While Steven Spielberg's Saving Private Ryan helped define the style of a modern day war film it was his HBO mini-series Band of Brothers that truly captured the World War II experience. The multi-part saga dealt with every nook and cranny of the US military's involvement in the war from large scale battles to intimate character details. The new movie Red Tails developed and produced by Spielberg's Indiana Jones collaborator and Star Wars mastermind George Lucas attempts to cover the same ground for the sprawling tale of the Tuskegee Airmen—albeit in a two hour compressed form. The result is a messy handling of a powerful story of heroism. The good intentions make it on to the screen...but the drama never gets off the runway.
Red Tails assembles a talented cast of young actors to portray the brave men of the 332nd Fighter Group a faction of the Tuskegee Airmen. The ensemble is reduced to a jumble of simplistic one-note characterizations: Easy (Nate Parker) the do-gooder with a dark past; Lightning (David Oyelowo) the suave rebel who never listens to orders; Junior (Tristan Wilds) the fresh-faced newbie ready for a good fight; and the rest a nameless group of underwritten yes men all with just enough backstory to make you interested but never satisfied. Thankfully with the little material they have to work with the gentlemen excel. Rapper-turned-actor Ne-Yo is a standout as the quick-witted Smokey overshadowing vets Terrence Howard and Cuba Gooding Jr. (who spends most of the movie chomping on a corn cob pipe and grinning).
With the plethora of characters comes too many plot threads and Red Tails stuffs its runtime with everything from epic flyboy dog fights romantic interludes (Lightning finds himself infatuated with a local Italian woman) office politics alcoholism and even a POW camp escape. If there was a true lead character the movie may have succeeded in stringing the events together in a coherent narrative but instead Red Tails is choppy and uneven. The aerial battles for all their CG special effects nastiness are incredibly exhilarating but when the movie's not tackling the intensity of a battle (which it does often) it comes to a near halt. That mostly comes down to history standing in the way—the crux of the story focuses on how segregation caused the military's higher ups to avoid utilizing the Red Tails in true battle. Meaning there's a lot of talk on how the team should be fighting as opposed to actually doing it.Director Anthony Hemingway tries to do this important historical milestone justice but the execution flies too low even under made-for-TV movie standards. Red Tails is a dull history lesson occasionally spruced up with Lucas' eye for action. The charisma of the the main set of actors goes a long way in keeping the film tolerable but they can't fill the gaping hole where the emotional hook belongs. This is a movie about heroes yet not once are the filmmakers able to pull off a moment that feels remotely brave. Which is unfortunate—as it's a story of the utmost importance.
Normally when a film about a historical figure finds its way into “awards watch” season you expect a certain level of intrigue from its content.So My Week With Marilyn should by all accounts deliver a little bite. Marilyn Monroe is a staple of American culture. We all know her face her voice her classic lines her wardrobe “malfunctions ” her tumultuous relationship history her power over men and of course that ugly little truth we like to brush under the carpet: the pill addiction that eventually cost her her life. This film purports to give us a look at the “real” Marilyn – the one the millions of representations of her haven’t already shown us. The problem is that by the time the film attempts to explore the darker corners of Monroe’s (Michelle Williams) existence we like our protagonist Colin Clark (Eddie Redmayne) are already under her spell. Just as we start to condemn her or look at her problems without the biased nostalgic eye most of us are afflicted with the film waves its magic Marilyn wand and quickly abolishes those less glamous notions. The result is a splendid yet decidely indecisive journey with a very complicated and often misunderstood woman
We meet plucky young Colin as he embarks on his first foray into feature films. It’s his dream and thanks to a connection to Sir Lawrence Olivier (Kenneth Branagh) he’s got a shot at working on a film. But it’s not just any movie; it’s The Prince and Showgirl a marriage of American and English sensibilities starring Olivier and Monroe. When Colin arrives he’s just a third assistant director to Olivier – essentially a go-fer – and can do little but admire Marilyn without hope. He takes up with a wardrobe girl named Lucy (Emma Watson) and goes about his duties. Of course things don’t stay this simple. His newness lends itself to a bit more flexibility so when Olivier’s rigid practices clash with Marilyn’s laissez-faire style and the production begins to slow to a glacial pace Colin is a natural fit to become Marilyn’s willing ally. Their friendship grows as Olivier’s temper comes to a boiling point and the result makes Marilyn a film tinged with a choice number of harsh realities – but as soon as they rear their ugly heads Monroe’s ever-present spell casts itself over them.
