Money Monster


Clooney busts a move.

Clooney busts a move.

(2016) Thriller (Tri-Star) George Clooney, Julia Roberts, Jack O’Connell, Dominic West, Caitriona Balfe, Giancarlo Esposito, Christopher Denham, Lenny Venito, Chris Bauer, Dennis Boutsikaris, Emily Meade, Condola Rashad, Aaron Yoo, Carsey Walker Jr., Grant Rosenmeyer, Jim Warden, Joseph D. Reitman, Olivia Luccardi. Directed by Jodie Foster

The American Experience

There are a lot of ways to get a person under your thumb. Economically is usually the best method and involves the least bloodshed. However, it must be said that people can only be pushed so far before bloodshed becomes inevitable.

Lee Gates (Clooney) is a financial expert who has a popular financial advice program on a cable network. It is somewhat wild and crazy like Lee himself; Lee has a tendency, much to the exasperation of his producer Patty Fenn (Roberts), to go off the reservation. So when a flustered young delivery man, carrying a couple of packages wanders onto the set, Lee is sure it’s his crew playing a practical joke on him while Patty thinks that it’s one of Lee’s improvisations.

It’s neither. It’s Kyle Budwell (O’Connell), a working class schmoe who was crazy enough to follow Lee’s investment advice – except that advice turned out to be tragically wrong. IBIS, the software company that Kyle invested in, had seen $800 million of its assets vanish overnight and its charismatic CEO Walt Camby (West) is nowhere to be seen. He was supposed to be a guest on Lee’s program but instead they were sending Diane Lester (Balfe), a publicity flack (whom Camby is  apparently sleeping with).

Kyle has loaded guns which he demonstrates by firing into the ceiling, getting everyone’s attention. He slaps on a bomb vest that he hid in one of the packages onto Lee and proceeds to demand to talk to the absent CEO. Patty manages to clear the studio, but it seems only a matter of time before Kyle loses complete control of the situation. What neither Patty nor Lee count on is that they too would be swept up in Kyle’s saga and want to find out the answers for their own peace of mind as well.

Given the somewhat negative view most people have regarding the shenanigans on Wall Street over the past few years, this movie plays into those feelings pretty much perfectly – almost to the point of cliché. The villain of this piece is too easily spotted and becomes almost laughable. We don’t get a real sense of depth to that person; it’s just greed, greed, greed and a sense that people deserve to get their life savings defrauded from them because they don’t have the kind of fortune that the villain has. It’s a bit of a cop-out in my opinion.

That said, this is the kind of movie that is going to give you a good idea of why people are angry at Wall Street. The Lee Gates character – who is clearly modeled on Jim Cramer and the show clearly Mad Money on steroids – is a bit buffoonish and certainly a paean to poor investment strategies which is something Cramer is sometimes accused of peddling in real life. Clooney gives the character a bit more depth than we might have otherwise. Would the film have worked better if Lee was the kind of insensitive douchebag that he appears to be at the beginning of the movie? I don’t think so, but at least one critic accused the filmmakers of “star saving” Clooney (i.e. making him appear nicer than he appears to be in order to maintain his likability) which is not something Clooney has indulged in over the years.

Roberts is seen far less frequently onscreen than I would like, but continues to be every inch the star she’s been for the past *mumble, mumble* years – has it really been that long? She has deepened into more of a solid actress over the past decade, not needing to rely quite as much on the wattage of her amazing smile and the glow of her incandescent personality that over the years has made her the ultimate girl next door. Here, she’s a working stiff trying to labor for the unappreciative and has been a little bit beaten down by her star’s lack of empathy. Still, she prides herself on her professionalism and when the rubber hits the road, responds with calm and decisive leadership. This is one of those roles that is slightly subversive without being obvious about it; perhaps Foster, certainly one of the strongest women in Hollywood, has something to do with it as well. To my mind, Patty is the real hero of this piece but not many will get that.

O’Connell is best known for his role in Unbroken but to my mind finally really shows what he’s capable of going back to small but memorable roles in films like Harry Brown. His performance as Kyle shows a man beaten down to the bone by a system that chews up and spits out people like Kyle. With nothing else to lose, he demands answers from those who aren’t willing to give them and this leads him to an act of desperation – and yes, stupidity – that becomes the crux of the film’s emotional center.

Foster has been the kind of director who makes magic even when the scripts she’s given to work with don’t necessarily have a lot of it in it. There’s a good deal that’s way too familiar here but Foster works with it well and gives us a credible film despite the predictability of the plot. There’s some sly satire here about America’s penchant for greed and making money without wanting to put in the work. It is counter to our Puritan heritage in which hard work is valued and indeed, rewarded. In this modern era, we seem to be more inclined to value cutting corners – and rewarding those who do inordinately. And maybe that’s at the center of why Main Street is so pissed off at Wall Street. Perhaps some of the captains of industry need to be reminded of those ethics that made this country great in the first place.

REASONS TO GO: Foster is a masterful director. Clooney and Roberts are always eye-catching. Dials in to the anger that a lot of people are feeling about Wall Street.
REASONS TO STAY: Pretty cliché storyline. The villain of the piece is a little too obvious.
FAMILY VALUES: A fair amount of profanity, some sexuality and some violence.
TRIVIAL PURSUIT: This is the fourth time Clooney and Roberts have appeared in a film together.
CRITICAL MASS: As of 7/4/16: Rotten Tomatoes: 56% positive reviews. Metacritic: 55/100.
COMPARISON SHOPPING: The Big Short
FINAL RATING: 7/10
NEXT: The Conjuring 2

The Walk


The ultimate vertigo.

The ultimate vertigo.

(2015) True Life Drama (Universal) Joseph Gordon-Levitt, Ben Kingsley, Charlotte Le Bon, Clément Sibony, César Domboy, Mark Camacho, James Badge Dale, Steve Valentine, Ben Schwartz, Benedict Samuel, Sergio Di Zio, Daniel Harroch, Soleyman Pierini, Patrick Baby, Marie Turgeon, Joel Rinzler, Inka Malovic, Larry Day, Catherine Lemieux. Directed by Robert Zemeckis

Some dreams are bigger than others. Most of our dreams are relatively small – taking the family to Walt Disney World, or eating a corn dog on Coney Island. They are infinitely doable without a whole lot of planning. Some, however, can be bigger than all the sky.

