Few of the powerful men who helped shape America in the 20th century are as polarizing as J. Edgar Hoover considering the peaks and valleys of his nearly half-century-long reign as the director of the FBI and his closely guarded private life. However while there is much to debate about whether the heroism of Hoover’s early career outweighs the knee-jerk paranoia that clouded the end of his run at the Bureau and about what really turned on this lifelong bachelor one aspect of Hoover’s life is inarguable: this was a man who possessed a rare gift for establishing and maintaining order. Everything that fell under his control was meticulously kept in its place from the fingerprints on file in the FBI’s database to the cleanly shaved faces of his loyal G-Men.
It’s an unfortunate irony then that J. Edgar the biopic focused on this ruthlessly organized administrative genius is such a sloppy awkwardly assembled mess. Its lack of tidiness hardly suits its central character and is also shockingly uncharacteristic of director Clint Eastwood. The filmmaker’s recent creative renaissance which began in 2003 with the moody Boston tragedy Mystic River may not have been one defined by absolute perfection—the World War II epic Flags of Our Fathers for example is no better than an admirable mixed bag—but it comes to a grinding halt with J. Edgar Eastwood’s least satisfying and least coherent effort since 1999’s True Crime. There’s no faulting the attention paid to surface period details—every tailored suit and vintage car registers as authentic—but on the most fundamental level Eastwood and writer Dustin Lance Black (an Academy Award winner for Milk as off his game as Eastwood here) haven’t figured out what kind of movie they want to shape around Hoover’s life. For two-thirds of its running time J. Edgar devotes itself to an overly dry recitation of facts about its title character which is about as viscerally thrilling as reading Hoover’s Wikipedia page and then makes a late-inning bid for romantic melodrama totally at odds with the bloodless history-lesson approach favored by the preceding 90 minutes.
The non-chronological narrative structure Black adopts to tell Hoover’s story only adds to the overall disjointedness. Star Leonardo DiCaprio is first seen caked in old-age makeup as Hoover conscious he’s nearing the end of his tenure at the Bureau dictates his memoirs to an obliging junior agent (Ed Westwick). As Hoover describes how he began his career the movie jumps back in time to depict that origin giving the false impression that the dictation scenes with old Hoover will act as necessary structural connective tissue. Instead Black eventually abandons the narrative device altogether leaving the movie rudderless in its leaps backwards and forwards through time. As a result the shuffling of scenes depicting the young Hoover achieving great success alongside his right-hand man Clyde Tolson (Armie Hammer) and those portraying the aging Hoover abusing his power by wire-tapping progressive luminaries (such as Martin Luther King Jr.) that he mistrusts feels frustratingly arbitrary. There’s no real rhyme or reason to why one scene follows another.
DiCaprio does his best to anchor the proceedings with a precise authoritative lead performance. Although his voice is softer than Hoover’s he mimics the crimefighter’s trademark cadence with organic ease and more importantly he manifests Hoover’s unbending fastidiousness in a number of ingenious details like in the way that Hoover reflexively adjusts a dining-room chair while in mid-conversation. But Black’s limited view of Hoover as a tyrannical egotist—the script is close to a hatchet job—denies DiCaprio the chance to play a fully three-dimensional version of the FBI pioneer. Hoover is granted the most humanity in his scenes opposite Hammer’s Tolson which are by far the most compelling in the movie. Possessing no knowledge of the secretive Hoover’s romantic life Eastwood and Black speculate that Hoover and Tolson’s relationship was defined by a mutual attraction that Tolson wanted to pursue but Hoover was too timid to even acknowledge. Hammer so sharp as the privileged Winklevoss twins in The Social Network is the only supporting player given much to do—Naomi Watts’ talents are wasted as Hoover’s generically long-suffering secretary while poor Judi Dench must have had most of her scenes as Hoover’s reactionary mother left on the cutting-room floor—and he runs with it. His mega-watt charisma is like a guarantee of future stardom and he’s actually far more effortless behind the old-age makeup than veterans DiCaprio and Watts manage to be.
While the unrequited love story between Hoover and Tolson is clearly meant to provide J. Edgar with an emotional backbone the movie takes so long to get to it that it feels instead like an afterthought. Where in all the dutiful historical-checklist-tending that dominates the film is the Eastwood who flooded the likes of The Bridges of Madison County Letters From Iwo Jima and last year’s criminally underrated Hereafter with oceans of pure feeling? He’s a neo-classical humanist master who has somehow ended up making a cold dull movie that reduces one of recent history’s most enigmatic giants to a tiresome jerk.
