New Releases for the Week of January 18, 2013


The Last Stand

THE LAST STAND

(Lionsgate) Arnold Schwarzenegger, Forest Whitaker, Johnny Knoxville, Rodrigo Santoro, Luis Guzman, Jaimie Alexander, Eduardo Noriega, Peter Stormare, Genesis Rodriguez. Directed by Kim Jee-Woon

The Governator’s first starring role in a decade puts him as a disgraced L.A. cop who now lives a much more peaceful life as sheriff in a small, quiet border town. When a vicious drug cartel kingpin escapes from a convoy taking him to jail, a small army of mercenaries and thugs are insuring that he gets back to Mexico. Unfortunately, their route will take him right through Arnold’s town. Big mistake.

See the trailer, a clip and a promo here.

For more on the movie this is the website.

Release formats: Standard

Genre: Action

Rating: R (for strong bloody violence throughout, and language)

Broken City

(20th Century Fox) Russell Crowe, Mark Wahlberg, Catherine Zeta-Jones, Barry Pepper. A former NYPD cop, stripped of his badge because of a shooting scandal, is hired as a private eye by the popular mayor of Noo Yawk to investigate his wife. However, much more is going on than meets the eye and he finds himself in a fight to bring the truth to light and to keep himself from going to jail.

See the trailer, a clip and a promo here.

For more on the movie this is the website.

Release formats: Standard

Genre: Thriller

Rating: R (for pervasive language, some sexual content and violence)

Mama

(Universal) Jessica Chastain, Nikolaj Coster-Waldau, Megan Charpentier, Isabelle Nellise. Two young girls who’d disappeared five years earlier when their mother died are discovered living in the woods, having survived on their own against all odds. They are brought to live with their only surviving relative – their uncle – and his girlfriend. Soon it becomes apparent that they might not have been quite so alone as everybody thought – and that they brought their companion/protector into their uncle’s home. Not so good for Uncle.

See the trailer and clips here.

For more on the movie this is the website.

Release formats: Standard

Genre: Supernatural Horror

Rating: PG-13 (for violence and terror, some disturbing images and thematic elements)

A Royal Affair

(Magnolia) Mads Mikkelsen, Alicia Vikander, Mikkel Boe Folsgaard, Trine Dyrholm.  In the 18th century, King Christian VII was absolute ruler of Denmark and rumor has it, was quite deranged. His Queen embarked on a passionate affair with a German physician, putting the both of them in extreme danger.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Historical Drama

Rating: R (for sexual content and some violent images)

Rust and Bone

(Sony Classics) Marion Cotillard, Matthias Schoenarts, Bouli Lanners, Celine Sallette. A homeless, friendless and penniless man takes refuge in his sister’s home in the South of France with his five-year-old son who barely knows him. After he gets a job as a nightclub bouncer, he encounters a beautiful whale trainer at the local marine park. When a tragic accident leaves her disabled, the unlikely couple learn to heal each other. Cotillard has received an Oscar nomination for Best Actress for her work here.

See the trailer and an interview here.

For more on the movie this is the website.

Release formats: Standard

Genre: Drama

Rating: R (for strong sexual content, brief graphic nudity, some violence and language)

Les Miserables (2012)


Russell Crowe and Hugh Jackman face off.

Russell Crowe and Hugh Jackman face off.

(2012) Musical (Universal) Hugh Jackman, Russell Crowe, Amanda Seyfried, Anne Hathaway, Eddie Redmayne, Sacha Baron Cohen, Helena Bonham Carter, Samantha Barks, Aaron Tveit, Daniel Huttlestone, Colm Wilkinson, Michael Jibson, Isabelle Allen, Charlotte Spencer. Directed by Tom Hooper

As a nation we love musicals. There’s something about the scope of them, the music, the spectacle that we just connect with. We love seeing them on Broadway but we also love seeing them in the movie theater. However, not all musicals translate well to the big screen.

Most folks are aware that this is based on the classic 1862 Victor Hugo novel and was adapted for the French stage by Claude-Michel Schonberg and Alain Boublil and later for English audiences at the West End by lyricist Herbert Kretzmer. It was a big hit on the Broadway stage in the 80s and won eight Tony awards in 1987.

The film production was taken up by Oscar-winning director Tom Hooper (The King’s Speech) and boasts an all-star cast. The story concerns Jean Valjean (Jackman), arrested for stealing bread and serving a 19-year sentence for daring to feed his starving family. Released, he seems destined for a life of further crime as nobody will hire him since his papers identify him as a dangerous ex-convict. But an act of charity by the Bishop of Digne (Wilkinson) turns his outlook around. He realizes that in order to become the good man he once was, he must break parole and begin fresh.

That puts the obsessive Inspector Javert (Crowe) on his tail. Javert looks at the law as something of black and white, with those who commit crimes as criminals who can never change their natures. He sees Valjean as nothing more than a common criminal whose lot in life is to steal.

