Tag Archives: David Strathairn

Dolores Claiborne (1995, Taylor Hackford)

Posted on 20 July 2012 | Leave a comment

Dolores Claiborne isn’t just a mother and daughter picture… it’s not just a mother and daughter picture made by a bunch of men (directed by a man, produced by men, screenplay by a man based on a novel by a man), it’s Panavision visual experience mother and daughter picture. Director Hackford–ably assisted by Gabriel Beristain’s photography–creates a vivid, lush visual experience. It’s stunning; every time Hackford intensifies the color scheme, it heightens the film’s impact. He does a fantastic job.

Watching Claiborne–for the first time since I was a teenager, probably–I noticed how Kathy Bates’s titular protagonist has, through a trauma, become unstuck in time. It all makes sense, by the end of the film, as a traditional narrative arc for the character, but Hackford’s then got to account for the Technicolor flashbacks (versus the drab modern day). And he does.

Hackford includes a Vonnegut reference, a very quiet one, and it’s hard not to see it as intentional, given those time slips. Hackford’s whole composition scheme is based on those slips and how they jar both the viewer and the character.

There shouldn’t be enough story for a film here, certainly not one running over two hours. With Hackford, Tony Gilroy’s script and Bates’s spellbinding (not one of my regular adjectives) performance, there’s more than enough. Actually, it ends too soon.

Outstanding supporting performances from Jennifer Jason Leigh, Christopher Plummer, David Strathairn and Judy Parfitt further deepen the film.

Excellent Danny Elfman score.

Claiborne‘s superb.

3.5/4★★★½

CREDITS

Directed by Taylor Hackford; screenplay by Tony Gilroy, based on the novel by Stephen King; director of photography, Gabriel Beristain; edited by Mark Warner; music by Danny Elfman; production designer, Bruno Rubeo; produced by Hackford and Charles Mulvehill; released by Columbia Pictures.

Starring Kathy Bates (Dolores Claiborne), Jennifer Jason Leigh (Selena St. George), Judy Parfitt (Vera Donovan), Christopher Plummer (Det. John Mackey), David Strathairn (Joe St. George), Eric Bogosian (Peter), John C. Reilly (Const. Frank Stamshaw), Ellen Muth (Young Selena), Bob Gunton (Mr. Pease) and Roy Cooper (Magistrate).

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Posted in 1995, ★★★½, Color, Columbia Pictures, Drama, English, Mystery, Thriller, USA

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Memphis Belle (1990, Michael Caton-Jones)

Posted on 10 August 2011 | Leave a comment

Memphis Belle runs just around an hour and fifty minutes. It takes the film about a half hour before it’s even clear the titular plane is going to have a mission in the narrative. It opens with a masterful introduction to the characters and the situation (a bomber has one more mission before the crew completes their tour of duty). There are a lot of problems with Monte Merrick’s script, but his framing is great. He has the PR officer (played by John Lithgow) introduce everyone; it works beautifully in the narrative.

Caton-Jones’s composition is fantastic from the first shot. Too bad Merrick’s writing falls apart. First, it’s little things, like D.B. Sweeney—the only character to openly scared—having some lame dialogue. It’s not too damaging… but then Eric Stoltz’s part gets bigger. And Stoltz is truly awful. With so many principals, Merrick’s already resorting to caricature. He proceeds to give Stoltz, who’s laughable, too much attention.

But Merrick and Caton-Jones also awkwardly make the captain useless. Matthew Modine has the less to do than any other actor, including David Strathairn as the base commander. At least Strathairn has some real dialogue. Modine just gets to look scared.

There are some great performances though. Billy Zane gives the film’s best performance, but Reed Diamond and Tate Donovan are excellent as well.

The special effects are good. George Fenton’s music is lame. The sound design is great.

While it’s not terrible, it’s too bad Memphis Belle isn’t good.

1/4★

CREDITS

Directed by Michael Caton-Jones; written by Monte Merrick; director of photography, David Watkin; edited by Jim Clark; music by George Fenton; production designer, Stuart Craig; produced by David Puttnam and Catherine Wyler; released by Warner Bros.

