Movie Blog

Avatar : A Stunning Visual Experience on Film

Sat, 26 Dec 2009 23:10:07 -0500

Director James Cameron isn't content to make small intimate films.

After all, the director of the largest grossing film of all time, "Titanic" ... and, the man who proudly proclaimed himself "King of the World" after receiving an Oscar for that landmark and costly, but incredibly profitable and popular production gamble... had his own big shoes to fill for his follow-up venture.

However, Cameron is a brilliant creative force that relishes the challenge of trying to top himself and push the envelope of filmmaking, both visually and technically.

Cameron took the modern classic science fiction film "Alien"... and all but reinvented the concept with it's high octane action sequel, "Aliens".

In "Terminator 2: Judgement Day, Cameron took his smaller original, but innovative film... and turned it's sequel into a box office smash with amazing new special and visual effects never before seen on screen.

Finally, there was "Titanic"... a film many observers thought during it's production would tank at the box office in the same abyssmal way as it's real life, sea going namesake. Instead, Cameron again stunned audiences with a story that resonated with romantics... coupled with an equally stunning and massive re-creation of the Titanic's tragic end. In the process, Cameron created a film juggernaut that broke all box office records.

Now, Cameron returns to the big screen after working on a 15-year long project that promises, at the very least, to reinvent the way we look at movies... from a visual and technical perspective... and also, be hugely entertaining for audiences.

In Cameron's new film "Avatar"... you immediately realize from the first 3-D moment on screen that you're witnessing something truly spectacular. Avatar is more than simply a movie... it's a groundbreaking landmark film... in terms of new filmmaking technology coupled with a highly entertaining - albeit throughly familiar story... thats both emotional and action packed.

In "Avatar" - Director James Cameron transports us to a lush amazing, rain forest like world called Pandora... where corporate financed colonists from Earth hope to exploit the planet's resources of a valuable mineral. However, in order to do this ... they have to relocate the planet's inhabitants called the Na'vi to another site.

The Na'vi are lithe, blue skinned, 10-feet tall warriors who, at the most basic description, resemble our own Native-Americans in their tribal customs and beliefs... particularly in their respect for their beautiful planet's eco-system and life force that they believe is spiritual in nature.

They are deeply wary of the Earth invaders... despite efforts by a sympathetic scientist, Dr. Augustine ( played by Cameron favorite, Sigourney Weaver ) to peacefully study and interact with the Na'vi. Weaver's scientist also hopes to negotiate a peaceful alternative to the ominous plans her corporate superiors have in mind for the Na'vi... should they refuse to relinquish their land and the valuable mineral beneath.

Sam Worthington stars as Sully, a paraplegic marine chosen to infiltrate the Na'vi tribe... by way of a genetically created being - or Avatar - that resembles the tribe-like Navi inhabitants. These "Avatars" are created by combining Na'vi and human DNA to create flesh and bone surrogates that the humans can mentally inhabit as if they were a second body. For Sully, this represents a chance to regain his legs... first as an "Avatar" and later as reward for his efforts, the means on Earth to regain the use of his own human legs.

Sully's mission is to either convince the Navi to relocate... or learn as much as he can to aid in their forceful removal by corporate owned military types... all too ready to destroy the Navi altogether. However, Sully unexpectedly forms a bond with the tribe, their ways, their beliefs... and also, one of their beautiful women, Neytiri... played by Zoe Saldana.

Neytiri is tasked by her parents to teach Sully the ways of the Na'vi in hopes of a peaceful negotiation with the Earth colonists whom they negatively and suspiciously refer to as "The Sky People".

In the process of their interaction and teaching... Sully and Neytiri form their own bond of trust, understanding and eventually, love .... leading Sully to eventually choose sides... either his own people - or the Navi.

"Avatar" is a film that is truly enthralling in many ways. While the plot line of the film is somewhat thin, even strongly derivative of a galactic "Dances with Wolves"... it still works and holds your attention.

In part due to the performances by Worthington, Weaver... and Steven Lang as a somewhat cliched, but nevertheless malevolently ruthless Col. Quaritch, who tries to get Sully to learn all he can about the Na'vi and betray their secrets... which leads to a cataclysmic attack that all but destroys the Na'vi... and is the turning point for Sully's allegiances.

The relationship between Sully and Neytiri is emotionally moving and plausibly portrayed. In part, due to actress Zoe Saldana's superb acting as Neytiri... who is equally sexually seductive as a female of her race, yet also, as fiercely strong and battle-ready a warrior as any of his male tribesmen.

However, the true star of "Avatar" are the spectacular effects created by Cameron's technical crew. Often, a film's special effects can overpower a film... making it simply an exercise in excess and gadgetry. Yet, the superb magic of Cameron's specially created effects technology for "Avatar" is that the director has created both a stunningly alien world and humanoid beings that seem as if they are real in every way.

After a few minutes of watching "Avatar"... you truly forget you are watching a film that is primarily computer generated. The Na'vi appear on screen as real as the scenes utilizing the real flesh and blood characters. They move and interact, even in close up... in a way that seems genuinely real in every way... as if they actually existed.

This is about as close as cinematic technology has ever gotten to realistically replacing human beings seamlessly as actors... at least in the visual sense.

The same holds true for the fantastic world of Pandora that Cameron has created. The film's planet is an amazing palette of textures and colors ( mainly blue and green ) and breathtaking scenery ranging from mammoth mountains that float in the sky... and beautifully alien flora and fauna... to soaring flights miles above the planet as the Na'vi glide on the backs of their reptilian Banshees to travel the landscape.

"Avatar" is a visual feast... that subtly integrates 3-D effects to enhance the film's realism. There are no cheap 3-D gimmicks in "Avatar" such as debris or other objects gratuitously flying from the screen... simply for a "wow" effect.

While this film is almost three hours in length, it seldom - if ever - drags ... and the final climatic battle between the Na'vi and the Earth invaders is a truly exciting and visual treat.

Avatar is truly one of the most spectacular films you'll ever see. Director Cameron spent 15 years developing the technology to make this CGI world seem literally lifelike.

The screen is filled with incredible vision, lavish scenery and exciting action... that demands more than one viewing to fully appreciate. While the thin plot has familiar themes for some moviegoers... the eye popping way this film is packaged makes it - a true landmark movie event... and one you shouldn't miss.

With "Avatar"... director James Cameron can arguably claim he's "King of the Universe"... at least, Pandora's amazing universe.

Tim’s video review of “Avatar”

Edited by Araminta Romero

See more of Tim’s videos on You Tube
at FilmFanTV

“ 9 ” : Can This Animated Film Reach A Perfect 10 ?

Wed, 9 Sep 2009 02:13:40 -0400

Surviving the world apocalypse and the end of mankind is certainly all too familiar territory for film makers to explore time after time... and with the new animated film "9", Hollywood attempts a fresh new attempt at trial blazing new ground in this well worn genre.

The idea for this new film comes from a unique piece of source material. In 2005, film director Shane Acker created his Oscar-nominated CGI animated short film about a small mechanical creature surviving a post-apocalypse world terrorized by larger rampaging machines.

That short film was a masterpiece of simplicity... telling a unique story filled with awe and wonder in a mere 11-minutes of screen time... and devoid of any dialogue whatsoever.

In this new film, director Acker... and co-screenwriter Pamela Pettler, have expanded the original 11-minute film into a 77-minute long feature with added dialogue, nuance and extended action scenes that are indeed exciting and at times awe inspiring. However, overall - does the expanded, pumped up version improve or detract from the original concept.

"9" is the story of a small, almost rag-doll like mechanical being... who awakes in a world decimated by war and destruction and devoid of anything human... save for a wasteland of rusting, decaying remnants of civilization and devastated cities. Elijah Wood gives voice to the character of "9", named as such because of the same number scrawled across the back of his worn, burlap covered body.

The beginning of this film more than echoes another similarly themed film, Pixar's "Wall-E" ... as "9" silently and alone scrounges around the devastated landscape, both on a tour of discovery... and of survival. "9" believes he is indeed the sole inhabitant of this desolate world... but that soon changes with the arrival of two very different creatures.

One is a kindly and wise creature made of gears and burlap just like "9"... named number "2" ( voiced by Martin Landau )

Number Two literally helps "9" find his voice... and his way in navigating this desolate terrain. However, both are almost immediately confronted by a vicious creature called "The Beast" made from bones, demonic glowing eyes and mechanical parts.

"2" bravely fights off "The Beast"... allowing "9" to hide and escape... before the creature conquers "2" in the fight and carries him away to a far off lair where more mechanical horrors await.

This now leaves "9" alone on his own once again... but he soon encounters more of his own kind, including a gentle, dim-witted, one eyed "5" ( John C. Reilly ), a valiant female warrior with wits, spectacular fighting skills ...and one imagines, a degree of puppet like beauty among her kind, "7" ( Jennifer Connelly )

...and finally, "1" ( voiced by Christopher Plummer ) as a older, sage-like, de-facto leader of these rag-doll creations who demands their obedience under the pretext of their very survival at his iron will.

Despite the protests of "1" for the small group to stay hidden and safe inside a crumbling cathedral sanctuary ... "9" wants to embark on a rescue of "2" from within the bowels of The Beast's stronghold. "9" prevails in this quest... and the group enters the stronghold to free "2".

However, in the process, "9" unwittingly energizes and unleashes a larger, more destructive mechanical beast that seemingly kills one of the frail creatures in a pitched battle. The result leaves "9" and the others devastated... and the new mechanized monster to create more mechanical menaces to ravage the landscape.

The rest of the film focuses on "9" journey of self discovery and preservation for his kind. In the process, he discovers the reason behind his creation by a benevolent, well-meaning scientist who's desire to better mankind... only led to it's eventual destruction.

The film "9" is a visually stunning piece of CGI animation... but, it's world has none of the colorful palettes of any of the Pixar films, including it's closest cousin "Wall-E". This is a world of dismal desolation, dark shadows, and pastel glows... but, it works as a visual feast. The action scenes are stunning, exciting and wonderfully staged and executed.

However, the film also has flaws that increasingly make it fall apart as it nears it’s climax. The film is produced by filmmaker Tim Burton and his trademark touches are everywhere. Many of the film's scenes, characters and mood echo several of Burton's own films that he directed. The creatures at times seem to be refugees from "The Nightmare Before Christmas", "Edward Scissorhands" and "Corpse Bride" by way of "Popular Mechanics".

Many other scenes and the plot line have echoes of many other well known films including "Terminator 2: Judgement Day", "The Wizard of Oz", the aforementioned "Wall-E"... and even "War of the Worlds" in it's mankind-killing war machines.

It's this amalgam of so many iconic films that tends to distract from the film's initial uniqueness. You find yourself spending so much time recognizing images from other familiar films... that the result is not so much positive and nostalgically derivative... as it's becomes mostly distracting.

Add to that, the fact that the film's climax - though action packed... comes to a swift, abrupt conclusion and a finale that is equally abrupt... and jarringly unsatisfying in it's resolution. The audience is left with the feeling as the closing credits roll - "Is that all there is?"

Clearly, the feature film "9" is meant to be more detailed and textured than it's Oscar-nominated 11-minute predecessor. However, as visually appealing the longer, louder, and more intentionally nuanced this expanded version to meant to be...

... it only seems to prove the old adage that sometimes "Less is More".

Tim’s video review of “9”

Edited by Araminta Romero

See more of Tim’s videos on You Tube
at FilmFanTV

Taking Woodstock : Is It Worth The Trip ?

Fri, 28 Aug 2009 01:59:44 -0400

In July 1969, Woodstock was an event touted as three days of peace and music... that ultimately helped define a generation.

Woodstock is certainly remembered - albeit somewhat hazily by many who were there - as more than just one of the biggest rock concerts ever. Indeed, Woodstock was far more than merely a concert... or even a three day festival of peace and music.

It was a once in a lifetime phenomenon shared by a half million young people... who survived and reveled in three days of full of music, mud, rain, love, drugs... a little sex... and lots of rock n' roll.

However, in the new film "Taking Woodstock", director Ang Lee crystalizes that collective experience not thru the youthful eyes of the thousands on hand... but instead, through the uniquely singular journey of one of the most unlikely participants in that unforgettable weekend.

"Taking Woodstock" follows the real life journey of then 34-year old Eliot ( Demetri Martin ) ... a young, button down interior designer, without whom Woodstock might never have taken place.

Eliot, in the yiddish vernacular is a true "mensch" to his immigrant Jewish parents... a good person with a big, giving heart. He's plays the ever doting son to his rather eccentric parents, especially his overbearing, often unpleasant and ungrateful mother... helping them run and manage their broken down motel in the Catskills.

However, despite his good deeds as a good son... Eliot deep down longs for a fulfilling life on his own someplace else.

Eliot helps his parents keep the bank from closing down their floundering, dilapidated string of rooms... promising things will somehow miraculously improve on the property.

Meantime, he's seemingly overwhelmed overseeing a three ring circus of chaos at the motel and among his neighbors.

He's simultaneously trying to keep the motel open... manage and placate his annoying penny-pinching mother... housing a supremely weird and untalented theater company in the motel barn... and more. As the town's chamber of commerce head... Eliot is constantly trying to find ways to boost and motivate his "less than motivated" neighbors to improve business.

Suddenly, fate hands Eliot an unexpected opportunity to make pop culture and music history... though, he nor anyone else has any prior inkling to the massive effect his simple act will have on his community or the collective culture. When nearby Wallkill, NY turns down the promoters of a music festival for a permit, fearing an onslaught of hippies in their town... Eliot eagerly offers the promoters a permit to perform on his parents' property.

However, when the motel property turns out to be a swampy unsuitable mess... Eliot connects the promoters with nearby dairy farmer Max Yasgur ( wonderfully played by Eugene Levy ) ... who gladly offers up usage of his expansive property for the concert... for a $75,000 fee.

The promoters' financial backers reluctantly accept... and the wheels are set in motion for an unexpected invasion of a half-million flower children, hippies and music lovers that jam the small town and Yasgur's farm.

What happens next in "Taking Woodstock" is less a retelling of the events of Woodstock itself... and more a journey of self discovery for young Eliot. While the three-day festival and massive influx of attendees provides a cash cow for his parents' motel and the town... Eliot finds his true self and eventual independence amid a circus of young people and odd characters reveling in the weekend's peace, love and LSD induced Purple Haze.

Eliot's inner journey is displayed via a series of encounters with a mixed bag of characters and situations. Eliot and his straight laced neighbors and uptight parents are surrounded by thousands of people... espousing peace, love and joy... and also, not at all shy to group skinny dip in the nearby pond.

The characters in "Taking Woodstock" are a diverse mix reflective of the time... from a tolerant state trooper stationed to keep order, but who also wears a flower in his helmet given by one of the festival goers... to a former Marine in drag ( Liev Schreiber ) who befriends Eliot and his parents... and offers to act as security for the motel during the chaotic festival.

As the festival wears on... Eliot finds freedom and courage to embrace his apparently repressed gay sexuality. He also takes a bit of time to experience from a distance the festival that he was so instrumental in making happen.

Along the way, Eliot takes an LSD induced journey with a young couple all too happy to embrace him into their three-way hallucinogenic trip.

Each little step... each little encounter brings Eliot to eventual independence from his parents... and the strength to face his own future refreshed and renewed.

Director Lee has a keen eye for capturing the little details that truly capture the spirit of the time... and the peripheral chaos that surrounded the concert that's been so well documented from the stage point of view.

Still, if "Taking Woodstock" is lacking anywhere... it's in it's failure to include at least some modicum of what attracted a half-million people to this sleepy little rural landscape for three unforgettable days.

Many moviegoers may be aware of the name "Woodstock"... but, an entire contemporary generation may also have no idea of the magnitude of the music and the magnificent performances that made this event one for the history books.

While certainly the film is more a personal story of one individual ( based on the real life memoirs of Eliot Tiber ) ... it would have been an even better, more fulfilling and informative film had Ang Lee included at least some taste of the electric excitement of the concert itself that made this such a pivotal event. Without that element, "Taking Woodstock" may leave many not familiar with the time or event questioning "what was all the fuss about"?

No one expects Lee's film to eclipse the award winning 1970 documentary "Woodstock" ... which remains the quintessential "on the scene" film chronicle of the event. However, some small dash of the music and magic that took place on stage would have made this broader film more complete.

Eugene Levy is quite entertaining as the pragmatic and open-minded Max Yasgur. Levy wonderfully captures Yasgur's look and understanding spirit making him one of the film's most endearing characters.

Liev Schreiber successfully takes a risk as the muscular cross dressing, high heel wearing Marine turned motel security guard, Vilma. His understated portrayal as Vilma keeps his colorful, house dress wearing character from becoming an "over the top" caricature... and his scenes are fun to watch.

Broadway actor Jonathan Groff makes an impressive debut in his first film as the soft spoken, laid-back festival promoter Michael Lang... a business-savvy hippie who seems to never get ruffled by the daunting epic event he's helping to create.

Rounding out this impressive cast of actors are Imelda Staunton as Eliot's intense, overbearing and often aggravating mother who tries to keep Eliot on a short leash to her apron strings

... and Emile Hirsch as Eliot's shell-shocked Vietnam vet friend who's occasionally prone to battlefield flashbacks.

The flawed link in this chain of actors is Demetri Martin as the film's central character.

His performance is simply too bland and underwhelming to make the impact it should in portraying a character who's life... and those around him, are transformed by pivotal events of that historic weekend.

That said, "Taking Woodstock" is an overall fairly entertaining journey back to an innocent and somewhat optimistic past

... at least within the boundaries of Max Yasgur's dairy farm fields on that hot, humid July weekend in 69'.

you won't need any LSD to enjoy this fun... albeit slightly flawed, trip.

Inglourious Basterds : Quentin Tarantino Changes History

Sat, 22 Aug 2009 00:53:34 -0400

Only Quentin Tarantino would have the audacity to make a film called "Inglourious Basterds" that's a boldly revisionist look at World War II ... one that wildly turns historic fact on it's ear.

However, few directors, if any - other than Tarantino could take such an outrageous concept of literally changing the outcome of the war... and make it entertaining, exciting... and cinematically nuanced and riveting without becoming laughably ludicrous.

"Inglourious Basterds" is an incredibly unique film filled with Tarantino's superbly distinct, multi layered dialogue, wonderful cinematography... and yes, an effective but - in comparison to his other films - a more subdued helping of Tarantino's outrageous action.

In typical Tarantino style, "Inglourious Basterds" is divided into separate chapters to tell the story. However, the film is primarily a tale of two compelling plot lines filled with interesting characters who will ultimately cross paths for a spectacular, "over the top" climax.

The first 20 minutes of "Inglourious Basterds" features a wonderfully suspenseful and tense encounter that is one of the best film face-offs I've seen in years.

In this opening sequence, the audience is introduced to Nazi Colonel Hans Landa, played to astounding star-making perfection by newcomer, Christoph Waltz.

Colonel Landa is a cunning, soft spoken pit viper Nazi... known to all as "The Jew Hunter" for his merciless and effectively meticulous fashion of successfully roaming the French countryside... ferreting out terrified Jews hiding from their murderous Nazi persecutors.

In the film's riveting opening sequence, Colonel Landa arrives at a small French cottage where a dairy farmer lives with his three daughters.

Landa suspects the farmer of hiding Jews and the manner in which he coerces the farmer to reveal that secret is a stunning piece of wonderfully crafted dialogue... delivered masterfully by Landa.

Waltz’ Col. Landa is a smug, smiling demon hidden behind a thin, deceptive veneer of civility... all the while creating a sense of dread, malevolence and simmering evil that builds to a slow suspenseful boil. The scene is basically only two men talking in calm measured tones.

