Archive for October, 2008
You too can make a porno (with stick figures)
Posted by frothy in News/Rumors on October 19, 2008
You may have heard about Kevin Smith’s new movie Zack and Miri Make a Porno, about two platonic roomies who, destitute, decide to get jiggy with each other in an effort to raise some cash.
The movie’s had lot of troubles with authority groups. For one thing, the film almost got an NC-17, based mainly on the title, but the Weinsteins talked the MPAA into an R. Then there was the problem of coming up with a poster. Couldn’t depict anything, couldja? So the plan was to use stick figures. Nice idea, and it worked – except that some places, such as the oh-so-pristine bus stops in Philadelphia. Seems the word “porno” is enough to send some people scurrying for cover.
414 – W.

Oliver Stone’s W is bombastic but boring, lacking the meanness and certitude of his Nixon and the conniving conspiracies of his JFK. Ultimately, because George W. Bush is still in office, a lot of what transpires in W. is still fresh in people’s minds – from the march to war with Iraq under misleading pretenses to the president’s choking on a pretzel. Had the movie come out a generation or so after Bush left office, it might have been more successful; as it is, we learn virtually nothing about the man or his policies that we didn’t already know.
To be fair, one thing that separates Bush as a public figure from that of, say, Richard Nixon is that Nixon was just more vicious and angry, whereas Bush is just a clueless dolt who leans too heavily on others to tell him what to do. And although it’s true that many of Bush’s policies have been a complete disaster, Stone doesn’t concentrate on their effect on the average person, choosing instead to methodically chronicle Bush’s career, from college screwup to presidential screwup.
The movie might have worked better if there was a mystery to solve; for example, JFK had the whole was-there-a-second-assassin thing going for Jim Garrison to look into. So what does W. give us? Nothing new, just the same round table of yes men and warmongers surrounding Bush, successfully imploring him to make this decision or that to further their own agenda. No mystery there; we’ve seen it all before, and in real time.
Josh Brolin is excellent as Bush himself, though. He may not look exactly like W, but he has the voice and the facial nuances down pat, so he really owned the part. It’s not easy to play a public figure when you yourself don’t really look like him, because you have to rely on your mannerisms and tics to draw attention away from the obvious incongruous physical appearance. Brolin’s Bush is never really morally conflicted, never appears to have a crisis of conscience, which is pretty much how he’s perceived now, anyway. Brolin does do an exemplary job of illustrating Junior’s conflict with his dad, the former president; seems younger brother Jeb was the favored sibling and was being groomed to follow in his dad’s footsteps, while little Georgie was perpetually drunk, stoned, and chasing the women.
In fact, much of the cast does a game job, particularly Richard Dreyfus in a remember-me? role as Vice President Cheney, reining in the scowling and grimacing to simply put forth his own vision of how things should be. James Cromwell and Ellen Burstyn, as George and Barbara Bush, are also spot on, as is Toby Jones (a Brit) as Karl Rove, Jeffrey Wright as Colin Powell, and Bruce McGill as George Tenet. The latter two, incidentally, captured the essence of their characters perfectly – Powell as the stalwart soldier who’s cowed into fibbing to the UN, and Tenet as the CIA head who was sure that the yellowcake information was a slam dunk.
Worthy of special recognition is Elizabeth Banks as Laura Bush. Banks is beautiful, better looking than the real Laura Bush ever has been, but she applies a sort of delicate insistence to George when she disagrees with him, somehow separating herself from most political wives. Her small-town-librarian attitude gently counterbalances Bush’s arrogant frat-boy entitlement outlook, just as it does in real life.
Of the multicharacter cast, though, there was one negative standout – Thandie Newton as a listless Condoleeza Rice. Newton’s not given much to say, but she comes off more simpering and useless than I would have imagined; she seems more like a servant than anything else, there merely to prop up her boss. Which, I understand, is one perspective that might be rooted in reality, at least a little, but Newton’s coquettish grinning merely made her part of the background, rather than the major player the real-life Condi is/was. Rice in real life, though capable of making tragically terrible decisions, is at least extroverted enough to hold her own with the president. Here, the oversized belt buckles on some of the Texan high rollers had more verve and personality.
The bottom line is that W. is too shallow and too narrowly focused to be more than of passing interest. It’s a shame, because there’s a plethora of issues that could have been explored further, including how Bush’s poor decisions led to direct suffering on the part of the American people. But it just might be that not enough time has passed (indeed, none at all) for sound, objective judgment to be passed as to the ultimate legacy and character of the 43rd president.
