Cafe Society

On the Boardwalk.

On the Boardwalk.

(2016) Romantic Comedy (Lionsgate) Jesse Eisenberg, Kristen Stewart, Blake Lively, Steve Carell, Corey Stoll, Ken Stott, Jeannie Berlin, Sari Lennick, Sheryl Lee, Paul Schackman, Richard Portnoy, Stephen Kunken, Anna Camp, Parker Posey, Kat Edmonson, Tony Sirico, Paul Schneider, Don Stark, Gregg Binkley, Anthony DiMaria, Shae D’Lyn, Taylor Carr. Directed by Woody Allen


Finding love and a life you can live with are never easy propositions, even in Hollywood during the Golden Age. There are all sorts of detours and obstacles, not to mention the comfortable ruts we find ourselves in from time to time. There is also a question of timing – being in the right place at the right time. No, finding a place where you fit in and a person you fit in with is no easy task, no matter what the era.

Bobby Dorfman (Eisenberg) is a good Jewish boy from the Bronx. It is shortly after the war and America is in its ascendancy and Hollywood defines America. His uncle Phil (Carell) is a high-powered agent with such clients as Ginger Rogers and Adolphe Menjou and studio chiefs kiss his butt to curry favor. Bobby heads out for Southern California to see if he can make a career out there; Phil isn’t enthusiastic about the idea but after some dithering finally gives his nephews a job.

He also enlists his personal assistant Vonnie (Stewart) to show him around town. The two hit it off but when Bobby is eager to take things further, Vonnie gently rebuffs him. However, his sweet charm wears her down and eventually she gives in and the two become something of an item. However, Vonnie has a secret that she’s been keeping from everybody and when it surfaces, it effectively ends their romance. Disheartened, Bobby returns to New York.

There he is given a job by his brother Ben (Stoll), a gangster, to run his tres chi chi nightclub known as Les Tropique. It becomes the place to be seen in Manhattan, with politicians, Broadway stars, sports heroes and gangsters all rubbing elbows. Bobby also meets Veronica (Lively) who charms him and eventually the two get married and have a child. Everything is going exactly the way Bobby envisioned it – until one night Vonnie walks into his joint…

Woody Allen is in many ways the embodiment of a niche filmmaker. His area of interests is fairly narrow compared to some, and he tends to stick with those subjects pretty much without exception. When he is at his best, there are few better. However in the last couple of decades, it has become evident that his best work is likely behind him and some of his worst much closer to 2016 than his best stuff, much of which was made in the ‘70s and ‘80s. He has had flashes of brilliance since then but perhaps his torrid pace – he generally churns out a new film every year – might well have hurt him quality-wise.

Still, Woody Allen’s worst is far better than most people’s best and this is far from his worst. While I found one of the romances a bit disingenuous, there is also one relationship that you almost root for. The problem I have with the movie is that I really ended up not caring about either Bobby or Vonnie. Bobby’s sweetness could get cloying and after awhile he reminded me of a slingshot that had been pulled back just a hair too far back and I was just waiting for him to snap. On the other hand, Vonnie is crazy shallow and despite all of her apparent aspirations towards depth, at the end of the day she chooses the easy path every time. Bobby and Vonnie are a couple far better together than they are individually so this is really a case of the whole being greater than the sum of its parts.

Allen has always known how to make his movies look their best and that starts with hiring the best cinematographers in the business, from Gordon Willis to Darius Khondji to now Vittorio Storaro here. Storaro is one of the most gifted cinematographers in the business and he makes the Golden Age look golden, both in Los Angeles and New York. Like all Woody Allen movies, it is beautiful to look at in ways you wouldn’t think of for a film that is mostly set in a big city of one coast or another.

Mostly you’ll want to see this for the supporting cast, who are wonderful, from the luminescent Lively to Carell in one of his meatier roles, to Stoll as the good-natured gangster but especially Stott and Berlin as Bobby and Ben’s long-suffering parents. They are quite the hoot and supply a lot of the best comedic moments here.

The movie ends up being a little bit bittersweet and doesn’t really end the way you’d expect it to, but then again Woody Allen has never been in making the movies people expect him to make. He’s always been a bit of a maverick and done things the way he wanted to rather than the way the studios wanted him to do it. He doesn’t make blockbusters and I don’t think he’s ever really been interested in breaking the bank from that perspective, but he makes movies that as a body of work will be long-remembered when some of the box office hits of the last fifty years are long forgotten.

