I went Across the Universe for this?????

Across the Universe basically boils down into a collection of music videos that the audience is supposed to feel emotionally attached to. The only problem is the spoken dialogue is awful, the songs restrict the story and make it way too hokey, and the interpretation of the Beatles’ music is all over the place.

Everything about this movie feels awkward, from the gay romps to a nipple slip that comes from nowhere. Across the Universe tries to run ten different directions at once and fails miserably in every attempt. The film never finds a voice, floating all over the place in a pointless attempt to unite all the characters, which culminates in a rooftop performance that oddly mirrors some band in history.

I’m all for a good musical number, heck I’m a sucker for any movie that spontaneously breaks out in song, but combining Grease and Moulin Rouge doesn’t work.

The only good thing about the movie is the cameos by Eddie Izzard and Bono, and the musical performances by Martin Luther. All three men steal every scene they’re in, and Luther is responsible for all of the best music numbers.

I’m only bringing this movie up because I recently saw it after my school played it, and because it was nominated for an Academy Award for Costume Design. I hope to god the film loses so no one in the future can say, “The Academy Award winning film, Across the Universe.” It’s bad enough that people can throw, “Academy Award nominated,” before the title, because it could create a false impression about the movie.

NEVER EVER SEE THIS MOVIE. If you love the Beatles don't let the soundtrack fool you, because this is a waste of time.

Daniel Day Bleeds Oscar Gold

There Will be Blood revolves completely around the larger than life landscape scenes and the larger than life performance of Daniel Day Lewis.

Lewis portrays Daniel Plainview, a self-proclaimed oilman. His drive knows no limitations, as he overcomes physical injury and sheds emotional attachments to achieve the level of wealth he desires. Daniel Plainview may seem like a complicated character, what with his relationship with his son (Dillon Freasier), his battles with town preacher Eli Sunday (Paul Dano), his charming façade, and the inner demons that he reveals to a man masquerading as his half-brother (Kevin O’Connor), but it his drive that is his sole motivation in life.

It is hard to quantify what Lewis brings to the film, but the mere fact that Director Paul Thomas Anderson (Magnolia; Boogie Nights) didn’t plan on making the film without Lewis begins to address his importance.

Blood is a rollercoaster of emotions as you go from the highest of highs, as Daniel and his adopted son and partner H.W. accidentally strike oil, to the lowest of lows, as Daniel abandons his son. But the film is not without laughs, such as when Plainview, an atheist, accepts initiation into the Church of the Third Revelation. Even the end of the film, which is deeply disturbing, left me stifling chuckles.

Every member of the cast shines when placed in a scene with Lewis. Lewis’ immersion into his character makes every other character more believable and real. Watching this movie I never thought, “Wow, this is great dialogue,” because it never felt like I was watching something scripted.

A lot of good things can be said about the rest of the cast, but the breakout performance belongs to Dano. Dano, who played the brooding youth of Little Miss Sunshine, excels as Eli Sunday, the thorn in Plainview’s side. The relationship between Eli and Plainview is by far the most entertaining aspect of Blood.

The only part of Blood that isn’t in keeping with the quality of the whole package is the movie’s score. The score is all over the place, coming at you with pseudo intensity when you least expect it and serving only to make the viewer wonder if there’s something going on during an empty desert scene that they’re missing.

The ending of the film, which takes place sixteen after a majority of the action, feels a little out of place, but the film ends with such a bang that it’s worth it. This is a movie that needs to be scene in theaters, and I’d strongly recommend finding a theater that has the self-respect to air this commercial failure.

Oscar Watch: Lewis is the front runner for Best Actor. Blood will be a top contender for Best Picture, Director, and Cinematography along side of No Country for Old Men.

I'm Here, but I'm a little Confused

My second ever trip to the Saratoga Film Forum occurred on Thursday with the viewing of the Bob Dylan biopic, I’m Not There. I’ll get to the movie in a second, but first I want to deal with the Film Forum itself. In a previous blog post I lambasted the Film Forum for having the excitement and diversity of the Republican Party, and now I want to scale back my earlier comments.

