Category Archives: Movie Reviews – C

2015 Blind Spot Series: “The Champ”

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CHAMP POSTER

Hidden under the guise of a ‘down on his luck boxer’ movie lies one of the most vibrant and authentic father/son relationships ever put on film. It’s this relationship that is at the heart of the 1931 film “The Champ”. Throughout the decades to follow a number of movies would follow a similar blueprint in exploring the father/ son dynamic. “The Champ” is unashamedly melodramatic, but it’s very effective thanks to a strong script and two fantastic lead performances.

The Best Actor Oscar went to the film’s star Wallace Beery who plays a washed-up former boxing champion named Andy Purcell. He lives in a small run down apartment in Tijuana, Mexico with his adoring eight-year-old son Dink (played by Jackie Cooper). Andy’s self-destructive behavior keeps him from making things better for himself and his son. Every time an opportunity comes his way Andy finds a way to squander it and it could eventually cost him what he holds dearest.

 

Champ1Frances Marion’s story (which also won an Oscar) paints a vivid picture of the unwavering confidence and blind love that small children have in their parents. Dink sees his dad as a larger than life superhero of sorts. Yet he is constantly let down by his father’s drinking, gambling, and carousing. Jackie Cooper was such a treat. Watching him deliver young Dink’s roller coaster of emotions was a surprise. He avoided most of the traps that many golden era child actors often fell into and gave the film a ton of heart.

Cooper had caught attention with his work on “Our Gang”. Hal Roach, seeing Cooper as a potential film star, sold Cooper’s contract to MGM. “The Champ” soon came afterwards and it marked one of several collaborations Cooper would have with Beery. The two had a charming and believable chemistry which is a surprise considering that Beery made their off camera relationship difficult.

 

Champ2At the time this film was a part of Beery’s career resurgence. He had been a popular silent film star but had seen his star fade with the influx of ‘talkies’. “The Champ” solidified his return and spotlighted his knack for deeper and more dramatic performances. Beery gives us a character that is hard to like yet there is something about him (aside from our affection for Dink) that makes us want him to turn things around. Beery grounds Andy in reality which connects us to him and his circumstances.

“The Champ” is heavy on melodrama and some could argue that it milks emotions dry. I think all of that works because we never lose our investment in the two lead characters. Beery and Cooper drive the film which is full or heart, humor, and authenticity. It’s a very straightforward and unashamed look at one of the most important relationships we can have. More importantly, the movie doesn’t just look at it. It presents it in a way that touches the audience deeply. That in itself is an accomplishment.

VERDICT – 4.5 STARS

REVIEW: “Camera Buff”

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Camera Buff poster“Camera Buff” is a 1979 film from Polish director Krzysztof Kieslowski about an eccentric and reserved man and his infatuation with his newly purchased movie camera. Jerzy Stuhr brilliantly plays Filip, a loving and content husband who spends two weeks worth of salary on a small 8mm video camera in order to film his new baby girl. Filip is a nervous, circumspect man who you feel is perfectly happy with his quiet and confined life.

But things change when a local Communist Party boss assigns him the task of filming a celebration at the plant where he works. Filip reluctantly agrees. His film is deemed a success and eventually is entered into a competition at an amateur filmmaker’s festival where it wins third place. Filip’s films become his obsession and he grows impervious to the destructive effects that his new addiction is having on his crumbling marriage. He also fails to understand the serious consequences of unbridled enthusiasm.

In “Camera Buff”  Kieslowski touches on numerous weighty subjects including the oppressive nature of communism. The film takes place in Communist Poland sometimes during the 1970′s and you can really sense the heavy authoritarian feel. From the cinematography to the conversations, I really felt as if there was a bigger, ever-present enemy lurking in the background. Not just an enemy to the people but to their freedom of creation and expression. It’s brilliantly realized.

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Kieslowski also does a remarkable job showing the power of filmmaking. For example, Filip makes a film about a “dwarf” who has been working at the factory for years and is nearing retirement. We see the power of film as the man tells Filip how deeply moved he was by it. One of Filip’s neighbors seriously struggles with the death of his mother but recalls that Filip filmed him and his mom in a happier time. Filip shows him the film and it gives him a much needed level of comfort and peace. These things fuels Filip’s love for filming but it also clouds his vision and keeps him from seeing the damage it’s doing to his home life.