REASONS TO GO: It’s Woody Allen and you don’t miss an opportunity to see a master. Beautifully shot and captures the era perfectly.
REASONS TO STAY: The romantic leads are two people you end up not caring about.
FAMILY VALUES: There’s some sexually suggestive content, a little bit of violence and a drug reference or two.
TRIVIAL PURSUIT: This is the first movie that Allen has shot digitally. It’s also the first time in 29 years that Allen has narrated a film without appearing onscreen.
CRITICAL MASS: As of 8/10/16: Rotten Tomatoes: 70% positive reviews. Metacritic: 64/100.
NEXT: Ghost Team

Apocalypse Child

The Aquaman audition went very well.

The Aquaman audition went very well.

(2015) Drama (Arkeofilms) Sid Lucero, Ana Abad-Santos, Gwen Zamora, Archie Alemania, RK Bagatsing, Annicka Dolonius. Directed by Mario Cornejo


Some of the choices we make in life are based on the hand we’re dealt with before we’re even born. Then again, it’s pretty easy to blame stuff that’s not in our control, when a choice implies that our decisions are well within our control; we just choose not to be accountable for our own actions.

Ford (Lucero) is a surfing teacher in Baler in the Philippines. He was once a surfing champion, but after choking in a championship event he just kinda hangs out, living on past glories and what might have beens. His perky girlfriend Fiona (Dolonius) has some talent in that area as well, and she seems content to lead the life of a surfer; all about the party and the beach.

Ford is thus named because his mother (Abad-Santos) is positive that his father was none other than Francis Ford Coppola, who was filming Apocalypse Now in the area at the time. In fact, local legend has it that young women in the area gave birth to a lot of babies nine months after the cast and crew of the film left; these were called “Apocalypse Children.”

When Rich (Bagatsing), an old surfing buddy and friend who has recently been elected as the local congressman returns to town, Ford is forced to confront the transgressions of his path, his own lack of inertia, and the trajectory his life has taken. Ford doesn’t handle it very well; he starts to develop a relationship with Rich’s girlfriend Serena (Zamora) which threatens not only his existing relationship but basically his standing with everyone he knows, including his mother.

The theme here is that most of the characters are running away and avoiding the consequences of their actions (or inaction). Whether it’s the mom’s refusal to escape from her past which has long since left her behind, Rich’s dwelling on things that Ford has done, Ford avoiding commitment and responsibility whenever he can, everyone seems to be coping with life by not living it – or rather, living a semblance of it that mostly consists of the parts that involve partying, getting wasted and getting laid. All lovely pursuits and certainly young people of that age group are going to have a certain fixation on those things, but it feels like they are using it like a narcotic, to block out all the unpleasant things that they have been doing to each other.

The cinematography has a curiously washed out look, as if it were filmed through a fish tank – although to be fair that might have been the screen I was watching it on. The dialogue is a mix of English and Tagalog/Filipino and the subtitles were so small as to be virtually unreadable, often flashing by before I could see what they said. After awhile, I gave up, so the film suffers in the review because of it – make the subtitles just a smidgen bigger.

Cornejo clearly has an affection and respect for American indie films, and this one carries many of the cliches of that idiom. Montages set to mournful indie folk, complicated romantic relationships, hipsters (or the Filipino version thereof) gathering at parties and acting insufferably…the whole gamut is here. Fans of indie cinema may well look at this as an homage but it feels a bit like a knock-off as well.

I just never connected to the movie. I felt myself losing interest the longer the film went on. The movie is supposed to follow the characters’ growth and to be fair there was some, but it didn’t feel like it was earned. Any growth that any of the characters had seems more because the writers deemed that they did rather than in an organic, believable way through learning from their mistakes. Ford, in particular, seems hell-bent on destroying everything he has yet at the end of the film his reconciliation seems to come out of the blue and for no apparent reason. I know I’d have decked him a lot more often than he got punched out in this movie.

