Ema


Meet Ema.

(2019) Drama (Music BoxMariana Di Girolamo, Gael Garcia Bernal, Santiago Cabrera, Josefina Fiebelkorn, Giannina Fruttero, Paola Giannini, Antonia Giesen, Susana Hidalgo, Paula Hofmann, Mariana Loyola, Paula Luchsinger, Eduardo Paxeco, Cristián Suárez, Catalina Saaedra. Directed by Pablo Larrain

In this post-#MeToo world, I think it’s safe to say that the concept of femininity is changing. We are seeing less and less of the traditional female attributes of acceptance and submission, as a society that has largely been misogynistic has forced women to stand for themselves and become more aggressive.

Ema (Di Girolamo) is the perfect example of that. A reggaeton dancer in the Chilean port city of Valparaiso, she is enigmatic, her on-again, off-again relationship with her husband Gaston (Bernal) who is also her dance group’s choreographer almost defiantly off-again at the moment. They are the parents of an adopted pre-teen boy named Polo (Suárez) who after a disastrous time in their home has been returned to the adoption agency, after he set a fire in their home that badly burned her sister’s face. The dead cat in the freezer is also attributed to Polo.

Her adopted son’s penchant for burning things might come from Ema, who prowls the streets of Valparaiso at night with a gang of girls from her troupe, setting cars, traffic signals and other things on fire. Ema sees herself as above conventional morality – assuming she recognizes any sort of morality at all – and has hatched onto a plan to get her son back, even after she herself had decided to return him. The plan, half-baked as it is, includes getting to know Polo’s new adoptive parents and seducing the both of them. Ema uses her body as a means of getting what she wants. I guess that passes for empowerment.

Larrain, one of Chile’s premiere directors with such movies as Neruda, No and Jackie under his belt, goes the experimental avant garde route here and your enjoyment of this will depend very much on your tolerance of such things. There really isn’t a story as such here; this is more of a character study through a series of incidents.

Part of the issue lies with Ema herself, and herein lies my dilemma as a reviewer. Di Girolamo delivers an outstanding performance, ice-blue, red-hot and alternately vulnerable and distant. She can be vicious, generally lacking any sort of impulse control, and has that arrogant artist thing down pat. We are riveted by her, enthralled by her abject freedom but then repelled by her utter disregard for nearly everybody else. If Polo is, as he is made out to be, a psychopath, Ema is absolutely self-absorbed to the point of psychosis. I’m not sure if that’s meant to be a commentary on the current generation or not.

Bernal, one of Latin America’s most gifted actors, is largely wasted here, given little to do other than react to whatever is going on with Ema, but after all, the name of the film is NOT Gaston. He does the best he can, as does Cabrera as Polo’s new adoptive father.

The visuals are striking, as are the dance sequences which look competitive to what you would find in New York. Those who are more into the visual side of film than anything else will enjoy this. Those who are looking for a story…not so much. This is a movie to be admired, but not loved.

REASONS TO SEE: Ema is a complicated character. Stylized and at times visually stunning.
REASONS TO AVOID: I admire the movie more than I like it.
FAMILY VALUES: There is profanity as well as some sexual content.
TRIVIAL PURSUIT: The film made it’s debut at the 2019 Venice Film Festival.
CRITICAL MASS: As of 3/24/20: Rotten Tomatoes: 87% positive reviews, Metacritic: 72/100
COMPARISON SHOPPING: Her Smell
FINAL RATING: 7/10
NEXT:
The Sleepwalkers

Grand Isle


Nicolas Cage, after reading the script to his next movie.

(2019) Thriller (Screen MediaNicolas Cage, Luke Benward, KaDee Strickland, Kelsey Grammer, Beatrice Hernandez, Emily Marie Palmer, Zulay Henao, Duncan Casey, Oliver Trevena, Haley Milsap, Isabella Grace Roark. Directed by Stephen Campanelli

 

Nobody freaks out in the movies better than Nicolas Cage and I mean that as a compliment. Sure, Conan O’Brien once suggested the Department of Homeland Security use clips from his films to demarcate the various terrorist threat levels (not a bad idea, actually) but nonetheless Cage knows how to lose his shit onscreen better than anybody.

