Flatliners

Tags

1990's, Flatliners, Joel Schumacher, Julia Roberts, Kevin Bacon, Kiefer Sutherland, Oliver Platt, Supernatural Thriller, William Baldwin

The prospect of what happens after death and how five medical students dangerously attempt to discover this form the basis of the stylish and often intense Flatliners. While it sometimes doesn’t reach the existential themes it’s going for, Flatliners still emerges as a spooky supernatural thriller with a fine cast and direction. 

In an eerie looking building which resembles an old cathedral, part of which is being renovated, a group of medical students are studying to become doctors . But soon it’ll be more intense and dark than they ever imagined when one of them gets a rather alarming idea for a dangerous . That person in question is the arrogant dreamer Nelson Wright(Kiefer Sutherland). Joining him, we have talented yet sometimes erratic David Labraccio(Kevin Bacon), sleazy Lothario Joe Hurley(William Baldwin),  diligent, composed Rachel Manus(Julia Roberts) and wise ass Randy Steckle( Oliver Platt) . In the evening, they sneak medical supplies into a disused wing of the building for their planned experiment. Nelson plans to be put into a state of death for a few minutes then be shocked back to life before actually dying for real. He hopes that he can experience the afterlife and live to tell the tale about what he unearths. Nelson’s experiments seems to go well as he admits that he believes. What he doesn’t tell the others is that he is also plagued by an incident from childhood that won’t let him rest. As the rest of group begin undergoing the experiment , they are haunted by their past traumas, misdeeds and sins. Power struggles and paranoia ensue as they try to outdo each other, Nelson becomes increasingly unhinged and David begins developing deep feeling for Rachel. As events darken, they fall victim to the repercussions of their actions and Playing God. What began as a foolish experiment of curiosity into the other side soon turns into a waking nightmare for all involved as they wrestle with the horror of the situation.

Joel Schumacher is at the helm of Flatliners and his gift for stylish content is very much in evidence. Though it should also be noted he also manages to tap into some quite disturbing places and emotional ones too, rising above some of the scripts repetition to craft a spooky supernatural thriller. Despite longueurs in the script , Peter Filardi’s  work on the screenplay here still does a commendable job with it at least getting us to consider mortality and the consequences of our actions in the past. One thing truly worth of praise in Flatliners is the rather striking production design which suggests a haunted house tinged with religious iconography and MTV style gloss. It’s a fertile space where the main characters begin their reckless, clandestine experiments and the set design is rendered with supreme style that backs up the eeriness the film is going for.  And Flatliners does have plenty of style running through its veins right from the get go; courtesy of Schumacher’s always impressive visual directing and the moody cinematography (largely cold blues and deep reds) .  Swirling camerawork in the visions of afterlife contribute to the heady atmosphere of the piece as does a very good mastery of editing and sound. Standout scenes include the slimy being confronted in hallucinatory by his treatment and surreptitious recording of ladies in intimate situations and the students scrambling to save Rachel after the power goes out, leaving the experiment in danger of resulting in permanent death. James Newton Howard is on score duties and he mixes synth heavy atmospherics with choral flourishes that make it a ghoulish and haunting listen.

The cast of then young stars either on the rise or just established is on good form playing these curious and flawed characters . provides intense and later dangerous instability as the ringleader of the warped experiment in life and death. Sutherland always has an edge to him that I find riveting to watch and he doesn’t disappoint as the arrogant instigator of the haunting events. Julia Roberts is also very effective as the lone woman in the group who has her own personal agenda for taking part. Showing a graceful, demure vulnerability and a sense of haunted grit crossed with sadness, Roberts contributes highly to the proceedings with an earnest and convincing performance. Kevin Bacon, who I find to be incredibly reliable in most things, doesn’t disappoint here. He’s the often rebellious atheist who feels he has nothing to lose but ends up becoming the most concerned and caring of the group as he sees things are getting out of control. Bacon balances a youthful recklessness and an eventual maturity admirably and is very good in the part . William Baldwin is appropriately sleazy and randy as the love rat whose treatment of women really comes back to bite him; making him really go over and regret just how awful his behaviour has been to the opposite sex. Oliver Platt is mainly used as the comic relief of the group; constantly telling everyone this is a very bad idea and delivering witty retorts to his comrades. He’s probably given the least to do here but has his moments.

So while it’s not a masterwork in supernatural thriller or of existential leaning, Flatliners is still an entertainingly creepy, well acted  and stylish excursion into unusual what if possibilities regarding death and what may dangerously follow

Steel Magnolias

Tags

1980's, Daryl Hannah, Dolly Parton, Drama, Dylan McDermott, Herbert Ross, Julia Roberts, Olympia Dukakis, Sally Field, Sam Shepard, Shirley MacLaine, Steel Magnolias, Tom Skerritt

Laughter, tears, joy and tragedy befall a group of Southern women in Steel Magnolias; a satisfyingly involving story of strength of friendship and celebration of women. Sporting a splendid cast of leading ladies and drama that’s peppered with comedy, Steel Magnolias has you laughing one minute and crying the next( and that’s what is so great about it.) Opened up from it’s stage setting, you have one beautiful movie.

In the Louisiana town of Chinquapin Parish; a group of women go through life’s ups and downs together, often in the local beauty salon. The women are no-nonsense mother M’Lynn Eatenton( Sally Field) , her spirited, type one diabetic daughter Shelby(Julia Roberts), beauty salon owner Truvy Jones( Dolly Parton), elegant widow Clairee Belcher(Olympia Dukakis), embittered and acidic grouch Ouiser Boudreaux (Shirley MacLaine) and new in town wallflower Annelle Dupuy( Daryl Hannah) . The film begins on the wedding of Shelby to lawyer Jackson( Dylan McDermott). Despite Shelby experiencing a hyperglycaemic shock in the morning, she is helped by her mother and friends and the wedding goes wonderfully. Meanwhile, Clairee and Ouiser spar constantly even though deep down they are close friends. Annelle goes through numerous changes, first from shy, woman child to more confident and sassy then overly zealous. Truvy has to contend with her husband Spud(Sam Shepard) being out of work and not showing her much in the way of affection. The big news is that Shelby decides to have a baby, despite the difficulties it could have on her body. M’Lynn is worried about her daughter’s health and isn’t exactly thrilled when Shelby announces her pregnancy. Shelby’s father Drum(Tom Skerritt) is happy for her and to an extend M’Lynn is, though the maternal terror she feels is still nagging at her as she comes around to the idea of it. Shelby gives birth to a baby boy, but tragedy may lie ahead for this wilful young lady. Through the tribulations of life, the Southern Belles band together with support, wisdom and a shoulder to cry on as they live up to the title of being as beautiful as flowers but tough and resilient when the occasion calls for it. 