Valjean becomes a successful mill owner and becomes mayor of a small French provincial town. One of his employees is Fantine (Hathaway), a beautiful woman who rejects the advances of the lecherous Foreman (Jibson) and whose pay mostly goes to support her daughter Cosette (Allen) who is being looked after by the innkeeper Thenardier (Cohen) and his wife (Carter). The other women of the factory, jealous of her looks, get wind of her daughter and this gives the Foreman an excuse to fire her.

Fantine becomes immediately destitute, selling her hair, her teeth and eventually, her sex. She gets very ill and Valjean witnesses a client threatening to beat her up after she fends off his unwelcome advances. He sees that she is taken to the hospital and promises to send for Cosette. However he has something else to worry about; it seems that Jean Valjean has been caught – at least, someone who has been accused of being him and it appears that someone else will be going back to jail in his stead. This would appear to be the perfect solution but Valjean’s conscience can’t allow it so he goes to the trial and confesses. He leaves to go clear up his affairs, intending to surrender himself to Javert but he witnesses Fantine’s death and goes to fetch Cosette who now has nobody. He knows only he can save her from a life of abuse and takes her away from the Thenardiers, paying them 1500 francs to do so. Valjean and Cosette barely escape Javert and make their way to Paris.

There once again Valjean becomes prosperous and Cosette, now a beautiful young woman (Seyfried) has attracted the eye of Marius (Redmayne), a fervent young revolutionary who is the son of a wealthy man. Cosette falls deeply for Marius but he and his fellow revolutionaries led by the charismatic Enjolras (Tveit). The coming battle looks to be a slaughter of the revolutionaries and Valjean, who realizes Javert has spotted him again, knows that fleeing Paris would be the sensible thing to do but it would break Cosette’s heart.

One of the advantages that a film has is that it can put a more three dimensional feel to the story. A play is limited to the area of the stage; film can go on location or create landscapes of its own. A good translation won’t feel staged or confined. Oddly, that happens a lot here despite the often epic vistas.

One of the big problems I’ve had with Les Mis all along (and I know that this is sacrilegious) is that it’s too ambitious. Nearly every line is sung to the point where you long for some dialogue (there are a few lines here and there but not much) and quite frankly, the music doesn’t hold up for an entire two and a half hour long movie. A good deal of it is mediocre although there are several songs that are amazing (“Who Am I” and “I Dreamed a Dream” among them). This is more of an opera than a musical in that sense.

The performances here are pretty strong. Hathaway has justly received notice as delivering an Oscar-worthy performance and it seems a lock that she’ll get a best supporting actress nomination and most likely the win. The tortured and abused Fantine is a role that demands a great deal of the actress playing her and certainly Hathaway gives it everything she’s got and more.

Jackman does a pretty fine job as well. This is one of his finest performances ever. Having started out as a song and dance man, he should be a slam dunk for this but a tiny little complaint – I think that the key is just about on the high end of his range. It would have behooved the music director to move it down a couple of keys so that they could have gotten a better benefit of Jackman’s vocals.

Crowe has a nice voice but he almost seems to be in a different movie. He’s extremely low-key and doesn’t really pull off the obsessive quality of Javert. He’s a little too stoic here and the part really calls for someone who unravels and that just isn’t Crowe. He does a decent enough job however. Cohen and Carter (which sounds a bit like the name of a law firm) do reasonably well as the comic relief.

This might have been an excellent movie had this not been a musical/opera hybrid. A little more dialogue would have made it more palatable. This is a very emotional movie that requires little manipulation to get your tear ducts working overtime. That it’s sad is a given; the title is, after all, “The Miserable.” But be that as it may, there are some fine performances, enough to recommend the film but don’t go in there expecting the movie of the year. It certainly isn’t that.

REASONS TO GO: Some really amazing performances, particularly from Hathaway and Jackman. Nice comic relief from Cohen and Carter.

REASONS TO STAY: Too much singing for music that doesn’t hold up throughout. A little stage-y in places.

FAMILY VALUES:  There is a suggestion of sexuality, some violence and adult themes. This isn’t a Disney musical folks; there’s some real suffering going on here.

TRIVIAL PURSUIT: Both Seyfried and Hathaway have sung with Jackman at the Academy Awards, although on separate occasions.

CRITICAL MASS: As of 12/31/12: Rotten Tomatoes: 71% positive reviews. Metacritic: 64/100. The reviews seem to be pretty mixed but leaning somewhat towards the positive.

COMPARISON SHOPPING: Chicago

WEST END LOVERS: Many of the extras and small parts in the film are played by West End veterans, many of whom have appeared in the West End version of Les Mis.

FINAL RATING: 6/10

NEXT; Cirque du Soleil Worlds Away

New Releases for the Week of December 28, 2012


Les Miserables

LES MISERABLES

(Universal) Hugh Jackman, Russell Crowe, Anne Hathaway, Amanda Seyfried, Eddie Redmayne, Helena Bonham Carter, Sacha Baron Cohen, Samantha Barks. Directed by Tom Hooper

Based on the hit Broadway musical which in turn was based on the Victor Hugo classic, it follows the epic tale of Jean Valjean, a man sent to prison for stealing bread to feed his family. When he breaks parole, he is chased by the obsessive and relentless Javert who hounds the basically decent Valjean over a time of great upheaval and change in France.