In this film he plays Walter, a Vietnam vet slowly drinking himself to death in a small Southern town. It’s one of those delta locales where the steam seems to rise from the skin and even the flies find it too humid to buzz. Campanelli does a good job of establishing the locale (you can almost smell the sweat) although his actors for the most part overdo the Southern accent.

Walter hires a fellow vet (albeit much younger) named Buddy (Benward) to fix a section of picket fence just as a hurricane is arriving in town. As Buddy’s long-suffering wife Fancy (Strickland) observes, it takes some kind of idiot to repair a fence before a hurricane but I suppose it makes sense to the bourbon-soused.

Buddy has been chronically unemployed, putting massive strain on his relationship with his wife Lisa (Palmer) who is coping not only with Buddy’s lack of income but with the health problems of their infant daughter as well. It goes without saying that he’s happy to take any sort of work, even if the job makes him feel uneasy. Much of that uneasiness stems from Fancy (Strickland), the oversexed wife of Walter.  Her husband is, shall we say, less than a stellar performer in the bedroom and she’s plenty frustrated over it.

Of course, Buddy gets caught in the hurricane and is forced to hunker down with Walter and Fancy. And of course, the tension between the three starts to edge over the boiling point. And of course, Walter and Fancy are hiding a dirty secret in that basement which has been locked in such a way as to guarantee curiosity if not outright suspicion.

There are elements of both Southern Gothic and film noir, two genres that usually compliment each other well and to be fair to the filmmakers they manage to strike a fine balance here. However, there is also a lot of disquieting elements to the film. For starters, the actors chew the scenery with so much gusto one would question whether or not they had just been liberated from a prison camp.

Cage is usually the actor I look to when it comes to commanding attention, but he’s much more low-key than usual here which I suppose has to do with the southern demeanor. Naturally, it came as a bit of a surprise that it was Strickland who really made an impression on me, in this case as a Southern femme fatale. She is as seductive as a siren, as acerbic as a pundit and as merciless as a snake.

The script kind of falls apart in the last third. The clichés and tropes begin to pile up and all plausibility goes right out the window. The saving grace here is the entertainment factor; if you don’t think about this one too much you might find yourself enjoying it in spite of itself.

This is the sixth film starring Cage to be released in 2019 (with at least four more scheduled for 2020), almost all of them action thrillers and none of them released wide. Not a great standard for an Oscar-winning actor but hey, you take work where you can get it.

REASONS TO SEE: Southern gothic meets film noir.
REASONS TO AVOID: Southern-fried clichés.
FAMILY VALUES: There is violence, profanity and some sexual situations
TRIVIAL PURSUIT: Although Walter is supposed to be an ex-Marine, the uniform he wears in the penultimate scene carries Army insignias and medals.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 12/13/19: Rotten Tomatoes: 0% positive reviews: Metacritic: 29/100
COMPARISON SHOPPING: Key Largo
FINAL RATING: 5.5/10
NEXT:
Noelle

The Blood of Wolves (Korô no chi)


Sometimes you can’t tell the cops from the criminals.

(2018) Crime Drama (Toei) Kôji Yakusho, Tôri Matsuzaka, Gorô Ibuki, Yoko Maki, Yôsuke Eguchi, Hajime Inoue, Megumi, Tarô Suruga, Renji Ishibashi, Takuma Otoo, Kyûsaku Shimada, Junko Abe, Marie Machida, Takahiro Kuroishi, Eiji Takigawa, Pierre Taki, Shun Nakayama, Joey Iwanaga, Tomorô Taguchi, Ken’Ichi Takitô, Tomoya Nakamura, Katsuya, Issei Okihara. Directed by Kazuya Shiraishi

In movies there are actual touchstones; Hitchcock for thrillers, Chaplin for comedies, Ford for Westerns and Scorsese for gangster movies. Scorsese himself was influenced in turn by Asian crime dramas which in its own way is somewhat ironic and circular.

Shiraishi says that the 1973-74 five part series Battles Without Honor and Humanity was his main influence for his work but that in turn was influenced by some of Scorsese’s earlier work such as Mean Streets. This film, based on the novel of the same Japanese name, is set in Hiroshima in 1988 at the height of a gang war. The Odani-gumi Yakuza gang have been in control for 14 years; the Machiavellian leader of the Irako-kai gang (Ishibashi) has cut a deal with the volatile leader (Shimada) of the Kakomura-gumi to retake the territory the Irako-kai had lost – and then some.

