Tag Archives: movie

“LAST NIGHT” – 2 1/2 STARS

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“Last Night” is more of a relationship drama than a romance movie. First time director Massy Tadjedin also wrote this story of a seemingly happily married couple whose relationship will be tested during a 24 hour period apart. It’s a story that does supply some good moments and asks some good questions. But it also lacks the life and energy needed to sell these characters and it’s never quite as provocative as it tries to be.

Keira Knightley and Sam Worthington play Joanna and Michael Reed. The couple are working on their third year of marriage and seem to have found their place in New York City. But Joanna becomes jealous when she sees Michael spending a suspiciously large amount of time with a beautiful colleague of his (Eva Mendes) at a company party. At home, later that night, we see the couple argue over this but make up in time for Michael to head off on a brief business trip in Philadelphia. While he’s gone Joanna runs into old flame Alex (Guillaume Canet) who she agrees to meet for a drink later. Meanwhile Michael finds himself tempted in Philly by the same colleague that stirred his wife’s jealousy.

The movie evolves into a will-they-or-won’t-they-cheat narrative driven by the lead characters’ insistence on putting themselves into the worst possible situations. Granted, we the audience are meant to suspect that this allegedly happy marriage is really built on a weak foundation which is exposed by their behavior. But I kept shaking my head wondering why anyone would continue to put themselves in such positions to fall unless they just weren’t very nice people. And that’s an issue I had with “Last Night”, none of the main characters are all that likeable and in a story like this it’s nice to have someone to root for.

The film does keep a certain level of intrigue as both Joanna and Michael repel the temptations they face only to put themselves back in the line of fire. I was genuinely interested in whether or not the couple could weather the storm and resist what could potentially destroy their marriage. But my interest wasn’t sparked by any direct connection to the characters. In fact, it’s really hard to connect to these characters. Knightley certainly gives the best performance in the film but even she is let down in spots by the material most notably with this past relationship with Alex. It just doesn’t sell. I actually like Sam Worthington but he seems out of his element here. He sometimes comes across as wooden and emotionless which can hinder a story like this..

“Last Night” has good intentions. Massy Tadjedin does ask good questions about jealousy, devotion, and marriage. It’s seems to make the good point that strong marriages aren’t built on weak foundations and even what looks like a good relationship can crumble if it’s not intended to be. But unfortunately the movie doesn’t give us the characters we need to really emotionally invest in this type of story. We get hints of genuineness and there are some scenes that feel true. But it also sometimes feels lifeless and mundane. “Last Night” is a nice first effort from Tadjedin who gets some things right. But a character-driven film requires characters and we just don’t get consistent ones here.

REVIEW: “BEAUTIFUL BOY” (2010)

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It’s hard to know how to take some movies inspired by real-life tragic events ripped from the newspaper headlines. They can sometimes be sobering and enlightening while others can be exploitative and irreverent. “Beautiful Boy” is a crushing drama that deals with the agony of a school shooting but from a different point of view. It’s obvious similarity to the 2007 Virginia Tech massacre is not by accident. Director and co-writer Shawn Ku’s connection to the college not only helped inspire the story but is one reason this intense subject matter is handled with such care and respect. The thrust of story doesn’t center on the horrible event itself. Instead its focus is on the devastating effects the massacre has on the shooter’s parents.

Maria Bello and Michael Sheen play Kate and Bill, a disconnected married couple on the road to separation. The one single thread holding them together is their son Sam (Kyle Gallner). Sam is a college freshman who has struggled adjusting to campus life. Sam calls home one night trying to hide his despondency from his parents. Bill and Kate attribute his emotion to the pressures of college life. But the next morning police arrive at their home to inform them that Sam has opened fire at his school killing 17 people before taking his own life. This all happens early in the movie while the rest of the film explores the brutal effects it has on Bill and Kate’s already strained relationship.

