The Soloist

As I watched The Soloist I tried to understand what it was about.  Was this a movie about the difference in societal class?  Was this a movie about the underbelly of society and homelessness?  Was it a movie about a struggling artist? About the struggling professional?  Or was it a movie about finding oneself and personal redemption? As I soaked in this wonderful film, completely intrigued by how it would play itself out, I continued to ask myself what specifically was this film touching on.  I could feel the film’s power and I knew there was a message to be taken home, but what was it?  I watched and watched and in the final scene, that final handshake between two friends I realized the strength of this film; for it is all of those above things, poignantly touching on each and everyone of those themes but most of all The Soloist is a film about friendship.

The Soloist is very simply written.  Robert Downey Jr. plays Steve Lopez, a respected and popular columnist for the Los Angeles Times.  He is searching for a story and as he sits in a local parkade he hears some beautiful music.  He goes to explore where the sound is coming from and he meets Nathaniel Thomas Ayres, played by Jamie Foxx.  Mr. Ayres is homeless and quite surprisingly making the beautiful music on a two stringed violin.  Some stock rambling from a homeless man and some polite response from Mr. Lopez seems to be all there is; but, as Mr. Lopez turns to walk away Mr. Ayres rambles that he once attended Julliard.  This simple statement, once verified, completely intrigues Mr. Lopez and he decides to write Mr. Ayres’s story.  As he gathers information and talks to Mr. Ayres both character’s lives are profoundly changed and they discover a true friendship.

This film has all the aspects to make it a great contender for Oscar consideration.  The story, as mentioned above is very simple in its dialogue. So simple that its power and where it takes you creeps up and gently wraps its arms around you.  This straight forward story is pleasantly surprising in an era of film that often force messages down the viewer’s throat.  The cinematography is truly brilliant.  Shots that paint pictures and draw us into them.  It is, simply stated, beautiful.  The cast are all quite exceptional.  This is a dialogue film where characters just talk to each other and while other actors may throw so much of this away, Robert Downey Jr., Jamie Foxx, and Catherine Keener find the beats that make this dialogue hit home. Finally, laying underneath this already very carefully layered script is a stunning classical soundtrack which ties everything together.  These elements combined create a full and detailed picture which deserves recognition in the highest regard.

There are no explosions, no car chases, no Hollywood special effects to this film and it does not need them. This film carries its viewer from the meeting of two people to the point when they realize their intricate involvement in each other’s life.  The film opens a secret window and lets us watch this journey happen.  It is beautiful to see this true slice of life and simply remember that little things amount to great things.    

Night at the Museum 2: Battle of the Smithsonian

Every movie offers a different experience.  Some blow us away with special effects inspiring adventure, some woo us with love making us cuddle our sweeties, some provide a powerful message challenging us to change the world.  Unfortunately, when movies do nothing more than entertain us for a few hours we often pan them or write them off a trite pieces of trash.  Sitting in the theatre watching Night at the Museum 2: Battle of the Smithsonian I found myself smiling, chuckling and finally laughing.  When I realized what was happening I put down my critical pen for acting, story, direction and all the regular things and simply checked in to see if I was enjoying myself.  Night at the Museum 2 offers nothing more than a few hours of good old entertainment.

A lot has happened since the first Night at the Museum.  Larry Daly, played by Ben Stiller, has left his position as museum night guard and become the successful owner of Daly Devices, a company that sells useful devices such as the glow in the dark flashlight. In his absence the old museum has been handed over to progress, new technology has come in and all the old exhibits are being put into permanent storage beneath the Smithsonian.  When Larry receives a desperate call from Jebediah Smith, the miniscule and tough talking cowboy played by Owen Wilson, that he and all of his wax friends are under attack by the evil Kahmunrah, played by Hank Azaria, Larry must dawn his guard uniform once again to help his endangered friends.

