It's going to be awwwwkwaaaaard in the South of France this year when both Steven Spielberg and Ang Lee show up to be on the jury at the Cannes Film Festival which starts on May 15 (my birthday!). After intense campaigning Lee and Spielberg were the frontrunenrs for the Best Director Oscar, with Lee taking home the trophy for Life of Pi and Spielberg taking home a greasy In-and-Out Burger from the Vanity Fair party. How will the every decide on a winner?
Well, they'll have Nicole Kidman to help. She and double Oscar-winner and Tarantino muse Christoph Waltz are the high wattage stars this year. They'll be joined by Scotsman Lynne Ramsay (We Need to Talk About Kevin), Romanian director Cristian Mungiu, Japanese director Naomi Kawase, and Indian actress Vidya Balan. Wait? Isn't Cannes in France? Well, they have actor Daniel Auteuil repping for his home country. Let's hope he can break up any fights that might erupt about whether or not CGI tigers deserve a golden statue.
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Holly Kennedy (Hilary Swank) doesn’t know how lucky she has it. She’s smart beautiful and married to Gerry (Gerald Butler) a passionate funny and impetuous Irishman who loves her with every breath in his body. But when that breath runs out--Gerry dies unexpectedly from an illness--Holly’s luck runs out. Barely coping her salvation arrives in the form of letters from Gerry that come to Holly in unexpected ways--letters he wrote to her before he died to help her get through the pain and move on with her life and letters that always end with “P.S. I Love You.” A saint huh? Holly’s mother (Kathy Bates) and best friends Sharon (Gina Gershon) and Denise (Lisa Kudrow) begin to worry Gerry’s letters are keeping Holly tied to the past but in fact each letter pushes Holly on a journey of rediscovery and to show her how a love so strong can turn the finality of death into new beginning for life. Tissues please! Swank will be damned if she pigeonholes herself into always playing serious women who don’t wear makeup. P.S. I Love You is her stab at romantic dramedy and while the genre may not suit her best the Oscar-winning actress still has fun playing a spirited woman who wears designer clothes cute hats and gets to make out with a strapping Irish hunk. Actually Swank gets to bed TWO strapping Irish hunks in P.S. I Love You: The first is the yummy Butler of course and the other is Gerry’s old bandmate William played by American Jeffrey Dean Morgan (who’ll be seen in the upcoming romantic comedy The Accidental Husband with Uma Thurman). Lucky girl. Butler however is the one the ladies will sigh over the most. Having already given a powerhouse performance this year as the Spartan king in 300 the Scottish actor turns the tables to show his soft underbelly as the adorably romantic and fun-lovin’ Gerry. The abs still rock though. One can easily see why Holly is such a mess after he dies. Gershon and Kudrow add some genuineness as Holly’s friends (someone please find a Kudrow a TV show) as does Bates as Holly’s hardened mother. Harry Connick Jr. however seems out of place as Holly’s would-be suitor. She just needs to stick with the Irish guys. Hilary Swank teams up with her Freedom Writers director Richard LaGravenese once again for P.S. I Love You and it’s clear they have a symbiotic relationship. Swank probably likes the way LaGravenese accentuates her best features turning her into a glam leading lady while LaGravenese obviously enjoys gazing at her through his camera lens. Unfortunately the two really haven’t found the best material. Freedom Writers is the mother of all teacher-gets-students-motivated retreads while P.S. I Love You--based on a novel by Cecelia Ahern and adapted by LaGravenese and Steven Rogers--is just pure fluff with very little substance behind it. Not that the film won't inspire some romantic feelings or work up tears but its only real strengths are: 1) the players who somehow rise about the triteness of it all especially Butler and 2) the gorgeous landscapes of Ireland which should send any woman in her right mind straight to the Emerald Isles to find her perfect man. Seriously ladies book your trips NOW.
