Short Cut Movie Review: Behind the Candelabra

A Short Cut Movie Review is normally less than 400 words, but in some cases may go slightly over. This is my attempt to keep writing about as many films as I see without getting bogged down with trying to find more to say. They are meant to be brief snapshots of my reaction to a movie without too much depth.

I didn't know much of anything about Liberace except that he was a flamboyant pianist with grand spectacle performances and outlandish costumes. I can't say after seeing Steven Soderbergh's Behind the Candelabra that I know much more about the man and his life overall because it's a biopic that steers clear of the wide scope vision to focus on a several years period of his late life and the effect he had on one individual in particular.

In fact, it's more the story of Scott Thorson, Liberace's secret lover for about six years in the late 70s and early 80s. After all, Richard LaGravenese adapted Thorson's book for the screenplay so while it spends its early moments sort of enamored with Liberace's fashion sense, warm and generous personality, and lavish lifestyle, it eventually reveals him to be narcissistic, grandiose, fickle, and self-serving. But he still doesn't come off as a bad guy! Whether or not it's an accurate portrayal of the man or not is beside the point. It's a study of how a larger-than-life force of fame can have such a strong effect on others, especially a young and vulnerable man like Scott, although he is certainly not without his faults as he gradually falls into jealousy and despair (spurred on by Liberace's waning affections and fleeting attention) and drug abuse.

Soderbergh took a long time to bring this story to the screen and in the end it took HBO, not a Hollywood studio, to take a chance on a romantic film involving two men that was unflinching in its depiction of physical affection. It was well worth the wait. It is a stylish film with two fantastically entertaining performances from Matt Damon as Scott and Michael Douglas as Liberace. These are two actors who took big risks with this production and it pays off because the result is an honest portrayal of love and jealousy.

From My Collection: Out of Sight Movie Review

Out of Sight is quite simply one of the slickest and sexiest films of at least the last two decades. One scene in particular, involving a female Federal Marshal and the bank robber she’s chasing taking a “time out” from their respective responsibilities to fan the flames of passion between them is stylishly edited and beautifully realized. I loved this movie when I first saw it. I loved every minute of it as it played out on the big screen. I loved the smoldering Clooney and the incredibly sexy Lopez; loved the threatening Don Cheadle and the comic relief Steve Zahn; loved the fact that the Clooney and Lopez characters turn some common genre stereotypes on their heads; but mostly I loved the film’s sense of cool stemming from its jazz, funk, soul soundtrack, its sharp dialogue, and Tarantino-esque flair.

Steven Soderbergh's State of the Cinema Address

Last week, Steven Soderbergh gave a keynote speech at the San Francisco International Film Festival. It's a lengthy read, but anyone interested in cinema or cares about cinema and can't really stand studio garbage should take the time to read it. It's informative with regard to the studio process and really damn amusing.

sex, lies, and videotape Movie Review

Though this was the second time I’ve seen sex, lies, and videotape, it really felt like the first. The first time I saw it (probably in college or maybe even high school) I thought it was a little dull and unmemorable. I didn’t get what all the fuss was about. Sundance Audience Award winner? Cannes Film Festival Palme d’Or winner? But then priorities and taste change and suddenly a character-driven drama filmed on a low budget about a man (Peter Gallagher) cheating on his wife (Andie MacDowell) with her sister (Laura San Giacomo) and the old friend (James Spader) who comes to visit and, with his eccentric personality, serves as a catalyst for change is a lot more interesting. Maybe when I was a teenager I was hoping for a lot more out of the sex part of the title. There’s plenty of sex talk, but not a lot of flesh. Like I said, priorities change.

Short Cut Movie Review From My Collection: Ocean's 13

A Short Cut Movie Review is normally less than 400 words, but in some cases may go slightly over. This is my attempt to keep writing about as many films as I see without getting bogged down with trying to find more to say. They are meant to be brief snapshots of my reaction to a movie without too much depth.

Ocean’s 13, the second sequel to Steven Soderbergh’s successful remake of the Rat Pack feature, reaches critical mass with the number of characters piled onto the series. Soderbergh should be thankful that Julia Roberts and Catherine Zeta Jones bowed out of the series. I don’t see where there’s room for them. You’ve got the original eleven; plus Terry Benedict (Andy Garcia), their mark in the first film and a confederate this time; Roman Nagel (Eddie Izzard), a tech wizard who aided them in the last film; Toulour (Vincent Cassel) from the last film; Al Pacino as Willy Bank, their newest mark, a hotel magnate whose shady business antics put Reuben in the hospital; Ellen Barkin as Abigail Sponder, Bank’s right hand woman; and a small role for Julian Sands as the designer of the Bank Casino’s security shield; and David Paymer as the poor schmo of a hotel critic whose room is sabotaged by the crew.

The characterization should be spread too thin, but because the original crew has been so well-established in the first two films, Brian Koppelman and David Levien are able to leave out the usual montage of introductions. It’s just as funny as the second film, again at the expense of Linus (Matt Damon) most of the time. There’s also something about bringing the series back to Las Vegas that gives it a certain retro hipness – there’s a code between guys who’ve shook Sinatra’s hand – that the first sequel lacked. It’s tighter and better conceived than Ocean’s12, and quite thankfully doesn’t rely too heavily on such a dramatic bait and switch. Like the first film, of course there’s a twist in the reveal that you can’t really see coming, but at least it doesn’t bother setting us up for 30 minutes with a fake heist.