Take Frenchman Philippe Petit (Gordon-Levitt), for example. As a young boy, he grew fascinated by the circus performers who came to his small village. After learning the basics of walking on wires on his own, he convinced Papa Rudy (Kingsley), patriarch of the White Devils high wire act, to train him, often paying cash for each of Papa Rudy’s secrets. But even becoming a street performer in Paris after being thrown out of his house by his tyrannical father (Baby) isn’t enough, although he meets Annie (Le Bon), a fellow street performer who becomes his girlfriend.

No, he has his eye on bigger things. After walking between spires at the Notre Dame Cathedral, he still feels like there’s something else out there. While on a visit to the dentist’s office, he opens a magazine and sees the plans for the World Trade Center twin towers. He immediately knows what his destiny is to be – to walk on a wire strung between the two towers.

This actual event, chronicled in the Oscar-winning documentary Man on Wire, took place in 1974 and required years of planning. We see Petit assemble his accomplices (for the act which they called “The Coup”) including photographer Jean-Louis (Sibony) and inside man Barry Greenhouse (Steve) as well as ex-pat J.P (Dale) and shy Frenchman Jeff (Domboy), and of course, Annie.

Just getting the equipment up to the top of the towers is dangerous; it’s not just getting the steel cable up there, it has to be brought from one tower to the other and affixed, then tightened all of which requires specialized equipment as well as some brilliant improvisation – the conspirators get the cable across by shooting an arrow attached to fishing wire, then attaching the fishing wire to a rope and pulling it across, then that rope to a larger rope and finally the steel cable. They also string a wire across so they can communicate without using walkie talkies which could theoretically be intercepted by authorities.

Petit would cross back and forth across the wire for 45 minutes, making eight traverses between towers. His feat made him a bit of a folk hero; he was arrested but not thrown in jail; instead he was required to perform community service which included putting a show on for children in Central Park. Petit would become a resident of New York City (which he is to this day).

Zemeckis wanted to put his audience on the high wire with Petit and in this he mainly succeeds; there are a few CGI shots that look like CGI shots but for the most part your stomach will be lurching and your insides tingling with fear, especially if you have any sort of fear of heights. While I saw the film in standard format, I understand that IMAX and 3D presentations are absolutely jaw-dropping if you can still find the film in those formats.

Gordon-Levitt affects a French accent which is at times a touch over-the-top but otherwise captures the arrogance and single-mindedness of Petit nicely; he also has the athleticism and grace of the French performer. Gordon-Levitt inhabits this role as much as he has any other in his career and this is likely to be one of his signature performances. I’m not sure what his Oscar chances are – I suspect he’ll be on the bubble – but there certainly are going to be those at the Academy who will take notice. He gets some fine support from Le Bon and Sibony, as well as Kingsley in a small but crucial role.

Gordon-Levitt also narrates the movie, sometimes in voiceovers but also jauntily perched in the torch of the Statue of Liberty, a gift to the United States from France which is certainly not a coincidence that Zemeckis put him there. It contributes to the light and airy feel of the film, a delectable confection rather than a heavy-handed entree.

Of course, it’s difficult to view the Twin Towers – excellently re-created here down to the last rivet – without thinking about their fate. There is a moment at the film’s conclusion where it appears one of the towers is shaking as the movie fades to black but if I wasn’t imagining things that’s really the only overt mention of 9-11 in the movie. Zemeckis wisely allows it to remain in the back of our minds, knowing that we won’t be able to prevent thinking about it. He doesn’t try to and in that sense, he makes a more lasting tribute in the film itself which celebrates a good thing that happened there, something that those who witnessed it will never forget. In that sense, this is a fitting memorial to a pair of buildings that will be forever linked to the acts of lunatics that took more than two thousand lives; even if that was to be the destiny of the World Trade Center, it was still something else and something more once upon a time and it is high time that we remember that about them as well.

REASONS TO GO: Vertigo-inducing. Solid performances throughout. Clever narrative devices.
REASONS TO STAY: May be too vertigo-inducing.
FAMILY VALUES: Situation of peril, brief nudity, drug use, some historical smoking and a smattering of profanity.
TRIVIAL PURSUIT: Both Kingsley and Dale appeared in Iron Man 3.
CRITICAL MASS: As of 10/21/15: Rotten Tomatoes: 85% positive reviews. Metacritic: 70/100.
COMPARISON SHOPPING: Man On Wire
FINAL RATING: 8/10
NEXT: India’s Daughter

Men in Black


Koochy Koochy Koo.

Koochy Koochy Koo.

(1997) Sci-Fi Comedy (Columbia) Tommy Lee Jones, Will Smith, Linda Fiorentino, Vincent D’Onofrio, Rip Torn, Tony Shalhoub, Siobhan Fallon, Mike Nussbaum, Jon Gries, Sergio Calderon, Carel Stuycken, Fredric Lane, Richard Hamilton, Kent Faulcon, John Alexander, David Cross, Keith Campbell, Patrick Breen, Becky Ann Baker. Directed by Barry Sonnenfeld

Waiting for Oscar

1998 OSCAR NOMINATIONS
Best Musical Score – Danny Elfman
Best Set Decoration – Bo Welch, Cheryl Carasik
WINS – 1
Best Make-Up – Rick Baker, David LeRoy Anderson

Conspiracy theorists are generally certain that our planet has been visited by extraterrestrial life; some of them go so far as to say that these visitations come with government help and co-operation. There are those who think that there is an entire agency who oversees the extraterrestrial presence on Earth.

James Edwards (Smith) is a cop. He’s a very good cop; dogged, determined and a pretty smart cookie. When he runs down a suspect whose eyes blink the wrong way, he inadvertently is exposed to something that certain agencies don’t want him to see. Agent K (Jones), a man in a terribly fitting black suit, questions Detective Edwards about the affair, taking him to see Jeebs (Shalhoub), an informant of the NYPD who is also, it turns out, an informant of the Men in Black, the agency Agent K works for. When K gets what he needs, he wipes the memory of Edwards but because he’s looking for a new partner, gives him a business card. Edwards’ unorthodox way of thinking grabs the attention of K’s boss, Zed (Torn). Edwards’ identity is completely erased from existence and he becomes Agent J.

