MusingsBig1

Unity Celebration at the Lincoln Memorial, January 18, 2009

Mon, 19 Jan 2009 03:10:22 GMT

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.

For a Good Cause

Tue, 13 Jan 2009 19:37:28 GMT

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 (2008) - Film Review

Mon, 12 Jan 2009 06:41:14 GMT

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

Gran Torino (2008) - Film Review

Sun, 11 Jan 2009 20:05:11 GMT

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

Sweet steady flow (Or �insulin and other glucose inhibitors, in the forties�)

Fri, 09 Jan 2009 21:05:45 GMT

She goes down slow

Like warm honey

An even flow

Into my sea

And everything

Is right this night

But tomorrow

Makes me scream

It�s not a dream.

(Is my body

fading or just

Resilient)?

Fate seems ever

Imminent.

The toxins pierce

Into my skin

From within

And seep the fever

Out into

Another day

Without

Sweetness.

Why Blog?

Thu, 08 Jan 2009 21:36:40 GMT

Blah, blah, blog. What a lousy word. What is a blog? Why do people do it? Why do people burp? Burping, or belching, also less frequently known as ructus, or eructation, involves the release of gas from the digestive tract through the mouth, and may be accompanied by a specific sound and sometimes, odor. I think a blog, must be some form of stress of the individual mind through digital hyperspace; perhaps a shared forum of stress, a rant or rave, when talking to oneself just doesn�t cut it. The internet is filled with a seemingly infinite wealth of information, images, melodies and . . . burps. Well at least it�s odorless.

This sight, you may have noticed isn�t really a blog, or a burp, (with the exception of this drivel you are now reading); it is more a place for my movie reviews. It is far easier to talk about something else, someone else�s hard work and creativity, than come up with anything remotely original on my own. My life is just not that interesting. Movies let you escape from the day to day weight of non-interesting living, and live vicariously in any time in history, or through any character, real or imagined, like Moses or Indiana Jones or Bond. James Bond. And there�s no real accountability with the points of view. I mean, who�s going to argue with me? Am I right, am I wrong? (My God, what have I done! Uh, nevermind). I am always right, if I wrote it. If it�s on the web or printed anywhere, it must be true. Ha! Life in our modern times! The Grand Illusion eh? Not just a classic film.

Anyway, that�s it � the burp for the day. Sorry for the interruption, we now return to our regularly scheduled programming. Thanks for reading and see you at the movies.

Thursday Movie Previews

Thu, 08 Jan 2009 17:06:48 GMT

Gran Torino
Clint Eastwood stars as a grumpy Korean War veteran who
must protect the neighborhood from the threat of street gangs.

The Unborn
A woman is haunted by a dybbuk--the soul of the dead barred from heaven--in the form of a boy who perished in Auschwitz.

Che
Benicio Del Toro stars in the story of Che Guevara's rise in the Cuban Revolution, from doctor to rebel to revolutionary hero.

The Curious Case of Benjamin Button (2008) - Film Review

Mon, 05 Jan 2009 03:36:11 GMT

The Curious Case of Benjamin Button is a movie directed by David Fincher, adapted from the short story by F. Scott Fitzgerald. It is the story of an unusual and simple man from New Orleans, about his travels and the people he encounters in his life. He is a fatherless character, who spent a lot of time on boats, and the one love of his life was a childhood friend. To me, this had an all too familiar ring to it. "You never know what's coming for you," is one of the pearls of wisdom, repeated often in the film. "Life is like a box of chocolates" - another phrase reapeated often in another film with a very similar plotline. That film was Forrest Gump. The movies are so similar in fact, there is even a "Captain Dan" figure, a surly seaman, wonderfully played by Gary Sinise in the Forest Gump movie.

The main difference between the two films, in my opinion, is the nature of the main character's unique quality. Benjamin Button lives his childhood in the body of an old man, and grows younger through the years. This is what makes him special. Forest Gump was on the slow side to put it politely, (but he remains semi-retarded through his life). Each character is deemed wise, gentle and humble, and has a profound impact on the lives of others.

