Seven Psychopaths

       The latest black comedy form writer/director Martin McDonagh falls short of his excellent prior film,"In Bruges" but never the less contains moments of sheer brilliance. There are gems of one-liners and moments of comedic madness that are orchestrated by a first rate cast. Colin Farrell stars as Marty, an alcoholic screenwriter, working on a new script entitled "Seven Psychopaths". His co-stars are Sam Rockwell, his best friend, who is easily a total psychopath and Christopher Walken, Mr. Rockwell's partner in a dog kidnapping scam.

       When Mr. Rockwell kidnaps the beloved dog of a psychopathic gangster, played by Woody Harrelson, everything spirals out of control and even as the body count rises, you find yourself laughing at the great dialog and insane circumstances. Mr. Farrell actually plays the straight man here to all the madness around him. Mr. Rockwell all but steals the film with an outrageous performance behind an innocent facade. Mr. Walken is the definition of weird behavior. His deadpan humor and timing are comedic masterstrokes. And like many directors before him, Mr. McDonagh obviously prefers to work with many of the same actors in all his vehicles. There are some wonderful cameos from Tom Waits, Harry Dean Stanton, Michael Pitt, Michael Stuhlbarg and Gabourey Sidibe. Unfortunately the women in the film are underused and underwritten but Mr. McDonagh freely admits that in a clever confessional piece of dialog.

       Happily no animals are ever in harm's way but you can't say the same for many of the human characters. Mr. McDonagh's writing is not for everyone. His Broadway shows and films are comedies of the darkest human condition. He doesn't shy away from bloody violence to illustrate his points and while the violence of "Seven Psychopaths" may shock you, it all makes perfect sense in Mr. McDonagh's world. 

Cloud Atlas

      A sprawling, ambitious film of epic proportions, writers/directors Lana and Andy Wachowski and Tom Tykwer should be applauded just for  filming it in the first place. The film begins with an old man recounting a story in a strange English syntax and then introduces six individual stories that are connected by a common thread. 

      In the original novel, the six stories begin and end individually. In the film version, Mr. Tykwer and The Wachowski's have decided to flash back and forth between the tales creating a dizzying effect that in the beginning, may be hard to keep up with. The editing is remarkable as during various times of this almost 3 hour adventure, scenes may only last seconds or minutes in each segment and yet they all connect beautifully. Once the viewer matches pace to the rhythmic nature of the various narratives, it becomes easier to follow and you find yourself immersed in the overall film. 

      The film stars Tom Hanks, Halle Berry, Jim Broadbent, Jim Sturgess, Hugo Weaving, Susan Sarandon, Hugh Grant, Ben Whishaw, Keith David, and Bae Doo-na all in multiples roles, sometimes under layers of makeup.  Part of the fun of the film is discovering, at the end, who played which character and the answers may surprise you. Regarding the acting ability of such a star-studded cast, I can only say that, with six revolving plots, they are better in some than others.

          As the film weaves in and out of it's various narratives, from the 1800's, the 1900's, into the present and far into the future, each story deepens and some work better than others. It's like watching six little mini-movies and I will leave it up to the viewer to decide which ones they favor.  The camera work and special effects are terrific as well as some of the natural scenery. Taken as a complete work, "Cloud Atlas" is a satisfying fun ride with a thrilling climax as each story plays out within the total narrative. 

ARGO

    Ben Affleck directs and stars in this exciting new thriller based on a real story. The film works perfectly on every level providing the viewer with a terrific time at the movies. The story takes place during the Iranian hostage crisis of 1980 and until recently, had been classified by the U.S. Government. When the U.S. embassy was overrun and hostages taken, six American diplomats managed to escape and take refuge in the Canadian Embassy. This is the story of what happened to those six Americans. 

    The direction is so good that it's hard to believe this is only his third time behind the camera. The editing is terrific as Mr. Affleck cuts through what must be a very complicated story to get to it's core elements and move the action along at breakneck speed. The plan of the rescue mission is faking a movie shoot in Iran and smuggling out the Americans under the guise of a Canadian film crew. The scenes in Hollywood are very funny with the laughs coming from John Goodman and Alan Arkin who help Mr. Affleck create his fake film cover story. The humor here and scattered through the rest of the film is a welcome relief from the dramatic tension of the situation.