See the trailer, clips, a promo and a featurette here.

For more on the movie this is the website.

Release formats: Standard, IMAX

Genre: Musical

Rating: PG-13 (for suggestive and sexual material, violence and thematic material)

Django Unchained

(Weinstein) Jamie Foxx, Leonardo di Caprio, Christoph Waltz, Samuel L. Jackson. A bounty hunter frees a slave to help him track down a pair of murderers whose identity only the slave – Django – knows. From there they become a formidable pair in the pre-Civil War South but Django has his own agenda; to rescue his wife from brutal plantation owner Calvin Candie but this rescue will have a much higher price than anyone could have imagined

See the trailer and a clip here.

For more on the movie this is the website.

Release formats: Standard

Genre: Western

Rating: R (for strong graphic violence throughout, a vicious fight, language and some nudity)

Parental Guidance

(20th Century Fox) Billy Crystal, Bette Midler, Marisa Tomei, Tom Everett Scott. A pair of old-fashioned grandparents are enlisted to watch their grandchildren while the parents are forced to go away for work. 20th century old school meets 21st century new school in a cage match with the winner getting a shot at the main event at Parentmania. Let the parental smackdown begin!

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Comedy

Rating: PG (for some rude humor)

Mystery, Alaska


Russell Crowe on ice.

Russell Crowe on ice.

(1999) Sports (Hollywood) Russell Crowe, Ron Eldard, Burt Reynolds, Hank Azaria, Maury Chaykin, Colm Meaney, Mary McCormack, Lolita Davidovich, Ryan Northcott, Michael Buie, Kevin Durand, Scott Grimes, Mike Myers, Michael McKean, Adam Beach, Judith Ivey, Beth Littleford . Directed by Jay Roach

From then-TV flavor of the month David E. Kelley comes the town of Mystery, a small settlement amid the magnificent scenery of Alaska. There isn’t much to do there, so an awful lot of fornicating goes on. There is also a weekly hockey game that involves the young men of the town playing against one another on the town pond. The wide open space of the pond breeds tremendous skaters, guys who take flight on ice.

It also attracts the attention of Sports Illustrated writer Charlie Danner (Azaria), who is actually an ex-townie who was never well-liked. He calls them the best pond-hockey players in the world, and arranges a game with the NHL’s New York Rangers (like that would happen). And, predictably, this energizes the town and it’s somewhat quirky inhabitants.

There’s the passionate, but somewhat befuddled lawyer (Chaykin) who sits on the town’s hockey committee, and loves Mystery perhaps more than anyone else. There’s the crusty but good-hearted mayor (Meaney). There’s the curmudgeonly judge who wants nothing to do with the game (Reynolds). There’s also the libidinous defenseman (Eldard) who has more cojones than sense. Finally, there’s Sheriff John Biebe (Crowe), who is a veteran of the Saturday game recently demoted, now the reluctant coach of the team.

There aren’t a lot of ladies in the cast and most of them are either supportive and long-suffering (McCormack) or bored and unfaithful (Davidovich). The fact that hockey was so central to the plot was probably the biggest reason this movie did so poorly at the American box office which is a shame – the movie deserved a better fate.

This being a sports underdog movie, the overall outcome is more or less predictable. Director Jay Roach (both of the Austin Powers movies) has assembled a fine cast. Reynolds, for example, was just settling in to becoming a great character actor after years of floundering in lead roles after his glory years. Crowe shows some of the qualities that would elevate him in movies such as The Insider and Gladiator, but here he’s not quite as luminous as he would become in those breakout roles.

The success of Mystery, Alaska lies in creating a mood, and that is done rather well. Take away the unbelievable scenario and the sports-film clichés and you’d have a mighty good movie. Those obstacles, alas, are too difficult to overcome and this becomes just a pretty good movie instead of a great one which given its cast it could have been.

WHY RENT THIS: The movie’s got heart. Reynolds, Crowe and Azaria have some fine moments.

WHY RENT SOMETHING ELSE: The premise is preposterous. Too many clichés spoil this broth.

FAMILY MATTERS: There’s plenty of rough language and a fair amount of sexuality.

TRIVIAL PURSUITS: Mike Myers’ character of Donnie Shulzhoffer is reportedly a gentle spoof of legendary Canadian hockey commentator Don Cherry.

NOTABLE HOME VIDEO FEATURES: None listed.

BOX OFFICE PERFORMANCE: $8.9M on a $28M production budget; the film lost money.

