Category Archives: Media

Chasing Mavericks

“Chasing Mavericks” is filled with gorgeous shots of the ocean and its mighty waves. Watching surfers ride those waves gives an exhilarating, vicarious thrill.

Mavericks is a challenging stretch of shoreline in northern California near Half Moon Bay that, with the right weather conditions, produces dangerous monster waves. For surfers, it presents the biggest challenge on continental US shores.

Jay, a real life teenage surfer, played by Jonny Weston learns about Mavericks from his neighbor in Santa Cruz, a grownup surfer named Frosty (also a real life person), played by Gerard Butler. Frosty becomes Jay’s guru and father figure, guiding him on getting ready physically, mentally, emotionally and spiritually to take on Mavericks.

The story of Jay and Frosty is told with dramatic embellishments, but serves as a good framework for the surfing challenge. Along with Jay’s preparation to ride the big waves, the movie gives us side stories involving an absentee father, alcoholism, drug use, teen romance, teen bullying, death of a spouse, anger issues and such. There’s nothing groundbreaking in the onshore melodrama, but it does manage to depict Jay and Frosty as people with complicated lives away from the ocean.

You can probably guess how Jay’s quest to ride the big waves turns out. You may be surprised by Frosty’s remark to Jay just before he takes on Mavericks. A brief postscript provides more information about Jay’s life beyond his Mavericks rides.

Speaking as one who has lived near the beach (in Jacksonville, FL) and vacationed many times at the ocean, I loved all the shots filmed in and around the water. The beauty and the power of the ocean are stunning in “Chasing Mavericks” and the ocean is the reason to see it.

“Chasing Mavericks” is rated PG and is appropriate for preteens.

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Cloud Atlas

“Cloud Atlas” is just a big ol’ mess. Its parts are good, but the whole is bad.

If you believe in reincarnation, you might love “Cloud Atlas.” For the rest of us, it’s a movie with cool things and interesting people to look at, but the assembled product lacks real continuity.

The film attempts to tell six stories: some from the past, some from the future. Actors play different roles at various points on the timeline and the audience is expected to connect the dots. Honestly, it’s not worth it.

Last year, we had the polarizing “The Tree of Life,” a movie with interesting parts and incredible images, but, as a whole, was a real head scratcher. It was loved by some, hated by many (including many theater walk-outs).

In 2012, we have “Cloud Atlas.” You can go online now and see numerous blurbs touting this movie’s greatness. I beg to differ.

The star power here is strong: Tom Hanks, Hallie Berry, Hugh Grant, Susan Sarandon, Jim Broadbent, among others. It’s slightly interesting to see these folks play multiple roles, although some of the make-up is laughable. (The facial prosthetics used to make Hugh Grant look like a 70-something are embarrassingly ridiculous.)

The film, directed by Tom Tykwer and the Wachowski siblings who brought us the “Matrix” movies, also features Hugo Weaving in multiple roles—none of which are as memorable as his Agent Smith in the “Matrix” trilogy.

“Cloud Atlas” is like a stew containing several of your favorite food items that just don’t work well together in the same pot. It’s big (nearly three hours long), it’s ambitious, but ultimately unsatisfying.

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Argo

“Argo” is a home run. Ben Affleck confirms his talent as a storyteller with a film that has new relevance following recent anti-American turmoil in the Mideast.

Most Americans don’t know about the CIA operative who guided six U.S. Embassy employees out of Iran in early 1980. The mission was declassified in the 90’s and now the tale can be told, with dramatic embellishments. The embassy staffers had taken refuge in the Canadian ambassador’s residence during the siege that began the hostage crisis in 1979.

Ben Affleck is director and star of “Argo.” Look for a best director nomination for his excellent work with a compelling story and a strong cast.

“Argo” grabs attention from its opening frames. Following a brief prelude that gives an overview of Persian history, “Argo” presents a graphic recreation of the Iranian takeover of the U.S. Embassy in Tehran.

What distinguishes “Argo” from other rescue mission movies is the scheme employed to convince Iranian officials that the six Americans (and the CIA guy played by Affleck) are members of a Canadian film crew. A Hollywood makeup man (played by John Goodman) and a veteran producer (played by Alan Arkin) provide a legitimate cover story for the “crew.” Goodman and Arkin’s characters also provide vital comic relief.

Affleck, Goodman and Arkin sift through a pile of rejected movie scripts. From the many, one is chosen. Titled “Argo,” it gets the full Hollywood treatment: storyboards, posters, a media event, coverage in movie trade papers, etc. The Iranians buy it. The CIA guy gets into Iran. Getting the six others and himself out is the hard part.

