Tragedy strikes the Marshall University community when a plane crash claims the lives of most of the football team coaches and some fans. With the whole town traumatized university president Donald Dedmond (David Strathairn) thinks it's best to cancel the football program but remaining players led by Nate Ruffin (Anthony Mackie) rally the school to support continuing the team's honor. Of course nobody wants to coach in these circumstances--that is until rogue bad boy Jake Lengyel (Matthew McConaughey) asks for the job. Along with surviving assistant coach Red Dawson (Matthew Fox) they build the team back up. Just putting the team back together raises the town's spirits but getting back the winning record is another story. This could have easily been a sappy tearjerker but it sticks to the high road for the most part. There are some sad scenes (i.e. the cheerleader [Kate Mara] returning the engagement ring her dead boyfriend gave her to his mourning daddy) but otherwise the focus is on moving ahead. Just about every actor gets at least one big moment to cry. That's a given in a story of this nature and some of them are better than others. Mackie's stoic attempt to take punches in an injured shoulder is full of passion but Fox's random breakdown is well just like a flashback from Lost. He is better on the field showing us a side to his personality we haven’t seen yet. Strathairn seems the most sympathetic as the pained authority figure making tough decisions. Mara (Brokeback Mountain) looks so innocent you just want to hold her hand and stroke her hair every time she wells up. Aside from that there's also a lot of personality in the film. McConaughey leads the team with a gleam in his eye and a smirk on his lips but it never comes across as insensitive. He’s hip so of course he's the one who can lead them out of tragedy. And as an ensemble film the cast comes together as a community in which a single tragedy can affect them all and a single victory can give them hope. McG totally restrains his bombastic Charlie's Angels style of filmmaking for this character piece. Just about the only noticeably fancy shot is a dissolve from Mara looking up at the plane to her boyfriend staring out the airplane window. It's a moving moment because we know what is coming and it does not call too much attention to the filmmaking process. McG knows how to do some great montages too. Recruiting the new players running the drills--they're all full of visual moments set to a rocking soundtrack. Most importantly he handles the tragedy with class and doesn’t deliberately try to jerk tears. The plane crashes with only a single jump and a fade to black but the wreckage burns through our hearts. Instead McG shows there's a way to honor the dead to take back a community's pride and let life go on without disrespecting any of the departed. The football games in We Are Marshall are filmed with visceral impacts pretty much the way most sports movies are. There's no Friday Night Lights grit but that's fine. These games are about telling a story not exposing the seedy underbelly of the sport.
Elderly Ptolemy (Anthony Hopkins) who once served under the great Alexander (Colin Farrell) narrates the life story of the man the myth the legend--the son of the ambitious King Philip (Val Kilmer) who surpassed his father at every level and charged into the farthest reaches of the world. From early childhood in Macedonia we see where Alexander gets his drive--mostly from his vengeful snake-lovin' mother Olympias (Angelina Jolie) who urges her son to take charge as well from his tutor Aristotle (Christopher Plummer). Even in the taming of his unbreakable horse Bucephalas at 10 years old Alexander's destiny is evident. The heart of the film lies in Persia which Alexander conquers in one of the most studied military battles of all time. Alexander spends a great deal of time there--taking in the culture claiming its riches and marrying a Bactrian princess Roxane (Rosario Dawson)--much to the chagrin of his Macedonian generals who are stuck in this foreign land with their king. Despite this success Alexander grows restless and turns his attention to the rest of the world including the unexplored regions of India. With his army stretched thin and his Macedonian troops longing for home Alexander presses them one campaign too far. Succumbing to a mysterious illness at age 33 Alexander dies never quite finding what he so desperately searched for.
Although some may scoff at casting the Irish actor in the lead Farrell does an admirable job playing the tortured hero blond wig and all. He exudes plenty of wide-eyed fury and intensity as Alexander the warrior balanced by the controlled calculation of a hyper-effective military commander although he isn't nearly as effective as the idealistic pre-world-conqueror Alexander as he is spiraling down into the haunted angst-ridden Alexander at the end of his obsessive crusade. Casting Jolie as Olympias is a stroke of genius. Sure Jolie can play a smart and beautiful woman in her sleep but her beauty is surpassed only by the power she imbues as Alexander's bitter yet loving mother; she's as hypnotic as the snakes she carries around. Kilmer relishes his role as Alexander's father Philip in all of his grotesque wine-soaked glory. Powerful driven and battle-scarred Kilmer's Philip knows precisely what he wants and matches Jolie's quiet intensity with the raw aggressive masculinity of a warrior king who is far more comfortable in his armor than a toga. In the supporting roles Hopkins is great as always this time in the thankless role of the narrator while Dawson plays Roxane with a ferocity that is as mesmerizing as it is terrifying. Standout Jared Leto also turns in a concentrated performance as Hephaestion Alexander's long-time companion boyhood friend and the person who loves Alexander the best. (And we do mean love.)
