some semblance of humanity, and these individuals genuinely struggle with the events that are occurring around them. FINAL DESTINATION THREE is a continued testament to the drastic decline in horror films. Avoid this painful dance with the reaper.
Grade: F
Wednesday, February 15, 2006
GLORY ROAD
Josh Lucas leads an integrated Texas basketball team towards sports immortality in the late 60’s in the drama GLORY ROAD. Lucas is Don Haskins, a successful high school girls’ basketball coach, who lands the head coaching job at Division I Texas Western to coach men’s collegiate hoops. With very few scholarships and recruiting dollars, Haskins hits the inner city for overlooked black players. The Texas Western Miners grab national attention, as well as their critics and fans, by not only challenging the color barrier in college basketball, but also its undefeated record.
Dr. Martin Luther King Junior once said, “Judge us not by the color of our skin, but by the content of our character.” Although GLORY ROAD preaches to be color blind it seems to be a contradicting itself, even if the film is historically accurate. Much of GLORY ROAD is devoted to showing the discrimination the black ball players faced, and Haskins drive towards winning. The team is nearly evenly integrated, with five white and seven black players, and the minutes, points and victories are distributed amongst the team’s best players, be it white or black, during the film’s entire season. It isn’t until late in GLORY ROAD when Haskins decides to make a political point, rather than seeking the best coaching decision for his team, that the film turns a double-standard. The film, and history’s late tournament twist, is a compelling statement, but one which doesn’t seem to fit the GLORY ROAD underlying message. This thematic miscalculation undermines an entertaining picture, with good performances, exciting on-court action and a great R & B soundtrack. For as much grandstanding as it does, GLORY ROAD doesn’t score enough points.
Grade: C+
Dr. Martin Luther King Junior once said, “Judge us not by the color of our skin, but by the content of our character.” Although GLORY ROAD preaches to be color blind it seems to be a contradicting itself, even if the film is historically accurate. Much of GLORY ROAD is devoted to showing the discrimination the black ball players faced, and Haskins drive towards winning. The team is nearly evenly integrated, with five white and seven black players, and the minutes, points and victories are distributed amongst the team’s best players, be it white or black, during the film’s entire season. It isn’t until late in GLORY ROAD when Haskins decides to make a political point, rather than seeking the best coaching decision for his team, that the film turns a double-standard. The film, and history’s late tournament twist, is a compelling statement, but one which doesn’t seem to fit the GLORY ROAD underlying message. This thematic miscalculation undermines an entertaining picture, with good performances, exciting on-court action and a great R & B soundtrack. For as much grandstanding as it does, GLORY ROAD doesn’t score enough points.
Grade: C+
BROKEBACK MOUNTAIN
Heath Ledger and Jake Gyllenhaal form a friendship and much more in Ang Lee’s romantic epic BROKEBACK MOUNTAIN. Ledger is Ennis Del Mar, and Gyllenhaal, Jack Twist, two cowboys who together tend sheep along Wyoming’s Brokeback Mountain. 1963 is the only year the men would work together, but their romantic experience on Brokeback Mountain, would lead to several more trips to the mountain range. Despite obstacles, including marriage, distance and time, the two men find moments throughout the years to reunite.
Although BROKEBACK MOUNTAIN has been tagged a gay cowboy movie, the film is a little more complicated for such a simple label. The two men are not necessarily gay, as their attraction is not only limited to their sex. Ennis and Jack’s appeal is more than sensual, as the men share a kinship and bond through their mountainous experiences. Ledger and Gyllenhaal are both effective in roles that demand a lot. Both actors sell themselves as rugged Western folks, but also pull off a romance conveying great sensitivity. Ledger stands out, as his Ennis internalizes his anger, sadness and fear. The screenplay deserves as much credit as the actors, with Larry McMurty and Diana Ossana adapting E. Annie Proulx’s short story into a moving drama that utilizes sentimental items, family ties and last wishes. Director Ang Lee takes each of these aspects to great emotional heights employing imagery, memories and the scenic Wyoming landscape. BROKEBACK MOUNTAIN isn’t just a gay cowboy movie, but a display of a fractured relationship and a man coming to terms with his emotional detachment. BROKEBACK MOUNTAIN is one of 2005’s best films.