Starring Matthew Modine (Capt. Dennis Dearborn), Eric Stoltz (Sgt. Danny Daly), Tate Donovan (1st Lt. Luke Sinclair), D.B. Sweeney (Lt. Phil Lowenthal), Billy Zane (Lt. Val Kozlowski), Sean Astin (Sgt. Richard Moore), Harry Connick Jr. (Sgt. Clay Busby), Reed Diamond (Sgt. Virgil Hoogesteger), Courtney Gains (Sgt. Eugene McVey), Neil Giuntoli (Sgt. Jack Bocci), David Strathairn (Col. Craig Harriman) and John Lithgow (Lt.Col. Bruce Derringer).

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Posted in 1990, Action, ★, Black and White, Color, Drama, English, Japan, UK, USA, War, Warner Bros.

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My Blueberry Nights (2007, Wong Kar-wai)

Posted on 23 October 2008 | Leave a comment

I wonder what the reaction to My Blueberry Nights would have been if it were Wong Kar-wai’s first film instead of just his first English language film. Everything I’ve seen in way of critical reaction is polite, when it really ought to be anything but. My Blueberry Nights suggests a filmmaker for sale–nothing in Wong’s other work ever even suggested he’d write such an atrocious screenplay. He usually goes a long way to cast a film well, but here… Norah Jones is utterly incapable of acting. It’s more amateurish than a carpet commercial on a UHF station. The frequent use of her music is annoying as well–it makes the whole thing seem like nothing more than an advertisement for her.

It doesn’t help the opening also relies heavily on Jude Law. Law’s better than Jones, but his abject lack of character is a significant problem. Wong seems to want to imply character depth and apparently for no reason other than style. Even David Strathairn, spitting out the awkward dialogue, does nothing but remind of the superior filmmakers he’s worked with. Comparing this film to Sayles or–and I think this comparison is more intentional–Jarmusch reveals just what’s missing in My Blueberry Nights.

Wong’s always told these wonderfully subtle stories about people–even with all the style, they’re very quiet and reserved. Here, there isn’t even a story, there’s a blurb. An easy synopsis. Some catch phrases and keywords to describe the film.

Besides the awkward transitions, Wong’s composition is excellent. His use of Panavision is nice, Darius Khondji’s colors are lush and vibrant–especially the blues–the music, always something Wong uses to good effect, is poorly chosen. It’s kind of loud, rather obnoxious and definitely obvious.

It’s pretty clear what’s going on with the film. It’s hip. It’s Wong Kar-wai making a film for, I guess, what he perceives to be his English-speaking audience–a bunch of illiterate hipsters.

What’s particularly offending about the film is how much worse it gets as it goes. There’s voiceovers from Law and Jones–and if Jones can’t act a scene, listening her trying to narrate one is even worse. There’s some dumb title cards informing the viewer how long it’s been since the first scene in the present action. But the more interesting story is left untold (Jones hops from New York to Memphis after some long period of time). Wong has no sense of his characters here and he’s trying to make a movie about America, but somehow has almost no sense of it.

What Wong’s doing isn’t pretentious, it’s just bad. The acting’s bad, the plot’s bad, the dialogue’s bad, the music’s bad. If he had good actors, it’d still be bad. The creative impulse behind My Blueberry Nights decidedly lacks any artistry.

I don’t think any other director has ever had such a plummet in quality moving from one film market to another. I used to wait for Wong to make an American film… and now I’m left wondering if he’ll ever be able to make a good film again. My Blueberry Nights is so appalling, it’s hard to believe he ever will again–and I certainly hope he never does another English language project.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Wong Kar-wai; written by Wong and Lawrence Block, based on a story by Wong; director of photography, Darius Khondji; edited by William Chang; music by Ry Cooder; production designer, Chang; produced by Wong, Jacky Pang Yee Wah, Wei Wang, Stéphane Kooshmanian and Jean-Louis Piel; released by Studio Canal.

Starring Norah Jones (Elizabeth), Jude Law (Jeremy), David Strathairn (Arnie), Rachel Weisz (Sue Lynne), Natalie Portman (Leslie), Cat Power (Katya) and Frankie Faison (Travis).

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Posted in 2007, ⓏⒺⓇⓄ, China, Color, Drama, English, France, Hong Kong, Romance, Studio Canal

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Good Night, and Good Luck (2005, George Clooney)

Posted on 11 January 2008 | Leave a comment

George Clooney directs Good Night, and Good Luck with an absolute confidence. It’s Clooney’s second film, but he doesn’t just know how to make a restricted setting story (the film takes place in the CBS building, a bar, and two to three other locations) exciting… he also knows how to make an informative docudrama into an affecting and revealing look at people working together. So, Good Luck is about citizenship and working together. And some great filmmaking.