On the surface Stay seems to be a straightforward psychological drama about a psychiatrist Sam Foster (Ewan McGregor) who is trying to keep a mysterious patient Henry (Ryan Gosling) from killing himself. But the deeper we get into it the decidedly weirder it gets. And not necessarily in a good way. Sam and Henry seemed to be inexplicably connected. While his girlfriend and former patient Lila (Naomi Watts) looks haplessly on Sam’s lightly held grip on the rational world begins to melt away. He can no longer figure out what is true and what is happening only in his head--all climaxing in a titular confrontation between life and death. Twilight Zone’s Rod Serling would have loved this one. Although he was surprisingly good as the romantic lead in The Notebook the usually somber Gosling is best known for playing quiet psychotics in such films as The United States of Leland and Murder By Numbers. In Stay he’s back to his old tricks as the suicidal Henry. Pale with mournful eyes and a perpetual cigarette in his mouth Henry is certainly a tortured soul looking for some relief. On the flip side Watts brightens the otherwise dismal surroundings as Lila but there’s also a tinge of sadness about her. The only weak link is McGregor. He can’t quite pull off playing the dedicated psychiatrist slowly losing his mind--but the Scottish actor sure has mastered the American accent (ditto for the Australian Watts). Director Marc Forster (Monsters Ball Finding Neverland) seems a bit out of his league with this jumbled-up hard-to-understand psychological fare. Granted the visuals are arresting. Forster strives to create a world which at first seems real but then little by little turns into a wildly shifting dreamscape in which scenes blend into one another seamlessly. The real problem here is the script by David Benioff (25th Hour). It tries to say “Look how clever!” by throwing you for loop after loop--except the loops don’t make much sense. You eventually stop saying “What the hell?” and start to get a pretty good idea how Stay is going to end up. And when the final twist is handed down it’s surprisingly not all that disappointing.
"In this alarming cinematic event alone you will encounter a terrible fire dim lighting high tragedy a giant snake low comedy man-eating leeches and Jim Carrey " Mr. Snicket claims--and he isn't joking. It is indeed unfortunate times for the Baudelaire children who are left orphaned by a tragic fire that burned down their luxurious mansion and killed their parents. Violet (Emily Browning) one of the finest 14-year-old inventors the world has ever known her 12-year-old brother Klaus (Liam Aiken) a voracious reader and their baby sister Sunny (Kara and Shelby Hoffman) an excellent biter are now at the mercy of unknown guardians with vague connections to their parents. They include Aunt Josephine (Meryl Streep) a widow terrified of almost everything but who insists on proper grammar; Uncle Monty (Billy Connolly) a kind and warm herpetologist who holds a well-kept secret on the Baudelaire parents' past; and the most malevolent of them all Count Olaf (Jim Carrey) a wannabe actor who sets about a series of ill-fated events for the Baudelaire orphans in hopes of obtaining their vast inheritance. It's almost too much to bear--but these orphans rely on their keen intelligence and unique talents to escape Olaf's clutches.
The distressingly talented if somewhat over-the-top Jim Carrey is tailored made for the ostentatious Count Olaf much like he was for the Grinch in Dr. Seuss' How the Grinch Stole Christmas--but this time he does it with a lot less green makeup. With a smelly disposition and one giant eyebrow Carrey sufficiently oozes the right amount of villainy as Olaf without getting too "Carreyed" away. Streep also has a marvelous time playing the skittish Aunt Josephine who is so concerned about any fateful event that may befall her inside her house she doesn't seem to realize she lives in a precarious perch above a roiling sea full of killer leeches. Connolly too takes great pleasure wrapping snakes around his neck as Uncle Monty the good-hearted reptile lover. Even Jude Law makes an appearance thankfully only in silhouette as the narrator himself Lemony Snicket. Yet even against veterans such as Carrey and Streep the stoic Baudelaire orphans make the film. They're played brilliantly by Browning (Darkness Falls) Aiken (Good Boy!) and the cute-as-a-button Hoffman twins. Unlike the inexperience of say the young Harry Potter cast when they first started out Browning and Aiken are pros bringing a rather bright and inquisitive yet suitably morose quality to their characters.