However, the audience... and perhaps Landa knows beneath the floorboards of the tabletop conversation... is a family of Jews cowering in fear of being discovered. The tension-filled power of this scene and the actors keeps you on the edge of your seat as effectively as any full out action sequence.

The result of this face off culminates in a brutal and deadly assault... that results in the escape of one young member of the now murdered Jewish family named Shoshanna, later played by Melanie Laurent.

Tarantino then shifts the film’s focus to the second half of his double edged plotline... the "Basterds" themselves.

In this scene, we're introduced to a group of Jewish soldiers semi-reminscent of "The Dirty Dozen" ...without the prison records.

The mission of this group is simple... to kill Nazis. The commanding officer of this elite group of soldiers is Lt. Aldo Raine, played with entertaining good ol' boy bravado by Brad Pitt... isn't content to just "kill" Nazis.

His squad's mission is to instill fear and terror within the German ranks by butchering every Nazi they come across in a literal "take no prisoners" mission objective.

Raine is a mountain boy nicknamed "The Apache" for his alleged Native American heritage.... and, as such Raine calls upon that lineage to demand "each and every one" of his squad of Jewish soldiers to deliver 100 Nazi scalps... or die trying.

These men are the "Inglourious Basterds" of the film's title... and they indeed are ruthless. The effectiveness of their methods are shown in one scene where they try to get information from a group of captured Nazi soldiers.

When the Nazi commanding officer refuses to divulge any information... Raine unleashes one of his most feared members of the group dubbed fearfully by the Nazis as "The Jew Bear", played by horror film director, Eli Roth.

Roth's character has developed a reputation among the Germans for his favored penchant of bashing Nazi heads to a pulp with a baseball bat... while extolling the virtues of the Red Sox and Fenway Park in a thick South Boston accent.

However, Lt. Raine isn’t completely without pity. Occasionally, he will allow a rare captured Nazi to go free. But, only after Raine himself has deeply carved a Nazi swastika into their forehead.... as a warning to the prisoner’s fellow Nazis.

Once these two elements of "Inglourious Basterds" are introduced... the film moves quickly to tie the dual threads together. We fast forward three years to see Shoshanna, the young Jewish girl who escaped Landa at the film's beginning. She now is hiding in plain sight in Paris as owner of a small quaint cinema showing German films.

The cinema, and more significantly, Shoshanna catches the eye of a young Nazi war hero... who's heroics are the subject of a German propaganda film championed by Hitler's second in command, Joseph Goebbels. The war hero is smitten with Shoshanna and convinces Goebbels to premiere the film for the German High Command, the SS... and even Hitler himself at her small theater.

In a moment of divine coincidence, the killer of Shoshanna's family, Colonel Landa will be providing security for the event. With this development, Shoshanna, along with her lover, sees an incredible opportunity to exact supreme and ultimate vengeance on those who were responsible for her family's death.

Meanwhile, the "Basterds" are enlisted by the British to assist in a similar operation. The Allies are aware of the same screening... and see a chance to infiltrate the theater event with explosives... and wipe out the entire German command including Hitler in one fell swoop... effectively ending the war.

What follows next are two dual but separately planned plots with a single purpose to kill Hitler. Along the way, the "Basterds" and their British ally ( Michael Fassbender ) are assisted by a famous German film star and double agent wonderfully played by Diane Kruger.

The ensuing scenes are ones filled with tension, suspense, violent gunplay... and Tarantino's patented gallows humor that is often hysterically inappropriate, yet at the same time, hysterically funny.

As with every Tarantino film, "Inglourious Basterds" is rich with film homages, as well as subtle and obvious cinematic references and unexpected actor cameos. Mike Myers turns up as a British officer in a scene that also features veteran film actor Rod Taylor ( The Time Machine ) heavily made up to portray Winston Churchill. For those with a sharp ear, you'll hear off screen voice overs featuring Samuel L. Jackson and Harvey Keitel.

Tarantino as director loves to inject flavorings from other films and cinema genres into his creations to create an odd theatrical gumbo that works for some.. not so much for others... but, there's no denying it's a distinct and, perhaps, acquired taste. However, it's certainly no accident the plot line of "Inglourious Basterds" is literally a film... set within a film... about the love of film and cinema.

The opening face off between the dairy farmer and Landa is accompanied by music reminiscent of the old 70's Sergio Leone spaghetti westerns that made Clint Eastwood a superstar.

Later, Tarantino digs up a song featuring David Bowie from the otherwise forgettable 1982 film, "Cat People" to set the tone for Shoshanna preparing for her fiery revenge against the core of the Third Reich.

The acting overall is first rate especially among the three main characters.

Christoph Waltz is a revelation that must be recognized for a Best Supporting actor nomination come Oscar time. His Colonel Landa is a multi-layered, nuanced snake who evokes chills with his charming malevolence.

Melanie Laurent is also winning in her portrayal of the cool, calculating Shoshanna whom fate hands the opportunity for the ultimate revenge. Both Waltz and Laurent are the ones who steal this film... despite a run for their money by fellow cast members, Fassbender and Kruger.

Finally, Brad Pitt takes an over the top role as the scenery chomping Lt. Raine and makes it fun without being ridiculous.

Pitt makes Raine's good ol' boy demeanor a joy to watch.... and funny as well, in the best way. When Pitt says he wants his "100 Nazi scalps"... it's reluctantly a line that elicits - at least in this reviewer's mind - a catchphrase that merits repeating.

And that beings us to the final point about "Inglourious Basterds". It is a pure, fictionally wild fantasy based in real life characters and world events.

In the wake of this year's earlier fact-based Tom Cruise film, "Valkyrie" about the real life unsuccessful attempt on Hitler's demonic, hateful life... one was left after that film with the question of ..."What if ?"

... what if history could have been changed and millions saved by Hitler's early demise ?

The real life attempt to accomplish that failed... denying us, millions of innocent dead, and history... a tidy, satisfying Hollywood... and, perhaps, morally acceptable happy ending.

Tarantino's "Inglourious Basterds" is certainly an audacious fiction

... but, at least in this fictional world, the "good" guys win in the end

... and the bad guy gets his.

Post Grad : Does This Film Make The Grade?

Fri, 21 Aug 2009 02:54:57 -0400

The new film "Post Grad" touts itself in the press as "A wry and honest look at life after college". Well... let's just cut to the chase and bluntly say... don't believe the hype.

"Post Grad" has all the wry honesty and realism about post collegiate life as a low budget TV sit-com. The film is heavy on romantic comedy film cliches... and light on anything remotely resembling the actual experiences and challenges of life after living on campus.

In the film, Ryden Malby ( played by Alexis Bledel of TV's Gilmore Girls ) is on the brink of college graduation and ready to face the working world... with her eyes filled with the adorable bright eyed optimism and enthusiasm of a cute caffeinated puppy dog - albeit with beautiful blue eyes.

Ryden reveals in the film's opening scenes that her life has been perfectly planned out for this moment for years. Ryden has literally written out her life path on paper... get perfect grades ... graduate from the perfect school... and get her perfect dream job. Simple as that. In Ryden's perfectly planned life scenario, her dream job is to follow her life's passion for books and work for the top publishing house in Los Angeles.

Of course, the cliches begin immediately as Ryden has to deal with a snarky, competitive, "rhymes with witch" female classmate... who sends condescending signals to our bright eyed heroine right off the bat. However, this competition doesn't dissuade perky Ryden in the least bit. After all, she already conveniently has an interview lined up with that top publishing house for a job opening.

In fact, Ryden is so confident she will land this entry level job... the one and only job she has apparently applied for - that before her interview... she tries to rent a lavish and expensive loft apartment with a vast window view that would be the envy of any L.A. starlet.

Um, did I mention Ryden is applying for an "entry level" job ?

Fast forward to Ryden's interview, where she's shocked to discover a dozen other candidates waiting for the same position... and when she finally gets her interview, it lasts all of 45 seconds.

The capper is... as Ryden is leaving her shockingly brief and underwhelming dream job interview - guess who is greeted by the interviewing executive with open arms ? Ryden's snarky, college classroom nemesis and class valedictorian who eventually gets Ryden's dream job instead. Rack up another cliche'.

After losing her apparently one and only significant job interview, Ryden is forced to abandon her big city plans and has to move back home with her parents ( Michael Keaton and Jane Lynch ) and wacky, eccentric grandmother. ( Carol Burnett )

Never fear however, Ryden has the dependable "nice guy" friend to lean on... and whine to about her misfortune. Meanwhile, the friend, Ryan ( Zach Gilford ) secretly pines away for Ryden's affections... all the while, he unconditionally offers her his support and ever patient shoulder to lean on. How many cliches' do we have so far ?

The rest of the film follows Ryden's efforts to land another job... any job. She's even reduced to wearing a ridiculous bell hop outfit to sell luggage at her father's mall store. Why the outfit ? Why do we care at this point ?

The barrage of cliches' just keep on coming. Montage of Ryden going through multiple aborted job interviews, circling the want ads in the "help wanted" section of the newspaper, Ryden falling for her hunky Brazilian next door neighbor who has a cool job as a TV commercial director.

Cue the heartbreak for loyal doormat friend, Ryan... who invites Ryden to see his debut singing act at a local club... but, Ryden forgets all about that date because she's in a lip lock with the hunky neighbor she just met.

Oh yeah, Ryan plays sappy but heartfelt odes to unrequited love on his guitar. Haven't we seen this guy in a dozen other similar teen romantic comedies? Oh wait, THIS one is about "real life" after college. Totally different... not.

Thrown into this cliched, often visited template of a teen comedy masquerading as a look at post college "real life"... is a mish-mosh of quaint family weirdness and dysfunction that we're supposed to believe makes Ryden's post-college life even harder to cope with. The infatuation with the handsome next door neighbor seems to come out of left field.

Meantime, the domestic craziness has nothing to do with Ryden finding her way in life as an adult.

Dad sells luggage by day... and has a pipe dream to make fast money selling gaudy, Spencer's Gifts style belt buckles in his spare time to make a fortune. Mom and Grandma spar over money, parenting... and yes, even the perfect casket for grandma's burial.

Ultimately, the wackiness culminates in a kids' derby race involving Ryden's little brother that unites the family.

This sappy “Family Ties” moment takes place just before Ryden gets re-offered her dream job - again... in a scenario that defies logic. Remember, the first and only interview was 45 seconds... and awful.

... ah, but what about loyal friend and unrequited love interest, Ryan ?

At this point, it doesn't really matter. "Post Grad" fails miserably to deliver the goods on a promising premise.

Had the film truly dealt with the trials, tribulations, and inner fears of facing life in the real world after college... especially in this dismal economy, "Post Grad" might have been a fine, funny, and most of all - truly insightful film.

Instead, this film vacillates back and forth between implausible job search woes, family nuttiness, oft repeated and cliched' romantic indecision and silly, predictable situations.

Granted, the film does have some genuinely funny moments in the hands of Keaton, Lynch and, of course the talented and always funny Carol Burnett. However, these scenes - albeit funny, are often out of place in a film that's supposed to focus on Ryden's "post grad" travails.

Alexis Bledel does her best with the dismal material she's given. The brilliantly blue-eyed Bledel exhibits a glowing presence on screen... and a proven comic timing from her years on TV's wonderfully well written "Gilmore Girls".

However, in this film, the ridiculous script is what fails Bledel despite her best effort to inject something of interest into this cliche' drenched debacle. One hopes Bledel's next film project is worthy of her obvious presence and gifted acting ability. This film most certainly isn't that vehicle.

"Post Grad" may say it's a wry and honest look at life after college

... but, in that effort - it fails miserably to even get a GED passing grade.

District 9 : A Unique, Groundbreaking Piece of Science Fiction

Fri, 14 Aug 2009 14:05:10 -0400

In the new film, District 9 - the tried and true formula of science fiction mixed with social commentary ... is presented in one of the most unique, entertaining and exciting examples of the genre to come along in years.

" District 9 " tells the story of a mammoth spaceship that comes to rest hovering over the city of Johannesburg, South Africa... and stays that way motionless for months. The reason for the ship's arrival remains a mystery as it hovers silently over the city.

Eventually, the military breaks into the ship to discover a million starving, disheveled aliens from another world, barely alive shambling and crawling in the ship's immense darkness and stagnant filth. The aliens have no way to operate or return their ship back home... so, the humans transfer the massive group to live in a shanty town within the city called District 9.

Twenty-eight years pass since the ship's initial arrival... and over that period, the humans come to resent the alien presence amid their society.

Within " District 9 ", the aliens, who all resemble large, upright walking crustaceans with feelers, are even given the derogatory name of "Prawns".

The aliens are seen as third class citizens who are oppressed by the humans... and neglected to fend for themselves. Amid the confines of District 9, the aliens live a wretched existence... reduced to rummaging through piles of garbage and refuse for food and more... while living in ramshackle huts built from scrap and refuse.

They are also forced to barter with gangs of marauding armed Nigerians who take advantage of the aliens' needs for food and supplies... all the while existing amid decaying squalor and rampant crime. For the aliens, District 9 is a decrepit festering open-air ghetto surrounded by barbed wire... and they’re forced to endure the oppression and open neglect of their human hosts.

However, soon the humans want the aliens relocated away from the city... and a fawning, ambitious, pencil pushing government bureaucrat named Wikus ( Shalto Copley ) is assigned to oversee the military relocation of the aliens... to a new location that's more concentration camp than home.

Wikus leads a military convoy into District 9 to go from hut to hut notifying the aliens they have to move... all the while, pretending the forced relocation is for the aliens’ benefit and - ever the bureaucrat - Wikus even tries to coax the aliens to "sign" paperwork agreeing to the inevitable enforced move.

However, during the relocation, a freak accident exposes Wikus to an alien chemical... and his DNA begins to physically change him into one of the aliens. This accident catches the attention of a government organization who sees Wikus... and his newly evolving alien DNA, as a means to crack the mystery of how to operate the aliens' sophisticated and long dormant weaponry. It's then - Wikus finds himself hunted by his own people for experimentation and research... and the only ones he can turn to, to save his life... are the very aliens he once worked so very hard to oppress.

First time director Neill Blomkamp skillfully creates a disturbingly bleak backdrop for this wonderfully unique story. Blomkamp shoots much of the film in a way that the gritty cinematography is almost documentary in style... giving the film added realism and punch.

The story is clearly an allegory on apartheid and corporate greed. However, it's accomplished in a stunningly unique way that is both past paced and insightful, yet wholeheartedly entertaining.

The seamless special effects in " District 9 " are incredible in the way that the aliens and the spaceship seem real, ordinary and so characteristically part of the gritty landscape.

These creatures aren't flashy, over the top CGI creations that overwhelm each scene. However, they are stunning in their subtle sophistication and detail. Yet, the aliens' imagery and personalities are also presented in a way that makes them totally believable... and even, human in a way, without being a distraction to the film's plot and message.

Newcomer Shalto Copley is wonderful as Wikus, a man who begins as a transparent racist and obsequious bureaucrat that goes along... to get ahead in his career.

His fawning gratitude and subservience to his corporate superiors who give him the task of relocating the aliens is only exceeded in the audiences' revulsion to him... by his smarmy condescension to the aliens, that he tries to convince to cooperate peacefully in their forced relocation.

Copley's skill as an actor shines in his ability to make this annoying corporate slug... eventually transform emotionally into someone sympathetic, as the genetic tables are turned on him... and he sees his own racism and overall oppression against the aliens through literally different eyes.

" District 9 " is an exciting, eye popping sci-fi vision that's will hold your attention from beginning to end. The climactic action and battle sequences are incredible and riveting in scope ... though be forewarned - the action is often graphic, bloody and violent ... but not gratuitous.

" District 9 " is a uniquely different kind of science-fiction film... that's visually stunning, exciting... and deeply thought provoking.

It is a wonderful piece of groundbreaking cinema that shouldn't be missed.

Tim’s Video Review of “District 9”

Edited by Araminta Romero

Julie and Julia : A Deliciously Funny Film Feast

Fri, 7 Aug 2009 23:10:18 -0400

Two separate women... two separate lives... one common love - cooking exquisite French cuisine.

It's that shared joy of cooking that gives vibrant life and meaning to the central characters in the new film, Julie and Julia... based on two rich literary materials - Julia Child's own autobiography, "My Life In France" and author Julie Powell's best-selling memoir, "Julie and Julia".

This wonderfully entertaining film chronicles the lives of the two women as they pursue their quest for something meaningful in their lives... which they ultimately find by becoming masterful mistresses of their domain - the kitchen. We all know the success story that was Julia Child's life.

The renowned chef gained fame and fortune with the publication of her 1961 cooking opus, "Mastering the Art of French Cooking"... earning her a place in TV history, her kitchen enshrined in The Smithsonian... and yes, even the status symbol of celebrity in today's pop-culture society - a timeless, hysterically funny, and yet, endearing parody of her in the very early days of Saturday Night Live.

Julie Powell's eventual success story came as a result of an unexpected personal quest. Her self-challenging journey to cook all 524 recipes in Child's cooking masterpiece in 365 days... and also chronicle her culinary quest on her internet blog.

It's these two women's background that director Nora Ephron combines in order to tell a lively and sweet story, that is one part biography of Julia Child... and two equal parts journey of self discovery and quest for self fulfillment for these two women... who ironically never meet despite the culinary love they share. "Julie and Julia" smoothly alternates between the lives of these two women... both separated by time, distance and life circumstance.

In this film, we see Julia Child's life as the wife of a US foreign diplomat in beautiful Paris during the 1950's. Child is a outgoing, vibrant spirit deeply in love with her equally adoring husband, exquisitely played by Stanley Tucci. Through the film and director Ephron's eyes, we the audience, see an early Julia Child most never knew. A happily married, even lusty woman with a zest for life and a joyful existence alongside her true love... who shares her passion for the local French cuisine.

However, Julia is also dissatisfied to simply be blissfully idle in idyllic Paris. She wants something to do beyond dining and sightseeing while her doting husband tends to matters of state.

Meanwhile, the film alternates scenes depicting the life of Julie Powell who also wants something more in her life. She too has an adoring husband... but her cubicle job wearing a telephone headset working for an agency hearing the anguished complaints of families affected by "9-11"... takes it's physical and emotional toll. Like Child, Powell also wants something more satisfying.

The film switches back and forth between the semi similar paths of the two women. After trying classes in hat making... and growing bored with playing games of Bridge, Julia enrolls in the then male-dominated Cordon Bleu cooking school in Paris to learn the art of creating sumptuous French cuisine. At first, Julia is a slow learner... but soon, her joy and passionate determination helps her to excel and surpass her cooking classmates.

Powell also finds comfort, joy and new found determination in her goal to boil, braise and saute' her way through her culinary idol's legendary recipe tome in a year's time. The task is often daunting... and Powell documents every culinary victory and defeat on her daily blog which slowly begins to gain an online following.

Soon, Powell has an audience responding to her daily trials and triumphs... whether it's her glee at making her first artfully poached egg... or her trepidation at boning a duck... or even worse, boiling ( and killing ) her first live lobster for a recipe of Lobster Thermidor.

As Julia's story continues to unfold... she soon begins collaborating with two French women on publishing a cookbook that will make French cooking accessible to American women.

Julia's quest to surmount this new life goal drives much of her half of the plotline in this marvelous film.

Meanwhile, Powell finds herself facing her own steep challenges as the deadline of her own cooking quest looms closer and closer... and the toll it takes on her and her marriage.

" Julie and Julia " is truly one of the best films this summer. It's filled with exquisite acting, fun dialogue and situations and so much more. Again, the scenes depicting Child's joyful, love-filled private life are a revelation and genuinely wonderful for the audience to experience this side of the TV's icon's early life.

