Category Archives: Media

The Vow—((A Heart-Shaped Movie))

I have seen your cable channel future and it is “The Vow.” I predict this movie will become a cable staple for women like “Where the Heart Is” was a few years ago. It will turn up throughout the ‘teens on Lifetime, Hallmark, Oxygen, OWN and others and will be watched over and over by many.

Take two attractive, likeable characters. Put them in a crisis. Flash back to their meeting, their courtship and their marriage (which includes their self-written vows). If you have a romantic gene in your DNA, you will become engaged in their story.

The key element here is Channing Tatum’s character. Leo is the sensitive, romantic guy that most women want their own guy to be. He is not shown to have a jerky side, but is totally dedicated to his woman, Paige, played by Rachel McAdams. Leo also happens to be somewhat hunky.

The story, “inspired by true events,” has the couple involved in an auto accident. After recovery, Paige has no memory of the past few years, which include her entire time with Leo. Her parents, from whom she had been estranged, come back into her life after the accident.

Do I need to issue a spoiler alert? I won’t reveal whether the situation gets resolved, but will point out that this is a romantic movie being released just before Valentine’s Day.

Overall, this is a well-crafted movie with a few unexpected plot points. It feels just a bit too long, but that could be a result of the movie’s deliberate pacing and Tatum’s restrained acting style. Yes, “The Vow” is a perfect date movie—for new couples, as well as for old married people.

At the screening I attended, there were an inordinate number of women without men in the audience. If you’re a woman and your guy won’t take you to see “The Vow,” it’s okay to go with girlfriends. If you’re a man, here is an opportunity to show your woman that you can be just as sensitive and romantic as Leo (if not as hunky) by taking her to this movie.

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“Big Miracle”—(Whale Tale)

Many things are going on in “Big Miracle.” Animals are in peril. Ways of life are threatened. The environment is at risk. Media are swooping in. And a relationship may or may not be rekindled.

As with movies like “Apollo 13” and “Titanic,” you know pretty much how things will turn out. It’s the telling of this real-life story (with some fictionalized aspects added in to make it more dramatic) that gets you to the resolution in an entertaining way.

This is an excellent family film. No sex, violence, nudity or profanity. Take the kids. Take Grandma.

The crisis occurs in October, 1988, when early cold weather freezes the surface of ocean waters near the northern tip of Alaska, trapping three whales who need to surface often for oxygen. The whales need to get to open water to begin their annual migration to Baja.

Help comes from many sources: the native Eskimos (who initially consider harvesting the whales), Greenpeace (Drew Barrymore plays an activist), Big Oil (Ted Danson is the oil mogul), the military (Dermot Mulroney is a National Guard commander), the USSR (a Soviet naval vessel chips in) and the media (John Krasinski is the TV news reporter who breaks the story which soon gets national attention). You can read my blog post about the Public Relations lessons this movie offers on my PR blog: “Big Miracle” Movie Has Useful PR Lessons

The talented cast also includes character actors Stephen Root, John Michael Higgins and Tim Blake Nelson—if you don’t know their names, you know their faces. Ahmaogak Sweeney makes a nice movie debut as Nathan, an Eskimo youngster.

The underwater shots of the whales are spectacular. The archival video of network news anchors Tom Brokaw, Peter Jennings and Dan Rather reminds us that this was a real event.

“Big Miracle” is entertaining and will make you feel good. One more thing: the depiction of extreme cold in “Big Miracle” will make you appreciate our current mild winter weather even more.

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“The Woman in Black”—((Goosebumps!))

“The Woman in Black” is creepy good. With a tension-building musical score and clever lighting, the movie keeps the tingle going from scare to scare.

With an “all growed up” Daniel Radcliffe as the centerpiece of the movie, TWIB brings some old-fashioned fright. As opposed to many recent films that scare with outrageous CGI creatures and unbelievable settings, “Woman” takes us places we’ve all been. Darkened hallways, strange house noises, shadows in windows, late night door knocks, nervous dog barks, odd looks from strangers, sudden weird behavior from seemingly normal people—these occurrences in the movie help root the story in real life.

