Thanks to the recent speech at the Republican National Convention in which the former Dirty Harry berated a chair holding an invisible Barack Obama going into a movie starring Clint Eastwood as a technophobe who has trouble not walking into tables and chairs on a daily basis isn’t exactly a setup for success. But believe it or not it’s actually not that unfortunate context that’s the problem: from the clunky script and pacing to Clint’s ever-present grumble and the film’s predictable plot Trouble with the Curve is a slow pitch right down the middle.
And this is coming from someone who loves baseball movies so much she’s suffered through Kevin Costner’s For the Love of the Game – twice. But Trouble isn’t really a baseball movie. It’s a sappy father-daughter relationship tale with baseball as the hook and the caulk filling in the film's cracks.
Gus (Eastwood) is one of the oldest most respected scouts in the game but he’s getting old his eyes are going and some twerp with a laptop (Matthew Lillard) and his frat boy henchman are determined to shove Gus out of his position at the Atlanta Braves and replace him with a computer (muah-ha-ha). His daughter Mickey (Amy Adams) who he named after Mickey Mantle because that’s how much he loves baseball is trying to make partner at her law firm in a pool of misogynistic bigwigs when she’s called down to North Carolina to help her dad at the behest of his boss and best friend (John Goodman). While she should be working things out with her pops a young scout named Jimmy (Justin Timberlake) shows up flirts with Mickey and steals the storyline for the entire middle section of the film.
While Eastwood’s growling grumbling demeanor are perfect for the role of a stalwart old man who refuses to give up the game he once knew he’s saddled with stale jokes and quips – you may know them as “dad jokes” – that undermine his ability to be the wise man who knows better than these young whippersnappers. Adams does the best she can with a role that asks little more than for her to be smart sassy and outspoken but it simply feels like the role was over-cast. Timberlake’s character is plagued with Gus’ same brand of dad jokes but luckily for us the former boy bander is oozing with enough charm to make any joke no matter how terrible funny enough to make us fall in love with him – for an hour and half anyway.
Script issues aside where the film really starts to lose its way is in its portrayal of Lillard’s young ladder-climbing villain. At one point they even show him sitting in a dark room backlit by a lone desk lamp as he instructs his henchman to keep spying on Gus. All that’s missing is a maniacal laugh and a fluffy cat on his lap for him to stroke with his ruby-ring-decked hand.
It’s this hyperbolic villainy coupled with the treatment of Gus’ mortal enemy (technology) paired with two battling relationship stories (Timberlake and Adams vs. Eastwood and Adams) and the slow plodding pace that keep this film from being what it should be: a perfectly sweet predictable popcorn flick.
Trouble would be a perfectly adequate movie to casually watch on a Sunday afternoon with your dad but then again you could just get Field of Dreams on Blu-ray just as easily.
[Photo Credit: Warner Bros]
Last night, the 21st Annual Gotham Independent Film Awards aired, celebrating 2011's greatest achievements in the world of indie cinema.