Herbert Ross is on hand for sensitive direction and a feeling of genuine care for the source material, that opens out the original play setting effectively. He shows great affinity for fleshing out these fascinating women and all that they go through. These are the kinds of characters it’s easy to warm to as you can more often than not, see something of yourself in each of them. Yes you can argue that the film knows to manipulate emotions and does have sentiment, but since when is that actually a bad thing? Steel Magnolias earns the laughs and tears because of its excellence in terms of characters and feelings. I don’t mind things being weepy or sentimental, as long as they do it with style and are well executed( which this movie definitely is.) I think it’s unfair to just refer to it as a chick flick, as it has a lot more going for it than just that label. For one, it’s a celebration of women’s strength and unity in times of crisis that truly knows how to move the audience. And the humour, which is plentiful, goes alongside the more serious stuff nicely. Both compliment the other and know how to really impress the audience in this drama about how friendship can get you through the tough times and sometimes laughter and tears do mix. It’s pretty impossible not to get swept into the dramas and events of Steel Magnolias; it’s an emotional but rewarding ride that is peppered with nice humour and it’s heart being firmly in the right place. Seriously, if you don’t shed not one tear during this movie, your tear ducts have clearly been removed or you’ve got a swinging brick where your heart and compassion should be. A gentle yet well suited score really benefits Steel Magnolias and goes along efficiently with the big occasions the film covers, from wedding to Christmas and then Easter. 

One of the finest assets in Steel Magnolia’s arsenal is the sublime cast of mainly women. Here’s a group of actresses clearly relishing these relatable and well drawn characters that they breathe great life into. Heading things is the ever impressive Sally  Field who truly shines in her dependable way and gets to display the full gamut of feelings. She’s got the varying emotions of her character just right from deep love for her daughter to grave seriousness, immense strength and tenderness in the face of tragedy. Field has always been great at playing motherly characters and she doesn’t disappoint here with a performance that ranks up there as one of her finest, particularly in a late devastating scene that will move even the hardest of hearts. Seriously, Field truly gives it her all as an opinionated yet caring mother terrified of what might happen to her frail daughter. Julia Roberts, who was a year away from super stardom and following memorable work in Mystic Pizza, is beautifully vibrant, genuine and vulnerable as the frail Shelby, who doesn’t want to let her medical condition rule her life and takes drastic action despite warnings of what it could do. The character could have been too much of a martyr, but Roberts wonderfully avoids that with a wilful, delicate and passionate performance that showcases her undeniable star charisma and ability. A lot of the humour is derived from an on form Shirley MacLaine, who spits out bitchy one liners with relish and feeling. You’ll definitely have fun watching her as the town’s meanie who is actually a lot more caring than she cares to let on. Backing her up in sassy fashion is Olympia Dukakis, who is a hoot as the classy but not above fun Clairee. MacLaine and Dukakis obviously enjoy working together as their characters clash often but then make up in often humorous ways. Dolly Parton adds pearls of wisdom and an infectious exuberance and optimism that only she can provide. It’s a treat seeing the multi talented Parton here. Daryl Hannah, decked out in gawky glasses and coltish demeanour, provides laughs and a certain homespun set of foibles. Her character is always changing but her heart is always there and Hannah plays that splendidly. As the women are so indomitable and cover most of the film with their stories, the men are relegated to the sidelines. Though saying that, Tom Skerritt gets quite a number of fine moments to shine in naughty fashion, while Sam Shepard has a fine scene opposite Dolly that’s truly touching. Dylan McDermott is unfortunately saddled with a part that really doesn’t ask for much except being a handsome suitor to Shelby. 

Heartfelt, bittersweet and brilliantly acted and scripted, Steel Magnolias is a sensational production that makes you feel so many different things. I wish you all a great time with this gem of a movie that truly touches you, makes you laugh and is enjoyable. 

Closer

Tags

2000's, Clive Owen, Closer, Drama, Jude Law, Julia Roberts, Mike Nichols, Natalie Portman

Film Title

Closer

Director

Mike Nichols

Starring

• Julia Roberts as Anna
• Jude Law as Dan
• Natalie Portman as Alice
• Clive Owen as Larry

Based on a play, Closer, as directed by Mike Nichols, brutally tears apart the cruelty and manipulative nature of people when it comes to relationships. It’s not cosy watching, but a bruising and frank exposure of betrayal and hurt, aided by the fine direction and four performances at the centre of it all.

Closer begins with obituary writer Dan catching the eye of pretty, spiky haired American Alice on the streets of London. After exchanging glances, Alice is hit by a car but is not seriously injured. Following this, Dan and Alice become romantically involved with each other. Dan is an aspiring writer who speaks of the greatness and depth of love, while Alice is a stripper who doesn’t reveal a lot about herself though seems to be a largely naive young lady looking for something. Later, Dan has written his book( which he has based partly on what Alice has told him about her life) and has his picture taken by the distant photographer Anna, who he can’t help but feel attracted to. She resists his advances and he decides to get even. Frequenting a naughty dating site, he pretends to be Anna and talks with Larry, an alpha-male dermatologist. Dan sets the two up, yet after the initial awkwardness of what they discover was Dan’s doing, Anna and Larry begin to hit it off. It is here that events begin to snowball for everyone as crossed wires and brutal betrayals plague the group and start an unending run of misery for all. Throughout the film, the four people in this love square swap and wreak havoc on their lives as they toy with feelings and the very fabric of attraction.