FINAL RATING: 6.5/10

NEXT: The Goonies

New Releases for the Week of November 2, 2012


November 2, 2012

WRECK-IT RALPH

(Disney) Starring the voices of John C. Reilly, Sarah Silverman, Jack McBrayer, Jane Lynch, Alan Tudyk, Ed O’Neill, Mindy Kaling, Adam Corolla, Horatio Sanz, Dennis Haysbert, Edie McClurg. Directed by Rich Moore

Ralph is a videogame villain who for decades has been overshadowed by Fix-It Felix who always gets to save the day. Ralph longs to be a good guy but will never be one as long as he is overshadowed by Felix, so he decides to find a game where he can do good. Unfortunately, in his quest he inadvertently releases an evil that threatens the entire arcade. Can Ralph be the hero he dreams of being and save the arcade? It’s a Disney film so I’m thinking “yes.”

See the trailer, promos, clips and an interview here.

For more on the movie this is the website.

Release formats: Standard, 3D

Genre: Animated Feature

Rating: PG (for some rude humor and mild action/violence)

Flight

(Paramount) Denzel Washington, Kelly Reilly, Don Cheadle, Bruce Greenwood. An airline pilot becomes a national hero when he pulls off an impossible maneuver to land a crippled plane. That adulation quickly turns to something different when his blood work taken from the accident site reveals that he had alcohol in his system during the fatal flight.

See the trailer and clips here.

For more on the movie this is the website.

Release formats: Standard

Genre: Drama

Rating: R (for drug and alcohol abuse, language, sexuality/nudity and an intense action sequence)

The Man With the Iron Fists

(Universal) Russell Crowe, RZA, Lucy Liu, Rick Yune. A mysterious stranger arrives in a remote Chinese village to become the village blacksmith. Rival clans within the village force him to forge elaborate weapons of war. When the simmering feud goes nuclear over a shipment of gold, the stranger forges a weapon of his own, channeling an ancient power to fight alongside iconic heroes against soulless villains. The fate of the village rests on his ability to harness that power and control it.

See the trailer, clips, featurettes and a promo here.

For more on the movie this is the website.

Release formats: Standard, 3D

Genre: Martial Arts

Rating: R (for bloody violence, strong sexuality, language and brief drug use)

Master and Commander: The Far Side of the World


Master and Commander: The Far Side of the World

Russell Crowe wonders where the grog has gone off to.

(2003) Adventure (20th Century Fox) Russell Crowe, Paul Bettany, James D’Arcy, Edward Woodall, Chris Larkin, Max Pirkis, Billy Boyd, Jack Randall, Max Benitz, Lee Ingleby, Richard Pates, Robert Pugh, Richard McCabe, Ian Mercer, David Threlfall . Directed by Peter Weir

 

After years of fan clamoring, Patrick O’Brian’s revered Master and Commander saga finally made it to the big screen, and was given the royal treatment in Hollywood as befitted the beginning of a potential major franchise. It didn’t quite make it there but was that because the movie wasn’t up to snuff?

Captain “Lucky” Jack Aubrey (Crowe), master of the HMS Surprize, is given orders by the admiralty to track down the French warship Acheron in the waters off of the Americas and track it as far as Brazil, with the orders to take her if possible, and sink her if not. He commands a crew including the ship’s surgeon, Stephen Maturin (Bettany), who is an amateur naturalist as well as Aubrey’s best friend. The two often end their evenings by playing duets on violin and cello.

The Acheron proves to be a superior ship in size, firepower and speed, and creates havoc for the Surprize, which barely escapes sinking in battle. Aubrey must use all his wits to outwit his clever adversary, but also wrestles with his own motivations; does he chase the Acheron out of loyalty, duty or pride? And what price will he pay to find the answer to that question?

The Master and Commander books are very well researched. The 20-novel series features detailed accounts of life in the British Navy in the Napoleonic era, as well as battle tactics, the political climate of the times and life in general at the dawn of the 19th century.

That a movie was to be made of it was met not only by the anticipation I mentioned but also a healthy amount of skepticism as well. Fans of the series (and they are a rabid lot) were concerned that the careful, meticulous research O’Brian put into the novels might be washed away in a storm of Hollywood clichés and shortcuts.

Well, there was reason to celebrate (and reason for dirges — more in a moment). Although Russell Crowe is perhaps too Hollywood-handsome for the role of Aubrey (he is described in the books as being a bit on the pudgy side and Crowe’s casting in the role made purists howl), he carries the charisma of a leader of men. His performance is such that you believe he is the kind of man you yourself would follow without hesitation to the gates of Hell and back. In that sense, he caught the essence of the character if not the physical embodiment.

The movie also captures the brutal and cramped conditions in which swabbies of the British Navy lived and worked. Better still, the raw courage it took to fight a naval battle is noted, as cannon fire obliterates hulls and decks, causing wood to splinter in a thousand directions, acting as lethal darts. Rarely are the cannonballs themselves seen by the naked eye, but the damage they inflict to vessel and flesh is well in evidence. The battle scenes are absolutely terrifying to behold.

