Tag Archives: Russell Crowe

Man of Steel (2013, Zack Snyder)

Man of Steel is good. It’s really good. Not only is it really good, I like it enough for a 500 word special.

There’s always a moment in a good action movie when it eventually runs out of steam and one has to give it some thought. There’s a breather scene, in other words. For Man of Steel, director Snyder uses flashbacks to Kevin Costner (as Superman’s dad) for the breather scenes and they aren’t breathers. They’re these intensely emotional scenes in between the action, which often have intense emotions too.

The present action of the film takes place over a few days, maybe a week. David S. Goyer’s script never gets exact–he’s dealing with alien spacecraft and a man who can fly so speeding between two locations isn’t a problem–but it never feels rushed. Snyder gets in a few nice little human moments for Superman Henry Cavill, who’s usually busy flying around the planet.

Snyder and Goyer take a moderately realistic approach to a super-powered alien suddenly flying around the globe. They seem to err on the side of excess–why would anyone get so excited about a guy in a red cape when there are alien spaceships too–but they know how to manage it. Snyder’s not original in his approach (he acknowledges his sources in a cute way) but he applies them well.

Snyder’s assured direction would be the star of Man of Steel if he weren’t consciously putting Cavill front and center. Michael Shannon gets a lot to do and he’s great; he and Cavill play wonderfully off each other. There’s a lot of nice subtext in their scenes. Shannon always gives the impression he’s holding back a little, making a well-timed outburst all the more effective.

As Lois Lane, Amy Adams does fine. She has surprisingly little to do, even though she’s undeniably integral. She’s not the star and Snyder and Goyer’s economy doesn’t allow for her to have much to herself.

Costner and Diane Lane are both excellent as Cavill’s adoptive parents. Snyder gets away with implying a lot about their relationship; the music from Hans Zimmer, Amir Mokri’s photography and David Brenner’s editing are essential to those implications. Snyder doesn’t exactly require a lot from his audience, but he’s definitely setting certain bars higher than others. The fight scenes, while technically magnificent, are still rather simple. The character stuff… he veers towards the sublime.

And there’s an even mix of character and action, even for the supporting cast (so when they forget someone, it’s unfortunately noticeable).

Russell Crowe’s good in the Brando role, surprisingly so, even if he’s around a little much. Not around enough is Ayelet Zurer as Cavill’s birth mother. She’s fantastic in her scenes. Antje Traue doesn’t have enough to do, but Goyer still takes the time to give her a whole arc with Christopher Meloni’s military guy.

Man of Steel can’t be much better. Goyer, Snyder and Cavill (and Zimmer) hit all the right notes.

3.5/4★★★½

CREDITS

Directed by Zack Snyder; screenplay by David S. Goyer, based on a story by Goyer and Christopher Nolan and characters created by Jerry Siegel and Joe Shuster; director of photography, Amir Mokri; edited by David Brenner; music by Hans Zimmer; production designer, Alex McDowell; produced by Nolan, Charles Roven, Deborah Snyder and Emma Thomas; released by Warner Bros.

Starring Henry Cavill (Clark Kent), Amy Adams (Lois Lane), Michael Shannon (General Zod), Kevin Costner (Jonathan Kent), Diane Lane (Martha Kent), Russell Crowe (Jor-El), Ayelet Zurer (Lara Lor-Van), Antje Traue (Faora-Ul), Christopher Meloni (Colonel Nathan Hardy), Harry Lennix (General Swanwick), Richard Schiff (Dr. Emil Hamilton), Michael Kelly (Steve Lombard) and Laurence Fishburne (Perry White).


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THIS FILM IS ALSO DISCUSSED IN SUM UP | SUPERMAN.

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Les Misérables (2012, Tom Hooper)

Thank goodness for Helena Bonham Carter and Sacha Baron Cohen… otherwise, someone might confuse Russell Crowe’s performance as the most inept in Les Misérables. Actually, Crowe’s quite a bit better than Eddie Redmayne and Amanda Seyfried too. Redmayne just can’t sing–neither can Crowe, but it doesn’t impair his acting too much–and Seyfried’s just misused. Director Hooper–possibly sticking to the original stage production–never bothers to establish her relationship with adoptive father Hugh Jackman. As a result, Seyfried never resonates.

As for Jackman, he’s good but the film takes place around him. It works when it’s Anne Hathaway, who’s absolutely amazing in the film and just one of her songs is worth sitting through the entire boring picture, but flops when it’s Redmayne. Samantha Barks is part of a love triangle with Redmayne and Seyfried and she’s not bad. She can’t carry the second half of the film though.

What’s so inexplicable about Les Misérables is the bad casting. Why anyone put Redmayne in it opposite someone who can obviously sing and act–Aaron Tveit–and then give Redmayne the bigger role is (artistically speaking) beyond me. Hooper mollycoddles about half the cast, which doesn’t do the film any favors.

Of course, Hooper doesn’t do it many favors himself. He can’t direct actors (child actor Daniel Huttlestone is atrocious) and he can’t direct the CG sequences either. The film looks absurdly silly at times, especially with Danny Cohen’s truly incompetent photography.

Hathaway and Jackman deserve a better production.