I will admit that the lifestyle doesn’t appeal much to me and the negative review here might be as much a product of my own prejudices as it is any filmmaking sins on the part of the filmmakers. There are some lovely scenes (but again that washed out quality, like everything is filmed on a cloudy day…on a defective camera whose lens aperture is nearly shut) and Zamora is the kind of beauty that will make your heart stand still. Otherwise though this is one festival film you might choose to avoid.

REASONS TO GO: Gwen Zamora is absolutely gorgeous.
REASONS TO STAY: Makes its points over and over again until the audience screams. Too much like a soap opera. Washed out cinematography and too-small subtitles.
FAMILY VALUES: A good deal of profanity, drug use, nudity and graphic sexual content.
TRIVIAL PURSUIT: Surfing was popularized in the Philippines when Francis Ford Coppola filmed the infamous surfing scene of Apocalypse Now on Baler beach in the Philippines and locals became more obsessed watching the surfing experts and instructors ride the waves.
CRITICAL MASS: As of 6/22/16: Rotten Tomatoes: No score yet. Metacritic: No score yet.
NEXT: The Priests

Road to Nowhere

A noir setup.

A noir setup.

(2010) Thriller (Monterey Media) Tygh Runyan, Shannyn Sossamon, Dominique Swain, John Diehl, Cliff De Young, Waylon Payne, Robert Kolar, Nic Paul, Fabio Testi, Fabio Tricamo, Moxie, Peter Bart, Pete Manos, Mallory Culbert, Beck Latimore, Thomas Nelson, Bonnie Pointer, Jim Galan, Jim Rowell, Gregory Rentis, Larry Lerner, Lathan McKay, Michael Bigham, Araceli Lemos, Sarah Dorsey. Directed by Monte Hellman

I have heard it said that movies are a reflection of real life, and as time has gone by, real life has become a reflection of the movies. There is an awful lot of truth in that, sometimes more than we know.

Mitchell Haven (Runyan) is a moviemaker working on a film in North Carolina about a crime scandal. He has hired virtual unknown actress Lauren Graham (Sossamon) to play the role of Velma Duran (Sossamon), daughter of a Cuban national involved in an embezzling scheme with politician Rafe Taschen, played by actor Cary Stewart (De Young).

But art may well be imitating art as the director begins to fall for his leading lady, who may know more about the original crime than she lets on. And as flashbacks of the original crime tell us, the lines between movie and life are starting to blur significantly.

There is a definite noir feel here almost to the point of parody. Hellman is well-known for more anti-establishment sorts of films that tend to break rules and take chances. This is as mainstream a film as he’s directed (at least that I’ve seen), Silent Night Deadly Night 3 notwithstanding – it was subversive for its time as I recall (I haven’t seen it in almost 20 years).

I have to admit that most of my impression of Sossamon has been fairly rote, but she really shines here and proves that she is well-suited to a mysterious femme fatale role. She tends to get more sexpot roles and while she does well with those, the added air of mystery and potential mayhem really suits her. Not that Shannyn Sossamon is planning to murder anyone, mind you. She just plays someone like that on TV….or, in this movie.

One of the big problems here is that Hellman jumps back and forth from the movie to the crime (using the same actors playing the actors who committed the crime) and very often you are confused as to what you are watching which I suspect is deliberate on Hellman’s part. Fiction and reality collide and merge until it is impossible to tell which is which and perhaps that’s the whole point. It didn’t work for me however, possibly because I was being overly analytical about it. Sometimes it’s best just to let things kind of happen and allow them to wash over you without overthinking them.

This is a bit intellectual as noir films go, and a bit noir as intellectual films go. It’s really neither six of one nor half a dozen of the other and curiously unsatisfying when all is said and done. This isn’t the movie I would have expected Hellman to mount a comeback on. Not that I want to see him rehash his old style but I would have hoped for something a little less pedantic than this.

WHY RENT THIS: Sossamon is at her very best.
WHY RENT SOMETHING ELSE: Often confusing, particularly as to timeline.
FAMILY VALUES: Foul language (though not a ton) and a brief scene of violence.
TRIVIAL PURSUIT: This was Hellman’s first feature film in 21 years.
NOTABLE HOME VIDEO EXTRAS: A Q&A from the Nashville Film Festival and on the Blu-Ray edition, an interview with Sossamon.
BOX OFFICE PERFORMANCE: $161,619 on a $5M production budget.
SITES TO SEE: Netflix (DVD Rental only), Amazon, iTunes, Vudu, Google Play, M-Go
NEXT: The Bank Job


The romance of Ireland meets the romance of Long Island.