     Mr. Affleck brings out the best from his actors, including Bryan Cranston, as his CIA superior and his six American diplomats who display first fear, then boredom, confusion, and fear again as their situation becomes more and more desperate. Using actual archival footage mixed with recreated scenes, Mr. Affleck makes you believe every moment and the last act of the film increases the tension to unbearable "edge of your seat" viewing.

     The film is smart, fast paced, exciting and very entertaining. A great start to the "serious movie" season.

The Master

      A master class in acting keeps you mesmerized to the screen even if the story doesn't. Phillip Seymour Hoffman, Joaquin Phoenix and Amy Adams ignite the screen in Oscar worthy performances.

      Rumored to be based on L. Ron Hubbard and the early days of Scientology, the film tells the story of Lancaster Dodd, the "master" of a new movement called "The Cause".  It is a period film set shortly after the end of World War Two when America was entering into a new age of growth and enlightenment.

       Mr. Hoffman plays Dodd as an towering father figure to Mr. Phoenix's Freddie Quell, a troubled and alcoholic ex-sailor. Dodd takes Freddie under his wing and tries to "cure" Freddie's problems through "The Cause". Amy Adams co-stars as Dodd's wife, Peggy and it is a wonderful performance against type. Ms. Adams shows a depth of acting far beyond her other work. Written and directed by Paul Thomas Anderson, he brings out the best from all three of his stars as well as his supporting cast.

       The cinematography is outstanding and there are many beautifully framed and acted moments throughout the film. Mr. Anderson has crafted a fine piece of visual art but the film eventually lives and dies by the plot.  Will Freddie find salvation through "The Cause"? Will Dodd's work be recognized or reviled? The film shares some similarity to Mr. Anderson's last film, "There Will Be Blood". Both films contain scenes of shock and awe and acceptance is a very thin line. Mr. Anderson is a brilliant director but he will always polarize his audience. You will either buy into the story or not.  And if you don't, you will leave the theater feeling your time wasted. But if you do, then images of "The Master" will stay with you for a long time.

Passion

 Brian DePalma is the perfect director for a English version of the French thriller, "Love Crimes".  Of course leave it to Mr. DePalma to tinker with the script and create a film that is familiar (to the original version) and yet, unique enough to stand on it's own. The film is a throwback to his early thrillers, "Dressed To Kill", "Sisters", and "Raising Cain" with a little of "Femme Fatale" thrown in for good measure.

        The story of a advertising executive and her backstabbing boss has everything that you would expect from Mr. DePalma. Kinky sex, betrayal, red herrings, and murder all add up to a lurid tale of office intrigue filmed only they way Brain DePalma can do it. Voyeuristic camera work along with a jarring score ratchet up the suspense and an altered ending from the French version keeps the viewer guessing even after the film ends. It's clear that Mr. DePalma likes to mess with his audience's head.

         The film stars Rachel McAdams as Charlotte, the self centered executive and Noomi Rapace as the innocent, yet talented underling on the rise. This is an interesting choice as you would normally expect the roles reversed to showcase each actress but instead they play against type and manage to pull it off. The film, while in English was filmed in Berlin and has a European flavor. Besides the two female stars, there are no known actors to an American audience. There allows Mr. DePalma  freedom to make his film without Hollywood interference. The thriller has it's lighter sides with some humorous scenes that may seem out of place but since Mr. DePalma also wrote the script, everything is intentional whether it works or not.

          "Passion" has already played in other parts of the world and I don't believe it has a U.S. distributor as yet so it may be awhile before you can see it here. However, if you are a fan of those previously mentioned films, seek it out and you won't be disappointed.

Room 237

      One of the strangest documentaries you will ever see and a must for fans of "The Shining".

           Over the years, rumors have been rampant that director Stanley Kubrick had placed hidden messages throughout "The Shining" to represent it's true intentions. Director Rodney Ascher focuses on five of the most interesting theories surrounding Mr. Kubrick's subliminal meaning. The film explores theories of American Indian genocide, The Holocaust, the faking of the Apollo 11 moon landing and more.

            Rather than just interview his subjects, Mr. Ascher opts for a unique approach. Using visuals from all of Mr. Kubrick's films (as well as others) to serve as a backdrop for the audio, the film takes on a life of it's own in a fascinating way. The result makes for many humorous scenes and  amazing moments of cinema and as the film progresses, the conspiracy theories become more and more credible. Repetitive clips from "The Shining" dominate the footage and yet you never lose interest because the same scenes take on new meaning when each of the various theories are discussed throughout the film.

