After Dark Films
It seems a bit odd to take on a movie review of Courtney Solomon's Getaway, as only in the loosest terms is Getaway actually a movie. We begin without questions — other than a vague and frustrating "What the hell is going on?" — and end without answers, watching Ethan Hawke drive his car into things (and people) for the hour and a half in between. We learn very little along the way, probed to engage in the mystery of the journey. But we don't, because there's no reason to.
There's not a single reason to wonder about any of the things that happen to Hawke's former racecar driver/reformed criminal — forced to carry out a series of felonious commands by a mysterious stranger who is holding his wife hostage — because there doesn't seem to be a single ounce of thought poured into him beyond what he see. We learn, via exposition delivered by him to gun-toting computer whiz Selena Gomez, that he "did some bad things" before meeting the love of his life and deciding to put that all behind him. Then, we stop learning. We stop thinking. We start crashing into police cars and Christmas trees and power plants.
Why is Selena Gomez along for the ride? Well, the beginnings of her involvement are defensible: Hawke is carrying out his slew of vehicular crimes in a stolen car. It's her car. And she's on a rampage to get it back. But unaware of what she's getting herself into, Gomez confronts an idling Hawke with a gun, is yanked into the automobile, and forced to sit shotgun while the rest of the driver's "assignments" are carried out. But her willingness to stick by Hawke after hearing his story is ludicrous. Their immediate bickering falls closer to catty sexual tension than it does to genuine derision and fear (you know, the sort of feelings you'd have for someone who held you up or forced you into accessorizing a buffet of life-threatening crimes).
After Dark Films
The "gradual" reversal of their relationship is treated like something we should root for. But with so little meat packed into either character, the interwoven scenes of Hawke and Gomez warming up to each other and becoming a team in the quest to save the former's wife serve more than anything else as a breather from all the grotesque, impatient, deliberately unappealing scenes of city wreckage.
And as far as consolidating the mystery, the film isn't interested in that either, as evidenced by its final moments. Instead of pressing focus on the answers to whatever questions we may have, the movie's ultimate reveal is so weak, unsubstantial, and entirely disconnected to the story entirely, that it seems almost offensive to whatever semblance of a film might exist here to go out on this note. Offensive to the idea of film and story in general, as a matter of fact. But Getaway isn't concerned with these notions. Not with story, character, logic, or humanity. It just wants to show us a bunch of car crashes and explosions. So you'd think it might have at least made those look a little better.
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The final months of the Civil War a time when President Abraham Lincoln struggled to end slavery and bring the Confederate States of America back into the fold of the Union are among the most important moments in Unites States history. They're also the murkiest. Eleventh grade American History tried to teach us — war four scores Emancipation Proclamation the 13th Amendment and a fateful night at the theater — but with a few hundred years' worth of events to process most people leave school knowing that Lincoln made a couple of important moves that turned the world what it is today.
Thankfully we now have a film courtesy of the legendary Steven Spielberg that brings the 16th President's amazing uphill battle to cinematic life. The cold hard facts could not be more impressive.
For Lincoln an adaptation of the Doris Kearns Goodwin's biography Team of Rivals: The Political Genius of Abraham Lincoln Spielberg scales down his usual blockbuster sensibilities (last seen in 2011's World War I melodrama War Horse) to craft an intimate portrait of an iconic political figure. To pull it off writer Tony Kushner (Munich and the two-part Angels in America) constructs the film like a play relying on the soothing chameleon presence of Daniel Day-Lewis to breath life into Lincoln's poetic waxing. The president hits roadblock after roadblock on his quest to free the slaves and end the war Kushner and Spielberg weaving in handfuls of characters to pull him in various directions (and accurately represent the real life events). Each time Day-Lewis' Lincoln gracefully dances the dance solving every problem with action and words. Today Lincoln is held in high regard as an inspirational figure. Spielberg shows us why.