Grade: B+
Although BROKEBACK MOUNTAIN has been tagged a gay cowboy movie, the film is a little more complicated for such a simple label. The two men are not necessarily gay, as their attraction is not only limited to their sex. Ennis and Jack’s appeal is more than sensual, as the men share a kinship and bond through their mountainous experiences. Ledger and Gyllenhaal are both effective in roles that demand a lot. Both actors sell themselves as rugged Western folks, but also pull off a romance conveying great sensitivity. Ledger stands out, as his Ennis internalizes his anger, sadness and fear. The screenplay deserves as much credit as the actors, with Larry McMurty and Diana Ossana adapting E. Annie Proulx’s short story into a moving drama that utilizes sentimental items, family ties and last wishes. Director Ang Lee takes each of these aspects to great emotional heights employing imagery, memories and the scenic Wyoming landscape. BROKEBACK MOUNTAIN isn’t just a gay cowboy movie, but a display of a fractured relationship and a man coming to terms with his emotional detachment. BROKEBACK MOUNTAIN is one of 2005’s best films.
Grade: B+
MUNICH
Steven Spielberg tackles the Israeli-Palestinian conflict with the dramatic, thriller MUNICH. The film is centered around a group of Israeli assassins who have been called by their government to serve on a mission of retribution and revenge. During the 1972 Olympics in Munich, Germany eleven Israeli athletes were kidnapped and murdered. The group of Israeli assassins’ mission is to kill each of the men responsible for the tragedy in Munich.
Spielberg has been lambasted by both Israelis and Palestinians for MUNICH. Each side has been critical of the film, as Spielberg doesn’t take a firm stance either way. MUNICH is a hard look at a conflict that is not easily diagnosed. The five Israeli assassins struggle with the moral implications of their mission to varying degrees. Spielberg has crafted a morally complex film with no distinguishable conclusions, and an extremely riveting thriller with intense moments of great danger, and characters whose motives are not entirely known. Bana provides MUNICH with a person who is passionate, caring, complicated, deadly, and when all is said and done, confused. His Avner is inevitably where I believe we see Spielberg through MUNICH. Although he is a passionate Israeli, determined for his cause, he isn’t convinced his actions or his government’s hard line position is the right approach. MUNICH is a morally compelling must-see movie.
Grade: B+
Spielberg has been lambasted by both Israelis and Palestinians for MUNICH. Each side has been critical of the film, as Spielberg doesn’t take a firm stance either way. MUNICH is a hard look at a conflict that is not easily diagnosed. The five Israeli assassins struggle with the moral implications of their mission to varying degrees. Spielberg has crafted a morally complex film with no distinguishable conclusions, and an extremely riveting thriller with intense moments of great danger, and characters whose motives are not entirely known. Bana provides MUNICH with a person who is passionate, caring, complicated, deadly, and when all is said and done, confused. His Avner is inevitably where I believe we see Spielberg through MUNICH. Although he is a passionate Israeli, determined for his cause, he isn’t convinced his actions or his government’s hard line position is the right approach. MUNICH is a morally compelling must-see movie.
Grade: B+
NINE LIVES
An ensemble cast of talented actresses reveal several pressing issues for women in NINE LIVES. The film is broken down in several episodic scenes, titled with one of the nine women’s names, and focuses on a pressing issue. These topics include imprisonment, loss, love, betrayal and death, amongst many others. The film co-stars a number of character actors including, Kathy Baker, Mary Kay Place, Joe Mantenga and Stephen Dillane, and also some heavy hitters like Sissy Spacek, Robin Wright Penn, Glen Close and Dakota Fanning.