              This is not a film for a casual viewer but conspiracy fans, fans of Mr. Kubrick, and of course, "The Shining" itself, will have a great time and have you rushing home to watch the original film again in a whole new way.

Trouble With The Curve

      Otherwise know as "Trouble With This Movie", this plodding "baseball" film is more about a father/ daughter therapy session than baseball. Clint Eastwood plays Gus, the baseball scout losing his eyesight when he needs it most. Amy Adams is his daughter, Mickey, a successful lawyer who leaves in the middle of a big deal to help out her dad. Watching these two work out their issues with baseball as a metaphor is like watching paint dry. Justin Timberlake is introduced as a love interest for Mickey and his acting here is as wooden as a Louisville slugger.

       Mr. Eastwood plays a gruff old man which at this stage in his life is not much of a stretch and while Ms. Adams is a terrific actress, the material lets her down and she barely rises above it. The story is so obvious and predictable, you just can't wait for it to end. When the villainous characters gets payback, it's the most satisfying thing in the film but you see it coming like a slow pitch softball and it lessens the impact.

         The film costars Matthew Lillard at his most stereotypical and John Goodman who looks like he's spent too much time at the concession stand. Much like the NY Mets this year, "Trouble With The Curve" is a big disappointment.

The Bourne Legacy

     More like "The Boring Legacy" but don't blame star Jeremy Renner. Mr. Renner is in the unfortunate position of replacing Matt Damon, who has become iconic as Jason Bourne. He tries hard but the script lets him down.

      The first hour dedicates itself to lengthy dialog attempting to tie the current story back to Jason Bourne. In between trying to convince you that you are right back where you left off, we see scenes of Mr. Renner running around the Alaskan wilderness showing off his survival skills. "There was always more than one" is the tag line in the ads. Sorry to tell you but there was only one and Edward Norton along with Stacy Keach's complicated CIA double talk won't convince you otherwise. 

        I don't recall Matt Damon popping little green and blue pills to become a "super" agent but Mr. Renner and the 8 other subject agents seem addicted to chemicals that mentally and physically enhance them. Rachel Weisz plays a scientist who helped develop the drugs and goes on the run with Mr. Brenner when their handlers shut down the program and try to kill them. Their reason being that Jason Bourne is still out there. Huh? I guess that's a good enough reason for our government to kill a dozen innocent people. The second hour injects some much needed action but the climax just turns into a derivative of the motorcycle chase scene from "Terminator 2 Judgement Day".

        The film ends abruptly either paving the way for another chapter or the producers felt sorry for the audience and put us out of our misery. It's no wonder this disappeared from most theaters faster than Jason Bourne in a crowd. I wouldn't even recommend the DVD. If you want a "Bourne" fix, watch any of the original three.

Total Recall

      Let's get it out of the way, immediately. The original film was a classic and why mess with a classic? When Hollywood can't come up with enough original material, they go to the well over and over again and very rarely succeed. I expected to hate this "remake" but instead, found it  exciting and a pretty decent "summer popcorn" movie.

           If you can get Arnold Schwarzenegger and Sharon Stone out of your mind (or even better, don't see the original) and take this new film on it's own merit, you won't be disappointed. The story takes elements from the original but changes things up enough to create a new vision for the film. It's an exciting sci-fi thrill ride with a great cast. Colin Farrell returns to action hero form as the "average Joe" who finds out he may actually be a resistance fighter. Kate Beckinsale is his wife, who has perfected her action scenes from all her "Underworld" films. Also starring is Bryan Cranston (Mr. Breaking Bad, himself) in the villain role Hollywood has finally realized he can play so well. As the other woman in Mr. Farrell's dual life, Jessica Biel holds her own, especially in a close quarters fight scene with Ms. Beckinsale.

           Director Len Wiseman knows his way around a futuristic set having directed "Underworld" and keeps the action moving pretty much non-stop. He does favor blue lighting a bit too much but his CGI vision of the future blends well with the live action. The chase scene through the air in flying cars is one of many fun moments. And they do pay homage to the original with a few familiar bits.

            Unfortunately the film got a bad rap and is probably fading from theaters. If you like Sci-fi action try to see it while it's still out there as it's the type of film that works much better on the big screen.

             And note to Hollywood, enough with the remakes. Find more original material or your audience will go elsewhere.