The dexterous Mike Nichols is on great form with this relationship drama, delving into the darkness with a withering eye and complex touch. Nichols has successfully charted the destructive essence of flawed people in Who’s Afraid of Virginia Woolf? and succeeds again with how he dives into a harsh and relentlessly honest confrontation of the urban relationships and the harsh betrayals the four pull on each other. He refuses to sweeten anything for the audience, which deserves applause for not being cowed or overly smooth. The mess that Anna, Dan, Alice and Larry is all by their own actions and we never forget that. Even the moments of humour have barbed and caustic sting to them, mocking how these people may not even know what love is considering the way they hurt and inflict harm on each other. Now even those who don’t know that Closer is based on a play will be sure to guess as soon as the quartet open their mouths. There is something literate yet strangely intimate about the dialogue, which goes for the jugular with progressively raw and savage language. Closer sports some of the most adult and brazenly sexual dialogue you are ever likely to hear in a movie. And the fact that Closer feels very much like a play on film will either turn you off or on. Some of it does feel not very cinematic, though in part that is probably largely the point of it. For me, I found the structure and unusual intimacy compelling and uncompromising. Closer jumps forward in time without the easy use of giving us title cards, letting the script fill in some of what has transpired off-screen and leaving the rest up to you. I found myself quite riveted by this approach as it refused to give any respite and truthfully exhibits the easiness with which this group hops in and out of bed and affections with each other. Closer may deal with the themes of love and adultery, but it is far from a raunchy film. It goes under the microscope of attraction to pull out the ugliness in humans when it comes to the heart and sex. Even a scene of Alice stripping and teasing Larry is turned far away from pornographic fantasy into a battle of wills, with Alice getting the upper hand and ironically exposing very little. The limited use of music, save for a few instances of opera or background melodies in club settings, makes it possible for the harsh and piercing core of the film to really surface and linger.

With this kind of film the acting has to be something to form a deep impression, thankfully the four actors of the piece are more than up to that task. Julia Roberts, who is known for being smiley and charming in movies, turns it right down to star as the aloof Anna. I liked how Roberts wasn’t afraid to play this type of character, whose completely spineless and ambivalent actions are just one of many instances of callous behaviour shared by everyone. Jude Law is good casting as the descriptive but smug Dan, who believes he knows everything yet is far from being a figure of model actions. Law has that ability to really show the ugliness and loathing of a character, that is finely tuned to the part of Dan. Natalie Portman is spectacular in one of her best roles. It’s her understanding of Alice’s many contradictions and mystery that makes the role so memorable. Sifting through the layers of the character, from innocent and vulnerable to cold and seductive, Portman doesn’t miss a beat. It’s truly a credit to her that we think we know Alice for a lot of the film and then we are surprised by the little suggestions that she may not be the most angelic member of this quartet, even though it largely seemed to be that way. It’s a daring and naughty part that calls for Portman to show some skin but not reveal a lot outwardly, a challenge that she rises to and delivers a hypnotic piece of work. Filling the last angle of this love square is a ferocious turn from Clive Owen. He essays Larry as a man who is very charming and frequently the dominant person, but little by little the brute force of him comes pouring out in an explosive way. His anguish and brutal mouth are palpably played by Owen and made all the more shocking due to the intensity of his delivery. All of the principal actors are at the top of their respective games, with Natalie Portman and Clive Owen really burning into the mind.

A cutting examination of modern relationships and the tangled parts that result in anguish, Closer retains a theatrical air that can get a bit heavy-handed, yet that should not detract from the sterling quartet of actors and the acute eye of Mike Nichols behind the camera. Definitely a film that won’t be for everyone, but for those who want an adult drama that doesn’t beat around the bush, Closer offers more than enough to satisfy.

Mystic Pizza

Tags

1980's, Adam Storke, Annabeth Gish, Coming-of-Age, Conchata Ferrell, Donald Petrie, Julia Roberts, Lili Taylor, Mystic Pizza, Vincent D'Onofrio, William R. Moses

Film Title

Mystic Pizza

Director

Donald Petrie

Starring

• Annabeth Gish as Kat Arujo
• Julia Roberts as Daisy Arujo
• Lili Taylor as Jojo Barbosa
• Vincent D’Onofrio as Bill Montijo
• William R. Moses as Tim Travers
• Adam Storke as Charlie Gordon Windsor, Jr.
• Conchata Ferrell as Leona

An enchanting slice of coming of age drama, Mystic Pizza is delightfully directed and acted, crafting an entertaining and quite moving story of three girls growing up and learning about the unpredictability of life.

In the seaside town of Mystic, Connecticut that has a largely Portuguese-American population, three working-class young ladies are fresh out of high school. These girls are sisters Kat and Daisy Arujo and best friend Jojo Barbosa. All three of them work as waitresses at the eponymous pizza parlor that is run by Leona, who watches over the girls with a sagacious eye. Kat is the studious one, who has been accepted to Yale but is saving the money up to pay for it. She is seen by many as the sensible girl of the three. To help pay for university, the bright Kat(whose main passion is astrology) takes another job babysitting for Tim Travers and his young daughter. Soon enough, Kat falls hard for her employer as they bond over subjects and each other’s company, despite knowing that he has a wife and he is significantly older. Kat’s sister Daisy is the complete opposite; brassy, loose and wild. As much as the sisters are close, there is rivalry between them as Kat is held in high regard by her mother for her drive, while the feisty Daisy is chided for her lack of direction and immoral behaviour. Daisy catches the attentions of preppy Charlie Gordon Windsor, Jr, a recent law school dropout who is something of the black sheep in his affluent family.  Yet Daisy begins to wonder whether Charlie is really into their union or is just trying to rebel against his family by dating her. Completing the troika is Jojo, who is the wise-cracking kooky one. She was supposed to marry rugged and big-hearted fisherman Bill at the beginning of the film but couldn’t go through with it. She’s still seeing Bill, though he now doesn’t want to have sex until the two are married. This poses a problem for Jojo as she wants adventure, sex and to live life before settling down. Over the course of the film, the three girls will learn about life, love and friendship as each contemplates the future.

Donald Petrie directs with a real flavour for the material, bestowing Mystic Pizza with amusing anecdotes and sensitively observed lessons in love and growth. He knows when to use humour and when to imbue the film with poignancy as each of the three girls navigates changes and feelings that affect them deeply. It’s the keen insight into their journeys that makes Mystic Pizza a heartening experience as we grow to like these three ladies just on the cusp of womanhood. We relate to them and share their hopes, dreams and fears of what could lie ahead, both for their lives and their hearts. It helps that the script defines these characters as individuals and brings out all their idiosyncrasies in delightfully warm fashion, making them very well-defined. Sure some of it gets a bit mawkish on occasion, but Mystic Pizza is so heartwarming and arresting that this can be seen as a really minor flaw in what is a very well made and excellent story. A lilting score, infused with a Portuguese tint to establish the atmosphere of the town is beautifully rendered.

