There's probably still someone somewhere that would fall for one of Sacha Baron Cohen's weird and wooly scenarios but let's face the facts: the days when Ali G. could snag an interview with Pat Buchanan or Gore Vidal are long gone. 2009's Bruno definitely let some steam out of Borat's tires not to mention the ensuing lawsuits. But it's refreshing to see Cohen and his Borat/Bruno cohort director Larry Charles flex their muscles in the fictional universe of The Dictator a vehicle that doesn't skimp on their signature cringe-worthy humor.
The world of The Dictator gives them the leeway to create crazy spectacles — at one point Cohen's General Aladeen rides down Fifth Avenue on a camel surrounded by a giant motorcade. Having a plot helps too; although part of the genius of Sacha Baron Cohen's schtick is how the viewer is made culpable by proxy by our amusement and horror at how he tricks and torments people who aren't in on the joke The Dictator continues the self-reflexive satirical bite. We're certainly not off the hook. Aladeen says and does truly outrageous things but they're also exaggerations of the world we live in. It might be a stretch to call Sacha Baron Cohen the British Lenny Bruce or George Carlin in a face merkin but rest assured that no topic is off limits. If you are offended by jokes about abortion rape feminists body hair race religion politics STDs war crimes ethnic cleansing necrophilia and/or bestiality don't even bother. However if you like the kind of comedy that makes you hide your face in your hands feeling like each laugh is being pried from you against your will you're in business.
Cohen eats up the screen as both General Aladeen and his incredibly dumb body double; the latter prefers the intimate company of one of his goats to a human while the former is a fairly stupid ruthless dictator whose own people are so disloyal to him that they actually ignore his commands to execute people. (He really likes to execute people.) When he arrives in New York City to attend a summit at the UN his uncle Tamir (Ben Kingsley) has the two switched so he can easily manipulate the "General" into signing a treaty to make Wadiya a democracy and reap the financial benefits. Aladeen finds refuge with Zoe a hairy-pitted activist who thinks he's a political dissident and is excited to be able to give him a safe haven in her touchy-feely Brooklyn grocery co-op. Instead of being typecast as another blonde dummy Anna Faris is finally given room to play as the wide-eyed naïf who takes Aladeen's very serious statements as jokes or simple miscommunications. She's a great foil to Baron Cohen who is easily half a foot taller than she is and has a wolfish grin. Their banter is often the most politically incorrect of the bunch but also the funniest.
Alas the plot. It's a bare bones situation to get a very broad character from A to B. Aladeen is obviously an outlandish mishmash of modern dictators; he spouts racist misogynist rhetoric endlessly and after a while...yeah we get it. However like all of Sacha Baron Cohen's humor The Dictator also takes a direct shot at Western countries (specifically the United States) which would be all fine and dandy if he didn't wedge an expository speech in about it as well. The problem with making a traditional narrative movie is that with some exceptions you've got to play within the guidelines. The Dictator isn't trying to do anything fancy; all it needs a few big beats and a neat ending to wrap it all up. It doesn't quite manage to tie it all together in a way that makes The Dictator more than an hour and a half or so of laughing and cringing.
Besides Faris and Kingsley there are a number of cameos by a very wide variety of comics and actors. Megan Fox plays herself Kevin Corrigan appears as a creepy dude who works at the co-op John C. Reilly is a racist security guard and Fred Armisen runs an anti-Aladeen café in New York's Little Wadiya district. The very funny Jason Mantzoukas has a large role as Nadal the former head of rocket science who was supposedly executed for not making Aladeen's nuclear warhead pointy. It's a good ensemble and hopefully Sacha Baron Cohen's next feature-length film will build on The Dictator's weaknesses.
Contagion a sharp thriller from writer/director/cinematographer/editor/do-all Steven Soderbergh (Ocean’s 11 The Informant!) is like an adaptation of a Michael Crichton novel that never was. The movie quickly sets up its pawns in order to engage you in a game of pandemic chess where the terror comes from science and the humanity comes from your own empathy. Instead of relying on a sci-fi backstory outlandish deaths or large-scale set pieces Soderbergh lets the facts do the talking—and it's scary as hell.
Much like his Oscar-winning film Traffic Soderbergh unfolds the story by weaving in and out between a series of character perspectives: Matt Damon's Mitch who loses his wife to a mysterious virus and strives to protect the rest of his family; Laurence Fishburne and Jennifer Ehle members of the Center for Disease Control racing against the clock to find a cure; Kate Winslet's Erin a field agent tracking down the source of the American outbreak; Jude Law's Alan a high-profile blogger searching for the truth behind the disease; and Marion Cotillard's Dr. Orantes another agent hunting for Patient Zero in Hong Kong. While the drama spans globally each characters' quarrels are playing out in a claustrophobic scenario a world in which any person they meet any object they touch can infect them with the life-threatening disease.