There is nothing grandiose about this movie but there are a few highlights deserving special attention.  Ben Stiller plays the quick witted confrontational character he perfected through films such as Madagascar, Tropic Thunder and Dodgeball.  He does not give us anything new but he is still fun to watch particularly in the scene with Brandon (pronounced Brundun) the Smithsonian guard played by Jonah Hill.  Hill and Stiller stand toe to toe matching wits with the same tempo and speech pattern that Stiller uses for many of his characters.  This mirror image of attitudes is worth the cost of admission.  Amelia Earhart, played by Amy Adams, provides the movie’s straight man.  Adams plays this character with “moxy”, the zest for life which she notes Larry has lost.  Her tongue is quick but not humorous, it focusses on living life to the fullest and following your dreams.  Adams keeps this often heavy handed message light hearted while using it to drive her inspiring character's vivaciousness.  Last but not least, Hank Azaria graces the screen with another one of his great characters denoted by his unique and always interesting speech choices.  As the evil ruler Kah Mun Rah he is everything but menacing and terrible; rather he is quite silly and perfectly suited to play this misguided ruler.  No one stands out and no one will win an Oscar for these roles; however, they do keep us smiling from start to finish.

Keeping us smiling and sometimes laughing is the experience Night at the Museum 2: Battle of the Smithsonian offers.  There are no Oscar winning performances, no life changing messages rammed down our throats, no cutting edge special effects that will change movie the industry, or even a unique or new plot to go down in film history.  Although these elements are not present in the movie, Battle of the Smithsonian does not suffer for their absence.  This movie is light hearted, humorous and fun, and truly it does not need to be anything more or less than what it is.  

Reign Over Me: Whose Reality Guides Us?

When a person loses the drive to carry on what do they have left?  This loss is enough to make anyone shut down and replace the socially accepted world for one of fantasy.  In this state of turmoil the individual feels their only safety is in what they create and it may be their friends who must help them see more.  Reign Over Me tells the story of a man in this situation and the friend who reopens the world to him; however, the film challenges the viewer with the philosophical question: “does everyone need to live in the same reality?”

Since his starring role in Punch Drunk Love, Adam Sandler, well known for his comedy, is slowly showing the world he is a very powerful dramatic actor. Sandler demonstrates his power and skill through Charlie Fineman in Mike Binder’s Reign Over Me.  As the movie develops, we learn Charlie’s wife and children perished on September 11, 2001.  The result of this tragedy is his complete social shutdown; he quits his job, exiles his in-laws, his only remaining family, and hides from his pain in the fantasy world of video games and music.  Sandler plays Charlie’s moroseness and anger with such conviction the viewer feels his pain; however; his ability to find humor, laughter, joy and love in this tragic character truly makes this a powerful performance.  In the brief moments when he smiles while riding his scooter, jest with Don Cheadle, or glances at the woman he so desperately desires Sandler provides stark contrast to the dominant sadness running through this character. This contrast creates an exceptionally layered and interesting character drawing us into the film.  Sandler offers a phenomenal performance but he does not stand alone in this film.

When Alan Johnson, played by Don Cheadle, begins working himself back into Charlie’s life he unconsciously uncovers he is not present for his own.  Cheadle’s choice for consistency in this role makes him powerful.  Alan Johnson is stuck in an unsatisfying marriage, facing a malpractice suit at work and exile from his partners; he is a man defeated by his own life.  His quest to save Charlie is his life’s blood because in saving Charlie he saves himself.  This opportunity is exciting and rejuvenating; however, Cheadle explores the depths of his defeat by approaching his quest for salvation with no more fervor than sitting down to dinner with the family he is slowly losing.  When he finally reaches a moment of explosive excitement we witness the fire burning within this man and know he has the power to reclaim his life.  To achieve this he must challenge Charlie to break free of his fantasy world and challenge himself if breaking the fantasy is the correct thing to do.