Clooney and co-writer Grant Heslov have their main story–the plot–Murrow and McCarthy, but they add these subplots, some small, some very big. For example, the plight of secretly married couple Robert Downey Jr. and Patricia Clarkson parallels the film’s main plot. But there’s also Ray Wise’s story (Clooney introduces Wise being filmed in studio, so discreetly, I thought it was a cameo). Or the relationship between Clooney’s Fred Friendly and David Strathairn’s Murrow, which is deceptively (at least as the film starts) deep. Their partnership is what enables the film’s main plot. It’s an incredibly interesting narrative, because the film is so short and… for the most part, most of the characters are only recognizable by their faces, not by names. Clooney cast a lot of good people who do good work, but they’re important to the film because they work with Strathairn and Clooney, not for any other reason (Downey and Clarkson being exceptions).

As for Strathairn’s performance… he brings an inestimable humanity to Murrow. His physical performance is perfect, of course, but there’s this sensitivity, which makes Murrow almost so real he’s fiction.

The film draws some definite parallels between the film’s era and the modern one, when the television industry has turned news in to an even cheaper, even more exploitative reality show (something Murrow warns about early on). But Clooney closes with Eisenhower, reminding modern conservatives Republicans weren’t always evil-minded idiots and, presumably, liberals too.

The use of historical footage should be distracting, but isn’t. Even when, while watching, I noticed modern “news reporters” on television got a lot of their interviewing technique from McCarthy… I’m not sure how Clooney got away with it–some of the footage is cleaner than the rest and it’s all supposed to be on television, but it presumably would have looked better–maybe he made it part of the black and white film agreement… you’re watching Good Night, and Good Luck and it’s in black and white and so you’re going to accept what follows. Somehow, the film’s reality and the news footage works hand in hand, the footage making the other scenes more real.

It’s a significant achievement, not just for a second-time director. Lots of decent directors go whole careers without pulling off anything this assured and there are lots of great ones who only manage to do them sporadically. The film’s exquisite.

4/4★★★★

CREDITS

Directed by George Clooney; written by Clooney and Grant Heslov; director of photography, Robert Elswit; edited by Stephen Mirrione; production designer, Jim Bissell; produced by Heslov; released by Warner Independent Pictures.

Starring David Strathairn (Edward R. Murrow), George Clooney (Fred Friendly), Patricia Clarkson (Shirley Wershba), Robert Downey Jr. (Joe Wershba), Frank Langella (William Paley), Grant Heslov (Don Hewitt), Ray Wise (Don Hollenbeck) and Dianne Reeves (Jazz Singer).

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Posted in 2005, ★★★★, Black and White, Drama, English, France, History, Japan, UK, USA, Warner Independent Pictures

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The Bourne Ultimatum (2007, Paul Greengrass)

Posted on 27 August 2007 | Leave a comment

The only good thing about The Bourne Ultimatum, besides Joan Allen, who can apparently survive (and fluorish in) anything, is how rabidly anti-Republican the film’s details get. The film’s CIA bad guys in this one are using the “war on terror“ to assassinate US citizens. I haven’t read an outcry about it, so I imagine it isn’t my being more adept at recognizing the parallels (or propagandizing), but rather the stupidity of American filmgoers.

But besides that aspect, Ultimatum is a heinous piece of work. For the first half, while nothing happens except a travel video, I kept thinking about Paul Greengrass’s attempt at cinéma vérité, specifically–if it’s supposed to be ultra-real, why is there a musical score blaring the entire time. I mean, it must have occurred to someone, right? I can’t imagine sales of The Bourne Ultimatum score are profitable enough to excuse an enormous conceptual mistake.

It soon becomes clear Ultimatum is following all the set pieces of the second movie (I can’t remember the title right now), only with different details. There’s even the part where the girlfriend’s going to die, only with minor deviations. Then Bourne gets to New York and there’s a neat tie-in to the end of the second movie and then it’s over after a chase scene. It’s not just absent any character development, it’s absent any palpable content.

Watching the film, having seen Matt Damon most recently acting well in Ocean’s Twelve and even better in Syriana, I realized this Bourne performance–absent any humanity–is really a Marky Mark impression. But not Marky Mark in actual films, rather Marky Mark in previews to his films. Or it’s Damon’s audition tape for Terminator 4. After the first half hour or hour or three days, however long the film goes before they get to New York, I kept waiting for Damon to act. And I’m still waiting.