In a world where celebrity often veils an all too often darker and sad real life story "behind the scenes"... it's a welcome treat to discover a national treasure like Julia Child - a woman who, it's said in the film was a virgin at 40... still found a frisky and passionate love in her life and the joie de vivre to embrace it with both hands.

Who knew the amazonian PBS' icon loved to have sex with her husband... almost as much as cooking ?

Meryl Streep again demonstrates why she is modern cinema royalty, amazingly capturing the incredibly unique and vibrant persona... and distinct voice of Julia Child, without once slipping into an unconvincing parody that would be an embarrassing disaster with a less gifted actress.

Through Meryl Streep, we gleefully share and cheer Child's every success in the film... whether it's her achieving her ultimate goal of being a published cookbook author... or her simple childlike joy and determination to chop an onion better than her male cooking class fellow students. This is role that is every bit worthy of Best Actress Oscar consideration.

Stanley Tucci, who paired with Streep in "The Devil Wears Prada"... once again proves the two are a wonderful on screen match. His performance as Julia Child's husband is superb. You feel and genuinely believe the deep love this man has for his wife... with her king size physical stature and even bigger personality. Yet, Tucci plays the role with a subtlety that... like a fine herb to a French dish compliments - but, doesn't overpower the film.

Amy Adams is also quite good in her role as Julie Powell. However, Adams' role is almost secondary in this film despite the character's top billing. Adams task isn't as daunting or risky by comparison since the audience focus is on the larger, more distinct and publicly more well-known co-character of Julia Child. However, Adams does make you cheer for her Julie to overcome her personal doubts... and succeed in a similar fashion to Julia... as she ultimately does.

Actor Chris Messina gets kudos for also turning in a solid performance as Julie's supportive, patient and often bewildered husband... who sometimes regrets encouraging Julie to embark on her year long journey that often takes their marriage into a culinary "cul de sac".

Of course, one of the main stars of this film... is the food. Ephron films the cooking scenes with a loving energy that evokes the sheer joy that the cooks themselves experience... and the close ups of the french cuisine are cinematic masterpieces that will make audiences' mouths water.

In real life, Julia Child and Julie Powell never meet... though their real life stories intersect when Powell's blog becomes a huge success. There is no Hollywood tweaking of the real life events to make a contrived "face to face" meeting. In fact, the true life events are depicted realistically... and in a way that is satisfying for the audience... and for the film's characters as well.

" Julie and Julia " is a marvelous film filled with appetizing wit, a healthy serving of humor and warmth...

... and, a main course of deliciously perfect performances headlined by the exquisite Meryl Streep.

Bon Appetit !

Thirst : A Vampire Film With A Different Kind of Bite

Thu, 6 Aug 2009 01:39:52 -0400

" Thirst " is a truly odd and unique entry into the vast vampire film genre... which is quite an accomplishment, given the genre's immensely diverse filmography.

Perhaps, that is why this film by written and directed by South Korean filmmaker Park Chan-Wook won the Jury Prize at the 2009 Cannes Film Festival. It's a rare accomplishment for a vampire film to garner serious attention at Cannes... let alone critical praise. However, these days with the success of HBO's "True Blood" series and the "Twilight" film franchise... vampires are popular among the Hollywood crowd and apparently also, with their cinematic counterparts overseas.

However, " Thirst " is a gruesome and, in many ways, graphic vampire film that doesn't quite fit into the typical vampire mold... nor, into what may be the typical vampire fan's expectations. A film that may be the critical darling in Cannes... may not pay off for movie audiences in Peoria... or most other places for that matter.

" Thirst " is the story of an idealistic Catholic priest, who altruistically volunteers to undergo a medical experiment at a remote facility in Africa... aimed at curing a ravaging disease affecting many victims. In the process, he contracts a deadly virus... and dies.

However, the priest is revived via a blood transfusion that has unexpected side effects for him. He's now afflicted with festering boils all over his body... and a growing appetite for human blood.

The only way to temporarily rid himself of his disfiguring condition is to quench his thirst with the life blood of others... which he accomplishes in ways that, at first, avoid taking human life. This is a priestly vampire with a conscience and a moral compass that's somewhat still intact.

However, the devout priest soon finds his vampiric affliction has an additional side effect that involves a growing carnal appetite to match his bloody thirst. This revelation occurs when the priest visits the home of his sickly childhood friend... who is cared for by his domineering mother and his friend's young, seemingly innocent and resentful wife.

The wife hates her trapped life with the sickly husband and overbearing mother-in-law... and soon, she and the visiting priest make an emotional connection... that soon turns explicitly and passionately carnal.

At first, the priest is deeply conflicted by the changes affecting him. He satisfies his cravings for blood, not by killing... but instead, siphoning the blood from living comatose patients at a nearby hospital like a bizarre human mosquito. However, his ambivalence about his growing lustful desires for his friend's welcoming young wife are quickly and easily abandoned. The fact that she claims to be abused by her husband offers a degree of justification in the priest's mind for his betrayal of his childhood friend.

Eventually, the priest reveals his secret to his young lover... who is initially repulsed, but then intrigued and fascinated... before she ultimately fully embraces the priest - both literally and figuratively - for the night-stalker that he is.

In fact, she changes to the degree that she becomes more blood thirsty than the vampire himself... coaxing the vampiric priest into murdering his friend by drowning him to free her from her perceived bondage. This act only deepens the priest's guilt over both his bloodlust and his carnal lust as well.

The final straw comes when the priest turns his conniving lover into a vampire as well... only to discover the once-innocent young human wife now delights in her newfound power and bloodlust as a vampire.

However, unlike the priest, she has no qualms about gleefully preying upon humans for their blood in ways both diabolical and ruthless. The priest discovers he has unleashed a vampire more bloodthirsty... and far more callous than he. Yet, despite her evil, he also still deeply loves her.

This sets the stage for a climax that is a strange mix of gore, black humor and ultimately tinged with pathos.

" Thirst " is most assuredly not for the squeamish. Director Park Chan-Wook spares nothing in his depiction of lust, both bloody and carnal. Throbbing boils, sucking blood through tubes, vomiting blood and gushing arteries are just a small sampling of the vampiric horror that's on display in this film. Several scenes are unflinching in their graphic sexuality and nudity. Again, this is not your typical vampire film...

...though, HBO's “ True Blood " probably comes close to matching it's graphic content.

The vampires in "Thirst" follow most of the usual canons of the genre. They can die from sunlight. They have superhuman strength. They even float and leap in ways reminiscent of the acrobatics seen in many martial arts films. The one glaring difference between the vampires
in " Thirst " from those in other films...

These blood suckers don't have the requisite fangs so recognizable in every vampire film... but somehow, given the bloody carnage depicted in " Thirst "... the fangs seem totally secondary.

Actor Song Kang Ho is effective as the conflicted priest who begins on a path to altruistic martyrdom... and, reluctantly yet willingly ends up on a self described path to Hell.

More impressive however is actress, Kim Ok Vin... who's multiple transformations throughout the film from virginal victim... to lustful vixen... to ultimately, a remorseless killer is fascinating to watch.

" Thirst " becomes muddled, plodding, and a bit confusing during it's middle second act as the priest goes through his period of guilt... which the director depicts with often confusing, faux-Fellini like hallucinations. The images and scenes depicted here come across as contrived and self-indulgent filmmaking.

However, the film’s third act where the young wife embraces her evil vampiress persona with abandon... salvages the film's derailed middle portion. The film's climax is a surprising mix of dark comedy, seeming redemption and unexpected poignancy... which is a welcome respite from the bloody and carnal assault from earlier scenes in the film.

Again, " Thirst " is not for those expecting a romantic tale of vampirism akin to the "Twilight" series. This film is bloody, graphic and sometimes unflinching in it's content. However, it is not a cheap, low budget affair. The production values and the acting ( though subtitled in English ) is quite good. Whether those few positive aspects of the film are enough for general mainstream audiences to accept it at the box office... is a wild card.

Just as the priest in this film struggles with his newfound sanguinary appetite...

" Thirst ", the film... is a very acquired taste.

2009 San Diego Comic Con : A Sneak Peek at Fantasy Film in Theaters Soon

Mon, 27 Jul 2009 20:53:37 -0400

What do Johnny Depp in clown makeup... hundreds of men and women dressed as superheroes... and Megan Fox in a black bustier all have in common ?

These seemingly totally bizarre and disparate moments... and so much more were all part of the myriad “Main Events” on display at this year’s annual San Diego Comic Con.

For several days each year, San Diego is the mecca for thousands of fantasy and sci-fi film and tv fans... awaiting to get a unique and privileged sneak peek at what Hollywood has in store for audiences in the year to come.

When Comic Con began back in 1970... only 300 people were on hand to celebrate their love of the comic book genre... and dress up as their favorite comic book superhero.

In the decades since, this international event has increasingly grown in size and attendance to building-busting proportions. Additionally, while comic books, their artists and fans, are still very much evidence... in recent years, Hollywood has moved south for the Comic Con’s four day orgy of pop-culture excess.

The popular convention has now morphed into “ THE “ venue for fantasy genre filmmakers to test the extremely opinionated waters of fanatical fandom by previewing a taste of their latest and/or upcoming cinematic creation.

Last year’s huge hit “Iron Man” made it’s mark early with fans, when director Jon Favreau previewed footage of his film for the film’s coveted fan base and internet critics. The overwhelmingly positive reception and internet buzz helped propel “Iron Man” into a huge hit. So, it’s no surprise that Favreau and “Iron Man” star Robert Downey Jr. returned hoping to have lightning strike twice for the preview of the eagerly awaited sequel.

If the teaser of early footage screened at this year’s 2009 Comic Con is any indication, “Iron Man 2” has the inside track on being an even bigger hit. The crowd of fans viewing the film’s teaser of scenes rose to a standing ovation after the screening.

Joining the cast of the sequel set for a May 7, 2010 release date is Oscar nominee, Mickey Rourke as Ivan Vanko AKA “Whiplash”... who is Iron Man’s nemesis in this sequel with advanced weaponry similar to Iron Man’s own technology.

Scarlett Johannson joins the cast as “Black Widow”... who not provides some romantic tension and competition between Tony Stark played by Downey Jr. and his former assistant, now Stark Enterprises CEO, Pepper Potts played by Gwyneth Paltrow.

However, from the advance photo above, Johansson as “Black Widow” won’t just be creating mayhem with Stark’s relationships... but in other ways as well.

Don Cheadle replaces Terrence Howard from the first film as Stark’s military friend, Rhodes. Howard dropped out of the sequel over a salary dispute. Cheadle takes over the role... and addresses the change of actors in the film with a simple, “I’m here. Deal with it and move on”.

Indeed, as seen above, Cheadle’s character will move on to larger significance in the film, as a similarly armored weapon, called “War Machine”

“Iron Man 3” is already in development.

Robert Downey Jr. played double duty at this year’s Comic Con... also promoting his soon to be released film, Sherlock Holmes, co-starring Jude Law as his friend and colleague, Professor Watson.

Early trailers for “Sherlock Holmes” show a different, almost irreverent detective than has been previously portrayed on screen.

However, Downey told crowds at Comic Con that his portrayal of the literary sleuth is actually more accurate to many of the short stories about Holmes that were written by the detective’s literary creator, Sir Arthur Conan Doyle.

Audiences should also be prepared for an interesting dynamic between Holmes and Watson... similar to “Butch Cassidy and the Sundance Kid”. The characters will interact as if they are so close, they can’t stand one another... yet, they cannot stand on their own two feet without each other.

“Sherlock Holmes” is slated for release at Christmas.

Director Tim Burton re-teams with Johnny Depp for Disney’s upcoming “Alice In Wonderland”. Burton himself introduced and screened a special 3-D trailer for the film... which garnered wild cheers and calls for two more showings.

Burton’s vision of “Alice In Wonderland” still contains many of the distinct, trippy and oddly psychedelic imagery that was evident in his earlier films such as “Charlie and the Chocolate Factory”.

However, Burton isn’t throwing out author Lewis carroll’s tale to create his own distinct vision. The director did tell the Comic Con crowd that unlike previous film adaptations of Alice... his film will have a cohesive story and an emotional connection... rather than have Alice go from one strange situation to another without a deeper meaning.

“Alice in Wonderland” is set for release in 2010.

Freddy’s Back ! The reboot / remake of the classic “Nightmare on Elm Street” gave Comic Con audiences it’s first look at scenes from the upcoming film. Actor Jackie Earle Haley portrays Freddie Krueger... and in clips shown at Comic Con, we see exactly how Freddie came to be the nightmarish undead killer.

Shooting on the film was completed just a few weeks ago... but the directors were able to put together a small clip reel for the Comic Con crowd. The reel depicted a very much alive Freddy Kreuger running from a mob of enraged parents.

Freddy hides in a dilapidated warehouse, but is soon discovered by the parents who firebomb the building engulfing Freddy inside... and presumably, sending him to his death-wielding journey through his future victim’s horrific dreams.

“ Nightmare On Elm Street ” is slated for release April 30, 2010.

One of this year’s huge reboots of a popular film franchise was “Star Trek”. Regarding the next chapter in the Trek saga, actress Zoe Saldana told the crowd of Comic Con fans that director JJ Abrams is “probably halfway done with a script. They just can’t present it to anyone”.

Saldana added she is sure the romantic relationship established in the reboot between her character, Uhura and Spock ( Zachary Quinto ) will remain intact... and she’s excited to see how that relationship is explored.

Despite rumors and expectations to the contrary, “The Dark Knight” Batman franchise may once again thrill movie audiences.

Batman’s Commissioner Gordon, Gary Oldman was at Comic Con promoting his new film, “The Book of Eli” for Warner Brothers.

Oldman gave perhaps the first confirmation of a third “Dark Knight” installment to the Comic Con crowd... by saying “Batman will start shooting next year. So, it’s two years away from release... but, you didn’t hear that from me.”

Too late Gary, secret’s out. We can’t wait.

Oscar nominee Josh Brolin faced the Comic Con crowds to chat up his upcoming comic book inspired western, Jonah Hex.

Jonah Hex is a horribly disfigured, cowboy anti-hero in the film... and the clips shown at Comic Con displayed a mayhem filled film... that’s more a rousing visage recalling old spaghetti westerns... than a modern action film.

Megan Fox escapes from her “Transformers“ damsel in distress eye candy role in that franchise... to become, well... eye candy in a mind-bogglingly tight corset that’s no special effect... and bustier in this film. Only his time, her character capably kills off bad guys with her six gun pistols with ease.

Jonah Hex opens June 18, 2010

The “Twilight” film and book phenomenon shows no sign of abating, judging from the response to a Comic Con screening of footage from the next film in the franchise, “New Moon”.

The frenzy over this romantic vampire saga was in full force at Comic Con... with many believing the upcoming installment in the franchise is superior to the first.

Production has already begun on the third installment.

Lord of the Rings director, Peter Jackson puts on his producer’s cap for the upcoming film, “District 9”. In this film, a massive space ship arrives over Johannesburg, South Africa containing a million insectoid aliens. The aliens, derisively referred to as “prawns” are rounded up as the ship hovers above the city... and are later herded into violence ridden, poverty filled camps.

When the subjugated aliens are slated for forced relocation from their slum-like conditions by an armed force... the simmering conflict between the confined aliens and their human overlords boils over.

“District 9” received lots of positive buzz at Comic Con... with many describing it as a combination of social commentary, satire, and bloody, gory Sci-Fi action.

“District 9”, Jackson’s gooey departure from Hobbit land premieres in theaters on August 14th.

Dozens of other projects, both in film and TV were also unveiled at the 2009 Comic Con... far too many to be detailed here. Indeed, the best way to experience the San Diego Comic Con... is to get your inner geek on... and brave the crowds yourself one year.

From personal experience... it’s something you’ll never forget.

As for the hopeful Hollywood crowd... Suffice to say, the film studios brought out their big guns for the discerning fanboy and fangal crowds to pass early judgement

... and they’re hoping none of their high powered projects unveiled at Comic Con this year misfire at the box office.

The Ugly Truth : Can You Handle The Truth ?

Fri, 24 Jul 2009 05:54:36 -0400

Depending on your point of view, the new romantic comedy, "The Ugly Truth"... may not particularly possess a lot of "truth" in it's proposed insight into modern day relationships...

... and for some, it's often clumsy presentation about what's humorous in those relationships may indeed prove to be quite "ugly". You'll have to judge for yourself by reading onward.

Katherine Heigl once again wades into the romantic comedy arena in this film, after her previous successes in the films "Knocked Up" and "27 Dresses".

In this film, Heigl plays Abby Richter, a controlling, multi-tasking, uber focused producer of a morning TV news program in Sacramento... who loves her job... and has little else in her life but her job, her cat... and a semi-cliched' checklist of what she perceives to be "The Perfect Man". However, her beloved job is soon on the line because the show's ratings are dismal... and faces cancellation.

Compounding Abby's troubles is her lackluster dating life. She's unbelievably and socially inept at seeking out this so-called perfect mate... let alone any man unknowingly auditioning for the role. Abby not only tells her first dates - over dinner - that she's done a background check on them; but also, she tells them whether or not they meet most of her 10-point checklist criteria of "perfection"... and, she brings along a list of "talking points" to more easily facilitate dinner conversation.

Even my own personal worst "Date from Hell" wasn't that controlling. Note - I did not say it was less horrific... just not that controlling. But, I digress.

After another one-date disaster seeking "Mr Perfect"... Abby returns to her empty apartment... her cat... and her TV set. Only, this night... she accidentally stumbles across a small cable access TV show called "The Ugly Truth", hosted by a seeming Neanderthal "man's man" named Mike Chadway, played to cheeky perfection by Gerard Butler.

Mike presents to his viewing audience what he believes is unflinching advice about the sexes... and what each one really wants. In Mike's opinion... men just want one thing from a woman... and women want an unrealistic, Prince Charming fantasy.

Mike's on-camera tirade about the sexes provokes Abby to call in and verbally joust with him during his show. Next day, to her amazement... her station general manager saw the exchange on TV and hires Mike... and his provocative viewpoint and advice... to become a potential ratings bonanza for Abby's ailing morning show.

Predictably, Mike's unorthodox approach scores with the TV audience from his first appearance... where he does some "live TV" tough love counseling of Abby's husband and wife anchor team.

Mike becomes a TV hit... and Abby both hates that fact... but also, accepts the reality of the job security his success brings the show.

Surprisingly, Abby gradually accepts Mike's advice to help her woo a new neighbor - of course, he's a handsome young doctor who amazingly fits many of Abby's "perfect man" checklist. Mike helps Abby on her quest to win the affection of "Mr. Right".... only, to gradually find ( predictably ) that he is growing drawn to her himself. That realization on his part makes the plot line both complicated ... and ultimately predictable.

"The Ugly Truth" is a mixed bag of comedy. There are a several genuine moments of humor in this screenplay that are well performed by both Heigl and Butler. Heigl shows a nice touch with some verbal banter and glimmers of physical slapstick ability in some scenes that... given a better screenplay, would have made this film completely enjoyable. Butler is also good portraying his character as a "think from the groin" chauvinist with a wicked sense of humor... but, the character loses steam later in the film when it's revealed much of his chauvinistic bravado is a mere facade for a broken heart.

It's moments like this that tend to trip up making "The Ugly Truth" something more than just another formulaic romantic comedy... or, dare I say it - a run of the mill "chick flick".

I often hesitate to use the term "Chick Flick"... mainly because it seems mildly condescending to women... and also, I want to avoid alienating certain females I know, who are prone to practice punting a football to the groin area... minus the football.

However, given the fact that "The Ugly Truth" screenplay was written by three women.. and a good female friend who accompanied me to this film also called it a "chick flick"... I feel on solid ground to say "The Ugly Truth" definitely falls into this genre - but, not as an effective or consistently funny example.

