Lonely Hearts is really two stories set in post WWII America. The main story is about Ray Fernandez (Jared Leto) a small-time swindler who bilks war widows out of their insurance money and life savings by getting them to fall in love with him. He then marries them and kills them once he has control of their assets. His neat little scam is thrown off kilter when he discovers that one of his targets Martha Beck (Salma Hayek) is penniless. He tries to dump her but she figures out his scheme and they become lethal lovers and partners in crime. The other story is about the detective (John Travolta) who tracks them down. He is picking up the pieces of his own tragic life after his wife commits suicide. His son (Dan Byrd) is a distant and difficult teenager and his girlfriend (Laura Dern) is trying to help him get on with his life. Jared Leto (Requiem for a Dream) is excellent as the greasy playboy who seduces and kills lonely women. He plays the sleazy charm and indecisive weakness of Ray Fernandez perfectly. But the standout performance of the film is Salma Hayek. Although Martha Beck on her best day never looked anywhere near as good as Hayek does on her worst the actress makes the cold-blooded character her own doing whatever it takes to get her hands on the ill-gotten gains. The image of a bloody and frustrated Hayek in a frumpy housecoat sucking on a cigarette with a hacksaw in hand complaining about the tenaciousness of one of their victims is priceless. John Travolta is either miscast or misused as the tortured tough guy detective Elmer Robinson. This wasn't a cool character and Travolta is a cool star who seemed to be straight jacketed by a character who is almost completely reactionary. James Gandolfini and Laura Dern do their best in their supporting roles. Writer-director Todd Robinson turns in a serviceable job behind the camera but falls down on the script. Lonely Hearts' main problem seems to be his inability to wiggle away from the facts to create an engaging movie. Robinson is actually the grandson of the real-life detective who brought Fernandez and Beck to justice. Robinson never gets beyond the made-for-TV luridness of the basic story. Gandolfini gets stuck in the role of narrator which would have been much more engaging if Travolta's character would have been the one talking to the audience. Robinson never lets the audience inside the characters long enough to make the film a more emotional experience. This is a problem with true stories; the writers are often not able or willing to be creative with the lives and motivations of the characters who have done extraordinary and well-documented things.
Tragedy strikes the Marshall University community when a plane crash claims the lives of most of the football team coaches and some fans. With the whole town traumatized university president Donald Dedmond (David Strathairn) thinks it's best to cancel the football program but remaining players led by Nate Ruffin (Anthony Mackie) rally the school to support continuing the team's honor. Of course nobody wants to coach in these circumstances--that is until rogue bad boy Jake Lengyel (Matthew McConaughey) asks for the job. Along with surviving assistant coach Red Dawson (Matthew Fox) they build the team back up. Just putting the team back together raises the town's spirits but getting back the winning record is another story. This could have easily been a sappy tearjerker but it sticks to the high road for the most part. There are some sad scenes (i.e. the cheerleader [Kate Mara] returning the engagement ring her dead boyfriend gave her to his mourning daddy) but otherwise the focus is on moving ahead. Just about every actor gets at least one big moment to cry. That's a given in a story of this nature and some of them are better than others. Mackie's stoic attempt to take punches in an injured shoulder is full of passion but Fox's random breakdown is well just like a flashback from Lost. He is better on the field showing us a side to his personality we haven’t seen yet. Strathairn seems the most sympathetic as the pained authority figure making tough decisions. Mara (Brokeback Mountain) looks so innocent you just want to hold her hand and stroke her hair every time she wells up. Aside from that there's also a lot of personality in the film. McConaughey leads the team with a gleam in his eye and a smirk on his lips but it never comes across as insensitive. He’s hip so of course he's the one who can lead them out of tragedy. And as an ensemble film the cast comes together as a community in which a single tragedy can affect them all and a single victory can give them hope. McG totally restrains his bombastic Charlie's Angels style of filmmaking for this character piece. Just about the only noticeably fancy shot is a dissolve from Mara looking up at the plane to her boyfriend staring out the airplane window. It's a moving moment because we know what is coming and it does not call too much attention to the filmmaking process. McG knows how to do some great montages too. Recruiting the new players running the drills--they're all full of visual moments set to a rocking soundtrack. Most importantly he handles the tragedy with class and doesn’t deliberately try to jerk tears. The plane crashes with only a single jump and a fade to black but the wreckage burns through our hearts. Instead McG shows there's a way to honor the dead to take back a community's pride and let life go on without disrespecting any of the departed. The football games in We Are Marshall are filmed with visceral impacts pretty much the way most sports movies are. There's no Friday Night Lights grit but that's fine. These games are about telling a story not exposing the seedy underbelly of the sport.