The romance of Ireland meets the romance of Long Island.

(2015) Romance (Fox Searchlight) Saoirse Ronan, Emory Cohen, Domhnall Gleeson, Julie Walters, Jim Broadbent, Maeve McGrath, Fiona Glascott, Eileen O’Higgins, Peter Campion, Emily Bett Rickards, Eve Macklin, Nora-Jane Noone, Mary O’Driscoll, Samantha Munro, Jessica Paré, Jane Brennan, Eva Birthistle, Brid Brennan, Hugh Gormley, Jenn Murray. Directed by John Crowley

There comes a time in the lives of some people – a lot of people, actually – in which the realization that they have no future sets in. At that moment, they may choose to accept that fate or they may choose to pack up and leave and try to make something of themselves elsewhere.

Eilis Lacey (Ronan) had that decision made for her, by her fiercely protective big sister Rose (Glascott) who wrote Father Flood (Broadbent) in New York to help find Eilis lodging and a job in the Big Apple and so he does, in Brooklyn which in 1951 (when this is set) was full of a rainbow of different cultures, including the Irish. Leaving Rose to care for their widowed mother (J. Brennan) and leaving the employ of a miserable harpy (B. Brennan), she sets sail for the Land of Opportunity.

Once in Brooklyn, she is given lodging at a boarding house run by the no-nonsense Mrs. Kehoe (Walters) who tries to keep Patty (Rickards), Diana (Macklin) and Sheila (Noone) in rein which given their Irish high spirits is no easy task. Desperately homesick, Eilis tries to fit in at the boarding house and tries to fit in at the high-end department store where she works under the watchful eye of Miss Fortini (Paré).

At a dance put on by the local Church, she meets Tony Fiorello (Cohen) who has a thing for Irish girls. His soft-spoken geniality and gentle self-deprecating humor appeals to her and slowly she starts out liking her new beau to falling in love with him. However, a family emergency calls her home to Ireland where she ends up facing a new wrinkle there in the form of a new suitor who is equally kind-hearted and quite the catch, young Jim Farrell (Gleeson) who by the standards of Enniscorthy in County Wexford is well-off. Now the young woman’s heart is torn between two continents and two very different lives. Which will she choose?

Da Queen is fond of describing acting performances that she admires as “quiet,” a trait I find curiously endearing. It means something much different to her than to thee and me and yet in this case, I think she might have something. Ronan is absolutely outstanding here, almost certain to get a nomination for Best Actress at the forthcoming Oscars. Much of her acting takes place in her eyes and on her expressive face; her lilting Irish accent is easily understood, and her longings and yearnings are written in her expressions. Any critic who dismisses the role as bland and unmemorable clearly hasn’t been watching this actress closely, and they are well-advised to – methinks she will be one of the industry’s outstanding actresses for decades to come.

The film is beautifully photographed, from the lush greenery of the Emerald Isle to the windswept barrens of the Long Isle (Long Island NYC) to the brownstone comforts of Brooklyn. Much of the movie takes place in the latter location, a Brooklyn where the Dodgers are still Dem Bums, the streets are alive with color and vitality, Coney Island is still the working class escape and the world is full of possibilities. Sure, this is an idealized Brooklyn because it is largely the Brooklyn of memory and memory makes fonder the places we’ve lived in. The Los Angeles of the 1960s was far from perfect but in my own memory, it is an idyllic place and probably nothing like what it really was and certainly nothing like what it is now. That is the nature of places; they change, often faster and more profoundly than we do ourselves.

While the love triangle between Jim, Tony and Eilis is a bit of a stretch (finding two really nice guys who are actually gentlemen is damn near impossible as any woman will tell you), the relationships that Eilis works out with the two of them feel authentic. Eilis is at times too good to be true – a little naive but with an absolute heart of gold (in fact, the movie has no real antagonist other than the harridan Miss Kelly at the grocery where Eilis works at the movie’s start) and a sweet nature that is straight out of a 50s romance movie.