Again, despite several genuine laughs... many of them of the cheap variety - "The Ugly Truth" is also rife with an equal amount of flaws.

Is the audience really expected to genuinely believe Katherine Heigl's beautiful and professionally skilled character is so completely clueless... that she needs dating advice from a chauvinist she starts out loathing at the beginning ? We're expected to actually believe Katherine's Abby needs advice from Gerard Butler on how to look, act and dress sexy?

The film also throws in dialogue that seems unnecessarily and gratuitously raunchy given the situations. There's nothing wrong with raunchy dialogue if it fits the film... or the characters within it. However, it seems the screenwriters decided to throw in as many euphemisms and direct mentions of male and female genitalia... not to further the plot in a meaningful way; but rather, more to ensure an "R" rating to make this romantic comedy stand out from it's boring cookie-cutter predecessors. It's like trying to mix "Superbad" with "Pretty Woman".

One scene in the film involving some vibrating women's panties during an elegant restaurant dinner is a direct take off from the classic Meg Ryan "I'll have what she's having" diner scene in "When Harry Met Sally".

However, the scene - albeit a blatant cinematic rip-off works... due to Heigl's comedic ability and timing. Sadly, genuinely funny scenes like that are counterbalanced by unrealistic and "out of character" scenes showing Heigl's TV professional... climbing a tree to ogle her hunky next door neighbor.

Most egregiously, "The Ugly Truth" ends in a totally predictable manner that could be foretold from the opening credits... and tacks on a silly coda that just seems out of place.

The main redeeming factor is the hint of chemistry that Heigl and Butler genuinely seem to share in this film... especially early on when they are more adversarial towards each other than romantic.

However, it's time that Heigl may want to rethink her affinity for repeatedly making this film genre define her budding film career. Katherine - Take some early advice from Sandra Bullock and Julia Roberts and try something new as your next film project... or "Grey's Anatomy" may look like your dream job someday.

Overall, " The Ugly Truth " has it's truly funny moments for everyone - male and female... and, for a gals' night out... this "chick flick" may deliver enough relatable humor and discussion fodder for the female audience to enjoyably chat about with gusto over drinks afterward.

But in this man's opinion, the second half of "The Ugly Truth"... and the predictable payoff at the end is like a bad first date.

All you want when the evening is over - is out.

... and THAT my friends, is indeed The Ugly Truth.

Orphan : Is There Something Wrong With Esther ?

Fri, 24 Jul 2009 05:14:01 -0400

" Sugar and spice and everything nice... that's what little girls are made of... "

Most folks have grown up hearing that quaint nursery rhyme at one point or another. However, the new psychological thriller "Orphan" gleefully twists and turns that cute childhood description on it's innocent ear... with very little sugar nor portions of tasty spice. Instead, "Orphan" serves up it's little girl title character with plenty of murderous evil and sociopathic bloodlust... that would make even Damien himself cringe.

Actors Vera Farmiga and Peter Sarsgaard play a couple of emotionally battered parents still grieving the tragic loss of their youngest third child... although they still have two wonderful children whom they deeply love. Farmiga's character, we learn harbors deep personal guilt about the loss and... at one point, found alcoholic solace for her grief at the bottom of a bottle.

She still mourns her lost child by lovingly tending to a garden bouquet of white roses... which also serves as a memorial resting place for some of her lost child's burial ashes. This is a married couple trying to come to terms with their grief... and yet, move on as well.

Sarsgaard's father character believes, despite some moderate reservations by Farmiga, that some measure of solace will come in the adoption of a new young child. The couple ultimately ends up adopting a nine-year old Russian orphan named Esther - expertly played by newcomer, Isabelle Fuhrman. The couple is immediately smitten with Esther who displays a sweetness and polite maturity that quickly endears her to the emotionally desperate couple looking to bring new life and love into their home... and fill the apparent void left by their child's untimely death.

On the surface, Esther is truly all sweetness and light. However, there is a strangeness to the child that is also apparent, yet understandably overlooked by the enthusiastic new adoptive parents. Esther wears enjoys outdated, old clothes... and insists on wearing decorative cloth bands around her neck and wrists... which later in the film, will reveal a dark secret . She is also oddly mature in much of her manner. However, the parents are willing to overlook these quirks... as they are told Esther has had a difficult and traumatic past leading to her being an orphan.

Farmiga and Sarsgaard welcome little Esther into their home with open arms. However, the reaction from their two blood children is a mixed bag. Their youngest hearing-impared daughter, Max ( played by a wonderfully gifted Aryana Engineer ) embraces Esther with unabashed openness and love for her new older stepsister.

However, older son, Daniel ( Jimmy Bennett ) is more skeptical of the new addition to the family. Daniel finds Esther's odd look and "sweeter than sweet" demeanor to be creepy... not to mention, the undercurrent of jealousy that sets in as he sees his father being smitten by the new daughter and the attention he lavishes on Esther over him.

As time wears on, Farmiga too begins to sense odd things happening... as it becomes apparent that smiling little Esther is also manipulating the couple against one another.

Esther says shocking, matter of fact things to Farmiga's mother character that seem out of place for a child... yet, when Sarsgaard's father appears on the scene, Esther turns on the innocent charm. In Sarsgaard's blind, almost frustrating to the audience, affection for the child... he is unwilling to see the suspicious signs that become apparent to Farmiga and their son, that there's something about Esther that is truly amiss.

Indeed, Esther soon shows her darker side in carefully calculated moments as the film evolves. When Daniel accidentally cripples a pigeon with his paintball gun... Esther coldly urges him to put the wounded bird out of it's misery. When the emotionally shaken Daniel refuses, Esther does the deed for him... seemingly without emotion, she smashes the bird into pulp with a large rock under the guise of mercy.

However, Esther's cold eyes show this "act of mercy" is certainly not new ground for this child. She kills with ease and without a hint of remorse. As new revelations about Esther develop. the orphan keeps her new step-siblings in check through a series of acts of intimidation that are frightening to watch.

Eventually, Farmiga's own suspicions about Esther increase and she begins asking questions of the orphanage about the child's past. It turns out wherever Esther has been in the past... bad things soon followed. What transpires next is a series of increasing events that result in near fatal accidents, fiendish intimidation, and suspicious deaths... all the while, Esther is nearby.

We the audience, and the family's young children are soon privy to the fiendish truth about Esther that the parents are slow to realize and discover. Sarsgaard especially is clueless and reluctant to accept his own wife's suspicions... driving a long dormant wedge between them. When Esther shows up watching the couple making love... and the child later tells Farmiga what the couple was doing in very un-childlike candor... Sarsgaard still refuses to see anything is amiss and instead accuses his wife of paranoia, jealousy and even a return to her former alcoholism.

His blindness will ultimately have devastating consequences for the family... leading to a deadly and brutal conclusion. The film final act ends on a surprising twist that you may figure out before it's revealed... but only at the last moment. It's a twist that is still quite satisfying... even if you do figure it out... before it actually plays out on-screen.

"Orphan" is not the first film of this type... nor even the best. Perhaps the best film of this killer-child genre was 1956's Oscar nominated "The Bad Seed" starring Patty McCormick as a sweet faced child with a penchant for cold blooded homicide to get what she wants. Many other and sometimes lesser quality films about evil children have followed in "The Bad Seed's" prestigious wake... from "Children of the Damned" and the "Damien / Omen" films... to "The Good Son" starring a maturing Maculay Culkin. In "Orphan", we get a hybrid of the best of the genre, coupled with some predictable, but nevertheless frightening moments.

Director Jaume Collet - Sera will undoubtedly be criticized by some as drawing from a grab bag of fright movie cliches... doors you expect someone to be hiding behind suddenly closed to reveal nothing... or other similar visual tricks to make one anticipate; and then, either jump in horror... or gasp in relief. However, such tricks work in this film. They especially work when you have an effective cast that makes the cliched material scarier and more frightening on the screen... than perhaps on the script page.

Vera Farmiga is convincing as the step mother coping with her grief... and later, trying to protect her family against the unholy young terror that is threatening her family.

Aryana Engineer as little Max is a delight. She conveys an innocence and convincing fear in a role where, as playing a hearing-impaired child... she barely utters a sound. Yet, her small frightened young face, her demeanor and her eyes speak volumes.

However, it is 12-year old Isabelle Furhman who runs away with this film. Her sweet, cooing childlike orphan character... which alternates with scenes depicting her cold, soulless eyes and emotionless voice is a chilling transformation to watch. Her performance, especially in the film's final act is frighteningly mature in more ways than one. Perhaps her best accomplishment as an actress for me in this film... is that Furhman portrays this child orphan as a character you cannot wait to see get her comeuppance ... that is, if she truly ever does.

"Orphan" is a fun, unexpectedly frightening thriller... albeit filled with some cliches from other films in this genre, but nevertheless well executed by a fine cast.

As the film's tag line appropriately says, " There's something wrong with Esther "

... but, not delivering the chills and thrills... isn't one of them.

Harry Potter and the Half-Blood Prince : An Epic Chapter

Wed, 15 Jul 2009 02:44:45 -0400

A deep sense of dread, darkness and impending doom pervades much of this latest installment of the Harry Potter saga.

However, that decidedly somber and serious tone is, in large measure... what makes "Harry Potter and the Half-Blood Prince"... the best in the series thus far.

That is because Harry and his loyal friends, Hermoine and Ron know by the final scene of this film... that their lives are forever changed and affected by the acts perpetrated in this chapter by the dark forces loyal to Harry's evil foe, Lord Voldemort. This epic film sets the stage for all three friends to be set on a dangerous path... that will ultimately bring Harry to his final deadly confrontation with the one responsible for so much pain in his life.

At the start of this film, Lord Voldemort has returned... though he's never truly seen in the film, his influence and evil is felt and manifested by many. The Death Eaters are once again on the prowl to wreak havoc and destruction.

However, they also return to sow deceit and betrayal among the unexpected at Hogwarts. Bellatrix Lestrange ( Helena Bonham Carter ) and Narcissa Malfoy meet with Severus Snape ( Alan Rickman ) one of Dumbledore's trusted circle against Voldemort. However, the women convince Snape to enter into a mystical "Unbreakable Vow" with Narcissa to protect her son, Draco Malfoy... as the young man embarks on a dark deed with ultimately deadly consequences.

Meantime, Harry and his friends are embarking on their sixth year at Hogwarts. It's here they find several events unfolding that will complicate their academic life. Among these, the spectre of romance affects all three as the film unfolds.

Ron finds himself involved in a new romance with Lavender... while Hermoine realizes her own growing affection for Ron and is both angered and hurt by Ron's affection for his new girlfriend.

At the same time, Harry is also feeling the pangs of romance... as his friendship with Ron's sister, Ginny grows into true love. It's these moments of budding young love and bumbling romantic antics that give this film a nice comic and pleasantly sweet touch... as a counterpoint to the more predominant malevolent machinations at work to benefit Lord Voldemort's evil plan.

Our hero Harry also discovers a mysterious potions book with many handwritten footnotes... that give Harry an edge in becoming adept in his potions class. But, this book... and it's former owner holds a darker secret and past that will be eventually revealed to Harry to devastating effect by the final reel of the film.

Throughout the film, Harry is growing more suspicious of Draco Malfoy ( Tom Felton )... aware that Malfoy is up to something not quite right.

Indeed, Harry is correct in his suspicions... as Draco is working to effect the demise of a key player in Harry's life at Hogwarts. Meantime, as Dumbledore continues to prepare Harry for his ultimate confrontation as "The Chosen One" against Voldemort... a subplot outlining the origins of Voldemort as a dark and seemingly disturbed child orphan at Hogwarts in the guise of young Tom Riddle is revealed to Harry.

Dumbledore seeks to reveal more about Voldemort's past to Harry through bottled memories about Tom Riddle's days at Hogwarts... but, more importantly, Harry needs to find out a key memory that is buried in the mind of newly returned Hogwarts potions professor, Horace Slughorn ( Jim Broadbent ) It's this long buried memory in Professor Slughorn's mind that holds the key to finding Lord Voldemort's vulnerability.

Once this memory is revealed, what follows is a dark and dangerous journey for both Harry and Dumbledore that will have devastating... and tragic consequences that culminate in a shocking finale filled with deceit, deception, betrayal... and death.

This is by far the best Harry Potter film to date. The lighter comedic moments of the previous installments are still present. However, just as Harry, Hermoine and Ron are maturing... so too, is the franchise's overall theme. The characters are growing up and being prepared to face a formidable future foe that will be presented in the series' ultimate final two installments. This mature and darker theme lends the franchise a new and entertaining gravitas.

Our young heroes are realizing more than ever the formidable task that awaits them... and also, they realize the growing depth of their friendship as they face the darkening circumstances that are enveloping them.

Actors Daniel Radcliffe, Emma Watson and Rupert Grint only get better with each film. However, in this chapter... the storyline is forcing them to tap into deeper emotions. Radcliffe and Watson are exceptional in this film displaying a maturity that is a joy to watch in such young actors.

Tom Felton as Draco Malfoy is also a revelation in this film... moving far beyond being simply Harry's bullying classroom nemesis and, instead morphing into an evil pawn of Lord Voldemort. Felton brings both deadly dread... and in the film's final scenes, a sense of believable conflict between his evil drives and his moral humanity.

Equal credit should go to director Peter Yates who gives this film it's epic tone, despite a few minor changes from JK Rowling's book at the finale that may disappoint some purists. The cinematography in this film is superb and the actions sequences thrilling.

"Harry Potter and the Half Blood Prince" is a film that takes audiences and fans of the book on a grand journey. Yes, the film is but another chapter in an ongoing saga... which is clearly evident at this installment's conclusion.

Yet, like the book series upon which it is based... this film satisfyingly leaves the audience thirsting for the next exciting chapter ...in Harry's dark destiny that lay ahead.

Tim’s video review of
“Harry Potter and the Half-Blood Prince”

Edited by Araminta Romero

See more of Tim’s videos on You Tube
on his channel - FilmFanTV

Public Enemies : Johnny Depp brings John Dillinger to life

Wed, 1 Jul 2009 00:02:52 -0400

1930's bank robber John Dillinger wasn't a movie star in his day... but, his daring lawless exploits, charisma and good looks made him a national superstar of the era.

So, it seems only reasonable to have a similarly charismatic and daring acting superstar to portray the enigmatic outlaw.

In the film, "Public Enemies", Johnny Depp skillfully channels slices of the real Dillinger... and his legend as well, with effective ease... and a sly touch of admiration for the notorious man once dubbed "Public Enemy # 1 ".

Dillinger was one of those unique and rare paradoxical figures in society. Though, law enforcement justifiably labeled him a dangerous criminal... to the generally adoring public, he was an admired folk hero.

Dillinger was truly seen by many in the days of the Great Depression... as a modern day Robin Hood... often taking the bank's money, while leaving the customers to hold onto their own cash in hand. The real life John Dillinger carried out his bank heists with genuine style, efficiency... and a confident swagger and a knowing smirk that was ever present... even in his mug shots in captivity.

It's that knowing confidence and glee that Dillinger relished as part of his infamous notoriety... that Depp brings to his portrayal in this film. Indeed, Depp has said he admires the real Dillinger... not for his crimes, but for the man's charisma and daring chutzpah to buck a financial system that was perceived by many, at the time... to be exploiting the poorer masses. It's a theme that has some resonance today.

"Public Enemies" is a two fold saga. Depp not only portrays Dillinger's often stylish life of crime... but also, his personal emotional side as well, via Dillinger's real life romance with former coat check girl, Billie Frechette - exquisitely played to perfection by French Oscar winner, Marion Cotillard. ( La Vie En Rose )

Director Michael Mann brings Dillinger's story to the screen in equal parts exciting shoot-em-up... and an emotionally affecting love story. The film opens up depicting Dillinger's daring escape from prison... one of several real life miraculous escapes from the law that frustrated and enraged not only local law enforcement... but also, an egomaniacal and ambitious J. Edgar Hoover ( Billy Crudup ) ... who's then novice FBI organization faced great skepticism and public criticism as well... regarding it's ineffectiveness against the era's rampant and infamous criminals.

As Dillinger continues to easily rob bank after bank... with an ease that seems almost unbelievable today; Hoover grows more and more obsessed with capturing... or even better, killing Dillinger to stem the embarrassment that this one desperado in stylish clothes is bringing to Hoover's federal doorstep. Hoover enlists one of his top agents to bring down Dillinger, Melvin Purvis... played by a somber faced Christian Bale.

Bale's Purvis is a buttoned down man with a mission. He is saddled with the overwhelming responsibility of bringing down a criminal who is also a superstar among the public. As Dillinger manages to miraculously elude and escape capture by the thinnest of margins like Houdini armed with a "Tommy Gun"... he also captures the public's imagination with a trademark style that includes leaping over the bank teller's counter with an unforgettable flourish. It's this arrogant confidence and his every incredible escape... that brings both increasing pressure and steely resolve upon Purvis to bring Dillinger down.

Meanwhile, Dillinger meets up with Billie Frechette... a woman he is willing to let into his life and heart. The chemistry between Depp and Cotillard is palpable and well developed. It's refreshing to see Depp in a low key, romantic role of sorts... after his recent superbly flamboyant turns in the "Pirates of the Caribbean" films and "Sweeney Todd".

Here, the relationship between Frechette and Dillinger as portrayed by Depp and Cotillard is engaging and believable. They convey a convincing emotional connection that is a nice counterbalance to the chaos that is so intrenched in Dillinger's public outlaw life. Coutillard is exceptional as Frechette... a woman initially intrigued by this suave bad boy in dapper clothes and a roguish career. However, she delicately portrays her growing love and devotion to Dillinger... right down to her final, unforgettable scene in the film.

Director Mann allows Depp to truly show Dillinger's real life amazingly cocky self assurance and calm while hiding in plain sight during his crime spree. Real life moments that live on today in newsreel footage of the era are accurately re-enacted in the film... such as Dillinger's easy, confident posturing and preening before an enthralled, pre paparazzi newspaper press... while in a local jail awaiting trial for his crimes.

Depp is simply wonderful as Dillinger. Granted, this is a much more subdued performance than we're recently used to seeing from Depp... and some might say the script doesn't allow great insight into Dillinger's motivation for his crimes or Dillinger's personality. However, this film isn't a meant to be a detailed biography of Dillinger, though it certainly succeeds at effectively depicting the most important and essential key elements of Dillinger's life of notoriety.

Director Michael Mann takes very few liberties with historical fact in this film. For the most part, key moments in Dillinger's life of crime that have become legend are effectively and faithfully depicted... from the outlaw's incredible escape from jail using nothing but a fake wooden gun... to the notorious FBI shootout debacle at the Little Bohemia lodge where Dillinger escaped and the FBI shot three innocent men... killing one.

The film is, in effect a moderate indictment of the ineptitude of law enforcement at the time... trying to deal with criminals who were bold, brazen and not afraid to go down with their guns blazing.

A key scene that is certainly one that most likely happened at one point in Dillinger's life... is when Dillinger is seen watching a film that displays a newsreel showing his face... and prompts the audience within the film to look out for the wanted fugitive. Depp plays the scene with Dillinger's trademark smirk of confidence and glee at his notoriety... and his belief that he can't be caught.

The film's ultimate showdown between Dillinger and Purvis's men at the famed Biograph theater is well staged. We know how this is going to end for Dillinger. However, Mann's direction and editing brings some fresh moments of real life irony to this bit of historic fact.

We see Dillinger watching the crime film, "Manhattan Melodrama" at the Biograph... but, Mann allows us to see a foreshadowing of the famed bank robber's fate in this scene. As Depp / Dillinger watches the fate of the criminal in the real-life film... he unknowingly is watching his own impending doom that awaits him just outside the Biograph ... once the final reel plays out.