Annabeth Gish is engaging and subtle as Kat, a girl with a clear set of goals but not immune to the longings of the heart which she comes to realise. Gish imbues the part with a straight arrow intelligence and slight naivety as her character unexpectedly develops feelings for her much older employer. As the feisty and sassy Daisy, who wants to do anything to get out of Mystic and finds her love life changing and being challenged, Julia Roberts showcases star charisma, sensitivity and big personality which would all help her to become of the biggest stars on the planet in the ensuing years after the release of this film. Lili Taylor rounds out the female circle of leads with an eccentric performance as the free-spirited and slightly oddball Jojo, who is caught between settling down on experimenting with life before it. A real feeling of camaraderie can be seen in the work of the three main actresses and this chemistry is what makes the film work so well as we believe their bonds of friendship that they share deeply with one another. And while it’s the ladies that dominate the film, the men do well too, albeit in less interesting roles. Vincent D’Onofrio stars as the amusingly good-hearted gentle giant who wants to marry Jojo because he is so in love with her and continues to pursue her. William R. Moses plays the object of Kat’s affections good enough while Adam Storke portrays the blue-blooded guy attracted to Daisy, but constantly at the behest of his family who he tries to impress. In a sharp supporting turn, Conchata Ferrell is motherly and firm as the owner of the pizza place, who guards her secret recipe tightly, much to the girl’s annoyance as they attempt various ways to get her to spill.

Well played by the cast and observed with emotional clarity, Mystic Pizza is a feel-good movie that touches the heart, yet never forgets to shed light on the often difficult lessons we all must learn as we grow up and must make important decisions.

Valentine’s Day

Tags

2010's, Anne Hathaway, Ashton Kutcher, Bradley Cooper, Bryce Robinson, Carter Jenkins, Emma Roberts, Eric Dane, Garry Marshall, George Lopez, Hector Elizondo, Jamie Foxx, Jennifer Garner, Jessica Alba, Jessica Biel, Julia Roberts, Kathy Bates, Patrick Dempsey, Queen Latifah, Romantic Comedy, Shirley MacLaine, Taylor Lautner, Taylor Swift, Topher Grace, Valentine's Day

Film Title

Valentine’s Day

Director

Garry Marshall

Starring

• Jessica Alba as Morley Clarkson
• Kathy Bates as Susan Moralez
• Jessica Biel as Kara Monahan
• Bradley Cooper as Holden Wilson
• Eric Dane as Sean Jackson
• Patrick Dempsey as Dr. Harrison Copeland
• Hector Elizondo as Edgar Paddington
• Jamie Foxx as Kelvin Moore
• Jennifer Garner as Julia Fitzpatrick
• Topher Grace as Jason Morris
• Anne Hathaway as Liz Curran
• Carter Jenkins as Alex
• Ashton Kutcher as Reed Bennett
• Queen Latifah as Paula Thomas
• Taylor Lautner as Willy Harrington
• George Lopez as Alphonso Rodriguez
• Shirley MacLaine as Estelle Paddington
• Emma Roberts as Grace Smart
• Julia Roberts as Capt. Kate Hazeltine
• Bryce Robinson as Edison
• Taylor Swift as Felicia

I was saddened yesterday to read of Garry Marshall’s death. He was a prolific director, producer and writer, who had a long and interesting career. One area he really succeeded in was directing romantic comedies and that is why I am going to review the all-star Valentine’s Day. I was planning to review this film anyway, but I will dedicate it to Garry Marshall now due to his passing. Anyway, back to the review.

Over the course of Valentine’s Day, the love lives of many residents is explored. Varying from newfound attraction to older couples, blinded love and pining, love seems to be everywhere in this set of interlocking stories. Good-hearted florist Reed Bennett proposes to his pretty girlfriend Morley, who accepts. The day seems to be going amazing for him, yet he soon sees that Morley is having doubts about marriage. His friends Alphonso and schoolteacher Julia stay quiet but aren’t surprised when Morley calls it off as they saw that the couple wasn’t ideally suited. Julia is having a relationship with the dashing Dr. Harrison Copeland, yet he is stringing her along because he is already married which Julia is unaware of. Reed discovers this and wants to help Julia, making him acknowledge that he has harboured feelings for his good friend for a while. Then we have Julia’s other friend publicist Kara, who despises the romantic day due to an unlucky history in love. Yet this could be changed by the equally cynical sports reporter Kelvin Moore, who has been coerced into doing a special on the importance of the day. Older couple Estelle and Edgar Paddington have been married for a long time, but something from the past is bothering Estelle as they contemplate renewing their vows. Kate Hazeltine, an army captain shares a flight with affable Holden and the two become friendly as she tells him that she is returning for one day to see someone special. And there are many more stories that are too many to document because this review would become extremely long-winded otherwise.

Garry Marshall brings his expertise to this sweet and fluffy film. This kind of movie was his bread and butter and his considerable love for the genre is very much apparent. I can’t really fault his direction here as it is well done, though other parts of the film aren’t as assured as Marshall’s direction. Each of these stories links to the next one in some strange way or another, some turning out not like you’d expect. Like with any movie containing an ensemble cast and multiple tales, certain stories are going to rise above others in terms of enjoyment. The best way to describe Valentine’s Day is as a big box of ribbon wrapped chocolates that is full to the brim with sweetness and delight, yet you remember some of the flavours more than others. The Taylor Swift/Taylor Lautner story could have been cut as it contributes nothing whatsoever to the story and the little boy trying to impress his sweetheart feels a bit too similar to one of the links in Love Actually. Then we have a nice story with Julia Roberts and Bradley Cooper talking on a flight back to Los Angeles that isn’t as clichéd as one would originally think. Anyone going into Valentine’s Day thinking it’s going to be something new will be mistaken because the formula of the film is familiar. Yet this isn’t to do the film down, it’s just how many romantic comedies have a story that is generic and been done before? It’s a genre that thrives on stories you’ve seen before and Valentine’s Day is no different in that respect. It’s a surprisingly sweet and funny experience actually and not as bad as many people have made the film out to be. I will admit I can be a sucker for romantic comedies sometimes so my opinion could be biased, but I enjoyed this film, even if the film is guilty of being over busy.