Without that specific plot device, The Curious Case of Benjamin Button is quite an ordinary story of a fictional character. It is a beautifully told, detailed description of one man's life and the people in it. The most curious thing about Benjamin Button is how Hollywood could take a short story and turn it into a nearly three hour film. The story spans nearly eighty years, beginning in 1918. Much detail is given to the setting in the early periods - the furnishing in the homes and the clothes people wore. The latter years are given considerably less attention, when Benjamin comes toward the end of his life and becomes young again. The conclusion almost seems rushed as long segments of time are hastened, as if the editor had a gun to his head and was ordered to end it already.

The movie stars the wonderful Cate Blanchette as Daisy - Bejamin's love interest - and Brad Pitt in the title role. The cinematography and musical score is compelling, perhaps the best part of the movie. And the makeup is done fairly well. It is interesting to imagine Brad Pitt as an old man. It is kind of like a mixture of Henry Fonda and Yoda. All in all, the production values are very good; it is a beautiful film to be sure. The problem is it is too long, a bit uneven and there's very little original about it.

MPAA Rating - PG13

Snow Angels (2007) - Film Review

Fri, 02 Jan 2009 18:57:50 GMT

Snow Angels is set in a small town in America during a non-specific time. There are few details that define or accentuate time and place. It could be any small town, USA, and for all we know, it could be the present. All we really know is that it is cold and wintertime. Directed by David Gordon Green, Snow Angels is a somber, affecting meditation on sadness and fate, based on the novel written by Stewart O'Nan. It chronicles two weeks in the life of the central characters, whose lives are all connected in some way.

The movie begins with striking images of winter, barren trees and snow. A high school marching band is rehearsing outdoors for the football game. They are lethargic and out of tune. Their instructor chides them, and we here the sound of what might be gunshots in the distance. Everything stops and the story goes back to two weeks prior, where the characters are introduced. We see Arthur (Michael Angarano) the high school student bussing tables in a Chinese restaurant. He works with his older friend Annie, played by Kate Beckinsale, the newly separated mother who used to baby-sit for Michael when he was young. Annie gives Arthur a ride home when his mother forgets to pick him up. Arthur's parents, played by Jeanette Arnette and Griffin Dunne, are also going through a separation.

Later we meet Annie's estranged husband Glen, played by Sam Rockwell. Early on we learn that he has had problems with drinking and keeping a job and even tried to take his own life as a result of his life apart from Annie and the baby. Somehow, he survived the suicide and has become a born again Christian, but his stability remains uncertain. We also meet the new student Lila, played by Olivia Thirlby, who befriends Arthur. Lila is the outsider who takes photographs as a hobby. She is on the outside literally peering in, like the audience. Early on, she shows Arthur her photographs of the town. Since her family moves around a lot, she likes to take pictures of her first impressions of the new places she moves to. They are beautiful portraits, all black and white, mostly of them empty landscapes and snow. Coldness and alienation is a constant theme that wraps around the characters to a nearly suffocating extent.

Green's direction is deliberate and slowly paced. The camera rests patiently upon the characters, giving them time to grow and breathe. Even in awkward moments, as there are in the life of a teenager, and in the tension rising moments of the adults who are enduring emotional pain, the shots are long and deliberate, with a quiet, gentle soundtrack that does not try to manipulate or force the action. Green allows the dialogue and the performances of the actors drive the story. There is no melodrama, just painfully sad realities.

Snow Angels has the feel of an independent film in its simple story-telling and without bloated production values or faux sentimentality or gimmicky performances. It feels like real life, real people in a real town. The only problem is that it's real, real sad. In fact, it's too sad. Despite the artful direction and nuanced performances, the film itself has little balance, nothing to contrast the heavy weight of angst that smothers the characters as well as the audience. Fargo, (1996), was a similar movie � a tragic tale of human failings, set in a vast, winter of emptiness. And yet, there were many contrasting elements which balanced the mood, such as hilarious dialogue and mannerisms, a riveting, driving musical score and shocking, unexpected violence. Many aspects of that film were recognized for achievement in film-making and I believe it even received Best Picture at the Academy Awards. I would also dare say that this movie energized the careers of several of its little known actors and deservedly so, including Steve Buscemi, William H. Macy and Frances McDormand. But Snow Angels provides no such relief from its oppressive tone. I get the feeling that Sam Rockwell and Kate Beckinsale needed an immediate retreat to a warm, tropic island after making this picture, (or at least a few sessions of therapy), and through no fault of their own. Their performances are great, but the movie, over all, leaves you with the need for immediate cleansing or escape, to anywhere that's warm.

