One of the best things about Solitary Man is that directors Brian Koppelman and David Levian make sure that their film isn't overloaded with sentimentality. What could have easily turned into your run-of-the-mill redemption story is a tender and realistic film of a man trying to get his life back on track after he loses it all.
A few years ago, Ben Kalmen (Michael Douglas) had everything he could ever want: a loving family, a well-paying job, and a classy Manhattan apartment. Now, due to the inability to control his impulses, he has lost everything. Ben, however, isn't ready to give-up on himself. Even though he's divorced from his wife (Susan Sarandon), Ben is still able to keep in touch with his daughter (Jenna Fischer) and his grandson. Besides that, his new girlfriend Jordan (Mary-Louise Parker) may have the connections to get Ben's career going again. But when she asks him to take her daughter (Imogen Poots) on a college tour, Ben will be faced with the ultimate challenge to see if he really has changed for the better.
Michael Douglas's performance is the driving force of this movie. His character stays comfortably in the realm of believabilty; and never does he try to stretch beyond any further than he has to. The charm of Ben's character comes in the final scene. Through most of the movie, Ben is a morally-reprehensible character. But in the end, when the viewer finally realizes why he does the things he does, he becomes sympathetic with the snap of a finger. Jenna Fischer takes a satisfying dramatic turn away from her comedic role in The Office; and Danny Devito provides a great comic presence as one of Ben's friends from his college days.
Although Solitary Man might use a couple of cliches typically found in this type of story, it thankfully never fully descends into that trap. The film is a highly convincing portrait of a man trying to get his life straight after one too many mishaps. The emotions of the characters and original story help the film stay in the light of authenticity and never gets bogged down by formulaic plot points. It resists the predictible, and stays in the credible.
Final grade: A-
Thursday, June 24, 2010
Tuesday, June 22, 2010
'A-Team' film is highly entertaining '80s nostalgia for the 21st century
I'll admit, I approached The A-Team with some faint hesitation, and with good reason. It was written by Skip Woods, the screewriter of last summer's G.I. Joe, a film surrounded by embarrassing dialogue and middling special effects. The last thing I wanted in this lackluster (so far) summer movie season was another second-rate action film. It was a pleasant surprise to see that Woods and director Joe Carnahan were able to adapt a t.v. series from the '80s into an entertaining adaptation, and exceed our expectations.
In a very enjoyable opening sequence, the film tells of how the four A-Team members meet each other. Colonel Hannibal Smith (Liam Neeson), Face (Bradley Cooper), B.A. Baracus (Quinton Jackson), and Murdock (Sharlto Copely) come together as a group of mercenaries who answer the call to help for those who need it. The film sends our thrill-seeking quartet on a mission to retrieve a series of American-currency printing plates that have been stolen out of Iraq. Throughout the operation, not only do we see the team carry out the task placed in front of them, but we see each of the members' given talents and personalities perfectly mesh together despite obvious, and comical, differences.
Each cast member brings something to this table of explosions, close-calls, and chase scenes. Liam Neeson depicts his next-great-action-star persona impeccably. Just like Harrison Ford, he continues to prove that age is just a number. After a few comedies, Bradley Cooper is a welcome addition to the action genre, and adequately brings some of his comedic skill to the wisecraking Face. Although we all miss Mr. T, wrestler Quinton Jackson is a decent fit for the character, and surprisingly brings some emotion to the role on one or two scenes. And Sharlto Copely is hilarious, and hilariously insane, as the death-defying Murdock.
The action scenes, though quite preposterous, are original, and very fun. Sometimes, however, they are quickly edited, so it's a little difficult to comprehend what's going on, but it's still highly entetaining. Thankfully, they don't overstay their welcome too much, and this allows for the characters to build upon their already established friendships when they aren't in the midst of gunfire and explosions; and the plot is able to move foward. There's also a nice little plot-twist thrown in the later half of the movie. The cast and whizbang action are evenly balanced to make a film that's more fun than mindless. Exactly what a summer movie should be. Director Joe Carnahan didn't make a spectacular action film, but it certainly isn't a mediocre one.
Final grade: B+
In a very enjoyable opening sequence, the film tells of how the four A-Team members meet each other. Colonel Hannibal Smith (Liam Neeson), Face (Bradley Cooper), B.A. Baracus (Quinton Jackson), and Murdock (Sharlto Copely) come together as a group of mercenaries who answer the call to help for those who need it. The film sends our thrill-seeking quartet on a mission to retrieve a series of American-currency printing plates that have been stolen out of Iraq. Throughout the operation, not only do we see the team carry out the task placed in front of them, but we see each of the members' given talents and personalities perfectly mesh together despite obvious, and comical, differences.