The world has changed a lot since the time Brooklyn was set in and much of the innocence of that time is long gone. It is not uncommon for those who remember that era to long for its simplicity. Don’t discount the value of nostalgia in marketing a movie – as fellow critic Roger Moore correctly pointed out, the movie seems to be consciously aimed at those who like The Best Exotic Marigold Hotel and My Big Fat Greek Wedding. And there’s nothing wrong with going after that demographic either; certainly the audience we saw at our screening skewed older. However, nostalgia isn’t all this film has going for it; Ronan’s star turn is likely to get that Oscar nod and could well attract more film buffs here than nostalgia-seeking retirees. This is a contender for my year’s best ten list; go give this one a watch and it might end up on yours too.

REASONS TO GO: Ronan is magnificent. Beautifully shot. Well-written. A lovely slice of life.
REASONS TO STAY: Maybe a little too idealized.
FAMILY VALUES: Some brief profanity and a scene of sexuality.
TRIVIAL PURSUIT: Although Ronan was born in The Bronx, she was raised in Ireland by her Irish parents; this is the first time in a movie that she’s used her native Irish accent.
CRITICAL MASS: As of 12/16/15: Rotten Tomatoes: 98% positive reviews. Metacritic: 87/100.
NEXT: The Ridiculous 6

Ghost Team One

Carlos Santos is uncomfortable around pretty women.

Carlos Santos is uncomfortable around pretty women.

(2013) Horror Comedy (The Film Arcade) Carlos Santos, J.R. Villarreal, Fernanda Romero, Tony Cavalero, Meghan Falcone, James Babson, Scott MacArthur, Craig Stott, Damien Amey, Felicia Horn, Sarah Chapman. Directed by Scott Rutherford and Ben Peyser

6 Days of Darkness 2015

Florida Film Festival 2013

Haunted houses aren’t what they used to be. You never can tell what sort of house will be haunted – from the suburbs to the country to big cities, houses and even apartments and duplexes can be haunted by all sorts of ghosts.

Roommates Brad (Santos), Sergio (Villarreal) and Chuck (Cavalero) are hosting a party in their apartment. All three are young Latino-Americans and while Brad is super-sexed and Chuck super-uptight, Sergio is a bit more of the party animal.

When a drunken Sergio staggers from the party to discover some fornicating going on in his apartment, at first he thinks nothing of it. However when he has an encounter of his own with a ghostly partner, it’s discovered that the apartment building used to be a Chinese brothel and the madam who ran it was apparently not a very nice person.

After inadvertently waking up the madam, Sergio and Brad unwillingly enlist the aid of the gorgeous Fernanda (Romero) with whom both boys quickly and quite decisively fall in love with. Sergio is irked because Brad already has a girlfriend – Rebecca (Falcone) – and Sergio really has it bad for Fernanda.

Their attempts to ghost hunt turns into a mighty crapfest of incompetence, sexuality and paranormal activity. Chuck shows an unexpected side and the boys have to figure out a way to keep the world – or at least their corner of it – from coming to a screeching, bloody halt.

This movie comes off as a bit of a satire of the found footage genre which quite frankly has overstayed its welcome by this point. Not that I mind a bit of good satire but this thing seems to just kind of be non-satirical as satire goes. Sure there are some funny bits – a line about sucking the demon out pretty much made me fall to the floor laughing – but the jokes are mainly of the goofy frat house humor sort. Frankly I thought the film would have been better served to eliminate the found footage trope entirely – and just tell the story as a story.

Some critics – alright one critic that I’m aware of – groused about the portrayal of ethnics here, specifically Latin and Asian playing to stereotypes but I think that especially the Latin roles pretty much ran the gamut of not just the Latin experience but the American experience. If white actors had played the same characters as white characters not a peep would have been heard. This is one of those occasions where the ultra-liberal get their politically correct panties in a bunch over what is really nothing. Frankly, I thought the movie portrayed Hispanics as able to take a joke about themselves. After all, if we can’t laugh at ourselves, who can we laugh at?

That said the chemistry between Santos and Villareal is genuine and carries the movie. You believe instantly that these guys are buddies and have each other’s back. Of course, that sort of thing is always open to interpretation but what is not subject to debate is that Fernanda Romero is smokin’ hot and I truly hope we see a heck of a lot more of her in future movies. The woman is sexy personified.