Alexander is Oliver Stone at his best. An Alexander nut for most of his life the director gives us a film that--even in its loooong three-hour form--continuously holds your attention especially its intense and bloody battle scenes. I mean honestly once you've fought against an elephant in armor the plain old sword-and-shield skirmishes pale in comparison. Alexander also possesses a great breadth of visuals: Alexandria's peace Pella's tension Babylon's opulence and India's richness. Yet as wonderful as the landscapes are it's personal interactions and internal politics that drive the story--and of course Stone's penchant for conspiracy theories as he more than insinuates Alexander was poisoned by his enemies rather than dying of an "unknown" illness. But a problem still remains: Alexander's life was so huge and he did so much that it's almost impossible to encapsulate it effectively into one film. Stone instead has to focus on what he thinks is the most important namely Alexander's renowned conquests while allowing the pressure cooker in which the young conqueror grew up--the triangle of mother father and son--come through in the decisions he makes later in life. For those few of us who have studied Alexander Stone has made this film especially for us. If you haven't spent any time reading Arrian and the other histories this excellent film might just inspire you to do so.
Based on the bestseller by Nicolas Sparks the film begins with Duke (James Garner) and Allie (Gena Rowlands) an inseparable couple living in a nursing home. While Duke remembers their life together Allie who suffers from progressive dementia does not. Their only bond is a faded notebook from which Duke reads to Allie every day telling her the same story over and over. It's a sweeping tale of two South Carolina teens country boy Noah (Ryan Gosling) and city gal Allie (Rachel McAdams) who spend one glorious summer in the early 1940s falling madly in love. Unfortunately the couple is soon separated first by her disapproving parents and then by World War II but after seven years apart after taking different paths they are passionately reunited. There's a catch though; Allie is now faced to choose between the man she once loved and the successful businessman (James Marsden) she is engaged to. It's really no surprise who the young Allie chooses in the end--but for Duke the only thing that keeps him going is the fact that every day somehow through the power of this story the mentally impaired Allie miraculously remembers their love if only for a very brief moment before slipping back into oblivion. Tears being jerked from your eyes yet?
The talented cast certainly elevates The Notebook's romantic drudgery. McAdams takes a departure from all the Mean Girls she's played lately (including The Hot Chick) and easily wins you over as the spirited young Allie while the usually intense Gosling also tackles something lighter so to speak than his previous darker roles such as his Jewish-turned-American Nazi leader in The Believer. While infusing a certain sense of brooding and melancholy into Noah especially in the years he spends pining for Allie Gosling manages to exude Noah's genuine warmth and sensitivity as well. And between the two of them real sparks fly as the actors paint a fresh and inviting picture of young love that stands the test of time. Marsden is completely wasted however as Allie's fiancé Lon a upstanding Southern gentleman Allie's parents expect her to marry who offers little as to why Allie should stay with him. As the older contingency veterans Garner and Rowlands who take the sappiest material and turn it into something meaningful inspire some truly heart-ripping moments as the aging couple holding onto their love as tight as they can. In the supporting cast Joan Allen has some shining moments as Allie's uptight mother with a secret of her own.
In bringing the popular novel about enduring love to life director Nick Cassavetes (Unhook the Stars) may have used his own experiences having seen his parents--the late John Cassavetes and his lady love and muse Gena Rowlands--play out their own real-life love affair. Cassavettes gets to the heart of the material right away and permeates the screen with the beautiful surroundings of South Carolina where The Notebook was filmed. We glide through lush moss-filled swamps and sleepy Southern towns marvel at languid shots of the South Carolina coastline. It's very clear Cassavetes has a way with actors much like his father did gently coaxing realistic performances from his young somewhat untested leads while allowing old guards like Garner and Rowlands to simply work their magic (imagine telling your Oscar-nominated mother how to act. Right). The problem is the story itself which not only offers nothing new to the romance genre but also isn't very compelling. There are no great tragedies (save perhaps for the whole dementia thing) no real villainous presence to keep the lovers apart no peril at all. It's boy-meets-girl boy-loses-girl boy-wins-girl-back--ho-hum. Where's the sudsy soap opera when you need it?