When a Bug lands on the planet and takes over the skin of Upstate New York farmer Edgar (D’Onofrio), it sets the stage for an all out catastrophe. See, the Bug kills a member of the Arquillian Royal Family in order to get a hold of an inexhaustible power supply called the Galaxy. With the Bugs at war with the Arquillians, this presents quite a dilemma; the Arquillians don’t want them to have it and are willing to destroy the Earth to make sure they don’t get it.

With the help of a New York City coroner (Fiorentino) who gets caught in the middle, the Men in Black run down the Bug but he is in the course of getting away using spacecraft hiding in plain sight of all New Yorkers. It is up to the Men in Black to save the day and protect the planet.

Based on a comic book originally published by Malibu Comics which was in turn bought by Marvel, the success of this movie would lead Marvel to go ahead and sell the rights of Spider-Man to Columbia and X-Men to Fox, leading to the explosion of comic book films that dominates the box office landscape today. It also made Smith one of the biggest stars in Hollywood where he also remains today.

The movie displayed a kind of ironic sense of humor that melded the 60s and the 90s, bringing the kitsch of that era back in a big way. The New York World’s Fair of 1964 was on display with the New York Pavilion Towers figuring prominently in the climax, but also the overall architecture of the fair which was echoed throughout the MIB headquarters in Battery Park. Well, below it actually. Strangely, it’s largely because of this era dichotomy that the movie doesn’t feel dated as we approach it’s 20th anniversary in 2017.

The chemistry between Jones and Smith was genuine and worked nicely, the laconic and humorless Jones making an able counterpoint to the ‘tude of Smith who was as modern as they get in 1997. Although they would reprise their roles in two more films to date, the first movie was really the magical one in this regard.

In many ways this movie is to science fiction what Ghostbusters is to horror. The genre elements are as good as they get, but the humor makes this movie as much fun as a movie can be. While folks don’t really consider this an Oscar type of picture, it actually won a golden statuette and was nominated for three all told. In this case, all of the honors it got were richly deserved.

WHY RENT THIS: Incredible kitschy fun. Will Smith kicks off his film career with a classic. Quirky sense of humor.
WHY RENT SOMETHING ELSE: At times can be a little too far-out for the mainstream.
FAMILY VALUES: There’s some violence and a little bit of foul language.
TRIVIAL PURSUIT: Originally, Clint Eastwood was offered the part of Agent Kay but he turned it down, preferring to concentrate on his directing career.
NOTABLE HOME VIDEO EXTRAS: All editions include a plethora of special features, including a music video, storyboard to finished product comparisons, mini-featurettes on the special effects and other technical areas of the movie and the Blu-Ray includes an “Ask Frank the Pug” feature which is a great time-waster for about 35 seconds before it gets old.
BOX OFFICE PERFORMANCE: $589.4M on a $90M production budget.
SITES TO SEE: Netflix (DVD/Blu-Ray rental), Amazon (buy/rent), Vudu (buy/rent),  iTunes (buy/rent), Flixster (purchase only), Target Ticket (purchase only)
COMPARISON SHOPPING: The Addams Family
FINAL RATING: 8.5/10
NEXT: Waiting for Oscar continues!

A Walk Among the Tombstones


No more cracks about being too old for this.

No more cracks about being too old for this.

(2014) Mystery (Universal) Liam Neeson, Dan Stevens, David Harbour, Boyd Holbrook, Adam David Thompson, Brian “Astro” Bradley, Olafur Darri Olafsson, Sebastian Roche, Danielle Rose Russell, Natia Dune, David Anzuelo, Whitney Able, Maurice Compte, Laura Birn, Razane Jammal, Eric Nelsen, Frank De Julio, Mark Consuelos, Marielle Heller, Novella Nelson. Directed by Scott Frank

They don’t make ’em like Sam Spade anymore. Or Lew Archer. Or Philip Marlowe. Or Humphrey Bogart for that matter. Noir detectives – hard bitten, hard drinking tough guys who were often knights in tarnished armor, strong men with stronger codes. Life has kicked the crap out of them – it’s a dog eat dog world after all – but if the weak or the helpless are threatened, well, get ready for a fight.

Matt Scudder (Neeson) is a throwback to those kinds of guys. He used to be a hard-bitten hard-drinking tough guy on the NYPD until a particularly bad day at the office. These days – which happen to be 1999 – he’s an unlicensed private investigator which he describes as “Sometimes I do people favors. Sometimes they give me gifts.”

He’s not too picky about his clientele. When Peter Kristo (Holbrook), who attends AA meetings with Matt, approaches him on behalf of his brother Kenny (Stevens), Matt is wary at first. Kenny is a drug dealer whose wife Carrie (Jammal) was kidnapped. Finding her isn’t the problem – Kenny’s already found her. In pieces. After he paid the ransom.

This doesn’t sit well with him. He wants the guys who did it found and brought to him, preferably alive. Matt doesn’t want any part of a revenge killing – until he hears the audio tape the killers left for Kenny. Once he hears that he’s all in.

As he investigates he discovers that Carrie Kristo wasn’t the first victim and she’s probably not going to be the last. His investigations take him to a graveyard groundskeeper (Olafsson) who found the first body and to the seamy side of New York. He is assisted by TJ (Bradley), a tough-talking African-American street kid who wants to be a P.I. just like in the books he’s read at the public library where he essentially hangs out all the time. However, the killers (Harbour, Thompson) have selected another victim and this time she’s a true innocent. Time is running out.

The movie is based on the tenth in a series of 17 (and counting) books by crime author Lawrence Block. The fifth, 8 Million Ways to Die, was brought to the silver screen back in 1986 with Jeff Bridges taking on the Scudder role. I haven’t seen that one in ages (it used to be in regular rotation on cable) but I do appreciate Neeson’s take on the role better; he conveys the inner darkness of the character much better.

Frank, who exhibited a good deal of potential in the thriller genre with the Joseph Gordon-Levitt film The Lookout continues to impress at his ability to deliver that dark, noir-ish mood while keeping the movie essentially modern despite its setting of 15 years ago. The Y2K undercurrent seems a bit quaint these days – and boy does it bring back memories.

