Senior Citizens Gone Wild

"Cocoon"

The Fountain of Youth has been sought after by many for centuries.  Who knew it existed in a swimming pool located in south Florida next to a retirement community?  This is the premise of Cocoon from versatile director Ron Howard.  For once we are treated to a pleasant science fiction film about aliens not wanting to destroy the world.   

Art (Don Ameche) and Ben (Wilfred Brimley) are just two buds just looking for some excitement at their hoary age.  Shuffling around in a bathrobe and some slippers isn’t exactly their idea of fun.  Together they decide to take a series of risks and go for daily dips in the neighboring vacant rental house's swimming pool.

Their merriment is soon interrupted when four strangers led by a man named Walter (Brian Dennehy,) decide to rent out the house for 26 days.  Shortly thereafter Walter and his friends’ identities are revealed.  They are actually a race of extraterrestrials who need the pool to house these large cocoons that they unearth from the ocean floor every day. The cocoons contain their friends who were left on Earth centuries ago. 

That doesn't stop Art, Ben, and their friend Joe (Hume Cronyn) from getting their routine exercise.  It's quickly apparent that they all begin to feel effects of rejuvenation from these cocoons.  Art's got more spring in his dance step, Ben's seeing 20/20, Joe's cancer has gone into remission, and all three of them have an increased mojo.  The trio view this as a quick fix to eternal life and cheating death.

Although the screenplay is very straightforward it does have some interesting themes of mortality and immortality.  What does it mean to be human?  Given a chance at eternal life would you take it?  These are just some of the questions posed in the film; questions that don't generally come up  in your everyday sci-fi flick.  That's probably because this film is much more character driven than plot driven, which is rare in this genre.  Although at times the script does get off track particularly with the scenes that have Steve Guttenburg who plays the captain of a boat the aliens rent to transport the cocoons back to the rental house.  The old folks' storyline and the relationship they have with the aliens is just more engaging and enjoyable than the scenes with Guttenburg.

The performances are strong from the three older actors.  It's plain to see that Ameche, Brimley, and Cronyn are having a lot of fun in their roles.  How often do we get to see actors in their autumn years play lead characters in a film about everlasting life?  Today's films are geared towards much younger audiences, starring men and women who call themselves actors.  They use the term "acting" very loosely and only a handful of them will actually be remembered for their talents.  When watching Cocoon we can see still these veteran actors work their craft quite vividly after so many years.  

The score by James Hornor must also be given praise.  Cocoon's main theme is undeniably distinct with a certain out of this world harmony.  Hornor's score never tells us how we should feel but rather enhances the action and emotions that are happening on screen.  Howard has continued to utilize Hornor's talents in six of his other films.  What we hear on screen is simply moving and lovely as the score seamlessly weaves itself in and out of the picture.

Cocoon is a welcome change of pace to the genre it happens to fall into.  While it does break the mold in a number of areas the film does retain its otherworldliness.  The film has a good balance of mixing aliens with the elderly in a story that plucks at all the right heart strings.  Once you get past this cocoon's alien exterior, inside you'll find a matured  film that can genuinely be called a work of adult science fiction. 

McQueen, Newman and Spectacular Effects Ignite This Inferno

"The Towering Inferno"

When disaster flicks are made nowadays filmmakers tend to take the easy way out in regards to special effects.  Directors and studios have the attitude that they can save money by having everything done on computers during the post production process.  Today it is rare to see a big budget, effect heavy film made with the use of practical, on set special effects.  Director John Guillermin's The Towering Inferno does not disappoint in this department.

San Fransisco's recently completed 1800 ft., 138 story tall Glass Tower skyscraper is having her grand opening gala when a fire breaks out in a maintenance room on the 81st floor.  Chief builder Jim Duncan (William Holden) and head architect Doug Roberts (Paul Newman) are part of the 300 people attending the party on the 135th floor.  What caused the fire?  The cheap, faulty wiring installed by lead electrical engineer Roger Simmons (Richard Chamberlin) is the cause.  He also happens to be Duncan's son-in-law.  Fire Chief O'Hallorhan (Steve McQueen) quickly arrives on the scene to see the fire rapidly grow out of control.  With his men hard at work, O'Hallorhan with the aid of Roberts has to devise varied escape plans as the fire continues to climb and devour each floor. For the gala's attendees, taking the elevators or even the stairs could lead to their demise.    