While Sam’s actions play a key role in the story they serve more as a backdrop. We don’t get inside Sam’s head and really examine his motives and some may have a problem with that. But it’s no problem for me since the movie’s intention is to look at a marriage on the brink of dissolution. Both Bello and Sheen deliver grounded performances that often times result in scenes driven by realistic, raw emotion. Their son’s acts cause them to face issues simmering beneath the surface of their marriage and their reactions feel natural and true. You watch as the chasm between them grows wider yet no one understands what they’re going through except each other. It’s an interesting dynamic that works more often times than not.

The movie does require the audience to automatically connect with Bill and Kate. We never get much insight into their relationship prior to the shooting. We see their relationship is strained but it’s hard to connect with them other than through their emotional devastation brought on by the loss of their son and the horrible circumstances surrounding it. I really felt for them especially as we see them deal with things such as the media camped out on their lawn, having to issue a public statement, and the stares of curious neighbors and co-workers all on top of their personal loss. But their relationship could have been easier to invest in if we were given more early in the film.

The movie also has an inconsistent visual style. At times it seems to be intentionally striving for a more artsy look with quick camera sweeps and strategic camera angles. Other times it looks very generic and by-the-book. I also wasn’t a big fan of the rather drab color palette. The movie seems soaked in blues and grays. Obviously this was intentional and I’m sure it was meant to convey the overall mood of the picture. But it was a little too much for me.

Even with its flaws “Beautiful Boy” can be a powerful film that handles some tricky and weighty subject matter with care and compassion. It was certainly a different approach seeing this type of horrifying event through the eyes of the parents and while their marriage isn’t opened as much as I wished, it’s impossible not to moved by the emotional distress this couple faces. Shawn Ku handles the material seriously and truthfully and some fine performances from Sheen and Bello help make up for the film’s shortcomings.

VERDICT – 3.5 STARS

“THE WOMAN IN BLACK” – 3.5 STARS

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No, this is not ‘Harry Potter Does Horror’. Saying that may be the greatest compliment Daniel Radcliffe could receive. Fresh off of the  massive success of the  Harry Potter franchise, Radcliffe begins his adult movie career with “The Woman in Black”, and old school horror film based on Susan Hill’s 1983 novel. The story has been adapted into a play and a TV movie before finally reaching the big screen. It’s old school in the fact that it doesn’t soak the audience with buckets of blood and guts. Instead it relies on mood and tone and in my opinion that’s much scarier than any amount of gore.

“The Woman in Black” was a good choice for Radcliffe. It’s not a role loaded with heavy dialogue or that requires a wide range. But Radcliffe is more than able to handle what’s asked of him. He plays Arthur Kipps, a young lawyer and father who is still struggling to cope with the death of wife during the birth of their son. Arthur’s sadness is not only effecting his relationship with his now four-year old son, but also his job performance at the law firm. His boss gives him one more chance to impress the higher-ups by sending him to a remote English village to handle the final affairs of a woman who died there. As you would guess, upon arrival Arthur is greeted with all sorts of odd behavior from villagers that would rather he leave.

One of my favorite actors, Ciaran Hinds plays Sam Daily, one of the few locals that gives Arthur the time of day. Sam warns Arthur of the superstitious nature of the villagers but it’s clear Sam knows more than even he want’s to believe. Arthur arrives at the creepy mansion of the deceased lady to begin his work. He soon finds that the land is haunted by a mysterious woman in black which leads Arthur to discover the gruesome secret the villagers so desperately try to hide.

There are so many vintage horror elements in “The Woman in Black”. We get everything from ghosts to haunted houses but most important is that the majority of it works. “The Woman in Black” really succeeds with the creep factor. With the exception of a few cheap, loud ,volume burst jump scenes, the movie manufactures its terror through slick camera work, dark and dreary locations, and a genuinely spooky ambience. The story turns out to be far more grim than a simple haunted house ghost story which adds to the intensity. Once the mystery begins to unfold, the story comes together nicely and with the exception of Arthur’s rather far-fetched solution, I liked the way things came together.

