This blog is ending. You can now find my movie reviews and other prose on Garpsworld Movie Reviews. Thanks for all your interest!

Brian

Daniel Craig and Liev Schreiber are amazing as two of four brothers who heroically rescue and protect Jews in WWII in the forests of Belarus. This is based on a little known and true story, set in Eastern Europe, directed by Edward Zwick (The Last Samurai). He knows how to engage forceful battle scenes. Defiance is a grainy and sometimes brutal military engagement set in the dense forest, that is rainy, cold, wintry and beautiful in springtime green. The main characters have mud and blood on their face throughout the film, (yet Craig still looks good).

The vastly underrated Liev Schreiber is brutal and complex as one of the Bielski brothers, who have vengeance on theor mind when their parents and wives are slaughtered by the Nazis. It is a tale about a segment of Jews who were willing to fight, in order to be free and live for another day. Both brothers are competitive and have differing viewpoints on morality. But it is Daniel Craig who carries the film, as the oldest brother who is a gifted soldier and fighter and yet does not want to become a monster like the Nazis. There are significant themes about morality in wartime. The movie also stars Jodie May and Iben Hjielke as women who must also survive in the forest and who are willing to become "forest wives," having lost their families and spouses.

The movie plays in three parts. It begins with the slaughtering of the brother's family, and is followed by revenge. The brothers then take to the forests for safety, where they grow up and are all too familiar with. The second part deals with missions (stealing) for food and supplies from the locals who are willing to turn in the Jews to the Nazis and Russian Army. It also reveals the Russian Army's stealing of food from the same people. The Jews and the Russians must make a deal to be on the same side in their fight against the Germans.  Although the Russians are not Anti-Semitic, they are willing to look the other way at the Jewish People's plight.

The final segment deals with an all out battle with the invading Nazis. This is an incredible scene, given the fact that the Jewish people are outnumbered and manned by men, women and children. The picture closes with actual photos of the central characters and what became of them. It is a miraculous and incredulous tale of survival – an amazing true story. And what is truly astounding is that the brothers never sought recognition for what they did. I can't say enough about Daniel Craig. He is compelling and willing to take risks, not satisfied to coast with the role of James Bond. This is a gripping true tale of war and the will to survive at all costs, with dignity.

MPAA Rating - R

See trailer: http://movies.yahoo.com/movie/1809981989/trailer#10307529

In the Name of Love

Today, I was one of a half-million who braved the cold on the Capitol mall grounds to hear music and speakers honoring the President Elect, Barak Obama. I really don't like crowds or cold weather, but I wanted to endure these obstacles for a chance to be a part of history and to see U2 live. Mostly I went for my daughter Ariel, because it was very important to her and she was unable to make the trip.

The performers took stage on the steps of the Lincoln Memorial and the crowds hugged the sides of the reflection pool all the way back to the Washington Monument. It was an amazing day. I had never been in a city that was virtually locked down. The DC police was out in full force with the help of the US Army. There were security checkpoints everywhere and all the perimeter streets closed off to cars. Luckily large screens were situated to see the performers up close. It was an interesting schedule of actors giving brief historical accounts, followed by the musicians. There were far too many acts for me to comment on but I will share the most interesting and bizarre. Springsteen opened with "The Rising." Tom Hanks gave a stiffened speech about Lincoln during the Civil War. Later James Taylor was joined by John Legend and Jennifer Nettles for a beautiful version of "Shower the People." This was the slower portion of show. Garth Brooks really got the crowd riled up with a medley of "American Pie" and "Shout." This was followed by a great performance from Stevie Wonder, Usher and Shakira. Samuel Jackson gave an overview of Martin Luther King's legacy, which was followed by U2 singing "In the Name of Love." For me, this was the best part of the day and made me forget how cold I was. Bono, looked over to Obama and said it was an honor for the four boys from north Dublin to come "and honor you, sir." Leave it to the Irish rock legends to make many a happy camper cry.