Ocean's 12 Movie Review

Where Ocean’s 11 had to rely on a montage to introduce all the members of the heist crew, Ocean’s 12 does something similar to show us where they are now, in several amusing little vignettes. The problem the second time around is that the pretense for it completely undermines the logic behind it. In each introduction we see Terry Benedict (Andy Garcia) confronting them about the $160 million they stole from him. They are each, in turn, surprised to see him, despite the fact that he visits them in cities as disparate as Los Angeles and London. Wouldn’t the first guy have called all the others so they could run and hide before he got there? I suppose this is a minor logical quibble, but it always gave me an uneasy feeling just as this sequel sets itself in motion.

Short Cut Movie Review From My Collection: Ocean's 11

A Short Cut Movie Review is normally less than 400 words, but in some cases may go slightly over. This is my attempt to keep writing about as many films as I see without getting bogged down with trying to find more to say. They are meant to be brief snapshots of my reaction to a movie without too much depth.

I’m a total sucker for heist films. I’ve said it here before. I love the group of thieves each with some specialized skill, the plan, the execution, and the hitch, even though these are all generally tired clichés in the subgenre. Steven Soderbergh’s updating of Ocean’s 11, from a screenplay by Ted Griffin, is a slickly produced genre film that is far better than it has any right to be.

The original featured the epitome of 1960s cool, the Rat Pack, with Frank and Dean at the fore. Forty years later, the update features contemporary Hollywood’s biggest male stars and embodiment of suavity: George Clooney and Brad Pitt. Clooney is Danny Ocean, the brains behind the caper and plan to rob three Las Vegas casinos of $160 million. His closest confidante is Pitt’s Rusty. They’re bankroll is supplied by a fading Vegas hotel magnate played by Elliott Gould and they put together an ensemble of crooks and villains that includes Casey Affleck, Scott Caan, Don Cheadle, Matt Damon, Bernie Mac, and Carl Reiner.

Side Effects Movie Review

Like most avid filmgoers, I too hope Steven Soderbergh isn’t being genuine when he claims Side Effects is his last film before retiring. He is one of the few directors currently working in Hollywood who can elevate a standard genre film above its perceived limitations. Even when he’s off his game, his films are usually very good. Films like Magic Mike and Haywire didn’t exactly set my world on fire, but they would have been utterly forgettable trash in the hands of a lesser artist. Side Effects similarly didn’t have me begging for more, but as a crime thriller in the mode of a lone wolf investigator trying to clear his name I can think of a few worse examples and hardly any better.

Short Cut Review: Magic Mike

A Short Cut Movie Review is normally less than 400 words, but in some cases may go slightly over. This is my attempt to keep writing about as many films as I see without getting bogged down with trying to find more to say. They are meant to be brief snapshots of my reaction to a movie without too much depth.

Steven Soderbergh's slick direction elevates what would otherwise be a formulaic ride through familiar territory. I'm still not convinced, despite Soderbergh's continued insistence on casting Channing Tatum, that he's much of an actor. Matthew McConaughey, on the other hand, is just marvelous in the role of a brash male strip club owner, a guy working the small time who dreams big. It's all beautifully photographed, the screen is often full of hard male bodies (there's a little bit of female flesh tossed in some early scenes), and it generally feels fresh and alive.

Haywire Movie Review

Before going to see Steven Soderbergh’s Haywire I kept referring to it as “the ass-kicking movie.” It’s hard to argue that I was wrong in my terse description. The whole thing is a ruse to showcase the talents of Mixed Martial Arts competitor Gina Carano in several brutal action fight scenes.

The film opens with a cracker of a fight scene. The stage is set in a tranquil roadside diner somewhere in upstate New York. Mallory (Carano) approaches cautiously, enters and sits down. She’s soon joined by Aaron (Channing Tatum) and their conversation reveals tidbits of a plot we’re not yet privy to. The dialogue here is not the lazy expository garbage of your typical action film. Instead they speak like characters who already know the history and have no concern for the audience’s knowledge. Suddenly and without warning, Aaron has thrown his coffee in Mallory’s face and smashed the cup on her head before they start brawling in the tight confines between the counter and the booths.

Contagion Movie Review: Sanitize Your Hands, Cover Your Mouth

How disease can spread without your knowing it.

Leave it to director Steven Soderbergh to take a worn out movie premise and zap us with a unique take. How many iterations of the global pandemic film can we take? That’s what I thought when I saw the ads for Contagion, which rather unfortunately make the film look much more like an action thriller than it really is. Soderbergh, working from an original screenplay by Scott Z. Burns, guts the genre of just about everything we expect. There are no chases. There’s no government cover up, though one particularly repugnant character hints at one. There’s no thumping and pounding musical score. There’s no child in danger (actually, a young child is dispatched early on with very little fanfare and no time for reflection) and no last minute rescue or rush to manufacture a vaccine to save the world.