“The Woman and Black” isn’t a perfect film but it’s head-and-shoulders above many of the horror pictures Hollywood churns out. There are a couple of cheap frights, a few head-scratching moments, and it does revisit the same boo devices more than once. But it also shows a film can be scary without the senseless blood and guts. It’s look and tone perfectly captured the mood for me and I found myself easily wrapped up in the story. This is a good transition for Radcliffe and a nice film in what is usually a poor movie month.

REVIEW: “Yojimbo”

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Classic Movie SpotlightYojiMboAkira Kurosawa’s 1961 classic Yojimbo is a Japanese samurai film that’s not only beautifully hypnotic entertainment but is a master’s class on camera work and film making. Kurosawa creates a gritty and audacious period picture that manages to mix action with small bits of dark comedy while constantly showing off his technical savvy.

Yojimbo was heavily influenced by American westerns from the Japanese village’s dusty, deserted main street to the face-offs reminiscent of classic western one-on-one gun duels. Even more interesting is that it went on to be the inspiration for other westerns including Sergio Leone’s A Fistful of Dollars, which is almost a scene by scene replication instead of a remake. Both films tell the story of a mysterious stranger who enters a small town ran by two brutal, warring gangs. Instead of heeding the advice of a local resident, the stranger sees there’s money to be made in the village by playing both sides. Even Clint Eastwood’s Fistful character seems specifically patterned after Yojimbo’s samurai all the way down to his constant beard scratching.

Toshiro Mifune gives an impeccable performance as the solemn wandering samurai. He and Kurosawa collaborated for 16 films with Kurosawa once saying of Mifune  ”I am proud of nothing I have done other than with him”. Their creative chemistry is evident in Yojimbo with Kurosawa really focusing on Mifune’s strength of communication through expressions and mannerisms. This is a strong performance.

Yojimbo looks and sounds amazing. Masaru Sato’s magnetic score starts with the opening credits and resonates throughout the picture. The cinematography is fascinating with some cleverly staged camera angles, near perfect camera movement, and beautiful wide-framed shots. The story is pretty basic but very efficient with the exception of a few too many conversations over sake at the restaurant. Yet it’s never boring and more often times mesmerizing.

Yojimbo earns it’s recognition as a classic. With each viewing I gain a better appreciation for the movie and for Kurosawa’s brilliant vision. It’s easy to see why another great director like Sergio Leone would be inspired by Yojimbo. It’s a true motion picture  accomplishment and you don’t have to be a cinephile to appreciate it. If you haven’t seen it, make time to. Then follow it up by watching A Fistful of Dollars. You’ll not only see a great film but also appreciate it’s influence.

VERDICT – 5 STARS

5 STARSs

5STAR K&M

“REAL STEEL” – 3.5 STARS

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I think the most surprising statement I’ll make this entire year is this: I liked “Real Steel”. From my perspective, everything about this film’s trailer pointed to disaster. The all too familiar story of a crummy father grudgingly paired with the son he’s never been there for mixed with radio controlled robot boxing. Sound exciting? Well, actually it is. There’s no denying the silliness of the concept on the surface. There’s also no denying that the film uses several clichés and plot devices that we’ve seen before. Yet as predictable as it is, the story has heart and it manages to take a ridiculous idea and make it pure and simple fun.

Hugh Jackman plays Charlie Kenton, a failed father and ex-boxer who travels to county fairs and pool halls with his robot boxer in tow. Charlie loses an ill-advised bet that he doesn’t have the cash to back and he has his mechanical meal ticket destroyed in the process. After his ex-girlfriend dies, Charlie is summoned to a court hearing that will determine custody his son Max (Dakota Moya) who he hasn’t seen in years. His ex-girlfriend’s rich sister and brother-in-law want the boy so Charlie comes up with a plan to sign over custody for $100,000 but he’ll have to keep Max for the summer while the couple is away in Europe.