Lawless

       Based on a true story, this Prohibition story set in 1931, aspires to greatness and while entertaining, falls short of that mark. Tom Hardy, Shia LaBeouf, and Jason Clarke are the BonDurant Brothers, independent moonshiners making illegal whiskey in the back hills of Franklin County Virginia. 

      Mr. Hardy, as Forrest, has terrific screen presence even with little dialog. Mr. Clarke (so good on Showtime's short-lived series "Brotherhood") is very capable as the hotheaded Howard but Mr. LaBeouf tries too hard as the youngest brother, Jack, trying to make a name for himself in the family business. The standard for transitioning into the family business remains Al Pacino as Michael Corleone. Mr. LaBeouf doesn't even come close.

        Jessica Chastain wanders into the story for no reason except to brighten up the screen with her wardrobe. She's an excellent actress but her character seems very artificially placed. Gary Oldman has two "blink and you miss him" scenes and is completely wasted. Mia Wasikowska is the love interest for Mr. LaBeouf and out acts him in every scene. Guy Pearce chews the scenery as Charley Rakes, the lawman brought in to put the brothers out of business. Rakes is a most bizarre character and if portrayed accurately, that's even more incredible. Words fail to describe Mr. Rakes.

          Director John Hillcoat and screenwriter/composer Nick Cave have collaborated before on the excellent Australian western, "The Proposition" (also starring Mr. Pearce). Here they attempt a Terrance Malick atmosphere and while the cinematography is excellent, making good use of the Georgia countryside, the film never quite reaches that quality. Mr. Cave's script is filled with illogical holes and  overly dramatic dialog, again reaching for more than it is, a backwoods western that only comes alive in the violent and bloody action sequences. 

            This is a film with a good cast trying to make a great movie. It succeeds as entertainment but I can't imagine any Oscars in it's future.

The Campaign

              Vulgar and raunchy but loaded with laughs, "The Campaign" is unlike any other political satire you may have seen. But what else would you expect from Will Ferrell and Zack Galifianakis?

               Mr. Ferrell's films are hit or miss and Mr. Galifianakis is more or less a "one trick pony" type of actor but they have great chemistry here as political opponents running for Congress. It helps when your director is comedy veteran Jay Roach and your producer and screenwriter is Adam McKay.

               Mr. Ferrell is Cam Brady, the incumbent Congressman running unopposed until two millionaire brothers (hmmm) played by John Lithgow and Dan Aykroyd decide a change is needed and back Mr. Galifianakis's character, Marty Huggins. Marty is a sweet man who loves his family and pet pugs but during the course of the campaign is transformed by his ruthless campaign manager (played by Dylan McDermott), into a political fighting machine. Cam Brady is a walking cartoon of a Congressman more interested in money and women than anything else. Jason Sudeikis plays his campaign manager, who tires of getting his candidate out of trouble.

               They are some genuine "R" rated laughs here and while the inevitable outcome doesn't surprise, the campaign trail along the way has many twists and turns as each candidate seeks to outdo the other for votes. The TV ads, in particular, are extremely funny and a confessional at Marty's dinner table had me laughing out loud. 

               "The Campaign" is worth your vote.

Premium Rush

    A thin plot propels you through the streets of Manhattan as seen through the eyes of bike messengers.

 Joseph Gordon-Levitt stars as Wilee, the daredevil messenger known for his speed and lack of fear as he races from pick up to drop off. The story centers on a dirty cop played by Michael Shannon who needs to intercept an envelope Wilee is trying to deliver. That pretty much sums it up so director David Koepp ramps things up by moving the story around through flashbacks and a digital clock reminding us of the time Wilee has to deliver his package. He also constantly shows us Wilee's path through the city using a big map  with a thick yellow line moving through it. The map gets very annoying after a while. We get it Mr. Koepp, Manhattan is a big city.

    The appeal here, besides the always reliable Mr. Gordon-Levitt is the great street photography and use of real riders doing real stunts without the addition of CGI. Some of the camera work is nothing short of amazing with thrilling "point of view" angles. All the racing begins to get repetitive  but cutting back to Mr. Shannon's manic cop and the hapless police cyclist both trying to catch Wilee break things up and keep the story moving. 

    Dania Ramierez plays Vanessa, another messenger and Wilee's love interest. She and Mr. Gordon-Levitt do much of their own riding and it's very impressive. Stay through the credits and you will see the result of a stunt Mr. Gordon-Levitt did himself. If you are looking for something light and mildly exciting, rush to this one otherwise you can wait for the DVD or better yet, go for a bike ride.

