***
Dir. Brian Helgeland
This depiction of how baseball legend Jackie Robinson (Chadwick Boseman) changed the way of the game is a decent, yet unremarkable addition to the genre of sports movies. Writer/director Brian Helgeland for the most part does justice to this great historical figure, but the film is ultimately nothing we haven't seen before.
The film chronicles primarily the early stages of Robinson's career, leading up to the history-making signing with the Brooklyn Dodgers under the guidance of team executive Branch Rickey (Harrison Ford). At a time when racism had enraptured the country, Robinson and his wife Rachel (Nicole Beharie) must withstand relentless hatred as he pursues his career. Between angry fans, cold-hearted teammates, death threats, and redneck opponent Ben Chapman (Alan Tudyk), Rickey is for a long time one of Robinson's only supporters. In the end, Robinson rises to the challenge of overcoming adversity and earning the title of American legend in the history books.
To me, the main drawback of the film is the script. Although Helgeland presents himself as a solid director, his writing lacks a certain quality. Trying to bridge the gap between documentary and drama, his dialogue comes across as relatively weak and unnatural. Lines such as "You give me a uniform, you give me a number on my back, I'll give you the guts" just don't deliver in the impactful way which Helgeland was aiming for. For instance, a scene in Rickey's office takes place right after the opening montage. Out of nowhere, Rickey announces he wants to have a black man on the team, without any real build-up or expository explanation for this decision. His associates are taken aback, and the ridiculously corny soundtrack doesn't help improve the quality of this moment. While it was intended to evoke a sense of realism and historical significance, it comes across as overtly staged in the manner of its execution.
Nonetheless, a solid cast makes for one of the stronger elements of the film. Ford masters the forceful, dynamic, God-fearing components of Rickey's character. Boseman also gives an effective performance, highlighting Robinson's loner persona and internal conflicts. The relationship between him and Rachel provides one of the few subplots in the film, and it is refreshing to see solid chemistry between the two. There's also Andre Holland as Wendell Smith, one of the first black sports writers and the narrator of the film; and Christopher Meloni as manager Leo Durocher.
The themes of conquering racism and achieving glory in the face of adversity have been beaten to a pulp in sports movies (and within any genre for that matter), making it all the more difficult for these films to really engage viewers. Yet what makes ones like Cinderella Man and the masterpiece that is Raging Bull so great is that that isn't the only idea expressed. While the main story in each of these films is centered around this concept, other plot lines help maintain the flow so as to correlate with the narrative elements. 42 is a very conventional film which is dictated by a singular approach.
I recently saw on ESPN a documentary entitled Survive and Advance, which chronicles the 1983 NC State basketball team under the leadership of the late Jim Valvano. That is no doubt a remarkable film, partly because Hollywood wasn't involved. By making it a documentary, the filmmaker was really able to capture the significance of this time period and the events surrounding it. While 42 is a nice display of patriotism and celebration of Jackie Robinson's life, it doesn't quite hit its target.
Monday, April 29, 2013
Monday, April 15, 2013
Evil Dead
Dir. Fede Alvarez
**
The central problem with this remake of Sam Raimi's classic is that the marketers spent so much time hyping it up as "the most terrifying film you will ever experience". In spite of it being boldly grotesque and disturbing, the final product is ultimately nothing more than mediocre horror, solely relying on gore to immerse viewers.
As with the original, the film features a small group of young adults who spend a weekend in a remote cabin in the woods. David (Shiloh Fernandez) seeks to establish a better relationship with his mentally ill sister Mia (Jane Levy). Scarred by the death of their mother, who died in a mental institution years earlier, each sibling remains tormented by the past. The other members of the group include David's annoying girlfriend Olivia (Jessica Lucas), their nerdy friend Eric (Lou Taylor Pucci), and a dumb blonde named Natalie (Elizabeth Blackmore).
When Eric discovers an occult book in the basement, an ancient force of evil returns to torment this helpless band of mortals. The most absurd moments in the film are when David tries to convince the others there's still hope for Mia after she's transformed into a demonic figure and began eating people. How long is it gonna take for you to realize you're dealing with the supernatural!
Both Natalie and Olivia are only there so the producers have a sufficient number of people to kill off in an hour and a half, and David suffers from Fernandez's weak performance. Eric and Mia were to me the only remotely interesting characters. Beyond that, Mia is virtually the only one that undergoes any kind of actual development. That said, there is a nice twist at the end which Alvarez incorporates, one that is not the same as the original.
