Read on. I've covered the rest of the summer, except something just couldn't get me to see SCOOBY DOO, MR. DEEDS and HALLOWEEN: RESURRECTION. But I am looking forward to SIGNS. And please, as always, read and REACT.
K-19: THE WIDOWMAKER (**1/2) - Unfortunately, the last GREAT Harrison Ford movie remains “Clear and Present Danger”. But this submarine adventure isn’t entirely without merit. It’s as solidly put together as the ship itself, but the narrative at times falls below the radar. Let’s start with the performances. Thirteen years ago, Sean Connery played Harrison Ford’s father. Now it seems that Ford is getting offered the roles Connery used to (drawing a parallel with the Russian sub commander Connery played in “The Hunt for Red October”). So, this is a wise script choice for Ford to jump aboard. Flying starships and swinging over chasms on a whip may not be in his repertoire anymore. He seems at home in a more grounded role that still can bring out the commanding presence he brings to any role without us ever having to say, “OK, you’re a little bit old for that.” This is also the second character in a row that Ford has played that is of questionable character. As a HUGE fan of Harrison Ford, I’m glad he’s reaching beyond the hero image, and I think he’s up for the challenge. Liam Neeson is strong alongside Ford as a former sub captain now relegated to #2, but he was a bit bombastic in his scenes, rarely acting without snorting or barking his lines. They are surrounded by a slew of actors you’ve never seen before, with the exception of Peter Skarsgaard as a young nuclear expert. The crew for the most part is good, but they suffer from what most submarine movies suffer from - no standouts. They remain Russian guys number one through fifty. Their story is different from most, as it’s an internal story of a Russian sub disaster. Unlike Clancy, or “U-571”, the scope isn’t as grand as most sub movies. It’s pretty much self-contained. The actions on the ship are crucial to...those on the ship, with only one or two cutaways to the mainland. This leaves alot up to director Kathryn Bigelow, and unfortunately, after “Das Boot”, the claustrophobia of a submarine and the impressive, winding camerawork that takes a viewer through it’s hulls can only be copied, not invented. And there isn’t a whole lot here that advances the genre. I was pulled in once again by the badge of courage worn by soldiers. I talked about it in “Black Hawk Down” and other war films. I’m a sucker for the self-sacrifice device. So, overall, it had it’s moments, but doesn’t quite stand out in an unusually good summer. And I will warn you now - this film contains the WORST line of dialogue of the year. And as a big fan, I’m sad to say it’s uttered by Ford. I won’t even say it hear because you will ABSOLUTELY KNOW IT when you hear it. When you see Ford on talk shows, he seems like such a smart adult, I can’t imagine why he wouldn’t read the line and say, “There is no way I’m saying this”. But he did, and it’s worse than “Get off my plane”. (But it’s not “Get off my sub”, for the record...)
THE SALTON SEA (****) - Everyone reading this must run out to see this film. It slipped completely under the radar during the “Spider-Man”/”Star Wars: Episode 2” hype-fest and was unfortunately ignored. Then again, it is a film for distinguished tastes. Quirky, suspenseful, surprising, engaging, funny, slick, dark, smart and always original, there is much to recommend about this film. It’s the only movie I’ve paid to see twice this year, and for good reason. Some films impress with the characteristics of their craft. This film is at first watchable because of a thoroughly intriguing and well-thought-out plot. The plotting is instantly absorbing and takes you away from the top. On top of that, director DJ Caruso hasn’t dipped the whole film in overwhelming style, like many “hip” directors do, thus smothering the content in overpowering technique. I found Caruso’s movie to be seasoned just enough in style to suit the crazed minds of the speed “tweakers” that populate the film, while still having a firm grip on a very compelling plot. Val Kilmer gives his best perfomance in a decade. I’m sure he hasn’t been this good since “Tombstone”. And the supporting cast is solid, too, especially Vincent D’Onofrio, who is determined to be uncategorizable. He goes all-out playing drug dealer “Pooh Bear”, and is totally memorable as one of the great crime psychos of the last decade. Also very good is Peter Skarsgaard as Kilmer’s best friend. He plays hopeless, helpless and vulnerable in an acute balance.The look of the film is seedy and constant, taking me to a place I’ve never been - inside the world of speed freaks. The film has a raw energy and palpable suspense that riveted me to my seat and I recommend everyone seek it out.
MINORITY REPORT (****) - Another one of the year’s best films. Here is a perfect coming together of talents:
- One of the world’s best film director’s looking for adult-oriented material
- An ace short story from a writer who’s stories have made for some of the best sci-fi.