The pacing of “Argo” is near perfect. Its narrative unfolds neatly, switching among settings in Iran, CIA HQ, the White House and Hollywood.

Our trip back to the beginning of the 80’s accurately shows long hair and sideburns on men, omnipresent smoking, 70’s cars and archival clips of TV news coverage of the hostage crisis. An answering machine similar to one I owned back in the day is an appropriate period prop.

Bryan Cranston is Affleck’s CIA boss. Kyle Chandler is almost a dead-ringer for former Carter administration Chief of Staff Hamilton Jordan.

Some who post on message boards are distressed that the role Affleck plays was not given to a Hispanic actor, as the real life CIA operative was a Latino. Friends of the real life Canadian ambassador claim he was given less credit for his role in the mission by the filmmakers than he deserves. Others posters claim that the movie is little more than US propaganda to get the country ready for our upcoming war with Iran. Folks, it’s a movie. It’s based on a true story, but it’s a movie.

Hollywood likes movies about movie making, which means “Argo” could be a contender for best picture.

“Argo” is a “must see.” Those who can recall the awful feelings we felt in America during the hostage crisis will appreciate the fact that during that horrible period, our country managed to do at least one thing right.

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Seven Psychopaths

Among a strong cast, Sam Rockwell is a standout in “Seven Psychopaths.” It’s not that the performances from Christopher Walken, Woody Harrelson and Colin Farrell were lacking. They’re all good, but Rockwell’s character has the most to work with.

“Seven Psychopaths” is an ultraviolent comedy. As with “Pulp Fiction” and similar films, the audience goes from repulsion to chuckles (or vice versa) in seconds. Some of its elements are serious. We see innocent people meet violent ends. But soon after, absurd events or remarks bring us right back to the funny.

Farrell plays an alcoholic screenwriter in L.A. who has an idea for a movie called “Seven Psychopaths,” but just can’t get started. Walken and Rockwell are dog kidnappers who then respond to “lost dog” postings to collect rewards. Harrelson is a hood whose Shih Tzu, Bonny, is taken.

Walken and Rockwell provide Farrell with ideas for the movie’s plot—the one he’s writing, that is. Some of the elements discussed for that screenplay do turn up in the movie we’re watching. The trio takes refuge in the desert after Rockwell kills his girlfriend (who is also Woody’s girlfriend). Woody, meanwhile, wants his dog back.

Among the supporting cast is Tom Waits as a psychopath who shares his personal story with Farrell about the killing he’s done. Gabourey “Precious” Sidibe appears briefly as Woody’s careless dog walker.

“Seven Psychopaths” benefits from the strong quartet of leads, each of whom has been in absurd comedies before. Each man has a commanding screen presence and, as a group, they help the movie over a bumpy section or two.

Worth noting are a couple of fantasy sequences (involving a graveyard shootout and a Vietnamese holy man) that add compelling action.

Writer/director Martin MacDonagh (who also wrote and directed “In Bruges” in ’08) has put together an totally entertaining movie. Its violence makes it off-limits for the squeamish, but for the rest of us, it’s fun.

 

 

 

 

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Frankenweenie

“Frankenweenie” is classic Tim Burton—weird and goofy. It riffs on the original “Frankenstein” movie as well as several others films.

Victor Frankenstein is a schoolboy in the town of New Holland, which looks amazingly like the town in “Edward Scissorhands.” Except in “Frankenweenie,” the houses are not pastel-colored, they are in black-and-white.

Victor’s science teacher, who looks like a character from a Don Martin cartoon in Mad magazine, demonstrates how electrical current can cause a dead frog’s legs to move. This inspires Victor to exhume his dog Sparky, recently killed when hit by a car, and use lightning to reanimate him.

When Victor’s friend Andrew, an Igor lookalike, spreads word of Victor’s success, the other kids in town then reanimate their deceased pets and havoc ensues.

“Frankenweenie” exceeds expectations with its clever characters, terrific animation, a decent story and a great sense of humor. The energy and tempo are more consistent here than in Burton’s “Nightmare Before Christmas” and “Corpse Bride.”

Unlike Burton’s previous stop-motion animated films, “Frankenweenie” is not a musical. The soundtrack is by Burton’s longtime music man, Danny Elfman.

Among favorite elements of “Frankenweenie” is Victor’s attic which functions as his lab, not unlike Dr. Frankenstein’s in the 1931 classic film. Also, some of the New Holland townsfolk look like they stepped directly out of a Gary Larson “Far Side” comic panel. The opening scene with Victor showing a movie he made (starring Sparky) is priceless. The science teacher’s response when a parents’ group attempts to chastise him is a wonderful piece of writing.