Radcliffe is Arthur Kibbs, an early 1900’s London attorney who is sent to a rural England town to go through a recently deceased woman’s papers. His job is to ascertain that the will his firm has is the correct one. Many of the townspeople give him dirty looks. Some discourage him from going to the woman’s home, a classic haunted house. Its location, on a hill, at the end of a long causeway, surrounded by a coastal marsh, adds to the mystique of the house.

When he arrives at the house, the spooky stuff begins. A favorite scene has Arthur exploring the upstairs of this haunted mansion. The creepy soundtrack music goes silent, allowing us to hear the creaks, pops and other vague noises that the house (and whoever else may be there) produces.

Arthur finds two useful allies in Mr. and Mrs. Daily, played by Ciaran Hinds and recent Oscar nominee Janet McTeer. They are rich enough to own the only car in town, but they share a particular sorrow with many others in the town.

Radcliffe, now 22, demonstrates that he is now old enough to grow whiskers and successfully portray a young adult. He’ll always be Harry, but he has a big future ahead that may someday equal his success of the past decade at Hogwarts.

If you’re a parent who allows kids younger than 13 to attend PG-13 movies like this one, take note. There are some scary elements that may engender nightmares and/or late night interruptions of your sleep by your troubled offspring.

 

 

 

 

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“Drive”—/Drive It Home (from Redbox, etc.)/

“Drive,” one of my favorites of 2011, has just been released on DVD and Blu-Ray. Here is my review, originally posted back in September. Sadly, “Drive” received ZERO Oscar acting nominations and its director was NOT nominated for Best Director at the Oscars. I think the movie has the elements of a classic. I know I look forward to seeing it again. I recommend it. Read on…

The movies I like best are the ones that feature three things. First, a good story. Second, compelling characters. Third, an interesting way of presenting that story.

“Drive” has all three elements. Ryan Gosling plays a guy who loves to drive. He’s a garage mechanic/movie stunt driver by day and a getaway car driver by night. He befriends his neighbor, played by Carey Mulligan and, later, does a favor for her husband.

The favor? Driving for a simple stickup. But things go bad, people get shot and Gosling’s driver gets involved with some very mean people who want to kill him.

Among the movie’s compelling characters is Bryan Cranston as Gosling’s boss at the garage. Cranston deserves a supporting actor nomination for his grizzled, limping, tragic, chronic victim type.

Albert Brooks is likely to be considered for a best supporting nom as well for his sleazy ex-movie producer turned hood.

Is Gosling Oscar-worthy in “Drive?”  Yes, but buzz is stronger for his work in “Ides of March” coming in three weeks.

The main reason this movie soars is its direction. Beautifully shot, gracefully paced. With a soundtrack that constantly surprises and entertains.

Director Nicolas Winding Refn won Best Director at Cannes this spring. He’s certain to be nominated for all the directing awards in the US this winter. His direction is stylish. There are tinges of Tarantino, but without the smirk.

Is “Drive” a classic? Maybe. It’s a movie that will, I believe, achieve cult status and will still be relevant decades from now. Rated “R.”

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“Albert Nobbs” ~Glenn Not Even Close~

The best cross-dressing movies are comedies. For a cross-dressing drama to work, we have to believe—at least a little bit—that the character really could pass for the gender she/he has chosen.

Glenn Close has, to my mind, a masculine shape to her face. However, she does not look at all like a man in “Albert Nobbs.” Janet McTeer, another woman who passes as a man in this movie, also looks like a woman dressed as a man. McTeer comes closer than Close because of her 6’1” stature.

If you can convince yourself that these two women could actually pass for males, you might be able to enjoy the story. Both women are talented actors. The Academy just gave Oscar nominations to both. Apparently somebody in Hollywood thinks these women make good men.