Trying to stave off what would be another bloody gang war is a cop as rumpled as the packs of cigarettes he smokes incessantly Shogo Ogami (Yakusho) who has just been saddled with a naive straight arrow partner named Shuichi Hioka (Matsuzaka). They are investigating the disappearance of an accountant from a financial institution that is actually a Yakuza money laundering front. As tensions between rival gangs grow, Ogami – who never met a rule he wasn’t willing to break – utilizes informants including his best friend Ginji Takii (Taki) who is a low-level guy for the Odani-gumi to get closer to the rival gangs. Soon Hioka suspects that Ogami is protecting the Ogami as well as himself – there are rumors that the last gang war ended because Ogami, then a uniformed officer, murdered a top man for the Irako-kai. That has been neither forgotten nor forgiven.

In between chasing down sadistic Yakuza and indifferent bureaucrats, Ogami and Hioka hang out in a bar administered by the beautiful but volatile Rikako (Maki) whose past is key to the last gang war and what is leading to the next. Sake will flow and blood will spill – sometimes in buckets – in this brutal, bloody Yakuza film.

Very often during a movie there will be periods where my interest wanes and my attention will wander a little bit. Not so with The Blood of Wolves – there wasn’t a moment that my attention wasn’t focused to the goings-on onscreen. While there is a fairly large cast of characters and many are essentially disposable Yakuza foot soldiers and cops, the main characters are well-developed and especially veteran actor Yakusho deliver some marvelous performances.

As here in America, the gangster film has fallen on hard times in Japan. Once a staple of their film industry, in recent years the Yakuza film has been relegated to the periphery. This particular one is old school and has that epic quality that the best films of such genre greats as Scorsese and Coppola possessed. That doesn’t mean that there aren’t some good examples of the genre still being made in the Land of the Rising Sun and this is an example of it. It has already screened at the New York Asian Film Festival this year but as the powerhouse Toei studio is behind it there is a pretty good chance further American audiences will get a chance to see it and this is absolutely worth seeing; it is one of the highlights of the Festival this year.

REASONS TO GO: The comparisons to Scorsese are unavoidable in a good way. The story keeps you riveted to the screen. Yakusho gives a compelling performance.
REASONS TO STAY: Some of the violence may be too much for the squeamish.
FAMILY VALUES: There is a ton of brutal violence and some over-the-top gore; there is also plenty of profanity, some nudity, sexual situations and references and drug use.
TRIVIAL PURSUIT: The movie is based on a novel that is itself a fictionalized version of a  actual gang war that took place in Hiroshima and the neighboring suburb of Kure.
CRITICAL MASS: As of 7/9/18: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: The Gangster’s Daughter
FINAL RATING: 8.5/10
NEXT:
Rock in the Red Zone

Star Wars: The Last Jedi


In any Star Wars film sparks will fly and stuff will burn.

(2017) Science Fiction (Disney) Daisy Ridley, John Boyega, Oscar Isaac, Mark Hamill, Adam Driver, Carrie Fisher, Laura Dern, Andy Serkis, Domhnall Gleeson, Lupita Nyong’o, Anthony Daniels, Gwendoline Christie, Kelly Marie Tran, Frank Oz, Benicio Del Toro, Justin Theroux, Billie Lourd, Joonas Suotomo, Amanda Lawrence, Jimmy Vee, Veronica Ngo. Directed by Rian Johnson

In the annals of all things cinematic, no film franchise has ever elicited as much anticipation as the Star Wars franchise has with every film that’s come out since the first one. Say what you want about their fandom, they are among the most loyal of any fanbase for just about anything anywhere; many of its fans go back to the first 1977 film forty years before the latest one came out.

And there are no signs of the franchise slowing down anytime soon. Not only is there a standalone Han Solo film coming out this summer, but earlier this year it was announced that another trilogy has been approved by Disney (to nobody’s surprise) after the current trilogy concludes next year. Rian Johnson, director of this episode, will be overseeing it although whether that means he will be directing all three of the films, writing them or acting more like a kind of Yoda for the filmmakers who will be involved with the fourth trilogy remains to be seen.