- An actor in his prime who gives his all for the director.
It’s the material just right for the director, who’s got a hungry actor at his beck and call, and all the ingredients make for a supremely enjoyable movie. I have been impressed with the number of films this summer that are aiming high. It seems like adults got lucky this year with a great number of high-profile films looking to play to the adult crowd (“The Sum of All Fears”, “Road to Perdition”, “K-19”, “Insomnia”). "Report" trumped everything playing the field right now. Take one scene for example - the fight with the jet-pack cops that ends in a kid's bedroom while he's playing the saxophone. There was ample room for something dopey to happen - i.e. a "Holy shit, missah! You done fell from space!", but they skipped it in favor of maintaining the established tone. Get on with the chase, don’t stop to cater. I LOVED the look of the whole movie - practically devoid of color, even in the greenhouse scenes. Washed out in dark blues, greys, white and black. Gritty was the order of the day, and the jobs of these cops was just that, with no glamour lens to see it through. Spielberg's vision was an enhancement of the story. A complex looking world that never went - "WOW! LOOK AT OUR COOL SPECIAL EFFECTS!". Speilberg wasn’t trying to be Kubrick or anyone else, and we know how good Spielberg can be with the right material. The plot was guessing, guessing and more guessing, with a major red herring thrown in for good measure. It was equal parts murder mystery and science fiction. Tom Cruise is as good as he’s ever been. As soon as I saw the phrase 'Everybody Runs', I figured he'd be good, he ran so well in "The Firm". It really seems like he's giving his ALL 'cause he knows he's with the best director in the biz. He's really, really, REALLY going for it in every scene, and it pays off - IT SHOWS. There were only a couple of times that John Williams' score seemed like a Williams score, but other times it was breathtaking in new and exciting ways I haven't heard from him before. Especially when Cruise was jumping from car to car on the expressway - that scene played out in look and music like futuristic Hitchcock. This is extremely smart and impressive science fiction the likes of which we didn’t see last summer - see it while you can! And be sure not to miss Mark Tucci’s great review in the comments section, too.
INSOMNIA (***) - A moody, well-acted thriller that can stand alongside “Memento” as another fine Christopher Nolan film. Don’t get me wrong, this film isn’t nearly as ambitious or successful as “Memento”, but it further proves that Nolan is a fresh new talent to be reckoned with. Al Pacino looks like walking death in this movie, and it just gets worse and worse the less his character is allowed to sleep. Besides the look, Pacino nails the flaws, panic and duty of his complex police officer. Robin Williams is very strong as he commands his scenes with quiet menace. Nolan’s rich sense of location and atmosphere make the mountains and lakes of Alaska a character unto themselves, hiding the crimes of a small town beneath. The film’s major flaw, to me, was that it seemed a bit long, but I can’t quite put my finger on what led me to that feeling. It is a sprawling drama in a remote setting that seems wrapped in the same cold mist the characters walk through. Hilary Swank is fine in her role, and she’s quite cute in a tomboy/cop way. She reminded me of Laura Linney in “Mothman Prophecies” (also cute) in that they’ve both recently been nominated for Oscars (and Swank won), and followed the nomination up with a supporting cop role. I think they could both have chosen showier, lead roles for the follow-up. The mind of a killer and the mind of a flawed cop are both examined quite effectively, with interesting double-crosses and sturdy production values throughout.
THE IMPORTANCE OF BEING EARNEST (**) - I’ll admit I don’t know the play on which this film was based. I’ve heard of it forever as Oscar Wilde’s greatest work. So, with little knowledge going in, did I laugh? Yes! Did I think this was a great film, at least as great as the play? No. The play seems to lend itself to dramatic contrivances that don’t stand up in the film world. Things that wrap up so easily on stage seem dorky on film. Perhaps it’s because film itself is so new and constantly evolving, and the words and characters of Wilde’s play are old and set in the ways of the theater. The film’s strongest asset is Wilde’s dialogue. Again, I’m not sure how it may have been butchered for the screenplay version of Wilde’s story, but the dialogue in “Earnest” is at times sharp as a knife and at times refined to flow out of the actor’s mouths like butter. And best equipped to live in these great words is Judi Dench, who is both hilarious and malevolent as a noblewoman determined to prevent her daughter from marrying unsuitably. The other actors certainly seem to be having a good time. Rupert Everett hams it up as a rapscalion, Colin Firth is as enjoyable as always and the two men have a good rapport. Equally silly are Reese Witherspoon and Frances O’Connor, swinging moods like golf clubs. But there’s something about the mood swings, love him/hate him back-and-forths, stunning revelations and pretty, tidy package wrap-ups that seem put-upon. Maybe it’s a style that follows Wilde’s work around on stage, but on film, it seems a bit too stagey. Is stagey a word? So points for chuckles, but the overall experience is better left on stage.
