Tag Archives: Michel Litvak

Bobby (2006, Emilio Estevez)

I knew Emilio Estevez directed Bobby, but I didn’t know he also wrote it. From the dialogue and the construction of conversations, I assumed it was a playwright. There’s a certain indulgence to the dialogue, which some actors utilize well (Anthony Hopkins) and some not (Elijah Wood).

Estevez’s an exceptionally confident filmmaker here. He changes the film’s premise in the final sequence, going from a Grand Hotel look at people in the hotel where Bobby Kennedy was shot to an extremely topical, socially relevant picture about how little the world has improved between the shooting and the film’s production. He relies heavily on the audio of a Kennedy speech over the film’s action because there’s no other way it’d work. And it does work.

There are some great scenes in the film, particularly one between Demi Moore and Sharon Stone where the two former sex symbols discuss aging. Stone’s great throughout the film. Moore’s great in that scene (and okay in the rest).

Other great performances include Freddy Rodriguez, Lindsay Lohan, Jacob Vargas, Nick Cannon, Joshua Jackson, Brian Geraghty and Shia LaBeouf. Martin Sheen and Helen Hunt are both good, just not exceptional. Similarly, Christian Slater’s impressively slimy without being fantastic. Hopkins is outstanding. Only Wood and Ashton Kutcher are bad. Kutcher’s worse. Much worse.

The real acting star is Rodriguez.

Estevez gets great work from cinematographer Michael Barrett and composer Mark Isham.

Bobby is impressive work; with Estevez establishes himself as an ambitious, thoughtful, if not wholly successful, filmmaker.

CREDITS

Written and directed by Emilio Estevez; director of photography, Michael Barrett; edited by Richard Chew; music by Mark Isham; production designer, Patti Podesta; produced by Edward Bass, Michel Litvak and Holly Wiersma; released by The Weinstein Company.

Starring Harry Belafonte (Nelson), Joy Bryant (Patricia), Nick Cannon (Dwayne), Emilio Estevez (Tim), Laurence Fishburne (Edward), Brian Geraghty (Jimmy), Heather Graham (Angela), Anthony Hopkins (John), Helen Hunt (Samantha), Joshua Jackson (Wade), David Krumholtz (Agent Phil), Ashton Kutcher (Fisher), Shia LaBeouf (Cooper), Lindsay Lohan (Diane), William H. Macy (Paul), Svetlana Metkina (Lenka), Demi Moore (Virginia), Freddy Rodríguez (Jose), Martin Sheen (Jack), Christian Slater (Daryl), Sharon Stone (Miriam Ebbers), Jacob Vargas (Miguel), Mary Elizabeth Winstead (Susan) and Elijah Wood (William).


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Drive (2011, Nicolas Winding Refn)

It’s amazing how much mileage Drive gets out of its soundtrack–not Cliff Martinez, though he does a great Tangerine Dream impression, but the licensed songs from Kavinsky and College. They deserve opening titles billing.

Drive is an eighties L.A. crime thriller with a slight seventies sensibility and some ultra-violence. It’s unclear why director Winding Refn thought it needed ultra-violence because, after the first instance, everything else pales. He even goes too far with a later scene of Carey Mulligan discovering the violence her Romeo, Ryan Gosling, is capable of. Otherwise, Winding Refn does an excellent job. He’s aping eighties Michael Mann (Drive was better when it was called Thief and starred Jimmy Cann) along with some John Woo, not to mention Walter Hill’s The Driver.

While there are some slightly unpredictable details, Drive is utterly predictable. There’s one question to the entire film–is Gosling going to make it? He’s a precise, successful criminal who breaks the rules because of his emotions. Of course things go wrong. Of course he turns out to be tougher than John Rambo.

Since it’s not an exercise in originality, Drive‘s mostly just a good excuse to be impressed with Gosling and Albert Brooks. Ron Perlman’s great in it, but he’s playing Ron Perlman. Mulligan’s okay, though somewhat unbelievable as the wife of a dumb criminal. She’s too delicate. Bryan Cranston is utterly wasted.

But Gosling and Brooks? They’re both outstanding.

Drive‘s not bad, but Winding Refn has nothing original to say.

CREDITS

Directed by Nicolas Winding Refn; screenplay by Hossein Amini, based on the novel by James Sallis; director of photography, Newton Thomas Sigel; edited by Matthew Newman; music by Cliff Martinez; production designer, Beth Mickle; produced by Michel Litvak, John Palermo, Marc Platt, Gigi Pritzker and Adam Siegel; released by FilmDistrict.