In spite of the script not being a replica of Raimi's, possessing a fair amount of cleverness in answering certain questions within the story, it nonetheless fails to really enrapture audiences. Using every cliche technique known to moviegoers, I found myself able to predict nearly every moment where Alvarez makes a futile attempt to frighten viewers. With one exaggerated gory sequence after another, whatever thrill exists at the film's beginning is quickly diminished by its blatant predictability. Although the original possesses a comical tone, I found the characters and story much more intriguing nonetheless.
I'm not a horror fan in the first place, but I felt it refreshing for a director to exceed the limits of relentless gore in this genre. However, his vision is shattered by a pretty pathetic cast (with the exception of Levy and Pucci) and an over-reliance on cliché tactics. These obstacles prevent Alvarez from delivering a genuinely unique horror film.
While this film offers a different take on an iconic tale, paying tribute to it at the same time, it is at most a decent reimagining. Hard-core fans will rush to see it, but I found it to be passable in spite of its anticipation.
**
The central problem with this remake of Sam Raimi's classic is that the marketers spent so much time hyping it up as "the most terrifying film you will ever experience". In spite of it being boldly grotesque and disturbing, the final product is ultimately nothing more than mediocre horror, solely relying on gore to immerse viewers.
As with the original, the film features a small group of young adults who spend a weekend in a remote cabin in the woods. David (Shiloh Fernandez) seeks to establish a better relationship with his mentally ill sister Mia (Jane Levy). Scarred by the death of their mother, who died in a mental institution years earlier, each sibling remains tormented by the past. The other members of the group include David's annoying girlfriend Olivia (Jessica Lucas), their nerdy friend Eric (Lou Taylor Pucci), and a dumb blonde named Natalie (Elizabeth Blackmore).
When Eric discovers an occult book in the basement, an ancient force of evil returns to torment this helpless band of mortals. The most absurd moments in the film are when David tries to convince the others there's still hope for Mia after she's transformed into a demonic figure and began eating people. How long is it gonna take for you to realize you're dealing with the supernatural!
Both Natalie and Olivia are only there so the producers have a sufficient number of people to kill off in an hour and a half, and David suffers from Fernandez's weak performance. Eric and Mia were to me the only remotely interesting characters. Beyond that, Mia is virtually the only one that undergoes any kind of actual development. That said, there is a nice twist at the end which Alvarez incorporates, one that is not the same as the original.
In spite of the script not being a replica of Raimi's, possessing a fair amount of cleverness in answering certain questions within the story, it nonetheless fails to really enrapture audiences. Using every cliche technique known to moviegoers, I found myself able to predict nearly every moment where Alvarez makes a futile attempt to frighten viewers. With one exaggerated gory sequence after another, whatever thrill exists at the film's beginning is quickly diminished by its blatant predictability. Although the original possesses a comical tone, I found the characters and story much more intriguing nonetheless.
I'm not a horror fan in the first place, but I felt it refreshing for a director to exceed the limits of relentless gore in this genre. However, his vision is shattered by a pretty pathetic cast (with the exception of Levy and Pucci) and an over-reliance on cliché tactics. These obstacles prevent Alvarez from delivering a genuinely unique horror film.
While this film offers a different take on an iconic tale, paying tribute to it at the same time, it is at most a decent reimagining. Hard-core fans will rush to see it, but I found it to be passable in spite of its anticipation.
Wednesday, April 10, 2013
Watchmen (2009)
Dir. Zack Snyder
*****
With Snyder's Superman reboot just two months away, I thought I'd review what is to me the director's masterpiece. Following the enormous success of Christopher Nolan's The Dark Knight, Watchmen is a further reflection of the comic book film's capacity for a much darker and thought-provoking tone.
Set in an alternate 1985 society where President Nixon is serving his third term, this adaptation of the groundbreaking graphic novel by Alan Moore and Dave Gibbons is a unique and invigorating experience. As with the source material, the film opens with the murder of an ex-superhero known as The Comedian (Jeffrey Dean Morgan). From there, the mysterious and equally legendary Rorschach (Jackie Earle Haley) investigates his old friend's death, with concerns of a plot to eliminate masked vigilantes. Although viewed as a paranoid conspiracy theorist, the shadowy figure is relentless in warning his former colleagues and discovering the truth behind a series of strange events. With Cold War tensions escalating by the minute, fear of nuclear war reaches an all time high. What Rorschach and the other Watchmen will soon discover is a far more diabolical scheme than their own demise that will threaten the entire existence of the world they know.