And following on about the film being busy, you have to say that the cast is one attractive bunch of stars. Be prepared readers, it may take some time talking about his massive cast. Ashton Kutcher is probably the person seen the most in Valentine’s Day and he has a real exuberance that shines through in an endearing way. A natural and sweet performance from Jennifer Garner is a nicely cast part, with plenty of humour and heart. Jessica Biel is particularly funny as a woman who holds a I hate Valentine’s Party, but secretly wants some romance in her life that has been elusive so far. Alongside Biel in the humour department there is an amusing Jamie Foxx. Old pros Shirley MacLaine and Hector Elizondo bring warmth and experience to their roles as an older couple having to deal with feelings they weren’t sure of. Anne Hathaway and Topher Grace have good chemistry as a new couple with a hitch, she moonlights as a phone sex operator to pay off bills. Leading to much confusion, the two stars have fun and spark off each other well as they navigate the challenges of love.

Julia Roberts, who is already adept at romantic comedy, is luminous along with Bradley Cooper, in an amiable and funny vignette. Eric Dane and George Lopez fare pretty well with the material they are given. Emma Roberts and Carter Jenkins make their tale funny and a little relatable as they play two students planning to have sex for the first time. Trouble is, it doesn’t go to plan leading to an amusing scene of Jenkins preparing to serenade his beloved wearing nothing but a guitar and being caught by her mother. Kathy Bates is unfortunately reduced to nothing but a cameo which is annoying considering how good Bates is as an actress. The same goes for Queen Latifah who is wasted and not given any opportunity to shine. On the negative side of casting we have Jessica Alba, who despite her beauty, is more than a little bland in her delivery. Young Bruce Robinson is endearing enough as the enamoured young boy wanting to impress a girl he has a crush on. The problem is the story is pretty much a non-starter that never comes to life. Patrick Dempsey plays a love rat with some smoothness that starts to vanish once he’s found out. Taylor Swift and Taylor Lautner are pretty poor as a love struck young couple and their story feels like it could have been left on the cutting room floor.

It’s not the best romantic comedy but it’s far from the worst, and Valentine’s Day displays the flair and entertainment value that Garry Marshall had for this sort of thing that will be missed within the genre. Rest in Peace Garry Marshall, may your great spirit live on through your wonderful work.

 

Ocean’s Twelve

Tags

2000's, Andy Garcia, Bernie Mac, Brad Pitt, Caper, Carl Reiner, Casey Affleck, Catherine Zeta-Jones, Comedy, Crime, Don Cheadle, Eddie Jemison, Elliott Gould, George Clooney, Julia Roberts, Matt Damon, Ocean's Twelve, Scott Caan, Shaobo Qin, Steven Soderbergh, Vincent Cassel

Film Title

Ocean’s Twelve

Director

Steven Soderbergh

Starring

• George Clooney as Danny Ocean
• Brad Pitt as Rusty Ryan
• Matt Damon as Linus Caldwell
• Catherine Zeta-Jones as Isabel Lahiri
• Julia Roberts as Tess Ocean
• Andy Garcia as Terry Benedict
• Don Cheadle as Basher Tarr
• Bernie Mac as Frank Catton
• Casey Affleck as Virgil Malloy
• Scott Caan as Turk Malloy
• Vincent Cassel as Francois Toulour/ The Night Fox
• Eddie Jemison as Livingston Dell
• Carl Reiner as Saul  Bloom
• Elliott Gould as Reuben Tishkoff
• Shaobo Qin as Yen

As a follow-up to the successful Ocean’s Eleven, Twelve is still entertaining in its own way. It just happens to fall short by becoming overly complex and not using the ensemble cast as well as it could. It’s not a complete mess, but it could have been better.

Ever since pulling off their audacious major heist on casino owner Terry Benedict, Danny Ocean and the rest of his crew have been living apart and quietly with their takings. Unfortunately, this state of anonymous bliss is broken( which for smooth talking Danny has included reconciling with his wife Tess) when the angry and well-connected Benedict locates all of them and demands that they pay back the large sum they stole from him plus interest. Assembling the group, who are short of paying their halves of the money, they head to Amsterdam where they are told of a potential heist could take place. The crew has two weeks to repay the ruthless Terry or else things could be fatal for all involved. The hitch of the plan is that there is a gifted, arrogant cat burglar known as the Night Fox who beats them to it, forcing the crew to reconsider something else to steal. Striking an uneasy deal with the slimy Night Fox whose real name is Francois Toulour and a very rich man, the group plans to steal a Fabergé egg that should cover their debt to the vengeful Terry. Another obstacle comes in the shapely and sharp form of Isabel Lahiri, an extremely determined Europol detective who is put on the case and discovers that her former lover Rusty is part of the crew, causing various complications with putting the plan in motion and finally executing it. The question is will Danny and his cohorts be able to successfully do this heist and get the money before it is their necks on the chopping block?

A complex and labyrinthine plot is what makes Ocean’s Twelve a step down as it becomes overly clever and twists too much. And while Steven Soderbergh once again contributes his stylish sense of film making to the proceedings, he can’t make it flow together because of how convoluted the script becomes. Saying that, there are still some killer one-liners and hilarity, but in terms of pacing Twelve drags in comparison with its quick-footed predecessor. I have to compliment the visuals in Twelve which can’t be faulted and put the glamorous locales in glorious colours and mood, not to mention some slick costumes. There is something almost tired about Twelve, like because the first one did well they should make it a bit more complicated, yet this idea doesn’t work that well in theory. This is most apparent in the non-linear structure which works in the very beginning as the story is set up, but then descends into over confidence and confusion. And unlike the first movie that had quite a good bit of tension going on as the merry band of thieves were slipping past danger and averting trouble, Twelve is strangely devoid of the suspenseful heist we witnessed first time around. It is still an audacious heist that they must take part in, but the handling of it feels clumsy at best. A suitably cool score, accented with lively jazz and Rat Pack attitude at least gives Ocean’s Twelve hints of classy caper and adventure.