What no "giant sea pods" this time? Instead The Invasion skews the Body Snatchers scenario by making the alien invasion a virus rather than plant life. Said virus which comes to Earth via a mysterious crash of a space shuttle is transmitted by some form of bodily fluid-to-bodily fluid connection. For example throwing up into people's faces or coffee cups is a fun way to spread the disease. The end result however is the same: Once the infected person falls asleep they undergo a transformation and wake up looking the same but are unfeeling and inhuman—and ready to organize. As the infection spreads and more and more people are altered there are a few humans left fighting for their lives including psychiatrist Carol Bennell (Nicole Kidman) and her doctor friend Ben Driscoll (Daniel Craig). Carol’s only hope is to stay awake long enough to find her young son who may hold the key to stopping the devastating invasion. But we won’t tell you how. OK it has something to do with an immunity but that’s all we are going to say. Nicole Kidman has had a string of bad luck since winning that damn Oscar for The Hours. One wonders if maybe the golden statuette might actually be a curse (Cuba Gooding Jr. anyone?). Still regardless of the movie--be it Bewitched The Stepford Wives or Fur: An Imaginary Portrait of Diane Arbus--Kidman manages to turn in a decent performance. The same goes for The Invasion. Her mother bear act is quite believable as she races to find her son (played with spunk by Jackson Bond) while trying to stay awake and pretending to be cold and unemotional among the pod people--oh excuse me the virally infected people. You root for her all the way. Craig doesn’t have as much to do but still delivers when it counts. In a supporting role Jeremy Northam does a nice job as Carol’s ex-husband a CDC doctor who is one of the first to get infected. As does the always good Jeffrey Wright as a very clever genetic scientist. Even Veronica Cartwright one of the survivors in the 1978 Invasion of the Body Snatchers makes a cameo as one of Carol’s patients who tells her “My husband isn’t my husband!” Famous last words. Body snatching must be a popular water-cooler topic at the movie studios. Starting with the 1956 sci-fi classic Invasion of the Body Snatchers in which Kevin McCarthy barely escapes his small town with his life running into highway traffic screaming “They're here already! You're next! You're next You're next...” there have been at least two other versions including the above-mentioned 1978 film and the 1993 film Body Snatchers. To its credit The Invasion switches things up a bit nixing the pods and making it more relevant to our current socio-political climate. It even begs the question: Could we be better off if we didn’t have emotions? But the movie is still mired by its derivativeness and too-pat ending—and it also apparently had problems getting off the shelf. Originally wrapped in early 2006 rumor has it the studio didn’t like German director Oliver Hirschbiegel’s original cut and brought in Matrix’s Andy Wachowski and Larry Wachowski for rewrites and James McTeigue (V for Vendetta) to direct the new scenes. Again to its credit The Invasion surprisingly feels cohesive despite all the different influences. Let’s just say whoever came up with the tense car chase in which Carol tries to throw off the pod people (it's just more effective calling them that) draped all over the car kudos to them.
Larry the Cable Guy: Health Inspector opens with a man scratching his plumber’s-crack re-using a cotton swab to clean his ear and wearing the sleeveless shirt he uses as a towel. Naturally this is Larry (the Cable Guy) a health inspector. Halfheartedly inspecting the local food joints he’s leading the life that suits him well. But when his boss (Thomas F. Wilson) assigns him a serious-minded female partner (Iris Bahr) his world is turned upside down--or at least made less comfy. Larry’s called in to investigate “some fartin’ Jewish folks” at a swankier restaurant and learns that it’s not an isolated incident. While Larry’s unorthodox methods manage to arouse the interest of a waitress (Megyn Price) with bowel habits that he adores his tactics arouse the ire of the restaurateurs he investigates and it costs him his job. Now he’s forced to do whatever it takes to prove his innocence. Even the D-listers here must’ve gone straight to confession upon accepting these roles to help cushion their bank accounts. Let’s start with Larry the Cable Guy (of the Blue Collar Comedy Tour “Git-R-Done” fame) who is one of the most successful stand-up comics today. He’s right in his element seemingly with fart blanche on toilet humor but to the unconverted he’s a little more than grating. Speaking of grating the (hopefully) affected voice of Bahr makes the movie mostly unlistenable in addition to being unwatchable. But take pity on her for this is no way to jumpstart a movie career. Tony Hale clearly still reeling from the potential cancellation of TV’s Arrested Development (on which he plays Buster) also lowers his star and integrity with an ambiguous character here. And Joe Pantoliano shows his face. The once great character actor reaches a new low with this one even if his performance isn’t all bad. Health Inspector masters the art of the fart. But more disgusting than the settings with which the farts are juxtaposed is the ad nauseam (pun intended) level of over-usage. So congratulations go to along with fart Yoda Larry the Cable Guy director Trent Cooper who makes his feature directorial debut. And might we add what a fart-tastic debut it is! But it’s not all farts ladies and gentleman--all forms of gross-out humor are exploited unlike ever before. On the er serious side the collection of running jokes adds to a few legit laughs. Cooper helms a story that naturally doesn’t work deferring instead to Larry’s natural um charisma. The script offers no segue into Larry’s stand-up persona but anyone who sees this here flick ain’t lookin’ for no dang Oscar winner. Clearly Health Inspector will appeal to Larry’s following but is not meant for those of sound mind.
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.