There were some really unusual speakers, I thought, including Jack Black, Cal Penn and Marisa Tomei. Okay, I just didn't get it. And Cheryl Crow's reggae medley with Herbie Hancock just didn't work. But today really wasn't about the free concert or seeing celebrities. It was about people from all over coming together for a common purpose, to celebrate at a time that's very grave, and to display courage and hope at a time when we need it most. Tuesday's inauguration will undoubtedly be the most historic in my lifetime. And our President Elect will need all the support he can get. Today was a very strong show of that support, and you got a feeling of great warmth and unity – even in the bitter cold.

Last Spring I attended a celebrity tennis charity event at the Fitzgerald Center in Washington D.C. I am neither a celebrity, nor big on charity, but someone gave me an invite and since it was for a good cause, of which I can’t seem to remember, I decided to go as I had nothing better to do. I figured I might as well go and hit some pansy balls with some government photo-op seekers and local tennis stalkers as a warm-up for a later, evening match with some real tennis players (middle age hackers from Northern Virginia USTA).

It was a pretty laid back affair, with snacks, a few round-robins and a chance to hit with a surprise guest – the tennis great, Andre Agassi. When the “Great One” arrived, everyone muddled around him like eager puppies, with mouths agape and drooling. It was pathetic.  Everyone was dressed in their newest Prince, Fila and Elisse attire, wanting a picture with Andre and/or autograph. Geez, this was really embarrassing; me in my Haight-Ashbury tee-shirt and OP surfing shorts. Mayor Fente of the District made a brief speech about god-knows-what and local Weatherman Bob Ryan, I believe, was lighting a doobie behind the Channel 4 news van.

When it came time for drills with the retired legend, all the ladies were first in line, hitting exquisitely posed volleys to Andre, while he gently lobbed them back for them to smash. Man, this was ridiculous! What a waste of time, I thought. Wanting to hurry back home to my soap operas, I butted in line, risking having my eyes clawed out, which I nearly did. In any case, Andre was very polite and obliged my turn to hit. The pro on the side of the net fed me a ball, and I leveled a deep, heavy topspin forehand at Agassi, who was hugging the baseline, a bit too close for my taste.  I ease into my graceful split-step with all the instructional form I’d picked up (over the last three years) and eagerly waited for his sissy lob reply.

The next few minutes were a bit of a blur, but I believe I saw him recoil his body effortlessly and turn his shoulders towards that two handed signature backhand and step forward, all in one deft motion. To be honest, I never even saw the ball, but I felt the impact square upon my chest, and I’d thought I had been taken out by a sniper. When I recovered consciousness several minutes later and after the medics had put away the smelling salts, Agassi was already engaging in autographs and the drill was over. “You d$#&!” I said or thought I said, but no one heard me.

I picked up my racket and left in a hurry, not remembering how or why I was even at this stupid affair, and I did not get an autograph; just a tennis ball sized tattoo planted squarely in the center of my chest, next to my other one that spelled “take that.”

Revolutionary Road is a screen adaptation directed by British filmmaker Sam Mendez, who brought us American Beauty and Road to Perdition. Mendez is married to the British actress, Kate Winslet, who stars as April Wheeler in Revolutionary Road. How is it that outsiders can have such a sharp view of American themes and landscapes? The premise of the movie is about an American couple in the 1950's, which are supposedly living the "American Dream," with the beautiful suburban house, the two kids and successful career, and yet who are deeply unhappy with their lives. It made me think of two other similar films that explore this theme in which life is not all what it seems beneath the glossy exterior: American Beauty (Mendez) and The Ice Storm, directed by Ang Lee; both foreign directors.

The shots are beautifully filmed; the close-ups of the characters provide additional intimacy with them. The movie open with a jazz piece suited for the era, and the score itself is a delicate piano which paces the film nicely and adds a bit of tension and redundancy to the tempo which mirrors the strained relations of Frank and April (Leo DiCaprio and Winslet, in their first film together since Titanic). Initially, I thought this would be strictly about life in the '50's, in the post-war, baby-boomer era that gave rise and definition to industrial growth, urban sprawl and American lifestyle. The Wheelers own a beautiful house on Revolutionary Road, away from the city where Frank commutes by train to work. But as the story and their relationship progresses, the setting seems transcended. This could be any place, at any time and in any marriage. (Another great movie that explores similar themes in Europe is Metroland, starring Christian Bale, Emily Watson and Elsa Zylberstein). April reminds Frank that they are special people, with higher ideals; that they needn't have the same lives as everyone else. She argues that they move to Paris.