"Public Enemies" is the kind of film genre Hollywood needs to explore more frequently. This was an era of bold criminals with larger than life egos and plain old fashioned guts. No, they weren't characters to be admired... although, they indeed were admired by many to this day.

Director Mann brings has an eye for bringing us into this era with a skillful eye for detail... that makes the journey into this world exciting and enjoyable as a trip back to a modern day "Wild West"... where bank robbery was the norm. Only instead of horses... the daring escape was often in a bullet riddled V-8 engine getaway car... and the six gun was replaced by an automatic machine gun.

Depp and Cotillard are superbly supported by a cast that includes Lili Taylor, Steven Dorff, Giovanni Ribisi, James Russo and David Wenham. All appear in brief cameos and supporting roles.

However, it is Depp and Cotillard that bring this film it's emotional and human depth to their character's real life romance and devotion.

What both actors manage to skillfully reveal is that... behind Dillinger, the outlaw and the notorious legend...

... was also Dillinger the man.

Michael Jackson and Farrah Fawcett : Remembering an Angel and a King

Fri, 26 Jun 2009 02:07:39 -0400

One was called an “Angel”.

The other was lauded worldwide as “The King of Pop”.

As fate... or a grander unknown plan would have it... both died on the same day.

The Angel passed to the heavens in the morning... while word that the King laid down his crown... came in the twilight of the day.

The Angel and the King passed on June 26, 2009 beneath the warm sunshine of the California sun...

... and sadly, they also passed away under the searing, uncaring glare of the cold media spotlight.

The Angel began as a Hollywood beauty icon of the 70’s.

... a stunning image with an alluring, dazzling smile... and a mane of cascading blonde curls Rupunzel herself would envy.

The King began as a child of modest means... but, possessing a mammoth musical and performing talent forever eclipsing many others, three times his young age.

The Angel found great success on the small screen... but, that success was tempered with the reality and knowledge.. that those triumphs were mainly rooted in the dazzling visage she displayed.

The King too, found far greater success on a worldwide scale... with it’s blinding zenith in the 80’s.

... but, over many years... the overwhelming price for that glory was to be devastatingly paid in lost youth, innocence, self esteem... and so much more.

The Angel eventually found redemption in her acting craft through a series of compelling opportunities and roles...

... roles that showed a depth of emotion that was long hidden and ignored behind the dazzling exterior and smile.

The King continued his phenomenal rise to immense fame... blazing a trail of music, images and videos of a quality never to be equalled.

Yet, despite his success, his riches, his fame... the King harbored inner demons that tormented his soul.

The Angel found love... and lost love... and found it again - in a way.

The King found love... true love, to be an elusive thing... save for the anonymous and, ultimately unfulfilling adoration of millions.

The Angel was soon stricken with one of the worst of physical challenges.

... An ailment that would tax the very fiber of her strength, her core... and at times, her beauty.

The King was stricken with the stigma of scorn... of ridicule... and for some, revulsion... following accusations forever clouded in mystery.

Meanwhile, the Angel battled the demon ravaging her body with every medical weapon at her disposal
... and, yet her most formidable weapon, was her indomitable will and superhuman optimism.

The King disappeared for a time... perhaps to hide... perhaps to regroup... perhaps to find new meaning to his decades long tumultuous life.

The Angel for a time triumphed over her physical demon... and she rejoiced.
... but her rejoicing was short lived, as the demon returned with even greater resolve and life-draining ferocity.

The King soon planned a grand return... a rebirth, that was welcomed by his adoring millions with great anticipation and rejoicing.

However, for both the Angel and the King, the hopes... the dreams... the great visions of renewed triumph were not to be their reality.

The Angel had warning of her fate... and it is said, she ultimately made peace with the resolve of the demon afflicting her life... her body... her future.

The King it might also be said, had warning of his fate... but, the warnings went unheeded... and ignored as being unrealistic and as unlikely... as a Neverland fantasy.

The Angel went to her fate peacefully in the morning... surrounded by her loved ones.

The King went to his fate much less peacefully later that day... surrounded, as always... by the rabid paparazzi.

The Angel... and the King are gone now. Their demons no longer have their prey to torment.

All that remains of the Angel and the King... is the beauty of her physical visage and her unquenchable, inspirational spirit

... and, the beauty of the King’s music and the youthful memories it leaves for millions.

May the Angel and the King now find peace.

In Memoriam :
Michael Jackson 1958 - 2009
Farrah Fawcett 1947 - 2009

Transformers: Revenge of the Fallen : Bigger, Louder... but Better ?

Wed, 24 Jun 2009 02:13:18 -0400

"Transformers: Revenge of the Fallen" is director Michael Bay's latest exercise in sensory excess on the big screen.

And... let's be real here. Bay loves to blow things up... and those who go to his films should never expect, nor probably desire anything remotely more than simply that.

Bay's films are thin to bare bones in terms of plotline... and more about loud special effects filled "razzle dazzle"... aimed at hyping the audiences' adrenaline level to orgasmic levels . That in mind, to expect his latest film "Transformers: Revenge of the Fallen" to aspire to be anything loftier than being a simplistic cinematic orgy of mammoth explosions, frenzied action sequences and eye-popping CGI effects laden battle sequences... is pure folly and wishful thinking. Love it or hate it... this kind of film is Bay's patented stock and trade.

In this sequel to the first "Transformers" film... Shia LeBoeuf returns as Sam Witnicky, the semi-reluctant teen liason between Earth and the "good" Transformers or Autobots... that saved the world in the previous film from the evil Decepticons. At the outset of this latest installment, Sam is about to embark on a new carefree life at college... while also trying to maintain his relationship with Mikaela, again played with unabashed sensuality by Megan Fox.

Meantime, the main robots from the first film have semi-secretly integrated themselves into protecting both Sam and the world. The mammoth leader of the Autobots, Optimus Prime and the other surviving good robots now work with a covert special ops team designed to seek out any remaining Decepticon robots threatening the Earth.

Also returning, is Sam's loyal protector the hybrid Autobot / hot yellow Camaro, Bumblebee who provides in this film many of the same fun moments of personality and humor that made him a standout in the first film.

However, just prior to Sam's departure for college... he discovers a forgotten sliver of the alien, energy laden Allspark cube which was coveted so aggressively by the Decepticons before. Upon touching the sliver this time, Sam's brain suddenly is filled with alien information and visions of odd symbols that hold an unknown meaning for the befuddled teen. The sliver also activates a number of kitchen appliances in Sam's family home into frenzied mechanical mini-versions of the Decepticons... in a scene that seems lifted straight out of the 80's film, "Gremlins".

One of these pesky robots manages to alert the other evil Decepticons of the sliver's existence... who ultimately revive the dormant evil Megatron, the villain from the last film.

What happens next is a complex and sometimes confusing plan by the Decepticons to revive, as Buffy the Vampire Slayer might call, the ultimate "Big Bad"... an ancient Decepticon who attempted to destroy the Earth eons ago... but was defeated by his fellow automated comrades who resisted killing the planet's human population. This mechanical mad machine is the main leader of "The Fallen" referred to in the film's title.

Now, the prize being sought... and long buried from ages past is another energy device called "The Matrix" capable of activating a mammoth device hidden in Egypt that the newly regrouped Decepticons want to utilize to destroy the Earth's sun and... as a result, Earth itself.

"Transformers: Revenge of the Fallen" both benefits and suffers from bloat throughout. The myriad twists and turns within the convoluted, yet intellectually simplistic plot can be a bit overwhelming over the film's 2 and 1/2 hour running time. In this installment of the franchise, director Bay obviously believes everything should be bigger, longer, louder... and much, much more of all of everything in the mix. Bay has seemingly tripled the number of Autobots and Decepticons in this film to such a degree... it's truly difficult to tell who's the good robot and who's the bad robot... especially in the film's climatic battle in the Egyptian desert.

However, there are some nice touches to this installment. Many of the robots have some funny moments all their own. Bay has given several of them unique personalities and voices that help to make them more than just souped up SUV's, aircraft and refrigerators that have a lethal side. Most notably, a small robot Decepticon with a Jersey accent that's played more for comic relief who's captured and kept on a leash by the comely Megan Fox.

A moment late in the film where the robot physically acts on it's more than passing libidinous attraction to Fox... is both hilarious and oddly disturbing. However, Bay also indulges in some stereotypes meant for comic relief in other robots that border on offensive, most notably two "hip hop" robots that seem to be channeling former rapper "Flava Flav"... complete with gold front tooth.

The CGI action sequences are superb in their scope and slam bang power solely designed to evoke the "WOW" response in audiences. The CGI effects created by George Lucas' "Industrial Light and Magic" are fantastic, stunning... and also very loud.

Depending on your tolerance factor, the battle sequences will either be incredibly impressive... or, by film's end - mind numbing. The film's spectacular battle climax in the Egyptian desert is a jaw-droppingly choreographed mix of incredible real-life military hardware and manpower, dangerous pyrotechnics and awesome CGI special effects.

However, the film's best special visual effect is Megan Fox. Again, audiences... and even Fox the actress know her purpose in this film. Her role calls for barely anything that can remotely be called "acting". Like the CGI effects, Fox's undeniable beauty is in this film as pure window dressing... designed to dazzle.

Indeed, Fox is true to her last name in every close up of her that director Bay fills up the screen with. She is there simply to look good for the film's young audience... and somehow, while running for her life, dodging rampaging robots and explosions all around, Fox manages to stay amazingly beautiful and unfazed... and her moist lip gloss perfectly in place.

LeBeouf capably reprises his role as Sam in this installment. He manages amid all the chaos and CGI carnage to have several of his own moments of humor, youthful bewilderment at his circumstance and bravery.

It's a testament to LeBoeuf's acting skills, likability and charisma to not let his character get completely lost in this potpourri of cinematic excess.

Michael Bay's films are what I like to call beautifully decorated "mind candy". It's in a slick, appealing package... and when tasted, gives you a sugary rush that feels exciting and good at first. However, also like candy... Bay's films are devoid of anything really good for you... like a real plot line. It's just good for the momentary rock n' roll thrill of the spectacular special effects... and afterwards, leaves you feeling either pleasantly satisfied... or numbingly exhausted and regretful for the indulgence.

"Transformers: Revenge of the Fallen" makes no pretense of wanting to be anything more than entertaining, albeit overdone and over the top "mind candy".... filled with CGI effects and a roller coaster like thrill.

If you can accept and, indeed, expect that going in... you'll have a fun time.

Otherwise, stay at home... and curl up with a good book.

The Proposal : Sandra Bullock’s Romantic Comedy Swan Song... and a “Behind The Scenes” Look

Thu, 18 Jun 2009 21:20:46 -0400

Sandra Bullock hates doing romantic comedies. After years of making a significant mark in the genre starring in films like "Hope Floats", "Miss Congeniality" and "Two Weeks Notice"... Bullock had sworn she'd never again do a romantic comedy ever again. That is, until she received the script for her latest film, "The Proposal".

So, what is it about this seemingly cookie cutter copy of the genre... that caused one of the few women in Hollywood that can still, albeit reluctantly, lay claim to the title, "America's Sweetheart" to change her mind?

In "The Proposal", Bullock discovers a role that she found to be different in her mind, from her past comedic on-screen characters. Bullock plays Margaret Tate, a strong, mercilessly ambitious... and supremely bitchy book editor for a large Manhattan publishing house.

Ryan Reynolds plays Andrew, her subservient, overworked assistant who answers Bullock's every professional whim and order. Andrew willingly suffers her demands, putdowns and indignities in hopes of an eventual promotion to editor... and the fulfillment of his own dream to be an author.

However, the plot thickens when on the verge of closing a huge deal, Margaret finds out a small error on a business trip out of the country... violated her status as a Canadian working in the US. Suddenly, the power executive finds herself powerless... and facing deportation back to Canada because of an issue with her visa. Her solution ? She coerces her assistant Andrew to marry her temporarily to keep his job. But, Andrew also has a card to play and demands Margaret propose to him... and promote him to editor... or he'll refuse the sham and leave her to the mercy of the INS.

However, things get more complicated when Andrew takes Margaret to visit his parents ( Mary Steenbergen and Craig T. Nelson ) and attend Andrew's grandmother's birthday ( Betty White )... leaving Margaret to discover some surprising things about the assistant she only depended on for her own needs. Turns out, Andrew's family is not only wealthy... but also, he doesn't hail from familiar Manhattan... but instead, the remote pines of a quaint Alaskan town called Sitka.

Unexpectedly, Margaret announces to Andrew's family their plans to get married... who, in turn - surprise both of them by having the marriage the next day on Grandma's birthday. What transpires next are the typical, chaotic hijinks one comes to expect from a romantic comedy of this nature... complete with a mix of expected cliched moments typical of the genre... but also, some inspired funny bits that are effective primarily due to the very palpable chemistry between Bullock and Reynolds.

One particularly funny and inspired moment is a comedic full-out nude scene between the duo... as they literally bump into one another, naked and beforehand unaware the other is in the same room with them

As the film progresses, the chemistry between Margaret and Andrew becomes more apparent... as Margaret's rougher personality edges soften amid his family's genuine excitement and instant loving acceptance of Andrew's sham fiance'. She discovers within his family an affection and a vulnerability she long buried in her quest for professional success in New York.

Additionally, Some of the best comedic moments are provided by the always reliable Betty White. Her knack with the unexpected, sometime risque one-liner always manages to bring a smile or laugh to audiences. White is comedic "money in the bank" for any film.

Mary Steenbergen and Craig T. Nelson are enjoyable respectively as the excited mother-in-law to be... and Nelson, as the father who is disappointed in his son's choice to not remain in the family's business in Sitka.

However, the driving force behind this film is Bullock. One can see why she chose this film as her romantic comedy swan song. Bullock still commands a skill of grand comedic timing and a willingness to throw herself full-out into physical, almost slapstick humor and moments with effectively funny results.

However, her book editor character, Margaret is not the damsel in distress... nor, the likable "America's Sweetheart" we've come to so closely identify with Bullock's on-screen persona in previous films. Oh sure, Margaret softens her style as the film evolves... but, again - the chemistry between Reynolds and Bullock make the predictability of the film's third act worth the all too familiar ride to shared love. It may be a retread at this point in the film... but, the ride is still a smooth and enjoyable one.

I recommend if someone should ask if you want to see "The Proposal" ... definitely respond with a heartfelt - "I Do" !

"Behind The Scenes" of "The Proposal"

One of the by-products of my being an entertainment reporter... is that, underneath the serious journalistic exterior ...is also an aspiring actor waiting to burst forth and perform when the director yells, "Action" ! On occasion, I get to do just that. Most notably for me was being cast in a speaking role as a TV reporter by Ben Affleck for his acclaimed film, "Gone Baby Gone".

However, for every great opportunity like that one... there are dozens of others that are simply working as a "background extra". Often, extras are far behind the actual action... blurry human figures giving motion and emotion to any given scene... while the featured actors do their thing in close-up.

However, occasionally - good fortune strikes even the extras... including me. I was chosen, by the film’s director, to be an extra in a scene filmed for "The Proposal" that took place aboard a small commuter plane that would have been one of the film's key plot points. It involved a group of passengers seated near Sandra Bullock, handcuffed to an INS agent who's been hounding she and Reynolds throughout the film. At one point, comedic actress Niecy Nash who was cast as a brassy flight attendant was to deliver a message to Bullock's character. However, the INS agent is increasingly rude, controlling and obnoxious to both Nash's character and Bullock, his helpless handcuffed prisoner.

As the scene was to play out... I was seated just one row behind Bullock. At one point, the exchanges between Nash and the INS agent become heated... and in a comedic flourish, Nash uses a taser to subdue the agent... and he falls into the small commuter plane aisle dragging the handcuffed Sandra bullock to the floor with him. After that, the passengers react in surprise... and I, along with a woman extra seated across the aisle gently help Bullock... along with others - to her feet to complete the scene.

The plane set was hot, cramped and often uncomfortable. However, what made the day-long shoot worthwhile and so enjoyable for all was first - the joyous directing style of Anne Fletcher, which kept the cast, crew and extras in stitches laughing. She knows what she wants, but she gets her movie set to be a smooth, light-hearted machine that's well-oiled with laughter and camaraderie.

Fletcher, a former dancer and choreographer would often break into dance moves... to keep the mood on this comedy set light and carefree. It's a directing relationship that strongly appealed to all the major cast members, but most especially Bullock.

As far as actors go... there are some who are real professionals in the biz... and of course, there are the prima donnas. From my seat behind Sandra Bullock, I could see over the course of many hours shooting the same scene from different angles... Sandra Bullock is nothing but a consummate pro. She's also a genuinely nice, down to earth person. She must have taken well over two dozen or more falls... hard falls to the narrow, cramped airplane set aisle while handcuffed to the faux INS agent. Yet, each time... she gave it her all with no complaints... and much good humor.

But, the most memorable moment of the day's shoot truly showed the natural, down to earth sincerity of Sandra Bullock. The building that housed the airplane set was surrounded by an area that was prone to insects, bugs and ticks. So, as we all patiently awaited the next take of that particular scene... Sandra Bullock asked with some small degree of urgency for a Kleenex from a nearby production assistant.

Only the Kleenex wasn't for Sandra... instead, she gently removed a crawling tick from the head of a long-haired extra seated in front of her. She then made the guy feel better about the whole thing and laughed the incident off with the rest of the cast and extras.

I know of few actors or actresses who would have shown the same grace, kindness and courtesy that Sandra Bullock showed in that circumstance.

Sandra Bullock is a very classy, "down to Earth" woman... who just happens to be a Hollywood superstar.

... oh, the airplane scene ?

It went on the cutting room floor. That's Hollywood !

The Taking Of Pelham 123 : Is This Film On The Right Track ?

Fri, 12 Jun 2009 18:05:04 -0400

Hollywood loves remaking a classic... and often the question that begs to be asked is... "why"? For me, that certainly was the case connected to the new film, "The Taking of Pelham 123".

The classic 1974 original film boasted a great cast headlined by Walter Matthau and Robert Shaw as the plot's primary adversaries in an unusual, high-stakes battle of wits and raw nerve... with the lives of a hijacked subway full of hostages hanging in the balance.

The original cast and film set the bar high for any potential remake... with it's richly layered characters expertly played by Matthau, Shaw, Hector Elizando and Martin Balsam. The plot had suspense and moments of humor too ... and an authentic depiction of New York City's unique characters and urban and economic condition during the 70's. The original film remains one of my favorite guilty pleasures that I love to see again and again.

So when I heard, Hollywood was remaking this film, I had my doubts about it's ability to improve on the original; let alone reinvent the wheel on this minor classic.

However, while the new "Taking of Pelham 123" has it's flaws... it also avoids being the abysmal mess it could have been... thanks in large part to the performances of Denzel Washington and John Travolta. Both men are recast as the original film's adversaries who are thrust into a suspenseful game of chess with a handful of innocent lives and millions of dollars in ransom money as pawns.

In this fast paced remake, directed by Tony Scott... Denzel Washington plays Walter Garber, a NYC Mass Transit Authority official who's been demoted amid a scandal in which he's been accused of taking a bribe.

Washington's Garber is not a hero... he's just an everyday city worker trying to get through the day at work and get back to his wife and kids after his 9 to 5 shift.

Enter, John Travolta as Ryder, a brutish, tattooed thug with a moustache, gun and a crew of heavily armed comrades... who commandeer a subway train, Pelham 123. Travolta and his criminal crew hijack the train, block the track access and demand 10-million dollars in cash within a one-hour deadline. Travolta announces he will kill a passenger for every minute the money hasn't arrived past the deadline.

In the original film, the ransom was only one million dollars... so, inflation plays a role here in this update... as well, as a sideline plan by Travolta to cash in on an even bigger payout using the hijacking to affect Wall Street gold prices.