McQueen and Newman give their usual fine performances.  It is quite thrilling to watch the two of them brave the unrelenting flames together. Their characters come off as believable and live up to their noble positions.  O'Hallorhan is the man with plan.  Given his attitude and demeanor we can tell this Fire Chief has been in some pretty hot situations before.  As for Roberts, he is the astute (and acrobatic) architect that knows the Glass Tower like the back of his hand.  We don't question their characters’ motives because McQueen and Newman truly own their roles.  They are exceptional at their craft.

The special effects and stunt work are top-notch too.  It is so exhilarating to see real fire ablaze on big, physical set pieces.  Guillermin and his crew know how to properly spark an electrifying thrill ride to an audience that craves edge of your seat action.  Practical effects just look more convincing because the danger seems more plausible.  Audiences should leave their seats scratching their heads and thinking, "How'd they do that?"

There are some cracks in the tower's foundation though.  The film has a 165 minute runtime.  For the most part it isn't that noticeable.  The screenplay moves fairly well from one alarming sequence to the next.  However, there are some supporting characters that we do spend time with and get to know, but really what's the point.  They are merely minor obstacles for the fire to engulf.  It's inevitable that in a film like this all its characters aren't going to survive.  But some supporting characters do make it past the 100 minute mark only then later to fall victim to the flames in senseless deaths.  Why introduce them at all to only have them end up spouting cliché dialogue in predicable scenes?  Oh well, we shouldn't always expect everyone to have a happy ending.

The Towering Inferno is a rousing and entertaining film that is able to stand the test of time even after 37 years.  Its cast and production values span the length of the tower itself.  The film crew's realistic approach to developing the special effects that bring this harrowing tale to the screen pay off in a big way.  The Towering Inferno might be given the cold shoulder by the casual viewer and be brushed aside as just another one of those disaster flicks that came out in the 1970’s.  Don’t let that extinguish you from feeling the heat of this fantastic spectacle of a film.

Saddle Up, Rango is Worth the Wild Ride

"Rango"

Pixar has been the king of animation for the past sixteen years.  In the past ten years we've seen other studios throw their hats into the ring. For the most part their attempts have been futile.  It's not that the other studios can't get the big name actors to lend their vocal talents or that their features are technologically deficient.  The problem always seems to lie in the screenplay.  The has story has to appeal to children and adults of all ages.  Pixar figured out that formula a long time ago.  DreamWorks got it right with How to Train Your Dragon and now Paramount can say the same with Rango.

Rango (Johnny Depp), a pet chameleon who has a taste for theatrics, is thrown out the back of a car which shatters his glass enclosure.  He is now left to fend for himself in the real world.  Rango then begins to ponder several questions about himself like who is he and what is his purpose?  Also, where can he get a drink of water?

The answers to all of Rango’s questions are found in the lovely town of Dirt.  Dirt is faced with a real predicament.  Their aqua access has run arid.  After a chilly reception by the townspeople, Rango is able to gain their trust by concocting some tall tales about himself conquering foes.  They think he’s the real deal. In turn the town elects him sheriff and together they attempt to get the bottom of what is causing the drought.  

Gore Verbinski, director of the Pirates of the Caribbean films, has a tight grasp on the reigns in wanting to make Rango a top-notch animated flick.  All the landscapes and sets are so richly textured and detailed, elevating them to a completely new level of realism.  The characters facial features too, particularly their eyes and mouths, are able to convey a wide range of emotions. 

The lighting, supervised by Director of Photography virtuoso Roger Deakins, appears natural and completely representative of the setting.  Verbinski and Deakins must have seen plenty of westerns to achieve the look and feel for this film.  The camera movement is kinetic and energetic, with certain shots paying homage to directors John Ford, Howard Hawks, and Sergio Leone. 

Enough with the tech specs though, the screenplay too is engaging and full of life with a fresh take on the genre.  Brimming with humor and amusing characters, the colorful cast includes the voices of Isla Fisher, Ned Beatty, Harry Dean Stanton, Stephen Root, and Bill Nighy.  Depp is clearly the highlight of the show, making this a vehicle for his vocal talents.  The great supporting cast further upholds Depp’s performance.   

Rango is one of those animated films where you can clearly see each actor's performance come through the character they are voicing on screen.  This is probably because Verbinski used a technique that Depp liked to call, "Emotion Capture."  The process involved filming all actors together as they acted and blocked out the entire script as if it were a play.  This was then provided to the animators as reference material.      