“Frankenweenie” is rated PG. Preschoolers will be bored by the movie, but most kids will, I think, like it. Adults who appreciate Tim Burton’s sensibilities will love it.

Personal note: I saw “Frankenweenie” less than 24 hours after my own dog died. I was concerned about seeing a movie about a dog being killed. But “Frankenweenie” entertained me and actually lifted my spirits a bit. It’s been a tough week. I miss my dear dachshund Princess. But I look forward to seeing “Frankenweenie” again soon.

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Looper

“Looper” is a mildly entertaining time travel sci-fi film with three likable stars: Bruce Willis, Joseph Gordon-Levitt and Emily Blunt.

Time travel is often used as a gimmicky crutch, as in the TV series “Lost.” To build a whole movie around time travel is risky. When a character interacts with his older self, things can get confusing. Gordon-Levitt and Willis play the same character, Joe, at different ages.

The movie is set in a not-especially-futuristic-looking 2044. Most of their vehicles appear about the same as those we drive today—except for that one cool jet-powered scooter. In 2044, time travel has not yet been developed. But 30 years beyond, time travel has been perfected. But it’s only used by the bad guys.

Because, we are told, it’s hard to dispose of human bodies in 2074, mob hits are accomplished by sending the poor suckers back to 2044 where they are quickly offed and tossed into a furnace. Among those sent back to be killed are older versions of some of those young assassins. They “loop” back, hence the title.

One looper who is sent back—the older Joe—escapes death at the hand of his younger self. He begins a mission to kill a 2044 vintage kid, before he grows up to become a gang leader called The Rainmaker. Still with me? This is where Emily Blunt comes in. She is a single mom, living in a rural farm house with her precocious child. Her kid may the one who would become the Rainmaker. The boy does have some mighty anger issues!

Jeff Daniels gives a standout performance as a crime boss with a wicked sense of humor.

Joseph Gordon-Levitt’s strange makeup (presumably to make him even slightly resemble Bruce Willis) gives him odd-looking lips and eyes. Emily Blunt sounds like a native-born American, squelching her limey accent.

“Looper’s” plot is messy. The movie’s pace hits the brakes just past its midway point. And the sci-fi lacks those “oh, wow” effects/settings/technology that you expect in a movie like this one.

“Looper” is not a bad movie, just one that needs more truly compelling content. One might presume that writer/director Rian Johnson figured the time travel bit might be a strong enough frame to build the movie on. Not quite.

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Trouble with the Curve

“Trouble with The Curve” is the ANTI-“Moneyball.” TWTC slams the stats-happy computer geek baseball personnel people and gives a nod to the old school cigar-chomping scouts.

The heart of this movie is the relationship between Gus, played by Clint Eastwood, and his daughter Mickey, played by Amy Adams. Despite all that has caused their estrangement, the glue that holds them together is baseball.

Once the basic plot is set up, you can pretty much guess how it will conclude. But getting there is a fun trip, with a surprise or two along the way.

Gus, a veteran scout for the Braves, is sent to the Carolinas to check out a high school phenom. But Gus is having vision problems and, stubborn old geezer that he is, he won’t see a specialist to have the situation addressed. A Braves team exec, played by John Goodman, asks Mickey to go to the Carolinas and make sure her dad is okay. She is a rising star Atlanta attorney who is about to make partner if she can pull off a certain deal.

Among the old scouts is a young Red Sox scout, Johnny, a washed-out pitcher, played by Justin Timberlake. He, like Gus, is there to see the phenom, but he also has his eyes on Mickey. She’s standoffish, so their relationship moves slowly but predictably.

Eastwood’s character is not far removed from the codger he played in “Gran Torino” a few years back. In TWTC, he also drives a classic Ford, a 60’s Mustang. The Mustang gets banged up when Gus has trouble with the curve on a highway and pulls in front of a vehicle he didn’t see coming.

As with last year’s “Moneyball,” you don’t have to be a baseball fan to enjoy this movie. TWTC is a movie that will, I think, appeal equally to men and women. Yes, it’s a movie about baseball. But it’s more about relationships.

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The Master

Joaquin Phoenix steps up as a strong contender for a Best Actor nomination with his portrayal of a damaged man with anger issues and sexual obsessions in “The Master.”

This is not a movie for everyone. Although it is being booked in multiplexes, as well as art houses, “The Master” will challenge many and leave others unsatisfied. Director and writer Paul Thomas Anderson, whose last film was “There Will Be Blood,” has assembled a film that is, above all, compelling. It’s one that has already generated much discussion with more to come.