WINDTALKERS (**) - Early on in “Windtalkers”, there’s a shot of birds flying in slow motion. So if you’ve been wondering if John Woo met his quota in that department with this film, wonder no more. The tougher quota to meet is “effectiveness of a World War II film, post-’Saving Private Ryan’”. “Windtalkers” doesn’t meet it. In fact, it’s a damned tough quota to meet. Woo has kept his war drama rich in color and crisp, clean photography. Certainly the opposite of Spielberg’s dark, grainy, near black-and-white opus. Woo’s old-fashioned look actually became a detriment to all parts of the film. The characters were old-fashioned, the heroism is old-fashioned, the dialogue is old-fashioned. A guy like me is wired into the new wave of war films where there’s no time for a dramatic scene amongst the bullets flying. When Nicolas Cage and Adam Beach are engaging in high drama in the foxhole, it can’t help but feel hokey. “Windtalkers” refers to the Indians recruited to use their native language as a code to disguise messages, thus enabling the messages indecipherable to the Japanese. The film centers on the taking of a Japanese island, and I was troubled by how little the code language was used. More in focus was the human drama element - the Windtalkers CANNOT fall into enemy hands alive. To make that more weighty, I suppose I needed a more CRUCIAL demonstration of the code. Instead, they seemed to pretty much just give each other directions. Nicolas Cage is doing his usual balance between dramatic and cartoonish that he’s perfected in summer blockbusters since he won an Oscar. There’s no doubt the film is action-packed and it wins points for that. I just fell that we’re still waiting for Hong Kong legend John Woo’s first GREAT American-made movie.
ROAD TO PERDITION (***1/2) - (My description of some images in this review may give stuff away about the film, just so you know). OK, I looked it up. “Perdition” means ‘eternal damnation.’ After seeing the film, its a fitting title. From the skillful setup in the movie’s first half-hour, it’s apparent that things aren’t going to be cheery in mobland. “Road to Perdition” is director Sam Mendes’ follow-up to Oscar magnet “American Beauty”, and it solidifies Mendes as a major talent who can hopefully continue fearlessly transcending genres. Besides ‘utter destruction’, Perdition is also a town in Indiana where Tom Hanks longs to take his son after circumstances force him to leave his home and job. His job - hitman for crime boss Paul Newman. “Road to Perdition” has been compared to “The Godfather”. It lacks that film’s scope and vision, but retains the grandeur, atmosphere and reverance for the genre that “The Godfather” made classic. The plotting is kept to a minimum (it’s basically a revenge tale) so that style can rule the day. And it does, with indelible images that are instant classics in my book: a young boy’s peep-hole view of a murder, the silent gunning down of gangsters in the street, the creepy killer who photographs his victims. When this killer meets up with Hanks character at a diner, the tension is fierce, and makes for a wonderful scene. This movie is about themes - BIG ONES - and the film wearing them brazenly out in front of itself as a badge of honor. Like most gangster films, there’s a power struggle at the core of this film, coupled with dedication to family. There’s also an old Ibsenian adage - the sins of the father will be visited on the sins of the son. It’s a question to the very end of the flim whether that cycle can be broken or not, and I was riveted throughout. The GREAT Paul Newman brings his make-it-look-easy style to a complex gangster and he’s perfect. Hanks, Jude Law, Stanley Tucci (putting a new spin on a famous, here-to-fore-thought-less-reserved gangster) and supporting characters across the board are very good. Mendes’ direction is confident, dreamlike and inventive. I found it an interesting choice to keep many killings off-camera, relying on swinging doors, flashing light and other devices to tell the story. It helps to have cinematography LEGEND Conrad L. Hall behind the lens. His photography is just mesmerizing from character framing to choice of lights and shadows. It screams Oscar. The whole film does.