MPAA Rating - R

Best in Film - 2008

Wed, 31 Dec 2008 15:50:46 GMT

There were some very entertaining films this year, a small consolation considering the state of the world and global economies. The following is my Top Ten list of movies for 2008. Please feel free to comment or share your favorites.

1. Milk

2. The Dark Knight

3. In Bruges

4. Frost Nixon

5. Happy Go Lucky

6. The Duchess

7. Slumdog Millionaire

8. Doubt

9. Iron Man

10. The Visitor

And Best Comedy: Forgetting Sarah Marshall

Mad Men � Television Series Review (AMC)

Mon, 29 Dec 2008 20:09:04 GMT

I don't typically review anything on television as I don't watch it regularly. But I have decided to make an exception if the program is especially good or incredibly bad. Mad Men falls under the incredibly good category. The series is relatively new, it began last year and airs on the American Movie Channel. I know, I know. It's not a movie but cable has diversified its brand over the years in order to get a hold of a wider audience. Look at MTV. I can still remember when that was about music videos and not about reality crap. Mad Men is an amazingly original series set on the verge of the early sixties, with outstanding production values and a relatively unknown cast. Maybe that is why the major networks passed on it. Whoops!

The series revolves around its primary character, Don Draper, played by Jon Hamm. Don is a highly successful advertising executive in Manhattan. Don has it all: the looks, the tailored suits, the wife and two kids, the house, and most recently the fancy car. He also has a plethora of girlfriends on the secretive side, but so does ever other man who works for Sterling-Cooper. Yet that doesn't make him unique. What makes Don individual and so interesting is his dark past which is gradually revealed as the episodes play on. In some ways, it is a shadowy mystery beneath the bold colors and outward conventions of the era. At times, it has the look and feel of David Lynch's Twin Peeks, only without the creepiness.

Mad Men seems to capture the era to a tea. The set design takes place mostly in the office where the executives and secretaries work: old, steel furniture, mixed with drab and prominent colors and people smoking (and drinking) everywhere. It thrives on social traditions and prejudices. There are no women in high positions (at least not in the workplace) and absolutely no people of race or color. Sterling-Copper is in effect a white men's club which happens to be a business as well. And as for advertising, it's all old-school with poster boards, jingles and the old fashion sales pitch. Forget about the PC or PowerPoint � those days are far away. It is amusing to look back at a time that was at once so simple and yet so hypocritical; granted, I am sure that not every town in America was like Manhattan. But it's funny to hear everyday discourse that's so politically incorrect or the office debate on how Nixon would easily defeat Kennedy.

But Mad Men is much more than the direction and production. The actors are tremendous and deserve a lot of the credit for the quality of the show. Among them are: January Jones, John Slattery, Elizabeth Moss and Christine Hendricks. Season Two has recently ended but you can still download some of the episodes from On-Demand. That is, if you are living in the present.

The Wrestler (2008) - Film Review

Mon, 29 Dec 2008 02:27:50 GMT

The Wrestler, directed by Darren Aronosfky, is similar to Raging Bull, about a plot where an aging fighter contemplates his career and what is left of it. Robert De Niro, (Raging Bull), put on tons of weight for the role and was hardly recognizable. I think he could have played Randy "the Ram" Robinson with ease, as did Mickey Rourke in the pivotal role. Rourke is now very muscular and bloated. He doesn't look anything like the young actor he once was. But Rourke is extraordinary in this role, he seems to be the actual character. Mickey Rourke had a promising early career, displaying charisma and nuance. But then something went afoul, namely his personal life. Bizarre and deemed difficult to work with by directors, the actor's personal life surpassed his working life; in short he was a crazy man and his performances were nothing but hammy. In addition, the actor called it quits at one point and took up boxing (of all things) � a sport he engaged in during his younger days, a curious move to say the least.

