WHAT IT’S ABOUT?
Set in a seaside English town in the '80s this small heartfelt tale centers on the relationship between Edward a 10-year-old boy whose parents run a retirement home and Clarence an aging magician and recent widower who is one of the new residents. Lonely and curious Edward has a habit of befriending the old folks only to search for their ghosts after they die. When Clarence comes in both learn new life lessons as the older one comes to terms with his past while the younger boy finds reason for optimism as he faces the future.
WHO’S IN IT?
Michael Caine is wonderful in a startling character role in which the 76-year-old movie icon allows himself to look older drawn and beaten in parts of the film. Although the career of the two-time Oscar winner has been full of memorable performances ranging from Alfie in 1966 to The Dark Knight last year it’s this kind of realistic and moving portrayal that has marked the best of his work. and he’s never been better than in this memorable portrait of a forgotten magician who still manages to discover a couple of new tricks late in life. Matching him every step of the way is the engaging Bill Milner (Son of Rambow) who manages to go toe-to-toe with a screen legend without coming off as a too precocious of a child actor. He’s haunting and extremely natural in a pivotal three-dimensional role that never seems forced. Helping matters immensely is a great ensemble of splendid British stars who play the other residents including the great Rosemary Harris Leslie Phillips Sylvia Syms and Peter Vaughan.
Director John Crowley (Boy A Intermission) wisely lets his actors off the leash to create a chemistry that makes the modest story work its own kind of movie magic. Reminiscent in certain ways of the kind of British kitchen-sink dramas popular in the '60s Crowley resists any opportunity to let directorial flash overwhelm this poignant character-driven tale thereby letting it thrive on its own terms.
With such a superlative cast of British-acting royalty in the supporting roles you almost wish there were a few more scenes showcasing these characters in the film’s trim 91-minute running time.
Clarence rallies his talents to put on a magic show for the home’s residents. Caine pulls this off seamlessly and the sequence is pure delight.
NETFLIX OR MULTIPLEX?
This quaint film won’t lose anything on TV screens and may be hard to find in wide release so take the opportunity to see it any way you can.
Myers’ Guru Pitka could have used a little more back story and a little less shtick. The thin plot has Pitka uttering philosophical piddle like “an eye for an eye leaves everyone blind ” and repeating his mantra “Mariska Hargitay” over and over. But Pitka is not happy with his standing in the spiritual community--especially with the success story of his childhood friend and colleague Deepak Chopra (who cameos in the film). Chopra has been on Oprah for god’s sake! Suddenly Pitka sees the possibility of the fame when Jane (Jessica Alba) the owner of the Toronto Maple Leafs hockey team summons him to help get back her star player Darren’s (Romany Malco) mojo back after his wife Prudence (Meagan Good) leaves him for the legendarily well-endowed L.A. Kings star Jacques “Le Coq” Grande (Justin Timberlake). Pitka’s spiritual mission? Get Darren and Prudence back together in time for the Leafs to win the all-important Stanley Cup. If you’re looking for one-man shows Mike Myers is your man. Clearly the actor is this generation’s Peter Sellers choosing to play characters far from his own persona such as spy Austin Powers or Wayne Campbell. Guru Pitka fits right in. In Love Guru Pitka throws all sorts of self-help mumbo jumbo around hoping some of it sticks. He is like a distant cousin to other Sellers incarnations in films such as The Magic Christian I Love You Alice B. Toklas and particularly his Indian actor Hrundi V. Bakshi in The Party. But Love Guru doesn’t match those films or even any part of the Austin Powers trilogy largely because the gags take precedence over any true character development. For every Bollywood musical takeoff that works there’s a couple of bits that fall flat. It’s hit and miss despite Myers best efforts to sell this show as something more than an SNL sketch. Surrounding the star is the spectacularly unfunny but still beautiful Alba and the surprisingly funny AND beautiful Justin Timberlake who holds his own in the comedy department especially with his broken Canadian accent. Austin Powers sidekick Verne Troyer is back as the not-so-swell coach of the Leafs and he makes a good hockey puck while Ben Kingsley does his thing as the master Guru Tugginmypudha. First-timer Marco Schnabel is credited as director but it’s a good bet star/co-writer (with Graham Gordy) Mike Myers was calling most of the shots; it appears Myers did not have someone behind the camera reigning him in. Too bad. A sharp comedy director could have shaped the film into more than just a series of sight and sound gags designed for quick laughs at the expense of a coherent story. For his first live action film in five years (he does the animated Shrek films in between) it’s a little disappointing The Love Guru isn’t better than it is particularly from the creative mind behind the Austin Powers trilogy. Myers says he came up with this idea while seeking spiritual guidance from Deepak Chopra after his father died. The opportunity for some sharper satire and a stronger storyline is traded for a hit or miss 88 minute skit that has its moments but never finds it’s true Karma.
Once respected NYPD detective Jack Mosley (Bruce Willis) is now pretty much on his last legs literally and figuratively. He drinks is relegated to a desk job and walks with a limp. One morning after a long shift he’s corralled into transporting a petty criminal Eddie Bunker (Mos Def) to the courthouse 16 blocks away so he can testify by 10:00 a.m. What Jack doesn’t know is that Eddie is one of the key witnesses in a case against crooked cops--that is until the two start getting shot at. Then it becomes crystal clear. The main bad guy Jack’s former partner Frank (David Morse) basically lets Jack know Eddie will never testify to just go ahead and hand him over but Frank underestimates Jack’s desire to finally do something good. So Jack and Eddie fight their way to the courthouse block by gut-wrenching block. Oh no there’s nothing formulaic about 16 Blocks not at all. In a film as predictable as this the only thing that’ll make it stand out is the performances. 16 Blocks nearly succeeds--but not quite. It would seem Willis is playing a character he’s played a hundred times before--the misunderstood and slightly unorthodox cop with a heart of gold. But as Jack the actor does a nice job trying out some new things namely playing fat bald and grizzled. You can almost smell how bad Jack’s breath has to be. Rapper/actor Mos Def who usually brightens any film he’s in also tries his hand at something different but his choices aren’t as smart. As the talkative and affable Eddie Mos comes up with one of the more annoying nasally accents ever recorded. After about five minutes of screen time you desperately want him to stop and say “Just kidding! I don’t really talk like this.” But he doesn’t. It’s too bad something like an accent can ruin an otherwise decent performance. Old-school director Richard Donner best known for his Lethal Weapons is a consummate professional when it comes to making these kind of movies. In other words he pretty much paints by numbers. We watch Jack and Eddie get out of one tight situation after another as the gaggle of bad cops try to gun them down. I mean 16 blocks doesn’t seem that far to go so they better throw in as many highly implausible obstacles as they can. Chinese laundries alleyways rooftops subways. And yes even a city bus which the pair--who have by now bonded big time--has to hijack. Donner also employs a popular but nonetheless annoying technique of zooming in when the action heats up so you can’t really see what’s going on. Even if you’re addicted to action movies--a Bruce Willis action movie no less--16 Blocks just doesn’t deliver the goods.