Mike Binder’s Reign Over Me is a compelling story dealing with a controversial issue of perception.  Charlie’s diligent fight to preserve the reality he creates makes me wonder if he needs anything else.  His reality is not socially acceptable however it does not adversely effect what is socially acceptable.  In that he does no harm should he be changed?  Conversely, each time someone attempts to bring the socially acceptable reality to Charlie it adversely effects him.  His in-laws, Alan, the psychiatrists all want to help him face “reality”; however, they also demonstrate their selfishness by imposing their wants and disrespecting Charlie’s.  It may appear that leaving Charlie alone is the stronger option; but, I feel the Judge, played by Donald Sutherland, addresses the film’s philosophical question the best with his statement “...this man may or may not need help.”  With this he sums it all up suggesting there is no way to tell or qualify as all options have equally weighted value.  

Reign Over Me is a powerful film dealing with a controversial issue which questions the audiences perception of reality.  The performances by Sandler and Cheadle are exceptionally powerful drawing the viewer into the film so that we may face this controversy on a personal level.  It is a riveting film carrying us through the turmoil and struggle in these men’s lives and leaves us to answer the questions presented for ourselves.

The Seeker: The Dark is Rising

So few stories translate from page to screen; however, this tragedy in translation does not lie within the story but in the over zealous screen writers biting off more than they can chew.  A great thing about books chosen for live action adaptation is they are already recognized, well written and successful stories that the masses love.  It is important to recognize these stories attain revered status because they are well written engaging stories.  Unfortunately, when screen writers attempt the translation of these beloved stories they often feel it is necessary to change, condense, enhance, embellish, omit or modify the story in some fashion.  This unexplained need to fix something that is not broken is typically the downfall of the screen adaptation. Susan Cooper’s series of children’s books The Dark Is Rising is yet another story falling prey to the Hollywood monster known as the screen writer.

The Dark is Rising is Susan Cooper’s second in a series of five books geared for more mature readers and youths.  It is the story of eleven year old Will Stanton, the Chosen One, and his quest to find the six signs that will help ward off the evil powers of the Dark.  Throughout his journey he has the help of the Old Ones, representatives of the Light, to help protect and guide him along the way.  Although they offer him assistance they do not know the answers and this is truly the story of a young boy moving from innocence and youth into knowledge and adulthood. It is a well written fantasy and two of the five books won prestigious awards.  Unfortunately, its screen adaptation falls short leaving the viewer unfulfilled in their quest for entertainment. 

The movie entitled The Seeker: The Dark is Rising lacks plot and character development.  This movie jumps from one isolated action pod to another without taking the time to cross the bridge connecting them.  Key elements, explained in the book and vital to the story’s development, are not given any focus in the movie.  One such element is the rising storm symbolic of the Dark’s growing power.  Its steady progression is a driving force behind the urgency in Will’s quest and important for key plot developments.  It is almost its own character which the movie practically ignores.  There is a suggestion of some inclement weather but no mention of how it is affecting anyone.  About the middle of the film this inclement weather becomes a raging hurricane leaving stores empty of supplies and homes without gas or food.  This convenient and trite way to get all the townspeople in one area so that Will can face his next challenge is the only link the movie storm has to the storm in the book.  This convenient screen writing omits all the explanatory elements of the story and as a result creates plot gaps leaving the viewer confused.   This writing also effects the character relationships and further degrades this great story.

Strong friendships and familial ties are vital elements in developing Will’s transition from innocence to knowledge.  As a book geared towards youth, there is a focus on the importance of team work and seeking help from others in times of need.  Merrimen is the wizened old sage and key guide for Will throughout his journey.  In times of trouble, he is the saving grace keeping Will from harm until he can learn his lessons to stand as a man.  When Will turns to him in the movie a brief scene leaves him feeling chastised and exiled by the only person he feels he can turn to.  This moment completely contradicts the great message Cooper delivers in her series.  Furthermore, Will’s connection to his family is vitally important; so much so, the Dark exploits this as a weakness.  The movie develops this by possessing Will’s brother and using him as a physical tool of the Dark.  Will defeats his possessed brother with a few punches and a simple speech about family love. This weak attempt does nothing to develop the family ties demonstrated in the books and mocks the values Cooper expresses throughout her tale.  With the loss of its values this movie becomes nothing more than a cheap Hollywood action movie.