On Thursday night I was one of eight kids from my graduating class, and it might have been nine kids except I’m not positive about one girl. Granted, four of the kids had been unaware I’m Not There was playing at the Film Forum until the night before when I told them about it, but this definitely begins to demonstrate the overarching potential of the Film Forum. It also points to the fact that the Jesse James film had a narrow audience, and that broader films can attract bigger crowds. I’m not saying the Film Forum should appeal to the lowest common denominator of society, but instead it should serve as a tool to lift up society, which it could start doing if it did a better job advertising its existence and what is playing.

Now that I got that off my chest I need to admit that I didn’t love I’m Not There. I get what the movie was going for, as it explored the various aspects of Bob Dylan’s personality that defined him, but the general lack of continuity hurt the overall viewing experience. It’s nice to see how the various sides of Dylan complement each other, and while at points they’re woven well, some scenes are cut together poorly and ruin the flow.

Of Dylan’s different personalities the most enjoyable are those portrayed by Cate Blanchett, who received a supporting actress nomination from the Academy, and Marcus Carl Franklin. Blanchett represents Dylan after his electric guitar performance at a Folk Festival, and captures Dylan’s rebellious and antagonized persona of the time. Franklin’s portrayal is even more interesting, as he brings to life Dylan’s early folk background and innocence. Franklin is also the only star of the film to show up on the Soundtrack, with an excellent rendition of “When the Ship Comes In.” I found myself nodding off during the late Heath Ledger’s performance, but I did love the introduction of his character. He is playing an actor portraying another one of Dylan’s personas, who then comes to represent Dylan’s failed first marriage and Dylan as a celebrity.

This is not an easy movie to sit through if you’re not a Bob Dylan fan, and even then you better be a real fan that appreciates the full body of his work. The director is obsessed with Bob Dylan, and he made a movie for people obsessed with Bob Dylan. When I think back about the movie I can recognize its simply beauty and brilliance, but I can’t shake the feeling that I was bored to tears during the movie, which my dad can attest to since he checked multiple times to see if I was awake. That may not sound like a ringing endorsement, but I’m glad I saw it, and I’d recommend it for anyone who wants to go for an interesting ride.

What a Way to Spend a Morning!

I can't imagine a better way to spend a Tuesday morning than the hilarious romp that is The Blues Brothers. Sure, I could have slept until noon today or watched Bud Selig testify before Congress, but i wouldn't have the same sense of fulfillment that i feel now as I'm watching the closing number in the movie where the band plays "Jailhouse Rock" while in prison.
SNL has failed miserably in subsequent attempts at turning five minute skits into full length films, but it definitely got it right on the first try with The Blues Brothers. Maybe the movie is so good because it feels like a SNL skit with all the perks of the big screen, whereas other attempts have gotten bogged down developing stories.
Blues Brothers is a simple movie, and it's simply hilarious. Cars crashing is funny, and you've got tons of it. Nazis dying is gratifying, and you've got that. Tons of A-List musicians in hilarious cameos (intentionally and unintentionally), like when Ray Charles shoots a gun at a potential shop lifter in his store. Top notch musical performances by those same musicians, as well as stellar musical numbers by stars Dan Akroyd and John Belushi.
This movie is absolutely hilarious, and anyone who says it is outdated or just one joke repeated over and over again has no sense of humor. Or maybe they do, and I'm just a simple man who is easy to please. If you like to giggle, love to laugh, and want to see a fat man do a cartwheel than watch The Blues Brothers.

The Prolonged Death of Jesse James

On Thursday night I had my first ever experience with the Saratoga Film Forum. It was definitely unlike anything I had ever tried before, and while it freaked me out a little, I’ll be going back again this week to screen the Bob Dylan film, I’m Not There.

At six bucks a pop for nonmembers the Film Forum is a good deal, but the setup doesn’t exactly cater to the youth of Saratoga. I was easily the youngest person in an audience where the average age was about 48. It’s good to have an outlet for these types of films that don’t get played in Wilton, but the Forum should do a better job advertising to encourage a more diverse crowd. I mean a bunch of old white people in a room is great and all, but some flyers around town and at the high school would be a good idea.

A little dinner at Bailey’s, and then an artsy intellectual flick is a solid and cheap date for any youngster looking for romance. But, there’s always the chance you catch a movie like The Assassination of Jesse James by the Coward Robert Ford, and your date is looking for the exits one hour in and you’re on your way to no kiss, no hug, and no second date.