“Camera Buff” deals with an assortment of other themes and does so very effectively. As the film progressed, it had me wondering if I was witnessing a young filmmaker realizing and finding his dream or watching an obsessed husband and father heading down a path of self-destruction. The movie is marked by an amazing performance by Stuhr, a stimulating story, and strong direction, both handled by Kieslowski. It doesn’t shy away from emotional or even provocative material and is nearly perfect in it’s execution. This is a magnificent film and a nice introduction to Kieslowski’s work for anyone who hasn’t seen his pictures.

VERDICT – 4.5 STARS

The Public Movie Defender – “Clash of the Titans” (2010)

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MOVIE DEFENDER

The idea behind The Public Movie Defender is to take up the cause of a particular movie that I believe is better than the majority of reviews it has received. These are movies which I feel are worth either a second look or at least a more open examination considering the predominantly negative opinions of them. The films chosen are ones that I like so therefore I’m taking their case and defending them before the court of negative opinion. Let the trial begin…

DEFENDANT #3 – “Clash of the Titans” (2010)

CLASH POSTERWhen I first came up with the idea for this fun little thing called The Public Movie Defender there were several movies that immediately came to mind for inclusion. Some are personal favorites that I am deeply passionate about and others are simply movies that I feel are good yet that get pounded a bit unfairly. Some aren’t that difficult to defend while others are a REALLY hard sell. 2010’s remake of “Clash of the Titans” is one of those hard sells. And while I wouldn’t categorize it as a personal favorite, I do think it’s a good movie that doesn’t deserve the level of disdain it has received.

“Clash of the Titans” had its work cut out for it. It’s a remake of a cult classic from 1981 that featured a wonderful fantasy adventure as well as the final work of stop-motion special effects master Ray Harryhausen. This time advanced makeup and a ton of CGI would serve to bring the world to life and that in itself was quite the task. While my deep affection for Harryhausen’s brilliance trumps the new computer effects, this “Clash of the Titans” features some fantastic effects that easily overshadows the few visual hiccups that we get.

And then there’s the story. There were two different approaches that the remake could have taken. The film could have taken a grittier and more serious look at the material or it could try and capture many of the nostalgic elements of the original. By that I mean the over-the-top language, the massive cheese, the classic fantasy movie plot dynamics. The filmmakers made a deliberate choice to modernize the story a bit but also tip their hat and incorporate a lot of these late 1970’s and 1980’s approaches to fantasy storytelling.

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I think this is what alienated some people. I think this clashed with people’s familiarity with modern filmmaking and current cinematic storytelling that we get today. Personally I ate it up. The stilted and uber cheesy dialogue along with several old school plot mechanics brought back memories of the “Sinbad” films, “Ice Pirates”, “Conan”, and “Kull”. These are films that I grew up watching and I clearly see how the movie uses and embraces them. The great actors Liam Neeson and Ralph Fiennes ham it up as Zeus and Hades. Are they cheesy? Yes, more so than a pizza. But they are supposed to be. I completely understand if that doesn’t work for some people, but I don’t see it as a deep flaw in the movie itself. I responded to it with a nostalgic smile and appreciation.

Now it’s not like everything in the movie imitates the original. A tightly shorn Sam Worthington replaces a mop headed Harry Hamlin as Perseus. Some have had issue with Worthington’s character and performance. Not me. I like this grittier and more solemn turn. Considering all that his character faces I can understand him being a bit angry and coarse. I think Worthington brings a toughness and physicality to the role that I welcomed. Add to that an interesting and fun supporting cast of traditional survival-fantasy characters (again a tip of the hat to those old-school flicks). None are better than the great Mads Mikkelsen as the gruff and tough Draco, captain of the King’s Guard.

Clash of the Titans

The movie features the classic fantasy tale. A quest is in place which takes Perseus and crew on a ‘who will survive’ adventure. Along the way they face threats such as witches, Medusa, and of course giant scorpions. And what a scene it is when the giant scorpions appear. Incredible visuals and a beautifully filmed sequence. And then there’s the Kraken. There’s perhaps nothing in this film ridiculed more than Liam Neeson’s command to “Release the Kraken”. And while I wouldn’t call it the equivalent of a great thespian’s oration, it’s not that bad of a line. Sure it’s absolute cheese, but the mockery was really fueled by the the line’s use in the trailers and TV spots. The Kraken itself looks cool and Neeson’s over-the-top unleashing fits in perfectly.