When adapting a piece of literature for screen it is important to follow the existing story and show what has already been written.  The Seeker: The Dark is Rising does not do this at all.  It steals pieces of plot from the books and throws them on the screen for moments of action.  It devalues the powerful message of family and friends which the author carefully writes into her books leaving us with an empty and meaningless script.   Save your time and read the book, the film in your mind will be much better.

We Own The Night

Directed and written by James Gray, We Own The Night, is a high stakes police drama full of intense moments, betrayal, car chases, broken families and self reclamation. The stellar performances and strong story bring these elements together in a good film; however, this story drags in over indulgent mood shots and could easily be edited to make it tighter.

We Own The Night is Bobby Green’s story.  Bobby, played by Joaquin Phoenix, is the prodigal who left the family tradition of police work behind for a life of parties and fun working in clubs.  Though he does not follow family tradition, he exemplifies the hard work of his Deputy Police Chief father (Robert Duvall) and newly promoted Captain of a brother (Mark Whalberg), as he manages and is truly king of the high class bar where he works.  Typical of the prodigal son, he does everything he can to disassociate himself from his roots; his friends don’t know his family, he changed his last name and the Russian family who owns the bar are more family to him than his own.  Unknown to Bobby, his adopted family is the focus of the biggest police investigation going. When his two worlds collide Bobby must choose between the man he is or the man he can be.

James Gray does a wonderful job establishing the environment for his story. At the top of the film we see the festive mood surrounding our characters; Bobby parties with his friends, his night club is packed and energized, and Joe, his brother, is at the reception for his promotion. Gray also shows us that this world is troubled by violence and loss; Bobby must leave his friends for work, fights occur at the bar, and a moment of silence is held for recently fallen officers during the reception.  This all occurs in the first ten minutes, setting the stage for a great story, but it labors on from there.  As the film progresses Gray becomes overindulgent with these establishing shots.  Wide shots slowly zooming to the hotel, crane shots showing the vast field that must be searched, long shots walking down the hallway with our characters and so on.  By the middle of the film, these establishing elements become tired and almost painful.  Holding these shots for thirty-seconds rather than minutes would give the same effect and pick up the pace of this film; and given its heavy nature, picking up the pace would make a more engaging and powerful film.

Regardless of the above, watching Bobby go through personal trials and sacrifices to find himself is an intense journey worth watching.  Joaquin Phoenix is nothing short of brilliant in this role.  He creates a light hearted and care free character through his interaction with friends and contrasts that with familial conflict through fights with his brother and verbal jousts with his father.  However, when he gets the phone call turning his life around, Phoenix’s character changes becoming driven and determined but unsure and afraid of the action he must take. Through a change in vocal quality and a shift in physical action Phoenix beautifully demonstrates this transformation.  It is the subtle choices, like ever so slightly turning away from the man he clearly wants to hurt but cannot, that truly ignites the turmoil which exists in the character’s soul.  The remaining cast strongly supports this powerful performance.  Mark Whalberg, is well cast playing the work driven brother, who greatly resents his brother’s lifestyle.  He is quick tempered and harsh but Whalberg also demonstrates his ability to be soft and forgiving when it is necessary.  Robert Duvall, playing the father, rounds out this family.  His acting demonstrates where his son’s determinations and drives come from.  Duvall with his stern voice, heavy looks and contrasting moments of softness gives us a clear picture of this family which goes through so much during the film. 

This is a powerfully written story which takes us on a journey of self reclamation.  It is traditional as we watch one man fall from a great height and rise again newly reformed and better for his journey.  If you can accept the drawn out establishing shots that slow this movie down it is worth watching for its story and its performances.  

L'Ours (The Bear)

A Writer Under the Influence: Not A Review: "L'Ours" ("The Bear")

My good friend and writer Jeff C put this up on his site.  I think it is very well written and although "not a review" it captures the essence.  Hopefully it creates interest and it will be one that you add to your movie list.