The ingenuity of this apocalyptic tale is found primarily through the precise detail devoted to bringing each of these iconic characters to life on the big screen. As outlandish as they are in both the comic and the movie, the manner in which they reflect elements of classic mythology is exquisitely dynamic. Rorschach is a hard-core detective whose mask is splattered with ink blots that continually change shape. Comedian is presented as blatantly amoral, always carrying weapons that appear to be illegal, and through his perception of society is as critical of it as Rorschach.
Then there's Dr. Manhattan (Billy Crudup), practically a walking H-bomb. Continually emitting radioactive particles from his body, this godlike figure is the most powerful and misunderstood of this band of misfits. While it would seem difficult to take a naked, blue man seriously, Snyder presents the character as a Zeus of sorts. The most intriguing aspect of him is his inability to understand humans, as his former identity as renowned physicist Jon Osterman is all but diminished. We also meet his lover Laurie Jupiter/Silk Spectre II (Malin Akerman). Having been sucked into the vigilante world in order to fulfill the wishes of her mother Sally (Carla Gugino), she struggles with the burdens of her mortality and past regrets, while living with a man who could potentially live forever. Also accompanying the group is Dan Dreiberg/Nite Owl II (Patrick Wilson), who is in essence the Batman of this universe. Lastly, the wealthy businessman and supremely intelligent Adrian Veidt/Ozymandias (Matthew Goode), continually seeking to expand his already vast empire.
What has often been called an impossible book to adapt is done remarkable justice by Snyder and screenwriters David Hayter and Alex Tse. In spite of it not being feasible to capture the full essence of Moore and Gibbons' work, the visions of both teams are nonetheless greatly consistent with one another.
While I wasn't a big fan of 300, Snyder's slow motion, exaggerated techniques are much more effective for this film. The visceral and exquisitely detailed lighting effects correlate well with the gritty atmosphere and graphic images.
Another highlight of the film is its soundtrack. From classic songs by Bob Dylan and Simon and Garfunkel, to a well crafted score by Tyler Bates, the music is a further reflection of the darkened elements within this Armageddon story world.
In spite of Nolan's Batman being a more entertaining film, Watchmen is a great demonstration of Snyder's capacity for cinematic ingenuity, while also being one of the best pictures DC has given us.
*****
With Snyder's Superman reboot just two months away, I thought I'd review what is to me the director's masterpiece. Following the enormous success of Christopher Nolan's The Dark Knight, Watchmen is a further reflection of the comic book film's capacity for a much darker and thought-provoking tone.
Set in an alternate 1985 society where President Nixon is serving his third term, this adaptation of the groundbreaking graphic novel by Alan Moore and Dave Gibbons is a unique and invigorating experience. As with the source material, the film opens with the murder of an ex-superhero known as The Comedian (Jeffrey Dean Morgan). From there, the mysterious and equally legendary Rorschach (Jackie Earle Haley) investigates his old friend's death, with concerns of a plot to eliminate masked vigilantes. Although viewed as a paranoid conspiracy theorist, the shadowy figure is relentless in warning his former colleagues and discovering the truth behind a series of strange events. With Cold War tensions escalating by the minute, fear of nuclear war reaches an all time high. What Rorschach and the other Watchmen will soon discover is a far more diabolical scheme than their own demise that will threaten the entire existence of the world they know.
The ingenuity of this apocalyptic tale is found primarily through the precise detail devoted to bringing each of these iconic characters to life on the big screen. As outlandish as they are in both the comic and the movie, the manner in which they reflect elements of classic mythology is exquisitely dynamic. Rorschach is a hard-core detective whose mask is splattered with ink blots that continually change shape. Comedian is presented as blatantly amoral, always carrying weapons that appear to be illegal, and through his perception of society is as critical of it as Rorschach.
Then there's Dr. Manhattan (Billy Crudup), practically a walking H-bomb. Continually emitting radioactive particles from his body, this godlike figure is the most powerful and misunderstood of this band of misfits. While it would seem difficult to take a naked, blue man seriously, Snyder presents the character as a Zeus of sorts. The most intriguing aspect of him is his inability to understand humans, as his former identity as renowned physicist Jon Osterman is all but diminished. We also meet his lover Laurie Jupiter/Silk Spectre II (Malin Akerman). Having been sucked into the vigilante world in order to fulfill the wishes of her mother Sally (Carla Gugino), she struggles with the burdens of her mortality and past regrets, while living with a man who could potentially live forever. Also accompanying the group is Dan Dreiberg/Nite Owl II (Patrick Wilson), who is in essence the Batman of this universe. Lastly, the wealthy businessman and supremely intelligent Adrian Veidt/Ozymandias (Matthew Goode), continually seeking to expand his already vast empire.