Soderbergh doesn't have much time to dive into his characters' backstories but the film's screenwriter Scott Z. Burns carefully constructs each scene to deliver just the right balance of terrifying scientific babble and revealing personal drama. When the virus starts massacring the world population and vandalism riots and societal unrest emerge the thing that makes Contagion click is our interest in the personal stories. Damon as seems to be the case with everything he touches elevates the material being the perfect everyman and our surrogate for the too-plausible-for-comfort scenario. Fishburne too turns what's normally a plot-forwarding government agent role into a man dealing with the weight of his decisions watching citizens of the country drop like flies from his ivory tower. It's heavy stuff but Burns' playful dialogue helps the cast lighten the harrowing mood—only so the movie can pull the carpet from underneath you over and over again.
But in the end Contagion is Soderbergh's show. The director uses every ounce of cinematic artistry to leave us squirming in our seats with a fetishistic approach to shooting the most mundane of objects. The close-up is Soderbergh's weapon of choice honing in on common day objects that we realize are infested with germs (with the effect amplified by a thousand if you catch the movie in IMAX). A door handle a bathroom drier button the human face—Soderbergh lingers as a reminder of his invisible villain: the virus. That's a compliment: the design and photography is striking the purposefully pristine picture quality fills the characters' quest to stay healthy with tension. Composer Cliff Martinez's electronic score compliments the icky scenario germinating over the picture like audible infection. The world of the film is rich with detail. Just the icky kind.
Contagion isn't flawless. With so much going on things fall to the wayside—Cotillard's plotline specifically gets lost in the shuffle—but the reality keeps us engrossed. The movie plays like an oral history of a horrific event with each detail frighteningly exposed. Except in the case of Contagion it's not an event that has happened so much as one that could happen.
And at any moment.
Vantage Point gives us just that--a birds-eyed view of an assassination/terrorist attack on the U.S. president. In Spain at a landmark outdoor summit on the global war on terror President Ashton (William Hurt) is shot and a bomb explodes killing hundreds of people. For the rest of the film we see the same 15 minutes over and over but from different points of view: There’s a CNN-like news producer (Sigourney Weaver) who is the first to witness the events; the Secret Service agents (Dennis Quaid and Matthew Fox) assigned to protect the president; an American tourist (Forest Whitaker) videotaping the historic event; a Spanish cop (Eduardo Noriega) who suspects what’s going down by the surreptitious actions of his girlfriend (Ayelet Zurer) at the rally; and most importantly the head terrorist (Said Taghmaoui) who orchestrates it all. Through each of these individual perspectives we learn the truth behind the assassination attempt--and as far-fetched as it is it still isn’t pretty. This is an all-out action thriller folks--quiet subtle performances are not required. Quaid goes full blast as the veteran Secret Service agent who has already taken a bullet for the president once before and is still a bit skittish about it. But his loyalty to the president never wavers and it’s through his determination to find out what happened that propels the story forward. Fox also plays it to the hilt much like he does as Jack on TV’s Lost but the actor has a certain movie-star quality to him; he could easily transition from TV to film. Whitaker unfortunately has to play the big schlub with a heart--which at this point seems a tad beneath the Oscar-winner--but he still gives it his all. Hurt’s Head of State is another one of those dream presidents we wish we had. Taghmaoui (The Kite Runner) and Zurer (28 Weeks Later) are adequately cold-hearted as the terrorists while Edgar Ramirez (Domino) effectively emotes as a reluctant member of the terrorist cell forced to do their bidding while his brother is being held captive. Did we mention that the terrorists were cold-hearted? Right. Vantage Point’s trio of film editors (Stuart Baird Sigvaldi J. Karason Valdis Oskarsdottir) must have either thought they’d died and gone to heaven or hell depending on how much of a pain it was to cut the film. Whatever the scenario together with newbie director Peter Travis they keep the action taut and suspenseful. Each character’s POV lends itself to more information as the plot unfolds piece by piece culminating with a whopper of a car-chase scene that should leave you clenching your teeth. The use of electronic devices in the attack is also noteworthy as the main terrorist basically accesses his PDA to 1) shoot the president 2) explode bombs and 3) send the pictures of the destruction to all his friends. OK he actually doesn’t do that last part but he certainly could with that handy device of his. The only drawback to the whole scenario is the implausibility of it all--and the lack of back story. Suspending disbelief we can do but in Vantage Point’s case a little explaining would have helped.