Like I said, Allen is good. I agreed to see the film because David Strathairn’s probably never been bad. And now I can’t make that statement anymore. It’s not his fault; he’s just playing a Republican, so he too is absent any humanity. I felt really bad for him, it’s a considerable slight against his body of work. Albert Finney’s pretty lame too, but his quality resurgence is recent; there have to be some real stinkers in there over the course of his career. Allen and Strathairn really deserve a good movie (a good John Sayles movie maybe). Julia Stiles shows up for a bit and she’s okay. The character revelations about her and Damon are probably illegal but who cares. Scott Glenn has a small role and he’s awful. Greengrass appears not to care whether or not his actors act well. But if he’s missing the thing about there not being a musical score in real life, worrying about acting is a bit too much to ask.

The action scenes are generally terrible. There’s a car chase identical to the one in the second movie, there are some fight scenes (again, probably identical, I wasn’t paying attention–they’re trying to endure). The script’s not simply unimaginative, it’s particularly terrible. It’s obvious and predictable, with terrible dialogue and ludicrous character developments and reactions.

I didn’t expect it to be so boring, but then I didn’t expect it to be a rehash of the second movie either.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Paul Greengrass; written by Tony Gilroy, Scott Z. Burns and George Nolfi, based on a story by Gilroy and the novel by Robert Ludlum; director of photography, Oliver Wood; edited by Christopher Rouse; music by John Powell; production designer, Peter Wenham; produced by Frank Marshall, Patrick Crowley and Paul L. Sandberg; released by Universal Pictures.

Starring Matt Damon (Jason Bourne), Julia Stiles (Nicky Parsons), David Strathairn (Noah Vosen), Scott Glenn (Ezra Kramer), Paddy Considine (Simon Ross), Edgar Ramirez (Paz), Albert Finney (Dr. Albert Hirsch) and Joan Allen (Pamela Landy).

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Posted in 2007, Action, Arabic, ⓏⒺⓇⓄ, Color, English, French, Germany, Mystery, Russian, Spanish, Thriller, Universal Pictures, USA

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City of Hope (1991, John Sayles)

Posted on 24 May 2007 | Leave a comment

City of Hope is a raw John Sayles John Sayles movie. The camera follows the characters until it bumps into other characters, which is a simple, straightforward method, both a little more honest but also a little more amateurish. It introduces a gimmick into the film, which rarely does anything any good. It isn’t always the bumping characters–the most effective sequence is when, at the same time, separated by cuts, a bunch of characters decide to sell themselves out or not to sell out. But the bumping does pop again and it is noticeable. Maybe it’s a consequence of pan and scanning a 2.35:1 film (City of Hope, as far as I can ascertain, has never had a non-pan and scan video release). The pan and scan does hurt a little, but the gimmick would still be there, wider field of action or not. It’s not bad–films still do it today, good films, but they’re films made after Sayles (much like Sayles makes films after the Altman Nashville standard). It’s a raw artist in progress and it’s a thing sixteen years has made more noticeable. It doesn’t date the film, but City of Hope does have a visible place in Sayles’s body of work.

It’s also his most traditional story–one of the two primary storylines is Italian-Americans and their relationship to work and corruption. Sure, it’s political corruption–but the corrupt mayor is Italian. Vincent Spano’s character is also a very general lead for a Sayles film too–like I said, it’s all very raw. The other primary story, about Joe Morton’s attempt to be a successful and moral politician, is more radical. However, the Spano story, simply because Spano, and Tony Lo Bianco as his father, are so great. Joe Morton’s great too, but Sayles gives Spano a romance with Barbara Williams (who’s also fantastic). Watching certain moments in City of Hope, it’s obvious Sayles spent a lot of time figuring them out. There are some short car ride conversations he does beautifully, but also the scenes with Spano walking Williams home. Those scenes are amazing, pan and scan or not.

Where Sayles lifts the film from the norm is in the third act, when the viewer discovers it’s actually not all about people bumping into each other, or the titular City of Hope, which pops up three times at least, but is actually all about watching people corrupt themselves. There’s a wonderful juxtaposition of one woman telling her husband not to sell himself out, then congratulating him (that one’s from Macbeth, right?), with another not supporting dishonesty, after positioning herself to do so. Except every character in City of Hope, not just those four–with the exception of Williams, who’s a bit of a saint–eventually makes the choice to corrupt or redeem him or herself. Well, not redeem, but not further corrupt.