Of course this isn’t so much a criticism of the film as it is criticism of the weight given to the content. My Week With Marilyn is beautifully shot allowing the nostalgic air of London and Monroe in the 50s to take the lead with a few contemporary flairs to help keep us along for the ride. Every detail is impeccable from the music to the settings to the dialog. There isn’t a single weak link in the cast. Redmayne displays all the youth and earnest vigor demanded by his young character. Though her character teeters between a layered enigma and the girl the entire world knows Williams handles each angle as easily as Marilyn handles the men around her. Supporting cast members Julia Ormond (as Vivien Leigh) Judi Dench (as Dame Sybil Thorndike) and Branagh put their wealth of experience to tremendous use. Lesser known actors like Dougray Scott and Dominic Cooper take on American accents with minimal issues and handle their supporting characters with ease – and Watson delivers her usual (but welcome) lovely precocious act.
There’s really nothing wrong with My Week With Marilyn. It’s lovely. It’s smart. It’s extremely well-crafted. It’s a good film. But it does little to excite a reaction beyond that. And when you’re dealing with someone we know as well as most of the world knows Marilyn I doubt I’m the only one who expect a little more…va va voom.
Spanning from WWI to the 21st century Eric Roth’s screenplay (based loosely on a 1922 short story by F. Scott Fitzgerald) tells the unique story of a man named Benjamin Button (Brad Pitt). He is born in New Orleans as a very old baby the equivalent of a man in his 80s who then ages backward into youth over the better part of a century. The film is told in flashback by a very old dying woman Daisy (Cate Blanchett) who recounts her tale to her daughter (Julia Ormond) from a hospital bed during Hurricane Katrina. Left on the doorstep of a retirement home one night by his father (Jason Flemyng) Benjamin is brought up by Queenie (Taraji P. Henson) who runs the place. While there he meets a young girl Daisy who will become a key figure -- romantically and otherwise -- in his life. Ben does have some grand adventures: He goes to work on a boat sees sea battles during WWII finds love with an older married woman (Tilda Swinton) -- and gets progressively younger as the decades fly by. It all manages to be alternately haunting romantic funny epic emotional and incredibly moving and will likely to stay with you a lifetime. Brad Pitt manages to deliver a thoughtful and subtle performance through all the special effects makeup and CGI. He does so much just by using his eyes. Cate Blanchett is equally fine as she plays Daisy from a teenager to an old woman and matches Pitt in bringing an entire lifetime skillfully to light. Her aging makeup is completely natural and she’s very moving in the hospital scenes opposite Ormond. Henson is just marvelous as Queenie a warm and understanding soul. Swinton is elegant and memorable in her few crucial encounters with Ben and plays beautifully off Pitt. Jared Harris (TV’s The Riches) as the colorful Captain Mike who hires Ben on his tug boat and Flemyng (The League of Extraordinary Gentlemen) as Ben’s father are also effective in their brief screen time. Interestingly Benjamin Button has been gestating for decades in the Hollywood firmament but needed time for the proper technology to catch up to it. Director David Fincher (Zodiac Fight Club) with his early background at George Lucas’ ILM proves to be the perfect choice to marry a compelling story with spectacular visual effects achievement. He did not want to do the film unless the technology allowed one actor to play the role throughout the course of the film. Remarkably they were able to achieve this superimposing Brad Pitt’s face and eyes into all the incarnations of Ben Button. In one sequence Pitt looks just like he did in Thelma and Louise. It’s an amazing feat. He has seamlessly created a unique universe without ever bringing attention to it advancing the art of screen storytelling leaps and bounds ahead of everything else that has come before. Benjamin Button is a plaintive and provocative meditation of life death and what we do while we are here. It’s the stuff of dreams.