**
413 – The Happening

I remember saying that I’d given up on M. Night Shyamalan after The Village, and I did. Well, I didn’t watch Lady in the Water, which turned out to be an awesome decision. But.. well, I caved, because The Happening sounded half decent, something about a worldwide calamity and only Marky Mark can save the day. Does that not sound intriguing?
I was also swayed a little bit by the talk of this being an M. Night comeback. A comeback from crappiness, of course. The talk was premature. He will never come back, because he’s clearly in this rut for the long haul.
It’s almost impossible for me to state exactly how crapperiffic this movie is. It’s badly written, badly acted, and badly directed, the holy trifecta of lousy cinema. I know, I know, I should expect this level of nausea when I sit down to see a Nighter, but damn, the man has fallen hard and fast. Believing your own press makes the road a steep one indeed.
Back in the early 1960s, Woody Allen had a bit in his standup routine about a sci-fi script he’d written that had yet to see the light of day. It’s midafternoon, and everyone on Earth suddenly falls asleep. An hour later, everyone wakes up to find themselves in the pants business: hemming, sewing, making pants. Then aliens arrive to pick up their drycleaning, and it gets funnier from there. Anyway, Allen’s nonexistent premise is automatically better than Shyamalan’s, is what I’m saying.
For one thing, the movie struggles to find its voice. Is it a sci-fi movie, a conspiracy thriller, or what? As with most Shyamalan movies, there are a couple of themes: one is the overt oh-my-goodness-what-will-we-do-now part, and the other is the subtle relational conflicts in the story, i.e., what the movie’s really about. Signs, for example, wasn’t really about aliens making crop circles, it was about one man losing his faith after his wife was killed. The Happening isn’t so much about an unexplained disaster as it is about one man and one woman reconciling after a pseudo affair to have babies, or something. It’s tough to tell.
The movie’s not sure what to do with Mark Wahlberg’s main character, Elliot. Elliot is a high-school science teacher, so he’s brainy and whatnot. He keeps his emotions bottled up, as men are wont to do. But when the going gets tough.. well, he sort of leads, sort of doesn’t. Elliot figures out that the thing’s being spread via the air from groups of people to smaller groups of people (it begins in New York’s Central Park, then moves down to Rittenhouse Square in Philadelphia, then to smaller towns and so on). Then there’s a scene with this riveting, and repeated, dialog: “Alma Moore: Elliot, please tell us what to do! Elliot Moore: I need a second okay? Why can’t anybody give me a goddamn second?!” So can he think on his feet, or not?
Everyone seems wasted in this. John Leguizamo, of all people, plays a math teacher who heads from Philadelphia up to Princeton to retrieve his wife. John Leguizamo doesn’t scream “math teacher” to me, even if you smack some huge glasses on him. (Really, that’s all it takes, right?) Zooey Deschanel plays Elliot’s wife Alma, who’s hiding the fact that she’s been seeing a dude behind his back. Well, not seeing, exactly; they had a dessert together, and sadly that’s not a euphemism for anything. The actors have to mouth the dumbest crap, and they’re just not into the script enough to make it work. I don’t blame them much for that. Betty Buckley, from Eight Is Enough, shows up here in your typical cantankerous-old-lady role, but she’s no Betty White, giving us a wacked, constipated performance that’ll have you cringing.
There’s also a bit of gore – this was the first Shyamalan movie to garner an R rating – because what this virus thingy does is drive people insane to the point of killing themselves, so we get to see a woman stab herself in the neck, two kids get shotgunned, a man get run over by a huge riding mower, and so on.
If you approach this film in the right frame of mind – drunk and looking for irony – you might find yourself laughing uproariously at the amateurish acting, the inept direction, or the haphazard, hamhanded direction. I’m just glad I didn’t plunk down $10 to see this in a theater.
*
412 – City of Ember
Posted by frothy in City of Ember on October 12, 2008

At first blush, City of Ember seems like it would be a thrilling sci-fi adventure, a page out of Jules Verne’s playbook, but ultimately it fails to completely scale the dizzying heights of its creative premise. The movie does deliver some intrigue and some compelling performances (not to mention some mailed-in ones), but huge lapses in logic that might be detected even by the youngest audience member prevent it from being the heart-stopping classic it wants to be.