I do not. The reality, believability and overall quality of this movie is compromised by these two portrayals.

If you are a person who tries to see all of the major Oscar nominated performances, “Albert Nobbs” offers two for the price of one. If you want to see a movie with a story that could have been taken from real life, choose again.

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“Extremely Loud and Dangerously Close” [And Slightly Manipulative]

ELADC engages in trickery. First off, we are tricked into expecting a Tom Hanks and Sandra Bullock movie—wrong! Yes, they are in the movie, but just a bit. It’s not really their movie; ELADC is really about the kid.

The kid is Oskar, played by the precocious Thomas Horn. Horn is one of the best kid actors since Haley Joel Osment amazed us in “The Sixth Sense.” His character is charming, articulate, intelligent, sweet and likeable. He’d better have all those qualities, because he’s in practically every scene.

The movie is manipulative in that Oskar’s dad (Tom Hanks) is killed in the terrorist attacks on 9/11. We hear his voicemail messages. We see images of the burning WTC buildings. Having seen replays of the event—and revisited some of the emotions of that fateful day—on the recent 10th anniversary of the attacks, we are primed to have a stronger emotional empathy for Oskar and his quest. I blame the novelist (on whose book the script is based) for tying this story to 9/11.

Oskar finds a key that had been apparently hidden away by his late father. He then begins a quest to find out who the key belongs to and its significance. The story of the quest would’ve been just as compelling without the 9/11 connection. (But maybe not so marketable. I call “cheap manipulation.”)

When the story is finally resolved, cue the tear ducts.

Oskar is a kid you want to hug and maybe even tousle his hair. Thomas Horn’s performance is excellent. But the story, to my sensibilities, falls short. (My wife, on the other hand, loved this movie.)

Also in the movie are Sandra Bullock as Oskar’s mom, Max Van Sydow as his “grandfather” and John Goodman as his building’s doorman.

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“Haywire” =Gina WHO???=

In “Haywire,” a star is born. The film’s female lead Gina Carano is unknown to most moviegoers. She has achieved a level of fame as an MMA fighter and an “American Gladiator.” Her good looks, her adequate acting skills and her abilities as a fighter guarantee her a future in movies.

The convoluted plot is almost secondary to the constant action that surrounds the character Mallory Kane, played by Carano. Chase scenes in cars and on foot, kidnappings, shootings and hand-to-hand battles are the movie’s key elements. Director Steven Soderbergh shoots the film stylishly with a number of clever subjective camera angles. Carano/Kane’s fight scenes are the best since the last Jason Bourne movie—realistically staged and intense.

Several well-known male actors play Mallory Kane’s various allies and foes. They are Ewan McGregor, Michael Douglas, Antonio Banderas, Channing Tatum, Michael Fassbender and Bill Paxton.

The action kicks off with a violent face-off between Carano and Tatum in a roadside café in upstate New York. The plot unfolds with scenes in Barcelona, Dublin, rural New Mexico and along the Pacific coastline.

A highlight of the film is the cool soundtrack by David Holmes who scored much of the music for Soderbergh’s three “Ocean’s” movies. He provides rhythmic, up tempo music that is just right for this film.

Go for the action. Go for this new female fighter. Go for the strong male cast. Go for the music. Go to unravel the plot.

“Haywire” delivers 93 minutes of solid movie entertainment. Casting an unknown as the female lead was not a haywire decision—the result makes perfect sense to me.

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“Red Tails” (It Made the Tide Fly High!)

The Tuskegee Airmen deserve better. Those brave black men who flew in WWII get a major motion picture and it’s not nearly as good as it should have been.

This is the movie that the Alabama Crimson Tide football team saw the night before they crushed LSU. The story of dealing with adversity and performing well in a high-pressure situation delivers an upbeat, feel-good ending. The air battles provide thrills. The message is clear: working as a team is the road to victory. Roll Tide!