NINE LIVES works on many levels, and as several different films. Each segment can serve as its own entity, a short film, but is greater enhanced by the short films that precede and follow it. Some of the characters appear in multiple shorts, but it’s not used as a gimmick or a clever trick, yet an understated way to demonstrate the connectivity and continuity of all women. Each of the short films is shot with a steady cam, allowing for no editing to occur. Again, this could have been seen as pretentious, but director Rodrigo Garcia utilizes this technique to simply have us walk with his characters for a short while. All of the shorts work, but some have a greater impact than others. A romance rekindled at a supermarket, a forbidden affair and memories of a loved one are the three which not only have the greatest emotional force, but are also handled with great subtlety and care. NINE LIVES is a balanced and successful collection of women’s short subjects.
Grade: B
NINE LIVES works on many levels, and as several different films. Each segment can serve as its own entity, a short film, but is greater enhanced by the short films that precede and follow it. Some of the characters appear in multiple shorts, but it’s not used as a gimmick or a clever trick, yet an understated way to demonstrate the connectivity and continuity of all women. Each of the short films is shot with a steady cam, allowing for no editing to occur. Again, this could have been seen as pretentious, but director Rodrigo Garcia utilizes this technique to simply have us walk with his characters for a short while. All of the shorts work, but some have a greater impact than others. A romance rekindled at a supermarket, a forbidden affair and memories of a loved one are the three which not only have the greatest emotional force, but are also handled with great subtlety and care. NINE LIVES is a balanced and successful collection of women’s short subjects.
Grade: B
TRANSAMERICA
Desperate Housewife Felicity Huffman undergoes a personal transformation in the comedy-drama TRANSAMERICA. Huffman is Bree, formerly Stanley, a transsexual who is in the final stages before gender reassignment surgery. Just before her surgery, she finds out that she may have a son named Toby. After consulting with her therapist, Bree heads to New York to find out if Toby is hers.
For all of its socially conscious intentions, TRANSAMERICA is a misguided film with an awkward moral barometer. Writer-director Duncan Tucker’s strength is obviously not subtlety. The character of Toby couldn’t be written more obvious or pathetic. Toby’s mother committed suicide, his father is now becoming a woman and his step-father molested him. Couple this with the fact that he’s a coke-addicted male prostitute, and you have enough material for five edgy dramas. The central character of Bree is handled as well as possible, but I’m not quite sure someone in her circumstances can be empathetic. I certainly felt sympathy for Bree, and she comes off as genuinely decent person, but I didn’t come close to understanding her situation. This is where TRANSAMERICA drastically fails.
Grade: D+
For all of its socially conscious intentions, TRANSAMERICA is a misguided film with an awkward moral barometer. Writer-director Duncan Tucker’s strength is obviously not subtlety. The character of Toby couldn’t be written more obvious or pathetic. Toby’s mother committed suicide, his father is now becoming a woman and his step-father molested him. Couple this with the fact that he’s a coke-addicted male prostitute, and you have enough material for five edgy dramas. The central character of Bree is handled as well as possible, but I’m not quite sure someone in her circumstances can be empathetic. I certainly felt sympathy for Bree, and she comes off as genuinely decent person, but I didn’t come close to understanding her situation. This is where TRANSAMERICA drastically fails.
Grade: D+
LOOKING FOR COMEDY IN THE MUSLIM WORLD
Writer-director Albert Brooks tries to assist the United States government in easing tensions between America and the Middle East in LOOKING FOR COMEDY IN THE MUSLIM WORLD. Brooks, playing himself, is called on by a special committee on US foreign affairs to help bridge the tension gap between the United States and the Muslim world. The committee requests that Brooks visit India and Pakistan, and write a 500-page report on what makes members of the Muslim faith laugh.