While this is the longest of the films to date, for the most part it doesn’t seem that way thanks to incredible special effects which have become and remained the norm for the series. Like The Force Awakens there seems like a lot of story lines that were cobbled from other films in the series (a last stand on an ice planet? C’mon, guys) and elsewhere. On top of that there are all sorts of threads going on here and while they seem to reach a conclusion, it still feels like we’re slogging through story more than we should be.

But there is a whole lot to like about the movie as well. One of the main things is Mark Hamill. He has delivered one of his best performances ever and certainly his best Luke Skywalker ever. I worried early on that he would be curmudgeonly “get off my lawn” Luke for the whole movie but thankfully he shows some growth, particularly in the final act. The film ends on a grace note that is as magical a moment as you’ll find in the entire series.

There are other fine performances and storylines here but Ridley as Rey was not as compelling as she was previously. Boyega also seems to be written as kind of a one-note character. Laura Dern is a welcome addition to the Star Wars Universe, giving a performance that matches some of the veteran cast members note for note. Oscar Isaac seems to be developing into a very interesting character and the storyline with Rose (Tran) was one of the best in the film. However, I think the movie will be long-remembered for being Carrie Fisher’s last appearance as Princess Lea (Episode IX director J.J. Abrams has stated that Fisher won’t be appearing in any form in that movie).

On the other hand, there’s Snoke, the Supreme Leader of the First Order who is played via motion capture by the great Andy Serkis. When you have maybe the best motion capture performer of all time to utilize it seems a bloody shame to use so little of him. He is almost casually dispatched early in the movie which may end up being a tactical error or not. The Emperor surrogate role now falls to Adam Driver as Kylo Ren who may not be wholly evil after all as Anakin Skywalker was. But can anyone be both Darth Vader and Emperor Palpatine at once? That remains to be seen.

This is superior entertainment and helped 2017 end on a record-breaking note. While many fans sniped over some of the story points (even Hamill reportedly wasn’t happy about the direction his charcter was taking) there’s no doubt that the franchise is as healthy as it ever was. Most people reading this have likely already seen the film multiple times in the theaters and await with varying degrees of eagerness for it to become available for their home collections. Well, so is this critic.

REASONS TO GO: As always, the special effects are as breathtaking as any in the movies. The action sequences are also top of the line. Hamill delivers his best performance of the series.
REASONS TO STAY: The buildup for Snoke led to somewhat of a letdown. The story is unnecessarily convoluted and once again feels like it was borrowed from other episodes..
FAMILY VALUES: As you would expect from a film of this franchise there is all sorts of action and violence.
TRIVIAL PURSUIT: In addition to playing Luke Skywalker, Hamill also played a CGI character who can be seen putting money into BB-8 during the casino scene.
CRITICAL MASS: As of 2/1/18: Rotten Tomatoes: 91% positive reviews. Metacritic: 85/100.
COMPARISON SHOPPING: Star Wars Episode II: Attack of the Clones
FINAL RATING: 7.5/10
NEXT:
Scorched Earth

Spectre


No vehicle is safe around James Bond.

No vehicle is safe around James Bond.

(2015) Spy Action (MGM/Columbia) Daniel Craig, Christoph Waltz, Léa Seydoux, Ralph Fiennes, Monica Bellucci, Ben Whishaw, Naomie Harris, Dave Bautista, Andrew Scott, Rory Kinnear, Jesper Christensen, Alessandro Cremona, Stephanie Sigman, Tenoch Huerta, Adriana Paz, Domenico Fortunato, Brigitte Millar, Lara Parmiani. Directed by Sam Mendes

The past has a way of surfacing when we least expect it. Sometimes, it’s just a pleasant memory we’d forgotten. Other times, our sins come back to haunt us in ways we could never possibly expect.