Yes, it is a beautiful movie, but oh my god is it boring at points. I understand that every movie isn’t just wham bam thank you ma’am, and it’s possible that this movie just flew right over my head, but I’m pretty smart for a dumb person and I just didn’t get this movie. I’m not alone in my opinion of this film, which was met with high regard by some, and disdain by others.

If Assassination was supposed to speak to modern themes of a celebrity culture, than it was speaking in another language. Because the movie doesn’t really speak to the hype of Jesse James (Brad Pitt) and the air of excitement around him, so much as it deals with one person’s obsession. If Robert Ford (Casey Affleck), and his infatuation with James is supposed to touch on society’s obsession with celebrities, than the movie fails because Ford just comes across as an aberration, and not the norm. Ford is a just boy that becomes disillusioned with his idol, and kills him because of his own broken fantasies.

Affleck has received praise for his performance, along with a Golden Globe nomination, but I think it’s the performance of Sam Rockwell, as Charley Ford, which is worthy of accolades. While Affleck simply portrays a brooding child, Rockwell’s Charley is a deep and unnerving character that steals almost every scene. Even with Brad Pitt, Rockwell’s performance helps you understand Jesse James, and why he is feared, loved, and misunderstood.

The secondary characters carry this film, and a cameo by Sam Shepard is especially compelling. I’m not really sure why Mary Louis Parker signed on for less than ten lines of dialogue as the wife of Jesse James, except that maybe she had misguided hopes of accepting some award as part of an ensemble cast. This movie is definitely pretty enough, and parts of the movie are strong and enjoyable, but these factors don’t outweigh the pace and style, which make this movie a disappointment.

If Assassination was tightened up it would have more mainstream appeal, but as it is at 160 minutes it appears that the director never intended to sacrifice his vision for a big payday at the box office. Maybe this movie never would have had an audience regardless, what with the failure of such films as 3:10 to Yuma, which would indicate that there’s no audience for any kind of Westerns.

She's Probably Not the One

I am constantly searching for a good chick flick to enjoy, and throughout the course of my travels I’ve experienced everything on the spectrum. I’ve seen chick flicks that masqueraded as sports movies (Field of Dreams, Pride of the Yankees, Jerry Maguire), chick flicks pretending to be action films (Romancing the Stone), chick flicks for the working woman (Devil Wears Prada, American President), chick flicks for supposedly real women (Something’s Gotta Give, Bridget Jones’s Diary), chick flicks for the sports bra inclined (Bend it Like Beckham, League of their Own), chick flick from John Hughes (Sixteen Candles, Pretty in Pink), chick flicks that took me a second to realize were chick flicks (Knocked Up), and chick flicks with Hugh Grant (Love Actually, Notting Hill). There are probably more categories and subsections, and maybe some less offensive names, but I’m a guy writing about unknown territory so expect it to be a little crass and ignorant.

Most recently my search has led me to watch She’s the One. The film was released in 1996, and is from writer, director, and leading man Ed Burns. Burns plays Mickey Fitzpatrick, a cab driver who falls in love with one of his fares, Hope (Maxine Bahns), and marries her within twenty-four hours of meeting her. The other central character is Mickey’s brother, Francis Fitzpatrick (Mike McGlone), who is in a failing marriage and having an affair with his brother’s ex-fiancé, Heather (Cameron Diaz).

The movie starts out cute enough, as we’re introduced to the brothers’ relationship with their father (John Mahoney), which revolves around him calling them girls and giving advice from the 1950s. These guys aren’t sexist, they’re just old fashioned and not crazy about the 19^th amendment. From there the movie moves on to equally cute talk about vibrators and sex with old men, except that after thirty minutes it stopped being cute and started wearing on my nerves.

The most interesting character is Heather, who Burns ruins by constantly trying to label. In part it’s done to illustrate how the brothers only see a one dimensional person, who was just a hooker in college, while Burns is trying to prove she’s obviously so much more. Unfortunately Burns ends up writing her as just a hooker later on the film, so the character loses her edge and depth that Diaz brought in the beginning of the film, and becomes the one dimensional character that Burns had tried to prove she wasn’t.