There’s absolutely no reason to like Charlie. He’s immature, irresponsible, and self-absorbed. But just like every other character Jackman has played, there is something genuinely attractive about Charlie. Jackman brings out an almost natural likability with his performances. Charlie has a certain charm and personality that Jackman nails. You’ll shake your head in disgust at how he flippantly disregards his son but cheer him on through every boxing match. The biggest problem with the character is that his immaturity is a bit overdone. There are a couple of scenes where 11 year-old Max is speaking to his father like I would to my 3 year-old who I caught pulling the cat’s tail. Speaking of Max, Moya does a really nice job selling this hurt and hardened kid to the audience. He does fall victim to a few cheesy lines of dialogue and his occasional potty mouth did nothing to endear the character to me. But for the most part he’s believable as is his relationship to Charlie.

The film takes an almost ‘sports underdog movie’ turn after they find a junked sparring robot. Max immediately adopts the robot and calls him Atom. It’s Atom that plays a key role in bringing father and son together. The pair begin entering Atom into small time fights and notice he’s a little tougher than Charlie gave him credit for. There’s also hints that he may be more than just a lot of metal parts and circuitry.

That brings me to the wonderful special effects presented through a solid mix of computer generated images and animatronic props. The robots look amazing and they perfectly meld into the real world environments around them. This is especially impressive in the numerous scenes with the robots and real human characters together in cramped areas. The fight scenes are loud and bone-jarring and I couldn’t help but smile watching my son take it all in. Believe it or not, this silly concept is so visually flawless that I couldn’t help but be drawn in.

“Real Steel” is a little hammy and it’s very predictable. But it never takes itself too seriously and it knows exactly what it wants to be. It’s a little contrived in some parts but as a dad, even I couldn’t help but get a little misty during a few scenes. Most importantly “Real Steel” is fun. The characters are fun. The robots are fun. The fight sequences are fun. And most importantly, sitting next to my son in the theater soaking all of this up was fun. That’s good enough for me.

“JANE EYRE” – 4 STARS

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Despite the semi-misleading trailers and studio promotions, Cary Fukunaga’s new adaptation of Charlotte Bronte’s classic “Jane Eyre” isn’t a horror picture. At it’s core it’s a period love story but with just the right amount of reimagining to make it feel new and fresh. It hits all the right notes whether it be romance, humor, or mystery. And even though it’s far from being the central tone of the film, there is a bit of creepiness mainly conveyed through the dark, more Gothic setting and a couple of routine yet spooky haunted house styled scenes. The most important thing is that most of this works. It gels together to give some familiar material a slightly new and energetic appeal.

Moira Buffini’s screenplay branches out into several different directions but the centerpiece of the story is still the romance between Jane (Mia Wasikowska) and her wealthy yet mysterious employer Edward Rochester (Michael Fassbender). It doesn’t spend as much time developing the rags-to-riches component of Jane’s life as I would have liked instead jumping headfirst into the obvious attraction between the two leads. But once Fassbender and Wasikowska are together on-screen for the first time, I didn’t care. I was immediately drawn in.

The story is anchored by some wonderful performances, great costume and set design, and it’s moody yet captivating cinematography. Fassbender’s Rochester is sophisticated but abstruse. Even if you’re familiar with the source material, Fassbender will have you questioning his every intent and motivation. Wasikowska gives a very reserved and controlled performance that captures her character perfectly. She’s quiet and solemn early on but we also see an unfeigned spunkiness that shows itself in some of the film’s best scenes.

“Jane Eyre” isn’t an old English horror picture regardless of what the trailer may have you believe. But it does use some of those spooky elements to create a perfect environment for this story. The movie teems with bridled passion and haunting secrets. It’s heartfelt and emotional but not without those perfect moments of humor that gives the movie life. Even though it touches on it, the film underplays the class-based challenges that Jane faces and the pacing is a bit erratic in the third act. But it’s hard not to enjoy this film and to appreciate the craftsmanship and artistry that goes into making this type of picture. I really enjoyed it.