The movie goes off the rails a little bit in the climactic moments but overall this isn’t all that  bad even though critics panned this pretty much universally. I found it to be reasonably entertaining but not breaking any new ground, although I suspect the filmmakers went at this from a different angle than we’re used to. A little too self-referential, possibly a little too self-congratulatory, the film could have used a modicum of humble pie or at least tried a little less hard to take itself too seriously. I liked it more than most of my colleagues did which likely means you will too. Incidentally, the movie played the Florida Film Festival back in 2013. Just sayin’.

WHY RENT THIS: Occasionally really funny in a goofy frat humor way.
WHY RENT SOMETHING ELSE: Would have been better off with a straight story rather than found footage.
FAMILY VALUES: Strong sexual content and graphic nudity, some drug use, a fair amount of profanity and some brief violence.
TRIVIAL PURSUIT: Romero started her career as a member of the Mexican pop group Fryzzby.
NOTABLE DVD EXTRAS: There’s a blooper reel and a video diary.
BOX OFFICE PERFORMANCE: $9,195 on an unknown production budget.
SITES TO SEE: Netflix (DVD Rental only). Amazon, iTunes, Flixster
NEXT: Six Days of Darkness continues!

Stonewall (2015)

Just another summer night on Christopher Street.

Just another summer night on Christopher Street.

(2015) True Life Drama (Roadside Attractions) Jeremy Irvine, Jonny Beauchamp, Ron Perlman, Jonathan Rhys Meyers, Caleb Landry Jones, Matt Craven, Joey King, Karl Glusman, David Cubitt, Andrea Frankle, Atticus Dean Mitchell, Richard Jutras, Otoja Abit, Rohan Mead, Ben Sullivan, Johnny Falcone, Vladimir Alexis, Kwasi Songui, Alan C. Peterson, Veronika Vernadskaya. Directed by Roland Emmerich

For the LBGT community, the Stonewall Riots of 1969 that took place following a police raid on the Stonewall Inn (a bar that catered to gay men and lesbians in an era when it was illegal to serve liquor to a homosexual) are a watershed moment, an event around which prompted real organization of gay rights activists.

In the late 1960s, homosexuality was considered a mental illness and was treated with electroshock therapy among other barbaric treatments. Gays were forbidden from working for the government, couldn’t get bank loans and were the targets of vicious beatings – often from the police.

Danny (Irvine), a young gay man from Indiana who has been kicked out of the house by his homophobic father (Cubitt) who also happens to be the high school football coach, has gone to New York City where he has a scholarship to Columbia University – if he can get his high school diploma and get his paperwork sent to the University. Dear old dad has no intention of helping his son, but his cowed mother (Frankle) is sympathetic and his little sister Phoebe (King) absolutely adores him and is very angry at her parents for the way they’ve treated their son.

Danny, having little money and nowhere to go, falls in with a group of gay street kids led by Ramon (Beauchamp), a hustler who turns tricks with middle class men who are firmly closeted, have wives and careers and occasionally beat the snot out of him. Ramon takes him in and fellow street kids Silent Paul (Sullivan), a Beatlephile, Orphan Annie (Jones) and Cong (Alexis) who is the most flamboyant of the bunch. He also attracts the eye of Trevor (Meyers), an activist who works for the early gay rights group the Mattachine Society. They believe in peaceful protest and non-violence while most of the street kids know that they will never get the attention of the straight society that way.

Most of them gather at the Stonewall Inn, a bar that is owned by the Mafia and managed by Ed Murphy (Perlman) who disdains the gay clientele but allows them to do pretty much what they want (the Mafia used the bar to blackmail wealthier gay clientele and made more money that way than from liquor but that’s not discussed in the film). Danny is a bit out of his element but soon grows to appreciate the more outgoing of his crew but there is tension between Ramon, who has fallen deeply in love with Danny, and Trevor to whom Danny is more attracted to.

Danny’s heart, however, belongs to Matt (Mitchell), the football player whom Danny was having furtive gay sex with and who threw Danny under the bus when they were discovered, prompting his ejection from school and home. Danny endures beatings from the cops and growing tensions between the now very jealous Ramon and Trevor, who may or may not be using Danny for his own devices, but those tensions are nothing compared to what was going on in the community and they would come to a head on a hot summer night in June 1969 when Detective Seymour Pine (Craven) made an ill-advised raid on the Stonewall.

