December 22, 2006 10:12am EST
The Good Shepherd is billed as the story of how the CIA began but it is really the fictional story of Edward Wilson (Matt Damon) and his involvement in the first covert wing of the CIA. The story moves back and forth in time from when Edward is a literature student at Yale and a member of the secretive Skull and Bones club through the days following the Bay of Pigs in the early ‘60s. Edward is recruited into intelligence work at the beginning of World War II and learns the dark art of spying and espionage from the British. Meanwhile his personal life takes a back seat to his service for his country including alienating his wife Margaret “Clover” Wilson (Angelina Jolie) and their son. He is never home enough to effectively deal with the family problems his absence creates. By the end of the film as the twin disasters of the Bay of Pigs and his broken family unfold--and blame must be assigned--Edward ends up being a metaphor for the modern US intelligence service. Damon who has made a franchise out of playing the spy/assassin Bourne plays a very different kind of spy in The Good Shepherd. Wilson is a boring controlled buttoned down spy who is unfortunately more like the real thing than what we see in the movies. Damon does an excellent job however especially in those moments when he realizes he has screwed up. The actor stays controlled but finds a way to let the audience glimpse the pain of a man who has spent his life keeping his emotions and thoughts under wraps. Jolie is almost too luminous for the part of Edward's hapless wife. She is a bright spot in the movie as she transforms from the sexy/feisty Clover to the medicated/angry Margaret. Newcomer Eddie Redmayne also does a good job as the grown up Edward Wilson Jr. The rest of the cast is peppered with excellent performances from top-flight actors including William Hurt as a menacing intelligence heavy; Michael Gambon (Dumbledore in the Harry Potter series) as a British intelligence officer who’s fed up—and even De Niro himself as a general who’s the driving force behind the CIA’s beginning. De Niro captures the nature of the gray-flannelled spy but seems to get bogged down with material unable to craft a tight compelling film. The Good Shepherd is long and feels long with some of the transitions too abrupt. The subdued colors evoke the period of the film as well as play into the monotony that is intelligence work. But the problem with monotony is that it’s boring and boring is not something a movie should be. There are some incredibly intriguing scenes however and the film will certainly speak to any of those with genuine interests in the hardcore spy genre--obviously De Niro being one of them--but like its subject matter Shepherd will probably be too elusive for the casual viewer. De Niro seems much more comfortable in the details but less interested in keeping the story gripping. Ironically this is the exact opposite of the main character Edward Wilson who keeps his eye on the big picture but misses the small moments he should have noticed.
Steve and Terri Irwin are crocodile relocators in Far North Queensland Australia. They spend a lot of time well relocating crocs--saving a baby kangaroo and charming a few snakes along the way. But all that's about to change. A U.S. satellite has exploded in space and its black box has re-entered the atmosphere and ended up in the gut of a nasty 12-foot croc the Irwins are about to relocate. The FBI CIA and goodness knows what other agencies are out to find the box at any cost because it contains data that could change the world's power structure. When the agents cross paths with the Irwins they become convinced that the two croc hunters are actually spies mainly because as one agent says toward the end of the film "You don't make that kind of money in cable television." That's for sure and that's probably the reason the producers turned The Crocodile Hunter cable show into a movie. It definitely wasn't because the script was irresistible: The plot is as transparent as shed snakeskin and the acting (if it can be called that) is as stiff as the spikes on a croc's back. I'm sure this is the kind of movie that a critic shouldn't take seriously but from its lizard-pooh opening to its crocodile-pooh finish The Crocodile Hunter: Collision Course really stinks.