Yes, Rango is an animated film.  Furthermore, yes it was marketed as a film for kids.  This in no way though should deter certain audiences from seeing Rango.  Rango embodies all the characteristics of a live action film except it’s with talking animals.  Verbinski and his skilled cast and crew have put together a mature and fully developed piece of work that is on par with Pixar’s technical prowess and storytelling ability.    

    

Close that Window, You're Letting the Reds In

"Doctor Zhivago"

Director David Lean's films can be described as ambitious, epic, grandiose, and unparalleled in size and scope.  Some of the films under his repertoire include Bridge on the River Kwai, A Passage to India, and Lawrence of Arabia.  Doctor Zhivago is another notch in the legendary filmmaker’s belt.

Doctor Zhivago is the story of Yuri Zhivago (Omar Shariff), famed Moscow doctor and poet.  Much of his career had taken place over the course of the Bolshevik Revolution.  During that time he married his cousin Tonya (Geraldine Chaplin) who he fathered two children with.  Yuri also had a mistress named Lara (Julie Christie.)  Lara shows up in Yuri’s life it seems by chance throughout the march of the revolution. 

           

The screenplay which was adapted by Robert Bolt from the novel by Boris Pasternak covers a lot of ground throughout the course of the film's 200 minute run-time.  Although slow-moving, the film is never lifeless or mundane.  Lean likes to take his time and let the story gradually unfold in front of us, much like director Stanley Kubrick.  And like Kubrick, Lean's films have an abundance of impressively mounted, gorgeously shot images, a real feast for the eyes.  Five of his films went on to win for Best Cinematography, including Doctor Zhivago.  There is no doubt; the man had an eye for the cinema.  

           

Director of Photography Freddie Young's panoramic color palette uses cool blues, inky blacks, and frosted whites to show us the harsh climate of Russia.  The color red (for obvious reasons) is also predominating throughout the film’s backdrop.  Young's lenses and lighting are very typical of any Lean picture.  Each frame, especially the exterior shots, has so many layers of depth and contrast to them that the film begs to be viewed multiple times. We want to notice the components that comprise the compositions of each shot because it's not every day we are treated to Lean's trademark imagery.  The film also went on to win for Best Costume Design and Best Art Direction making it a perfect period piece. 

           

The characters unfortunately are not as grand as the film's production values.  The screenplay seems too big and sprawling for its melodramatic characters.  None of the performances are bad.  In fact if it weren't for Sharif's composed and collected Yuri and Christie's tender and romantic Lara, we'd have a real sluggish and stagnant piece of work that would leave us rushing for the exit doors even before the 115 minute intermission mark.

           

Yuri and Lara's affair just doesn't seem too terribly interesting or believable.  There's no reason for it.  There is no indication that the marriage between Yuri and Tonya is in trouble.  So Yuri's actions against his wife are needless. 

There are many shots throughout the film where the two lovers are looking at the world through an open window, a piece of glass, or port hole on a train.  Both characters seem removed to a certain extent from the revolution that is happening right outside their door.  The panes of glass act as a veil to them.  Their story is not as engaging as it should be because the events around them are so much more prominent.

Doctor Zhivago flaunts some strikingly exquisite aesthetics with a respectable screenplay dealing with a heavy subject matter.  It's too bad the characters that dwell within cannot get beyond the medium of a soap opera.  Lean's direction is flawless as usual.  However, of the epics he did in the latter half of his career this one ranks somewhere in the middle.  Lawrence of Arabia and Bridge on the River Kwai are arguably better watches.  Doctor Zhivago is worth the run-time though if not just for all of its cinematic splendor and Lean’s stylistic filmmaking.      

Giamatti Gratifying, Supporting Cast and Screenplay Sporadic

"Barney's Version"

Paul Giamatti is an A list character actor.  He has appeared in such films as Planet of the Apes, Sideways, Cinderella Man, The Illusionist, and the HBO miniseries John Adams in which he played the title role.  Giamatti has an incredible range which is why he is able to play both supporting and lead character roles.  Barney's Version is one of the latest from him in which he plays the lead role.

Barney Panofsky is a Canadian soap opera producer who is grouchy, touchy, passionate, and unpredictable.  Oh yeah, he drinks and smokes incessantly too.  This is the story of his life.  We go back in forth between the past and present as Barney remembers the relationships he had with his three ex-wives (Rachelle Lefvre, Minnie Driver, and Rosamund Pike) and the kinship he had with his father (Dustin Hoffman.)  