Few people in the heterosexual community are all that aware of the Riots and their significance and the movie is the perfect opportunity to educate and inform. Unfortunately Emmerich, who is mostly known for his big sci-fi epics like Independence Day and The Day After Tomorrow decided to make a fictional account, using fictional characters mixed in with a few real ones like Pine and Marsha P. Johnson (Abit). Considering that there are plenty of those who were actual participants and observers who had some compelling stories to tell about the riots, it seems a bit of a waste.

&I had wondered why Emmerich didn’t use actual footage from the riots instead of recreated footage disguised as newsreels until I discovered that no footage exists of the riots and precious few photographs. I guess it’s hard for people of this modern society in which everything is documented to understand that news was covered by newspaper writers and photographers for the most part and to a lesser extent, television cameras and it was editors for newspapers and TV who determined what got covered and back then, a riot of gay people would tend to be given less attention (although it was front page news).

Beauchamp does a great job as Ramon/Ramona who wears his heart on his sleeve. There’s a heartbreaking moment after a client has badly beaten him where he confesses to Danny that this life is all he can hope for and that he expects that there will never be anything better for him. It’s a compelling performance and Beauchamp has a good shot at some better roles.

There is a lot of sexuality in this movie – a LOT – and the sex scenes are handled pretty much the same way you would see heterosexual sex scenes in a mainstream movie; kudos to Emmerich for treating the two equally. Of course, conservative Christians will likely lose their shit over it much as they did for Brokeback Mountain but that’s assuming that the movie makes any sort of cultural headway, which is not necessarily going to happen.

Considering that this is a movie about such a significant event in the gay community, the filmmakers including writer Jon Robin Baitz, a respected playwright, seem to promote gay stereotypes almost to absurd heights. Yes, there were plenty of drag queens back then and there were those who were lisping, mincing fairies who gave birth to the stereotype, but we get little sense of who these people are other than those stereotypes. Also, using the very uptight, whitebread Danny as more or less your audience surrogate is almost insulting and watching him go from zero to radical in the space of about 30 seconds is downright jarring and outright unbelievable. If you’re going to pander to stereotypes, may as well go all the way with it.

I’m really overrating this movie to a large degree because I think that the story is an important one. There is certainly a great movie to be made about the Riots but this isn’t it. It’s a squandered opportunity but I’m still recommending it because at least you get the sense of how oppressed the gay community was back then and how far they have come since. That much is worth the price of admission alone.

REASONS TO GO: A story that needs to be told. Some good performances, particularly from Beauchamp. Sex scenes handled with sensitivity.
REASONS TO STAY: Going fictional was a tactical error. Plays up gay stereotypes.
FAMILY VALUES: There’s a lot of sex and sexual content, some drug use, plenty of foul language and some violence.
TRIVIAL PURSUIT:  The riots took place on June 28, 1969 and lasted several nights instead of just the one indicated by the film.
CRITICAL MASS: As of 9/25/15: Rotten Tomatoes: 9% positive reviews. Metacritic: 32/100.
NEXT: Black Mass


Even in 1925, "hi, mom" was a thing.

Even in 1925, “hi, mom” was a thing.

(2008) Comedy (Universal) George Clooney, Renee Zellweger, John Krasinski, Jonathan Pryce, Stephen Root, Jack Thompson, Max Casella, Wayne Duvall, Keith Loneker, Malcolm Goodwin, Matt Bushell, Tommy Hinkley, Tim Griffin, Robert Baker, Nick Paonessa, Randy Newman, Grant Heslov, Mike O’Malley, Heather Goldenhersh. Directed by George Clooney

The NFL is the most powerful sports league in the United States. The championship game, the Super Bowl, is one of the most-watched sporting events on planet Earth. The league makes billions in advertising and sponsorship revenue, broadcasting rights fees, game attendance and merchandising. Millions follow their teams week after week during the fall. But it wasn’t always that way.

Carter Rutherford (Krasinski) is on the top of the world. The star football player for the Princeton Tigers football team, he is matinee idol handsome, a war hero, admired by millions and blessed with a bright future ahead of him. Pro football? C’mon, it’s 1925! Pro football is for miners, farmers and lumberjacks, the pay is ridiculously low, there are no rules to speak of and the crowds are ghastly.