“The Master” is more about its characters than its plot. The film is a series of episodes, some of which move slowly. In these episodes, we see how the film’s characters respond to the things life throws their way.

Philip Seymour Hoffman plays the title role. His character, Lancaster Dodd, is patterned after L. Ron Hubbard, the founder and leader of Scientology. Dodd, like many others in the movie, takes an immediate liking to Phoenix’s character, Freddie Quell.

Quell falls under Dodd’s spell and embraces The Cause, Dodd’s quasi-religious movement. Dodd is similar to numerous charismatic leaders we’ve encountered in history, some of whom can be seen on your TV every week. Dodd is, however, a generally likable guy, even though he serves up mumbo jumbo about “past lives.”

Quell becomes a member of Dodd’s entourage and Dodd begins to “work” with Freddie. Is it therapy or is Quell a guinea pig for Dodd’s techniques?

Eventually, Quell breaks away but in the end returns to Dodd, who is then in England. Dodd’s reaction to seeing Freddie again brings up questions about the true nature of their relationship.

Among the supporting cast is Amy Adams as Dodd’s wife Peggy. She wields her power from the sideline. She supports Dodd in his quest to grow support for The Cause but makes sure he has her input.

One more thing: most of the movie is set in the year 1950 and the clothes are terrific.

Should you see “The Master?” Yes, if only to witness Joaquin Phoenix’s mighty acting skill. Even if you don’t like “The Master” as a movie, this performance will astound you.

 

 

 

 

 

 

 

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Arbitrage

Every character in “Arbitrage” has to make choices. Deciding between doing what’s right and doing what’s expedient is not always easy to do.

“Arbitrage” crams a lot of plot and a good number of characters into this two-hour movie. And, yes, many choices.

Richard Gere plays Robert Miller, a New York finance tycoon who makes big deals and big money. As he turns 60 and prepares to sell his company, things begin to spin apart. His biggest deal may collapse. His mistress is angry that he is missing her art show opening. Should he cut out from dinner with the buyer’s reps and attend to the mistress? Choices.

To make amends he takes her for a drive away from the city. He crashes the car and she dies. He runs away and calls an old friend to pick him up. Should Miller go to the cops and fess up or should he attempt to move on and avoid being connected to the accident? Choices.

Turns out his company’s books are cooked, too. Should those who are privy to the irregularities speak up or risk fraud charges? Choices.

Should his wife, played by Susan Sarandon, put up with his infidelity in order to share his wealth? Choices.

Should the old friend who gave him the ride deny involvement to avoid possible jail time? Choices.

Should the associate who lent Miller 400 million to cover certain losses be patient about getting repaid or should he turn evidence of fraud over to the feds? Choices.

Should a detective play by the rules or should he do whatever he needs, to be sure a judge and jury hear the truth. Choices.

More on the cast: Miller’s mistress is played by former Victoria’s Secret model Laetitia Casta. The man buying the company is played by longtime Vanity Fair editor Graydon Carter. Tim Roth plays the detective investigating the accident. Attractive unknown Brit Marling plays Miller’s daughter and handles a couple of pivotal scenes well.

The lead role in this movie requires a strong performance and Gere delivers. As you make your own choices for grownup entertainment, “Arbitrage” is a good pick.

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Sleepwalk with Me

“Sleepwalk with Me” is mildly amusing, but not outright funny.

Comedian Mike Birbiglia tells us three basic, intertwined stories. He relates the narrative in a style similar to that of public radio show “This American Life.” That’s because the script was co-written by TAL’s Ira Glass, based on one of his shows. “Sleepwalk with Me” has also been performed as an Off-Broadway show and has been made into a book.

The three stories are those of his relationship with a longtime girlfriend, the beginning of his career as a standup comic and the tale of his sleepwalking woes. The stories intersect and play together well.

But I expected to laugh and I did not. Okay, a couple of teehees and a few smiles, but no audible, involuntary, genuine laughter.

If you are a fan of Birbiglia and his humor or a fan of “This American Life,” you may enjoy the movie more than others will.

Birbiglia is a decent enough actor. He is not particularly charismatic, nor overly weird. He is a regular schlub. His cast includes Lauren Ambrose as his girlfriend and Carol Kane (of the old “Taxi” TV show) as his mother. Talented character actor James Rebhorn appears as his father.

The efforts to generate popular demand for the movie following its debut at Sundance last winter are impressive. Sadly, what we see on screen is not worthy of those efforts. This is a lightweight movie, which could have benefited from a bit more substance.

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