She’s the One has some interesting stylistic elements, such as the integration of amusing flashbacks, but they’re not used enough. Unfortunately, at only ninety-six minutes the movie feels like I wasted three hours. The last hour drags on forever, as the movie rehashes themes of brotherhood and the idea of a relationship being a partnership over and over again, only to conclude nothing. The movie tries to bite off more than it can chew by trying to tackle these issues, which is almost impossible since it’s attempting to address real problems with phony people.

If you’re a die hard Ed Burns fan I’d say try on Brothers McMullen for size before you commit time to She’s the One. Overall I’d recommend skipping She’s the One, and instead watching Good Will Hunting. Good Will Hunting does a better job dealing with brotherhood, and the relationship between Minnie Driver and Matt Damon is far more realistic and endearing than the central relationship in She’s the One. For the record, I'd say Good Will Hunting is one of those chick flicks that sneaks up on you before you realize it's a chick flick.

National Treasure 2: Searching for Fool’s Gold

A movie with Helen Mirren, Jon Voight, Ed Harris, Harvey Keitel, and the underappreciated Bruce Greenwood is sure to warrant critical acclaim. But, for some reason I don’t see the cast of National Treasure: Book of Secrets walking down any red carpets. That’s not to say Book of Secrets won’t make a load of money, because it will, having already brought in $150 million after two weeks in theatres.
The film is a sequel, and follows the basic formula of the first movie. Benjamin Gates (Nicholas Cage) is still looking for treasure that will bring honor to his family name. Riley Poole (Justin Bartha) is still tagging along for comic relief and tech support. Abigail Chase (Diane Kruger) is still providing sex appeal, and that’s about it.
The old villain was replaced by Mitch Wilkinson (Ed Harris), who tries to bring depth to the generic bad guy role and does a poor job in his tear jerker moment. Also late to the party was Emily Appleton (Helen Mirren), the mother of Benjamin Gates, who is delightful in her interactions with x-husband Patrick Gates (Jon Voight).
It would be pointless for me to delve into the plot beyond saying it has something to do with the assassination of President Lincoln and a lost city of gold. The action ranges from plausible (yes, Benjamin Gates would wear sunglasses when it’s sunny outside), to the ridiculous (a book of secrets), to reaching the point of Bruckheimer fantasy land (using the President’s love of history in order to ditch his secret service detail and kidnap him).
These plot points wouldn’t be so unbearable if it didn’t seem like the lead was just going through the motions. Cage phones in his performance with lackluster indignation, failed attempts at charm, and sincerity akin to my reaction when my mom requests that I take her seriously. The one highlight for Cage is when he’s pretending to be drunk and starts talking in a British accent. Harris is ill-suited for his role, and while Voight and Bartha are winsome sidekicks, the most enjoyable seens focus on the family interactions.
I wasn’t expecting Raiders of the Lost Ark when I went to see this movie, but I was hoping Book of Secrets wouldn’t lose all the juice of its predecessor. There are virtually no moments where you stop and enjoy the conspiracy that’s being laid out, and that’s from someone who has faith in everything Dan Brown writes. This movie may or may not be worth a trip to the theatres, but it’s definitely something to watch when it comes to USA or some other cable channel in two years.

Charlie Wilson's Winning War

Charlie Wilson’s War is basically a toned down version of a West Wing episode, and that’s probably why it’s such a good movie. Comparisons arise from the fact that the movie was written by West Wing scribe Aaron Sorkin, and the movie benefits from his fast-paced and comical dialogue, which makes complicated issues accessible to a large audience.

Tom Hanks plays the title character, a Democratic Congressman from Texas, who appears at ease sitting naked in a hot tub with two strippers that are doing cocaine. Charlie Wilson is a booze hound and a womanizer, and uses his position of power to enable those desires. But while he appears disengaged, he has a keen understanding of what’s going around him and what it will take to win. Hanks plays the middle aged playboy with a certain twinkle reminiscent of his oddball character in The Ladykillers.

