The stage, film and TV star, who served as an actors union leader for more than four decades, passed away on Saturday (05Jan13).
Greenhouse appeared in many plays on and off Broadway, and her TV and film credits include Law & Order, Ryan's Hope, The Jackie Gleason Show, The Stepford Wives, Woody Allen's Bananas and the original production of Rodgers and Hammerstein's Cinderella.
Greenhouse served five terms as president of the American Federation of Television and Radio Artists' New York branch and two terms on the Screen Actors Guild's National Board from 1981-87.
She also received a slew of union awards, including the Founder's Award, the Ken Harvey Award and the George Heller Gold Card, the highest honour given by national AFTRA for service to the union.
Current SAG-AFTRA co-president Roberta Reardon says, "During her more than 40 years of board service, Martha helped lead the New York Local of AFTRA through turbulent times, and the union came out stronger due to her hard work, talent and dedication. She was an inspiration not only to me but to the entire leadership. Her service to the union should be held up as an example to everyone who will walk in her footsteps."
If the railway thriller Unstoppable looks familiar it’s only because its director Tony Scott and star Denzel Washington partnered just over a year ago on another railway thriller The Taking of Pelham 123. In Unstoppable the train is granted a bigger slice of the narrative pie than it received in Pelham serving not only as the film’s principal setting but also its primary villain. Stocked with a payload of dangerous chemicals Train 777 (that’s one more evil than 666!) hurtles unmanned towards a calamitous rendezvous with the helpless residents of Stanton Pennsylvania. Surely an upgrade over a hammy John Travolta no?
On whom can we depend to put a stop to this massive killing machine this “missile the size of the Chrysler Building ” in the ominous words of Rosario Dawson’s station dispatcher? Not the entry-level clods (Ethan Suplee and T.J. Miller) whose ineptitude originally set the train on its fateful path. (In a chilling testament to the potential dangers posed by the obesity epidemic a chunky Suplee runs to catch up with the coasting train in the hopes of triggering its emergency brake before it leaves the station only to collapse in a wheezing heap unsuccessful.) Certainly not their supervisor (Kevin Dunn) a middle-management goon more concerned with impressing his corporate superiors than ensuring proper rail safety. And most definitely not the parent company’s feckless golf-playing (the nerve!) CEO whose disaster-containment strategy is dictated purely by stock price.
No sooner or later the burden of heroism must fall on the capable shoulders of our man Denzel. As Frank Barnes a resolutely competent locomotive engineer on a routine training assignment with a reluctant apprentice (Chris Pine unshaven) he emerges as the only force capable of preventing the Train of Doom from reaching its grisly destination. Of course in any train-related emergency such as the one depicted in Unstoppable a litany of things must go wrong before the task of averting disaster becomes the sole responsibility of the engineer of another train. And screenwriter Mark Bomback (Live Free or Die Hard) trooper that he is takes care to cycle through every single one of them lest we question the believability of such a scenario. Because believability is so important in films like this.
Denzel’s most formidable foe in Unstoppable it turns out is his own director. As an alleged “old-school” filmmaker Tony Scott largely eschews the usage of CGI but he embraces almost every other fashionable action-movie gimmick occasionally to nauseating effect. When the camera isn’t jostling about or zooming in and out jarringly it’s wheeling at breakneck speed across a dolly track; countless circling shots of key dialogue exchanges give the impression that we’re eavesdropping on these conversations from a helicopter. No static shots are allowed and cuts are quick and relentless giving us nary a moment to catch our breath or recover our equilibrium.
These are the tactics of an insecure director one with startlingly little faith in his material or his performers. As Unstoppable nears it climax we’re invested in the action not because of the incessant play-by-play of the TV reporters who’ve converged on the scene — a ploy mandated by Scott’s frantic style which by this point has left the story teetering on incoherence — but because of our almost accidental bond with the film’s protagonists who despite the director’s best efforts have managed to make just enough of an imprint on our consciousness that we’d prefer they not perish in a fiery train wreck.
Commercials for MacGruber have been airing for weeks proudly boasting quotes that refer to it as “the best SNL skit movie since Wayne’s World” and “arguably the best action-comedy since Beverly Hills Cop.” Such outsized blurbs — usually accompanied by miniscule attributions — have long been a sine qua non of movie marketing strategy but what makes MacGruber’s case unique is that its praise came not from the usual studio fluffers but from The Atlantic the venerable 150-year-old publication that counts the likes of Longfellow and Ralph Waldo Emerson among its founders. Calling anything “the best SNL skit movie since ...” may be faint praise akin to "You're the smartest stripper I've ever met " but it’s still impressive for a film based on a shtick that typically struggles to conjure enough laughs to fill a two-minute sketch.
