September 02, 2010 11:19am EST
When the animated opening credits of Warner Bros. Going the Distance begin a barrage of colorful images envelope the screen shaking and shifting to the sounds of contemporary pop-rock like a hipster-chick in a SoHo lounge. It sets the tone for a lighthearted but levelheaded romantic comedy that like the music is cool and crafty but not completely above the clichés of the tried-and-true genre.
Making her feature-film directorial debut Oscar-nominated documentarian Nanette Burstein (On the Ropes) set out to make a film that as she put it “would feel as real as possible” – a tough job when taking on a studio comedy. But with a relatable premise a punchy script and a cast that possesses a ton of personality she succeeds at delivering a surprisingly fresh film that chronicles the pros and cons of a long-distance relationship between Justin Long’s Garrett and Drew Barrymore’s Erin.
The first half hour is filled with the standard situational set-ups and character introductions that one expects from any film. We learn everything we need (and want) to know about Garrett and Erin: He’s a New York record label workhorse and she’s an aspiring journalist interning at a metropolitan newspaper. They frequent the same dive bar in downtown Manhattan and have a beer and barbeque-wings fueled fling which turns into a steady summer-long relationship. But all good things must come to an end and as September approaches she prepares to head back to Stanford for another semester much to their mutual dismay. However the feelings between them are sincere and they decide to give their spatially challenged relationship a shot.
Real-life couple Long and Barrymore have a few touching moments throughout the film mostly when the trials of their long-distance relationship take a toll but they are a bore in comparison to the supporting cast. Jason Sudeikis and Charlie Day bring frat-house etiquette and bro-mantic charm to the movie as Garrett’s best friends Box and Dan. Together they are the living embodiment of testosterone and man-child — archetypes that have become all-too common in current rom-coms — but with legitimately funny performances they really pay off. Christina Applegate is good for a load of laughs as Erin’s older sister Corinne who is skeptical of Erin’s eagerness to engage in yet another risky romance; she steals the show with her unrelenting commentary.
Going the Distance doesn’t break new ground within the genre or redefine cinematic romance but it balances the sweet and sour moments of its story very well. Burstein minimizes the drama and keeps the comedy raw to maximize the entertainment value of the movie which should please all who purchase a ticket. Somehow the long distance dilemma hasn’t been tackled on film before and that makes the movie appear to be more original that it really is but in a year where so few romantic comedies have brought the goods (The Back-Up Plan Sex and the City 2) Going the Distance does just that.
In the vein of Field of Dreams Astronaut Farmer is about building the seemingly impossible. Thankfully in this case it’s simply a rocket in the barn not a ballpark in a cornfield where ghosts of baseball heroes past can play the game. That is a bit far-fetched. Instead we meet Charles Farmer (Thornton) a man who was once on track to be an astronaut but was forced to leave NASA to save his family farm. He still wants to go into space however and so sets out to build a rocket inside his barn. By the time the movie starts the rocket is pretty much put together so we aren’t burdened with how he gets his supplies. All Charles needs now is 10 000 pounds of fuel which shoots up a big red flag with the government--a government that now considers Charles a threat--while the media look at him as a big story. But no matter the odds nothing can deter Charles from his dream to break through the atmosphere and orbit the earth. It’s refreshing to see Thornton as a loving father who wants to inspire his kids rather than make them go get him another beer. Of course Charles Farmer isn’t all sweetness and light—he’s an obvious eccentric whose obsession to launch into space effects the entire family—and it’s definitely a role right up Thornton’s alley. Virginia Madsen does an admirable job as the loving and supportive wife who nonetheless puts her foot down when things get out of hand while Bruce Dern plays the grizzled but equally supportive father-in-law. There’s also a supportive lawyer played by Tim Blake Nelson. In fact besides the big evil NASA chief (J.K. Simmons) and two bungling FBI agents (Mark Polish and Jon Gries) everyone supports Charles in his crazy dream. How could he fail? From the writing-directing team of Michael and Mark Polish (Northfork) Astronaut Farmer is pure old-school—an unassuming throwback to those feel-good movies of the ‘40s and ‘50s. In fact Thornton told Hollywood.com he considers this his “Jimmy Stewart” movie. While the Polish brothers based Charles Farmer on their own eccentric father and obviously harbor their own boyhood dreams of being an astronaut the guys still follow a nice and simple formula finding some good actors to carry it out and adding cool visual effects when they can. Yes the more cynical moviegoer may look at Astronaut Farmer as completely improbable and trite. But those willing to be taken back to a simpler time--when movies were about walking out triumphant--should find watching Astronaut Farmer a pleasant way to spend an afternoon.
