Robert Zemeckis is a blockbuster director at heart. Action has never been an issue for the man behind Back to the Future. When he puts aside the high concept adventures for emotional human stories — think Forrest Gump or Cast Away — he still goes big. His latest Flight continues the trend revolving the story of one man's fight with alcoholism around a terrifying plane crash. Zemeckis expertly crafts his roaring centerpiece and while he finds an agile performer in Denzel Washington the hour-and-a-half of Flight after the shocking moment can't sustain the power. The "big" works. The intimate drowns.
Washington stars as Whip Whitaker a reckless airline pilot who balances his days flying jumbo jets with picking up women snorting lines of cocaine and drinking himself to sleep. Although drunk for the flight that will change his life forever that's not the reason the plane goes down — in fact it may be the reason he thinks up his savvy landing solution in the first place. Writer John Gatins follows Whitaker into the aftermath madness: an investigation of what really happened during the flight Whitaker's battle to cap his addictions and budding relationships that if nurtured could save his life.
Zemeckis tops his own plane crash in Cast Away with the heart-pounding tailspin sequence (if you've ever been scared of flying before Flight will push into phobia territory). In the few scenes after the literal destruction Washington is able to convey an equal amount of power in the moments of mental destruction. Whitaker is obviously crushed by the events the bottle silently calling for him in every down moment. Flight strives for that level of introspection throughout eventually pairing Washington with equally distraught junkie Nicole (Kelly Reilly). Their relationship is barely fleshed out with the script time and time again resorting to obvious over-the-top depictions of substance abuse (a la Nic Cage's Leaving Las Vegas) and the bickering that follows. Washington's Whitaker hits is lowest point early sitting there until the climax of the film.
Sharing screentime with the intimate tale is the surprisingly comical attempt by the pilot's airline union buddy (Bruce Greenwood) and the company lawyer (Don Cheadle) to get Whitaker into shape. Prepping him for inquisitions looking into evidence from the wreckage and calling upon Whitaker's dealer Harling (John Goodman) to jump start their "hero" when the time is right the two men do everything they can to keep any blame being placed upon Whitaker by the National Transportation Safety Board investigators. The thread doesn't feel relevant to Whitaker's plight and in turn feels like unnecessary baggage that pads the runtime.
Everything in Fight shoots for the skies — and on purpose. The music is constantly swelling the photography glossy and unnatural and rarely do we breach Washington's wild exterior for a sense of what Whitaker's really grappling with. For Zemeckis Flight is still a spectacle film with Washington's ability to emote as the magical special effect. Instead of using it sparingly he once again goes big. Too big.
The Sundance Film Festival, which is backed by actor Robert Redford and his Sundance Institute for movies, comes to an end today in Park City, Utah. Saturday night's awards ceremony saw the sci-fi drama Primer, win the top grand jury prize, while the jurors awarded DIG! the top prize in the documentary category. Debra Granik took the dramatic directing award for Down to the Bone, about a lower-middle-class wife and mother's struggles with cocaine addiction.
Many celebs have attended the festival since it kicked off 11 days ago, including Ashton Kutcher, Demi Moore, David Arquette, Courteney Cox, Kevin Bacon and Jane Fonda. And while the stars littered the streets of the snowy mountain town, studios were busy making acquisitions.
Among the purchases this week were the The Woodsman, starring Kevin Bacon, for Newmarket Films; Garden State for Miramax Films and Fox Searchlight; and CSA: Confederate Sates of America for IFC Films.
Warner Independent Pictures, the new indie arm of Warner Bros., acquired We Don't Live Here Anymore, a drama about two couples whose marriages are on the rocks. The film stars Naomi Watts, Mark Ruffalo, Laura Dern and Peter Krause.
But despite their success at Sundance, films that win the festival's top awards have a difficult time finding broad audiences and, more often than not, become the year's most talked-about art-house titles rather than box office hits.
Of course, the ultimate Sundance success story to date has to be that of Daniel Myrick and Eduardo Sanchez's The Blair Witch Project. The film cost about $25,000 to make, was acquired by Artisan Entertainment for a cool $1 million and raked in $140 million at the box office. But when it debuted at Sundance in 1999, Blair Witch never won a single prize. In fact, it wasn't even in competition.
That said, it is nearly impossible to predict a film's success, or failure, outside the festival grounds. But films such as November, starring the well-known Courteney Cox, are sure to garner buzz.
First-timer Jason Wishnow, whose pic Oedipus stars vegetables instead of actors, told Reuters Sunday that more than anything, the festival is about exposure.
"The goal is getting [the work] out to find agents, producers or someone who will take you to the next level," he said.
The top winners in the independent film festival screen for one last time today.
Here is a complete list of winners:
Dramatic Grand Jury Prize: Primer, directed, written, and produced by Shane Carruth
Documentary Grand Jury Prize: DIG!, directed and produced by Ondi Timoner
Documentary Audience Award: Born Into Brothels, directed by Ross Kauffman and Zana Briski
Dramatic Audience Award: Maria Full of Grace, directed by Joshua Marston
Documentary Directing Award: Morgan Spurlock , Super Size Me
Dramatic Directing Award: Debra Granik, Down To the Bone
World Cinema Dramatic Audience Award: Seducing Doctor Lewis, directed by Jean-François Pouliot
Waldo Salt Screenwriting Award: Larry Gross, We Don't Live Here Anymore
Documentary Special Jury Prize: Farmingville, directed by Catherine Tambini and Carlos Sandoval
Dramatic Special Jury Prizes: Brother to Brother, directed by Rodney Evans; and Vera Farmiga for her performance in Down To the Bone
World Cinema Documentary Audience Award: The Corporation, directed by Mark Achbar and Jennifer Abbott
Excellence in Cinematography Award: Ferne Pearlstein, Imelda from the documentary competition; Nancy Schreiber, November from the dramatic competition
Freedom of Expression Award: Repatriation, directed by Dong-won Kim
Jury Prize in Short Filmmaking: When the Storm Came, directed by Shilpi Gupta; and Gowanus, Brooklyn, directed by Ryan Fleck
Jury Prize in International Short Filmmaking: Tomo, directed by Paul Catling
Honorable Mentions in Short Filmmaking: Curtis, directed by Jacob Akira Okada; Harvie Krumpet, directed by Adam Elliot; Krumoed, directed by David LaChapelle; Papillion d'Amour, directed by Nicholas Provost; and Spokane, directed by Larry Kennar
2004 Sundance Online Film Festival Viewers Awards: Bathtime in Clerkenwell, directed by Alex Budovsky (Animation); Wet Dreams False Images, directed by Jesse Epstein (Short Subject); and The Dawn at my Back: Memoir of a Texas Upbringing, directed by Carroll Parrott Blue and Kristy H.A. Kang (New Forms Gallery)
Sundance/NHK International Filmmakers Award: Gyorgy Palfi, Taxidermia from Europe; Andrucha Waddington, House of Sand from Latin America; Miranda July, Me You and Everyone We Know from the United States. Kosuke Hosokaim, director of Tepid Love from Japan received an honorable mention