This is definitely Neeson’s film and he carries it with both dignity and toughness. He’s the kind of guy who will punch a guy through a glass window but will buy a street urchin pancakes. He’s made some awful, awful choices in his life and other people have paid for some of his mistakes. He’s trying the straight and narrow but he seems to exist mostly in the grey area between there and the dark and lawless. Neeson is the perfect choice for Scudder.

Now about TJ. Let me first give full disclosure by asserting that I haven’t read any of the books in the series. The character of TJ is introduced in the ninth book in the series. I have read elsewhere that he doesn’t appear in this particular installment. Quite frankly, I found his presence unnecessary and distracting. During the climax of the movie, the character commits the cardinal kid sin by going exactly to the wrong place at the wrong time to be in the most peril. It derailed the movie for me and made me want to find the nearest wall and bang my head against it. Sorry guys, but this cliche is older than the original noir pics and it was just as unwelcome back then. The young actor that plays TJ is engaging – but again, it seems kind of gimmicky and unnecessary to have him in the movie.

There are some really great moments in the movie – sadly several of them are on display in the trailer. There would have been some franchise potential here although the box office numbers sadly don’t seem to justify it so chances are this is the last of Matt Scudder we’re going to see for awhile. I have to say I’m glad to see that noir films are making a bit of a comeback with this and the much better Cold in July both hitting the multiplex this year. Now if we could only get screwball comedies to make a comeback.

REASONS TO GO: Neeson perfect as the brooding action anti-hero. Grim and gritty.
REASONS TO STAY: The TJ character completely unnecessary and gets in the way.
FAMILY VALUES:  Some pretty intense violence, themes and images, sexuality and brief nudity and a fair amount of foul language.
TRIVIAL PURSUIT: Ruth Wilson was cast as Matt Scudder’s partner Joe Durkin (male in the book) but director Scott Frank felt that the character was essentially a loner and a partner would only confuse things, so the role was eliminated and all the scenes filmed with Wilson were cut.
CRITICAL MASS: As of 10/8/14: Rotten Tomatoes: 66% positive reviews. Metacritic: 57/100.
COMPARISON SHOPPING: Se7en
FINAL RATING: 5.5/10
NEXT: The Maze Runner

Deliver Us From Evil


Eric Bana is impressed by Edgar Ramirez' iMDB page.

Eric Bana is impressed by Edgar Ramirez’ iMDB page.

(2014) Supernatural Horror (Screen Gems) Eric Bana, Edgar Ramirez, Olivia Munn, Sean Harris, Joel McHale, Chris Coy, Dorian Missick, Mike Houston, Lulu Wilson, Olivia Horton, Scott Johnsen, Daniel Sauli, Antoinette LaVecchia, Aidan Gemme, Jenna Gavigan, Skylar Toddings, Sebastian LaCause, Steve Hamm, Sean Nelson, Tijuana Nicks, Lolita Foster. Directed by Scott Derrickson

Usually when you hear things that go bump in the night it’s a sign that it’s time to move. In horror movies, most people who hear such things tend to go looking around for what’s causing those noises and that’s never a good idea.

Ralph Sarchie (Bana) is an NYPD detective stationed in the Bronx. His partner Butler (McHale) is an adrenaline junkie who relies on his partner’s “radar” to figure out when real bad stuff is going down. Ralph, a lapsed Catholic,  thinks of himself as having a “hard hand” as a cop and he has the scars to prove it. He’s a family man too, with his wife Jen (Munn) pregnant with their second child – adorable moppet Christina (Wilson) is their first. However, as of late he hasn’t exactly been present at home.

The truth is Ralph is beginning to crack a little. Finding dead babies in dumpsters doesn’t do a lot to maintain your faith in humanity. When he arrives on a scene where a disturbed mother (Horton) throws her infant into the lion pit at the Bronx Zoo, he has an odd confrontation with a painter who turns out to be an Iraq War vet named Santino (Harris) who had a strange and frightening encounter in the Middle East.

Taking an interest in the case is Father Mendoza (Ramirez), an unorthodox Jesuit priest (which is something of an oxymoron) who has seen true evil in his time. He knows that what Ralph is facing isn’t run of the mill evil perpetrated by deranged or amoral men, but something more primordial and far-reaching. Ralph is skeptical of this at first, but when his daughter starts hearing scratching noises under her floorboards and her stuffed animals begin to menace her, the pragmatic cop begins to realize that he might be in way over his head.

Derrickson, who also helmed the horror hit Sinister has got the creepiness factor down. He orchestrates an excruciating terror that begins early on and never lets you out of its grip for the remainder of the movie. A good horror film requires the proper atmosphere to work properly and Derrickson supplies that.

Bana is a very underrated actor, one who has done impressive work in films like Munich but has never really crossed over into superstar territory. He probably won’t with his work here, but it’s very capable which is a standard with Bana. I don’t think I’ve ever seen him turn in a bad performance even in films that are not very good.

There is a real Ralph Sarchie and this is based on some of the cases that he has been involved with. As with most horror movies that use real life events as a springboard, this takes an awful lot of liberties with Sarchie’s story (he wrote a book with Lisa Collier Cool entitled Beware the Night). There are elements of a lot of different cases in this single case and the character of Father Mendoza is an amalgam of a couple of different Catholic clerics. Take the “based on a true story” thing with a grain of salt; true stories are rarely as exciting as they are portrayed to be on the big screen.

This is equal parts police procedural and gross-out supernatural scare film. Some of the scares are legit here, and there’s plenty of squirm-inducing images. Cat lovers, be forewarned – there are some scenes that you will find quite disturbing and there are a couple of gruesome murders shown in detail onscreen. While there’s nothing here that is particularly standard-setting, neither do the make-up and special effects disgrace themselves either.

This movie is a bit of a metaphor for the overall summer season; while it has a lot of elements that could have made it a great film, it goes the safe route in a lot of ways and ends up being just a solid, entertaining film. I will say the climactic exorcism scene is pretty nifty, but it lacks the sheer on the edge of your seat tension that the similar scene in The Exorcist possessed (no pun intended). From my point of view, this is solid but unremarkable horror entertainment for the summer months.