Lincoln isn't a full-blown birth-to-death biopic of the Great Emancipator and is all the better for it. Picking up in January of 1865 years into the Civil War Lincoln summons his Secretary of State William Seward (David Strathairn) to say enough is enough — the time is ripe for the abolishing of slavery. Against the vocal naysayers of the Union and even his personal confidants Lincoln attempts to rally the congressmen he needs to make his bill an amendment. He hires three men (John Hawkes Tim Blake Nelson and the wonderfully outrageous James Spader) to use whatever nonviolent means possible to swing the vote. All the while well-spoken adversaries (like Lee Pace's Fernando Wood) take to the House of Representatives floor to discredit Lincoln and dissuade congressmen. Keeping the progressive foot in the door is Thaddeus Stevens (Tommy Lee Jones) a foul-mouthed powerhouse who shares Lincoln's ambitious dreams of equality.
The story is simple but Kushner doesn't shy away from laying down lengthy passages of political discussion in order to show the importance of Lincoln's task. It's dense material spruced up with Kushner's ear for dialogue. But even so it occasionally meanders into Ken Burns documentary territory. Case in point: there are so many characters with beards in Lincoln Spielberg even flashes title cards underneath their opening scenes just so we're not lost. The fact-heavy approach takes getting used to but Spielberg and Kushner adeptly dig deep beyond the political gabfest to find a human side to Lincoln. He's a gentle man a warm man and a hilarious man. The duo's Honest Abe never shies away from a good story — at times he's like Grandpa from The Simpsons lost in his own anecdotes (much to the dismay of his cabinet). Day-Lewis chews scenery as hinted at in the trailers but with absolute restraint. That makes his sudden outbursts really pop. When Lincoln becomes fed up with pussyfooting politicians like the quivering representatives played by Walton Goggins and Michael Stuhlbarg Day-Lewis cranks the high-pitched president up to 10. He never falters.
There's a great deal of humor and heart in Lincoln — partially because the circus-like antics of Washington D.C. feel all too close-to-home in this day and age — and Spielberg paces it all with expert camera work. The drama is iffier: a side story involving Lincoln's son Robert (Joseph Gordon-Levitt) teases an interesting family dynamic that is never fully explored and is clunky when dropped to the wayside in favor of larger issues. Same goes for Lincoln's wife Mary Todd (Sally Field) who continues to grieve for the couple's lost child. They are important issues but they don't quite work in the fabric of this specific narrative.
The larger world outside the offices of the White House and Congress is often forgotten too — we hear a lot of war talk without seeing a whole lot of war. Instances where Lincoln ventures out into fields of the dead have emotional impact but we feel disconnected from it. Where Spielberg really gets it right is in the chaos of the presidential occupation. There is no easy task for Lincoln. "I may have been wrong about that " says Abe referencing his issuing of the Emancipation Proclamation "but I wanted the people to tell me if I was." Day-Lewis understands Lincoln's complex internal thought and brings it forward in each scene: humble confident deadly and compassionate.
Spielberg's technical team once again wows and echoes the lead performance. Director of Photography Janusz Kaminski's contrasting photography near chiaroscuro makes the beautiful set and production design hyper real and highlights the actors' aging faces. Composer John Williams returns once again but with a score as low-key as Day-Lewis' character — a change of pace when compared to War Horse. It's all up to par with Spielberg's past work without turning Lincoln into a flashy period drama.
Day-Lewis was the talk of the town when the first Lincoln trailers made their way on the web. Surprisingly however Lincoln wows because it's a well-balanced ensemble drama. Lee Jones delivers his best work in a decade as the grouchy idealist Spader delivers the comedic performance of the fall season and every scene introduces another familiar face to add additional gravitas to the picture (as opposed to being a distracting cameo fest). S. Epatha Merkerson's late-in-the-game scene opens up the tear ducts in a way that none of her male costars can.
If history isn't one of your interests Lincoln may not rouse you — background reading not required but conversation moves at lightning speed and without much hand-holding. It's a change of pace for Spielberg and a welcome one. With all the bells and whistles that come with being the biggest director of all time Lincoln looks amazing sounds amazing and has enough talent to make it an exhilarating learning experience.