I believe that your opinion of this film will be dictated by expectations and preferences. It’s worth recognizing what the filmmakers are doing and the type of movie they’re making. I think they set a cool nostalgic target and hit it dead center. Now to be clear, I’m not saying this is a perfect film. But I really like what they did. It took me right back to those movies that I would lay in the floor and watch on Saturday afternoons. That made this a fun and entertaining experience and when considering the film in that light I see it as a success. The sequel was a massive disappointment, but for my money “Clash of the Titans” was a blast.

VERDICT: “CLASH OF THE TITANS” – 4 STARS

REVIEW: “Casablanca”

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CASAposter

How is it that I have been movie blogging in some fashion for over three years yet I’ve never reviewed my favorite movie of all time? Well it’s time to remedy that. That opening line probably spoils any mystery about my final score, but that’s perfectly okay. To me “Casablanca” is a perfect film and I owe a lot to it for broadening my appreciation for classic cinema and for introducing me to my favorite actor of all time – Humphrey Bogart.

The world of cinema has long regarded “Casablanca” as a true classic. Often times I rebel against that kind of establishment recognition but in some cases they get it right. This is one of those instances. “Casablanca” is a classic in every sense of the word. Whether your talking about the flawless direction from Hungarian born Michael Curtiz, the brilliant screenplay brought together by a number of people including brothers Julius and Philip Epstein, Casey Robinson, and Howard Koch, or the spectacular cast led by the cool confident Bogart and the stunningly beautiful Ingrid Bergman. “Casablanca” not only has all of the ingredients for a true classic, but it doesn’t waste any of them.

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Warner Brothers didn’t have very high expectations for the film. In fact it was rushed through to its release in order to capitalize on the North African campaign of World War 2. The initial response was lukewarm but the film would quickly prove itself and ended up winning three Oscars including Best Picture. Over the years the appreciation for the film has only grown and with good reason. It truly is something special. Romance, patriotism, humor, suspense – “Casablanca” has it all.

Bogart leads the way as the complex Rick Blaine. He owns and runs Rick’s Café Américain, a popular nightclub in 1941 Vichy controlled Casablanca. He keeps his business flourishing during a tumultuous wartime by being neutral and “sticking his neck out for nobody”. He’s surrounded by a great assortment of supporting characters, many played by some of Hollywood’s best at the time. Claude Rains received an Oscar nomination for his turn as a corrupt Vichy Captain with a special interest in Rick. The great Sydney Greenstreet plays a rival club owner. Consummate character actor Peter Lorre plays a crook who is in way over his head. And there’s Dooley Wilson as Rick’s loyal friend and club piano player Sam. Fun fact – Dooley was a drummer and didn’t know how to play the piano at all. Yet his character’s singing and playing of “As Time Goes By” is unforgettable.

But Rick’s well controlled life takes a dramatic turn when the former love of his life Ilsa (Bergman) shows up at his club. Ilsa’s husband Victor Laszlo (Paul Henreid), a well known Czech resistance leader and fugitive from the Nazis, is with her. They seek Rick’s help to get out of the country before the Nazi Major Strasser (Conrad Veidt) catches up to them. Rick is reluctant due to the bitterness of having his heart broken and his desire to maintain his establishment’s neutrality. Does he risk it all for the woman he once loved?

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“Casablanca” captures and utilizes so many things well. There’s a high level of suspense. There’s a touch of humor. There is a great realization of wartime tensions. And right in the middle of it all is what may be the best romance in cinema history. Bogie and Bergman have a sizzling chemistry and the looming threats and high stakes all around them adds such a pop to their relationship. Bogie is a hurt man hiding behind a convincing facade of tough coolness. Bergman is brave but torn and she was never more beautiful than in “Casablanca”. It’s impossible not to be completely absorbed in these two and the intense circumstances surrounding them.

There isn’t a bad performance in “Casablanca”. There isn’t a wasted line or wasted shot. There’s never a down moment. It’s pacing its absolutely perfect. The camera work and stage design is impeccable. The romance simmers. The story is smart and fluid. I could go on and on. As I said, “Casablanca” is rightly called a classic. It accomplishes so much that modern movies with their massive budgets and greater technologies seldom lay hold of. It’s beautiful storytelling with one memorable line after another and a Bogart performance that forever etched his name in film history. It’s my favorite movie and I can never see it enough.