The starry cast is back with some new additions this time and while many are excellent, the way the script is done leaves many on the sidelines and doesn’t give some characters enough time to make an impression. As always, George Clooney is suave and devilish as main man Danny, who knows that the stakes are high in this heist and how the lives of everyone he cares about are on the line. The same goes for Brad Pitt as the lovable Rusty, whose relationship with Isabel begins to complicate matters that are already mounting. Matt Damon is a hoot as the overly eager and slightly naive Linus, who wants a central role this time and does show his skills to everyone when they get in a jam. Among the newer cast members, the beautiful Catherine Zeta-Jones makes the biggest splash as detective Isabel. Somewhat icy and passionate in her dedication, her resolve gets tested by former lover Rusty coming into the case. Jones makes Isabel a really intelligent character who shares many sparks with Pitt’s Rusty as she tries to anticipate what he and the gang are up to. Julia Roberts has a smaller role as Tess this time around, but has some real humour especially when she is drawn in to help by taking on a disguise that is knowing and a funny in-joke. The rest of supporting cast in Twelve, although talented are given less to do in terms of material, which is very unfortunate because they all added something to the past film with their individual idiosyncrasies and tics. It’s only really Vincent Cassel as the supremely arrogant Night Fox that makes any real impression on the story out of the underused supporting cast.

So while there is obvious style and camaraderie with members of the cast, Ocean’s Twelve falls more than a little flat despite potential.

Ocean’s Eleven

Tags

2000's, Andy Garcia, Bernie Mac, Brad Pitt, Caper, Carl Reiner, Casey Affleck, Comedy, Crime, Don Cheadle, Eddie Jemison, Elliott Gould, George Clooney, Julia Roberts, Matt Damon, Ocean's Eleven, Scott Caan, Shaobo Qin, Steven Soderbergh

Film Title

Ocean’s Eleven

Director

Steven Soderbergh

Starring

• George Clooney as Danny Ocean
• Brad Pitt as Rusty Ryan
• Matt Damon as Linus Caldwell
• Andy Garcia as Terry Benedict
• Julia Roberts as Tess Ocean
• Don Cheadle as Basher Tarr
• Bernie Mac as Frank Catton
• Scott Caan as Turk Malloy
• Casey Affleck as Virgil Malloy
• Carl Reiner as Saul Bloom
• Elliott Gould as Reuben Tishkoff
• Eddie Jemison as Livingston Dell
• Shaobo Qin as Yen

A witty, breezy and thoroughly enjoyable caper movie, Ocean’s Eleven is a joy to watch and you’ll be sure as hell smiling by the end of it because of its charm. Loosely based on a 60’s Rat Pack movie, Eleven, as directed by the highly talented Steven Soderbergh mixes an old-fashioned glamour with a contemporary edge to craft a wholly amusing, well-crafted and undeniably slick heist flick.

Cool cat Danny Ocean is released from prison after serving time for theft. Being the suave man of action that he is, he has no desire to becoming a moral citizen. Instead, he has already formulated a crafty plan of his own and soon sets about assembling a team to help him with a heist. But this is no ordinary and simple heist, this is a complex maze that is highly dangerous. Danny wants to hit an underground vault that holds the money from three prominent casinos in Las Vegas, which is heavily guarded and nearly impossible to penetrate. With the help of best friend and card shark Rusty Ryan, the team is recruited for their various skills; Linus Caldwell is a somewhat naive thief who wants to be like his infamous parents, theatrical explosives expert Basher Tarr, inside man Frank Catton, the Malloy twins Turk and Virgil who are expert mechanics, aged but still hanging in there con man Saul Bloom, bankroll Reuben Tishkoff, neurotic technology wizard Livingston Dell and lithe Chinese gymnast Yen. Through careful studying, methodical planning and determination, the plan swings into motion and the stakes are indeed high with $150 million if they can accomplish the audacious heist. Making matters dangerous for the rag-tag group is the casino’s owner Terry Benedict who is a really dangerous guy. There is also the matter of Terry dating Danny’s ex-wife Tess, and Danny still obviously carrying a torch for her that could complicate everything. Can Danny and the rest of the team pull off possibly the most dangerous heist known to man?

Straight off the bat, Steven Soderbergh showcases his talent as a visual director. With stylized cuts as the heist is going on at various parts of the casino and the magic of the bright lights Las Vegas setting, Soderbergh’s direction exudes confidence and slick tactics. He crafts scenes of hilarity that are matched by nail-biting suspense as the plan is executed with danger at every turn for the misfit group. The pacing is stunningly executed and moves along at a briskly which takes you from the opening frame and pulls you into the caper of it all. And while the heist is a huge part of the film, the planning of it is just as much fun to watch, as it is seen from what the group wants to happen and then shown what does actually happen. A whip-smart script brims with amusing one-liners and banter between the characters, particularly Danny and Rusty who make a good double act during parts of Ocean’s Eleven. The script creates such likable characters in the main gang that you want them to succeed in this daring scam of theirs. And as I said earlier, the harking back to old-fashioned capers makes Ocean’s Eleven a cool and witty yarn that is impossible to resist. A smooth score of jazz is the perfect backdrop for the story as motives are planned and hiccups arise, challenging what could be a heist worth millions. To say this movie was enjoyable is to do it a disservice as it is a rollicking good time.

A huge draw for Ocean’s Eleven is the star-studded ensemble cast that have fun with their roles and each shine in their own way, particularly the main team who have superb chemistry with one another. Heading the way is the debonair performance from George Clooney who is the personification of charm and style. With a glint in his eye, suave delivery of lines and a fox-like smile, Clooney is clearly having a blast as the mastermind behind the heist and is perfectly cast in the part. On equally slick form is Brad Pitt, who offers irresistible wit and smarts as card shark Rusty who is the second in command. Matt Damon plays the role of thief Linus very well, constantly capturing his eagerness to prove himself and make the audience relate to him. Andy Garcia nails the part of the slimy and very dangerous Terry, who becomes increasingly angered as he realises that his casino and money is being targeted. Julia Roberts as the main woman in the film shows that it isn’t just the boys having fun, as she plays the suspicious and glamorous Tess, who can’t deny that she is in love with Danny despite the pain he’s caused her. Despite the dodgy attempt at a cockney accent, Don Cheadle is a hoot as the sometimes crazy Basher who specialises in explosive devices and is prone to exaggeration, while Bernie Mac is a blast as the inside man on the case. Scott Caan and Casey Affleck have fun portraying the Malloy twins, who are in almost constant arguments and scrapes with one another. Carl Reiner as the still determined but aging con man and Elliott Gould as the financier of the mission both provide their sterling credentials to Ocean’s Eleven. As computer whiz and panicky guy Livingston, humour comes from Eddie Jemison and then there is the acrobatic frame and grace provided by Shaobo Qin as the flexible Yen.