Charlie Wilson is not an idle member of the House of Representatives, which is why after seeing a piece about the Mujahideen rebels fighting the Soviets in Afghanistan he moves into action. Wilson’s interest picks up steam through the efforts of Joanne Herring, portrayed by Julie Roberts, who brings certain realities about the conflict to light for the first time to Charlie. Julia Roberts’ performance is over the top as the Texas socialite, but not in a good way. Her relationship with Hanks is a little unbelievable, never more so than when a teary eyed Charlie talks to Joanne on her honeymoon.

With a renewed vigor Charlie decides to use his position on the Defense Appropriations Subcommittee to aid the Mujahideen rebels, but he’s unsure of how best to broach the situation. With the help of CIA operative Gust Avrakotos, played by Philip Seymour Hoffman, Charlie brokers a deal to arm the Mujahideen rebels. Hoffman is hilarious as the righteous CIA operative, and if he is not nominated for his work in The Savages or Before the Devil Knows You’re Dead, then he will surely receive recognition for his work in this film. The rapport between Hanks and Hoffman warrants making Charlie Wilson's Summer Trip with Gust.

The movie concludes with the withdrawal of Soviet troops from Afghanistan, and Charlie’s futile attempt to securing funding for rebuilding Afghanistan in the wake of total devastation to the country’s infrastructure and its people.

This last note is what makes the movie politically relevant today, because the movie stands as a cautionary tale for what can happen when we up and leave a country that isn’t ready to stand on its own. The final quote of the movie, which implies that we brought the attacks of September 11^th on ourselves by not ensuring the end game, is a notion that holds some merit but is hardly black and white as the film frames it.

The dialogue has bite, the action moves steadily along, and the story is entertaining from start to finish. This might not be a movie that I’ll have to own on DVD, but it’s definitely worth a trip to the theatres.

"Michael Clayton" Movie Review

If you’re thinking about seeing Michael Clayton at the Saratoga Film Forum, I can’t in good conscious endorse such a decision. Unlike almost every other critic that reviewed Michael Clayton, I was not blown away by the film. I’m not sure what that says about my reviewing abilities, but I’m not going to let it faze me.

There’s no way around the fact that the film from writer and director Tony Gilroy falls short at almost every turn. The most glaring of these failures occurs with the most interesting character, Karen Crowder, played by Tilda Swinton.

Swinton is a talented actress, and delivers a chilling performance as a corporate attorney who will do anything to bring home a victory. The problem is that the audience never gets a chance to understand where this desire to win comes from. One can understand a certain amount of pressure when dealing with dollar amounts in the billions, but the film doesn’t explain her stake in the big picture and why she would be willing to have two people killed.

At just under two hours, this movie spends too much time watching people react, and the worst offender being a taxi ride with Clooney to end the film. Scenes like that exhibit the disconnect between the audience and the story teller, who assumes that viewers have some sort of unspoken bond with what’s happening on the screen. Why should I, a college student, appreciate what’s happening to some high-priced lawyer without a little bit of explanation?

The movie also fails to deliver much of an ending. The climax is played out in the beginning of the film in a flashback, and one would hope that when the film comes back to that part in real time the audience would be left with some added insight or see the pieces in a different way. Instead the climax only raises more questions that are off topic, and are never answered anyway.

The title character, Michael Clayton, played by George Clooney, is underdeveloped as well. From the beginning you can see that Clayton is a conflicted character, constantly solving problems for people who don’t really deserve help. The problem is that the character never really seems to undergo any transformation. He seems to know right and wrong from the beginning, and he’s clearly a man with established borders. So if this is the case, why should the ending or his consequent actions surprise anyone?

Sydney Pollack is mildly entertaining as a senior partner in Clayton’s firm, and the two corporate killers are terrifying. Tom Wilkinson will probably receive a supporting actor nomination for his portrayal of Arthur Edens, a corporate lawyer who sees the error of his way and loses his mind. Wilkinson is entertaining, and the movie benefits from every second he is on screen.

The movie isn’t a thriller. It is pretty ho hum, with the most chilling moment coming when a cop yells, “Freeze.” But it’s just a tease, because like most of the movie nothing is really happening. The movie is basically a tragedy, because it squanders such a promising cast.

If you’re going to watch a movie about a lawyer with a moral crisis, rent the 1998 film, A Civil Action, starring John Travolta. Travolta’s performance is a tier above an uninspired showing from Clooney.