Travolta's lead hijacker is a cold, calculated killer with severe anger management issues and a king sized grudge against the city of New York and it's establishment. This is a hijacker who wants payback in more than just cash... he also has a personal score to settle with the city he feels wronged him. Travolta’s Ryder is a manic, almost over the top wild man with brains. This portrayal is in stark contrast to Robert Shaw's cool, calm and calculating criminal in the 1974 original.

Travolta plays Ryder in this film with almost the same borderline "over the top" venom as his bad guy in the film "Face Off". However this time, the obvious viciousness of his character seems to make more sense here... and gives the audience a basis for his anger and seeming lunacy.

Washington's Garber has the purely coincidental misfortune to be the dispatcher that initially receives Ryder's call demanding the ransom. Garber is a fish out of water - a city employee thrust into the role of hostage negotiator. However, Ryder forms a bizarre bond with Garber over the course of their subway intercom conversations. When a real NYPD hostage negotiator, superbly played by John Tuturro tries to take over the negotiations.... Ryder without hesitation kills a hostage demanding Garber get back on the line.

What follows is a psychological game between the two men... as their tense negotiations peel away the layers of each man's personality, veneer and personal backstory displaying surprising revelations. All the while, the clock is ticking away to a tense deadline with ever more potentially deadly consequences.

James Gandolfini is quite entertaining as a New York City mayor embroiled in the negotiations... who's more initially concerned about getting out of office than dealing with another urban crisis. Again, Turturro and Washington also give the film a nice chemistry as the two form a fast respect for one another under tense circumstances. What's missing in this remake... that gave the 1974 original more texture, is the presence of more richly defined co-hijackers.

Hector Elizondo in the original film was chilling as cold blooded killer with an itchy trigger finger. Martin Balsam as the alienated subway conductor turned hijacker also gave the film some nice texture and comic moments.

In this remake, the stage is primarily Travolta's among the hijackers... with the minor exception of Luis Guzman as the turncoat subway conductor. In the remake, the other hijackers are nothing more than bodies brandishing automatic weapons designed to look menacing and nothing more.

However, it's the interplay between Washington and Travolta that make this film worthwhile. They connect and make you feel their oddly respectful relationship as it's evolves... though the two never share a scene together until the film's final act.

That relationship between Washington's Garber and Travolta's Ryder are the film's core asset... especially salvaging it's worth when the film ultimately becomes implausibly formulaic and cliched with it's racing in the streets, car-crashing chase finale... which ends with Garber and Ryder confronting each other face to face in a truly cliched resolution, during which the villain refuses to be taken alive... rather than return to prison.

Still despite a flawed third act that's seems like director Scott tried to shoehorn an entire film's worth of action sequences into the final 20 minutes... "The Taking of Pelham 123" is a snappily paced, well acted thriller that's worth seeing for the performances of the key players themselves. However, I strongly suggest finding the 1974 original for a more overall satisfying film viewing experience.

The final frame... of the original film’s final scene is a priceless cinematic moment.

That said, the modestly entertaining remake of "The Taking of Pelham 123" is worth viewing, but it isn't perfect...

Then again... neither is the New York City subway system.

Tim Wins Two 2009 New England Emmy Awards

Sat, 30 May 2009 19:18:15 -0400

Tonight was literally a career “dream come true” for me. I was honored and blessed to win two 2009 New England Emmy Awards for individual achievements in television. The first Emmy was for “Outstanding Arts and Entertainment Program” for an episode of our entertainment news program, “Backstage”. I served as the host, reporter, and overall producer of the entire hour-long episode titled “Flashback to the 50’s”... a nostalgic look at the classic era of American Bandstand, Chuck Berry, The Beach Boys, Frankie Avalon and more.

The second Emmy I won was even more thrilling for me. I won an Emmy for “Outstanding On-Camera Host”. I’ve always enjoyed any opportunity I received to serve as the host of a program that would entertain people... and this award recognized my efforts as a host for several different programs... demonstrating three diverse styles of hosting.

The highlight for me personally was to be awarded the “Outstanding On-Camera Host” Emmy on the same night that my TV “idol”, Tom Bergeron of “Dancing with the Stars” was also hosting our Emmy ceremony. I’ve always admired Tom’s skill and mastery as a TV host... and to receive such an honor in the same craft, while he served as our event host... made the evening truly special for me.

I consider myself to be a “child of television” growing up... and always dreamed of working in the business, on-camera.

Achieving that goal was a reward for me, all it’s own.

To win two Emmys in my desired field of entertainment reporting and hosting
... is truly, “A Dream Come True”.

Sam Raimi Returns : To His Hellish Horror Roots

Thu, 28 May 2009 01:29:10 -0400

Drag Me To Hell is frightening, frenzied, a bit on the freaky side... and quite simply a whole lot of fun.

Director Sam Raimi takes a well deserved break from the hit Spider-Man film franchise to return to his cinematic roots with this adrenaline-fueled ride into the supernatural. It's been 22 years since Raimi made his last directing foray into the horror genre which launched his career with the unique 1987 cult classic "Evil Dead II".

That film was groundbreaking in Raimi's superb blending of frightening horror and classic gore... offset by fast-paced editing and comical slapslick moments... that kept audiences alternately shrieking in fear and delighting in laughter at the film's "over the top" antics.

Now, Raimi returns to the genre where he made his cinematic bones as a director with "Drag Me To Hell"... and it's a long overdue but welcome homecoming for Raimi's fans of the horrific and hilarious.

Actress Alison Lohman plays Christine Brown, a sweet but ambitious loan officer at a small bank who finds herself vying for a key promotion. She's anxious to score the promotion to not only impress her doting boyfriend, Clay ( Justin Long )... but also, his rich and socially affluent parents who she fears look down upon her modest farm girl upbringing. Soon, Christine's boss suggests she needs to be tougher and make "the hard calls" in business in order to land the position... and, Christine inadvertently chooses the wrong person upon whom to exercise her tough business acumen.

When a frail, elderly Slavic woman, Mrs. Ganush ( Lorna Raver ) asks Christine to approve a third extension on her mortgage... Christine reluctantly turns the elderly woman down, effectively sentencing her to lose her home.

When the woman gets down on her knees and literally begs for mercy... the situation becomes tense as the woman grabs Christine's dress and begins to kiss the hem of her garment. Christine panics at this display and shoves Mrs. Ganush away... gravely insulting the woman before all present in the bank before security escorts her out the door.

After work that day, Christine enters her car to go home... only to be suddenly attacked in the vehicle by Mrs. Ganush. After a frightening... and at times hysterically funny struggle; Mrs. Ganush rips a button from Christine's coat and curses the young woman.

Christine tries to forget the traumatic incident as an isolated incident. That is, until she finds herself being tormented in her sleep and awakened hours by a frightening shadowy being that only she can see... but can reach out and touch her and all things around her in a violent fury.

Christine is not only visited by the shadowy demon; but also, the repeated attacks of an increasingly deformed and hideous looking Mrs. Ganush herself ... who vents her fury on Christine in ways both gory and gut wrenching.

The continued attacks prompt Christine to confide in her skeptical boyfriend about her fears. He reluctantly agrees to Christine's desire to seek the advice of a psychic. ( Dileep Rao ) The psychic himself is shocked to discover that Christine is no ordinary customer. She is indeed cursed in the worst of ways. He tells Christine she has only three days left to live... during which she will be incessantly tormented by the shadowy demon, now revealed to be a "Lamia".

Even more horrifying, at the conclusion of the three days... the Lamia will come for Christine and literally drag her through the ground into the fiery bowels of Hell itself for eternity. From there, it is a frenetic race against the clock for Christine, her skeptical boyfriend Clay and the psychic to discover a way to free Christine from the flaming curse that soon approaches.

"Drag Me To Hell" is Sam Raimi at his directorial best in this niche of the horror genre. Watching this film, one wonders why Raimi waited so long to bring this unique storytelling style to a new generation of filmgoers... sadly raised, immersed and numbed by the trite cookie cutter, horror-film bloodbaths of today's cinema. Like his earlier film from over two decades past, "Evil Dead II"... "Drag Me To Hell" is a unique hybrid of old-school horror film tricks ranging from creaking doors, blowing winds and sudden jolts of frightful imagery... to an unexpected catharsis of laughter at something equally horrific; and yet also, ludricrous and funny.

When Christine battles to fight off a slobberingly vicious Mrs. Ganush in her car with a set of office supplies on the passenger seat... the effect is both a classic horror moment combined with the slapstick humor of a Three Stooges movie. The moment when Christine fends off the old crone with an office stapler... and ultimately plunges a ruler into the old woman's vile toothed mouth... you can't help but laugh out loud, while at the same time cringe at the wild, delightfully hilarious audacity of the stunt.

And like the "Energizer Bunny"... despite the well-deserved physical abuse hurled in defense by Christine at the old wicked wench - the crazed Mrs. Ganush keeps reappearing and coming back for more mayhem.

Unlike the sick, twisted Grand Guignol of gore, sadism and torture glorified in such recent films as the "Saw" series and "Hostel"; Raimi's films like "Drag Me To Hell" conjure up amusement-park thrill ride frights and genuine suspense. Yes, there are also plenty of "gross out" moments as well; however, they're tempered with a healthy antidote dose of humor and sight gags to ease the audience through the journey. In fact, the only blood in this PG-13 film is a scene involving an ordinary bloody nose... played more for laughs than intended to induce cringes.

That's not to say "Drag Me To Hell" is for everyone... especially the squeamish. If maggots, flies, worms, infected bodily fluids aren't your thing... then brace yourself for a healthy dose of that and more to offset the noticeable lack of bloodletting in the film. But after all, it is a horror film... albeit with laughs.

Lohman is endearing in the role of the embattled and cursed young office worker. She makes you root for her redemption up until the very last scene in the film. I hope to see more great things open up for this young talented actress in future roles. Lohman shows some real strength and power at the film's climatic face off with Mrs. Ganush... in the most unusual of settings.

Rao also is effective as the concerned psychic trying to save Lohman from certain doom. However, Lorna Raver as Mrs. Ganush stands out in great scenery chomping glory... in an entertaining way that only a film of this "over the top" nature could sustain or benefit from.

"Drag Me To Hell" is a great entertaining ride full of thrills, chills and humor that only Sam Raimi is able to conjure up in his own unique trademark horror style.

Sam... please, don't wait another two decades to bring us this much fun again.

Terminator : Salvation - Has This Franchise Malfunctioned ?

Thu, 21 May 2009 00:41:07 -0400

The "Terminator" film franchise is back in theaters once again... but this time, the focus isn't on a pumped up Arnold Schwartzenegger in the series' fourth installment. Arnold is too busy these days playing the real life "Governator" of California. With "Terminator: Salvation", the story line has fast forwarded well beyond the apocalyptic Judgement Day forewarned so ominously in the previous films. Now, the action takes place amid a dismal wasteland of wrecked civilization... where the ravaged remnants of mankind fight a guerilla resistance against Skynet and it's army of malevolent machines bent on wiping out the surviving humans on Earth.

Replacing Arnold's "Terminator" as the main character is Christian Bale as the now grown up leader of the human resistance, John Connor. Connor's character has always played a pivotal part in the "Terminator" series... but, always as a young man facing an overwhelming future responsibility as Mankind's "savior" against the inevitable mechanical apocalypse. Now, as portrayed by Bale, Connor is a battle scarred and hardened full grown man... on the verge of leadership in the year 2018 - post "Judgement Day".

However, in "Terminator: Salvation"... the story's prologue begins in 2003 as Marcus, a death row inmate facing execution, well acted by Sam Worthington... agrees to donate his body for scientific research. The purpose of this research seems innocent and benevolent enough at first... but we later realize it's tied to a darker future culmination.

Back in 2018, Connor and the rag tag human resistance battle an assemblage of metallic menaces that fly, drive on wheels... and of course take the familiar man-like form of the chrome-plated T-800 Terminators of the previous films... only now, mass produced assembly line style. When Connor and his men attack a Skynet stronghold early in the film... they come across an unusual find. Humans being experimented on by the machines for a purpose that's not quite clear.

Before they can determine the method behind the machine's madness... the Skynet facility self destructs killing all the men in Connor's unit... except for Connor himself. Also left unscathed and unnoticed... is one of the human guinea pigs... which turns out to be Marcus, the inmate we last saw in the film's 2003 prologue.

While Connor returns to his resistance headquarters to enact a plan to permanently disable the machines and make Skynet itself vulnerable for destruction via a sophisticated jamming signal. Marcus baffled at his own whereabouts, stumbles onto the decimated ruins of Los Angeles... where he meets a young Kyle Reese, played by Anton Yelchin.

Anyone familiar with the Terminator films knows Reese is key to John Connor's future. It's Reese who the now leader John Connor will eventually send back in time... to save his mother and ensure his own life by having Reese battle the Scharzenegger "Terminator" before he is born.

However, this destiny becomes endangered when Marcus and Reese are captured by the machines, along with other humans... to be used as spare parts for the fledgling new cyborg Terminators that Skynet is producing. Reese and Marcus are separated during a spectacularly staged chase scene against the machines, that's equal parts "The Road Warrior" mixed with the more recent "Transformers" film.

While Reese and the other human cargo are carried off to Skynet central for experimentation... Reese meets up with a beautiful resistance pilot played by actress Moon Bloodgood. It's Bloodgood's character that sees something redeeming in Marcus, that the once murderer from 2003 cannot see within himself.

She brings Marcus back to the resistance camp where an exploding land mine accidentally unveils a shocking revelation about Marcus... to the resistance, Connor and to Marcus himself. Marcus is a machine... one of the first cyborg Terminator prototypes. The only difference is, Marcus believes he is human with no memory of any other life... other than as a human being.

What follows is an uneasy collaboration between Marcus and Connor to save Reese and the other humans from Skynet in a daring rescue mission. Director McG stages the action sequences in Terminator: Salvation with vigor, imagination and excitement... but sadly, this installment leaves a great deal of promise unfulfilled. Christian Bale isn't a terrible John Connor. He commands the battle sequences with the requisite bravado convincingly enough. However, his character is too brooding for my taste... too one-dimensional. In previous films, John Connor certainly knew his future wouldn't be a rosy one... but, he still maintained a sense of cockiness and enthusiasm that is sadly missing in Bale's performance.

On the other hand, Sam Worthington as Marcus almost steals the film from Bale. His mix of initial self-loathing as an inmate... to the second chance at redemption he receives from Bloodgood's faith and budding affection for him... his restrained protective nature of Reese... and finally, his steadfast refusal to relinquish his humanity despite his nuts and bolts interior - give his performance much more nuance than Bale's relentlessly somber John Connor. Yelchin, who is also seen in the hit film, Star Trek... is a very good Reese showing the cockiness and youthful resistance spirit seen in the previous films' John Connor characters.

Sadly underused by director McG in this script are Bryce Dallas Howard as Connor's wife and four-time Oscar nominee Jane Alexander as one of the human prisoners. It's possible their roles were trimmed in the edit room to make for more time for the action sequences. It's hard to imagine casting an actress as talented as Alexander simply to deliver a handful of lines... and then have her suddenly disappear into the background like a silent extra.

Still, there are some surprising high points scattered throughout the film. Watch for certain familiar catch-phrase lines from the previous films delivered by different characters that add a nice nostalgic flavor to the film. Of course, the unexpected appearance at the climax of the original Terminator... via a convincingly created CGI Arnold Schwartzenegger is a great payoff for any fan of this series.

Unfortunately, "Terminator: Salvation's" several positive components don't outweigh it's negatives to make for a smoothly oiled entertainment machine. The ending resolution and sacrifice by a central character is a mix of unrealistic circumstance and all too predictable. The film's closing scene left me unsatisfied awaiting something more substantial ... in a film with such great potential and hype. Fox TV's underrated and recently cancelled Terminator-based series, "The Sarah Connor Chronicles" often carried far more rewarding denouements per episode... than this heavily touted, eagerly awaited feature film. That in mind, "Terminator: Salvation" is in dire need of an overall tune-up.

Hopefully, the inevitable next installment in the "Terminator" series will get a systems overhaul for improved entertainment performance.

Mark Ruffalo / Rachel Weisz Interview on “The Brothers Bloom”

Sat, 16 May 2009 19:35:32 -0400

Tim interviews Mark Ruffalo and Rachel Weisz in Hollywood about their new comedic film, “The Brothers Bloom”. This unique, quirky and fun-filled con man caper also stars Oscar winner Adrien Brody... about two brothers who are master con men set to pull off one last spectacular swindle before retiring for good. Beautiful Rachel Weisz plays their unwitting and ultimately romantically irresistible mark.

Below is Tim’s fun-filled interview with the film’s stars... where he finds out plenty of “behind the scenes” dish on making the film. Mark Ruffalo provides an especially funny and unexpected story about his own potential brush with the “con game”... and a world famous TV producer.

The Brothers Bloom is released by Summit Entertainment. It opens in limited release on May 15th... and wide release on May 22nd.

Star Trek : Will This Film Live Long and Prosper?

Thu, 7 May 2009 04:02:44 -0400

Director J.J. Abrams much anticipated reboot of the long dormant Star Trek franchise truly goes "where no one has gone before".

With his new film "Star Trek", Abrams skillfully has pulled off the seemingly impossible - which could have, if handled differently, bordered on sci-fi heresy. Abrams has truly given us a new generation Star Trek by simultaneously reinvigorating and semi-reinventing the classic original characters and popular Trek mythology... while at the same respectfully retaining the basic timeless elements that made the classic TV and film series a pop-cultural icon.

Rather than continuing the tired and dreary Star Trek film characters and formula that exhaled it's last boring and pitiful gasp with 2002's "Star Trek: Nemesis", Abrams boldly has gone back to basics... and explores new ground probing the beginnings of the classic Star Trek characters from the TV show... and their early days at Starfleet Academy and how they ultimately become the crew of the Starship Enterprise.

As a die-hard classic Star Trek fan weaned on William Shatner's heroic James T. Kirk, Leonard Nimoy's logically stoic Mr. Spock and the rest of the original iconic cast... I feared this new film might be prove to be another horribly botched Hollywood fiasco populated with youthful, pretty Gen-X actors more likely to make "Star Trek 90210"... than a film reflecting and enhancing the series' decades long respected legacy.

Thankfully, my fears have been more than assuaged... and this new film is an exciting, mind-blowing and nostalgic revelation. From the first Star Trek fan convention in 1974, Trek fans have had a favorite, time honored slogan, "Star Trek Lives". Under J.J. Abrams' superb story, cast and direction, the new film shows, "Star Trek" not only lives... it has been spectacularly reborn.

The story begins with an action-packed sequence that sets the pace for this exciting adventure... as a Federation Starship is attacked by a massively ominous craft helmed by a renegade, time-traveling Romulan named Nero... who we discover later in the film, has a deep vengeful and deadly grudge against a certain familiar Vulcan. Nero's craft attacks and decimates the starship... but not before a certain officer named Kirk is promoted in battle to ship's captain. No, this Kirk isn't the James T. Kirk we all know and love... but, it's revealed it's his father and James T. Kirk is literally born to his mother in the heat of battle while escaping the doomed starship. Kirk's father, perhaps establishing the heroic gene pool that will later inhabit his son... saves most of the escaping crew while sacrificing himself and the ship to the evil Nero's overwhelming firepower.

This is the first indication that this Star Trek is going to be uniquely different. Never before has the birth... the beginning of one of TV's time honored characters been revealed in this way. As the film progresses, we see the childhood of Spock on Vulcan, wrestling with the duality of his half- human, half-vulcan parentage... and dealing with the taunts of his young peers for being an interstellar half breed.