Tree of Life (dir. Terrence Malick) / Beginners (dir. Mike Mills)
Nominees: The Descendants (dir. Alexander Payne), Meek's Cutoff (dir. Kelly Reichardt), Take Shelter (dir. Jeff Nichols)
Winner: Felicity Jones (Like Crazy)
Nominees: Elizabeth Olson (Martha Marcy May Marlene), Harmony Santana (Gun Hill Road), Shailene Woodley (The Descendants), Jacob Wysocki (Terri)
Winner: Dee Rees (Pariah)
Nominees: Mike Cahill (Another Earth), Sean Durkin (Martha Marcy May Marlene), Vera Farmiga (Higher Ground), Evan Glodell (Bellflower)
BEST ENSEMBLE PERFORMANCE
Nominees: The Descendants, Margin Call, Martha Marcy May Marlene, Take Shelter
Girlfriend (dir. Justin Lerner)
Nominees: Being Elmo: A Puppeteers Journey (dir. Constance Marks), Buck (dir. Cindy Meehl), The First Grader (dir. Justin Chadwick), Wild Horse, Wild Ride (dir. Alex Dawson and Greg Gricus)
Better This World (dir. Katie Galloway and Kelly Duane de la Vega)
Nominees: Bill Cunningham New York (dir. Richard Press), Hell and Back Again (dir. Danfung Dennis), The Interrupters (dir. Steve James), The Woodmans (dir. C. Scott Willis)
BEST FILM NOT PLAYING AT A THEATER NEAR YOU
Scenes of a Crime (dir. Blue Hadaegh and Grover Babcock)
Nominees: Codependent Lesbian Space Alien Seeks Same (dir. Madeleine Olnek), Green (dir. Sophia Takal), The Redemption of General Butt Naked (Eric Strauss and Daniele Anastasion), Without (dir. Mark Jackson)
The premise to Old School sounds a bit cringe-worthy when you first hear it--visions of sexist frat house humor wild parties buxom babes and beer bongs dance through your head. OK maybe there's a little of that going on in Old School but the heart of the film is surprisingly more centered than your average balls-out comedy. A trio of twentysomething friends have found themselves at a crossroads in their lives. Mitch (Luke Wilson) a promising real estate lawyer unfortunately catches his girlfriend (Juliette Lewis) in a compromising position. Frank (Will Ferrell) a lovable doof marries the sweet Marissa (Perrey Reeves) before realizing he made a big mistake and Beanie (Vince Vaughn) the owner of a successful chain of stereo stores refuses to believe he is the only true family man of the three. When Mitch rents a house near their old alma mater Beanie sees it as a chance to recapture some of that fun-filled college exuberance and turns the house into a fraternity which accepts not just students but any guys out there who want to escape adulthood's travails. The film's antagonist comes in the form of an uptight university dean Pritchard (Jeremy Piven) who bears an old grudge against our intrepid trio and does everything he can to shut the house down. But true brotherhood prevails.
Old School works far better than it should thanks to the chemistry of the three leads. Each has his own particular brand of comedy and the combination keeps you rolling in the aisles. Providing physical comedy Ferrell's Frank a goofy college wild man tamed by matrimony is wonderfully outrageous (but someone should tell him to keep his clothes on). Ferrell also shows a dramatic flair especially when dealing with his troubled marriage. Who would have thought this Saturday Night Live alum could act? Vaughn shows his infinite skill at zingin' out quick-witted one-liners (as he does so well in Swingers). Yet his smarmy Beanie also hints that he loves his life as a stable dad more than he cares to admit. Then there's the likable straight man Mitch a character the easygoing Wilson has perfected to a tee ever since his debut in Bottle Rocket opposite wacky brother Owen. Piven who usually plays wild men in films such as PCU and Very Bad Things gets to try on a different hat as Pritchard the nerd who grew up to be the dean of the school--and it looks like he had fun.
Writer/director Todd Phillips obviously enjoyed his college years. His first studio-released film the 2000 Road Trip offered a raucous yet refreshing look at college life that didn't necessarily go for the gross-out humor at every turn (although some turns were certainly made especially given star Tom Green). With Old School Phillips has matured--a little. Thankfully the film doesn't go for the joke for the joke's sake but remains rooted in how these three men are dealing with the pressures of adult responsibilities coming up with their somewhat misguided remedy to those pressures. But it's still a comedy about aging frat boys. You know going in there's going to be a wild party or two some contemptible drunken behavior perhaps even a hazing scene where new recruits have cinder blocks tied to their nether regions. It happens. Phillips also feels the need to incorporate a clichéd romantic twist around Mitch and a girl he had a crush on in high school. A sweet gesture but not nearly as entertaining as watching three grown men slosh around in K-Y jelly in a female wrestling match.
Miramax, HBO and LivePlanet announced Monday they are planning a second installment of Project Greenlight, the contest in which a first-time filmmaker gets to direct his or her own film. (The project also chronicles the challenges of making the film in an HBO documentary TV series.) This time around, two winners will be paired up--an amateur writer and an amateur director. Live Planet partners Chris Moore, Sean Bailey, Ben Affleck and Matt Damon will once again executive produce. Submissions will be accepted from Sept. 19-Oct. 2 at www.projectgreenlight.com.