The movie is well-cast even down to the extras who possess faces that have the look of the 19th century; most bear scars of battle, or the more insidious scars of years of toil on a tiny vessel in the midst of the unforgiving ocean, imperiled by both the elements and merciless foes. Whether those scars were put there by make-up or were there to begin with, they go a long way in establishing the film’s authenticity, which I have to say overall seemed pretty believable to my admittedly inexpert eye.

Aubrey is a decent sort but a stern taskmaster as captain; he knows the crew’s ability to perform amid hellish cannon fire and terrible storms will mean the difference between returning home or taking a long nap in Davey Jones’ locker. The discipline was by necessity brutal and if anything is understated here.

Weir filmed on the Galapagos Islands, one of the most remote and fascinating places on earth. It is where Charles Darwin was motivated to formulate his Theory of Evolution, and remains today, due to preservationist efforts, nearly pristine. The scenes with Maturin on the island are priceless and are among the movie’s highlights.

But there are a few marks against the film. In the novels, the American Navy was Aubrey’s adversary. Here, perhaps so that the American audience isn’t offended, Aubrey fights the French. Also, some of the expository scenes drag, leading to the audience shifting in its seats uncomfortably during the two and a half hour movie. Audiences are more ADHD than ever these days; I can’t imagine one sitting through this without whipping out cell phones to check for messages and texts at least once.

Crowe is in my opinion one of the most compelling stars in Hollywood; at this point in his career he’d hit his stride not only as an actor but as a screen presence, the very definition of stardom. The movie is much better when he’s onscreen than when he’s offscreen. Also, his chemistry with Paul Bettany as Maturin is undeniable; they bicker, but they are still the closest of friends, and the two play well off each other.

Weir walks a tightrope over a pool of hungry sharks just in making this movie and I think he does as good a job as it’s possible to do under the circumstances. The ship’s interior is made to feel cramped without making the audience too claustrophobic. The emptiness of the ocean and the isolation of the English vessel on it is noted but not overdone. And while he did compress some of the action, eliminate scenes and beloved novel characters, he makes the movie lively for most of the running time.

Master and Commander: Far Side of the World is an epic piece of filmmaking in every sense of the word. While the storyline may not be new, it is well-told. It is a combination action movie, adventure flick and history lesson all rolled into one neat package. Students of history will love this one, as much if not more so than lovers of action. It’s a shame that this franchise never made it past the first movie.

WHY RENT THIS: Epic battle sequences. Crowe at the top of his game. Combination action movie/adventure/history lesson.

WHY RENT SOMETHING ELSE: About half an hour too long. Drags in places. Differs in critical places from the book.

FAMILY MATTERS: Some of the battle sequences are intense and gruesome. There are a few bad words now and then.

TRIVIAL PURSUITS: The first movie ever to film in the Galapagos Islands.

NOTABLE HOME VIDEO FEATURES: The two-disc DVD Collector’s Edition has a wealth of features including a look at the historical accuracy of the books and the film’s endeavors to follow as closely as possible in accuracy, including getting authentic period props. This is oddly missing from the Blu-Ray edition, which does have a trivia track and a map overlay which shows you the positions of the Suprize and the Archeron at various points in the film.

BOX OFFICE PERFORMANCE: $212.0M on a $150M production budget; the movie wasn’t financially successful.

COMPARISON SHOPPING: Captain Horatio Hornblower, RN

FINAL RATING: 8/10

NEXT: The Expendables 2

The Insider


The Insider

The young tiger and the old lion.

(1999) True Life Drama (Touchstone) Russell Crowe, Al Pacino, Christopher Plummer, Diana Venora, Philip Baker Hall, Lindsay Crouse, Debi Mazar, Stephen Tobolowski, Colm Feore, Bruce McGill, Gina Gershon, Michael Gambon, Rip Torn, Lynne Thigpen. Directed by Michael Mann

 

On one level, this movie could be taken as the story of Dr. Jeffrey Wigand, the corporate whistleblower who braved much external pressure, death threats, the dissolution of his family and the pangs of his own conscience to step forward and point the finger at Big Tobacco, making several lawsuits against them possible.

On another level, this movie could be taken as the story of Lowell Bergman, the courageous producer who brought Wigand’s story to “60 Minutes,” and how he fought to air the story. However, what The Insider is really about is how big corporations whether Big Tobacco or Big Media run our lives in an insidious fashion. They determine what we see on the news, decide what we are allowed to say or not say. It illustrates, in a very subtle manner, how Orwellian our country really has become, and right under our very noses.

Russell Crowe stars in an Oscar-nominated performance as Wigand, a high-ranking scientist and corporate executive at a major tobacco company whose conscience and temper have recently gotten him fired. He has a daughter with a severe asthmatic condition, so medical benefits are paramount to him. His former employer is willing to keep those benefits in place as long as Wigand signs a confidentiality agreement, which Wigand does on two separate occasions (they choose to broaden the scope of the agreement early on in the film).