Some 200 years ago, life on Earth was dying, and in its waning moments great physicists, inventors, and architects designed and built a huge underground city powered by a gigantic generator. The Builders, though, possess some forethought and, assuming that someday the surface will again be inhabitable, they enclosed specific instructions for the citizens of Ember to eventually escape to the sunlight. This information was placed inside a metal box and alarmed with a 200-year timer; by the end of that time, the Builders reasoned, the surface would be inhabitable. This box was then handed off from mayor to mayor for nearly 200 years. But, as might be expected, the chain broke somewhere along the way, and at present the box sits in a closet, its owner unknowing of its raison d’etre. So here we are, 200 years down the road, and the lights in Ember flicker occasionally, sometimes more than occasionally, and it’s apparent to a few that the generator’s days are numbered.
Our story focuses on two children, Lina Mayfleet (Saoirse Ronan) and Doon Harrow (Harry Treadway). At the movie’s outset, each has received his and her assigned job for life – Lina as a messenger (all verbal), and Doon working in the pipeworks, where he hopes to find a way to save the generator. During the course of their duties, as the blackouts increase, each learns about the mysterious silver box, and they team up to decipher the tattered remnants of the exit instructions. Naturally, they run into complications with Doon’s father (Tim Robbins) and the current mayor (Bill Murray), and just as naturally they’re eventually pursued by people who’d just as soon no one ever figured out how to leave the dark city.
For the most part, the casting is on target; Ronan seems a lot more engaging and appealing here than she did just last year in Atonement, and Treadway, although looking like a refugee from High School Musical, is just as impressive. Robbins is excellent in a small, but pivotal role, as is Martin Landau (whatever became of him?) as the requisite old-guy-who-sort-of-knows-stuff. The only puzzling casting is that of Murray as the town’s jovial mayor; he seems glib and cheerful enough, but it almost feels like he’s being ironic, rather than being a part of the story. Often, this sort of approach makes for a hammy performance, but Murray’s too subtle here for pure hamminess; he’s more like a square peg in a round hole.
The lapses in logic take some willful ignorance to, well, ignore. We see various businesses and transportation, but there’s apparently no police, no cemetaries, no fresh fruit. Now, bear in mind that these people have been down there for two centuries. Sure, they have a lot of canned goods, but something tells me they’d be in poor health after a lifetime of poor eating habits. Then there’s the fact that everyone seems clueless about the surface. I don’t mean that they don’t know what’s on it; they don’t even know there IS a surface. Attempting to leave the city is a jailable offense, okay, but these people don’t even know there’s something to escape to. And that makes no sense right there. They haven’t been down there for 2000 years, just 200. That means approximately nine generations after the ones who first lived there, and in often there are three generations alive at any given time. So it’s not tough to imagine the tales of the outside world being orally handed down from generation to generation, tales of Super Bowls, Shakespeare, Sex and the City, and Snoopy. But apparently the first generationers vowed never to speak of their upper lives again, or something.
City of Ember is pretty fascinating and not complex, meaning it’ll grab you (and, more importantly, teens and younger) and not force you to figure things out in order to keep up with the plot. Yes, there are twists and turns, but there aren’t huge lapses in logic, at least nothing to dissuade you from staying through to the end. The end, by the way, is satisfying, even beautifully rendered. This might be one time (of many) to read the book, too. Or instead.
***
Cuba Gooding, Jr.? Cmon, you people. Srsly.
Posted by frothy in Best Best Supporting Actor on October 11, 2008
So we’ve moved onto round 2 of our quest to find the best Best Supporting Actor of the past 16 years.
You guys spoke, all 10-12 of you. Below are your eight winners. I reseeded them all based on the year the actor had won his Oscar.
They faced off against each other, sort of, as villain and good-guy sidekick in Unforgiven, which yielded Hackman an Oscar as the dastardly, despotic Little Bill. So who’s had the better career?
It’s hard to argue with George Clooney’s career path; he makes blockbusters, he makes “serious” movies. He makes sci-fi, political thrillers, legal thrillers, dramas. I like him. Tommy Lee Jones, on the other hand, still rocks but plays a heck of alot of good-ol’-boy, aw-shucks dudes in westerns.
I dunno what you people were thinking: Cuba Gooding Jr. has no way had a better career than Tim Robbins! Are you people high? Cuba Gooding Jr. did crap like Snow Dogs, for crying out loud, and that was after his Oscar win. Robbins has been in scores of good things, like Bull Durham, Shawshank Redemption, The War of the Worlds (ok, not so good), Mystic River, High Fidelity… However, then there’s Caine, who’s been awesome for like at least 75% of his career. He did have Jaws 4, and other crap.
To the younger crowd, Williams would win this going away. Even if you throw away the maudlin performances in Patch Adams and Bicentennial Man, there’s still Insomnia, One Hour Photo, Good Will Hunting, Good Morning Vietnam.. James Coburn was a gifted old-time actor by the time he won for Affliction, so he might not resonate as much with the youth.