However, the interesting thing about The Wrestler is that the character of Randy is a bit of a nut like the actor himself. The World Federation of Wresting is violent, theatrical and hammy. There are gimmicks and intentional blood-letting between the actors for show, but there is virtual violence as well. After years of this sport, the wrestlers are bound to incur serious injuries, and Randy is no exception. He injects steroids and pain medication on a regular basis and eventually has a heart attack. It is after this point, he decides to retire and clean up his life. He takes on a job in a deli and tries to reconcile with his long lost daughter Stephanie, played by Evelyn Rachel Wood. The actress is bitter towards her father who had never been in her life before, but the role is light, it's a shallow clich�.

Another subplot involves Randy's friendship with Cassidy, who is a nude dancer played by Marisa Tomei. The character is also old for her profession and a single mom as well. She is reluctant to have an affair with Randy as he is "a customer" who regularly comes to the nude joint and that is against the rules. But they have similar backgrounds and are kindred spirits. It is a warm and affecting relationship.

The best thing about the movie is the realism. Aronosfky's direction gives the look and feel of a true story. Darren is on the verge of retirement. Losing his daughter and his friendship, he has nothing to gain and all to lose. He makes one last stand in the fighting arena. But it is with genuine remorse and humility and a form a grace. He has nothing else to do.

You might relate The Wrestler to Rocky, in terms of the plot line, but this film is far superior. Sylvester Stallone's picture, while arguably inspirational, was full of clich�s and corny, ridiculous dialogue obviously intended for laughs. And the multiple sequels turned it into a complete joke. The Wrestler is authentic and emanates humility. I am very happy to see Mickey Rourke return to the big screen, and his character of Randy is the real deal. Bring it!

MPAA Rating - R

Sideways (2004) - Film Review

Sun, 28 Dec 2008 06:15:04 GMT

Sideway is an original, independent film with a stellar cast. It could be categorized in several genres: a buddy-buddy flick, and odd couple, a road trip and a poignant movie about a wine excursion in the Napa Valley. It is a film about two very different characters, best friends, one who is a perennial bachelor and actor about to get married and the other a depressed failed writer. Jack (Thomas Hayden Church) is about to marry, after many years of non-commitment. His best friend, Miles, has a failed marriage; and can't write a novel to be published. Prior to the nuptials, they embark to Napa Valley for five days, for wine tasting � a mutual passion of theirs. Miles is depressed and Jack just wants to get laid.

The movie is directed by Alweandander Payne (Election, About Schmidt, Pair Je t'aime and Election). He writes about real people, humor, and never over the top. It is funny and sublime. The most intricate and fascinating aspect of the film is the detail of wine appreciation: rich, seductive, and the bond which unites all the characters.

Sideways is an enjoyable and entertaining picture, and garnished nominations in the Academy Awards for that year. The performances are winning, and somewhat of a come back for two of the actors: Thomas Hayden Church and Virginia Madsen. And of course, Paul Giamani is brilliant. Church is hilarious as an immature adult male who cannot commit, and Madsen brings a soul to the foursome and serves as the morale center. All in all, a very entertaining piece.

MPAA Rating - R

The Reader (2008) - Film Review

Sat, 27 Dec 2008 23:03:27 GMT

The Reader is directed by Stephen Daldry and based on the novel. It is set in western Germany, post World War II. It is a compelling drama with fine performances, a bitter-sweet coming of age story on the one hand; on the other, a psychological memoir that dares to look at the mindset of the German people after the fall of the Nazi regime.

The central character Michael is played by David Cross, as a young man, and Ralph Fiennes as the grownup. The story goes back in forth in time, all after the War from when Michael first meets Hanna (Kate Winslet), as a young man, and then decades later as a father. Michael first meets the older Hanna on his way home from school when he is just getting quite sick. She takes care of him and makes sure he gets home safely. He ends up getting seriously sick for several months, even bed ridden. Upon recovery, he returns to her flat, in part because he is a curious adolescent and also because his immediate family is rather cold and disengaging. It is clear that Michael is infatuated, perhaps with a Florence Nightingale complex, and before long a relationship ensues.