VERDICT – 5 STARS

5 STARSs

5STAR K&M

REVIEW: “Captain America: The Winter Soldier”

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CAP POSTER

It’s easy to get lost among the huge and larger than life Marvel movie properties such as Thor, Iron Man, and The Avengers. Such was the case with Captain America and his 2011 film “The First Avenger”. Now don’t misunderstand me, Cap’s first solo movie project was still a hit and it raked in just over $370 million at the box office. But it is rarely mentioned in the conversations about Marvel’s growing cinematic landscape. Personally I loved “The First Avenger” and its distinct and unique flavor. Well obviously its success means a second film will follow, but unlike many sequels Cap’s new chapter legitimately excited me.

“The Winter Soldier” was an amazing storyline that ran through the Captain America comics starting in 2005. It was written by Ed Brubaker and drawn by the amazing Steve Epting. The two developed an engrossing story that has become one of my favorite comic book storylines ever put to print. Screenwriters Christopher Markus and Stephen McFeely desperately wanted to adapt Brubaker’s story. They ended up taking key elements of it, added a few slick and interesting twists, and “Captain America: The Winter Soldier” was born.

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The first Cap film carved out its own little spot among the Marvel movies. It took place predominantly in the past, namely during World War II. While those connections are still present, this film is a modern day story. Chris Evans reprises his straight-laced Steve Rogers persona. He is still very much a man from the past struggling to find his place in the modern world. Whether it’s technology and pop culture or the complex attitudes towards global crisis and geopolitics, Rogers often finds himself at odds with the situations around him. The film does take some time with that but ultimately this is an old-school action flick that hearkens back to the old espionage pictures of old.

Cap is still working for S.H.E.I.L.D. under director Nick Fury (Samuel L. Jackson) and alongside Natasha (a.k.a. Black Widow) played by Scarlett Johansson. The relationships between these three characters remain compelling. The contrasts between Steve and Natasha are sharp and always evident. Natasha and Fury have a relationship shrouded in secrecy. Steve and Fury are on the same side but are often at odds over what is the right approach. All of these things are stressed more when S.H.E.I.L.D. is compromised by a rogue force led by a mysterious assassin known only as the Winter Soldier (Sebastian Stan). Several twists and turns follow, threats come around every corner, and the stakes shoot through the roof.

Director Joe Johnston did a fine job with the first film but I was blown away by what directors Anthony and Joe Russo give us in the sequel. The brothers, mostly know for their work in television, rarely take their feet off the accelerator yet they never let their film become a deluge of pointless, mind-numbing action. The battles always feel important and the consequences are dire. But they also look amazing. I can’t tell you how many times I shuffled in my seat with excitement over what I was seeing on the screen. The camera constantly grabs one beautiful angle or presents one breathtaking sweeping shot. It’s some of the best filmed action I have seen in years. And it’s also a case where the 3-D works pretty well. I wouldn’t go as far as to say you must see it in 3-D, but I certainly didn’t mind that I did.

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The action also goes back to days when we weren’t beholden to CGI. Now obviously there is plenty of CGI in this picture, but where it separates itself from most other Marvel movies is in its lack of dependence on the technology. Much of the action focuses on great hand-to-hand combat, some amazing high-speed chases, and a lot of classic-styled stunt work. The entire visual presentation is stunning and it matches or exceeds anything Marvel has done to this point.

But the looks of the film would amount to little if not for Markus and McFeely’s addictive story. They frame all of their action around cool spy movie and conspiracy thriller angles instead of the basic superhero formulas we are used to seeing. Equally surprising is the richness of character development which provides more depth to everyone on screen. Even more, the Winter Soldier is a fantastic villain. Not only is he incredibly cool and a perfect visual representation of his comic book counterpart, he also isn’t a faceless enemy. He may steal scenes with his physical presence, but he also brings a gravity to the situation that amps things up. The pacing is crisp, fluid, and never lulls. The tone is more serious, yet the sprinkles of humor are funny and well timed. It’s simply a well-oiled and well-conceived script that dramatically changes the landscape for upcoming Marvel films.

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Then there is the acting. Over time Evans has clearly gotten better as an actor and he completely embodies the role of Steve Rogers. Jackson and Johansson have also fallen right into their characters and their comfort level is obvious. It was great to see them both in bigger and more expanded roles. As I mentioned, Sebastian Stan is a scene stealer and my excitement level rose whenever he would appear. Also new to the franchise is Robert Redford who plays a S.H.E.I.L.D. senior head. Redford starred in a number of conspiracy films back in the 1970s so this is familiar territory for him. Anthony Mackie is also a lot of fun playing Sam Wilson who Cap fans know as Falcon. There were several other small supporting characters that caused my inner comic book fanboy to smile.