REASONS TO GO: Bana always delivers and Ramirez is an interesting priest. Some legitimate scares and uninterrupted creepy vibe.

REASONS TO STAY: The usual horror movie cliches.

FAMILY VALUES:  There are some disturbing images, a good deal of violence that is generally bloody and gory, salty language and yes, terror. It’s a horror film after all.

TRIVIAL PURSUIT: The Ralph Sarchie role was originally offered to Mark Wahlberg who declined. Eventually Bana accepted the part.

CRITICAL MASS: As of 7/20/14: Rotten Tomatoes: 30% positive reviews. Metacritic: 40/100.

COMPARISON SHOPPING: The Devil Inside

FINAL RATING: 6/10

NEXT: Tammy

Loosies


A ridiculously handsome man.

A ridiculously handsome man.

(2011) Dramedy (IFC) Peter Facinelli, Jaimie Alexander, Michael Madsen, Vincent Gallo, William Forsythe, Marianne Leone, Christy Carlson Romano, Joe Pantoliano, Eric Phillips, Tom DeNucci, Tom Paolino, Ara Boghigian, Anthony Paolucci, Glenn Ciano, Johnny Cicco, Stella Schnabel, Peter Berkot, Anne Mulhall, Sera Verde, Rebecca Forsythe. Directed by Michael Corrente

Sometimes people do the right things for all the wrong reasons. Just as often, people sometimes do the wrong things for the best of reasons. At the end of the day, it doesn’t really matter why you do things, just that you did them.

Bobby (Facinelli) is a handsome, charming kind of guy. He walks around New York in a suit all day, letting all and sundry know that he works on Wall Street as a broker. Actually, Bobby is a pickpocket and a damned good one. He snatches watches, cash, cell phones, the occasional police badge – whatever he can get his slick fingers on.

But things are changing in his life. Lucy (Alexander), the pretty and spunky bartender at his favorite tavern, is pregnant – and Bobby’s the baby daddy. What had been a one night stand turned into a life changing event. Bobby, at his core a decent sort of fellow, wants to do the right thing. He wants to marry Lucy and settle down into being a good husband, father and provider.

That’s not going to be easy. Bobby owes Jax (Gallo) a fairly hefty debt, the legacy of his gambling-addicted father and is struggling to pay it off. Lt. Nick Sullivan (Madsen), the cop whose badge Bobby stole, is absolutely pissed off about it and is pursuing Bobby with the ferocity and tenacity of a pit bull on meth. His mom Rita (Leone) has a new boyfriend, the jeweler Carl (Pantoliano) who has been known to exchange punches with Bobby. And Lucy doesn’t want to be the wife of a lowlife, nor her child to be raised by one.

This is meant to be a star-making vehicle for Facinelli who has labored in the shadows for much of his career. An engaging lead with star potential, he has been relegated mainly to supporting roles although when he’s gotten the opportunity to shine (as on the too-brief TV series Damages) he has generally made the most of it and he does so here.

Bobby is a thoroughly likable rapscallion and while his choice aren’t the best, they are generally the lesser of two or more evils. Facinelli imbues the character with a general charm, ensuring the audience will like the schlub even though they know he’s doing things that are less than kosher. Facinelli and Alexander make a believable couple; there are a lot of bumps in the road for their characters but one never doubts the genuine affection.

While this is a bit of a mash-up between a crime caper and a romantic comedy, I don’t really see anything fresh here from either genre. It’s a bit paint-by-numbers in a sense  that is elevated by the performance of its cast. Facinelli is engaging enough performer that you’ll want to spend an hour and a half with him without checking your watch. These days, that’s kind of a plus.

WHY RENT THIS: Facinelli is likable. Good chemistry with Alexander.

WHY RENT SOMETHING ELSE: Doesn’t really offer up anything new.

FAMILY VALUES: There’s a bit of violence, some sexual content and some rough language.

TRIVIAL PURSUIT: The husband of Nikki Reed, who co-starred with Facinelli on the Twilight series, contributes three songs on the soundtrack with his band Grand Magnolias (his name is Paul McDonald of American Idol fame).

NOTABLE DVD EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $3,519 on an unreported production budget.

COMPARISON SHOPPING: New York, I Love You

FINAL RATING: 6/10

NEXT: X2

Sleepy Hollow


Christopher Walken really needs a new dental plan.

Christopher Walken really needs a new dental plan.

(1999) Supernatural Horror (Paramount) Johnny Depp, Christina Ricci, Miranda Richardson, Michael Gambon, Casper Van Dien, Jeffrey Jones, Richard Griffiths, Ian McDiarmid, Michael Gough, Christopher Walken, Marc Pickering, Lisa Marie, Steven Waddington, Claire Skinner, Christopher Lee, Alun Armstrong, Mark Spalding, Jessica Oyelowo. Directed by Tim Burton

Whenever Tim Burton concocts a new movie, critics everywhere go into a lather coming up with new hosannas in praise of his stuff. Generally, they’re right. By the time his interpretation of the Washington Irving classic came out the paroxysms of praise had become almost scary in their effusiveness. Which was – and is – fine by me.

Sleepy Hollow, after all, is supposed to be scary. However, those bookish moviegoers who have actually read the Washington Irving story and still remember it may find the liberties taken here with the source material a bit off-putting.

Ichabod Crane (Crane) is a foppish New York City constable who has been a bit of a gadfly in the NYPD of 1799. While the judges of the period are content with brute force and intimidation to solve their crimes, Crane is all for using scientific method and deductive reasoning to come to the truth. For his troubles, he is exiled to a small Dutch community in the Hudson Valley called Sleepy Hollow to solve a trio of ghoulish murders.

It seems that several prominent citizens of the Hollow have lost their heads. The trouble is their quite dead torsos are rather upsetting to those townspeople who stumble upon them. When Crane arrives, he encounters the plucky young daughter (Ricci) of a local farmer (Gambon), who imparts the story of the Headless Horseman: A somewhat rabid, bloodthirsty Hessian mercenary (Walken in essentially a cameo but still perfectly cast role) meets a bitter end in the woods near Sleepy Hollow, betrayed by a pair of wood-gathering little girls. The townspeople, who include a self-righteous priest (Jones), a timid notary (Gough), a lusty doctor (McDiarmid), a brave and burly farmer (Van Dien) and a corpulent burgomaster (Griffith) are all of the belief that the Horseman is responsible for the unspeakable crimes. Crane, of course, believes that the murderer is flesh and blood.