Sift through comments on franchise sequel announcements and you'll find many crying afoul to Hollywood's insistence of resurfacing every last brand in their bank of titles. The desire for original content is reasonable but occasionally a cinematic follow-up does have the potential to be rich and rewarding. Revisiting characters who've seen time pass in their own lives is worthy of exploration — Peter Bogdanovich's Texasville Richard Linklater's Before Sunset and even A Very Harold & Kumar Christmas prove that theory. American Reunion reaches for that same dramatic arc reentering the lives of its core cast eight years after American Wedding. But instead of mixing comedy with any weighty issues the movie only tickles the nostalgia bone (and without f**king one pie in the process) — a hurdle that keeps American Reunion from being nearly as riotous as the original.
Life hits a wall for Jim (Jason Biggs) in 2012. He's a happily married man a father and a moderately successful employee of a faceless company. But after catching his wife Michelle (Alyson Hannigan) enjoying the company of a shower head it dawns on Jim that he's in need of a shake-up. Perfect timing: Jim packs up the family and heads to his hometown for his 13th high school reunion (sure why not) where he reunites with the old gang: Kevin (Thomas Ian Nicholas) currently whipped into submission by his girlfriend Finch (Eddie Kaye Thomas) back from a trip around the world Oz (Chris Klein) now a superstar sportscaster fresh off a celebrity dance show stint and Steve Stifler (Seann William Scott) a law firm temp who continues to turn women into his own personal squeeze toys. The high school buddies devolve quickly into their old habits alcoholic antics and potty-mouthed rants by the red solo cupful. Good fun for Jim no fun for Michelle.
Instead of digging deep into its well-founded characters (which I swear is allowed in a raunchy R-rated comedy) American Reunion sticks to the familiar goofball scenarios of its predecessors. Which is passable because the core group who stuck through all three movies — Biggs Nicholas Thomas and Scott — make poop-infused pranks and slapstick shtick like a scene in which Jim and co. must get a drunken naked eighteen-year-old back into her parents' house without looking like total creepsters highly entertaining. Scott once again proves him an underused comedic talent making Stifler one of the few characters who can rattle off colorful cuss words while showing a glimmer of humanity. Same goes for Eugene Levy as Jim's Dad who finds his role beefed up now that he's once again single. Grieving for years over his wife's death Jim helps his advice-dealing pop hit the dating scene and Levy spins gold out of the silliest of situations.
The problem with American Reunion is everyone else. Chris Klein never clicks with the rest of the group (that's what he gets for skipping out on Jim's wedding) while the rest of the ensemble feel ham-fisted for cameo purposes rather than complimenting the storyline. Tara Reid and Mena Suvari return to the franchise to stand around and react to the ineptitude of their male counterparts. Natasha Lyonne is in and out faster than Jim's first time. Other brief character appearances are like bigfoot sightings. The idea of bringing the entire cast of the original back for more seems perfect but without proper pacing from writers/directors Jon Hurwitz and Hayden Schlossberg (Harold & Kumar Escape from Guantanamo Bay) there's never a moment to enjoy it.
American Reunion is a flaccid entry servicing fans while coming through with enough laugh out loud moments to make one scream (In one scene Jim takes a page out of Michael Fassbender's Shame that will elicit audible reactions). If these were fresh characters we'd brush it off — but at the film's core is a lovable familiar bunch of knuckleheads that can't be ignored. And if Stifler wants to party you party.
Real Steel – the new sci-fi sports flick from Night at the Museum director Shawn Levy – is set in the year 2020. Its vision of the future looks remarkably similar to the present save for the fact that the sport of boxing has been taken over by pugilistic robots. There are no robot butlers taxi drivers or senators – just boxers. Apparently technology in 2020 has advanced enough to allow for the creation of massive mechanized beings of astonishing dexterity but humanity has found no use for them beyond the boxing ring.
Hugh Jackman plays Charlie Kenton a has-been boxer turned small-time robot-fight promoter. A consummate hustler who’ll do anything for a buck Charlie’s fallen on hard times of late. Opportunity arrives in the diminutive guise of 11-year-old Max (Dakota Goyo) his estranged son who turns out to be something of an electronics wunderkind. Together they work to fashion Atom an obsolete ramshackle “sparring robot” left to rot in a junkyard into a contender.