Inevitably, the love affair cannot survive the secrecy and difference in age. While Michael openly professes his love, Hanna is closed and emotionally detached, for reasons we do not know yet. She ends the affair and Michael is devastated. He returns to his family, school mates and ends up in law school. When he eventually sees Hanna again, the circumstances are far different and dire. Hanna, among many others, is on trial for their roles in the Nazi regime; specifically, Micahel learns that Hanna was a security guard for the SS at Auschwitz, and with this revelation, his ideal of her is upside down, as well as his own role in loving her. This is all I will share of the plot and of how the remainder unfolds.

The Reader, is an aptly titled drama that tells a bitter-sweet coming of age story, while exploring the psyche of the German people in the aftermath of WWII. In some respects, it is very similar to Summer of '42 - a love story during the same time period, only in a different part of the world and with far darker undercurrents. What roles did the German citizens play in letting the atrocities occur under Hitler and should they have done more to prevent them? It raises a number of questions, but provides no direct answers. To its credit, the film makes no excuses, and is neither overly critical nor sympathetic to the German people � both those who played specific roles in the War and those whose roles were undefined and obscure, such as Michael's parents, of whom we know virtually nothing, except that they are emotionless and affected in some way. The story is a bold and courageous look at the darkness of humanity and the nature of guilt and moral responsibility. I always believed that behind every single person's life, there is a valid story to tell, no matter the time and place, that we are all apart of a living history. The Reader is one of those unusual, but captivating stories and Kate Winslet gives a courageous performance in an unsympathetic role.

MPAA Rating - R

Doubt (2008) � Film Review

Sun, 21 Dec 2008 16:36:07 GMT

Philip Seymour Hoffman and Meryl Streep are two brilliant, heavy-weight actors who lend credibility and gravitas to almost any drama. And I can't think of more powerful roles for the pair to play than a Catholic priest and nun in Doubt, directed by John Patrick Shanley and based on the Pulitzer Prize Winning play.

The setting is 1964 at St. Nicholas Parish and School in the Bronx. Father Flynn (Hoffman) is a progressive and affable priest who bears unusual compassion for the students and parishioners. He takes a special liking to Donald, the only Black student in the school, knowing full well that the child is subject to cruelty and prejudice by the other students. Meryl Streep plays Sister Aloysius Beauvier, the harsh principle and task master � an old school disciplinarian, a believer in corporal punishment and suspicious of everyone. She comes across as sinister and emanates fear. She is a caricature of the frightening nun and even reminiscent of the wicked witch of the West, and yet, she is believable and her performance is nuanced and spot on.

Father Flynn and Sister Beauvier are virtual opposites. This much is made clear early on and the ensuing conflict between the two is just a matter of time. One instills gentleness and care, while the other projects fear and venom. It is hard to like Streep's character and yet, it is hard to take your eyes off her.

When the bond between father Flynn and Donald is revealed by the sweet and innocent subordinate nun (Amy Adams), Sister Beauvier immediately suspects the relationship is corrupt and untoward, with the implication of molestation, even thought there is no proof. It is not clear why the principle nun accepts this belief without any doubt, with the exception that this is just her inherent nature. She has a big ego for sure and believes she is always right, that she "knows people," and she will do everything in her power to have the priest expelled from the parish. It is obvious she has issues; (she has unexplicable anger and it is revealed that she was once married though the circumstances are vague), but her motive doesn't seem to be about power for the sake of power, but rather some extreme character flaw.

This is a powerful film and a great story with incredible performances. In recent years there has been much ado about scandals of priests in the Catholic Church, and how the Church has swept these issues under the rug and quietly transferred pedophile priests to a distant parishes. But this is 1964, where scandals were even more guarded from public awareness. This would make the movie's theme ripe and relevant to current issues. But the genius of the story is the doubt or uncertainty the audience is left with concerning the guilt or innocence of Father Flynn. There is simply not enough proof or evidence that his relationship with the boy was inappropriate in any way. It is a thought provoking contrive that captivates the audience to consider all points of view. The movie has a surprising and bittersweet, yet satisfying conclusion and captures the look and feel of a Catholic school, at least how I remember it.