Bergman (Pacino) is referred to Wigand by a colleague to help him understand some scientific data. Eventually, it becomes clear that Wigand wants to talk and Bergman, realizing the enormity of what he has to say and the evidence in his possession, coaxes him along. Eventually, Wigand testifies in court and does an interview with Mike Wallace (Plummer) on the venerable primetime news program.

Except that CBS corporate doesn’t want to air the story. Nervous about possible litigation running into the billions of dollars at a time when the network is on the auction block, they effectively kill the story with the blessings of 60 Minutes producer Don Hewett (Hall) and Wallace.

It is watching the machinations behind the scenes that is almost as fascinating as Wigand’s own story, which could have made a movie riveting by itself. The tension that Wigand lives through here is palpable, and when you try to put yourself in his shoes, you only marvel at the man’s tenacity. Together, the two stories make for an extremely watchable movie. 

There is some acting here, from Crowe who began a run of incredible performances which would net him an Oscar (although not for this movie) to Pacino who was at his best here. Plummer channeled the late Mike Wallace nicely, even if it wasn’t a very flattering portrait always. Mann doesn’t always get enough credit for it but he seems to have a knack for pulling out superior performances from his actors in nearly all of his movies, going back to his days on the “Miami Vice” television show.

Well after this movie came out we saw just how devastating the lack of corporate conscience is to the economic health of this country, so in many ways this movie was prescient. When short-term greed for bottom line profits overrides common sense and dignity, the results are very much in evidence. Corporate greed is not the sole province of the financial industry; obviously it is prevalent throughout big business, and this was a movie that not only saw that but blew the whistle on it earlier than most. In that sense, it is a chilling precursor to what was to come and a grim warning to what can still occur if we don’t act. The Insider is a jolting reminder that all of us are touched in some way by the corporate culture of profit obsession that has lingered from the days of the robber barons and still is the defining aspect of American big business.

WHY RENT THIS: Tremendous, Oscar-caliber performances. Subject that is as relevant now as it was then.

WHY RENT SOMETHING ELSE: Slow in places.

FAMILY MATTERS: The language can get a bit harsh in places.

NOTABLE HOME VIDEO FEATURES: There’s a feature called “Inside a Scene” which allows the viewer to read the director’s notes and script for a scene before viewing how the scene played out. It’s a fascinating concept but isn’t available for a lot of scenes here.

BOX OFFICE PERFORMANCE: $60.3M on a $90M production budget; the movie lost money in its theatrical run.

COMPARISON SHOPPING: The Whistleblower

FINAL RATING: 8/10

NEXT: Battleship

Tenderness


Tenderness

Russell Crowe isn't happy that some joker put his running shoes on the memorial.

(2009) Thriller (Lionsgate) Russell Crowe, Jon Foster, Sophie Traub, Alexis Dziena, Laura Dern, Michael Kelly, Vivienne Benesch, Tanya Clarke, Tim Hopper, Brian Russell, Lee Sellars, Lou Sumrall, Arija Bareikis. Directed by John Polson

We are all of us victims of our own nature. We can’t escape it, although we often try. We can’t fight it, although we make the attempt. We can hide it, but sooner or later our true nature emerges, the face behind the mask; sometimes, heaven help the person who witnesses it.

Eric Komenko (Foster) was brought up by strictly religious parents who blew a gasket when they found out he was having sex. Eric didn’t like that; he didn’t like it at all – so he killed them. He was arrested and tried, where a persistent pattern of abuse emerged. A sympathetic jury gave him a light sentence so he was sent to juvenile detention where he is just being released after a few years, now an adult.

He is being watched by Lt. Cristofuoro (Crowe), the tenacious semi-retired police officer who originally arrested Eric and who thinks he will inevitably kill again and has killed others before, people whom the parole board didn’t take into account. The policeman’s wife is in a coma (for reasons never fully explained in the film), so he spends a good deal of time (when not stalking Eric, who now goes by the last name of Poole) at the hospital – when he’s not pontificating in the form of voiceovers. Then again, his name transfers as “Christ’s fire” so you do the math.  

He’s not the only one watching Eric. Lori Cranston (Traub), an abused girl who has a prior connection to Eric, stows away in his trunk as he drives to Funland, where he has agreed to meet a girl (Dziena) that he’d met in prison. What Eric’s intentions are can be summed up thusly – not good. What Lori wants isn’t clear; a quick way out – maybe. Romance with a convicted killer? Possibly. Revenge? The Magic 8-Ball isn’t clear on that point. Maybe she’s working with the police to get Eric arrested and sent back to prison; maybe she isn’t. What is clear is that by the time the movie ends, someone is going to see Eric’s true nature, for better or for worse.

While the movie is based on a Robert Cormier novel, it is more of a mess than you might think. There doesn’t seem to be any clear point to the film; there’s a lot of mumbo jumbo uttered by a bored-sounding Crowe on the voiceover on the roles of pleasure and pain in life but by and large, we do get (most of us anyway) that pain sucks for a lot longer than pleasure doesn’t with or without the help of the filmmakers.