Anyone who’s seen an underdog sports movie – or any movie for that matter – made in the last half-century can fairly easily ascertain how this one plays out. (The story borrows tropes from The Champ Rocky and Over the Top wholesale.) Atom proves surprisingly capable in the ring compensating for his inferior technology with grit perseverance and an ability to absorb massive amounts of punishment. Under the guidance of Charlie and Max he makes an improbable run through the ranks eventually earning a one-in-a-million shot at the World Robot Boxing championship.
Real Steel was executive-produced by Steven Spielberg; it bears his unmistakable imprint. Levy judiciously deploys Spielberg’s patented blockbuster mix of dazzling special effects and gooey sentiment wrapping it all in a highly polished if wholly synthetic package. Still Real Steel might have amounted to so much glossy hokum were it not for its champion Hugh Jackman. Other actors might eye such a project as an opportunity to coast for an easy paycheck but damned if Jackman isn’t completely invested. The film’s underdog storyline isn’t nearly as inspiring as watching its star so gamely devote himself to selling material that will strike anyone over the age of 12 as patently ludicrous. His efforts pay off handsomely: Real Steel is about as rousing and affecting as any film inspired by Rock’em Sock’em Robots can expect to be. (The filmmakers claim lineage to a short story-turned-Twilight Zone episode but who are they kidding?)
December 18, 2003 12:55pm EST
Katherine Watson (Julia Roberts) a novice professor from UCLA lands a job in the art history department at Wellesley College in the fall of 1953 and she's thrilled at the prospect of educating some of the brightest young women in the country. But her lofty image of Wellesley quickly fizzles when she discovers that despite its academic reputation the school fosters an environment where success is measured by the size of a girl's engagement ring. Besides learning about fresco techniques and physics the women take classes in the art of serving tea to their husband's bosses something that doesn't sit well with the forward-thinking Katherine who openly encourages her students to strive for goals other than marriage. Katherine inspires a group of students specifically Joan (Julia Stiles) and Giselle (Maggie Gyllenhaal) but newlywed Betty (Kirsten Dunst) feels Katherine looks down on her for choosing a husband over a career. Betty goes on the offensive and uses her column in the school paper to drive a wedge between the professor and the stuffy faculty. But while Betty puts on a happily married face her hostility towards Katherine is actually misplaced anger stemming from her miserable marriage to a cheating charlatan.
Katherine is Mona Lisa Smile's most complex and intriguing character and Roberts is a fitting choice for the part. Like an old soul the actress has a depth that's perfect for a character like Katherine who's enlightened and ahead of her time. But Katherine never emotionally connects with any of her students which isn't surprising since they're so bitchy and self-absorbed. Perhaps more time should have been spent developing the young women's characters and building their relationships with Katherine sooner but as it is the underdeveloped friendships between the women will leave viewers feeling indifferent rather than inspired. The worst of the bunch is Dunst's character Betty who is intent on making everyone around her feel unworthy. She has her reasons of course but they're revealed so late in the story that it's hard to suddenly empathize with her after having spent three-quarters of the film hating her guts. Stiles' character Joan is perhaps the most congenial but like Betty she never develops a strong bond with her teacher. The most "liberal" of the girls is Giselle played by Gyllenhaal but the character suffers the same burden as the rest: She's unlikable. Giselle's penchant for sleeping with professors and married men is so odious that not even her 11th hour broken-home story can salvage her character.
While Mona Lisa's smile in Leonardo da Vinci's famous painting has often been described as subtle director Mike Newell's star-studded drama is anything but that; Mona Lisa Smile is so heavy-handed that unlike the painting for which it was named there is nothing left for moviegoers to ponder or debate. The film plays like a montage of '50s ideological iconography: A school nurse gets fired for dispensing birth control; a teacher refers to Lucille Ball as a "communist"; Betty's prayers are answered when she gets what every woman dreams of--a washer and dryer. But the film's critical insight into '50s culture isn't as shocking as it thinks it is and the way it highlights feminist issues is as uninspired as trivial as a fine-art reproduction. Newell also spends too much time basking in the aura of the '50s era focusing on countless parties dances and weddings sequences that while visually ambitious are superfluous. The film may be historically accurate but its characters story and message will leave moviegoers feeling empty. A climactic scene for example in which Katherine's students ride their bikes alongside her car as a show of support comes across as a tool to evoke sentiment that just doesn't exist.