Killer Joe

    Based on the play by Tracy Letts, this new film by director William Friedkin, is a Texas "trailer trash" whopper of a tale. When Chris, played by Emile Hirsch, needs six thousand dollars fast to pay off debts, he schemes to kill his mother for her insurance policy. His plan is to hire "Killer" Joe Cooper, a police detective that moonlights as a hired hiller. Matthew McConaughey plays the title character and it's one of his best roles. The rest of the cast includes Thomas Haden Church as "Ansel", the dimwitted father, Gina Gershon as his 2nd wife, Sharla, and Juno Temple as Chris's sister, Dottie.

    The filmed version of the play still plays like theater even when director William Friedkin opens up the story with more locations. I imagine that the play probably took place completely in the lone trailer where most of the film's action still takes place. It is a depraved story of drunken, cheating, dumb characters who's plans go seriously wrong. Mr. McConaughey's "killer Joe" is a scary psychopath who comes across as a quiet, polite gentleman but his twisted personality still glimmers in his eyes. He is just terrific even when he performs a very perverse and graphic scene towards the end with Ms. Gershon. And speaking of Ms. Gershon, she is fearless in the role of Sharla from the very moment we meet her. Mr. Church and Mr. Hirsch are both perfectly cast.  Ansel is an extension of "Lowell", the character Mr. Church played for years on the TV show, "Wings" (although here he prefers to be drunk or stoned most of the time). Mr. Hirsch puts the plot in motion and he is a whirlwind of stupid actions that lead to a very violent finale. And finally, we have Ms. Temple who ends up surprising everyone in a most unexpected way. 

      The film makes much fun of it's stereotyped characters but the humor is dark and so is the plot. There are a few scenes of graphic violence and female full frontal nudity that earn the film an NC-17 rating ( it probably would have gotten a "R" if not for the aforementioned graphic scene between Mr. McConaughey and Ms. Gershon). With an NC-17 rating, you can be sure this film won't be in theaters long but you have to give Mr. Friedkin and Mr. Letts credit for staying true to the material.

Easy Money

 Not the Rodney Dangerfield '80's comedy but a new crime thriller from Norway, endorsed by Martin Scorsese. The film stars Joel Kinnaman, who fans of the TV show, "The Killing" will recognize as detective Holder. As "JW"  Mr. Kinnaman couldn't be more different in character and tone. Here, he plays a business student who likes living well beyond his means and drives a cab just to get by. Dreaming of being part of the jet-set lifestyle he desires, JW agrees to take an unorthodox job from his boss.

       Pretty quickly JW is caught between Serb and Arab criminals who end up battling over a shipment of cocaine. But there is more to this thriller than a simple mob war. Director Daniel Espinosa, pulls you in right from the start. A jailbreak, a bloody fight in a club and rich kids partying seem very disconnected at first but things quickly come together and our protagonist, JW, soon finds himself in way over his head. Mr. Kinnaman is just terrific as he twists and turns with each lie and double cross. The criminals he is forced to partner with are much more than just thugs. Two in particular, have deep back stories and are fully defined characters with their own crosses to bear.

       You can get lost in the growing complexity of the plot and who's who but the film rewards if you are paying attention. It is very European in it's style and sensibility with an uncompromising ending that may not sit well with an average American audience but never the less, it is a powerful and exciting thriller.

Searching For Sugarman

 I knew almost nothing about this film but a few people I know started recommending it. I finally caught up with it and I'm so glad I did. The raves were certainly warranted. This is a terrific documentary about an singer/songwriter from the late '60's who was basically unknown in the United States but became bigger than Elvis in South Africa.

       The singer is Rodriguez, an American Mexican who lived in the Detroit area and released two albums that never found an audience in the United States. But as legend goes, when an American girl traveled to Capetown to visit her boyfriend, she brought a tape of "Cold Fact" with her and his music then spread like wildfire through the country. The anti-establishment and freewheeling lyrics made an powerful impact on the teens struggling through the Apartheid era of the time.

        The film follows a South African music store owner and a journalist  as they both try, independently and then together, to find out whatever became of Rodriguez.  Interviews of people that knew Rodriguez are sprinkled throughout the film as the two men pursue answers to the fate of the talented musician.  It is at once a fascinating mystery as well as a testament to the power and beauty of music. Thanks to the film, a new generation of music lovers are discovering Rodriguez's songs and helping to spread the word about a musician who, as it turned out, was a zero in the U.S. but a hero in South Africa (to borrow a line from the film).  