It may be easy for some people to dismiss this film but to do so would be criminal. Sure it’s a big, loud popcorn picture but I don’t mind that at all especially when the film is this exciting and entertaining. I was expecting big things from this movie, but I didn’t expect to be blown away by its craftsmanship and its storytelling. It takes what we love about superhero films, tosses in loads of bods to comic fans, and mixes it all with good old-fashioned filmmaking and the results are impeccable. I love this movie and it very well may be Marvel’s best film to date. More than that, It’s one of the most exhilarating action pictures I’ve seen in a long time.

VERDICT – 4.5 STARS

REVIEW: “Cat on a Hot Tin Roof”

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CAT POSTER

After a relatively slow start to his career, playwright Tennessee Williams struck gold with a series of hits that captivated audiences on both stage and big screen. “Cat on a Hot Tin Roof” is one of those hits. The film adaptation is loaded with Williams’ signature sizzling dialogue and rich, complex characters. A brilliant cast including Elizabeth Taylor, Paul Newman, Burl Ives, and Jack Carson spark this story of fractured relationships, family dysfunction, and the word of the day mendacity. It’s sharp, edgy, and chock full of fiery energy.

Williams’ play first hit Broadway in 1955 and it would go on to win the Pulitzer Prize for Drama. The film opened in 1958 and was a big success. Richard Brooks co-wrote and directed the adaptation which (as was usually the case) slightly dulled the edges of the play in order to adhere to the Motion Picture Code. Williams didn’t like the changes, so much so that he often pointed people away from the film version. Many of his plays took from his own tumultuous and contentious life making them deeply personal but sometimes turgid and overblown. Judging the movie on its own merits, I find Brooks’ version to be overflowing with great scenes, a perfectly captured setting, and dialogue that pierces with shards of realism.

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With the exception of two brief scenes the entire story takes place on a huge family estate in the Mississippi Delta. It places us with the Pollitt family, an assortment of deeply flawed and sometimes contemptible people each with more emotional baggage than any world traveler. The family patriarch is Big Daddy (Ives) who may be struggling with some life-threatening health issues. His two sons and potential heirs each have their own problems. Brick (Newman) is a raging alcoholic who hobbles around on a crutch after breaking his ankle pulling a drunken stunt. His relationship with his wife Maggie (Taylor) is as stormy as the Deep South weather. The other son Cooper (Carson in what turned out to be his final role) is more interested in his inheritance. Spurred on by his manipulative wife Mae (Madeleine Sherwood), Cooper is the quintessential brown-noser who hopes to be first in line for his daddy’s fortune.

There are so many complicated family dynamics at work. Brick and Maggie have a cold and bitter relationship that stems from harbored anger and pain. There is clear animosity between the brothers which is often fueled by their boisterous wives. There is also a disconnect between a wealthy and success-driven father and the two sons that simply wanted his love. All of these conflicts and others are woven together to create the stinging, vitriolic fabric that makes up the story. Amazingly the various family angles never conflict and there is almost a twisted poetic quality to the various contentions and quarrels.

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The story is fantastic but it’s the cast who makes it simmer. Elizabeth Taylor was never more beautiful and her sultry natural beauty and Southern charm is ever-present. Paul Newman is perfect as the angry and closed-off Brick. Surprisingly he was not the first choice. Robert Mitchum, Montgomery Clift, and even Elvis Presley all turned down the role. Carson plays a character type that he was well known for and Sherwood is convincing as the hateful and conniving Mae. But I haven’t even mentioned Judith Anderson who plays Big Daddy’s wife Big Mamma (of course). She lives in a delusional bubble where she pretends everything with her family is okay. Anderson is wonderful and many times she is the glue that binds the various fits of dysfunction we see.

Brimming with Southern personality, big but fitting performances, and a script with a bite, “Cat on a Hot Tin Roof” is as mesmerizing today as it was over 50 years ago. Perhaps some of the edge is missing from the Broadway production, but I found it to be a delight. It’s a beautiful cinematic creation that still proudly shows its stage show roots. And it only gets better when you consider the phenomenal cast lead by Elizabeth Taylor and Paul Newman. For some it falls short of a more popular Tennessee Williams adaption “A Streetcar Named Desire”. For me this film stands right there with it.

VERDICT – 4.5 STARS