The game changes when Crane personally witnesses a murder, sending his faith in science and reason spinning into doubt. Unfortunately for the movie, he resolves this rather quickly; I thought it would have made for an interesting subplot to see Crane struggling between the evidence of his senses and his own rationality. Instead,  Crane and the plucky young farmer’s daughter go on a ghoul hunt, with all the violence, gore and spookiness that goes with it.

There are a lot of fairly impressive names behind the camera including Francis Ford Coppola, Larry Franco, Scott Rudin and Kevin Yagher, with Danny Elfman producing a suitably spooky score. While many of Burton’s key personnel are also in place, this seems less of a typical Tim Burton movie and more of a mainstream action/horror flick. There are a lot of missed opportunities here to bring some credible subplots into play that wouldn’t burden the plot as much as the ones that writers Kevin Yagher and Andrew Kevin Walker decided to leave in.

Burton is wise enough to leave enough atmosphere in to make for some genuinely creepy moments, but his leitmotif of announcing the Horseman’s presence with lightning and thunder effects is a bit over-the-top. Depp makes an interesting Crane, retaining much of the bumbling fright of Irving’s Crane while giving him a heroic bent for the modern moviegoing audience to identify with. Ricci is lustrous in her ingénue role.

There’s some great work in Sleepy Hollow, enough that you’ll be talking about it well after the final credits have concluded. However, with a bit more of Burton and a bit less of Hollywood, this would have been a much more hellacious ride.

WHY RENT THIS: Tim Burton loveliness. Deep and Ricci make a fine couple. Genuinely spooky.

WHY RENT SOMETHING ELSE: A bit more mainstream than we’re used to with Burton. Over-the-top in places.

FAMILY MATTERS: The horror, gore and violence is fairly graphic. There’s some sexuality as well.

TRIVIAL PURSUITS: This was one of the last two films released on Laser Disc (the other was Bringing Out the Dead).

NOTABLE HOME VIDEO FEATURES: None listed.

BOX OFFICE PERFORMANCE: $206.1M on a $100M production budget; the movie broke even during its theatrical run.

COMPARISON SHOPPING: Beetlejuice

FINAL RATING: 8/10

NEXT: World War Z

Premium Rush


Premium Rush

Just because there’s a cab behind you doesn’t mean you’re on the right road.

(2012) Action (Columbia) Joseph Gordon-Levitt, Michael Shannon, Dania Ramirez, Jamie Chung, Sean Kennedy, Wole Parks, Aasif Mandvi, Kymberly Perfetto, Christopher Place, Brian Koppelman, Boyce Wong, Jimmy P. Wong, Darlene Violette. Directed by David Koepp

 

Some movies have a great deal of depth. They require thought, concentration and a bit of contemplation to truly appreciate properly. Then there are movies like this one; the cinematic equivalent of a double shot of espresso with a Red Bull chaser.

Wilee (Gordon-Levitt) – whose name is pronounced like the ACME-using coyote from the Looney Tunes cartoons – is a New York City bike courier who delivers packages all over Manhattan on a lightweight modified bike with no brakes. He’s cocky, fearless and lives for the adrenaline high that his job delivers. He’s smart too – he actually passed the bar exam but you won’t find him in a corporate cubicle. Oh no. Wilee is no mere office drone. He has a better life in mind for himself.

Which apparently includes a girlfriend named Vanessa (Ramirez) although she’s not so sure. In fact, Wilee’s rival courier Manny (Parks) thinks that she’d be better off with him. He apparently really has some sort of need to prove his superiority over Wilee, always up for a race with his rival. Wilee, being the free spirit that he is, has no time for this.

In fact, he’s too busy picking up a package from his alma mater from Nima (Chung) who also happens to be Vanessa’s roommate coincidentally – for a premium rush job, which the customer is paying extra dollars to get to its destination just a little bit quicker. However, there’s a creepy guy named Bobby Monday (Shannon) who wants the package and will do anything to get it. In fact, he needs to steal it in order to pay off a substantial gambling debt. The only reason Monday isn’t already dead is that he is a New York City cop. Monday takes off after Wilee in the streets of New York on a high-speed chase that both men are desperate to win.

And that’s all the plot you need to know. Anything else doesn’t really matter – in fact most of the plot I mentioned above doesn’t matter either, other than the last sentence starting with “Monday takes off.” This is all about adrenaline-fueled hard-charging bike stunts in the streets of New York. It’s like the X-Games urban war that you’ve always wanted to see. If they could have gotten Tony Hawk to do some tricks off of the parked cars they would have had it made.

The pacing is hyperkinetic with the story jumping back and forth through flashbacks. Graphics show the routes taken through the city by the couriers, and graphics and flash forwards show the choices available to Wilee at various intersections and the potentially lethal consequences of some of his options. Those are some of the most fun scenes in the movie.

Gordon-Levitt is an appealing actor who is moving up the ranks from indie darling into legitimate star. He has been busy in a wide variety of movies and looks to be making the movie into the top tier of Hollywood stardom. It doesn’t hurt that he’s pretty buff looking here which is sure to make him a few new fans among the ladies.

Shannon is a versatile character actor who often has a dark streak in his characters. Here he is darker than most of the roles I’ve seen him in, a quite impressive villain who is out of control, and believes his badge renders him invulnerable to justice. Monday is the worst kind of bad cop and Shannon keeps him from becoming too much of a cartoon.

This is almost all action and no exposition. New Yorkers will find this a little bit more fun because of the locations, and men are going to like the non-stop action. There isn’t a lot here for those looking for relationships, character development or romance. It’s mostly about bicyclists taking insane chances. The lead character is well-named – he’s fearless and maybe too clever for his own good. I might have rated this higher had an anvil been dropped on his head.

REASONS TO GO: Some nifty action sequences and a clever use of graphics. Gordon-Levitt is engaging and Shannon makes a fine villain.

REASONS TO STAY: Very New York-centric. A little too much testosterone.

