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.
In 1977 Harvey Milk (Penn) was elected to the San Francisco Board of Supervisors. While this would not normally be an earth-shattering phenomenon in this case Milk became the first out-of-the-closet gay person to win a major public office in the United States -- and was assassinated in 1978 along with San Francisco Mayor George Moscone. Based in part on the Academy Award-winning documentary The Life and Times of Harvey Milk the film focuses on the last decade of his life as he moves from New York at age 40 to San Francisco with lover Scott Smith (James Franco). Using his experience as an entrepreneur as a catalyst he suddenly becomes more politically involved making a couple of runs for office and finally getting elected. With a new lover (Diego Luna) and agenda Milk takes on some major issues -- including lobbying against California’s controversial Prop 6 an initiative to fire gay schoolteachers. But his activities anger another supervisor Dan White (Josh Brolin) and soon their destinies will collide. It’s not an overstatement to say that Sean Penn’s performance here is a revelation. As Harvey Milk he not only perfectly embodies the late politician but exudes a certain kind of warmness and humor we rarely see from the star. His immersion into the persona of Milk is truly remarkable and winning. A large supporting cast includes: standout performances from Franco as Milk’s true love and friend Scott who eventually can’t compete with Harvey’s increasing ambition; Diego Luna hilarious and annoying as Milk’s lover later; and Emile Hirsch as Cleve Jones a young activist and Milk protégé. Brolin as the unlikeable White perfectly captures the frustration and simmering jealousy the man he feels steals his job. It’s a risky role and there is little room for audience empathy but Brolin makes this loser understandable if not acceptable. As the lone woman among the principal players Alison Pill is bright and appealing as Milk’s campaign manager Anne Kronenberg. Gus Van Sant’s odd directorial career encompasses a series of ups and downs with the highlights being Drugstore Cowboy and his Oscar-nominated work on Good Will Hunting. The absolute nadir of Van Sant’s resume is undoubtedly his ill-advised shot-by-shot remake of Hitchcock’s untouchable Psycho. It’s nice to report he’s back in form now with the warm funny and moving Milk a film that doesn’t quite escape the clichés of the biopic genre but still finds its own beats thanks in large part to the piercing performances. Getting such mature and joyful work from Penn a brilliant but distant actor is impressive indeed. He also imbues the movie with a documentary feel appropriate since much of the source material comes from the Oscar-winning docu. Milk paints us a triumphant and inspiring life one that won’t soon be forgotten especially with its parallels to current California circumstances. The state’s recent anti-gay marriage initiative Prop 8 could not have come at a more significant time in making Harvey Milk’s crusade seem more relevant than ever.