Starring Ryan Gosling (Driver), Carey Mulligan (Irene), Bryan Cranston (Shannon), Albert Brooks (Bernie Rose), Oscar Isaac (Standard), Christina Hendricks (Blanche), Kaden Leos (Benicio) and Ron Perlman (Nino).


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The Hole (2009, Joe Dante)

The Hole is, I believe, intended to be a family-friendly (I can’t believe PG-13 movies are now supposed to be family-friendly) horror film directed by Joe Dante. As opposed to Dante directing a family-friendly horror film. It’s Joe Dante doing work for hire, something I’m not really familiar with him doing often.

Dante’s direction here is fantastic, even if there are the occasional “3D ready” shots. He actually doesn’t do too many of them and instead concentrates on maintaining a constantly ominous atmosphere. Only after the story resolves itself does the narrative get predictable and start falling apart. I’ve never seen those “Goosebumps” videos, but I imagine they’re a lot like the last fifteen minutes of The Hole.

But until then, it goes very, very well.

All of the credit goes to Dante, who doesn’t just construct the atmosphere, he gets good performances out of his young cast. The film’s short and small–it takes place almost entirely in one house–but the low budget doesn’t reveal itself until the end, when it wouldn’t matter anyway. So Dante’s basically got three actors–Chris Massoglia, Nathan Gamble and Haley Bennett–acting scared in a restricted area.

The script unfortunately requires Massoglia to frequently be way too thoughtless when it comes to younger brother Gamble’s safety, but Dante makes it painless.

Teri Polo has almost nothing to do. Her limited screen time still drags.

The Hole should have been a lot better, but it’s still rather decent. And just beautifully directed.

Great Dick Miller cameo too.

CREDITS

Directed by Joe Dante; written by Mark L. Smith; director of photography, Theo van de Sande; edited by Marshall Harvey; music by Javier Navarrete; production designer, Brentan Harron; produced by Claudio Fäh, David Lancaster, Michel Litvak and Vicki Sotheran; released by Bold Films.

Starring Chris Massoglia (Dane Thompson), Haley Bennett (Julie Campbell), Nathan Gamble (Lucas Thompson), Bruce Dern (Carl) and Teri Polo (Susan).


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Legion (2010, Scott Stewart)

So is it just a coincidence Legion came out while James Cameron was busy with Avatar‘s theatrical release and the Terminator rights were getting sold? I mean, someone’s got to be keeping an eye out for filmic plagiarism, right?

Legion is the first two Terminator movies with an Old Testament God thrown in (I actually do love how the movie, as near as I can tell, ignores Jesus and all that jazz). Well, I guess there is one big difference between the two–in Terminator, Linda Hamilton fell for the guy who moons over here. In Legion, Adrianne Palicki–who’s laughably bad in the Sarah Connor role–seems more likely to get with protecting Terminator (sorry, angel) Paul Bettany than she does the devoted Lucas Black.

Black gets a whole paragraph, by the way, because he was so good in “American Gothic” and Sling Blade. He’s kind of likable, playing a rube, but I recognized him not because I knew he was in the movie, but because he’s using the same mannerisms he had as a kid.

Good performances from Tyrese Gibson (who’s turning this whole stereotypical gang banger grown up thing into a career), Charles S. Dutton (big shock), Willa Holland and Jon Tenney. Bad performances from Kevin Durand, Kate Walsh (how much make-up can one person wear) and Palicki. Dennis Quaid needs his agent to stop with the character actor roles and get himself a TV series.

Stewart’s not a bad director, just a terrible screenwriter.

Blah.

CREDITS

Directed by Scott Stewart; written by Peter Schink and Stewart; director of photography, John Lindley; edited by Steven Kemper; music by John Frizzell; production designer, Jeff Higinbotham; produced by David Lancaster and Michel Litvak; released by Screen Gems.

Starring Paul Bettany (Michael), Lucas Black (Jeep Hansen), Tyrese Gibson (Kyle), Adrianne Palicki (Charlie), Charles S. Dutton (Percy Walker), Jon Tenney (Jay), Kevin Durand (Gabriel), Willa Holland (Audrey Anderson), Kate Walsh (Sandra Anderson) and Dennis Quaid (Bob Hansen).


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