Besides the aforementioned, Tony Denison is great, so is Angela Bassett. Chris Cooper’s only in it for maybe four minutes, but in that time, it becomes clear his never becoming a leading man is a considerable tragedy for American cinema.

I’m probably less enthused about the film than I should be, but it’s only because I spent the entire time wondering how beautiful it must look in the right aspect ratio.

4/4★★★★

CREDITS

Written, directed and edited by John Sayles; director of photography, Robert Richardson; music by Mason Daring; production designers, Dan Bishop and Dianna Freas; produced by Sarah Green and Maggie Renzi; released by The Samuel Goldwyn Company.

Starring Vincent Spano (Nick), Tony Lo Bianco (Joe), Joe Morton (Wynn), Angela Bassett (Reesha), John Sayles (Carl), Gloria Foster (Jeanette), David Strathairn (Asteroid), Kevin Tighe (O’Brien), Barbara Williams (Angela), Joe Grifasi (Pauly), Louis Zorich (Mayor Baci), Gina Gershon (Laurie), Rose Gregorio (Pina), Bill Raymond (Les), Jace Alexander (Bobby), Todd Graff (Zip), Frankie Faison (Levonne), Tom Wright (Malik), Tony Denison (Rizzo), S.J. Lang (Bauer), Chris Cooper (Riggs), Stephen Mendillo (Yoyo), Josh Mostel (Mad Anthony), Daryl Edwards (Franklin) and Lawrence Tierney (Kerrigan).

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Posted in 1991, ★★★★, Color, Crime, Drama, English, The Samuel Goldwyn Company, USA

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Home for the Holidays (1995, Jodie Foster)

Posted on 16 April 2007 | 1 Comment

For the first thirty or so minutes, Home for the Holidays is exactly the film its trailer presented. It’s a genial family comedy with a recognizable cast, a mix of standard casting choices like Charles Durning (Dad), semi-standards like Anne Bancroft (Mom), and unknown ones like Geraldine Chaplin (crazy aunt). Even when Robert Downey Jr. (gay brother) shows up, it’s still a recognizable comedy. We’re following Holly Hunter around on her unpleasant due to familial eccentricities Thanksgiving. Then David Strathairn shows up for a one-scene cameo and Home for the Holidays becomes something else entirely. The scene’s affecting in a significant way and, here’s another aspect of the film, Jodie Foster knows it. I’m not sure there’s ever been such a polished sophomore directorial effort than this one. Foster shoots that scene with Strathairn different and she has to shoot it different, because it is different. Then I realized, Foster changes her approach all throughout Holidays, totally in tune with the content. Flipping past the film over the length, so long as one kept forgetting Holly Hunter, a person could think it was a different film. It’s a very particular film.

I’d seen it once before, about eight years ago, at the height of my institutionalized film snobbery (working with a bunch of film school students and graduates at a snobby video store), recommended by someone who didn’t buy into the snobbery–actually, I don’t think she recommended it, just mentioned it–and I thought it was a great film. I probably even thought it was great for the same reasons I do now, which–given the time lapse–is a little surprising (but also agreeable, since I was a little afraid during the opening twenty it’d be decent but unspectacular). But I’d forgotten it, so I was with Foster through the film–when she introduced section cards, I was a little weary, but by the third, she turns them into prompts for the viewer to think about the film he or she is watching.

And then, when the film gets to the actual Thanksgiving dinner–Geraldine Chaplin has her big scene and it changes Home for the Holidays again… Foster uses the same style–presenting the viewer (and the characters) with something they expect to be amusing, but then changing the viewer’s perspective of the film and the characters’ perspective of themselves. Then, pretty soon after dinner’s over, Dylan McDermott takes over. I’ve seen McDermott in very little and Holidays is early in his high profile career buildup, but Foster gets an amazing performance out of him. Unbelievable, really–his character is impossible, but Foster and McDermott pull it off. I’m not sure how much W.D. Richter’s script contributed, because there’s one scene where it really looks like they (Hunter, McDermott and Foster) played a scene different from the way it’d be written. But, whatever… Foster has a lot of odd homages in here, to films a family comedy probably shouldn’t reference (I can’t remember because I didn’t make any notes, but along the lines of Welles and Ford–with some Woody Allen). The McDermott stuff plays like a Howard Hawks comedy, only there’s no space for the viewer to acclimate, so he or she just gets caught up in it. And once it’s going, it’s fantastic stuff.