Packed with too much goodness and determined to push its platform of paranormal events A Rumor of Angels is an overwrought drama about friendship grief and the spiritual rebirth of a boy and his eccentric recluse neighbor. Twelve-year-old James Neubauer his father Nathan and his stepmother Mary are spending their summer vacation in the small seaside town where the boy's mother died years earlier in a car accident near a local bridge. Because James has been traumatized by her death he has problems connecting with his often absent father and new mother. When James wanders onto the property of eccentric elderly neighbor Maddy Bennett who lives in a decrepit shingled house overlooking the ocean she scares the boy by firing a rifle in his direction. After a showdown with the Neubauers Maddy succeeds in hiring James to rebuild and paint her fence. An unlikely friendship ensues when James becomes a kind of surrogate son to Maddy who lost her own son in the Vietnam War and the stern but caring Maddy becomes mother surrogate the boy so desperately needs. Maddy also beset by grief teaches James about the power of remembrance and imagination and the possibility of angels and communicating with those long gone. James also learns about the importance of family love friendship and spiritual awakening.
Vanessa Redgrave is terrific as usual as the eccentric recluse Maddy giving yet another powerful performance that dazzles delights and soars beyond the limitations of the character as written. Trevor Morgan is fine if not memorable as James. Catherine McCormack as the stepmother Ron Livingston as a slacker uncle and veteran actor George Coe as Maddy's oldest friend also turn in serviceable performances. Only Ray Liotta so memorable in edgier meatier roles like those in Something Wild and Goodfellas or the more recent Hannibal and Blow is out of his element as a frustrated often absent dad. In fact most of the actors are chewed up by the gorgeous evocative Nova Scotia locales that brilliantly stand in for the Maine village.
Director Peter O'Fallon's biggest obstacle in A Rumor of Angels appears to be his own screenplay which he co-wrote and adapted from the very old inspirational novel Thy Son Liveth. Most filmgoers won't get beyond the film's pile-up of hokum about communication with the dead. Also the horror and mystery elements that A Rumor of Angels plants early on dissipate into a cinematic sermon about familiar family values and faith. The messages may be poignant but the drama sending them isn't. O'Fallon relies instead on lovely cinematography scenes suggestive of paranormal reality (those lights those angels) and a soundtrack rich in classical music--all at the expense of delivering a credible story with flesh and blood characters who actually sound like they just might be real New Englanders. His direction is style over substance scenery over psychological truths.
Loosely based on the (rather lame) 1960 Rat Pack film dashing understated-but-cool thief Danny Ocean (George Clooney) orchestrates the most sophisticated elaborate casino heist in history less than 24 hours after being released from jail. In one night Danny's handpicked 11-man crew of specialists--including an ace card sharp (Brad Pitt) a young-but-masterful pickpocket (Matt Damon) and a demolition genius (Don Cheadle)--will attempt to steal over $150 million from three Las Vegas casinos owned by Terry Benedict (Andy Garcia) the elegant ruthless entrepreneur who just happens to be dating Danny's ex-wife Tess (Julia Roberts). To score the cash Danny will have to risk his life and risk his chance of ever reconciling with Tess. But if all goes according to his intricate nearly impossible plan Danny won't have to choose between his stake in the heist and his high-stakes reunion with Tess. Or will he?
The star wattage in this movie could solve all of California's electricity problems in one fell swoop. George Clooney easily passes himself off as suave mastermind Danny Ocean playing the role with understated class and elegance. Brad Pitt takes a similar arc as Rusty though he's slightly more dispassionate and professional than Clooney's visionary Ocean. Matt Damon is convincing as the inexperienced-but-talented pickpocket who's essential to getting in the vault. And Julia is simply Julia--glamorous and charming a smart cookie who is being wooed by the evil ruthless (and anal-retentive) casino mogul so elegantly portrayed by Andy Garcia. Affecting a Cockney accent and attitude Don Cheadle's portrayal of the demolition expert is a tour de force. Carl Reiner is absolutely hilarious as Saul Bloom an aging old-timer who comes out of retirement to infiltrate the casino as a debonair arms dealer. Elliott Gould Bernie Mac Scott Caan and Casey Affleck round out the cast nicely with inspired performances especially Gould's and Mac's.
Soderbergh cemented his reputation last year as a director of serious weight when both Traffic and Erin Brockovich were nominated for the Best Film Academy Award and garnered him two Best Director nominations---an unprecedented feat. Ocean's Eleven marks Soderbergh's departure from the serious to the seriously fun. This is one of the most stylish most elegantly filmed movies I have ever seen. Not only are all the actors beautiful but so are the locations clothes and shot selections. The speed and pacing of the flick belie the movie's length; Soderbergh clearly had fun making this movie. He shot this film very intimately often allowing the camera to stay close on the actors a tad longer than expected which lets their personas shine through--thus their personalities draw you into the movie as much as the caper itself. It's not often you see a movie where the direction has as much wit and cleverness as the plot itself. Ocean's Eleven makes no pretense to be something other than a jaunty cheeky exhilarating heist movie. So while the plot's not too deep all is forgiven considering the level of acting and direction.