What has often been called an impossible book to adapt is done remarkable justice by Snyder and screenwriters David Hayter and Alex Tse. In spite of it not being feasible to capture the full essence of Moore and Gibbons' work, the visions of both teams are nonetheless greatly consistent with one another.
While I wasn't a big fan of 300, Snyder's slow motion, exaggerated techniques are much more effective for this film. The visceral and exquisitely detailed lighting effects correlate well with the gritty atmosphere and graphic images.
Another highlight of the film is its soundtrack. From classic songs by Bob Dylan and Simon and Garfunkel, to a well crafted score by Tyler Bates, the music is a further reflection of the darkened elements within this Armageddon story world.
In spite of Nolan's Batman being a more entertaining film, Watchmen is a great demonstration of Snyder's capacity for cinematic ingenuity, while also being one of the best pictures DC has given us.
Tuesday, April 9, 2013
RIP Ebert
Like many film buffs, I was rather saddened to hear of renowned critic Roger Ebert's death last Thursday. To even remotely describe Ebert's contributions to the film society over the years isn't feasible to put in words. Nevertheless, I owe the man a blog post for impacting me personally.
I've always loved and been fascinated by movies. No other medium has the ability to capture a person's imagination in quite the same way; a principle which I believe Ebert clung to very passionately as well.
Beyond being a brilliant writer, Ebert taught us that film is so much more than a great pastime on weekends. His reviews encouraged us to look deeper into cinema, challenging us to open our minds to new and invigorating experiences. While I was always mesmerized by the thrills of going to the movies, I didn't quite understand how to fully engage until I began reading Ebert's work.
Ebert has been my go to critic ever since I started reviewing. Whether it was a summer blockbuster or Oscar nominee, I was always eager to see Ebert's opinion. His work was an instrumental component in training me to be a better critic and a better writer in general. And while he is no longer with us, he left behind a legacy which I'm sure will continue to have a long-lasting impact.
I picked up a book of his while I was in NYC last year, and this anthology of reviews is one I continually reference. This volume rests on my desk, surrounded by an assortment of other novels, plays, comics, and newspapers. To the left is my television set and DVD player, with the 3-disc special edition of Close Encounters of the Third Kind in front of it. That is but one of a library of films on my shelf. These and all my books are categorized, although I do misplace items from time to time. As I like to think of this room as my Fortress of Solitude/Bat-Cave, I wonder what Ebert's room looked like when he was my age.
Ebert's legacy is demonstrated by his innate passion for film, and how that passion drove his remarkable career. While I don't know I could ever match his superior ability as a critic and writer, he is nonetheless one I shall continue to aspire to. May he rest in peace.
I've always loved and been fascinated by movies. No other medium has the ability to capture a person's imagination in quite the same way; a principle which I believe Ebert clung to very passionately as well.
Beyond being a brilliant writer, Ebert taught us that film is so much more than a great pastime on weekends. His reviews encouraged us to look deeper into cinema, challenging us to open our minds to new and invigorating experiences. While I was always mesmerized by the thrills of going to the movies, I didn't quite understand how to fully engage until I began reading Ebert's work.
Ebert has been my go to critic ever since I started reviewing. Whether it was a summer blockbuster or Oscar nominee, I was always eager to see Ebert's opinion. His work was an instrumental component in training me to be a better critic and a better writer in general. And while he is no longer with us, he left behind a legacy which I'm sure will continue to have a long-lasting impact.
I picked up a book of his while I was in NYC last year, and this anthology of reviews is one I continually reference. This volume rests on my desk, surrounded by an assortment of other novels, plays, comics, and newspapers. To the left is my television set and DVD player, with the 3-disc special edition of Close Encounters of the Third Kind in front of it. That is but one of a library of films on my shelf. These and all my books are categorized, although I do misplace items from time to time. As I like to think of this room as my Fortress of Solitude/Bat-Cave, I wonder what Ebert's room looked like when he was my age.
Ebert's legacy is demonstrated by his innate passion for film, and how that passion drove his remarkable career. While I don't know I could ever match his superior ability as a critic and writer, he is nonetheless one I shall continue to aspire to. May he rest in peace.
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