There are distinct echoes of Alan Alda’s The Four Seasons and Lawrence Kasdan’s The Big Chill here as the film focuses on four couples who have been friends since their college days. Periodically they get together and ask themselves the title question as they re-examine their relationships. There’s Janet Jackson as Patricia the college lecturer whose best-selling book is based on her friends’ relationships. Patricia and her husband Gavin (Malik Yoba) are trying to hold their marriage together after the loss of their young son in a tragic car accident. The cocky Mike (Richard T. Jones) flaunts an adulterous relationship in front of his insecure overweight wife Shelia (Jill Scott) who is completely oblivious to the deception. Terry (Perry himself) is a successful pediatrician trying to convince his wife Diane (Sharon Leal)--a successful attorney in her own right--to have more kids. Marcus (Michael Jai White) a former pro football player merely tries to get through the day without a tongue-lashing from his acerbic wife Angela (Tasha Smith) a woman not known for keeping her opinions to herself regardless of how appropriate the circumstances. All of them find themselves confronting career demands family demands infidelity incompatibility and mistrust--all while drinking far too much wine. Needless to say before their get-together is over a number of secrets will be divulged and each couple will find their relationships shaken to their respective cores. Forgoing the housedress of his cinematic alter-ego “Madea ” Perry proves an affable screen personality quite relaxed within the ensemble. Jones doesn’t go out of his way to make Mike in any way likable which makes his one of the more memorable and clearly defined characters in the entire cast. Although Smith gets all the sassy lines White easily steals their scenes together with a surprisingly appealing comic turn. Hunky Lamman Rucker plays a dreamboat sheriff who finds himself drawn into this ever-shifting circle of friends. The women have a tougher go of it with Jackson giving a tremulous performance that makes her character almost disappear into the background. Yoba is also low-key although more affectingly so as her onscreen spouse. Leal does what she can with the stock role of a career woman who takes her home life for granted but she fares better than Scott whose crying scenes--and there are more than one--ground the story to a halt. All told however the ensemble cast has an easy and relaxed chemistry together which keeps the film--as soapy as uneven as it often is--afloat throughout. Tyler Perry doesn’t open up his stage play to any major degree preferring to leave the emphasis on characters and dialogue--both of which incidentally he has created. Perry tends to approach these intricate topics with broad (but not irrelevant) strokes but he’s not about to tamper with a successful formula. Like most of Perry’s previous films (Diary of a Mad Black Woman Madea*s Family Reunion et. al.) Why Did I Get Married? runs on a bit and overstates its case but its heart’s in the right place.
Built from comic book auteur Frank Miller’s (Sin City) rock solid foundations 300 is based on his vision on the 1962 film The 300 Spartans filtered through the same tough-as-nails pulp sensibility that populates most of his comics work. Leaving such leaden wannabe sword-and-sandal epics like Troy and Alexander in the historical dust 300 reworks the real-life legendary tale of the Battle of Thermopylae in which a battalion of 300 elite Spartan soldiers heroically hold the line to protect ancient Greece from the invading Persian hordes. The story focuses on the Spartan King Leonidas (Gerard Butler) who must not only lead his small cadre of troops--each one honored since childhood into a razor-sharp battle-relishing warrior—into a battle they are unlikely to survive but he must also fight for the fate of Greece and its democratic ideals. As the bizarre seemingly endless marauding legions of the tyrant Xerxes (Rodrigo Santoro) descend upon the Hot Gates—a narrow passageway into Greece that Leonidas’ miniscule band can most ably defend—the soldiers take up arms without the usual post-modern anti-war hand-wringing that most war epics indulge in. These soldiers are both bred for battle and fighting a good fight and the film focuses squarely on the highly charged action. Meanwhile in a new plotline created specifically for the movie his equally noble and faithful queen Gorgo (Lena Headey) takes up arms in a more symbolic way as she also tries to keep democracy alive by taking on the political warlords of Sparta to secure relief for her husband’s troops. Butler has become a familiar and welcome on-screen presence in such films as The Phantom of the Opera and Reign of Fire but there has been little on his mainstream movie resume to suggest the kind of bravura fire he brings to the role of Leonidas. This is the stuff of an actor announcing himself to the audience in a major way akin to Daniel Craig’s star-making turn as James Bond. In a big bold performance that could have gone awry in any number of ways Butler plays even the highest pitched notes like a concerto perfectly capturing the king’s bravado bombast cunning compassion and passion each step of the way. Headey is his ideal match imbuing the queen with more steel and nobility in a handful of scenes than most actresses can summon to carry entire films. Fans of Lost and Brazilian cinema will be hard-pressed to even recognize Santoro whose earnest pretty handsomeness is radically transformed into Xerxes’ exotic borderline freakish form personifying a terrifying yet seductive force of corruption and evil that spreads like a cancer across the earth. And don’t forget to add in the most impressive array of rock-hard abs on cinematic display since well ever (think Brad Pitt in Troy times 300). Even bolstered by canny casting choices and their washboard stomachs helmer Zack Snyder (Dawn of the Dead) is the true undisputable star of 300 establishing himself firmly as a director whose work demands to be watched. With a kinetic sensibility that’s akin to Quentin Tarantino and John Woo and using CGI technology to its utmost effects both subtle and dynamic Snyder creates a compelling fully formed world that the audience is eager to explore. Snyder doesn’t literally match Miller’s signature artwork as meticulously as director Robert Rodriguez did with Sin City. Instead Snyder captures Miller’s essence be it raw brutality majestic size and scope the exotic and otherworldly carnal physicality or hideous deformity--even seemingly antiquated and potentially off-putting techniques like the repeated use of slow-motion are put to fresh effect making every blow and cut seem crucial. Yet even in the visual glorification of some of the most bloody and violent conflicts ever put to film Snyder infuses the tale—which ultimately is one big glorious testosterone-soaked fight sequence—with the sense of honor and sacrifice which characterizes the most noble of war efforts. Yes war can be hell but this is a case where some like it hot.