Each cast member brings something to this table of explosions, close-calls, and chase scenes. Liam Neeson depicts his next-great-action-star persona impeccably. Just like Harrison Ford, he continues to prove that age is just a number. After a few comedies, Bradley Cooper is a welcome addition to the action genre, and adequately brings some of his comedic skill to the wisecraking Face. Although we all miss Mr. T, wrestler Quinton Jackson is a decent fit for the character, and surprisingly brings some emotion to the role on one or two scenes. And Sharlto Copely is hilarious, and hilariously insane, as the death-defying Murdock.
The action scenes, though quite preposterous, are original, and very fun. Sometimes, however, they are quickly edited, so it's a little difficult to comprehend what's going on, but it's still highly entetaining. Thankfully, they don't overstay their welcome too much, and this allows for the characters to build upon their already established friendships when they aren't in the midst of gunfire and explosions; and the plot is able to move foward. There's also a nice little plot-twist thrown in the later half of the movie. The cast and whizbang action are evenly balanced to make a film that's more fun than mindless. Exactly what a summer movie should be. Director Joe Carnahan didn't make a spectacular action film, but it certainly isn't a mediocre one.
Final grade: B+
Monday, June 14, 2010
'Please Give' is a simple, yet effective story of love, family, life, and death
Written and directed by Nicole Holofcener, Please Give is a comedy-drama that tells a bracingly original story of an NYC woman burdened by guilt underneath her success. The film is a lovely package of varying themes that range from love, to life, to self-image, and is as uplifting as it is gently heartbreaking, and comes with a small dosage of dark irony.
Kate (Catherine Keener) is a Manhattan resident who shares a thriving business with her loving husband Alex (an enjoyable Oliver Platt) selling vintage furniture. She is a caring mother to an image-conscious teenage daughter Abbey (Sarah Steele), and is worried about her daughter's insecurities. On top of it all, Kate puts her family at unease as she has trouble enjoying her success while others are living out on the streets. Nextdoor to them lives an elderly woman named Andra (a humourous performance by Ann Morgan Guilbert), who is cared for by her two granddaughters played by Rebecca Hall and Amanda Peet. Kate's family plans to buy Andra's apartment after she passes away; and in the meantime, tries to develop a friendly relationship with the rude grandmother and her two granddaughters.
Catherine Keener is the picture of a compassionate mother and good-samaritan. Rebecca Hall, Amanda Peet, and Sarah Steele portray their characters with such fragility as they try to confront the dliemmas that life has dealt them, that in the end, the results are all too real and relevant. The characters aren't just relatable to the audience; they also relate to each other through varying themes over the course of the story. As these connections are better identified, the bonds between the characters, along with their respective theme, become stronger.
Please Give handles its characters and subject matter with delicacy. The film delivers its messages with subtlty and never seems preachy. Despite the diversity of its themes, Nicole Holofcener successfully intertwines them, rather than just leaving them in separate pieces. There is a lot of truth to this film, and that is what gives it that extra punch.
Final grade: A-
Kate (Catherine Keener) is a Manhattan resident who shares a thriving business with her loving husband Alex (an enjoyable Oliver Platt) selling vintage furniture. She is a caring mother to an image-conscious teenage daughter Abbey (Sarah Steele), and is worried about her daughter's insecurities. On top of it all, Kate puts her family at unease as she has trouble enjoying her success while others are living out on the streets. Nextdoor to them lives an elderly woman named Andra (a humourous performance by Ann Morgan Guilbert), who is cared for by her two granddaughters played by Rebecca Hall and Amanda Peet. Kate's family plans to buy Andra's apartment after she passes away; and in the meantime, tries to develop a friendly relationship with the rude grandmother and her two granddaughters.
Catherine Keener is the picture of a compassionate mother and good-samaritan. Rebecca Hall, Amanda Peet, and Sarah Steele portray their characters with such fragility as they try to confront the dliemmas that life has dealt them, that in the end, the results are all too real and relevant. The characters aren't just relatable to the audience; they also relate to each other through varying themes over the course of the story. As these connections are better identified, the bonds between the characters, along with their respective theme, become stronger.
Please Give handles its characters and subject matter with delicacy. The film delivers its messages with subtlty and never seems preachy. Despite the diversity of its themes, Nicole Holofcener successfully intertwines them, rather than just leaving them in separate pieces. There is a lot of truth to this film, and that is what gives it that extra punch.