"I begged them not to do it. I begged them not to get a good director. I begged them not to cast anyone talented. I begged them not base the movie on any of my books and they chose three of them!" exclaims Mr. Snicket. Good thing the filmmakers didn't listen to Mr. Snicket aka author Daniel Handler because the story of the Baudelaire orphans and their misadventures is too sweet to pass up. It follows along the traditions of other children's literature--from the Brothers Grimm to Roald Dahl to J.K. Rowling--of absurdly awful things happening to perfectly nice children. Taking from the first three books in the series--A Bad Beginning The Reptile Room and The Wide Window--director Brad Silberling (Casper) expertly creates the Snicket world staying true to the visions and unusual style of Handler's bestsellers. Shot entirely on Hollywood sound stages the film is virtual eye candy dripping with austere sets--particularly Count Olaf's dilapidated mansion and Aunt Josephine's rickety house--that are reminiscent of Barry Sonnenfeld's creepy Addams Family and Tim Burton's bleak Sleepy Hollow (whose production designer Rick Heinrichs designed Snicket). Can't wait to see what they do in the next Snicket installment.
Top Story: "Chicago" Becomes Miramax's Top Grossing Pic
Miramax Films announced Tuesday that Chicago, which last month picked up six Academy Awards, including Best Picture, is now the highest domestic grossing film in the studio's history. The hit musical's box office take reach the $157.1 million mark Monday night, passing previous record holder Scary Movie, which grossed $157 million in 2000 and was distributed by Miramax's genre arm, Dimension Films. Prior to that, Miramax's top grosser was Good Will Hunting, which took in $139 million in 1997. Chicago, directed by Rob Marshall, stars Renee Zellweger, Catherine Zeta-Jones and Richard Gere.
Bob Hope's 100th Birthday Bash
Celebs, including Kelsey Grammer and Dennis Miller, showed up at the first of several events to celebrate Bob Hope's 100th birthday next month, but the legendary entertainer himself was in poor health and was not able to attend. Hope's birthday is May 29, but Hollywood got a head start with Universal Studios Home Video release of The Bob Hope 100th Birthday Tribute Collection, the NBC special 100 Years of Hope and Humor and the unveiling of a plaque on one of the actor's four Walk of Fame stars, Reuters reports.
Steve Bing Wins Libel Damages
Film producer Steve Bing won libel damages Wednesday against the UK tabloid Daily Mail over an article claiming he had tried to tarnish the reputation of his former lover, actress Elizabeth Hurley, Reuters reports. The article, titled "Private eyes and sexual slurs--how Bing is trying to destroy Liz," said the producer and his co-claimant, Los Angeles lawyer Martin Singer, had "orchestrated a vicious campaign" to destroy Hurley's reputation. The Mail apologized for the embarrassment and distress it caused and agreed to pay substantial but undisclosed damages to British children's charities chosen by Bing.
Melissa Ethridge To Wed Girlfriend
Rocker Melissa Ethridge plans to marry her companion of two years, actress Tammy Lynn Michaels, at the end of this year, The Associated Press reports. Etheridge's publicist, Marcel Pariseau, declined to reveal plans for the ceremony but said it would take place in Los Angeles. Ethridge and her former partner Julie Cypher share custody of their two children. The two revealed in 2000 that musician David Crosby was the sperm donor for their children.
More Money for "Will & Grace" Cast
Will & Grace stars Debra Messing, Eric McCormack, Megan Mullally and Sean Hayes will stay on board the NBC comedy at least through the 2004-05 season under a new salary pact. According to The Hollywood Reporter, the stars are due for hefty salary bumps under the deal that will carry them through the show's seventh season. McCormack and Messing will reportedly increase the $250,000-$275,000 they earn per episode for the current season to about $400,000 per episode by the seventh season. Mullally and Hayes are set to receive only slightly less than the two leads under their revised deals.
TNN Rebrands Itself
Viacom will call the TNN network Spike TV beginning June 16. The move reflects the cable channel's intent to recast itself as a programming source for young men. TNN president Albie Hecht told the The Hollywood Reporter that adopting the male name Spike is intended to evoke the aggressive, irreverent tone the network is taking on. The network will launch a multimillion-dollar advertising campaign that will encompass on-air, outdoor and print to spread awareness for the name change and the channel's new logo, currently in the works.