With the carnage of Skyfall behind him (there are spoilers here if you haven’t seen that movie so quick, go see it before reading on), James Bond (Craig) finds himself in Mexico City several months later during the Dia de los muertos celebration. He is after a terrorist who has plans to set off bombs somewhere in the city, but Bond has other plans. Before sending most of the men in the room making plans to end the lives of innocents to kingdom come, he overhears plans to meet with someone called the Pale King. As is the wont around James Bond, buildings are blown up, a chase takes place through the crowded streets of Mexico City and a fight ensues on a helicopter which narrowly avoids crashing into the crowd.

The trouble is, Bond wasn’t authorized to do any of this or even be in Mexico. The new M (Fiennes) is already having issues with C (Scott), the head of MI-5 who has recently merged with MI-6 and is now in charge, and who is threatening on dismantling the double 0 program and replacing it with the Nine Eyes directive – the combined surveillance material from the nine largest agencies in the world, including the intelligence communities of the United States, Russia, China and other nations. Only South Africa remains a holdout.

Given the ruthlessness of C, it isn’t any surprise when a terrorist attack in South Africa changes their vote. These events, Bond deduces, are related to his own chase of the Pale King. After seducing the widow (Bellucci) of the assassin, Bond tracks down an old nemesis whose daughter Madeleine Swann (Seydoux) holds the key to a sinister criminal organization known as SPECTRE – and it’s mysterious leader (Waltz) who has a connection with Bond’s past – in more than one sense.

This has every element that makes Bond films so entertaining; a debonair and cool as a cucumber spy, gorgeous women, mind-blowing gadgets, absolutely amazing action and stunt sequences and exotic locations. Well, it’s missing one element – a great theme song, but Sam Smith delivered an absolutely atrocious song that may go down as one of the worst of any Bond film ever – and there have been some absolute turkeys, although the vast majority of Bond themes have been fabulous.

Craig in his fourth film inhabits the role, and while he is contracted for a fifth film (which the ending sets up very nicely), he has said in interviews that he wouldn’t mind finishing out his run here. I think he may want to rethink that; this isn’t his best performance as Bond (Skyfall is) and he might want to go out on a higher note than this.

Part of the problem is similar to what plagued Quantum of Solace – it simply doesn’t measure up to the high bar set by the film before it. While this movie is much better than Quantum, it’s also no Skyfall and that isn’t a knock at all; Skyfall is in my opinion second only to Goldfinger in terms of great Bond movies. Sacrilege to some, I grant you, but that’s how I see it.

While Craig is ice cold through most of this, Waltz as the villain whose name I won’t reveal here is simply put the best villain of the Craig era and maybe the best other than Auric Goldfinger in the whole franchise. Waltz as…he who shall not be named….is as urbane as Bond, has a deadly edge to him and is certifiably insane, but not in a “Look at me I’m Napoleon” manner but in a quiet, serious “I’m going to do something spectacularly evil” way. You have no doubt that Waltz’ character is capable of conjuring up absolutely horrific mayhem and is quite willing to see it through.

We get to explore Bond’s relationships with his team, mainly Whishaw as Q, Harris as Moneypenny and Fiennes as M. There is a cameo by Judi Dench as the previous M whose posthumous message sends Bond careening off to Mexico, and we get a sense of Bond’s loyalty. He doesn’t trust anyone really, but one senses he trusted M – and not the new one, necessarily.

The stunts here are as good as ever – the Mexico City sequence is worth the price of admission alone – and while the gadgets aren’t as gee-whiz as in past years, the best line of the movie comes when Q hands Bond a watch and Bond asks “And what does this do?” Q responds with a droll “It tells the time.”

The movie feels like it’s cramming a little bit too much plot in; I don’t know that we needed to go all over the globe to finally end up in futuristic volcanic lair that we don’t really get to see much of but is apparently immense. They had to conjure up the largest explosion in movie history in order to…well, let’s just say that it doesn’t end He Who Shall Not Be Named’s nefarious plans.

Don’t get me wrong – this is thoroughly entertaining and certainly will keep Bond fans more than happy, although the critical reaction has been disappointing. I do hope Craig does do one more film and finishes his time in the franchise on a better note than this. It’s a good movie, but not a great one. I think Craig has one more great Bond film in him.