         Filled with great music, drama, humor and a little magic, this documentary is one of the best films of the year.

To Rome With Love

   Using the amazing city of Rome as his background, writer/director Woody Allen weaves four separate stories creating a humorous and charming tapestry of human foibles. As with most Woody Allen films, he directs an all star cast and for the first time in quite a while, plays one of the characters himself. The film may lack the magic of "Midnight in Paris" but it contains a wonderful flavor of it's own.

      Alex Baldwin, Jesse Eisenberg, Ellen Pace, and Greta Gerwig star in an interesting love triangle with a very possible magical element that Mr. Allen will leave the viewer to decide. Roberto Benigni is an everyman who suddenly becomes famous for no apparent reason and Mr. Allen gets a chance to ruminate on the fleeting nature of fame. Penelope Cruz is a prostitute who enters the life of a young newlywed in a most unexpected circumstance. And the remaining tale stars Mr. Allen himself (costarring with Judy Davis and Allison Pill) as a retired opera director who discovers a new talent in a very unusual way. Mr. Allen cuts back and forth between all four stories rather than film them in a linear fashion and that serves to keep the viewer very engaged.

     As he has done with recent films set in other European cities, Mr. Allen and his cinematographer, Darius Khondji incorporate the beauty of Rome into his various plots to the point it becomes a character itself. Mr. Allen also uses many international stars who may not be well known to American audiences but they add authentic flavor to the film.

      As Mr. Allen continues his love affair with Europe, we can only guess which city will serve as his next backdrop. It's clear that filming overseas has recharged his creative batteries and I look forward to his next film with great anticipation.

The Dark Knight Rises

Like it's partial inspiration, "A Tale of Two Cities", the last part of Christopher Nolan's Batman trilogy is a tale of two movies. After an exciting opening sequence, the first half of the film bogs down in exposition and red herrings but the second half has enough action, suspense, fun and surprises to more than make up for slogging through the first hour.

             Much of the ongoing cast returns including the outstanding Christian Bale as Bruce Wayne/Batman, Michael Caine as faithful butler/surrogate father, Alfred, Morgan Freeman as Lucius Fox and Gary Oldman as stoic Commissioner Gordon. Mr. Nolan introduces some new actors who perform very admirable amidst all the CGI chaos. Tom Hardy is the villain, "Bane", who, with his mouth covered by a breathing apparatus, conveys much through his eyes and his actions (although he's a bit hard to understand at times). Marion Cotillard is a mysterious woman in Bruce Wayne's life. Joseph Gordon-Levitt (a favorite of Mr. Nolan's) is police office/detective, John Blake and Ann Hathaway is the best Catwoman of any of the numerous Batman films. Ms. Hathaway has captured the essence of the comic character perfectly. Tough, sexy, and dangerous, she takes the part very seriously and yet has fun with it without going over the top. 

            Early on, the complex plot takes time to unravel but at the same time it does bring us up to date eight years after the end of "The Dark Knight". The film comes full circle to "Batman Begins" and features some surprise cameos. The CGI is outstanding and yet the humanity of the characters takes center stage, especially early scenes between Mr. Bale and Mr. Caine. Once the story reveals it's true intentions, the film heads down it's now linear path and the action doesn't let up. It all leads to a very exciting and satisfying finale, even saving a last surprise for fans (although some may see it coming).

           Trilogies more often than not, don't satisfy in the third film but Mr. Nolan ultimately gets it right. Unfortunately one can't help but feel terrible sorrow for the real life tragedy that occurred in Colorado during the midnight showing of the film and that will mar it's legacy. However, the films themselves, taken as a complete work should still be considered a masterpiece.

The Intouchables

        This new foreign film was a smash hit in it's native France and it's easy to see why. It's an unusual story about a relationship that would seem utterly impossible except that it's based in truth.

         Francois Cluzet plays Phillipe, a wealthy but paralyzed man looking for a new aide. When street punk Driss, played by Omar Sy, shows up just to get a signature for unemployment, an unexpected bond begins between the two men.  Coming from completely different worlds, you would think this could never happen in real life but apparently it did and formed the basis for the film.

         The relationship between the men is joyful, frustrating, dramatic and at times very amusing as each learns from the other and become better men for it. Omar Sy is very charismatic, with a charming smile that can melt hearts. Mr.Cluzet manages to convey a wide range with just head movements and facial expressions. 