The film has a number of good scenes.  The ones with Hoffman are best.  After five decades of working in the biz he still makes acting look so simple and effortless.  Other choice scenes are with Pike who plays Barney's third wife, Miriam.  She's the one he stayed married to the longest and cared for most of all.  Giamatti, Hoffman, and Pike all feel like they are on a level playing field when their scenes are on screen.  

Giamatti clearly out shines some of the other actors though, especially Ms. Driver.  She plays his second wife, who is listed as The Second Mrs. P.  Her relationship with Barney does take up a chunk of time and this is where the film begins to drag on for a bit.  Because this is Barney's version of his life, Driver's character comes off as whiny, unpleasant, and annoying.  The problem here is her performance comes off as all of these characteristics too.  A word of advice to Ms. Driver the next time she attempts an American accent, don't.  

Barney too has plenty of unlikable qualities.  However Giamatti is able to gain a certain degree of sympathy from us because he is believable and authentic in his acting.  Barney wants certain aspects of life to be over and done with.  He desperately wants to be with Miriam who he believes is his soul mate.  Somehow Barney manages to take her hand in marriage hoping she will fill the void in his life.  Third time's the charm right?  Unfortunately alcohol is Barney's mistress and the life he yearned so dearly for with Miriam is squandered away.   

The film is stable enough for the first two acts.  The third act though is not as strong as it could have been.  It introduces a new aspect of deterioration to Barney's already impaired mental state.  The screenplay loses focus on its characters.  It begins to pull at our heartstrings which may seem great when we're caught up in the moment of what's happening on screen but in retrospect those feelings are a cheap substitute for what we actually should be feeling towards Barney's character.  There are moments when we want to be the shoulder for Barney to cry on but his character makes it so difficult at times. 

Many character actors stay in supporting roles and rarely become household names.  Giamatti is a great contradiction to this.  He is always watchable even if the material that surrounds him is weak.  Fortunately Barney's Version showcases his talents even if the screenplay and certain flimsy supporting talent aren't up to par at times. 

        

Kings Among Men

"The Man Who Would Be King"

  

Take a pinch of Michael Caine, a dash of Sean Connery, and sprinkle lightly with Christopher Plummer.  Stir together with director John Huston and the end result is The Man Who Would Be King adapted from a story by Rudyard Kipling of the same name.  Having these four signature men come together for this one project makes for one majestic feature.

Daniel Dravot (Sean Connery) and Peachy Carnehan (Michael Caine) are British soldiers living in India (back when India was still under British rule) who are always causing some sort of shenanigans.  They eventually grow weary of their present setting and decide to make a pact to travel to Kafiristan.  The duo's goal is to become kings.  They even draw up a contract with Rudyard Kipling (Christopher Plummer) as their witness to make it official.

Once Daniel and Peachy finally do arrive after their perilous journey across treacherous to Kafiristan they promptly begin making waves.  They train the savage locals to fight like British soldiers and eventually have a small army following their command.  Soon Danny and Peachy find themselves reaching heights of grandeur that neither of them could have fathomed.  How will they ever keep their composure?

 While watching this film it almost feels like John Huston is channeling David Lean.  It has the size and scope of a Lean epic minus the three hour run time.  The canvases which Huston has to paint his images are fully utilized by Oswald Morris' photography.  Edith Head's costumes and Alexandre Trauner's sets are period perfect.    

Aesthetics aside, Huston is also able to manage his two leads quite well.  Caine and Connery are acting alongside each other in just about every scene.  The two of them have unbelievable on screen chemistry.  Whether the scene has them using their wit to commit some sort of high jinks or has them being much more dramatic and serious, the two actors play off of each other remarkably well.  It is quite a letdown nowadays to see films that boast and brag about having assembled these huge casts when the end result is one or none of the actors share little to any screen time together.

The screenplay which was written by Huston and Gladys Hill deals with some interesting themes of morality, societal standards, eternal glory, and friendship.  Despite dealing with these complex motifs the characters are able to convey them to us without it being overblown.  A good screenplay should always have some level of complexity but when it gets to the point of being preachy and self - righteous that is when we begin to lose interest in its characters and subject matter.

The Man Who Would Be King is a period piece that has all the ingredients for a tasty viewing experience.  It has real actors doing real acting.  The screenplay is adapted from a beloved author.  Past films from the director are such greats as The Maltese Falcon, The Treasure of the Sierra Madre, and The African Queen so we know what to expect in terms of quality.  Lastly the picture is on a level of film making that is rarely seen in this day and age.  Truly a meal fit for a king.     