REASONS TO GO: Terrific action sequences. Waltz is the best villain of the Craig era. Continues the return to the iconic 60s Bond films.
REASONS TO STAY: A little on the busy side. Sam Smith’s song is terrible.
FAMILY VALUES: Plenty of action violence, some disturbing images, sexual innuendo and some mildly foul language.
TRIVIAL PURSUIT: At age 50 during filming, Bellucci is the oldest Bond girl to appear in the franchise by twelve years (Honor Blackman was 38 when she filmed Goldfinger).
CRITICAL MASS: As of 11/15/15: Rotten Tomatoes: 63% positive reviews. Metacritic: 60/100.
COMPARISON SHOPPING: You Only Live Twice
FINAL RATING: 7/10
NEXT: Veteran

The Graduate


So here's to you, Mrs. Robinson.

So here’s to you, Mrs. Robinson.

(1967) Comedy (AVCO Embassy) Dustin Hoffman, Anne Bancroft, Katherine Ross, William Daniels, Murray Hamilton, Elizabeth Wilson, Buck Henry, Brian Avery, Walter Brooke, Norman Fell, Alice Ghostley, Marion Lorne, Eddra Gale, Richard Dreyfuss, Elaine May, Mike Farrell, Kevin Tighe, Ben Murphy, Harry Holcombe, Noam Pitlik, Elisabeth Fraser, Lainie Miller. Directed by Mike Nichols

With Mike Nichols, one of the more acclaimed directors of the 60s and 70s, passing away recently it behooves the critic to look back at some of his best films and this one, his second feature, is considered by many to be his best which is a difficult choice to make when you consider you also have Who’s Afraid of Virginia Woolf, Carnal Knowledge and Silkwood to choose from.

Benjamin Braddock (Hoffman) has just graduated from a prestigious Northeastern university and like many 21-year-olds then (and now) has not a clue where to go from here. After a party thrown by his parents to celebrate his graduation, he drives the wife of his father’s law partner, Mrs. Robinson (Bancroft) home where she tries to seduce him. A little unnerved, he turns her down and scurries home.

Afterwards, he reconsiders and awkwardly arranges a hook-up at a local hotel. The affair continues on through the summer; Mrs. Robinson just in it for the sex. Mostly though Benjamin just drifts in the pool at home, not able to make a decision on graduate school or heading directly into the workforce. He’s not even looking to date anyone, although Mr. Robinson (Hamilton) and Ben’s dad (Daniels) push him into dating Elaine (Ross), the daughter of the Robinsons. Benjamin is at first reluctant and does everything possible to sabotage the date but realizes that he was unkind to the poor girl who ran out of the strip club he took her to in tears. He tries to make it up to her and the two end up connecting and Benjamin feels like he might be falling in love.

Mrs. Robinson is NOT pleased and wants him to cut things off with her daughter. Benjamin has no intention of doing so, even though Mrs. Robinson threatens to come out with their affair so Benjamin heads this threat off at the pass and tells Elaine about it. This does not go well and she ends up fleeing back to Berkeley in the fall.

Benjamin, thoroughly besotted at this point follows her there and tries to explain what happened. That’s when Mr. Robinson gets involved, letting Benjamin know that their relationship is over and he will press charges if he continues. He also lets him know he is pulling Elaine out of Berkeley and marrying her off to Carl (Avery), a high school sweetheart leaving Benjamin at a crossroads.

The American Film Institute lists this as the 17th best movie ever made which is pretty impressive when you consider that well more than 100,000 films have been made all time just in the United States alone. Nichols established himself as one of the finest film directors of all time with his first two movies (Virginia Woolf was his first) after making his name as a theatrical director, which he returned to regularly over his long career.

In many ways this was a counterculture film in the sense that it looked at the hypocrisy of American culture and examined the angst of the younger generation which was at the time beginning to rise up and rebel against the norm. When placed in the context of its time, this was a monumental touchstone to the film industry who began to break away from the strictures of the studio system and were making movies that reflected the growing unrest and taking artistic and creative risks that would redefine the medium in the 70s and set the stage for a new golden age of movies.

Hoffman was not well known when he was cast for the part; his audition consisted of a love scene with Katherine Ross which Hoffman, who had never done one, felt awkward about. It was that awkwardness that convinced Nichols to cast Hoffman, as he was looking for a kind of underdog quality to Benjamin. Hoffman’s performance was a career-maker; it established him as a major new talent and led to one of the more interesting acting careers in the history of Hollywood. Bancroft also turbo-charged her own career, playing an older woman even though she was merely 35 at the time. Her performance here is considered one of the finest of her career.