Crowe is the nominal star of the movie but it’s a glorified cameo; he does do the voiceover narration but most of his scenes are without the leading players. He’s solid enough as the rumpled cop, but he doesn’t have a lot to work with. Foster is pretty much the main man here, and his character is a walking jumble of complexities; he doesn’t really have the chops to pull it off but quite frankly, I’m not sure anybody does.

Traub doesn’t do a bad job as the somewhat conflicted Lori, but the script is so all over the map that it’s hard to really get a line on what she wants and what motivates her. There is a little epilogue that gives you some insight into her mindset but at the end of the ballgame, it’s too little too late.

I wish I could have liked this movie more – there were some interesting concepts and some nice psychology to it. Unfortunately, the script never really develops them and by the time the movie comes to a grinding halt, you might well be too involved in texting your friends or playing on your laptop to notice.

WHY RENT THIS: Some interesting psychological studies are to be found. Crowe is solid although unspectacular.

WHY RENT SOMETHING ELSE: Lots of potential but doesn’t quite deliver. Foster doesn’t quite carry off the complexity of the lead role.

FAMILY VALUES: Along with the inevitable bad language, there’s some disturbing sexual and violent content.

TRIVIAL PURSUIT: Crowe was only on set for nine days and filmed all his scenes in that time.

NOTABLE DVD EXTRAS: None listed.

BOX OFFICE PERFORMANCE: Not available.

FINAL RATING: 5/10

TOMORROW: The Wicker Man

The Next Three Days


The Next Three Days

Elizabeth Banks and Russell Crowe discover that this is anything but the Great Escape.

(2010) Crime Thriller (Lionsgate) Russell Crowe, Elizabeth Banks, Liam Neeson, Brian Dennehy, RZA, Olivia Wilde, Daniel Stern, Ty Simpkins, Jason Beghe, Aisha Hinds, Lennie James, Trudie Styler, Allan Steele, Helen Carey. Directed by Paul Haggis

Desperate men will do desperate things, all in the name of love. When we are backed up against the wall with nowhere left to turn, we can become capable of things both amazing and terrifying.

John Brennan (Crowe) and his wife Lara (Banks) live a decent life. John is an English teacher at a community college, and Lara has a more upscale job with a boss she detests. The two go out with John’s brother and his wife and have a spirited conversation about female bosses (which Lara’s boss is) and their ability to work with female employees.

The two go home and the next day share breakfast. All seems to be normal – until the police arrive to arrest Lara. It seems she’s been fingered as a suspect in the brutal murder of her boss, bludgeoned to death with a fire extinguisher. The evidence is highly circumstantial at best; Lara was observed driving away from the scene of the crime (the parking lot at the office where she works), her fingerprints were on the murder weapon, she and her boss argued rather loudly earlier in the day and to seal the deal, some of the victim’s blood made its way to the back of her overcoat.

Lara claims that she didn’t see the body, and that she had bumped into another woman who was leaving the parking lot on foot, although nobody else saw her but Lara. Despite her protestations of innocence, she is convicted and sentenced to prison. Three years pass; appeal after appeal is denied and their lawyer (Stern) informs John that basically her options have been exhausted – she’ll have to do the time. Lara, who has grown increasingly more depressed, her relationship with their son Luke (Simpkins) deteriorating to the point of non-existence, attempts suicide.

John knows she’ll never last the full length of her sentence. He also is completely sure she is incapable of murdering another human being, no matter how angry she was at them or what the provocation. With no further legal recourse, he determines that the only other option is to break her out of prison.

Of course, he knows nothing of prison breaks other than watching them on TV. He meets with an ex-con (Neeson in what is essentially an extended cameo) who achieved notoriety by breaking out of seven different prisons and lived to write a book about it. The author informs him that he needs a plan and a timetable. Being that she’s languishing in Allegheny County Prison in central Pittsburgh, he needs to know that 15 minutes after the escape is detected the police will have the center of the city locked down, the bridges closed and all of the subway and train stations as well as the airports manned with officers. 35 minutes after the escape is detected, the city will be on lockdown with toll booths manned by police officers and roadblocks on every major road out of the city.

John begins to spend a heck of a lot of time studying the prison and trying to figure out a foolproof plan. He is also going to need a weapon and a whole lot of money. Then he gets even more devastating news – his wife is going to be transferred to a prison far away from where they live in three days. If he doesn’t break her out in three days, their window of opportunity will be gone.

Haggis is one of the most honored writers in the business and he based this motion picture on a French film called Pour Elle (Anything for Her) which I haven’t seen yet. Haggis is a meticulous screenwriter and tends to fill his stories with an amazing amount of detail and research. Much of the first two thirds of the movie is kind of a how-to, setting up the story in the first 15 minutes of the two hour plus movie, then spending the next hour or so showing John doing research for the break-out. Fortunately, it doesn’t involve tunneling under the fence, putting mannequins in the beds to fool the guards or masquerading as day workers.