Executed with wit and vigour, Ocean’s Eleven is engaging from start to finish due to awesome direction, humorous script and cool work from the cast.

 

Duplicity

Tags

2000's, Caper, Clive Owen, Denis O'Hare, Duplicity, Julia Roberts, Paul Giamatti, Romance, Spy, Tom Wilkinson, Tony Gilroy

Film Title

Duplicity

Director

Tony Gilroy

Starring

• Clive Owen as Ray Koval
• Julia Roberts as Claire Stenwick
• Tom Wilkinson as Howard Tully
• Paul Giamatti as Dick Garsik
• Denis O’Hare as Duke Monahan

A devilish romantic spy caper, Duplicity is bolstered by the star appeal of Clive Owen and Julia Roberts. And while enjoyable and witty, it become too convoluted and complex for its own good, that seriously leaved you feeling a bit duped by the end. Still it does have a lot to be enjoyed, it just thinks it’s cleverer than it is.

Ray Koval and Claire Stenwick are both former agents; him for MI6 and her for the CIA. They now work as corporate spies for two rival companies, headed by the smart Howard Tully and the over exaggerated Dick Garsik who are constantly in competition and trying to get one up on the other. The thing is that Ray and Claire both have a past together romantically, as we see in flashback when their cases have crossed over the years. Yet both of them have a mutual distrust for one another because of the spy business and the playing of each other during these various encounters around the globe. Now, they both have a plan to con their respective companies for some major new product that could be super lucrative for each of them. This con that they plan to pull is extremely complex and tense as it could go very wrong if someone is caught. But with unease over trust and double crosses along the way in this dangerous game, who is playing who and will Ray and Claire’s personal feelings of sparky romance get in the way of the job in hand?

Now it must be said that Tony Gilroy contributes stylish direction Duplicity. Through split screens and visuals, he crafts an atmosphere laced with deception and humour. There is a lightness to his direction that ties in with the caper aspects of the tale. His script is slickly written and contains many a great scene of romantic banter and innuendo along the way. The wit is a clear highlight of the movie as it crackles between Ray and Claire whose relationship is mutually distrustful and doubting. Though I’m a big fan of twists, Duplicity ultimately goes overboard with them. Yes some of them come off as effective, but there really wasn’t any need for so many as it causes the film to feel cluttered. What should have really been a breezy film with a couple of double crosses becomes something of a muddled mess that could have been trimmed down. On a technical side, Duplicity at least looks great and has that old-fashioned feel of a caper from the 50’s or 60’s. A jazzy score, punctuated by exotic waves romance and cool suspense, manages to keep interest even when the story gets out of hand.

Despite the complicated nature of Duplicity, the cast assembled shines and brings a sense of credibility to it. Clive Owen does the smooth-talking, handsome guy shtick very well while bringing dashes of dry humour to the character of Ray. The chemistry he shares with Julia Roberts is electric and filled with sexual tension as the two dance a tango of uncertainty and passion. Julia Roberts also walks away with a great performance as Claire, who is smart, efficient and can be very calculating when it comes to the business.Tom Wilkinson and Paul Giamatti as feuding business heads have a clear hoot here and their distinguished presence is felt in the scenes in which they are present. The two guys are real gems of the supporting cast and their slow motion fight that covers the opening frames is comedic fare to say the very least. Denis O’Hare is on great form as another corporate spy involved with the dangerous game of cat and mouse at stake.

So it may be a slickly done spy film and boast some very engaging performances, I just wish that Duplicity hadn’t tried to be so overly clever because it really detracts from the good parts of the movie.

Mona Lisa Smile

Tags

2000's, Dominic West, Ginnifer Goodwin, Julia Roberts, Julia Stiles, Juliet Stevenson, Kirsten Dunst, Maggie Gyllenhaal, Marcia Gay Harden, Mike Newell, Mona Lisa Smile, Period Drama

Film Title

Mona Lisa Smile

Director

Mike Newell

Starring

• Julia Roberts as Katherine Watson
• Kirsten Dunst as Betty Warren
• Julia Stiles as Joan Brandwyn
• Maggie Gyllenhaal as Giselle Levy
• Ginnifer Goodwin as Connie Baker
• Dominic West as Bill Dunbar
• Marcia Gay Harden as Nancy Abbey
• Juliet Stevenson as Amanda Armstrong

It may not offer much in the way of originality in the inspiring teacher style of films and is occasionally meandering ,but Mona Lisa Smile more than makes up for these flaws with its warm-hearted nature, stunning look and excellent work of the predominately female cast, headed by Julia Roberts.

It is the 1950’s and Katherine Watson is a free-thinking art history teacher hired by Wellesley college for young woman for a year. The college is a rigidly formal one that is base on tradition, something which poses a problem for Katherine and her progressive ideas. The girls she teaches are clearly bright and have futures ahead of them, but they have all been brought up and taught that once they finish college and even while they are in it to find a husband and settle down as a housewife. The bohemian Katherine is annoyed by this as she sees clear potential within the young ladies of her class, such as Joan Brandwyn, who has a talent for law, bashful Connie Baker and the vampy Giselle Levy, who relates the most to the way Katherine thinks. And instead of just following the planned syllabus of her class that details she must follow, she goes against this by getting the girls to discuss the nature of art and what the merits of it are.Coming up against opposition, mainly from the opinionated and bitchy Betty Warren who has been spoon fed the idea of being a dutiful wife and being subservient, Katherine continues to instruct the girls of what they could do with their lives and how they could go on to better things than just marriage. Bucking the trend and going against the system, she slowly gains their admiration and respect.