Director/story writer/producer John Stainton was working with Irwin long before The Crocodile Hunter TV show became an international hit. In fact he wrote a movie script for Irwin in the mid-1990s that was scrapped because he didn't think Irwin should be acting. It's a shame he didn't take that thought process one step further; we'd all have been spared an agonizing guided tour of a good idea gone very very bad. The film's stars while appealing enough in the one-hour documentary format simply can't sustain a full-length motion picture and Mr. Irwin would have done well to heed his own advice--"Don't muck with it." Granted at least Stainton was smart enough to present the Irwins doing what they do best--enthusiastically working with wild animals while talking straight into the camera. The task of plot development is left to the other cast members--mainly Australian actors doing caricatures of Americans--who overdramatically play out the goofy spy plot in scenes that are completely separate from the Irwins' animal antics until the last 10 minutes of the film. The Irwin family dog Sui is probably the best actor of the bunch--and the smartest too. Most of the time she looks like she'd rather be just about anywhere else which is the most intelligent thing anybody in this film does.
As if anybody needed it The Crocodile Hunter: Collision Course is proof that what works on TV doesn't necessarily make a good movie; the Crocodile Hunter documentary routine quickly grows frustrating in the film because the Irwin scenes do nothing to further what little plot the movie actually has. Plus the reason why the Irwins continually talk into the camera goes unexplained until the very end of the film--and when someone finally mentions the fact that the Irwins have been "filming" their show throughout the movie it's so offhand that it's easily missed. At the same time the spy storyline that drives the plot is trite and because of the movie's bizarre structure it's played out by actors the audience couldn't care less about rather than by the ones they came to see. The spy scenes separate the Irwin segments like commercials--and like commercials when they come on you just want to get up and go to the bathroom grab a snack or feed the dog. The best thing that can be said for Stainton's direction is that at least he's not afraid of the film's ridiculousness. Bad though the movie is in every way Stainton puts it all out there as enthusiastically as Steve Irwin wrestles crocs and that's saying something. The film also gets across the Irwins' admittedly important message about conservation loud and clear but that probably won't be enough to keep its audience from becoming extinct.
The princess and the paparazzi have settled.
Princess Caroline of Monaco has reached an out of court settlement with a German publishing company over an invasion-of-privacy case involving three pictures that were published of her with her children in 1993.
The Hubert Burda company agreed to split the legal costs of the case with Caroline, while the company agreed not to ever publish photographs of the princess with people who are not considered to be public figures.
O.J. LOSES ANOTHER ONE: O.J. Simpson lost yet another court battle to halt the broadcast of a miniseries based on the former football Hall of Famer's murder trial.
A judge dismissed Project 95 Productions and Lawrence Schiller, author of the book the miniseries is based on, from Simpson's lawsuit against the project. Simpson sued the production company, Schiller, as well as his former defense lawyer and friend, Robert Kardashian, saying that the miniseries violated his client-attorney privileges.
It was Simpson's third attempt to halt the project. "An American Tragedy" is scheduled to air in November, but Simpson's lawyer vowed Monday to appeal the ruling.
The law has spoken, and O.J. ain’t having it. A Los Angeles Superior Court judge rejected the ex-football guy’s request to block the CBS miniseries "American Tragedy" from being made, saying that Simpson did not have sufficient evidence to prove that he would be harmed by the telepic.
Furthermore, the judge said that Simpson should have tried to stop the book -- which the miniseries is based upon -- from being published in 1996.
Written by Lawrence Schiller and Simpson’s ex-defense attorney, Robert Kardashian, the bestselling book is a detailed look at the legal strategy behind the notorious "Trial of the Century."
O.J. Simpson is in the news. Again. Daily Variety reports today that the controversial ex-football hero is going to court to block an upcoming CBS miniseries about his famous murder trial.
The miniseries, "American Tragedy," is based on the book by Lawrence Schiller and Robert Kardashian, one of Simpson’s former defense attorneys.
In a complaint filed in Los Angeles Superior Court, Simpson alleges that the authors violated an agreement by putting privileged information related to the trial in their book.
Also, Simpson says that he was denied a chance to review the manuscript before the book was published.
Co-produced by Schiller, the CBS project will star Ving Rhames, Ron Silver and Christopher Plummer.