Sadly, “Red Tails” is plagued with hokey war movie dialogue and plot clichés. Since the movie is inspired by true events, the script (co-written by Aaron “Boondocks” MacGruder) should have been more realistic. My guess is that producers felt the film may have needed some of those familiar Hollywood elements to overcome inherent marketing problems.

The acting is generally good. I felt that Terrence Howard was miscast; a more Denzel-like player would’ve given more strength and credibility to the role of unit leader Colonel Bullard.

Will “Red Tails” with a primarily black cast cross over to attract white audiences? As they say at the end of TV news reports, “only time will tell.” “Red Tails” is an entertaining movie. You will feel a patriotic rush at the movie’s climax. It’s just unfortunate that the movie is not better than it is.

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“The Iron Lady”—{Meryl Does Maggie}

“The Iron Lady” asks one big question: Will Meryl Streep win yet another Best Actress Oscar?

She will receive a nomination, without a doubt, for her portrayal of Margaret Thatcher. Meryl is amazing, but this performance has a “been there, done that” feeling to it. Meryl gets a makeover (including some perfect stunt teeth), nails the accent and brings her normal spectacular work. (There are other actresses, though, whose 2011 performances are, in my mind, more Oscar-worthy.)

The movie has a familiar structure. We see an aged, shuffling Maggie Thatcher, who has delusions that her late husband (played by Jim Broadbent) is still with her. Flashbacks take us through the major moments of her life and career.

Unlike “The Queen” and “The King’s Speech,” which keyed on one major crisis in the title character’s life, “The Iron Lady,” takes us through several crises faced during her time as British Prime Minister. Also, those other two movies (which led to Oscars for lead actors) dealt with royals, whereas “Iron Lady” is the story of an elected official. Still, the British thing lends a certain quality that enchants Oscar voters. So don’t count Meryl out.

Margaret Thatcher was a great ally for the US during her eleven years as PM. She certainly broke down gender barriers and provided decisive leadership during a critical time in world history. But—is her biopic a “must see?” Not really.

If you are a Meryl Streep fan, you will want to see this film and you will admire her work in it. If you are a movie fan who likes to check out all the Oscar nominees, get there. Otherwise, I have difficulty finding a compelling reason to suggest you see “The Iron Lady.”

 

 

 

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“Carnage”—[No Bodily Harm, Just Bruised Egos]

When a stage play is brought to the screen, especially a play with just one basic setting and only four characters, making it work as a movie can be tricky. “Carnage” works.

The most important credit goes to the writer, Yasmina Reza, whose play “God of Carnage” won the ’09 Tony for best play. With tweaks from director Roman Polanski, her movie script brings us relatable situations and characters direct from our modern day lives.

Next, let’s credit Polanski for taking this one long continuous scene and making it visually interesting. Set in a New York apartment living room (with side trips to the kitchen, bathroom and hallway), the story benefits from good shot selection. The direction gives us varied angles, close ups and wide shots, without calling attention to itself.

Of course, the actors are ones who bring the script to life. Kate Winslet and Christopher Waltz are one couple. Jodie Foster and John C. Reilly are the other. All four deliver excellent performances.

The two couples visit together after their sons have been involved in a playground incident. One couple wants the other to apologize for their child’s aggression. As the discussion continues, other subjects are addressed. Food is shared and later, booze. The couples engage in verbal warfare, first with the opposite couple and then with their own spouses.

Many of us who are married with children have been in similar situations. You want to be nice, but sometimes tensions build. In “Carnage,” there are moments that will make you uncomfortable and there are moments that will make you laugh out loud. You may shift your allegiance and identification from one character to another (and maybe back again).

I like “Carnage.” Despite its being one 80-minute long conversation, it is not boring. Does “Carnage” have a message or two? Maybe. That’s for you and your spouse to discuss on the drive home from the theatre.

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