Zahn Out of CNN's "American Morning"
Paula Zahn, anchor of CNN's American Morning With Paula Zahn, is getting the boot to primetime, Reuters reports. The network is moving Zahn in a 7-9 p.m. ET show titled American Evening With Paula Zahn, the time slot formerly belonging to Connie Chung's tabloid-style interview program. CNN did not name a morning replacement for Zahn but sources confirmed reports that CNN has interviewed CBS News' Jane Clayson for Zahn's slot. For the time being, Bill Hemmer will anchor the show by himself
The Dead, Dylan, Hit the Road
Bob Dylan will co-headline the second leg of The Dead and Summer Getaway Tour, set to kick off July 29 in a yet-to-be-announced location, Billboard.com reports. The two last hit the road together in 1987 on a co-headlining stadium tour that spawned the critically acclaimed 1989 live album Dylan & the Dead, which featured collaborative versions of such Dylan classics as "Knockin' on Heaven's Door" and "All Along the Watchtower."
Role Call: Scorsese Embarks on Western Epic, Aniston Joins Dark Comedy
Martin Scorsese will direct the feature adaptation of Thomas Eidson's Western epic St. Agnes' Stand for DreamWorks. The novel, which revolves around a reluctant hero who saves a nun and a group of children from Apache Indians in the 1860s, will adapted by Life of David Gale scribe Charles Randolph ... Jennifer Aniston is set to star and produce a dark comedy for New Line Cinema. The Friends star would play the wife of a wealthy politician who is confronted with her past when the 10-year-old son she gave up for adoption resurfaces in her life.
Zak Gibbs (Jesse Bradford) finds what looks like a wristwatch while scavenging through a box of his father's junk. What he doesn't know is that the watch is actually a device that makes its wearer move so quickly that the rest of the world appears to be moving in slow motion. The device was sent to his father (Robin Thomas) a science professor and dilettante inventor by a former student (French Stewart) who is being held captive by an evil corporation. Now the evildoers want their watch back and kidnap the professor while Zak unaware that his father is in grave danger runs around town with a cutie pie exchange student (Paula Garces) freezing time. Of course the two teens eventually join forces and save the day. Not only is the film's plot is so unbelievably implausible the characters are ridiculously typecast. The most insulting is Zak's black friend Meeker (Garikayi Mutambirwa) who dreams of winning a DJ competition. Eager to help him win Zak and his gal pal go into hypertime and make like puppeteers moving Meeker's arms and legs so that in real time it appears as though he's a good dancer.
Jesse Bradford (Bring It On) is the most redeemable thing in this film. His character Zak is a conventional teen who is smart but not brilliant and clever without being a hero. But unfortunately Bradford is stuck in this mess of a movie acting alongside the pretty but frothy Paula Garces. Like most girls in the movies nowadays her character Francesca de la Cruz is a vixen that cleverly puts guys in their places and can single-handedly beat up a villain. French Stewart is Dr. Earl Dopler the watch's creator. Although his brainy character is the opposite of his airheaded Harry on Third Rock From the Sun Stewart seems like he is the same persona simply reading a different script. Robin Thomas (The Contender) and Julia Sweeney (Whatever It Takes) play Zak's parents. Both are pretty standard fare: Thomas the parent married to his work at the expense of his relationship with Zak while Sweeney is a regular June Cleaver type.
Why Jonathan Frakes better known as Commander Riker on Star Trek: The Next Generation or anyone for that matter would put their names on this project is unfathomable. From the hideously flashy and noisy opening credits to the predictable denouement Clockstoppers is about as entertaining as nails scraping against a chalkboard. The ridiculous story accompanied by flimsy special effects was penned by too many writers to mention. This may explain the massive plot inconsistencies--are they not supposed to count because this film is aimed at younger viewers? At one point Zak comes to the realization that for others to come in and out of hypertime they must be touching him. But there are several instances throughout the film that clearly contradict this. The watch also makes its users age rapidly but seems to spare Zak his friends and the evildoers of this fate. And is there no gravity in hypertime? Zak and Francesca were able to toss Meeker around the stage like he was weightless. And is Meeker a typical cheery Jamaican caricature with thick dreadlocks in the film for no other reason than to offend? His character disappears halfway through the film after being redeemed by his white rescuers.