McConaughey Makes a Strong Case

"The Lincoln Lawyer"

What do the films A Time to Kill, Amistad, and The Lincoln Lawyer all have in common?  Matthew McConaughey playing a damn fine lawyer, that's what.  The opening credit montage of various shots of Los Angeles and a Lincoln Town Car being driven around with the letters, "NTGUILTY" on the license plate set to the thumping beat of Bobby 'Blue' Bland's "Ain't No Love in the Heart of the City" establish the tone of the setting and main character of Brad Furman's The Lincoln Lawyer based on the novel of the same name by Michael Connelly. 

McConaughey plays defense attorney Mick Haller and he has got this character down to a tee.  Mick is slick and smooth.  He knows all the ins and outs when it comes to the law.  Mick's got connections that seem to stretch the length of Sepulveda Blvd.  We get the sense this guy can walk the walk and talk the talk.  His latest case seems very by the book and not too challenging.  Rich and spoiled pretty boy Louis Roulet (Ryan Phillippe) is accused of beating and raping a prostitute.  Louis' defense, "I didn't do it.  I'm innocent."  Mick is skeptical and cautiously takes on the case.  Like many courtroom dramas though nothing is what is seems and new pieces of the puzzle emerge in the case.  Mick has to live up to his reputation and reach deep into his bag of tricks to get to the bottom of what is at stake and uphold justice in the process.

Over the past eight years McConaughey has starred in a string of stinkers so it was quite refreshing to see him in a lead role that let him showoff his acting chops.  His performance is elevated even more so by a fantastic supporting cast consisting of Marisa Tomei, William H. Macy, John Leguizamo, and Bryan Cranston.  With the first scene of the film we are already in awe because McConaughey brings such a presence to the scene and that presence remains consistent throughout the active two hour run time.

Furman does solid job of handling the material for a courtroom drama.  We never linger on a piece of evidence longer than we should and the case is always moving forward to the eventual trial.  There are also moments when we are able to take a break from Mick the lawyer and get to see Mick the man who is a father, ex-husband, and friend.  These little breathes are important to his character.  McConaughey realizes this and is able to show a range of emotions.

Although the film has the sense of a made for TV movie there is absolutely nothing wrong with that.  It is still a well made production with a pleasing screenplay for a genre that is certainly underrated.  Hopefully there will be more Michael Connelly adaptations ahead in McConaughey's future.  Mick Haller has a following and he might be just the kind of career booster the actor could use.     

        

Life Changes with the Seasons

"Another Year"

"Life isn't always kind, is it?"  This is a line from British filmmaker Mike Leigh's latest feature, Another Year.  This character driven drama centers around a long time, happily married couple, Gerri and Tom (Ruth Sheen and Jim Broadbent) and the chance encounters they have with friends and family throughout the course of one year.  Despite the genuine relationship the two of them have, everyone else around them seems to be in some sort of highly emotional state because something is missing from their lives.

Gerri and Tom's friend Mary (Lesley Manville) is an emotional wreck due to her two failed marriages, having to accept the fact she is getting older, and her financial woes.  Their other friend Ken (Peter Wight) is single, utterly unhappy with his job, and just sort of stuck in a rut with being too afraid to retire.  The couple's 30 year old son Joe (Oliver Maltman) also too is single and looking for someone to start a relationship with and eventually give his parents some grandchildren.  Lastly there is Tom's older brother Ronnie (David Bradley) who just lost his wife. 

 Some of these characters reoccur throughout the changing of the seasons.  With each juncture we see some the characters grow and develop for better or worse.  Occasionally the screenplay gives us little snippets here and there of what each of these supporting characters' lives used to be like.  In the past their lives were a ten while their present lives are more like a one.

Leigh does a skillful job of letting his mature, adult actors shape and mold their characters with clear and distinctive personalities.  Their performances are never dull or boring to watch because we can tell the ensemble cast has done their homework.  Leigh treats us like we too are a guest in Gerri and Tom's beautiful home indulging in scrumptious dinners with a glass of our favorite wine listening to the personal problems of each character.

 The film has a theatrical quality to it and could easily work as a stage play.  Leigh's direction appears plain and effortless on the surface but it is gradually apparent that the quality of work that is on screen is exceptional.  All the layers of characterization that are woven in and out of each scene or season for that matter are involving and complex but never hard to understand.

Another Year is a film for an audience that is looking for a well written, dialogue driven screenplay with real emotional depth to its characters.  The film is by no means is the feel good movie of 2010 but Mike Leigh has proven that his films are always honest and engaging.