Watching the clock as it got near the end, I kept wondering how Foster was going to wrap it all up. Her choice is amazing; predictable, but amazing. She conducts her characters out of a genial comedy and into something else. It’s something a little new even. While some of it is familiar territory, her nurturing of the characters really pays off at the end.

It’s a wonderful film.

4/4★★★★

CREDITS

Directed by Jodie Foster; written by W.D. Richter, based on a short story by Chris Radant; director of photography, Lajos Koltai; edited by Lynzee Klingman; music by Mark Isham; production designer, Andrew McAlpine; produced by Peggy Rajski and Foster; released by Paramount Pictures.

Starring Holly Hunter (Claudia Larson), Robert Downey Jr. (Tommy Larson), Anne Bancroft (Adele Larson), Charles Durning (Henry Larson), Dylan McDermott (Leo Fish), Geraldine Chaplin (Aunt Glady), Steve Guttenberg (Walter Wedman), Cynthia Stevenson (Joanne Wedman), Claire Danes (Kitt) and David Strathairn (Russell Terziak).

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Posted in 1995, ★★★★, Color, Comedy, Drama, English, Paramount Pictures, Romance, USA

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Sneakers (1992, Phil Alden Robinson)

Posted on 20 November 2005 | 1 Comment

Describing Ocean’s Eleven, Steven Soderbergh said he wanted to “make a movie that has no desire except to give you pleasure from beginning to end.”

He seems to have ripped off that idea from Sneakers.

Robert Redford is a lot more serious than I tend to think. So’s Paul Newman for that matter. We know the affable Redford from Butch Cassidy and The Sting, but really… those films aren’t about having fun. Sneakers is about having fun. Even Redford’s post-1990s career, post-Horse Whisperer, is missing the fun of this film. (Spy Game, of course, could have been fun, but wasn’t). Sneakers is about having fun.

To quote someone else–Quentin Tarantino this time–some films, once you get the story, you watch just to “hang out with [the characters].” This quote is another good description of Sneakers. I remember seeing the film when it came out, and in 1992, it was different to see Sidney Poitier in a fun movie, different to see Dan Aykroyd in something… good, different to see David Straithairn in a big Hollywood movie. Actually, that last one is bull–when I was fourteen, I had no idea who David Straithairn was… I mean, when Sneakers came out, Mary McDonnell was just the woman from Dances With Wolves. It was an event picture. It was back when an event picture didn’t have flying saucers. It was the new film from the director of Field of Dreams… it’s from a magical era that’s long gone (and only thirteen years ago).

The only time’s the film lags–and I do love Redford’s performance in this film, because it’s the same kind of performance Paul Newman gave in Slap Shot–is when Redford’s running the thing himself. It’s not about Redford, it’s about the chemistry between the cast. There’s a party scene in the film with six principals and two supporting characters and you feel every person’s presence at the party. It’s a great scene. It entertains and it’s beautifully constructed. I sat and marveled at how Robinson worked that whole scene out, giving each person the right thing to do for just the right amount of time.

Also indicative of the film’s era is the James Horner score. It’s from before he became Titanic composer James Horner and before anyone cared if he lifted his old material. It’s a playful score. Just great.

I can’t believe I was worried about this film’s quality.

3/4★★★

CREDITS

Directed by Phil Alden Robinson; written by Lawrence Lasker, Walter F. Parkes and Robinson; director of photography, John Lindley; edited by Tom Rolf; music by James Horner; production designer, Patrizia von Brandenstein; produced by Parkes and Lasker; released by Universal Pictures.

Starring Robert Redford (Bishop), Sidney Poitier (Donald Crease), David Strathairn (Whistler), Dan Aykroyd (Mother), River Phoenix (Carl Arbegast), Mary McDonnell (Liz), Ben Kingsley (Cosmo), Timothy Busfield (Dick Gordon), Eddie Jones (Buddy Wallace), Stephen Tobolowsky (Dr. Werner Brandes), Donal Logue (Dr. Gunter Janek) and James Earl Jones (Bernard Abbott).