As aforementioned, Mona Lisa Smile is not exactly a groundbreaking movie but neither is it trying to be. Mike Newell brings finesse to the film with his directing, that lets us glimpse a woman inspiring the girls around her to break free from the chains of tradition and see beyond the horizons. Despite the odd mawkish moment and the movie sometimes needed an injection of pace, Mona Lisa Smile remains an engaging film because of the characters and the way it pokes fun at the ridiculously rigid 1950’s and what a woman was expected to do. I liked how although Katherine wants the girls to open up to the idea of going against the norm, she doesn’t force it on them. Instead, through little steps and her lessons, she shows them that they are destined for greatness and not just to become what everyone else tells them they should be. The film to look at it stunning in a rose-tinted way that also serves the purpose of exposing the unhappiness behind the seemingly perfect lifestyles of being a married woman was like. Costume design and scenery is beautifully constructed and a marvel to see. A lilting score from Rachel Portman stunningly compliments the journey of the girls as their minds are opened to the possibility of change from the status quo.

Julia Roberts makes for a sympathetic and coltish lead portraying the inspiring Katherine. The fact that Roberts is largely associated with contemporary movies stands her in good stead here as Katherine is supposed to be a character who stands out against the restrictions of the time. Roberts brings her charm and warmth to the part, along with the desire for change that makes for a great performance. Kirsten Dunst makes an impression as the bitchy but underneath it all blinkered Betty, who constantly berates those around her for trying to be different from what they’ve been told to do. As bitchy and spiteful as the character is, Dunst brings forth the sadness of Betty and how her delusions of a wonderful married life are proved wrong. Her scenes with Roberts are fantastic as the two schools of ideas clash. Julia Stiles has a luminosity that she equips Joan with that makes her relatable as she is caught in the middle ground of following her dreams and sticking to tradition. Maggie Gyllenhaal gets all the best lines as the sexy and rebellious Giselle, who brazenly has affairs, drinks a lot and just doesn’t give a damn about it or what anyone thinks. Gyllenhaal has such a vibrancy about her in this film that is very endearing and mischievous. Ginnifer Goodwin is suitably sweet as the hopelessly romantic Connie, but Dominic West is hopelessly wasted as a potential love interest for Katherine that really doesn’t go anywhere. In supporting roles, Marcia Gay Harden as a buttoned-up elocution teacher and Juliet Stevenson as the disapproving college nurse give class to an already stellar cast.

So while it brings nothing new to the table as such, Mona Lisa Smile is still filled with enough talent and story to make you connect with it.

Mirror, Mirror

Tags

2010's, Armie Hammer, Comedy, Fantasy, Julia Roberts, Lily Collins, Mirror Mirror, Nathan Lane, Sean Bean, Tarsem Singh

Film Title

Mirror, Mirror

Director

Tarsem Singh

Starring

• Lily Collins as Snow White
• Julia Roberts as The Queen
• Armie Hammer as Prince Alcott
• Nathan Lane as Brighton
• Sean Bean as The King

A visually splendid but somewhat lacking retelling of the Snow White fairy tale, Mirror, Mirror is opulent to look at but not a wholly successful update. It is a movie of both positives and negatives, yet this comedy/fantasy still leaves you somewhat deflated after watching.

Once upon a time, we see that a young princess by the name of Snow White was born, though her mother died in childbirth. Her grieving father the King married a most beautiful woman, before he mysteriously vanished in the dark forest and was presumed dead. The beautiful yet insecure Queen takes guardianship over Snow White and began to show her true colours by locking her away from the outside world out of fear that her beauty will outshine hers. Her reasoning for this is her magic mirror, which informs her that her beauty will be surpassed by Snow White. The envious Queen has also left the kingdom destitute as a result of her increasing vanity. She is advised to seek out a rich husband and she finds an ideal candidate in the form of the hapless but dashing Prince Alcott. The problem is that he is besotted with the beautiful and innocent Snow White. Enraged, she sends her servant Brighton out into the forest to kill her. Brighton can’t go through with it and lets the young girl escape deep into the forest. There she is taken in by a group of dwarf bandits, who steal what they can from people crossing through the woods. Exiled by the Queen, the seven bandits begin to teach Snow White the tricks of their trade, helping her to grow stronger in order for her to take back the throne that is rightfully hers by birth before the evil Queen can bewitch Prince Alcott into marrying her.

Director Tarsem Singh brings his usual control over splendid visuals and wonderous imagery to the table in Mirror, Mirror. It must be said that the sets are spectacular to look at and the costume design is simply breathtaking in its extravagance. Yet visuals and style are not enough to make Mirror, Mirror a film of originality or power. The jaunty tone of the film is something of a double-edged sword; in certain instances the anachronistic approach works excellently and allows for a lot of laughs. But other times it spills over into the realms of juvenile ridiculousness that is just too unbelievable to take seriously. Just like Into the Woods, I didn’t mind the occasional bending of classic stories. As a matter of fact, many of these switch ups where quite enjoyable, particularly making the seven dwarfs bandits. But at times, Mirror, Mirror just strayed too far over the line of keeping it classic but with added twists that are needless. There’s just something missing here that I can’t put my finger on. The same can’t be said about the score which contributes lively glee and carefree spirit to the uneven film.

Thankfully most of the acting can rise above the flaws of the movie and be very enjoyable. Lily Collins possesses the porcelain beauty and winsome charm for Snow White, but manages to give her a plucky attitude later on and show that she is no mere damsel in distress. The character could have easily been the fawning and helpless princess we are used to seeing, but Collins radiates something different with her version of Snow White. Julia Roberts sinks her teeth into her role as the evil Queen, displaying her insecurity and catty remarks to others with the aplomb of a supreme bitch. Roberts is having a great time here and makes the most of the part, at least managing to give the audience something to laugh about during the course of the movie. The standout performance in Mirror, Mirror comes from Armie Hammer. I liked how he didn’t take himself to seriously here and how he gave Prince Alcott a goofball charm, a penchant for walking into trouble and a certain silliness. He is the prince of the narrative, but the fact that he isn’t the main hero and is often quite hapless in a fight was really funny to view. Nathan Lane is suitably hilarious as Brighton, the Queen’s lap dog who often finds himself in over his head but Sean Bean is wasted in the small role as Snow White’s father. I must give compliments to the actors playing the dwarfs as they really do have a great repertoire with each other and help give Mirror, Mirror some charm that it desperately needs.

So all in all, Mirror, Mirror is a visually dazzling and handsomely designed take on a fairy tale. But that’s all it really is, save for some impressive performances and tweaks to the traditional Snow White narrative.