Robert Zemeckis is a blockbuster director at heart. Action has never been an issue for the man behind Back to the Future. When he puts aside the high concept adventures for emotional human stories — think Forrest Gump or Cast Away — he still goes big. His latest Flight continues the trend revolving the story of one man's fight with alcoholism around a terrifying plane crash. Zemeckis expertly crafts his roaring centerpiece and while he finds an agile performer in Denzel Washington the hour-and-a-half of Flight after the shocking moment can't sustain the power. The "big" works. The intimate drowns.
Washington stars as Whip Whitaker a reckless airline pilot who balances his days flying jumbo jets with picking up women snorting lines of cocaine and drinking himself to sleep. Although drunk for the flight that will change his life forever that's not the reason the plane goes down — in fact it may be the reason he thinks up his savvy landing solution in the first place. Writer John Gatins follows Whitaker into the aftermath madness: an investigation of what really happened during the flight Whitaker's battle to cap his addictions and budding relationships that if nurtured could save his life.
Zemeckis tops his own plane crash in Cast Away with the heart-pounding tailspin sequence (if you've ever been scared of flying before Flight will push into phobia territory). In the few scenes after the literal destruction Washington is able to convey an equal amount of power in the moments of mental destruction. Whitaker is obviously crushed by the events the bottle silently calling for him in every down moment. Flight strives for that level of introspection throughout eventually pairing Washington with equally distraught junkie Nicole (Kelly Reilly). Their relationship is barely fleshed out with the script time and time again resorting to obvious over-the-top depictions of substance abuse (a la Nic Cage's Leaving Las Vegas) and the bickering that follows. Washington's Whitaker hits is lowest point early sitting there until the climax of the film.
Sharing screentime with the intimate tale is the surprisingly comical attempt by the pilot's airline union buddy (Bruce Greenwood) and the company lawyer (Don Cheadle) to get Whitaker into shape. Prepping him for inquisitions looking into evidence from the wreckage and calling upon Whitaker's dealer Harling (John Goodman) to jump start their "hero" when the time is right the two men do everything they can to keep any blame being placed upon Whitaker by the National Transportation Safety Board investigators. The thread doesn't feel relevant to Whitaker's plight and in turn feels like unnecessary baggage that pads the runtime.
Everything in Fight shoots for the skies — and on purpose. The music is constantly swelling the photography glossy and unnatural and rarely do we breach Washington's wild exterior for a sense of what Whitaker's really grappling with. For Zemeckis Flight is still a spectacle film with Washington's ability to emote as the magical special effect. Instead of using it sparingly he once again goes big. Too big.
Aaron Paul has the need: the Need for Speed. The twice Emmy Award-winning actor is making a quick play for the movies, and has attached himself to the upcoming video game adaptation of the Electronic Arts game of the same name, according to EW. The racing film will be directed by Scott Waugh and distributed by DreamWorks with a release date of February 7, 2014. From fast drugs to fast cars.
The film has other big names attached, including John Gatins and his brother George who penned the screenplay. John also wrote the highly-buzzed Denzel Washington upcoming film Flight. And while it sounds like Need For Speed could easily become just another Fast and Furious, with talent like Gatins and Paul attached, it seems to be that the film may be racing towards the opposite end of the spectrum. A request for comment was unanswered at the time of publication.
What do you think of Paul's casting? Would you watch a movie version of Need for Speed? Sound off in the comments!
[Photo Credit: DailyCeleb]
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Real Steel – the new sci-fi sports flick from Night at the Museum director Shawn Levy – is set in the year 2020. Its vision of the future looks remarkably similar to the present save for the fact that the sport of boxing has been taken over by pugilistic robots. There are no robot butlers taxi drivers or senators – just boxers. Apparently technology in 2020 has advanced enough to allow for the creation of massive mechanized beings of astonishing dexterity but humanity has found no use for them beyond the boxing ring.
Hugh Jackman plays Charlie Kenton a has-been boxer turned small-time robot-fight promoter. A consummate hustler who’ll do anything for a buck Charlie’s fallen on hard times of late. Opportunity arrives in the diminutive guise of 11-year-old Max (Dakota Goyo) his estranged son who turns out to be something of an electronics wunderkind. Together they work to fashion Atom an obsolete ramshackle “sparring robot” left to rot in a junkyard into a contender.
Anyone who’s seen an underdog sports movie – or any movie for that matter – made in the last half-century can fairly easily ascertain how this one plays out. (The story borrows tropes from The Champ Rocky and Over the Top wholesale.) Atom proves surprisingly capable in the ring compensating for his inferior technology with grit perseverance and an ability to absorb massive amounts of punishment. Under the guidance of Charlie and Max he makes an improbable run through the ranks eventually earning a one-in-a-million shot at the World Robot Boxing championship.