Fast forward to the duo as young men... Kirk, a brash young rebel against authority in the cornfields of Iowa; Spock, a logical but culturally conflicted genius who realizes he will never truly be accepted as an equal on Vulcan... so he joins Starfleet Academy instead. Thanks to the influence of original starship Enterprise captain Christopher Pike ( Bruce Greenwood ) the rebellious Kirk - well acted with his character's requisite bravado by Chris Pine, decides to join Starfleet... and rock the boat along the way.

He soon finds himself facing off against Spock ( a perfectly cast Zachary Quinto ) in a moment that true Trek fans will delight in... which is the delightful depiction of Kirk's legendary triumph over the unbeatable "Kobayashi Maru" no-win training scenario at Starfleet. This sets the stage for a rivalry between the two characters which runs contrary to the relationship... we've heretofore known throughout Star Trek lore as always being true friends in Star Fleet.

This is one of the subtle changes director J.J. Abrams sets into motion to reboot the history of Star Trek to set it on a new exciting path. But, no worries - these historical diversions from the familiar Star Trek lore we've grown up with will have a satisfying explanation as the film progresses.

Soon, the Star Fleet cadets are called into action as the film's original villain, the Romulan Nero ( Eric Bana ) makes a reappearance to destroy Spock's home world, Vulcan. The group assigned to the USS Enterprise under Captain Pike include our favorite characters, Dr. Leonard "Bones" McCoy ( Karl Urban ), Uhura ( Zoe Saldana ), Hikaru Sulu ( John Cho ), Pavel Chekov
( Anton Yelchin )... and of course, Kirk.

The ensuing battle with Nero results in a revelation involving time-travel that describes a parallel universe - which conveniently explains the film's subtle variations on the origins of the classic characters. This plot device also leads to the introduction of the iconic Leonard Nimoy as "Spock Prime" to explain the connection between the Star Trek world we've come to know over the decades... and the new, re-energized Star Trek that J.J. Abrams is introducing us to in this film.

Director Abrams has made no secret of the fact that he was never a fan of the original Star Trek TV series. Obviously, this would make any Trek fan quiver with trepidation that the film franchise would endure a creative devastation... to rival Joel Schumacher's deservedly infamous ruination of the Batman franchise with George Clooney's day-glo travesty, "Batman and Robin". Thankfully, Abrams had the smarts to respect the original Star Trek legacy... while, at the same time... bring his own creative vision to jump start a legacy that had stalled and become stale for today's audiences.

The cast is first rate. Chris Pine captures Kirk's swagger and bravado without becoming a William Shatner caricature. When he takes the captain's chair for the first time... we see a man of confidence who belongs in control. Zachary Quinto was born to play Spock. He imbues Spock with a convincing mix of conflict about his emotional human side shown here more than ever before in previous films... and his logical Vulcan half. This is a Spock with emotions on display that we've never seen to this degree... and with a very surprising twist.

The rest of the Enterprise crew are all impressive. However, Karl Urban is a stand-out as Dr. McCoy. He channels original actor DeForrest Kelley without lapsing into a cheap imitation. His stance, his gestures are pure Dr. McCoy... and when he utters his first McCoy-ism, "Damn it Jim, I'm a doctor... not a quantum mechanic"... it's a moment of pure Trek Nirvana. It's moments that like peppered throughout this "Star Trek" that will make the classic Trek fans in the audience get a nostalgic chill up their gleefully geeky spines. Abrams knows that the true heart of Star Trek was never the gadgets or special effects... but rather, the unique familiarity and relationships between the central cast of characters.

Abrams knows well enough to not totally abandon the classic Trek TV legacy that precedes it. Tribbles, sexy green Orion women, Vulcan nerve pinches, Sulu's fencing ability, Scotty’s frantic, yet dependable last minute efforts to save the Enterprise from the engine room... and even the always expendable dead meat "Red Shirt" crew member are among the classic elements well represented with knowing reverence and warm nostalgia.

These nods to the past more than make up for Abrams' updates... such as turning the Enterprise bridge into a replica of the genius bar at the Apple store. The battle and special effects scenes are also first rate... and the pacing of this film is always exciting and rapid fire. Gone are the days of self-important pontificating speeches of galactic peace and boring moodiness... that eventually spelled the death knell for the franchise on TV and the screen years ago.

However, foremost of the elements in this new Star Trek is the appearance of Leonard Nimoy as the original Spock or "Spock Prime". When he appears on screen, it is a thrilling almost iconic moment. Nimoy's Spock gives legitimacy and gravitas to this re-imagined vision of Star Trek. It is truly a passing of the baton to a new generation... while maintaining a solid anchor in the genre's iconic past.

This reinvention of Star Trek is truly worthy of seeing and enjoying it's renewed vision ... and equally nostalgic glory.

May this new voyage of the franchise "Live Long and Prosper".

The Soloist : A Musical Masterpiece

Sat, 2 May 2009 01:33:38 -0400

Everyday, we pass them on the city streets and sidewalks. They are the helpless, the friendless, the lost and disenfranchised souls... that are far from invisible, yet also, unseen in plain sight.

They are the nation's homeless.

However, what would happen if we took a moment to stop and look past the seemingly hopeless exterior of one of these lonely individuals... and see the true person hidden beneath their disheveled veneer. Would we be surprised at the potential genius hidden inside?

That's the revelation Robert Downey Jr. encounters in the new film. "The Soloist". Based on the real life story and book of the same name, Downey Jr. plays Los Angeles Times columnist Steve Lopez who meets Nathaniel Ayers, a musically gifted homeless man skillfully portrayed by Jamie Foxx. Ayers unique first encounter with Nathaniel begins even before they meet face to face.
Lopez hears the music of Beethoven being beautifully played in the streets... amid the hussle and bustle of Los Angeles' busy downtown area. When, Lopez seeks out the source of the music being played... he is surprised and astonished to find it coming from the violin of the most unlikely of musicians... a disheveled, grimy, displaced man who rambles his jumbled words and random thoughts with the rapid fire pace of an automatic machine gun. Yet, behind the rambling, broken and ugly exterior... is a gifted musician with the ability to create beauty through his musical talent.

However, Lopez recognizes there is more to this homeless man than meets the eye. Ayers' talent is so profound... he's able to create such music with a broken violin that is missing several strings... and amid Ayers' ramblings is his mention of a past connection to Julliard. Lopez sees the opportunity for a great feature story... and follows the lead to discover Ayers was once a truly gifted Julliard student skilled in violin... but, most especially the cello.
As Lopez probes deeper into Ayers' story... he discovers the homeless man's future as a musician was cut short by schizophrenia - setting him on a path away from his family and onto the streets. Soon, Lopez' stories gain attention and the two form a unique friendship as the reporter digs deeper into Ayers' life. Lopez' tries to help the often reluctant Ayers'. He provides him with a new cello and a safer place to play it off the streets... and he tries to gain attention for Ayers' long ignored musical talent.

In return, Ayers' positive outlook and love of music amid the dangerous squalor of living on the streets... gives Lopez a new outlook on life and a clearer vision of the homeless world he and so many others never truly see... or choose to ignore.
However, Lopez soon finds his desperate efforts to help Ayers... is often, not truly helpful or even wanted. All of this leads to a crisis of friendship and Lopez' own self examination of his motives and responsibility. Is it best for Lopez to force help and shelter on his altruistic "project"... or simply just accept Ayers for who he is... and simply be his friend ?

Robert Downey Jr. turns in another wonderful, yet understated performance in this film as the real life journalist Steve Lopez. His eagerness to help Ayers and his eventual conflict and frustration with the difficult results and unexpected responsibilities are wonderfully portrayed with effective subtlety. Jamie Foxx is also impressive as Ayers. Foxx lends his character a childlike innocence that is a treat to behold... and his character's love of music seems to mirror Foxx's own real life passion for the art.

A fascinating sidebar aspect to the film's plot line are scenes that depict the beginnings of the decline of newspapers as a source of news in an increasingly online world. There are subtle moments showing layoffs, rumors of downsizing, and more that mirror the current state of the nation's newspapers' economic peril.

Director Joe Wright, who also helmed the tragic romantic drama Atonement... has a keen eye for unflinchingly depicting the desolation, loneliness, squalor and danger of living homeless on the streets of Los Angeles. There are some scenes of the city's homeless minions cowering and scavenging for food and shelter at night that resemble something from a post-apocalyptic vision more readily seen in a sci-fi fantasy film... yet, all the more riveting because we know this vision is real life.

Equally noteworthy is Wright's choice to not glamorize or sanitize the film's ending to satisfy the audience desire for a tidy, happy finale. "The Soloist" ends not only with a sense of hope and possibility; but also, it does not shy away from the fact that there are no easy, happy answers and resolutions for those affected by mental illness or economic circumstance.

As depicted in the film's final scene... there is only friendship, acceptance and music among the options we have to carry us forward... through life's travails.

X Men Origins: Wolverine - Does This Film Have An Edge ?

Sat, 2 May 2009 00:53:49 -0400

In "X Men Origins: Wolverine", the beginnings and motivation behind arguably the most dynamic and yet, enigmatic of the X Men mutants long before his eventual superhero status... is superbly explored in this exciting prequel to the "X Men" film trilogy. Hugh Jackman returns with confidence to the role that made him a star in Hollywood. In this fourth outing as the ferociously feral Wolverine, Jackman seems to not only look increasingly comfortable with his cinematic alter ego... but also, it's one he genuinely appears to enjoy portraying. That's especially apparent in this deep exploration of Wolverine's origins and inner demons.

The first 20 minutes of "X Men Origins: Wolverine" play almost like a mini film within the larger movie... and this opening to the film is an impressive start. The film begins in 1840's Canada where a meek young James Logan and his brooding older half-brother, Victor Creed find themselves alone and on the run after a fatal family squabble. This unfortunate event not only reveals young Logan's mutant ability to grow lethal bony spikes from his fists; but also, leaves the young duo orphaned and alone... forced to depend upon each other to survive.

The two brothers eventually realize they also share the mutant ability to spontaneously heal from wounds... and seem almost invincible, if not immortal as well. The following title montage is a genuine treat as the brothers are shown battling side by side through the Civil War, World War I and II, and Vietnam. The sequence is thrilling in it's emotional and visual punch and also sets up the eventual realization that... though the brothers are fighting side by side through the ages... they are also growing apart in personality and morals. The adult Logan, played by Jackman becomes a conscience driven, war-weary solider in stark contrast to half-brother Victor, played with effective menace by Liev Schrieber.
As Victor's evil, sadistic personality grows to embrace it's dark side... Logan grows more troubled by their deeds on the numerous battlefields they've survived and conquered. Eventually, a murderous act by Victor in Vietnam leads to both he and Logan being court martialed and shot... only to survive the execution due to their regenerative mutant powers. This brings the duo to the attention of Army Col. Stryker who recruits the brothers into a covert special-ops unit consisting of other mutants with equally unique abilities.
This group includes Ryan Reynolds as a fast-talking, sword wielding dynamo code named "Deadpool", Black Eyed Peas frontman, Will.I.Am as John Wraith, a mutant able to disappear and materialize in a different place in the blink of an eye... and Lost's Dominic Monaghan, as the electrically manipulative, Bradley.

One mission leads the team to Nigeria where they're ordered to obtain a mysterious rock at all costs, including the murder of a group of innocents. It's here where Logan draws the line with his inner moral battle... and parts ways with the lethal squad and more significantly with future ramifications, his brother.

Logan later finds peace and solitude in the Canadian Rockies with a new love, a beautiful schoolteacher named Layla Silverfox, played by lovely newcomer, Lynn Collins. However, Logan's peaceful life of bliss is eventually shattered when Stryker returns to recruit Logan to capture his rogue brother, now known as a fanged, ferociously strong, Sabretooth. Logan refuses at first, but soon changes his mind... after brother Victor / Sabretooth murders Layla as part of a vendetta against his old comrades.
Seeking revenge, Logan agrees to rejoin Striker's team and submits to an painful experiment that will forever alter his life. Stryker has found the metallic rock substance the team sought earlier called Adamantium... and convinces Logan to allow the element to be fused to his skeletal system - effectively making him indestructible... and giving him his trademark blades. The change makes Logan into the hero fighter, known as "Wolverine".
However, what Logan / Wolverine eventually discovers is that he's simply part of a larger plan to enslave other mutants and siphon their abilities to create a super warrior for the military. What follows is an exciting ride full of betrayal, vengeance, loyalty and redemption.
"X Men Origins: Wolverine" takes place some 30 years before the events of the original "X Men" film trilogy... and a few younger members of that mutant group are seen in this film, giving a glimpse into the "X Men" future to come. While this film focuses on the primary origin of Wolverine, the film also offers one especially surprising cameo at the film's climax that sets the stage for the later trilogy.

The action sequences in this film are dazzlingly choreographed - from the aforementioned opening battle montage... to a wild chase sequence between Wolverine on a motorcycle and an armed attack helicopter. The big payoff is the ultimate end-game battle between Sabretooth, Wolverine and the new super-soldier, "Deadpool" atop a nuclear reactor at Pennsylvania's Three Mile Island. It's a sequence that delivers with a powerful visual punch... and ends on a sad, poignant note - which sets the tone for Wolverine's search for truth in the later trilogy.
Audiences who loved the "X Men" trilogy as I did will find this to be a satisfying prequel that works. It's not without some flaws. The plot is a bit thin at times... and the pacing slows a bit in the middle of the film. Also, the relationship between Logan and Layla could have been explored a bit deeper for my taste. But, overall the film satisfies it's main intent as an action film. Newcomers in the audience to the characters shouldn't be too confused, as this film stands well on it's own. Be sure to stay through the film's closing credits for a surprise film sequence that could set up a sequel storyline.

Again, Jackman is superb in the role he's made distinctly his own

... and "X Men Origins: Wolverine" is a fun adventure with an edge that delivers.

Judging Miss Boston Pageant : The Conversion of a Horn-dog

Fri, 3 Apr 2009 16:38:14 -0400

They primp. They parade... and they pose. They're the young women hoping their picture perfect smile, charm, beauty and wit will gain them the ultimate prize of being a beauty pageant queen. These gals dreaming of tiaras, scholarship money, and being more than just "Miss Congeniality" aren't just from the usual pageant mill territories of Texas, Arkansas, California or the cornfields of the Midwest. Boston girls also have their own dreams of pageant success glory.

However, if you think competing in a beauty pageant is remotely easy for the contestant... well then, guess again. If you think judging a beauty pageant would be just as easy... be prepared to rethink that idea as well. I certainly had to - in a most unexpected way.

This is an event where you need to check all your preconceptions about beauty pageants at the stage door. There's no denying pageants are a dazzling showcase for glitz, glamour, physical beauty and lots of smiles... topped off by a glittering tiara. But, the core truth is that many of the pageants are, to a significant degree, and most definitely... more about intelligence, admirable ambition and passion for one's deeply held personal beliefs.

However... honestly, I never always thought this way deep down.

Until recently, I'd always been a TV watching, couch potato bystander to the beauty pageant game. I admittedly and proudly watched Miss America, Miss USA, and Miss Universe with a subconscious pecking order in my mind about the event.

While my Obama - age, "politically correct" outer self would be personally deluded into thinking that I was sincerely tuning in for the smart, intelligent and articulate answer to an incisive, albeit stereotypical question... about how to someday achieve world peace.... my hormonal id was actually eagerly hoping to bypass all that extra fluff, that I actually considered superfluous... and get to the really good stuff. That, being the swimsuit competition... with the evening gown teaser / chaser - a close second.

I openly admit, I love seeing a beautiful woman with a great smile.... and for me and every other healthy red-blooded, male around the world, a beauty pageant always offered a veritable smorgasbord of beauty to choose from. From the safety of my TV judging room, I would often pick my winner by the time the opening song and dance number was completed... with confirmation of my choice during the swimsuit competition.
Forget the answer to "world peace". By that time, I was ready to crown the winner. Based on talks with many of my friends, male and female... they too would do their home-bound, arm-chair judging using the same arbitrary scoring system. I was blissfully content with my hormonally driven decision process.

Then recently, an opportunity unexpectedly came my way that is perhaps every guy's dream come true. I was asked to be an official judge for a real-life, "honest to gosh" beauty pageant... specifically, the Miss Boston beauty pageant.

The Miss Boston pageant was making a comeback after a brief hiatus in the city... and this pageant was serious business. The winner from Miss Boston goes on to compete for the title of Miss Massachusetts... and from there, to the time honored Miss America pageant. I would be one of five judges, three women and two men from varying backgrounds.

My first reaction to being picked as a judge was filled with mental cartwheels of delight... and the usual latent adolescent fantasies one would imagine about being so close to tall, beautiful, perfectly toned swimsuit clad beauties. Oh yeah... I remembered as an afterthought - I'd really have to try to pay attention during that "world peace" question.

However, as the days before the actual competition approached... I felt an unexpected nervousness about what lay ahead. This wasn't a two-dimensional TV diversion for me on a boring Saturday night. This was the real thing and my choice could... dare I say it - help select the next Miss America. Suddenly, a new feeling replaced my previously felt hormonal surge of joy. I was feeling... responsibility.

When did that enter into the equation ?

As I began reading the written bios on all the 17 contestants... that feeling of responsibility only deepened as I read and realized the depth, legitimate passion, and personal commitment each young woman competing for the title of Miss Boston genuinely possessed below the beautiful surface. This feeling was magnified when our small panel of judges had to meet with each woman face to face for a personal preliminary group interview.

One young woman was promoting as her "platform", or cause - that she supported the encouragement of more women to pursue careers in science and engineering. I thought - with some degree of surprise, wait a minute... what happened to simply supporting "world peace"?

The subsequent contestants also had equally impressive and inspirational platforms. These young women displayed their passion for serious and deeply important issues with profound and sincere conviction; protection and prevention of sexual assault and rape, breast cancer awareness, inspiring young urban women to greatness, building better relationships with your children, and much more.

Some of these young women were candid enough to step past their physically perfect veneer... and expose their emotional personal experiences that led to their deeply held beliefs. One revealed that her passion for promoting a tobacco-free lifestyle stemmed from losing several family members to lung cancer... while another revealed that her crusade to promote suicide and depression awareness, stemmed from her own successful battle to overcome those personal emotional demons in her own life.

Suddenly, I realized these were young women presenting themselves with poise, conviction and strength of purpose beyond the glare of cameras or an admiring audience of friends and supporters to cheer them on. This was more like a high-pressure job interview... where they not only had simply a few brief minutes to convincingly present and defend their passion; but also, answer our panel's numerous rapid fire, random and often tough questions on a variety of unexpected topics. As a former news reporter, my instinct in this pseudo press conference scenario kicked in... and the puff ball questions one might expect in a so-called beauty pageant went out the window.

One young lady effectively and bravely defended her view that the swimsuit portion of the Miss America pageant was outdated and should be dropped from the pageant process. Criticizing the very process that one is also competing in... and one that the judges are participating in as well, was a bold move in my book. That, and her effective defense of participating in the process that she, in part - disagreed with... instilled a respect for her within me that struck a positive chord.

Meanwhile, another young lady firmly and proudly stood by her beliefs and convictions instilled by her Christian faith that molded her into the young, strong woman we saw standing before us. Her willingness to take such a potentially alienating stand for some - in this "let's not offend anyone" era of political correctness was equally impressive. Her personal conviction was worth more to her... than winning the competition. With these women, what we saw... was what we got. Sure, the slick beauty queen smiles were always ever present... but, so too were the strength and genuineness of their personal convictions.