Is it just me, or does Body of Lies look like crap?

Ok, this is the second trailer to the political thriller Body of Lies, starring Leonardo DiCaprio and Russell Crowe, directed by Sir Ridley Scott.http://www.imdb.com/video/imdb/vi1783038233
First off, I have no idea what’s going on, based on this trailer. It’s like it was edited by a hyperactive kindergartner on crack, and not the good kind of crack, the cheap kind that screws you up big time.
Second, I this this is yet another movie that proves how terrible of an actor Leo DiCaprio is. He’s got this fat head and face and this ultrabony body. He looks like he’s wearing handmedowns. He looks like a child out there, no matter how old his character is supposed to be. And he acts the same way all the time, earnest, sincere, but ultimately fraudulent. He’s like the little kid who’s desperate for the approval of his mommy.
But maybe it’ll rock. You’d just never know it from this hunk of dung.
411 – Flash of Genius
Posted by frothy in Flash of Genius on October 5, 2008

Flash of Genius is the true story of the man who invented the intermittent wiper blade – only to see the Ford Mother company swipe the invention for their own benefit. But of course, this being a Hollywood film, the little guy fights back against the big, mean corporation, losing his family, wife, and sanity in the process.
Bob Kearns (Greg Kinnear) is an engineering professor who comes up with the idea of the intermittent blade while driving his family – wife and six kids – home from church one rainy afternoon. He puts together a prototype and shops it to Ford, which quickly warms to the idea. Then suddenly changes its mind, saying it’s just not ready. And then double-plus suddenly, there are all these Ford cars on the road with those very same wiper blades. This is probably not a coincidence.
What follows is your standard David/Goliath courtroom drama, without the courtroom (save for the finale). Bob fights back against Ford, but no one, not even high-powered attorney Alan Alda, really wants to help. Worse still, Bob doesn’t even want a cash settlement, he wants an apology from Ford, an acknowledgment that they stole his awesome idea. This might surprise you, but they decline to do so.
On the one hand, this is a straightforward story about the little buy fighting back against all odds, taking on the big automakers at a time when the Big Three reigned supreme. After all, Ford has all the time in the world to devote to defending itself against Kearns’ claims, whereas Bob has to scrimp and hope he can make some headway; they can outlast him as surely as a rock can outlast a summer storm. They have resources, and all he has is his devoted family.
Well, not so much. Devoted to a point, perhaps. The strain of the legal battles soon take their toll on Bob and his wife, Phyllis (Lauren Graham), as well as the various kids. Which brings us to the second, even more important, conflict in this story, that between Bob and Everyone Who Means Something To Him.
This is an innocuous, slight movie; it doesn’t grab you so much as kind of pull you along reluctantly, until the final, courtroom scene. The rule for courtroom dramas seems to be this: If the protagonist has been built up sufficiently but the audience does NOT tear up when the inevitable verdict is read, then the movie is a failure. I mean, it’s really not complicated. If there’s no payoff, then everything leading up to that point has been for naught, so everyone involved has to pull off that final scene. The nice thing is that pulling off that scene, otherwise known as manipulating the audience, is pretty elementary, high-school stuff. It’s tough to mess it up.
And they don’t. True to form, that final scene makes up for all the methodical pacing of the other 90 minutes or so. Kinnear’s earnest and well cast, and Graham is a delight as his doting, no-nonsense wife. Alda’s showy role doesn’t really amount to much at all, contrary to what the trailer showed. But all in all, it’s a well done, if somewhat forgettable, movie.
***
410 – Choke

Let’s get this straight right off the bat: Choke is a sick, nihilistic, sacreligious, depraved slice of cinema. That means, to me, it rocks out loud. Although this biting, dirty minded look at sex addiction, lust, bondage, and masturbation isn’t exactly suitable kiddie fare, or teen fare, its refusal to treat its lead character as, pardon the pun, a hunk of meat vapidly acting out his own fantasies actually forces you care about him far more than he’d ever care about you.
Victor Mancini (Sam Rockwell) is, plain and simple, a sex addict; he even attends meetings, where they have a multistep program designed to cure people of their addiction, same as for other addicitons. Meanwhile, his mom (Anjelica Huston) lays in a nursing home, showing progressive signs of dementia (she rarely recognizes him), and to finance his mother’s hospital stay, Victor runs cons. One of his cons is that he causes himself to choke in restaurants, allowing Good Samaritans to save his life; they’re so concerned for him that they often give him money later to help him, or something. Then he gives the money to the not-benevolent nuns who run the hospital where his mother is incarcerated.
