Tag Archives: Bryan Cranston

Trumbo

Trumbo is one of 2015’s best films. Its amazing story, its serious message and its sense of humor make it a “must see” for lovers of movies and movie history.

Dalton Trumbo (Bryan Cranston) was a real-life screenwriter who wrote scripts for numerous hit movies. He was also a Communist. Along with like-minded members of the movie community such as actor Edward G. Robinson (Michael Stuhlberg) and writers Arlen Hurd (Louis CK) and Ian McLellan Hunter (Alan Tudyk), Trumbo went up against right-wingers like John Wayne (David James Elliott) and gossip queen Hedda Hopper (Helen Mirren) in Hollywood.

In one of the film’s memorable scenes, Hurd questions Trumbo about an apparent contradiction: he earns riches and enjoys the fruits of his labors while supporting the socialist philosophy of Communism. Another favorite scene features a confrontation between Trumbo and Wayne, in which Trumbo asks Wayne to let him remove his glasses first in case the Duke plans to punch him.

After World War II, Trumbo and other Hollywood figures are summoned to testify before Congress. Trumbo is held in contempt and incarcerated. Upon his return to L.A., because he is blacklisted, he has to work under assumed names. Much of that work is on “B-movies” for Frank King (John Goodman). Another favorite scene has King grabbing a baseball bat and menacing a right-winger who threatens to lead a boycott of King’s movies. Trumbo’s script for Roman Holiday (written under an alias) earned a screenwriting Oscar.

With love and support from his family, including wife Cleo (Diane Lane) and daughter Niki (Elle Fanning), Trumbo gradually edges back into the mainstream. Courageously, actor Kirk Douglas (Dean O’Gorman) and director Otto Preminger (Christian Berkel) step up and hire Trumbo to script Spartacus.

Trumbo deals with a serious topic but has many good laughs. Cranston plays the role with sincerity but a bit of bemusement at the way his career careens. The director is Jay Roach who directed the hilarious Austin Powers and Fockers movies.The script is by John McNamara.

Trumbo concludes with a heartfelt speech at an awards ceremony that allows Dalton Trumbo to say how he feels about what happened to him. In postwar America, just three decades after Russia’s revolution, there was serious concern about the threat of Communism. It is easy to look back now and see how the response to Trumbo’s activism was an gross overreaction.

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Godzilla

The newest Godzilla has everything you want in a summer tent pole movie: a sufficient amount of monster footage, generous servings of destruction, an okay storyline and generally decent acting by the human cast. (And the 3-D is good, too.)

Godzilla’s clever title sequence includes “redacted” credits over nuke-related archival footage, hinting at official cover-ups of atomic testing and the effects of radiation. An old-school opening theme signals a serious attitude.

Joe and Sandra Brody (Bryan Cranston and Juliette Binoche) both work at a Japanese nuclear plant. Joe wants to shut the plant down due to seismic rumbles; Sandra goes to check on the reactor and dies when tremors lead to disaster and force the closing of escape doors.

Throughout the film are reminders of 9-11 footage that are branded into our gray matter, starting with shots of Sandra running to escape an approaching dusty cloud of danger.

15 years after the nuke plant event, Joe’s grown up son Ford (Aaron Taylor-Johnson) leaves his wife (Elizabeth Olsen) and son Sam (Carson Bolde) in San Francisco to bail out his widower dad in Japan. Joe has trespassed in the forbidden area around the nuke plant. When he convinces Ford to return with him to the area, they discover why the plant is off limits.

Dr. Ichiro Serizawa (Ken Wantanabe) and his sidekick Vivienne (Sally Hawkins) are seen in the film’s opening scene, checking out a weird crater in a uranium mine in the Philippines. They are involved in the cover-up of events at the shuttered plant. Here’s where we meet the first monster.

As the two flying monsters make their way from Japan to Hawaii to the US west coast, they are pursued by Godzilla, with whom they faceoff in San Francisco. (The battles evoked cheers from the preview audience.)

In addition to visuals that trigger 9-11 memories, the 2011 Japanese earthquake (which caused damage to the real life Fukushima nuclear plant) is referenced when monsters cause a tsunami in Honolulu.

A sensitive touch that director Gareth Edwards brings to Godzilla is a focus on small children and the way peril affects them throughout the film. I was surprised that the 2014 Godzilla’s movements were less fluid than I’d expected. On the other hand, the sounds made by all the monsters are masterpieces of audio production.

The new Godzilla film is good enough to satisfy but not so good as to come close to classic status. It is likely to be warmly embraced by many who recall the old version, as well as by Godzilla newbies.

 

 

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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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“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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“Drive” May Be a Classic

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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