Once respected NYPD detective Jack Mosley (Bruce Willis) is now pretty much on his last legs literally and figuratively. He drinks is relegated to a desk job and walks with a limp. One morning after a long shift he’s corralled into transporting a petty criminal Eddie Bunker (Mos Def) to the courthouse 16 blocks away so he can testify by 10:00 a.m. What Jack doesn’t know is that Eddie is one of the key witnesses in a case against crooked cops--that is until the two start getting shot at. Then it becomes crystal clear. The main bad guy Jack’s former partner Frank (David Morse) basically lets Jack know Eddie will never testify to just go ahead and hand him over but Frank underestimates Jack’s desire to finally do something good. So Jack and Eddie fight their way to the courthouse block by gut-wrenching block. Oh no there’s nothing formulaic about 16 Blocks not at all. In a film as predictable as this the only thing that’ll make it stand out is the performances. 16 Blocks nearly succeeds--but not quite. It would seem Willis is playing a character he’s played a hundred times before--the misunderstood and slightly unorthodox cop with a heart of gold. But as Jack the actor does a nice job trying out some new things namely playing fat bald and grizzled. You can almost smell how bad Jack’s breath has to be. Rapper/actor Mos Def who usually brightens any film he’s in also tries his hand at something different but his choices aren’t as smart. As the talkative and affable Eddie Mos comes up with one of the more annoying nasally accents ever recorded. After about five minutes of screen time you desperately want him to stop and say “Just kidding! I don’t really talk like this.” But he doesn’t. It’s too bad something like an accent can ruin an otherwise decent performance. Old-school director Richard Donner best known for his Lethal Weapons is a consummate professional when it comes to making these kind of movies. In other words he pretty much paints by numbers. We watch Jack and Eddie get out of one tight situation after another as the gaggle of bad cops try to gun them down. I mean 16 blocks doesn’t seem that far to go so they better throw in as many highly implausible obstacles as they can. Chinese laundries alleyways rooftops subways. And yes even a city bus which the pair--who have by now bonded big time--has to hijack. Donner also employs a popular but nonetheless annoying technique of zooming in when the action heats up so you can’t really see what’s going on. Even if you’re addicted to action movies--a Bruce Willis action movie no less--16 Blocks just doesn’t deliver the goods.
Bo (Seann William Scott) and Luke (Johnny Knoxville) Duke are cousins--two hell-raisers who drive fast sell moonshine and bed sexy farm girls all across Georgia's Hazzard County. They've got another cousin Daisy Duke (Jessica Simpson) a drop-dead hottie who waits tables at the local watering hole. If someone gets a little too friendly with the gal she's knocks 'em on their ass--and if her cousins get into trouble she shakes hers to get them out of it. Then there's Uncle Jesse Duke (Willie Nelson) who makes the moonshine on his farm tells bad jokes and sings country-western songs. I can't quit thinking about how the Duke family dynamics work. They're all tight-knit cousins right? But Uncle Jesse isn't the father to any of them. So like where's the rest of the Dukes? There's gotta be other siblings parents maybe. It perplexes me. But I digress. Suffice to say the Dukes are always outrunning--and out-jumping--the local law enforcement in their souped-up Dodge Charger the General Lee. The boys are also constantly doing battle with the crooked county commissioner Boss Hogg (Burt Reynolds) who cooks up one nefarious plan after another to make Hazzard County his own personal cash cow only to be thwarted by those darn Dukes. Dagnabbit.
Although some diehard fans of the TV show may disagree the casting for this feature film redo is pretty spot on. Knoxville and Scott do just fine as the rip-roarin' Duke cousins bantering about one upping each other--you know boys stuff. Nelson's still got the whole pigtail thing going for him but he looks like he's having a good time. Reynolds does too but he's definitely a lot slicker--and a lot better looking--than the show's original Boss Hogg Sorrell Booke. As the bumbling police veteran character actor M.C. Gainey who always plays bad guys at least gets to show off some comedy chops as Sheriff Roscoe P. Coltrane. Michael Weston (Garden State) as the wimpy Deputy Enos Strate is sufficiently reduced to a puddle whenever Daisy is around. And then there's Simpson. My my my. It's obvious the camera (and whose ever behind it) loves every inch of her and she tends to light up the screen whenever she's on it. Of course playing Daisy in her acting debut isn't much of a stretch but Simpson still shows a comic flair. The singer-turned-actress could actually become a fairly serviceable comedic actress if she plays her cards right.