MPAA RATING: PG-13

Actor Profile - Mickey Rourke

Fri, 19 Dec 2008 20:51:07 GMT

Mickey Rourke will star in upcoming film, The Wrester, which has critics buzzing and has garnished early rave reviews. I am both excited and baffled at the prospect of seeing the actor in a good, no less successful film after years of weirdness.

Mickey Rourke is an interesting character. Born in Schenectady, New York in 1956, the actor's early life was characterized by sports and boxing. I was intrigued, if not downright impressed with his early work in such films as Diner, Body Heat, the Pope of Greenwich Village, (one of my personal favorites), and 9 � Weeks. His portrayals were interesting, unconventional and I really believed he would have a promising career.

Unfortunately, his personal life and diversions overshadowed his career in Hollywood. Tagged extremely difficult to work with, his persona was deemed erratic and eccentric. Director Alan Parker found it difficult to work with him and stated that "working with Mickey is a nightmare." He even called him dangerous to be around on the set. So, in 1991, at the age of thirty-five, Rourke decided to go back to his roots � boxing. A perfectly logical move I suppose if you are a nut-job. The tough guy actor got his ass kicked. In November 2006, during an interview, he called Tom Cruise "a c---" for his attacks on Brooke Shields and psychiatry. Although I disagree with the verbiage, I would agree that Tom Cruise is at the very least a freak and was out of line for expressing his freakish views. I am sure that Brooke Shields was more than grateful to have Mickey Rourke come to her defense, if in fact she knew who he was.

The actor is alleged to have turned down a number of high-profile acting roles in the following films: The Untouchables, Beverly Hills Cop, the Silence of the Lambs, Rain Man, 48 Hrs. and a part in Platoon. Smart move. He recently chose a role in Harley Davidson and the Marlboro Man, which nobody and their brothers saw.

In 1994 Rourke was arrested for spousal abuse and later divorced. In November 2007, Rourke was again arrested in Miami for DUI.Rourke's politics came to light when he said he donated part of his salary from the 1989 film, Francesco, to the Provisional Irish Republican Army. He has an IRA symbol tattooed on his left forearm. Rourke is a Roman Catholic, albeit a strange one.

In The Wrestler, Mickey Rourke looks old, bloated and fat. He is virtually unrecognizable, and maybe that's how he got the role. But all cynicism aside, the critics are raving about his performance in this film, and for that reason I want to see it. Everyone deserves a second chance, even a second chance at weirdness.

Frost/Nixon (2008) - Film Review

Mon, 15 Dec 2008 21:12:00 GMT

Frost/Nixon is a new film by Ron Howard, based on the play written by Peter Morgan. It stars Michael Sheen as David Frost and Frank Langella as former President Nixon. Both actors were in the original play which premiered in London in 2006 and on Broadway in 2007. For my money, Howard�s most effective films are the biographical portraits. He sheds relevant and often sympathetic light on his subject matter, while offering telling insights into their characters. Frost/Nixon is no different, a powerful film and just as compelling as Apollo 13, A Beautiful Mind and Cinderella Man. Each one of those films was nominated for multiple Academy awards in various categories, and my guess is this one will as well, especially for acting (Langella).

British talk show host David Frost won the rights to interview former president Richard Nixon, which aired in 1977 - three years after Nixon resigned his presidency. The movie � and play � is about those interviews, why it was important to each man and why it was important for it to have occurred. The movie begins with footage of the Watergate hearings and other related events during Nixon�s last years in the White House. Meanwhile, on the other side of the globe (Australia) we catch a glimpse of the British television personality and jet-setting lifestyle of David Frost. And thus the stage is set, we have a glimpse of the two central characters, one whose public career has recently ended and another whose career is about to be lifted to whole new heights. The movie shows what an enormous undertaking it was for Frost to obtain financing and to ultimately produce this much coveted interview. The major US networks would not air the production. David Frost was not considered a serious journalist and many network executives did not believe in �paying for interviews.� (How times have changed). The overall production cost was $2 million and Nixon himself was paid $600,000. Frost had invested so much of his personal resources into this series of interviews that for him to fail was not an option. And Nixon had much at stake as well: both his reputation and legacy, or what remained of it, were on the line. Going toe to toe with the British journalist seemed fairly easy pickings for the cagey, dogged and unyielding, former Commander-In-Chief. At least easier than talking with Mike Wallace or some other veteran American journalist who might be tougher and far less forgiving. Besides the Brits were willing to pay him, and handsomely. The Nixon camp felt that the interviewer would not be too pressing, and the former President would be able to improve his tarnished image in the eyes of the world.