And it’s true. MacGruber star Will Forte and director Jorma Taccone (who also co-wrote the film along with John Solomon) much like the character Richard Dean Anderson they mercilessly parody took the scrap that was their middling SNL sketch and somehow turned it into one of the funniest films of the year.
The film which pits the super-handy MacGruber against his sworn enemy a nuke-stealing terrorist named Dieter Von Cunth (Val Kilmer gracefully entering the self-mocking stage of his career and selling it like a champ) works in part because it heartily exploits all the advantages unavailable to its television counterpart: a hard-R rating that lets it showcase among other things MacGruber’s unmatched throat-ripping skills and his willingness to suck a c**k to save American lives (let's see Jack Bauer try that); a script that clearly took more than a week — possibly as many as two — to construct; and guest stars who actually care enough to learn all of their lines. Forte's SNL co-star Kristen Wiig is fantastic as MacGruber's partner/love interest — a role more crucial to the comedy than you'd think — and even the much-maligned (by me mainly) Ryan Phillippe is pleasantly serviceable opposite Forte as his beleaguered straight man. In fact — dare I say it — he’s almost likable.
Don’t tell him I said that.
Exposition is often an unfortunate but necessary evil in movies but at least Smokin' Aces hammers it immediately. After we are privy to everything two FBI agents (Ray Liotta and Ryan Reynolds) overhear during a tapped phone call at mob boss Primo Sparazza’s (Joseph Ruskin) home the table is quickly set: There’s a $1 million bounty on the head of magician Buddy ‘Aces’ Israel (Jeremy Piven) for squealing. It’s a hefty sum and as we’re then told by a bail bondsman (Ben Affleck) interested in collecting the “reward ” a veritable all-star team of criminal masterminds has lined up to try and smoke Aces--including: the Tremor brothers (Chris Pine Kevin Durand Maury Sterling) a trio of uber-sadistic skinheads; a tag team of feministic hitwomen (Alicia Keys Taraji P Henson); a ruthless knife-wielding madman (Nestor Carbonell); a near shapeshifter (Tommy Flanagan) himself a sort of magician; and the bail bondsman narrator’s two buddies (Martin Henderson Peter Berg) and oddball lawyer (Jason Bateman). Not only is everyone up against the Feds but they’ll also have to survive Aces’ henchmen (Common Christopher Michael Holley) and each other’s lust for the (blood) money. Not that he’s the proverbial “lead”--no one really is--but Piven in his first true Entourage-afforded role is the story’s central figure. Surprisingly deep and multilayered Piven’s performance is very strong and affecting but buried beneath constant rapid cuts to one of the seemingly infinite other characters’ high-octane arcs. Reynolds ably switching from Van Wilder-type roles to cop with a 'tude is the closest thing to a good guy along with his partner in non-crime Liotta who was a perfect fit in the director’s Narc just like he is here. But the baddies are where the real fun’s at. It’s fine that Affleck’s role is extremely short but out of his crew for Henderson (The Ring) to get more face time than Bateman is criminal. Bateman’s performance is quick-witted a la his Arrested Development character but even funnier. Oh well--onto the musician actors: Common and Keys both essentially making debuts simply perpetuate the truism of musicians having a much easier time of acting than vice versa especially Keys who plays totally against the pop-queen image she’s built via music. Andy Garcia also has a small and predictable role as an FBI deputy and Matthew Fox makes a blink-and-you’ll-miss-him cameo.
Writer-director Joe Carnahan picked a bad release time. The buzz-ards feel the need to compare it to the recently Oscar-ed The Departed and hell you'd think Pulp Fiction was just released too with the way Tarantino's name is being name-dropped. Neither is fair and truth is the only similarity is the casual bloodshed and its often comedic context courtesy of Carnahan. The director who burst onto the scene with ‘02’s aforementioned Narc doesn’t reinvent the wheel here but he’s not ripping off anyone more than any other director. He actually imparts a good deal of originality for the better part of the movie blending comedy with carnage at breakneck speeds. The issue of not having a traditional “hero” also has its pluses because you’ll never be able to look at someone’s face and name and predict his or her lifespan. But still the story is where Smokin' Aces falters. The beginning and end seem like pieces of two different flicks and nothing more than stabs at coolness is actually transpiring in between. Ultimately Carnahan’s spunky effort makes for great but forgettable fun; however you get the feeling he didn’t quite want it to be so forgettable.