FAMILY VALUES: There is a bit of violence and some disturbing imagery. There are plenty of foul words though.

TRIVIAL PURSUIT: Most of the scenes set at Columbia Law School were filmed at Lerner Hall, the student center for the University.

CRITICAL MASS: As of 9/18/12: Rotten Tomatoes: 76% positive reviews. Metacritic: 66/100. The movie got decent reviews.

COMPARISON SHOPPING: Next Day Air

FORREST J. ACKERMAN LOVERS: Detective Monday uses the name of the legendary science fiction fan/author/literary agent/historian as an alias.

FINAL RATING: 6/10

NEXT: Of Gods and Men

The Amazing Spider-Man


 

The Amazing Spider-Man

There’s just no way to look dignified in this costume and in this pose.

(2012) Superhero (Columbia) Andrew Garfield, Rhys Ifans, Emma Stone, Denis Leary, Sally Field, Martin Sheen, Campbell Scott, Irrfan Khan, Embeth Davidtz, Chris Zylka, C. Thomas Howell, Jake  Ryan Keiffer, Kari Coleman, Stan Lee, Tom Waite. Directed by Marc Webb

 

Most of us have something missing in our lives. Whether it be something emotional – a feeling of being loved or needed – or something physical, like one’s parents or a new Ferrari, we all have something we lack and would do quite literally anything to get back.

Peter Parker (Garfield) is by all accounts a fairly normal kid, but a little on the dark side; his parents left him with his Uncle Ben (Sheen) and Aunt May (Fields) one rainy night after their house was broken into. They were later killed in a plane crash according to newspaper accounts. He misses them and yearns to know why they left but they are shadows and smoke to him. Peter is a science nerd with a good deal of brilliance inherited from his geneticist father (Scott). He has goo-goo eyes for Gwen Stacy (Stone), the beautiful blonde daughter of Capt. George Stacy (Leary) of the NYPD. However, she seems to have the attention of Flash Thompson (Zylka), a jock who loves to pick on Peter.

When Peter finds an old briefcase that belonged to his father, he discovers some papers in a hidden compartment containing something called a decay rate algorithm. He also discovers that his father worked at Oscorp, a large biogen firm in Midtown Manhattan, along with Dr. Curt Connors (Ifans), a one-armed scientist who is trying research combining animal DNA with human to transfer the traits of that animal (in Connors’ case, the regenerative power of reptiles) to the human. While nosing about the lab on his own, Peter finds a room where mutant spiders spin a biocable of incredible tensile strength and adhesive qualities. While in there, he picks up a hitchhiker who bites him and burrows into his skin. He also discovers that Gwen is Dr. Connors’ intern.

Within hours Peter develops these odd powers – the ability to stick to smooth surfaces, extreme strength and the ability to sense danger moments before it occurs. He finally meets Dr. Connors, introducing himself as the son of his former colleague. He also draws up the algorithm, having committed it to memory. The two begin working together to figure out the right formula to create a regenerative solution.

In the meantime Peter uses his new powers to humiliate Flash, who had beaten the snot out of him earlier. Ben is forced to switch shifts in order to deal with his nephew, admonishing him to pick up his aunt at work since he now had to work a later shift. Unfortunately, Peter is late coming home, having forgotten his responsibilities while working with Dr. Connors. He and Ben get into an argument with Peter storming out into the night. Ben goes out after him but this ends up in tragedy.

Peter decides to go looking for the author of his pain and winds up donning a luchador-like mask and spandex suit to conceal his identity, leaving those criminals tied up in a web of the biocable which he has developed a shooter for. He also begins to develop a romantic relationship with Gwen.

Unfortunately, under pressure from the powers that be at Oscorp to begin human testing on the formula, Dr. Connors injects himself with the formula. It works all too well, not only regenerating his arm but turning him into a 9-foot tall lizard, with tail and scales and murderous rage, yet combined with the good Doctor’s intelligence and cunning. Peter finds himself needing to stop the Lizard, whom he partially created but the cops are after him, the Lizard has a sinister agenda and is out to keep Peter Parker from stopping him and trying to hide his identity from his girlfriend’s dad who wants to put him in jail. And I thought chem finals were bad.

Webb, who previously directed the incredible (500) Days of Summer, is saddled with a kind of a double whammy. Not only does he have to measure up against Sam Raimi’s filmed trilogy whose numbers helped usher in the Marvel film renaissance but also against the comic books that Raimi did so well in translating to the screen.

For some odd reason the studio decided to reboot the series with another origin tale – because it’s been ten years since the first one so I’m sure nobody remembers it by now. *snerkle* That’s sarcasm, in case you were wondering.

Garfield is a find. Most will remember him from The Social Network but he has established himself here as a leading man for the next 20 years. He is charismatic, brooding, likable and able to do serious and funny, a rare trait. It is not often when opportunities to take the next step in your career evolution come along and Garfield makes the most of his. This is in every sense a star-making performance.

Stone has been on a winning streak of late but she is curiously flat here. Her Gwen Stacy lacks the spunk and fire of her previous performances and while far from a typical damsel in distress role, she doesn’t show much of the personality I know she has. I think a little less courtesy and a lot more personality would have only benefitted the film.

Sheen is so reliable; every role he takes is full of compassion and gravitas. He resonates with both as Uncle Ben, although Ben has a bit of a temper on him that was absent from Cliff Robertson’s version from the Raimi films. Fields plays May a little younger than previous editions, but with all of the maternal love and wisdom that she is known for – well, both Fields and Aunt May in this case.

Ifans is a fine actor in his own right but as the villain here he has a tough time. Part of the problem is that he isn’t strictly speaking a villain; he is overzealous, yes, and has a mistake born of hubris that nearly proves fatal, but for the meddling of Spider-Man! That doesn’t really make him a bad bad guy, just a vulnerable one. In fact there really isn’t anything evil here and that might be what stops me from really getting into this version; none of even the most villainous characters is without redeeming qualities. That may work for Jack Kirby, Steve Ditko and other artists and writers, but it simply doesn’t work here. Basically Spider-Man is fighting a less powerful Hulk (i.e. Mr. Hyde) whom he doesn’t have the heart to take out.