Well, history is history. Can there be any real excitement when you already know what happens? Yes, I am happy to say. And that�s where direction and acting comes in. When we watched Tom Hanks as Jim Lovell in Apollo 13, we gripped our seats, hoping and praying for Lovell and his crew to return from space safely and be welcomed into the arms of their families. That�s why it is a great movie. We know the mission returned to earth safely, (only one mission had fatalities � Apollo 1), and yet, we still got the feeling that anything could happen. When the interviews do take place between Nixon and Frost, it is more like a dual � a battle of the minds � and it is very exciting to watch. When I think of Frank Langella the actor, I don�t see the former President. But in this movie, my disbelief was in total suspension. Langella carries himself with shoulders slightly hunched, and shifty eyes and the slightest of uncomfortable, half smiles. He is commanding on the screen - his close-ups, engaging and revealing a sharp mind, his eyes unable to conceal a tortured gaze, as a man who has lost his soul might possess. The culmination of this film is so simple, yet so effective; it is a dialogue between two men, each holding a different kind of power and each knowing that the final result can produce only one victor. Smashing.

MPAA Rating: R

The Graduate (1967) � Film Review

Mon, 08 Dec 2008 00:32:37 GMT

The Graduate, directed by Mike Nichols, may be one of the best films of all time. It is a wonderful portrayal of the era (late 60's), and yet, somehow it seems to pass the test of time. It is one of those movies where all the right pieces come together perfectly: the acting, direction, soundtrack and subject matter during very turbulent times.

This is Dustin Hoffman's first feature film (and arguably his best) which made him a star. The story is about a college graduate who doesn't know what to do with his life. He is a single child of very shallow parents living in California. The theme is about the "generation gap" � idealism versus materialism and success. It is also about discontentment, disillusionment and hypocrisy.

Benjamin Braddock (Hoffman) has no idea what to do with his future, so in essence he does nothing. He drinks beer and lounges by the pool, much to his parent's dismay. After a period of time, he begins an affair with the wife of one of his parent's closest friends, the Robinsons, played by Anne Bancroft. Mrs. Robinson is much older, obviously, and also happens to be an alcoholic, unhappy with her own life. It is an odd pairing, but they find some companionship, if only briefly, and not without dysfunction as well. Of course neither Benjamin or Mrs. Robinson is in love, which is also a telling theme for the times. In actuality, he was seduced by Mrs. Robinson. But because he has nothing better to do with his life, the diversion helps pass the time. One might say that the premise is jaded and depressing, and yet the dialogue is poignant and hilarious. They rendezvous frequently in the local hotel, which provides some of the best scenes in the movie. (Buck Henry, who wrote the screenplay, has a terrific cameo in the hotel as the desk clerk).

Obviously, this is not a long term relationship and by chance or fate, Benjamin becomes reacquainted and then falls in love with Mrs. Robinson's daughter Elaine, played by Katherine Ross. Soon the truth and reality of their misbegotten affair comes to the fore and threatens the lives and values of all concerned. Is their a happy ending or is this another bleak perspective of a tumultuous era?

The Graduate has an amazing, original soundtrack from Simon and Garfunkul, (which put the duo on the map). The film also earned four Academy Awards for Best Picture, Best Actor, Best Actress and Best Supporting Actress.

Australia (2008) � Movie Review

Sun, 07 Dec 2008 18:36:07 GMT

Australia is set in the Outback during World War II. It is basically a western set Down Under, featuring Nicole Kidman and Hugh Jackman. The film is a beautiful epic story similarly shot in the styling of Hollywood. It is a mainstream fair, not likely a Best Picture selection but a fun entertaining piece, and right for the holiday season with an all-star Aussie cast.