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Posted in 1992, Adventure, ★★★, Color, Comedy, Crime, English, Mystery, Romance, Russian, Thriller, Universal Pictures, USA

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L.A. Confidential (1997, Curtis Hanson)

Posted on 1 November 2005 | Leave a comment

I haven’t seen L.A. Confidential since 1998 or so, whenever the laserdisc came out. Before the film came out–I saw it in the theaters of course, being a big Russell Crowe fan back then–I read James Ellroy’s book. So, obviously, the film cuts a lot and I don’t remember the book very well, except that it took place over a long period of time. I don’t think it was that good, but you did get to know the characters… You don’t in L.A. Confidential: The Movie. Instead, you get to know and care when the filmmakers tell you to care. It’s Oscar-bait. As I started watching it, I thought it would be okay Oscar-bait, but it really isn’t. For a few reasons.

First, since I’ll be on and on about it if I don’t get it out of the way: Kim Basinger. 1) She does not look like Veronica Lake, she does not resemble Veronica Lake, never in a million years would I think she does. According to IMDb, Izabella Scorupco turned down the role and she owes me dinner for the thirty minutes or so of Basinger “acting” I just had to endure. 2) Kim Basinger is awful. The number of films, probably starting with Batman, that she has hurt or ruined with her aforementioned “acting” probably equals the number of films she has “acted” in. I sort of remember once saying Nine 1/2 Weeks was her only reasonable acting job. Since I haven’t seen it in a long time, I won’t make such a claim. However, after seeing her “talents” on display in L.A. Confidential, I doubt I’d be able to reinforce said claim.

There: a paragraph for Basinger’s bad acting. Does Guy Pearce get a whole paragraph? Maybe. He is not good. His character needs to be good. The audience needs to identify with him, not against him. We aren’t suppose to think cops beating the shit out of and murdering innocent (or misdemeanor-committing) people is okay. Does that mean Pearce is actually do good that I’m just upset because he was so good–he was supposed to appear unlikable, correct? No, he was terrible. The scenes between him and Basinger at the end were awful. Not to mention how terrible their actual sex scene was. That was a special kind of awful. Made me want to stick pencils in my ears to break the drums.

However–and I’m breaking up the crap with some pearls–Russell Crowe is good. He has very little do. Most of his scenes are with Basinger and he so he had no one to work with, but he still shines through. His character is decent and deserving of a better film. However, L.A. Confidential has got to be one of Kevin Spacey’s best performances. Since Spacey has turned into such an embarrassing Oscar-whore (sort of like Crowe), I’d forgotten how good he could be. If L.A. Confidential had been about Spacey’s redemption… Oh, one can only dream. The film also has David Straithairn and underuses him, which is an incredible affront to the species.

No, the problem with the film, why it doesn’t achieve or overcome the awful acting, is the writing. Brian Helgeland and Curtis Hanson kept a couple parts of the book (I think, the Nite Owl murders seem to be how I remember), tossed the rest, but kept scenes from the book and lines of dialogue. Scenes and lines that mean nothing without the rest of the book. Or they didn’t keep the rhyming parts. So, the film deceives. In the middle, until about the 90 minute mark, it still seems like something good could come of all this stuff. A period cop movie called The Nite Owl Murders could have been amazing, but this film isn’t a cop movie. It’s not noir or neo-noir or anything like that. It’s Oscar-bait and, as Oscar-bait goes, I suppose it’s on par for 1997. If I remember correctly, 1997 was actually a good year, it was just that a bunch of shit was popular… as it goes. Gattaca, for instance, was from 1997. Comparing the two films is an incredible insult to Gattaca and possibly the whole idea of art in general.

I watched the DVD (my laserdisc is probably long gone–I rented the DVD for a buck and quarter and the laser cost $32 from Ken Crane’s). There are some audio looping problems, but I don’t think it’s the disc, because I noticed the mouths didn’t match the dialogue. Maybe there’s a good version of it out there somewhere, in the Warner vaults or something, but I really doubt it….

One last thing about 1997. I just saw that it’s the year Air Force One came out. I’ve never pinpointed, specifically, the downfall of American popular cinema. I can tell you when it was good, when it was better than it is now, and when everything was shit. But is there a turning point? I think it might be Air Force One–you had the previously reliable Harrison Ford in a complete piece of garbage. Petersen was already done, so I’m not putting anything on him, so I think I’ll hang it all on Ford whoring himself for money–in Air Force One. With a few blips–and pretty insignificant ones–his career has been downhill from that specific film. So it’s all his fault. I guess. None of this rant had anything to do with L.A. Confidential….