          The film never gets dark, even though it deals with a serious subject. There are moments that hint of danger but the film is directed with a deliberate light touch and you can't help but leave the theater in a good mood. During the credits, we get to see the real Phillipe and Driss which makes a lovely coda for a remarkable story. 

Savages

       Director Oliver Stone has made many memorable films over the years. Sadly, Savages is not one of them. Mr. Stone is at his best when dealing with weighter subject matter. This is a violent throwaway thriller that could have been directed by anyone. There are no heroes here. It's a story of drug dealers versus a drug cartel and just to remind you of the title, characters repeatedly call each other savages.

          Taylor Kitsch and Aaron Johnson are Chon and Ben, two Marijuana producers and distributors who live a peaceful life getting rich off their product. They are both involved with "O", played by Blake Lively. When a Mexican drug Cartel led by Salma Hayek force them to do business together by kidnapping O, the pair must find a way to get her back and stay alive in the process.

          Benicio Del Toro plays the Cartel enforcer, and "phones in" his performance. John Travolta also co-stars as a double dealing DEA agent and he too, adds nothing to his character. Ms. Hayek, to her credit, actually gives more than a one note performance. As for Mr. Kitsch, he redeems himself nicely here after the horrific "John Carter" playing a hot headed ex-soldier who will do anything to get Ms. Lively back. However, there is really nothing likable about the Chon, Ben or O characters. We're meant to sympathize with them as they want out of the drug business that has already made them millions but the lengths they go to get the vapid O back are ridiculous. 

          The film is violent and oozes sleeze. It left me wanting to shower off the dirt after watching it. By the end, everyone has acted savagely, including Mr. Stone, who pulls a fast one on the audience.

           If a crime thriller about drug dealers appeals to you, you can find a much better written, directed and acted story on television. It's called "Breaking Bad" and creator Vince Gillian can teach Mr. Stone a thing or two about how to get it right.

The Amazing Spiderman

      A very entertaining but totally unnecessary reboot of the Spiderman franchise. Toby Maguire wore the suit 10 years ago and made a terrific Spiderman. The series lost steam with the forgettable Spiderman 3 but Sony and Columbia have found a way to keep this cash cow alive by starting fresh with a new cast, new villain and tweaks to the origin story.

      For those familiar with the comic, the earlier films or even the Broadway play, the first hour drags on as these fans (including myself) know Spiderman's origin by heart. Neither this version or the earlier film completely get it right, changing certain events to suit the script. Maybe the 3rd reboot in the next decade will finally get it right. Now there's an idea, a new Spiderman for each generation.

      What works very well here is the great chemistry between Andrew Garfield's "Peter Parker/Spiderman" and Emma Stone's "Gwen Stacy. Unlike Mary Jane Watson in the original, Gwen Stacy was Peter's real first love. It's refreshing that the writers acknowledge that. Mr. Garfield makes a very credible teen superhero and the film spends a great deal of time on the human element and not just CGI and special effects. A nice touch (true to the original) are the mechanical web shooters and not organic webs.

            There is a great deal of early bonding between Mr. Garfield and his Aunt May (Sally Field) and Uncle Ben (Martin Sheen).  Rhys Ifans brings gravitas to the tortured Dr. Curt Conners /Lizard and Denis Leary plays it straight as Police Captain Stacy (Gwen's father). One character I really missed was J.J. Jameson, the cigar chomping editor of The Daily Bugle and Spiderman's biggest critic. Mr. Leary's "Captain Stacy" is given that role here and without J.J. Jameson, there's a gaping hole in the Spiderman universe.

           Once the menace of "The Lizard" is introduced, the action is pretty much non-stop and there are some great fight sequences and wonderful web swinging through Manhattan.  The camera work, in particular, is wonderful with unusual angles and beautiful wide shots of New York City as a backdrop. The film makers are obviously proud of their work as they include two long scenes of web swinging that are pretty amazing and really "pop" in 3-D. I didn't see the IMAX version but I would imagine that one sends audiences out dizzy from the effects.

            If you were completely satisfied with Mr. Maguire performance and Sam Raimi's direction ten years ago, there is really no need to sit through this new version unless you are a huge fan of Andrew Garfield. If you've been living in the dark for the last ten years and never saw the earlier versions, this one will be a thrill ride.