And we can’t discuss The Graduate without talking about the soundtrack. “Mrs. Robinson” by Simon and Garfunkel was one of the greatest songs ever written for a movie and plenty of other Simon and Garfunkel songs pepper the soundtrack, most notably “The Sounds of Silence.” Few films have ever utilized the songs of a single artist the way this one did and as well.

This is definitely a movie of the 60s and while some of the visual and dialogue references are somewhat dated, the movie stands up surprisingly well. Even today the affair between Mrs. Robinson and Benjamin can seem a little bit daring. One wonders how the movie would have fared if it had been made in 2014 and released now (as a matter of fact this Tuesday is the anniversary of the movie’s release). Something tells me that modern audiences would have taken to it as much as the audiences of its time did (see the Box Office Performance if you don’t believe me).

The Graduate is a bona fide classic and should be required viewing for all film students and film buffs alike. There are many transcendent moments in the movie – the climactic scene in the church is one that I can watch over and over again, for example. While the movie may feel a bit too sophisticated for some, it nonetheless remains a movie whose greatness cannot be denied.

WHY RENT THIS: Bancroft and Hoffman both set the bar high. One of the best films about sexual politics ever. One of the greatest soundtracks ever. Holds up pretty well approaching 50 years later.
WHY RENT SOMETHING ELSE: A little dated in places.
FAMILY VALUES: Some adult themes and situations, sexual situations and a bit of mild foul language.
TRIVIAL PURSUIT: Faye Dunaway was offered the part of Elaine but turned it down in favor of Bonnie and Clyde.
NOTABLE HOME VIDEO EXTRAS: There is a one-on-one interview with Dustin Hoffman and an extensive six-page booklet with notes and photos from the film. The 40th Anniversary edition (from 2007) includes the Hoffman interview but oddly not the booklet. It does contain a featurette on how the movie influences modern directors, a four-song CD with the Simon and Garfunkel songs from the movie and finally, a featurette on the seduction scene and what prompted the characters to do it.
BOX OFFICE PERFORMANCE: $105M on a $3M production budget.
SITES TO SEE: Netflix (DVD/Blu-Ray rental/Stream), Amazon (Stream only), Vudu (buy/rent), iTunes (buy/rent), Flixster (not available), Target Ticket (buy/rent)
COMPARISON SHOPPING: Goodbye, Columbus
FINAL RATING: 10/10
NEXT: From Russia With Love

The November Man


One Bond reference too many.

One Bond reference too many.

(2014) Spy Action (Relativity) Pierce Brosnan, Luke Bracey, Olga Kurylenko, Bill Smitrovich, Amila Terzimehic, Lazar Ristovski, Mediha Musliovic, Eliza Taylor, Caterina Scorsone, Akie Kotabe, Will Patton, Patrick Kennedy, Dragan Marinkovic, Ben Willens, Milos Timotijevic, Dragan Dvojakovic, Tara Jervrosimovic, Nina Mrdja, Milutin Milosevic, Lena Milan. Directed by Roger Donaldson

In a recent interview, Liam Neeson, in describing his character from the film A Walk Among the Tombstones, declared that people need a hero who is a bit of a loner; one who has one foot on the side for justice and one foot on the side that is lawless. Our heroes can’t be completely pure, otherwise we have trouble relating to them.

Peter Devereaux (Brosnan) is an operative for the CIA, a veteran and crafty one at that. His partner and protégé is David Mason (Bracey), a brash and arrogant sort who doesn’t always listen to those with years of experience on him. When on a mission to protect an American ambassador targeted for assassination, Mason’s inability to follow orders ends up with an innocent child getting killed in the crossfire. Devereaux takes early retirement soon after that.

He is running a small bar and cafe in Lausanne, Switzerland when his old friend and handler for the CIA Ray Hanley (Smitrovich) turns up, telling him that a double agent buried deep in the employ of Arkady Federov (Ristovski), a war hero from the Chechnyan civil war and favored to become the next Russian president, has discovered something big and needs to be pulled out. However, Peter is the only agent she trusts to get her out of Russia.