The young and idealistic Hughes (Leonardo DiCaprio) is driven by two forces in his life: airplanes and Hollywood. The Aviator begins in the 1920s as Hughes obsessively works on his silent debut film Hell's Angels which he ends up scraping completely to remake as a talkie thus making it the most expensive film of its time. While embarking on doomed affairs with Katharine Hepburn (Cate Blanchett) and Ava Gardner (Kate Beckinsale) Hughes also builds a plane that makes him the fastest man in the world in 1935. The millionaire even engineers a new bra to make the most out of Jane Russell's cleavage for his next film The Outlaw while running TWA and building planes for the government during WWII. Yet the mental illness that would consume Hughes later in life begins to rear its ugly head after he breaks up with Hepburn. As does his dogfights with Pan Am's Juan Trippe (Alec Baldwin) who sics his in-pocket politician Sen. Ralph Owen Brewster (Alan Alda) on Hughes--which coming after the flyboy crashes his experimental spy plane leaves him with only a couple of good fights left in him. Hughes eventually stands up to Brewster's senate investigation and then manages to finish and ceremonially fly the Spruce Goose. But soon he makes his final descent into undiagnosed and untreated madness.
The Aviator provides a bevy of tour de force performances. As the leading man DiCaprio gives us an Oscar-worthy turn as Hughes vacillating easily between the playboy the industrialist the aviator and finally the madman. In seducing a cigarette girl the suave DiCaprio says one of the best lines in the film: "I want to find out what gives you pleasure. Would you give me that job? " which pretty much sums up Hughes' modus operandi. The scenes between DiCaprio and Blanchett as the spirited Hughes and Hepburn are also fun and lively especially in their first meeting on a golf course in which Hepburn talks a blue streak while Hughes quietly admires her. Blanchett does an amazing job emulating the acting legend without doing a strict imitation. The worst performance in the film could be Blanchett's nose which looks nothing like Hepburn's but that's about it. The exquisite Beckinsale also does a marvelous job as Ava Gardner who had a brief and tumultuous affair with Hughes but ended up more his confidant than anything else. In supporting roles Alec Baldwin seems to be settling in nicely as one of Hollywood's favorite heavies playing Trippe's malevolence with a twinkle in his eye. As does Alan Alda who again delivers admirably as the elder statesman of "mean."
Marty Marty Marty. Why can't you make a nice two-hour film like everybody else? It's probably not fair to harp on the film's length but it isn't just long it feels long. Rather than being a cohesive whole director Martin Scorsese and screenwriter John Logan deliver a montage of expertly constructed scenes and sequences without giving us a true understanding of who Howard Hughes really was. Perhaps Howard Hughes is just too much of a character for one film. The closest we come to getting inside Hughes' mind is during the breath-taking crash of the FX-11 into a Beverly Hills residential area which is undeniably one of the best crash scenes ever filmed. Scorsese is obviously a master filmmaker but some of his old tricks aren't working here. The patchwork quality of the film is underscored by the director's varying use of different period styles--from a washed out look of a '40s home movie to a vivid contemporary look. Used to great effect in his films such as Raging Bull and Goodfellas now it seems out of place in The Aviator. It's true Scorsese will more than likely get another shot at Oscar gold for The Aviator but if he wins it will definitely be for his vastly superior previous work.
Let's hear it for the old guy who in this movie comes off sexier than his buff young accomplice (Dermot Mulroney). OK the old guy happens to be the gracefully aging icon Paul Newman -- as a feisty heistmeister who dodges a long prison sentence and then teams up with his equally conniving rest-home nurse (Linda Fiorentino) on a bank job gone wrong. "Where the Money Is" is breezy suspenseful and as much a love story as anything else -- if you call mentoring a new life in crime a kind of love. The mission-improbable caper is no more or less entertaining than a "Rockford Files" rerun but the film's swerving joyride takes its real thrills from the great escape that Fiorentino's Bonnie Parker makes from a dead-end life in the married lane.
Newman still hasn't lost it and as Henry Manning he doesn't miss any nuances in the edgy balance between streetwise wariness and amiable rapport with his sultry new colleague. The steam-powered Fiorentino has forged her career by making danger look casual and this is her most alluring work since "The Last Seduction" added another zero to her salary. Her chemistry with Newman a flirty twist on the idea of honor among thieves is really what makes this movie worth seeing. Mulroney is serviceable as the dim but lovable hubby a supporting role that's more foil than fully etched character.
We can all thank director Marek Kanievska for deciding not to have the May-December duo end up in the sack and leaving them simply professional cohorts. The director's admirable sense of comic timing works all the better by not letting the laughs get in the way of his leads' exploration of their characters -- although there's no denying the limits of this frothy genre. Perhaps Kanievska's greatest feat here is allowing Newman to retain his dignity in close-up.