LOOKING FOR COMEDY IN THE MUSLIM WORLD has all the marks of a Brooks’ comedy, but unlike most of his works, it doesn’t go anywhere. Much of the humor works, but its small chuckles not big laughs, and it relies on more plot than standard Brooks fare. I liked Brooks’ idea of playing himself in the lead role. This enables the comedian more laughs and comedic situations, and helps to play off other real people, places and events. The insecurities and doubts he has when he reaches the Middle East, are all confirmed when the citizens either don’t get, or more humorously, don’t like his jokes. These situations are sustained for much of the film, before Brooks must begin to tie his overseas experiences into one cohesive story. LOOKING FOR COMEDY IN THE MUSLIM WORLD is a mildly amusing movie, that doesn’t quite pull its premise off.
Grade: C
LOOKING FOR COMEDY IN THE MUSLIM WORLD has all the marks of a Brooks’ comedy, but unlike most of his works, it doesn’t go anywhere. Much of the humor works, but its small chuckles not big laughs, and it relies on more plot than standard Brooks fare. I liked Brooks’ idea of playing himself in the lead role. This enables the comedian more laughs and comedic situations, and helps to play off other real people, places and events. The insecurities and doubts he has when he reaches the Middle East, are all confirmed when the citizens either don’t get, or more humorously, don’t like his jokes. These situations are sustained for much of the film, before Brooks must begin to tie his overseas experiences into one cohesive story. LOOKING FOR COMEDY IN THE MUSLIM WORLD is a mildly amusing movie, that doesn’t quite pull its premise off.
Grade: C
TRISTAN AND ISOLDE
James Franco and Sophia Myles share a forbidden love in the romantic period piece, TRISTAN AND ISOLDE. Following the fall of the Roman Empire, much of the region has fallen under the power of Ireland, while the remaining parcels are divided amongst several British factions. Tristan is a Brit, one whom is left to die when his raft drifts upon Ireland’s shore. Isolde, posing as a commoner, finds Tristan, cares for him and then falls in love. Later the two meet, in unlikely circumstances, with Tristan winning Isolde’s hand for his Lord.
Director Kevin Reynolds seems to have a knack for telling classic stories. His remakes of ROBIN HOOD and THE COUNT OF MONTE CRISTO weren’t nearly as memorable as their written works, but they were entertaining vehicles told in ageless style. TRISTAN AND ISOLDE is much of the same, a classic love story set across a historical backdrop, with plenty of meaty action sequences for those who aren’t won over by the romance. After being force-fed hyper edited scenes from modern action directors, it was refreshing to view battles where one could be excited and thrilled, while still understanding their moments, motives and outcomes. TRISTAN AND ISOLDE is visually drab, creating a dark and gloomy atmosphere, but does reflect the tone of the characters struggles. James Franco and Rufus Sewell provide strong performances, in spite of their weakly written dialogue. TRISTAN AND ISOLDE is an effective romantic and action-oriented period piece, despite a few missteps.
Grade: B-
Director Kevin Reynolds seems to have a knack for telling classic stories. His remakes of ROBIN HOOD and THE COUNT OF MONTE CRISTO weren’t nearly as memorable as their written works, but they were entertaining vehicles told in ageless style. TRISTAN AND ISOLDE is much of the same, a classic love story set across a historical backdrop, with plenty of meaty action sequences for those who aren’t won over by the romance. After being force-fed hyper edited scenes from modern action directors, it was refreshing to view battles where one could be excited and thrilled, while still understanding their moments, motives and outcomes. TRISTAN AND ISOLDE is visually drab, creating a dark and gloomy atmosphere, but does reflect the tone of the characters struggles. James Franco and Rufus Sewell provide strong performances, in spite of their weakly written dialogue. TRISTAN AND ISOLDE is an effective romantic and action-oriented period piece, despite a few missteps.
Grade: B-
CASANOVA
The legendary lover’s romantic escapades come to a screeching halt when he falls in love in CASANOVA. Heath Ledger is Casanova, the desire of every woman’s heart and the disdain of the local government. After several run-ins with the law due to his passionate affairs, Casanova elects to settle down and marry. Determined he’ll never find true love, Casanova becomes engaged to the virgin Victoria. Just as Casanova becomes engaged, he falls for Francesca, after losing to her in a swordfight.