Kidman plays an English aristocrat on travel to seek her husband and cattle ranch in the Outback. She finds him murdered. She first encounters Hugh Jackman, a cattle rancher she will need to rely upon for her ranch. At first they despise each other, but will then fall in love as clich�s go. They are both winning and share a nice chemistry.

The interesting subplot deals with a young boy who is half Aborigine and half white, a Creamy, which makes him target to social internment and outcast to primarily white society. Jackman and Kidman must make a moral decision to adopt the child or let the law takes its course.

The most intriguing part of the film is the beautiful cinematography and landscape and the old school Hollywood style, bigger than life. It is not a serious film but entertaining and amusing. It reminds me of Giant, with Rock Hudson and Elisabeth Taylor. It is fun and glamorous. The only drawback is the length at nearly three hours.

I liked this movie but abhorred the duration which made my back painful and my ass stiff.

Step Brothers (2008) - Film Review

Fri, 05 Dec 2008 20:20:54 GMT

In my opinion, Saturday Night Live (SNL) has not been any good since Will Farrell left the cast to make movies (with the possible exception of Tina Fey during this past election season). However, comedic movies have improved with Will Farrell in them. My favorite WF movies are Old School and his cameo in Wedding Crashers. When I learned he was re-teaming with John C. Reilly from Talladega Nights to star in Step Brothers, about, well, step brothers, I had my doubts and thought I would pass. I am glad I didn't.

Step Brothers is a light-hearted comedy about the trials and tribulations of two modern day single parent families that unite as one. Think the Brady Bunch only without the six kids, the maid, the cool house or the dog. This movie has heart and sentiment. It could have been played on Lifetime except that it's gross.

Nancy Huff (Mary Steenburgen) and Dr. Robert Doback (Richard Jenkins) are two single, working parents who meet at a business seminar. When they decide to marry and live together, it is with the best intentions and hopes that their respective children will be able to get along as step-siblings. The problem is both are self-centered, spoiled, without real responsibility and overly accustomed to having the rule of the house. The other problem is both children are near or over forty and without jobs.

Mary's son Brennan is played by Will Farrell. Brennan is thirty-nine. His one talent in life is that he has the voice of an angel. He never pursued this talent because his older ridiculed and humiliated him in high school, publicly suggesting that he was a fairy. Tragically, this event scarred him so deeply that he became somewhat of a recluse in the home, though rather adept at playing video games and watching television. His older brother went on to become a successful businessman with a family of his own. However, he remains an asshole.

Robert's son Dale is portrayed by the award winning character actor, John C. Reilly. The IMDB describes the actor as having: "a homely mug, lumbering gait and unruly mop of curly hair tailor-made for offbeat character work . . ." Nice. Reilly earned a Golden Globe and Oscar nomination for his work in Chicago. But nothing in his illustrious career could have prepared him (or us) for his role in Step Brothers. Dale is forty years old and has a killer drum set, his prize possession. Other than that, he has no veritable skills or personality. Reilly's Dale literally fills the screen, bigger than life, and his head is really huge.

Obviously, Brennan and Dale hate each other almost immediately. After all, the movie would have no comic tension if they didn't. They are unmotivated, insecure and territorial with their space and possessions. Even for the best of families, integrating new family dynamics is a hard task. First they despise each other, then they love each other, then they want to kill each other. Dale warns Brennan never to touch his drum set, nor even set foot in that room. When Brennan is angry at Dale, he retaliates by rubbing his unmentionables on the snare. Before long, these two become monsters and threaten to tear the very fabric of home that sustains them, including the love between Mary and Robert. Ultimately, the boys are faced with the reality that they need to grow up. At their wits end, they devise a plan to restore order to the home and make their parents happy again.

Step Brothers is a touching tale about family and discovering oneself and when to leave the home. It is also makes a strong, albeit indirect case, for military school. If Bill Murray and Harold Ramis had not joined the Army in Stripes (1981), this would have been the resulting movie. I can honestly say this movie is very, very stupid, and for some reason, hilarious.