Susan Sarandon can finally relax now--she's made it. The Oscar winner received her own star on the Hollywood Walk of Fame on Monday. Sarandon's longtime partner Tim Robbins and her three children joined in her moment of glory. "Being from New York, it's great to have...a little bit of real estate in L.A.," she told The Associated Press.
Singer/songwriter Jewel and her manager/mother, Lenedra Carroll, have formed their own production company, Magic Lantern Entertainment.Variety reports the company's first feature will be Wave, an ensemble drama centering around the reunion of a woman and her estranged son in a small island community off the western coast of Canada. Jewel, who co-starred with Tobey Maguire in the Ang Lee film Ride with the Devil, will appear in the film.
One of the main bridges linking Miami to Miami Beach will be closed at times this week due to the filming of some action sequences for Bad Boys 2, starring Will Smith and Martin Lawrence. Roughly 90 police officers are having to reroute traffic to the two other bridges connecting the beach community to the mainland.
Veteran television commercial director Zack Snyder, who has directed such talent as Harrison Ford, Kevin Costner and Catherine Zeta-Jones in international ad spots, is venturing into feature films for the first time. He'll helm the adaptation of the comic book Mage, about an average guy who becomes a reluctant hero, for Spyglass Entertainment.
Eva Mendes (Training Day) is the latest talent in negotiations to join the cast of The Fast and the Furious 2, directed by John Singleton. She'll play a female undercover agent who teams up with agents Paul Walker and Tyrese to bring down a drug trafficker.
Fox TV will make Home Alone 4, starring French Stewart, Jason Beghe, Barbara Babcock and Missi Pyle, for ABC. Newcomer Mike Weinberg will play Kevin McCallister, the role originated by Macaulay Culkin 12 years ago.
Following a successful weekend gig in East Troy, Wis., the surviving members of the Grateful Dead, known now as The Other Ones, will be going on a 15-show tour of the Midwest and East Coast in November and December.
October 19, 2001 5:57am EST
The film opens with prison warden Colonel Winter (Robert Redford) greeting the highly respected General Irwin (James Gandolfini) at the start of his 10-year sentence for disobeying a presidential order. When they meet Irwin makes a snide remark about Winter--a non combatant--proudly showcasing military trinkets and memorabilia in his office. The comment instantly touches off a power war between the two which ends with Irwin threatening to take over the prison and flying the American flag upside down--a symbol that the castle has fallen. Winter rises to the challenge and the two begin their strategic plotting. Irwin wins the respect of his fellow inmates in an overly drawn scene where he is forced to carry large stones from one pile to another in the prison courtyard and forms an army of inmates using clichéd chess tactics to demonstrate his assault plans. Winter meanwhile watches from his cozy office overlooking the courtyard as if he was watching a reality series on a big-screen TV.
The highly regarded General Irwin is a simple solemn type which unfortunately is what is fundamentally wrong with the film. While Redford does the brooding thing quite well the script never calls for him to do anything more than that. James Gandolfini takes on the role of prison warden Colonel Winter with fitting simplicity. He accentuates Winter's dumb-thug persona by over-enunciating his words and speaking in an unnaturally slow manner. Redford and Gandolfini both churn out great performances but it would have been more rewarding had the script called for their characters to be more well-rounded. Steve Burton plays Winter's right hand man Captain Peretz convincingly considering what few lines he has. His body language facial expressions and dialogue manage to convey his character's thoughts even when his lines don't.
Directed by Rod Lurie (The Contender) The Last Castle is a well-paced story without a dull moment. It concludes with a dramatic and exciting climax but the problem is it's just too simple. While it's easy to get caught up in the story it's hard to buy how easily the inmates are able to take control of such a heavily guarded maximum-security prison. Using cafeteria trays as shields is one thing but hurling stones using a giant catapult that somehow went unnoticed by prison security is hard to swallow. So is the fact that these inmates a group of hardened criminals cooperate so easily with hardly any friction. While it could have been a very emotional story it fails because the characters are one-dimensional and never really explored including the two main characters played by Redford and Gandolfini. One is a great strategist and the other draconian but viewers are left to guess why and how they got that way.