Director Lasse Halstrom’s light-hearted, romantic touch has eluded him for some time, but he creates a delightful little picture with quite a bit of help from Ledger. Ledger’s Casanova not only succeeds due to his physical and romantic charms, but in large part, because Ledger’s enjoyment radiates through his portrayal. This is quite a turnaround from the Aussie last performance. In BROKEBACK MOUNTAIN, his Ennis is an emotionally repressed introvert beaten by his own intimacy issues. In CASANOVA, Ledger does a 180-degree acting turn, wearing the lover’s emotions on his sleeve, wowing women through verse, charisma and other obvious attributes. The supporting cast is also enjoyable, with Sienna Miller projecting a strong persona, Oliver Platt turning in a surprisingly lovable performance as Paprizzio and Jeremy Irons, as the staunchly salty Pucci. Halstrom still tends to draw out a few less than compelling sub-plots, but overall he keeps CASANOVA on track as a light and breezy romantic escape.
Grade: B-
Director Lasse Halstrom’s light-hearted, romantic touch has eluded him for some time, but he creates a delightful little picture with quite a bit of help from Ledger. Ledger’s Casanova not only succeeds due to his physical and romantic charms, but in large part, because Ledger’s enjoyment radiates through his portrayal. This is quite a turnaround from the Aussie last performance. In BROKEBACK MOUNTAIN, his Ennis is an emotionally repressed introvert beaten by his own intimacy issues. In CASANOVA, Ledger does a 180-degree acting turn, wearing the lover’s emotions on his sleeve, wowing women through verse, charisma and other obvious attributes. The supporting cast is also enjoyable, with Sienna Miller projecting a strong persona, Oliver Platt turning in a surprisingly lovable performance as Paprizzio and Jeremy Irons, as the staunchly salty Pucci. Halstrom still tends to draw out a few less than compelling sub-plots, but overall he keeps CASANOVA on track as a light and breezy romantic escape.
Grade: B-
ANNAPOLIS
A young boxer tries to fight his way into the Naval Academy in the military drama, ANNAPOLIS. Jake Huard, played by James Franco, is surprised to see a Navy recruiter outside the steel mill that he works at. The recruiter has seen Jake box at the local bingo hall, and feels the tenacity and perseverance Jake shows in the ring may translate into a fine naval officer. Jake accepts the invitation to Annapolis, but may have gotten more than he bargained for, squaring off with an overbearing commanding officer, competitive classmates and the rigorous training.
Although ANNAPOLIS nails the right themes, codes and mantras involved in serving your country, the film’s portrait of the actual academy might as well be Narnia or the Land of Oz. I highly doubt the Naval Academy would put up with half of what is depicted in the film. Fraternizing with a commanding officer, insubordination and attacking a lieutenant are, as far as I know, grounds for immediate dismissal. Jake commits each of these transgressions throughout the film, but still seems to land on his feet. Franco is fine playing the defiant Jake, but I can’t help but wonder when the rebel routine will wear off. Tyrese Gibson, as commanding officer Cole, provides a real commanding presence and is leaving his modeling career as a distant memory. His character deserves to be in a better film. ANNAPOLIS isn’t a bad picture, just not a believable one.
Grade: C
Although ANNAPOLIS nails the right themes, codes and mantras involved in serving your country, the film’s portrait of the actual academy might as well be Narnia or the Land of Oz. I highly doubt the Naval Academy would put up with half of what is depicted in the film. Fraternizing with a commanding officer, insubordination and attacking a lieutenant are, as far as I know, grounds for immediate dismissal. Jake commits each of these transgressions throughout the film, but still seems to land on his feet. Franco is fine playing the defiant Jake, but I can’t help but wonder when the rebel routine will wear off. Tyrese Gibson, as commanding officer Cole, provides a real commanding presence and is leaving his modeling career as a distant memory. His character deserves to be in a better film. ANNAPOLIS isn’t a bad picture, just not a believable one.
Grade: C
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