Now make no mistake... the day of the actual competition delivered all the expected pomp, circumstance, high heels and lip gloss I'd come to love, appreciate and enjoy from my couch potato pageant watching days. There was the requisite opening dance number with these young ladies performing together... followed by their individual introductions. The competition finally got down to business with the various familiar segments we were to judge: talent, swimsuit, evening gown... and a final spontaneous question of each contestant.
We, as judges were expected to judge each contestant individually on a scale of 1 to 10. Personally, I felt a score of 1 to 4 to be out of the question. After all, in my mind, none of these young ladies deserved a score of "one"... unless, of course one of them came out on stage literally wearing a burlap potato sack as her evening gown.... a Bedazzled, tie-dyed thong as her swimsuit... and presented a musical tribute to "American Idol's" William Hung... while swinging a live kitten by it's tail over her head as her talent presentation.

Thankfully, for the most part - each young woman had her moment to shine in at least one ( or more ) of the pageant elements. The talent portion displayed several powerful singers and skilled dancers... as well as some unique skills ranging from belly dancing to gymnastics... as well as one requisite baton twirling act. I have to say, the baton twirling was surprisingly entertaining. Of course, some were more talented than others... and we graded them accordingly.

However, I found myself giving some measure of internal credit to these young ladies. Even if my score for some didn't reflect it... I certainly had to respect their individual courage to perform onstage when none of this particular pack were professional entertainers.

Next, the moment I had always dreamed of... had come, at last. The swimsuit competition with all the obvious libidinous perks one might think a male judge would appreciate and enjoy. Yet, to my surprise... when that moment arrived. The couch potato, pageant watching "horn dog" had checked out and disappeared from the premises... replaced by a judge with a renewed sense of real responsibility and purpose. I found myself watching the swimsuit competition with a different set of eyes.

I was actually watching to see if the choice of swimsuit was flattering to the contestant in color, style, fit and design... and not in it's enticing lack of fabric material yardage.

Oh, make no mistake, I was also appreciating the contestant's "fitness" as well... and grading accordingly ...and I might say with pride - fairly. But, in my judging both the swimsuit and evening gown competition... I was making a concerted effort to look beyond the obvious to see each contestant's grace, poise... and also, if they projected confidence in their walk and stance. The late Mr. Blackwell would have been proud.

All my previously held expectations, subconsciously held stereotypes and assumptions about the pageant process had vanished in the process and privilege of being chosen as a judge. During every portion of the competition; from the first preliminary interview question... to the final scrutiny of a contestant's walk, poise and elegance - I was aware that we as judges weren't simply choosing the most "beautiful" girl for the tiara. We were looking for an entire package of beauty combined with talent, intelligence, wit, conviction... and the best ability to carry on a tradition of being a spokesperson and representative of the first and most well known of pageant titles, Miss America.
The beautiful, vivacious and intelligent young woman we chose, Lacy Jane Folger of Wheelock College is a marvelous representative to go forward as Miss Boston to the next rung on the Miss America competition ladder.
There was a great sense of pride and accomplishment as Lacy Jane was crowned Miss Boston... and her obvious glee and gratitude at her win made the task of judging... and ultimately choosing her - all the more gratifying and satisfying. I wish her great success and I'm satisfied we judges did our job well. For my part, I think I was a surprisingly good and responsible pageant judge. Who knew?

... but, the couch potato TV viewer in me will always have a soft spot in my heart... for the swimsuit competition.

... Sigh.

Pageant Photos by Peter Rufo at
Rufo Photography.Com

“Monsters vs Aliens” : A Ginormously Funny Film !

Fri, 27 Mar 2009 02:42:26 -0400

The CGI animated film genre just keeps getting better and better for film audiences... and that trend continues with Dreamworks' latest witty and eye-popping offering, "Monsters Vs Aliens". Don't let the film's somewhat simplistic title fool you. This is one incredibly complex, funny and superbly entertaining film that truly has something for everyone - young and old alike.

The story begins innocently enough as we see a young bride named Susan ( voiced by Reese Witherspoon ) on her wedding day... about to marry what she thinks is her dream man, an ambitious and hilariously pompous small time TV weatherman. We - the audience - knows she's about to make a terrible mistake... but Susan is totally in love with this self-centered weasel and blind to his flaws.

But Susan's big day... and future takes an unexpected turn when a giant glowing meteorite smashes outside the wedding church... and it's radiation turns poor petite Susan into a 50 foot tall giant at the altar.

The scene where her sudden growth spurt smashes her through the roof of the church... sending her horrified wedding guests and groom scrambling is just the first of many great laughs in this film. In fact, one can't help but wonder how Susan's wedding dress just happens to split and shred into pieces as she grows... but yet, it manages to stay intact in all the right modest places. Well, after all - this is a PG-13 movie.

This scene is just the first of a non-stop barrage of 50's B-monster movie homages, sight gags... and slick, witty pop-culture dialogue references that keep this film moving at a red-hot pace from start to finish. Susan starts off as a bumbling, frightened version of "The Attack of the 50 Foot Woman"... and what comes next is a scene straight out of "Gulliver's Travels"... as an army of soldiers and military types surround the now giant Susan... and literally take her down with a giant hypodermic needle sedative and dozens of cables.

When she wakes up, Susan finds herself locked in a super-secret government holding facility that specializes in hiding Earth's monsters from the public. Think "X-Files" meets "Area 51"... with a dash of government cover-up paranoia.

It's here Susan - now renamed "Ginormica" by the military.... meets her new friends and cell mates. They're an odd group befitting their monster status... but with a cuddly edge. There's "Dr. Cockroach, PhD" ( Hugh Laurie ) a half man - half insect super scientist who got that way via experimenting on himself. Joining the quartet of monstrous misfits is "The Missing Link" ( Will Arnett ). a half-man, half-fish creature who delights in scaring bikini-clad babes at the beach. There's the silent but gigantic "Insectosaurus", who's horrifying size is offset by his humongously sad puppy dog eyes.

Finally, there's B.O.B ( hilariously voiced by Seth Rogen ) a brainlessly goofy blob of blue, translucent goo... that looks like the love-child born of a vat of blueberry Jello and hair-gel. Rogen's character is a scene stealer in this film... with his clueless comments and observations... and his pursuit to get the phone number of a dish of lime Jello that he's cluelessly become enamored of.

The plot heats up when a giant killer robot is dispatched to Earth by a deliciously evil, giant headed, four-eyed tentacled alien named Gallaxhar ( Rainn Wilson ) Gallaxhar wants to reclaim the radiation that made Susan a giant... and, oh yeah - clone millions of copies of himself, enslave the Earth and experiment on it's people. But don't worry... as Gallaxhar deadpans his intentions to the world... "It's not personal... It's just business".

That's when Susan / Ginormica and her new comrades are recruited by General W.R. Monger ( Keifer Sutherland ) to defeat the robot and Gallaxhar and save the world. What follows is a film chock full of truly spectacular scenes as thrilling as any live action, adventure blockbuster. The action sequences in this film are truly a riveting sight to behold. A battle between Susan, the killer alien robot and the Golden Gate Bridge is as spellbinding as anything involving real actors and CGI special effects in most disaster films we've seen in recent years. A later battle inside Gallaxhar's mammoth mother craft evokes the epic scope of a "Star Wars" film and "Independence Day".

It's the rapid-fire barrage of visual and dialogue references peppered throughout "Monsters VS Aliens" that will have adults... and especially true film buffs howling with delight. Only in a clever film like this one can you have obvious homages to "Close Encounters of the Third Kind" and "Beverly Hills Cop"... coupled with more subtle sight gags that only true film fans of B-horror flicks will get. Watch for one especially fun visual "tip of the hat" to that 50’s film monster classic "The Blob". If you blink... you might miss it.

But that's what so fun about "Monsters Vs Aliens". It so full of great action, snappy and funny dialogue... and so many film homages and references.... you'll gladly need to go see it again... just to catch something you might have missed the first time. There definitely sequel potential with this film.

Finally, I saw this film at a regular screening in 2-D. In that format alone... it's a "must see" film. However, "Monsters Vs Aliens" is being shown to general audiences in 3-D and IMAX as well. After seeing it in the regular format... this is one film that I guarantee will be dazzling in 3-D.

This is a film that adults will love and enjoy for the witty fun and dazzling effects... and the kids will be equally enthralled. Following Pixar's hugely successful "WALL-E".... Dreamworks has more than answered the challenge with "Monsters Vs Aliens"

I'm going back for a second thrilling ride with Ginormica and crew... with my 3-D glasses eagerly in hand.

“Knowing” : Does This Film Have A Future? - My Review

Thu, 19 Mar 2009 23:11:51 -0400

What would you do... if you could see the future and possibly prevent a horrific disaster ? ... but, no one will believe you ?

That's the familiar central plot device that drives the new Nicholas Cage thriller, "Knowing". Premonitions of impending doom is a theme that's been covered many times before... in countless other Hollywood films - some successfully and with great skill; while other screen attempts to cover the same ground have been truly... well, abysmal disasters. "Knowing" is a film that falls somewhere into a grey area smack in the middle.

The story begins in 1959... an elementary school class is assigned to draw pictures of what they think the future will look like... for a time capsule to be opened in 50 years. While the rest of the class draws Buck Rogers inspired rockets and the like... a shy, troubled girl begins frantically scribbling a page full of seemingly random numbers. The sense of dread in the girl's face indicates she knows something the rest of us... have yet to discover.

The young girl's numerical scribbles are eventually revealed... along with the rest of the time capsule's contents.... at an innocent school ceremony 50 years later in the present day. The page falls into the hands of a young student, Caleb ( well played by Chandler Canterbury ) ... and Caleb shows the page to his MIT astrophysicist father played by NIcholas Cage.

There's plenty of subplot here with Cage playing widowed single parent... drowning his sorrows and loneliness late night with liquor - while trying to maintain a connection with his motherless son. Soon, Cage realizes the numbers aren't as random as they first appear... as the groupings are revealed to have foretold the day and location of devastating disasters around the world over the past half century.
"Knowing" follows Cage's pursuit of the meaning of the remaining dates and locations... with the final numbers suggesting a universally ominous fate. Along the journey, Cage encounters the daughter of the grown-up author of the numbers list... and her young daughter as well. ( Rose Byrne and Lara Robinson )

These four soon find themselves intertwined in ways they never expected... especially the children who seem to be getting silent messages from a mysterious group of equally silent trench coat wearing watchers... who's wardrobe and look seems to mimic The Matrix meets Spike from TV's "Buffy the Vampire Slayer".
It all starts to get a bit muddled as Cage tries to unravel the secret of the final disasters - combining family dysfunction, religion, parental love and sacrifice, end time premonitions and ongoing catastrophies. However, somehow director Alex Proyas ( The Crow, Dark City, I Robot ) manages to keep this mish-mosh of an intended thriller interesting for most of the film with an urgency and tension that overrides the improbable plotline.
Proyas also stages two of the film's most riveting disasters in a style that's frightening and quite unnerving. This is especially true of a commercial plane crash that takes place right over Cage's head and into a nearby field. The scene is unlike any fictional plane crash I've ever seen on film. The scene is starling not so much for the CGI effect of the crash itself... but, rather the immediate fiery aftermath in which Cage runs to the site to help survivors moments later.
The imagery of the crash is not something you would see on any evening newscast... because Proyas takes the audience right into the middle of the chaos and carnage. The CGI effects are toned down here... but it's the horror of the moment for those in the twisted, burning wreckage that stays with you.

Overall, "Knowing" delivers an entertaining ride that you would want from a thriller... though Cage shows little range in his acting throughout the film... until the climax where he has to make a heart rending decision any loving parent would dread making. This isn't the sort of "disaster film" that cops out on it's resolution at the climax... which I felt was effectively done. Far less effective though, is the film's truly final scene which can be generously described as a touch of Biblical theology meets Spielberg's "Close Encounters of the Third Kind". This final scene is the kind of denouement that audiences will either love... or utterly hate.

"Knowing" doesn't dramatically add something new to the “forecasting of Earth's doom” film genre

... but, despite it's flaws - it's energy, pacing and special effects make the journey to see if the world ends - or not - worth the ride.

"Watchmen" : Is It a Film Worth Watching?

Fri, 6 Mar 2009 03:46:56 -0500

Can a comic-book based movie featuring super-heroes that few people have ever heard of... outside of a fiercely loyal, but select fanbase of aficionados... be a mainstream success? That's the 100 million dollar gamble Warner Brothers studios is betting on this weekend with the highly anticipated film adaptation of the popular graphic novel, "Watchmen".

And quite a gamble it is. The so-called comic book heroes and the storyline in “Watchmen” are far different from anything movie audiences have ever seen before. These are heroes and characters shown with multiple flaws, failings and festering inner demons.

The central characters are spandex clad vigilantes that are both figuratively... and some quite literally - laid bare – revealing a dark and tormented side that makes “The Dark Knight” seem almost like Pollyanna by comparison.

The original "Watchmen" graphic novel by Alan Moore was published in 1986... and to this day is considered a classic touchstone event in comic book storytelling with it's dark and incredibly complex mix of flawed heroes, grim adult themes, political intrigue, intense violence.... and, even cerebral philosophizing never before seen in the comic book genre.

For over two decades, Hollywood has struggled to bring this celebrated story to the screen. In the process, multiple studios and directors tinkered with the project... gaining it a reputation... and reverence even, as a totally unfilmable story.

Ultimately, “Watchmen's" latest script landed in the hands of director, Zack Snyder... who made his bones in Hollywood with the successful remake of George Romero's classic “Dawn of the Dead”... and the hit Greek war epic, “300”. Snyder's task of translating “Watchmen's” deeply complex story to the screen would be a daunting one... to say the least.

“Watchmen” is set in a mythical mid-80's era United States. Richard Nixon is serving his fifth term as president of a country on the brink of all-out nuclear war with the Soviet Union. Costumed vigilante heroes have been an accepted and welcome part of the society - fighting crime for decades. But, eventually this society grows weary and wary of the costumed crusaders... and the theme of “Who watches the Watchmen” gradually drives the one-time heroes out of favor... and out of business.

The film opens with the brutal murder of one of these retired heroes, The Comedian, effectively played with scenery and cigar-chomping glee by Jeffrey Dean Morgan. His former colleague in crime-fighting, the brutal, “take no prisoners” Rorschach ( Jackie Earle Haley ) embarks on a mission to find the murderer... only to uncover a much deeper, far reaching conspiracy to eliminate all the now, mostly inactive heroes... one by one.

Rorschach enlists the aid of his former “Watchmen” allies to uncover the truth. They include a roster of costumed heroes that make Spider-Man and Batman's human foibles and inner flaws seem quaintly normal.

Nite Owl II ( Patrick Wilson ) is a now timid techno-geek with sexual impotency issues. Silk Spectre II ( Malin Akerman ) is a romantically conflicted woman, who's retired super heroine mother ( Carla Gugino ) is a bitter, aging alcoholic.

The often nude, blue skinned Dr. Manhattan ( Billy Crudup ) is the most powerful of the group with genuinely superior powers of his own... but, as the object of Silk Spectre II's affections – he too, is flawed, emotionally distant and increasingly growing out of touch with his own humanity.

“Watchmen” is a deeply complex story that's far more than good guys against a super villain. Indeed, the surprising villain in the story is revealed to have a motive for his actions that some might argue... is genuinely more benevolent than evil.

Director Snyder had the awesome task of realizing this sweeping vision of the classic graphic novel. Not only was he faced with creating a film that will appeal to a rabid fan base of the book... who hold “Watchmen” the novel, as the Holy Grail of comic-dom; but also, Snyder had to create a film that appeals to the uninitiated mass audience. Most everyone... even if they've never read a comic book - has heard of Spider-Man, Batman or The Hulk.

However, with “Watchmen” - Snyder had to create a film that straddles both ends of the audience pendulum. For the most part, he succeeds. “Watchmen” - which runs 161 minutes... is almost page for page faithful to the original book... save for the necessary omission of “The Squid” at the film's ending. Don't ask... read the book.

Equally critical to bear in mind, though “Watchmen” is compelling, with incredible cinematography, action sequences and special effects... this is not a kid's movie. It is adult themed in every way. The violence is literally bone-crushing and bloody. There is a fair amount of nudity, an attempted rape... and a nude sex scene between two of the heroes. This is every bit a super hero film that wears it's “R” rating proudly... but not gratuitously. All the grittiness is faithful to the book... and necessary to the plot line's grim message.

I enjoyed “Watchmen”... not just as a comic book fan – because I never read the original graphic novel. Given that backdrop, I recommend “Watchmen” as a compelling, visually appealing, and entertainingly unreal fantasy – told by deeply flawed, realistic characters.

Peter Parker has a tough act to follow.

Memories of Bettie Page: A Beauty Inside and Out

Fri, 18 Apr 2008 12:27:55 -0400

In 1996 - I was honored to have had the opportunity... to be the only TV reporter to ever be granted a lengthy "In-Depth" interview by Bettie Page about her life.

Some of you may know of Bettie Page.. some may not.

On the surface - she was a 50's pin-up icon who's image is admired and revered to this day. She was the epitome of naughty and nice in her photos.... and the inspiration for a major motion picture on her life titled, "The Notorious Bettie Page".

But there was nothing remotely "notorious" about Bettie. She was truly a sweet southern gal - who genuinely saw nothing salacious about her modeling career... though her photos and Bettie were undeniably sexy.

Eventually, Bettie grew tired of modeling, but never regretted her career. Later in life, Bettie found God.. and moved to a different stage in her life. Troubles followed and financial hard times... but, she remained steadfastly devoted to her Christian faith to her final day.

Bettie shunned the former limelight... until, she briefly re-emerged - and I was fortunate enough to meet her for an NBC TV show I worked for at the time.

To my utter surprise... a random gamble on my part... and a simple phone call resulted in my meeting the reclusive Bettie Page.

It was one of the most memorable interviews and cherished moments of my entire TV career as a journalist. Bettie gave me her trust... after living in quiet seclusion for decades... and limited access in years since.

Bettie Page was truly the embodiment of the saying "Beautiful on the outside... Beautiful on the inside". Her photos are a wonderful legacy.

God bless you Bettie... and Thank you.

LINK TO BETTIE’S TV INTERVIEW

My acting debut in the film, “Gone Baby Gone”

Tue, 16 Oct 2007 22:33:51 -0400

Last year, I attended the Boston Premiere of the Ben Affleck directed film, “Gone Baby Gone”. It was a thrill to be part of this red-carpet affair... especially since I’ve got a couple of scenes in the film - in a speaking role - as a TV reporter. Seeing myself on the big screen fulfilled a life-long dream to be in a major Hollywood motion picture, even if it was simply a “bit part”.

In the above photo still from the film’s climax, you can see me approaching actress Amy Ryan - who won an Oscar nomination for her incredible acting performance in this film.

Ben Affleck initially chose me to simply be one of a montage of reporters commenting on the disappearance of a young child in the film. Ben directed me in my scene... and after a few takes - said i nailed what he needed. I thought I was done for the day... but then, Ben asked me to stay for one more scene that was shooting that day.

It was a welcome and unexpected plus to an already wonderful day.
As it turned out, the scene was to be the film’s all-important climax... when Ryan’s character gets her missing daughter back safely.

Ben gave me and another actress a “hot” working microphone... and then, he described what was about to happen... and told me to simply “ad-lib” what a reporter would ask in such a situation... based on my prior news reporting experience.

The lines I spoke were all spur of the moment questions. We shot several takes... and one of my ad-libbed questions to Amy Ryan - is the last tv reporter question you hear being asked in the scene... and Amy is answering it, as the scene shifts to Casey Affleck’s character watching the reunion play out on his TV set in his apartment.

Wow, what a thrill to see my name in the film’s closing credits. The film’s wrap party was great fun, meeting Ben’s wife Jennifer Garner... plus, Matt Damon, Casey Affleck, and Ben - who told me I did a “great job” in his film.

A memorable night and overall experience... I will always cherish.