Batman Begins & The Dark Knight

When Tim Burton was named to direct Batman in 1989, comic book fans, and followers of the Bat went wild.  They lost some of their fervor when Michael Keaton was announced to play the costumed hero; but, regained it when Jack Nicholson claimed the role of their favorite villain the Joker.  There were some mixed reviews but in the end those in favor seemed to win the day.  Burton produced a film that, for the time and generation, was suitably dark, held reasonably well to the already established story lines and in general created an entertaining movie.  In the end Keaton's naysayers re-nagged their doubts and, as expected, Nicholson's Joker stole the show.  It was a Hollywood blockbuster and a promising start to a potentially long lasting franchise.  In 1995 Joel Schumacher grabbed the reins of the franchise and began the downward spiral into comic book ridiculousness with Batman Forever.   In 1997 he put the final nail in the proverbially coffin with  Batman and Robin and laid the franchise to rest.  Dark Knight fans, old and new alike, were disappointed and dismayed, they needed a hero to lift their hopes; enter Christopher Nolan.

It is widely accepted that Nolan's two films are without question the best adaptations of creator Bob Kane's Batman to date; but, what makes these films so great?  When Christopher Nolan seated himself in the directors chair he claimed he would return the Dark Knight to his roots and hold true to the character.  In order to do that he needed not only to get the character right but all the elements that surround and support the character.  His vision for Gotham as a dual layered hell captures the ever present and ominous city depicted in the comic books.  On the lower level is old Gotham, an area ruled by crime bosses and overrun by criminals preying on the poor and weak who live there.  Sitting literally on top of and casting old Gotham into shadow is new Gotham, where skyscrapers and money rule.  Yet for all its glitter Nolan makes it just as seedy with corporate take overs and high power crimes.  With crime as its life blood Nolan's Gotham comes to life and sets the stage for the cast of supporting characters that make Batman such a complex and interesting character. 

Batman's supporting characters keep him from becoming a simple vigilante by showing the audience the character's inner struggle.  Alfred Pennyworth, played by Michael Caine, is the ever present butler who goes beyond his duties demonstrating undying devotion, compassion and love for his master.  He is the individual who knows all Bruce Wayne's secrets, is there to help the boy overcome his parents death, present for his return after his training, comes to his aid when he is injured, but most of all Alfred is the voice of reason that keeps Batman sane.  Michael Caine brings this role to life with dry humor and a compassion playing both qualities with subtly, calm gestures and an understated voice.  Through Michael Caine's portrayal of Alfred we see where Batman learns to question his crusade; is it simple vengeance or a devotion to saving and helping with his version of compassion?  Commissioner Gordon is the quintessential officer of the law.  Played by Gary Oldman, we see a man who goes to any lengths to uphold the law and get his man; provided he does it by the book.  He sacrifices his family and reluctantly turns his back on Batman because that is what is necessary for the greater good.  Oldman's portrayal presents a humble and kind hearted man who easily demonstrates the hero Batman works to be.  Lucius Fox is an additional character who provides a voice of reason and caution to Batman's approach to justice.  Portrayed by Morgan Freeman, Fox becomes a light hearted, jovial and easy going individual all the while retaining a commanding voice of reason.  When he threatens to leave because Batman wants to use technology that violates the average citizen's privacy we get to hear the solid voice that keeps Batman from sinking as low as the criminals he aims to stop.  In addition to this role Lucius is the man responsible for supplying all the gadgets which Batman is so well known for.  A character unto itself the infamous Bat belt is one element that can easily destroy the story's believability; however, with scenes of Wayne working on the costume, and Lucius and Wayne discussing how things work Nolan makes all this high tech gadgetry a plausible and acceptable part of the story. Of course all these elements are necessary to offset Batman's darkest side which is revealed through his villains. 