Still, this is entertaining enough although I still wonder why another origin was necessary. If you want to reboot with a young high school-age Peter Parker, that’s fine (although why cast a 28-year-old man to play a 16-year-old boy?) but why not simply assume we all know that the guy was bitten by a radioactive (or in this case genetically enhanced) spider and move on from there? I understand that Columbia is planning at least three Amazing Spider-Man movies, all of which deal with the missing parents in some fashion as Parker tries to unravel the tangled threads of his past. That’s all good. Rehashing a story unnecessarily costs the movie points and that blame goes directly to the studio heads who thought it was necessary. Otherwise, Webb shows that he can direct a blockbuster as well as a small-budget indie romance and do both with charm, inventiveness and deftness.

REASONS TO GO: Garfield is a terrific Peter Parker. Follows comic book mythology a little more closely.

REASONS TO STAY: Action sequences were moving too fast to follow easily at times. Not quite up to the best moments of the first trilogy.

FAMILY VALUES: Plenty of comic book violence and action.

TRIVIAL PURSUIT: Anne Hathaway was originally cast as Felicia Hardy – a.k.a. the Black Cat –  but her character was eventually written out and she went on to do the similarly natured Catwoman in The Dark Knight Rises.

CRITICAL MASS: As of 7/17/12: Rotten Tomatoes: 74% positive reviews. Metacritic: 66/100. The reviews are definitely good.

COMPARISON SHOPPING: Spider-Man

STAN LEE LOVERS: Plays an oblivious librarian listening to classical music on the headphones while the Lizard and Spider-Man engage in a raging battle behind him

FINAL RATING: 6.5/10

NEXT: The High Cost of Living

Safe


Safe

Jason Statham intimidates Catherine Chan into liking his Facebook page.

(2012) Action (Lionsgate) Jason Statham, Robert John Burke, Chris Sarandon, Catherine Chan, Anson Mount, James Hong, Sandor Tecsy, Joseph Sikora, Igor Jijikine, Reggie Lee, James Colby, Matt O’Toole, Barry Bradford, Jay Giannone. Directed by Boaz Yakin

 

Redemption isn’t easy. It usually requires sacrifice and great risk. You aren’t just handed it; it has to be earned and the greater the transgression, generally the more difficult the redemption.

Luke Wright (Statham) has had what might generously be described as a checkered past. A special forces black ops guy with a set of skills that would make Rambo look like a Disney princess, he had been recruited by the New York City Police Department after 9/11 to help ferret out further terrorist attacks on the Big Apple and eliminate the threats. Permanently.

However he gradually became aware that great corruption had set in his team, led by Captain Wolf (Burke) and Luke blew the whistle. It really didn’t accomplish much other than to get him drummed out of the Force and business as usual resumed. Luke went on to fight in underground MMA fights; however when Luke was enjoined by the Russian mob to take a dive in his fight, the incompetent opponent got himself knocked out before Luke was supposed to take his fall and as a result, the mob murdered his wife and warned him that anyone he befriended would be killed. For several years, Luke lived on the streets alone and anyone who showed him kindness or even attention usually got themselves whacked.

He’d had enough and went to the subway meaning to throw himself in front of a train and finish the job the mob started. However, before he can end it all he sees a little Asian girl being stalked on the platform by the same mobsters who murdered his wife. Unable to stand idly by, he rescues the girl and puts a whole lot of Russian thugs in the morgue.

He discovers the girl’s name is Mei (Chan) and that she’s an orphan gifted with the ability to remember really anything she is told, including really long strings of numbers. She was taken from her home in China by triad boss Han Jiao (Wong) who has set Quan Chang (Lee) to babysit her. Han had recently returned to New York City to give Mei a very long string of numbers to memorize with the instructions that she would soon meet someone who would give her a second very long string of numbers to memorize.

It turns out that one set opens a safe holding $35 million. The other opens a safe that holds a disc containing information of all the Triad’s operations in New York. The Russians will give the contents of one for the contents of the other. The cops want all of it. Everyone’s gunning for this kid and Luke has put himself square in the middle of it.

The results are pretty much carnage; gunfights, martial arts beatdowns, car chases and lots of screaming in Russian, Mandarin and English (well, with a thick New York accent anyway). It’s all good, particularly if you love to see things blow up, things get shot and Jason Statham glowering.

Director Yakin isn’t noted for his action chops but he does a pretty good job here. Action movies need to be kinetic in every sense; the plot has to move along with the action and all things considered, this has a pretty good one. It isn’t anything you haven’t already seen before on either side of the equation – there are no stunts here that take your breath away nor is the plot or story much more than several action classics cobbled together.

Most of those action classics are from the ’70s when the movies tended to be anti-government. Safe harkens back to a day when The Man was literally out to get you and had his goon squads coming down on the innocent, laughing maniacally as they machine gunned innocent civilians. This is little different and only misses big afros, eight track tapes and headbands from those pictures. And maybe Curtis Mayfield on the soundtrack.

Still, Statham is as good at asskicking as any of the 70s heroes (Billy Jack, Shaft, Superfly and so on) and has the Clint Eastwood growl down to boot. The technical end is better as well – this is a pretty good looking film, with plenty of neon, glass breaking and blood spray. Action fans will get their money’s worth and for those who aren’t into action movies? Well, this is as good an introduction to the genre as any but if those sorts of movies aren’t your cup of tea, there isn’t enough else here to really make this worth your while.

REASONS TO GO: Jason Statham kicks ass (as usual). A nice throwback to 70s urban paranoia action flicks.

REASONS TO STAY: Nothing here that you haven’t seen before.

FAMILY VALUES: There is a whole lot of violence, particularly of the gunshot variety and a fair amount of cursing.

TRIVIAL PURSUIT: This is the first movie in a three-film distribution deal between Lionsgate and IM Global, an international productions company that specializes in action films. Dredd and Protection being the other two films in the deal.

CRITICAL MASS: As of 5/14/12: Rotten Tomatoes: 54% positive reviews. Metacritic: 55/100. It’s safe to say the reviews have been pretty mixed.

COMPARISON SHOPPING: Witness

CAR CHASE LOVERS: There are three distinct car chase scenes during the film.

FINAL RATING: 5/10

NEXT: The Best Exotic Marigold Hotel