Along the way, of course, Victor humps everything in sight, because he’s not just an addict, he’s an unrepentant addict. His best friend Denny (Brad William Henke, Sherrybaby), is also an addict – he’s a chronic masturbator – and is often complicit in Victor’s dealings.
Victor meets his match, physically, in a doctor (Kelly Macdonald) caring for his mother; unlike with the scores of other women, Victor somehow can’t, uh, finish the job with Dr. Marshall. Maybe he – gulp – loves her? Nah, can’t be.
But lest you think this is just about some pervert’s odyssey to self-actualization and empowerment, a real learning experience for all, it’s just plain not. Victor doesn’t learn diddly, no pun intended. (And if you recognize where a pun might have appeared there, you’re the intended audience of this movie.) His journey isn’t to find himself, or to better himself, it’s to find out a little about his past, particularly the identity of his real father, as Mom schlepped the young Victor around for years, on the run from the police for crimes unspecified (although it’s alluded that she was involved in violent protests). Now she’s completely vulnerable, but her memory’s not entirely reliable, either. But again, this ain’t no touchy-feely heartwarming tale of a mother-son bond, not at all; Victor just wants information before his ailing mom joins the choir invisible.
Rockwell is fantastic, perfect with his adorable-to-women, lost-puppy face; he’s not strapping, he’s not hot-with-two-Ts, he’s just some schmoe with apparently irresistible, endless charm. Huston is solid as his mother – both in the present and in flashbacks, where she recalls another of her famous characters, Morticia Addams – and Henke is a real hoot as Victor’s handy (another pun) pal. Adding equal parts sexiness and mystery is Macdonald as the leggy doctor who comes to love Victor, however inexplicably.
Choke is raucous and profane, but there’s oddly no gratuitous nudity or sex. Well, not gratutious from where I’m sitting, if you know what I mean. But seriously, what’s in there is relevant to the plot. How could it not be, though, when your protagonist is addicted to coitus?
***
Gods and Monsters: classic McKellan
Posted by frothy in Gods and Monsters (1998) on October 1, 2008

In this somewhat fictionalized account of the waning days of director James Whale’s existence, Ian McKellan turns in a show-stopping performance and Brendan Fraser is surprisingly up to the task as his dramatic (and romantic) match.The year is 1957, and Whale, the long-ago director of such classics as Frankenstein, Bride of Frankenstein, and The Invisible Man dodders around his palatial estate, the victim of a series of strokes that have produced hallucinations and flashbacks to his World War II days. Whale lives alone with his maid, Hanna (Lynn Redgrave), who is fiercely protective of her Mr. Jimmy.
Whale is also openly gay, at a time when even hinting at it might be problematic, which is one reason he’s more or less a recluse. That and he’s rich enough to survive with little human contact. But that’s not to say he doesn’t crave it occasionally. For instance, when a young reporter (school age) comes to interview the director, Whale says he’ll answer questions about his monster movies only if the boy removes articles of clothing. Gutsy old pervert, isn’t he?
The crux of the movie, though, is the relationship between Whale and his manly-man gardener, Clay Poole (Fraser). Poole isn’t just your everyday hetero man, he’s an ex-Marine who likes the bottle. He’s not quite a lowlife, but he’s from the wrong side of those proverbial tracks, and he’s a little out of place in the refined company of Whale. But there’s something Whale sees in the rough-and-ready gardener, so he invites him in for a spot of iced tea and to sit for the director, who’s now an artist.
McKellan is brilliant, of course, and this was a bit of a breakthrough role for him, since he wasn’t widely known to American audiences at the time (1998). Of course, maybe it was a little easier for McKellan to play the role, since he himself is also openly gay. He received an Oscar nomination (his first) for his efforts.
And as I mentioned, Fraser was surprisingly good, even multifacted in his portrayal as the more-openminded-than-you’d-think Clay. Even when he’s trying to get somewhere with local bartender Lolita Davidovich, he’s both charming, elusive, compartmentalized, and creepy, a lonely, getting-old layabout who’s just not sure what the heck he wants out of life.
Gods and Monsters is a very enjoyable film, and it’s a bit of a treat for film buffs, too, with its mentions of old-time directors and actors and even a few recreated Bride of Frankenstein set pieces and scenes. It’s dandy and dapper, but with a crusty (and crusted) edge of despair and tragedy.
***1/2






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