Few actors can resonate as an everyman as Russell Crowe can. He is quiet and strong, a perfect husband and father. Yet there is a core of steel to him, one which glimmers from time to time through the sweaters and the tweed jackets. Several critics have complained that they never quite catch the transformation from bookish teacher to efficient criminal, but I disagree. He is driven by desperation; desperate people have lifted automobiles off of other people. You never know what you’re capable of until you’re put into an untenable situation with no other options available to you but to achieve the impossible.

Banks has become one of Hollywood’s more reliable leading ladies. She doesn’t get the due of a Katherine Heigl or a Cameron Diaz but she is nonetheless just as competent and in many ways a better actress. We literally watch her fall apart before our very eyes and it is a compelling and believable performance in every way.

The movie really picks up during the final third when the actual escape is taking place. That is handled with edge-of-the-seat thrills and more than its share of gotchas. If the movie had been able to sustain that pace throughout, this would have been one of the year’s best.

Instead, we get kind of a how-to of prison breaks for the first two thirds that often stops dead in its tracks, particularly as we watch John stumble around Pittsburgh’s underbelly looking for falsified documents. The movie might still have gotten a decent audience, but stacked up against Harry Potter and the Deathly Hallows Part 1 it was essentially doomed to underperforming at the box office. This is a pretty solid movie that may not necessarily fit into your holiday movie plans, but is certainly worth a look on DVD/Blu-Ray if you can’t make it out to the multiplex.

REASONS TO GO: The last third of the movie when the escape takes place is tense, fun and energetic. Crowe is one of the best in the business.

REASONS TO STAY: The first two thirds of the movie about the planning stages drags a bit.

FAMILY VALUES: There is plenty of violence as well as some drug references and a bit of foul language. There is also some implied sexuality; basically this is fine for any teen and/or mature older children.

TRIVIAL PURSUIT: Haggis remains the only screenwriter to date to win the Best Screenplay Oscar in back-to-back years (for Million Dollar Baby in 2004 and Crash in 2005).

HOME OR THEATER: With all the holiday offerings coming out thick and fast, chances are you won’t be able to fit this into your movie going schedule which is okay – it will work just as well at home.

FINAL RATING: 6/10

TOMORROW: The Painted Veil

New Releases for the Week of November 19, 2010


November 19, 2010

Hagrid and Harry pose as Hell's Angels, thinking they'll be inconspicuous.

HARRY POTTER AND THE DEATHLY HALLOWS PART 1

(Warner Brothers) Daniel Radcliffe, Rupert Grint, Emma Watson, Ralph Fiennes, Tom Felton, Alan Rickman, Robbie Coltrane, Rhys Ifans, Bill Nighy, Helena Bonham Carter, John Hurt, Maggie Smith. Directed by David Yates

Why bother? You‘re gonna see it. You know you’re gonna see it. It wouldn’t matter if this was about Harry eating his own weight in Bertie Bott’s Every Flavour Beans. You’d still go see it. The fact that this is the first of two parts of the last Harry Potter adventure only means you’re really eager to see it. So don’t bother reading this. It’s a waste of time. Just…go see it.

See the trailer, promos, clips and interviews here.

For more on the movie this is the website.

Release formats: Standard, IMAX

Genre: Fantasy

Rating: PG-13 (for some scenes of intense action violence and frightening images)

Fair Game

(Summit) Sean Penn, Naomi Watts, Noah Emmerich, Nicholas Sadler. This is based on the true story of Valerie Plame, the CIA Operative who was “outed” by high ranking Bush Administration officials to the New York Times and Washington columnist Robert Novak as a field operative. Plame and her husband, former ambassador Joe Wilson, contend that this was done as a reprisal for Wilson’s public criticism of the invasion of Iraq over phantom weapons of mass destruction.

See the trailer, interviews and clips here.

For more on the movie this is the website.

Release formats: Standard

Genre: Drama

Rating: PG-13 (for some language)

Guzaarish

(UTV) Aishwarya Rai, Hrithik Roshan, Aditya Roy Kapoor, Ash Chandler. When a stage magician is paralyzed in a tragic accident, he seems to accept his lot, changing his profession to a radio DJ whose popular radio show spreads love and magic throughout the land. He is aided by his devoted nurse and romantic partner. However, fourteen years after his injury, he shocks everyone by petitioning the Indian courts to allow him to die, putting his relationship with his nurse in turmoil.

See the trailer and clips here.

For more on the movie this is the website.

Release formats: Standard

Genre: Drama

Rating: NR

The Next Three Days

(Lionsgate) Russell Crowe, Elizabeth Banks, Liam Neeson, Brian Dennehy. When his wife is arrested for murder, John Brennan is shocked but confident that she is innocent and will be acquitted. When she’s convicted of the gruesome crime, he is angered. When he realizes that she will never be able to serve the full length of her sentence, he becomes desperate and determines to break her out of prison, no matter the odds.

See the trailer, interviews and clips here.

For more on the movie this is the website.

Release formats: Standard

Genre: Thriller

Rating: PG-13 (for violence, drug material, language, some sexuality and thematic elements)