AUSTIN POWERS IN GOLDMEMBER (**1/2) - This movie is hilarious! So, why two and a half stars and not three or three and a half? “Goldmember” is a sloppy movie, not nearly as deft a satire of spy films that the original was. Satire has been traded in favor of outrageous character play. Mike Myers is so sure that we all are in tune to the characters in Austin Powers’ world that he just lets them run rampant. After a STELLAR opening (which is funnier than the entire movie “Ice Age” - the only other comedy I’ve seen this year), Myers goes right to what we know - Dr. Evil trying to hold an evil meeting with his usual gaggle of freaks (#2, Mini-Me, son Scott, and the Frau) - all back with the original actors. They do all the old shtick and dammit, I laughed. Myers relies alot on what we already know is funny. That’s why we get to see Fat Bastard again. Mysteriously missing is Will Ferrell. As for the new stuff - Michael Caine is a natural as Austin’s dad. Fred Savage supplies a good sight gag that’s less funny when it’s revisited (ditto the end of the film when they practically replay the beginning - there’s no need for that). Beyonce Knowles is good as Foxxy Cleopatra, certainly a step-up from boring Heather Graham. Knowles didn’t quite have Pam Grier’s badassness, which, again, would’ve been more accomplished satire. But as I said before, “Goldmember” focuses more on goofy character shtick, and for that, the film belongs to Myers, as he rips “Silence of the Lambs”, the ‘70s, and every celebrity (and there are TONS) who shows up for a cameo. Least exciting, however, is Goldmember himself, a take on Gert Frobe’s classic Bond villian, Auric Goldfinger. Outside of a few good interchanges with superior villian Dr. Evil, Goldmember doesn’t have much to do. Mini-Me’s part is greatly increased. They beat the living shit our of Verne Troyer in this flick. The humor in that’s just going to have to come down to you. To me, midget getting beat up = funny. So, the franchise definitely lives on. But instead of being comfortable in what we’ve already made a cult hit, I’d be very excited by a next Austin Powers movie that tries a little bit harder. And, hey, it’s this of “Scooby-Doo”, “Mr. Deeds”, or, god help us, “Juwanna Mann”.
DIVINE SECRETS OF THE YA-YA SISTERHOOD (**) - Full of intent and vigor and completely forgettable. A trio of southern matriarchs kidnap a writer and bring her to Louisiana to reconcile with their friend, her mother. The kidnapping seems ludicrous, and what ensues is a big healing process as they explore their lives through what seems like an equally ludicrous number of flashbacks. Does that seem petty? To think there are too many flashbacks in a movie? I got invested in neither time period fully, as a result. Sandra Bullock is the writer, Sidalee. Ellen Burstyn is wonderful as her mother, Vivian, and Ashley Judd is Vivian in flashbacks. The trio of “southern attitude” elderly women (first groomed in “Steel Magnolias” and kept alive in “Fried Green Tomatoes” and now here) are played by Maggie Smith (so sure in every film she’s in, she’s fun to watch), the GREAT Fionully Flanagan and Shirley Knight. There are two problems I had with the flashbacks - Ashley Judd played young Vivian, but the other three girls (who make up the Ya-Ya Sisterhood, created for no reason as children) blended together and didn’t reallly have distinguishing personalities. Also, Bullock’s character has siblings we never see again, even when thei mom has a big event in her life later on. Weird. But, is ther something charming about all these ladies, their sense of humor and attitude? There always is. I also had genuine sympathy for James Garner’s character. And Sandra Bullock is so ridiculously cute, I fell for whatever she did. So, whatever parts I liked made for a sub-par whole. Don’t rush, and it’s August, so if you haven’t rushed ot this June release yet, you’ll be OK.
THIRTEEN CONVERSATIONS ABOUT ONE THING (***) - I still don’t get the title really. The one thing is happiness, but luck and fate are themes just as major in the stories told here. And the stories aren’t thirteen conversations but instead five interlocking plots involving New Yorkers of different fiber seeking happiness. Writer/director Jill Sprecher’s sober drama is reminiscient of something Paul Thomas Anderson would make as an East Coast “Magnolia”. Maybe he’d call it “Wall”. Alan Arkin is especially good, reminding us what he can do with a lead role. The hardships these characters face while trying to be happy make the movie quite dour and dreary. As a result, it seemed a bit long. It was, however, always interesting, and Sprecher has a good ear for dialogue, never having to spell things out for the viewer, and keeping the speech of characters of all classes quite colorful.. Which is good, ‘cause they like to talk.
MURDER BY NUMBERS (***) - I caught this April release at the discount cinema after it had been out for a while. I liked it more than I thought I would. Sandra Bullock is believable in a dramatic role that certianly asks more from her than her comedies, and the subject matter is seriously dark, especially for a Hollywood thriller. This movie seems more the subject of indies, but director Barbet Schroeder brings good control to the proceedings and it ends up being creepy and slick. It’s more of a how-are-they-going-to-find-out-that-they-did-it than a who-done-it. For the most part, it’s “Movie By Numbers”, but I found myself intrigued by the notion of a movie having the balls to tell a story about high schoolers on a killing spree. And it creeped me out.