Okay, I’m done. (Damn Izabella Scorupco. Somebody ought to make her sit down and watch The Real McCoy over and over again. Except cut out all the Val Kilmer parts, because he was funny).

1.5/4★½

CREDITS

Directed by Curtis Hanson; written by Brian Helgeland and Hanson, based on the novel by James Ellroy; director of photography, Dante Spinotti; edited by Peter Honess; music by Jerry Goldsmith; produced by Arnon Milchan, Hanson and Michael Nathanson; released by Warner Bros.

Starring Kevin Spacey (Jack Vincennes), Russell Crowe (Bud White), Guy Pearce (Ed Exley), James Cromwell (Capt. Dudley Smith), Kim Basinger (Lynn Bracken), David Strathairn (Pierce Morehouse Patchett), Danny DeVito (Sid Hudgens), Graham Beckel (Dick Stensland), Paul Guilfoyle (Mickey Cohen), Ron Rifkin (Dist. Atty. Ellis Loew), Matt McCoy (Brett Chase) and Paolo Seganti (Johnny Stompanato).

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Posted in 1997, ★½, Color, Crime, Drama, English, Mystery, Thriller, USA, Warner Bros.

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Matewan (1987, John Sayles)

Posted on 22 August 2005 | Leave a comment

What was that? Did anyone else see that? (Probably not, I’m watching the Canadian widescreen DVD).

Sayles actually ripped off the looking at the camera bit from The 400 Blows. He actually did it–while having the characters future self narrate the epilogue. I’ve been dreading watching Matewan for over a year, since April 2004 in fact. I thought the dread came from my having only seen Matewan in school, but I guess I was just being smart. Matewan is easily Sayles’ worst film. It’s also one of his only “bad” ones. Matewan isn’t that bad, of course (get to that in a second), it’s just propaganda. Sure, it’s historically accurate, but it’s also propaganda. Management abusing labor is a fact and it’s a crime and Matewan is accurate in its depiction of it. But. Sayles presents one agent of management as a human being. The rest are not. The rest are villains. So, if there’s a shoot out with the villains, it’s impossible to care about them, impossible to think their deaths are at all a tragedy. Their deaths are weightless. Even Lethal Weapon 2 made excuses about its level of violence. It’s a disappointment, but Matewan is also Sayles’ first “big” film and it obviously got away from him.

There are signs of the Sayles goodness, of course. There are lots of interesting characters, but he doesn’t know what to do with them. There’s still too much of a story, instead of all the little stories that usually propel his films. There’s the Sayles cast, Chris Cooper and David Straithairn and Mary McDonnell are all excellent, Cooper the most. It’s hard to believe he didn’t become a vanilla leading man after Matewan.

I’m incredibly upset about this film… I was off movies because Stripes was so shitty, because an Ivan Reitman/Bill Murray picture was so painfully mediocre (and unfunny). What is a bad John Sayles movie going to do to me?

1.5/4★½

CREDITS

Written and directed by John Sayles; director of photography, Haskell Wexler; edited by Sonya Polonsky; music by Mason Daring; production designer, Nora Chavooshian; produced by Maggie Renzi and Peggy Rajski; released by Cinecom Pictures.

Starring Chris Cooper (Joe Kenehan), James Earl Jones (‘Few Clothes’ Johnson), Mary McDonnell (Elma Radnor), Will Oldham (Danny Radnor), David Strathairn (Police Chief Sid Hatfield), Ken Jenkins (Sephus Purcell), Gordon Clapp (Griggs), Kevin Tighe (Hickey), John Sayles (Hardshell Preacher), Bob Gunton (C.E. Lively), Josh Mostel (Mayor Cabell Testerman), Nancy Mette (Bridey Mae), Jace Alexander (Hillard Elkins), Joe Grifasi (Fausto), Gary McCleery (Ludie), Jo Henderson (Mrs. Elkins), Maggie Renzi (Rosaria), Tom Wright (Tom), Michael B. Preston (Ellix), Tom Carlin (Turley) and Jenni Cline (Luann).

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Posted in 1987, ★½, Cinecom Pictures, Color, Drama, English, History, Italian, USA

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