Dodge Connelly (Clooney) is at rock bottom. The star player for the Duluth Bulldogs pro football team is trying to hold together his club by the skin of his teeth. They have to forfeit a football game because the game ball – the only one the team has – is stolen. As much as he loves the game, Connelly knows the future is bleak. He’s no longer a young man, he has almost no skills to speak of and football is all he knows. To make matters worse, the Bulldogs main sponsor is pulling out, and the team is about to fold.

Lexie Littleton (Zellweger) is on the ladder to success. A brassy dame hustling, scratching and clawing to make her way as a reporter in a man’s world, she’s given a plum assignment by her editor (Thompson); a lieutenant (Casella) in Rutherford’s unit has stepped forward, claiming that his war record is false. Littleton is to get the confidence of Rutherford, build him up with a series of puff pieces and then when she gets the dirt, print the exclusive. If she does it, there’s an editorial position for her.

Connelly hits upon the bright idea of enticing Rutherford into pro football. In order to do it, he’s going to have to fast talk Rutherford’s agent/publicist CC Frazier (Pryce) into even considering pro football. When Dodge brashly guarantees ten grand per game, Frazier and Rutherford (mostly Rutherford who loves the game and wants to play past his college years) agree to join the Bulldogs. Littleton, smelling a fish story, decides to tag along.

At first, it looks like the most brilliant idea ever. Huge crowds show up to see the college star – even at Bulldog practices. The players begin to work harder to get into shape and Rutherford suggests some “effective” plays he used at Princeton. Of course, being a natural athlete better than most of the people playing the game doesn’t hurt and the Bulldogs begin to win. Connelly does his part by playing up the new guy and making sure he’s the one to score the touchdowns and that Rutherford gets all the glory. Dodge is far more interested in getting the girl, but when she discovers the truth, everything is at risk.

A nice period piece that captures the very early days of professional football nicely although I’m sure the NFL would take issue with some of the more, ahem, sordid aspects of the Duluth Bulldogs. Krasinski does some fine work as the ultra-preppy Carter “The Bullet” Rutherford. He was still best known for his work in The Office at the time (which was still on the air) and launches his film career with a completely different character than his Office work and does a great job in the process.

Clooney does his usual solid job; he seems to have an affinity for period pieces (O Brother Where Art Thou, Goodnight and Good Luck) and he plays a wise-cracking, hard-nosed Leatherhead well. Zellweger seems born to play the brassy, sassy dame with more than a little moxie. She looks right for the flapper era, and gets the cadences right.

Clooney captures the period nicely, with speakeasies and swell hotels. While the football sequences are mostly played for laughs rather than for any kind of authenticity, they are at least staged in an entertaining manner. Randy Newman’s score is reminiscent of his work in Ragtime and Parenthood; look for his cameo in one of the bar scenes.

I’m not sure whether Clooney intended an homage to screwball comedies or to actually make one; either way, it’s a bit light on jokes to match up to the better examples of the genre. The chemistry between Zellweger and Clooney isn’t as convincing as it could be.

Leatherheads is flawed, but generally entertaining. They try for the kind of screwball comedy that made things like His Girl Friday, Sullivan’s Travels and Adam’s Rib, but don’t quite get there. With a better script and better chemistry between the leads, this could have been a memorable movie, but it’s still worthwhile on several fronts – just not really anything you’d want to sing the praises of too loudly. Definitely worth the rental at least if you don’t have anything particularly pressing that you’d like to see. It’s not a complete waste of your time and money at least.

WHY RENT THIS: Nice era re-creation. Clooney and Krasinski do fine jobs.
WHY RENT SOMETHING ELSE: Fails at being a true screwball comedy. Chemistry between Clooney and Zellweger not quite there.
FAMILY MATTERS: There is a smattering of foul language.
TRIVIAL PURSUITS: Due to a dispute with the Writer’s Guild of America over credit on the script, George Clooney removed himself as a voting member of the Guild.
NOTABLE HOME VIDEO FEATURES: Infamous prankster Clooney is shown playing some memorable pranks on his unsuspecting cast and crew.
BOX OFFICE PERFORMANCE: $41.3M on a $58M production budget.
SITES TO SEE: Netflix, Amazon, iTunes, Flixster, Vudu
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