Final grade: A-
Tuesday, June 1, 2010
'Robin Hood' lacks adventure, grandeur
The story of Robin Hood has always been one of the great adventure stories. It told of the famous archer and his brigade of Merrymen from Sherwood Forest who assisted him as he righted the wrongs of Nottingham and stole from the rich to give to the poor. His times of living as an outlaw, his daring journeys, and opposition of his enemy King John always left a feeling of exileration to anyone who heard the story. It's hard to believe that Ridley Scott, the director who graced us with Gladiator, could take all feeling of adventure out of this classic tale. What should have been a thrilling expedition through Nottingham is reduced to nothing but a costume-adventure that's mostly a bore, and leaves the audience feeling empty.
Robin Longstride has been fighting in the Third Crusade for ten years under the leadership of King Richard the Lionheart. Not wanting to fight anymore, he runs away with a trio of friends who decide to abandon their army. The four of them travel back to Nottingham to report the death of a fellow soldier, Sir Robert Hoxley (Douglas Hodge). It is here where Robin Hood meets the beautiful Lady Marion (Cate Blanchett) and a relationship begins to blossom.
Meanwhile, King John (Oscar Issac) is focusing on his new duties as King of England, and is after any and all tax payments from his subjects. Little does he know, his childhood friend Godfrey (Mark Strong) is conspiring against him with King Philip of France, with the intention of starting an invasion of England. Forget about Robin Hood's famous feats of stealing for the poor; because this film is all backstory, and that's not a good thing. It practically ruins the movie.
The real Robin Hood story is out of the question at this point, being reduced to an average medieval period-piece rather than a soaring adventure. But one of the more disappointing aspects of the film is Russel Crowe's performance. He seems to be mimicing his Gladiator role for the whole movie, it's distracting. Cate Blanchett is decent, but somewhat forgettable as Lady Marion. Her character would have been a great deal more interesting if this were the Robin Hood story we're all familiar with, and would have depicted her relationship with him more vividly. Although there are glimpses their romance, we fail to see any sparks ignite. Two of the lone standouts in the film are Oscar Issac, who plays King John with convincing fierceness, and Mark Strong as the traitorous Godfrey.
What should have been a fun medieval quest turns out to be a dull origin story. What made Gladiator so gripping was with its 2 hour and 30 min. running time, it was able to balance dialogue with wonderful battle scenes. Although Robin Hood has about the same running time, it doesn't make good use of it. We get a battle in the film's opening, segments of near-nothingness, some sword-clashing and arrow-flying thrown in on the side, and a less-than-stellar battle in the finale. The very end of the movie show's the sentence "And so the legend begins," but at that point, we feel like Ridley Scott is the King of England and we're his subjects: he took our beloved hero, and we were robbed of the epic that was promised.
Final grade: C-
Robin Longstride has been fighting in the Third Crusade for ten years under the leadership of King Richard the Lionheart. Not wanting to fight anymore, he runs away with a trio of friends who decide to abandon their army. The four of them travel back to Nottingham to report the death of a fellow soldier, Sir Robert Hoxley (Douglas Hodge). It is here where Robin Hood meets the beautiful Lady Marion (Cate Blanchett) and a relationship begins to blossom.
Meanwhile, King John (Oscar Issac) is focusing on his new duties as King of England, and is after any and all tax payments from his subjects. Little does he know, his childhood friend Godfrey (Mark Strong) is conspiring against him with King Philip of France, with the intention of starting an invasion of England. Forget about Robin Hood's famous feats of stealing for the poor; because this film is all backstory, and that's not a good thing. It practically ruins the movie.
The real Robin Hood story is out of the question at this point, being reduced to an average medieval period-piece rather than a soaring adventure. But one of the more disappointing aspects of the film is Russel Crowe's performance. He seems to be mimicing his Gladiator role for the whole movie, it's distracting. Cate Blanchett is decent, but somewhat forgettable as Lady Marion. Her character would have been a great deal more interesting if this were the Robin Hood story we're all familiar with, and would have depicted her relationship with him more vividly. Although there are glimpses their romance, we fail to see any sparks ignite. Two of the lone standouts in the film are Oscar Issac, who plays King John with convincing fierceness, and Mark Strong as the traitorous Godfrey.
What should have been a fun medieval quest turns out to be a dull origin story. What made Gladiator so gripping was with its 2 hour and 30 min. running time, it was able to balance dialogue with wonderful battle scenes. Although Robin Hood has about the same running time, it doesn't make good use of it. We get a battle in the film's opening, segments of near-nothingness, some sword-clashing and arrow-flying thrown in on the side, and a less-than-stellar battle in the finale. The very end of the movie show's the sentence "And so the legend begins," but at that point, we feel like Ridley Scott is the King of England and we're his subjects: he took our beloved hero, and we were robbed of the epic that was promised.
Final grade: C-
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