The villains are the antithesis of our hero and show us what he could become without the influence of the above characters.  Through the course of the two films we are introduced to a host of bad guys all played very adeptly by a stellar cast including Liam Neeson (Henri Ducard), Kenwatanabe (Ra's Al Ghul), Cillian Murphy (Scarecrow), Aron Eckhart (Two Face) and the critically acclaimed Heath Ledger in the role of the Joker.  These portrayals are so wonderful because they are not the caricatures of 60's television show but real people with desires and wants which happen to be on the wrong side of morality and the law.  All these actors do a brilliant job; however, Eckhart's Two Face and Ledger's Joker deserve some special attention.  As Harvey Dent we see a man passionate about his love but more passionate for his work.  Eckhart shows us this passion as he debates heros in the restaurant and eventually takes the fall for Batman. But what makes his portrayal is the transformation from Dent to Two Face.  In the role of Dent we see a man who is logical and level headed, as Two Face the same logic applies but Eckhart's character is no longer level headed.  His actions become jittery, and quick, his stance is wider and his overall physicality is transformed.  His powerful performance is very much unrecognized in the shadow of the Heath Ledger's Joker.  

In his portrayal one can see the homage to Nicholson but Ledger truly makes this performance his own.  Right from the start the raspy and dragged out voice are reminiscent of Nicholson, couple that with the lip smacking and some quick motions one could maybe even suggest a copy cat. Yet Ledger takes this so much further adding layer upon layer until the character is as complex as his foil Batman.  We see the twisted genius very early as we learn who planned the opening robbery, we watch it develop further as he burns the money and it comes to culmination as he pits the passengers of the two boats against each other.  In past portrayals of the Joker we would see him dancing in elation and humor at his own genius but here with Ledger we see a man saddened by humanity.  His calm, albeit insane, behavior tells the story of a man wanting to demonstrate humanities depravity.  In the interrogation scene Ledger truly shows this as he willingly accepts the abuse thrown on him by Batman.   With Ledger at the helm, all of these character portrayals breathe new life into the villains which are Batman's true foils.

The central story  element is the Dark Knight himself.  As a young boy he witnesses the pointless murder of his parents in one of Gotham's dark alleys and he swears and oath of vengeance against criminals in general.  He travels the globe training his body and mind to fulfill this oath and returns to reign as a king of terror in his city.  In Batman Begins  Christian Bale, under Nolan's direction, takes on the grueling journey which creates Batman.  We see him in the worst jails as a hate filled machine exacting cruel punishment on those who cross his path and we watch as this hatred and anger get tutored by Liam Neeson and Ken Watanabe in the Ra's Al Ghul clan.  What is important to the Batman character is his true complexity.  For all his vengeance seeking he still sits with some level of moral character as he tries to bring criminals to justice.  This quality is maintained and nurtured in the Batman Begins first when we see Bruce Wayne directly confront the man he believes responsible for his parents murder and second when he faces the challenge of killing a criminal for his final test in the clan.  In both cases we see him struggle but, possibly reluctantly, overcome and choose the higher road of justice.  Bale continues to create this complex character with his interpretation of Bruce Wayne.  In contrast to the gruff voiced and heavy handed Batman, Bruce is a very sweet voiced and shallow. There are scenes of him parading with women and doing whatever he wants because he owns the place.  Bale is light on his feet and full of smiles for these scenes offering us the necessary opposite side to our hero.  Finally, Bale shows us the depth of complexity as he  blends these two portrayals in his interactions with the love interest.  We see him struggle to stay true both to love and his crime stopping oath but eventually choosing his Dark Knight as the path to follow.  Of course great credit must be given to all the actors in these films but it is due to Christopher Nolan's vision that it all comes together.

Nolan maintained a vision, true to the comic book hero, that was dark and menacing.  With his interpretation of Gotham he created the appropriate backdrop for his talented actors.  He then maintained his focus keeping all of his characters as real people with goals and desires.  He never allowed the actors to be over the top or artificial.  Putting these elements together with some blockbuster effects and explosions Nolan gives us two movies that will stand the test of time and have already become cult classics.