The "discontentment within" is not a new theme in domestic living. Somerset Maugham explores this wonderfully in his classic novel, The Razor's Edge, about one man's desire to abandon all materialism and live a spiritual life after WWI. As the Wheelers confront their existence head on, we begin to wonder if perhaps this isn't just a normal part of growing up within a marriage, of losing certain freedoms and luxuries upon having responsibilities. But they can't seem to escape the prisons of their own reality and the couple suffers throughout.

There is something sublime and almost gothic in this portrait of modern marriage, as directed by Mendez. And as the movie progresses it continues to transcend the couple themselves. One of the more surprising and entertaining roles in this film is about a man, recently released from a mental institution, played by Michael Shannon. His character was a mathematician, subjected to electroshock therapy in the hospital. A once brilliant, but now affected man, he gets an opportunity to weigh in on the Wheeler's plight, based only on observation. He is embarrassingly funny in his total honest and spot on observations, seemingly unable to curb his thoughts or what he says before polite company. At first meeting, the Wheelers concede that he is the only one of their friends who gets them. At a later meeting, Frank is ready to kill him. The supporting cast also features Kathy Bates, Zoe Kazan and Kathryn Hahn. Revolutionary Road gets all around high marks for performance and direction.

MPAA Rating: R

When Clint Eastwood squints in your direction and spits out a big wad of Red Man, it is generally not a warm and fuzzy gesture. Walt Kowalski (Eastwood) is an angry, bitter Korean War Vet, who just lost his wife. He lives alone with his dog in a Michigan neighborhood which has seen better days. People in his neighborhood generally keep to themselves, when not terrorized by local gangs.

Walt is somewhat alienated by his remaining family, his two grown sons and their families, and also annoyed by the presence of the Asian family that lives next door. Their lives however become intertwined when Walt reluctantly disrupts an act of gang violence on his front yard. The neighbors and community interpret this as a selfless act of heroism and bring offerings of food and flowers to the misunderstood loner. In time, Walt begins to get to know his next door neighbors better and eventually takes pity and kindness on the teenage brother and sister. He recognizes that the young and awkward boy, Tao, has no father and no real hope of survival with the ever-menacing gangs there to disrupt his daily life.  Walt takes Tao under his wing, teaches him a trade with tools and even a thing or two about being a man and survival. But this surrogate father role does not go unnoticed.

The relationship between Walt and the Hmong Clan is real and affecting. For Walt, it comes with some painful realizations that he is sick and might in fact have more in common with these people than his own family. Their community just wants to be left alone and live in peace, but they are threatened by violence. Walt knows a thing or two about war and death, and against his better instincts, he must ultimately intervene, while facing his own inner demons of the past.

Directed by Clint Eastwood, Gran Torino is simplistic, and all too lavish in its depiction of ethnic stereotypes, with every slang and politically incorrect epitaph spilling from Eastwood's tight-lipped breath like toxic whiskey. It is humorous in its non-discriminate offense to everyone: African-Americans, Koreans, Vietnamese, Poles, Italians and Jews. With his American flag proudly waving in his front lawn above his prized 1972 Gran Torino in mint condish, Walt is a throwback racist to a bygone era that exceeds fifty years. You see, that was the only time when Walt really lived, before the Korean War, when his America really was a far different place.  The movie does not bemoan or belabor that point, to its credit. But it paints a clear portrait of Walt's mindset and how long he has lived alone with the suppressed atrocities of what he has endured.

This is really a perfect Clint Eastwood movie. Walt is an all too familiar, iconic character not unlike Josey Wales, Dirty Harry or the Man with No Name. But it is so fun to see the actor again, chewing up the scenery in his classic understated fashion. Of course, the reluctant hero is a classic story known throughout the ages and nothing new for the persona of Eastwood himself. But you just know, that somewhere in the Eastwood storytelling lies a bigger than life heart, and you also know that where there is an act of injustice, someone will surely pay.

MPAA Rating: R