So, reluctantly, Devereaux heads to Moscow to pull out the secretary Natalia Ulanova (Musliovic) and get the flash drive with her information on it. However, things go sideways quickly and Russian security is hot on their tails. A CIA higher-up, Perry Weinstein (Patton) gives the order to terminate the asset. The woman is then shot by a company sniper.

Furious, Devereaux gives chase to the assassins and takes out most of the team. When he discovers who the trigger man is, he is momentarily shocked and walks away. The man who killed the asset – David Mason.

Now, Devereaux and the CIA are in a race to find the one connection that can take down Federov – a girl named Mira Filipova (Mrdja). The girl however seems to have completely disappeared off the face of the Earth – the only link to her is Alice Fournier (Kurylenko), the director of a refugee agency. Luckily, Devereaux gets to her first. However, now the race becomes a game of cat and mouse between Devereaux and the CIA. Just who the cat is and who the mouse is in the equation is anyone’s guess.

Based on the seventh in a series of novels by Bill Granger written back in 1979 in this specific case, the movie combines the action of a Bond film, the realistic spycraft of Le Carre and even elements of the Bourne series. That kind of leaves one with a been there-done that feel pretty much throughout.

The saving grace is Brosnan who steps into the shoes of a superspy and finds them a comfortable fit. He is just as suave and sophistication as he was in his heyday as Bond nearly twenty years ago. He dominates the screen and adds a hint of sadness and weariness to the character that was absent from Bond. Brosnan has done some really good acting jobs in films like The Ghost Writer since hanging up his Walther PPK and there is a level of depth here that wasn’t really necessary in the Bond films but adds additional flavor to the role. It might be the best action hero performance of the year. Devereaux is also far more ruthless, willing to slice open the femoral artery on an innocent girl in order to get in the head of Mason.

The action itself is pretty old school with plenty of car chases and Devereaux being chased by dozens of lethal, highly trained agents but getting away with some ease. He has survived as long as he has by always being a step ahead of his quarry or his pursuers and that aspect of the character looms large throughout the film.

The movie seems anachronistic at times, with modern cutting-edge technology on the one hand, but cell phones with flip cases – which have been out of style for almost a decade now – are everywhere. I’m wondering if that is what is new and cutting edge in Belgrade, where this was mostly filmed. I think not however and no mention is ever made of the action taking place in 2005 or thereabouts which it sometimes seems to be.

There are plenty of twists and turns as you’d expect in an espionage thriller, a little too many for my taste. While I understand the need to keep your audience guessing and as off-balance as the filmmakers can make them, the movie seems overly complicated which it really doesn’t need to be. A story like this can be told without quite so many moving parts and still be quite effective.

As action and espionage thriller material goes, well, it’s what you’d expect to find in the dregs of summer. It’s not anything that is going to make you want to run right out to the theater, but it isn’t anything that will make you regret being there either. It is nice to see Brosnan in the type of role that is right in his wheelhouse and I can’t help hope that there are more roles like it in his future, although he is getting on a bit. Still, while the Devereaux series doesn’t seem to be likely to be continuing any further given the anemic box office for this film, the acclaim for Brosnan makes me think that there may be other producers perhaps ready to hand over to Brosnan the types of roles that Neeson has been getting for the past decade now.

REASONS TO GO: Brosnan is an old pro at these sorts of movies. Some fairly nifty old school action scenes.
REASONS TO STAY: Seems oddly dated. Plot unnecessarily over-complicated.
FAMILY VALUES:  There is plenty of violence, some of it brutal, as well as a sexual assault. There’s a good deal of foul language, some sexuality, brief nudity and one scene in which drugs are used.
TRIVIAL PURSUIT: When we glimpse Devereaux’s file, the birthday given for Devereaux is the same as Brosnan’s actual birth date. Also, along with Brosnan, Kurylenko also has Bond experience in Quantum of Solace.
CRITICAL MASS: As of 9/21/14: Rotten Tomatoes: 35% positive reviews. Metacritic: 38/100.
COMPARISON SHOPPING: Goldeneye
FINAL RATING: 5.5/10
NEXT: Life After Beth