Real Steel was executive-produced by Steven Spielberg; it bears his unmistakable imprint. Levy judiciously deploys Spielberg’s patented blockbuster mix of dazzling special effects and gooey sentiment wrapping it all in a highly polished if wholly synthetic package. Still Real Steel might have amounted to so much glossy hokum were it not for its champion Hugh Jackman. Other actors might eye such a project as an opportunity to coast for an easy paycheck but damned if Jackman isn’t completely invested. The film’s underdog storyline isn’t nearly as inspiring as watching its star so gamely devote himself to selling material that will strike anyone over the age of 12 as patently ludicrous. His efforts pay off handsomely: Real Steel is about as rousing and affecting as any film inspired by Rock’em Sock’em Robots can expect to be. (The filmmakers claim lineage to a short story-turned-Twilight Zone episode but who are they kidding?)
Dreamer is another one of those family films--based on a true story no less--that makes you feel guilty for not liking it because it means so well. The film revolves around the Cranes who have worked on their Kentucky horse farm for generations. But gifted horseman Ben Crane (Kurt Russell) loses his love for the job when the farm hits hard times. His estranged father Pop (Kris Kristofferson) feels like his son has given up unnecessarily. Even Ben’s young daughter Cale (Dakota Fanning) can’t get through to her dad. The only way this family can heal is by helping an injured horse named Sonya get ready for a seemingly impossible goal: to win the Breeders' Cup Classic. Say it together: “Awww!” At least the film gets it half right in its casting. Russell is perfect as the beleaguered Ben a man who needs a little inspiration to get back on track and he thankfully never takes it over the top. Same goes for Kristofferson who is aptly crusty and unwilling to give his son an inch--that is until his granddaughter and that darned horse melt his heart. And the family resemblance is uncanny; apparently the two actors have been told quite often how much they look like each other. The one misstep here is Fanning. Yes she is an extraordinarily gifted actress for her age but Cale should have been played by a happy sunny child. The oh-so-serious Fanning doesn’t really qualify. Also Elisabeth Shue as the mom is all wrong. A horse farmer’s wife? Please. Writer-director John Gatins takes a big gamble making his directorial debut with a movie about an underdog horse. First there’s the underdog part. This year seems a bit saturated with the plot device what with films like Cinderella Man and most recently Greatest Game Ever Played. Second there’s the whole horse thing. It’s just going to be hard to top the Oscar-nominated Seabiscuit--the quintessential true horse-racing movie to beat them all. True Dreamer is based on a true story and is nicely--albeit conventionally--framed. But the film isn’t unique in any way. It’s the same feel-good family stuff we’ve been swallowing all year. See? I told you I’d feel guilty for knocking it.
Freddie Prinze Jr. stars as Ryan Dunne the first local boy to break into the Cape Cod Baseball League--a stable of college all-stars who descend upon the idyllic seaside town for the summer to duke it out for pro scouts. Ryan is a fairly talented pitcher but tends to choke at key moments in a game. He's got a dad (Fred Ward) and a brother (Jason Gedrick) who work blue-collar jobs and (in a typically clichéd fashion) don't want to see Ryan fail as they have. But even with all the competition Ryan still manages to make friends with rowdy catcher Billy "Bru" Brubaker (Matthew Lillard). To complicate matters Ryan gets involved with the lovely and--surprise!--rich girl named Tenley Parrish (Jessica Biel) whose father (Bruce Davison) is none too pleased about his daughter's budding romance with the "boy from the wrong side of the tracks." The pressures are mounting. Will Ryan make it to the Big Show? And if so will we care?
No matter what he does Prinze seems to be in this teen flick rut. His Ryan may be the most complex character he has played so far but that isn't saying a whole lot. The actor has decent range and is capable of tackling heavier material. It's just time for him to grow up. Biel known best for her role as a troubled daughter on the family WB show 7th Heaven gets to stretch her wings here and does a good job playing an unspoiled rich girl who doesn't care what her family thinks. On the flip side Davison falls right into the villainous father figure role without trying anything new. Lillard underplays his talented slugger from USC yet manages to add a requisite amount of flair when needed. Still like his pal Prinze he needs to move on and join the big leagues. However a true standout is Brian Dennehy as the demanding but understanding coach. He is one of those actors you can always depend upon to give you a good performance.
The premise of the story in which the action is centered upon the Cape Cod Baseball League is different but the script never digs deep. Apparently the writers felt subtleties in a scene wouldn't adequately display the emotional impact needed so every cliché in the book is thrown right in your face. For example Ryan's embittered and widowed dad who has long given up his dreams will be damned if he sees Ryan fail. There are the typical barroom antics as well as the sneering rival pitcher (Corey Pearson) who wants Ryan out of the way. Or how about the "fast" girl in town (Brittany Murphy wasted in this role) with a heart of gold. You get the picture. It's clear director Michael Tollin enjoys the game of baseball. The film steps up a notch when the action is on the field. However many directors before him have portrayed the beloved sport better.