This is what director Jay Chandrasekhar (Super Troopers) had to say about making The Dukes of Hazzard: "I had a poster of Daisy Duke [played in the original show by Catherine Bach] on my wall when I was nine that was very inspiring and when you combine the prospect of a new Daisy Duke with the opportunity to send the General Lee flying through the air again it was impossible for me to say no." Well Jay actually you could have said no and maybe the whole Hazzard as a feature idea would have gone away. It's perfectly suitable to have a television show be about nothing but cars flying through the air hot women in skimpy clothes and idiotic behavior. We'll always accept brain-friendly crap on TV. But to be subjected to an entire feature-length film of mindless stupidity is just too much at least in Hazzard's case. Sure watching the General Lee perform seemingly impossible stunts is fun. Apparently 28 Dodge Chargers had to be converted into the multiple General Lees needed for the film and the parts had to be hunted down on the Internet in junkyards or by word of mouth. Still after about the 100th time the car jumps over something you've had quite enough.
As dean of a small college Coleman Silk (Anthony Hopkins) has made a nice life for himself--until a false accusation of racism ruins his career and he loses his wife to a brain aneurysm. Suddenly Coleman has nothing--until he embarks on an intensely sexual relationship with Faunia Farley (Nicole Kidman) a local woman with an abusive ex-husband Lester (Ed Harris) who won't leave her alone. The intensity of Coleman's love for Faunia leads him to reveal his long-held secret: He has been passing himself off as Jewish and white for most of his adult life but in reality he is a light-skinned African-American. From there a series of flashbacks to the 1940s introduce us to a younger love-struck Coleman (Wentworth Miller) and reveal the events that led him to his fateful decision. Somehow Coleman's deep dark secret isn't as shocking as it's probably meant to be but the relationship between Faunia and Coleman is--especially when it slips into the danger zone with Lester breathing down their necks.
Wentworth Miller who makes his film debut as the younger Coleman does an amazing job with his role establishing Coleman's quiet yet fierce determination to live a life free of intolerance. And as ever Hopkins is the consummate professional with flashes of intense passion and brilliance in his steely eyes. One does have to get over the fact that a Welsh actor has been cast as an elderly light-skinned African-American but if Hopkins can give nuance to a declaration of how Viagra has changed his character's life (ick) he can pull off the race thing easily enough. Kidman as the dour Faunia also has some stunning moments easily sinking to the depressive depths required of her character--not surprising considering she won the Oscar doing the same thing in The Hours. What really makes you clench your teeth though is when the two of them get together on screen--in the biblical sense. These Oscar winners are so sorely miscast as tortured lovebirds that their sexual moments make you squirm in your seat. It's not the age difference; there's simply no spark between them.
"We leave a stain a trail and imprint " Philip Roth writes in his novel the third in a trilogy on postwar America. "It's the only way to be here." The author goes on to explore myriad themes around this main premise including how we leave our marks how our decisions have consequences and how people can find one another under the direst circumstances. Unfortunately these big ideas get lost in translation on the big screen and the film suffers from adaptation blues. Director Robert Benton and screenwriter Nicholas Meyer gives Roth's ideas voice only through Nathan Zuckerman (Gary Sinise) the reclusive author Coleman asks to write his life story and even that artistic character talks more about how sex is clouding Coleman's judgment than about his own life or ideology. Ultimately Meyer focuses his script too heavily on the guarded Coleman leaving the other characters too little developed. Why has Nathan secluded himself away from the world? What haunts him? Sinise does what he can with the character but there's too little background. The same goes for Faunia. Although she describes in one monologue after another the horrors of her life--she was abused as a girl and lost her two children in a terrible fire--Faunia's hardships seem distant and it's hard to connect with her character. Only the wounded Lester a Vietnam veteran seems made of real emotions and desires--he's filled with hatred and passion--and if he makes only a brief appearance in the film he certainly leaves a mark.