1/4

CREDITS

Directed by Tom Hooper; screenplay by William Nicholson, Alain Boublil, Claude-Michel Schönberg and Herbert Kretzmer, based on the musical by Boublil and Schönberg and the novel by Victor Hugo; director of photography, Danny Cohen; edited by Chris Dickens and Melanie Oliver; music by Schönberg, lyrics by Kretzmer; production designer, Eve Stewart; produced by Tim Bevan, Eric Fellner, Debra Hayward and Cameron Mackintosh; released by Universal Pictures.

Starring Hugh Jackman (Jean Valjean), Russell Crowe (Javert), Anne Hathaway (Fantine), Amanda Seyfried (Cosette), Eddie Redmayne (Marius), Samantha Barks (Éponine), Aaron Tveit (Enjolras), Helena Bonham Carter (Madame Thénardier), Sacha Baron Cohen (Thénardier), Daniel Huttlestone (Gavroche) and Isabelle Allen (Young Cosette).


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3:10 to Yuma (2007, James Mangold)

Another remake where they credit the original screenwriter as a contributing writer in order not to call it a remake.

Halsted Welles wrote the original 3:10 to Yuma’s screenplay… not sure why Mangold and the producers thought Michael Brandt and Derek Haas, writers of some vapid action movies, would match him.

I assume Brandt and Haas added the stuff where Logan Lerman (as Christian Bale’s kid, who tails along while Bale takes prisoner Russell Crowe to catch a prison train) is horrified to see how Chinese laborers were treated.

Yuma’s actually—with the exception of Marco Beltrami’s awful score—rather well-produced. Mangold composes the Panavision frame well. It’s not a significant film, but a competent one.

With the exception of the acting, of course. There’re so many people around Bale and Crowe, it barely feels like the two are supposed to be acting off each other. Worse, Bale’s terrible. The film opens with Lerman acting circles around him.

Mangold casts about half the film well and the other half awful. Gretchen Mol is Bale’s wife (and the only time he’s the better actor is in their scenes together). Peter Fonda’s weak, so’s Kevin Durand. However, Dallas Roberts, Alan Tudyk and Vinessa Shaw are all strong. Mangold’s got a surprise actor at one point and it livens things up. Yuma’s boring and not in a good way. Without a dynamic performance to match Crowe’s, it drags.

Well, Ben Foster’s pretty dynamic… but he’s not opposite Crowe.

It’s nearly decent.

1.5/4★½

CREDITS

Directed by James Mangold; screenplay by Halsted Welles, Michael Brandt and Derek Haas, based on a short story by Elmore Leonard; director of photography, Phedon Papamichael; edited by Michael McCusker; music by Marco Beltrami; production designer, Andrew Menzies; produced by Cathy Konrad; released by Lionsgate.

Starring Russell Crowe (Ben Wade), Christian Bale (Dan Evans), Ben Foster (Charlie Prince), Dallas Roberts (Grayson Butterfield), Peter Fonda (Byron McElroy), Gretchen Mol (Alice Evans), Alan Tudyk (Doc Potter), Kevin Durand (Tucker), Vinessa Shaw (Emma Nelson) and Logan Lerman (William Evans).


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Virtuosity (1995, Brett Leonard)

Virtuosity, being from the 1990s, is from the era when both Russell Crowe and Denzel Washington didn’t only appear in films directed by the Brothers Scott and Kelly Lynch was still in movies getting theatrical releases. It’s an early CG movie, with lots of computer references and set in the “near future.” It’s incredibly solid, however, for what it is–an action thriller.

Barely anything happens in the film not related to the main plot. There’s no romance between Washington and Lynch–partially, I’m sure, because of Washington’s boycott on interracial romances but also because there’s just no time for it. The movie’s present action is something like forty hours. Enough time to introduce conflict then go through a lot of action to resolve it.

While Washington’s great in the film, it’s a sturdy, leading man great. He’s barely charming here, as Virtuosity is well into his asexual film career (was it Gene Siskel who said he was the only guy who could play James Bond?). Instead it’s Crowe who gets to have all the fun, playing a psychotic virtual reality serial killer or something. It’s mostly about him just being crazy and good at it. It’s maybe not daring, but a lot more than what his acting has become.

Leonard’s a fine director. He can compose shots. It’s the 1990s, there’s a Peter Gabriel song over the end credits.

Unfortunately, the principal supporting cast member–Stephen Spinella–is beyond terrible. Amongst the sturdy character actors, he seriously hinders Virtuosity.

1/4

CREDITS

Directed by Brett Leonard; written by Eric Bernt; director of photography, Gale Tattersall; edited by B.J. Sears and Rob Kobrin; music by Christopher Young; production designer, Nilo Rodis-Jamero; produced by Gary Lucchesi; released by Paramount Pictures.

Starring Denzel Washington (Lt. Parker Barnes), Kelly Lynch (Madison Carter), Russell Crowe (SID 6.7), Stephen Spinella (Lindenmeyer), William Forsythe (William Cochran), Louise Fletcher (Elizabeth Deane), William Fichtner (Wallace), Costas Mandylor (John Donovan) and Kevin J. O’Connor (Clyde Reilly).


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