Key Largo Movie Review

Lauren Bacall wasn’t a great actress. This much I’ve learned from watching the four films she made with Humphrey Bogart. But she was a great movie star. She had tremendous screen presence and could practically make the tough Bogart roll over and beg. In Key Largo, their final film together, although I didn’t tally the minutes, I would venture to say they share more screen time than in any other of their previous three outings.

Key Largo was based on a now obscure stage play by Maxwell Anderson about a WWII veteran who runs afoul of a once-notorious mafia kingpin while passing through the Florida Keys and spending time with the family of a slain war buddy. The action is very dialogue heavy, a lot of it indoors in various settings around a hotel mostly closed for the off season. It’s not the most expressive film for a John Huston-directed picture, but he makes the most out of the cramped settings.

Short Cut Movie Review: The Broken Circle Breakdown

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.

The Belgian film The Broken Circle Breakdown is precisely the kind of film that foreign countries typically enter as their candidates for the Foreign Language Film Oscar. They’ve learned to play the game. If it takes on subject matter that tends to be appealing to Hollywood, then they get noticed. And sure enough, it was nominated last week for the Oscar. A marriage in crisis and a cancer-stricken child are the two major plot points and it doesn’t get much more emotionally heart-wrenching than that. And really I’m not saying it’s a bad movie, but I’ve come to anticipate that foreign films will me something new. When they mimic some of the worst aspects of studio filmmaking, I’m disappointed.

Much Ado About Nothing Movie Review

Sometimes as a great fan of Shakespeare, though certainly I am not a studied scholar of his work, I long for adaptations that get away from the stuffy theatrical tradition popularized by Laurence Olivier and Kenneth Branagh. Though I have often found much to admire in Branagh’s work, it still fails to feel truly inspired or inspiring and instead comes across as an exercise in literary interpretation rather than a production of human emotion. But it is exactly that quality in Joss Whedon’s adaptation of Much Ado About Nothing that I admire it so damn much and why I’m willing to call it the best Shakespeare adaptation committed to film.

25 Years Ago This Month: Biloxi Blues Short Cut Movie Review

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.

Neil Simon’s Biloxi Blues picks up several years after his Brighton Beach Memoirs left off. Eugene Jerome (Matthew Broderick) is now finished with high school and headed for Army basic training in Biloxi, Mississippi, ahead of deployment to the War in the Pacific. His comrades in training include a muscle head and obnoxious jerk named Wykowski (Matt Mulhern); a New York intellectual, Arnold Epstein (Corey Parker); a dim-witted loud mouth, Selridge (Markus Flanagan); and a sort of nervous young soldier lacking in confidence (Casey Siemaszko).

Eugene goes through another coming-of-age tale, this time learning about the rigors of dealing with different personalities and backgrounds in a high stress environment, losing his virginity, and falling love (with the sweet and lovely Daisy, played by the equally sweet Penelope Ann Miller). Eugene, with his never-ending wisecracks, and Epstein, with his stubborn adherence to fairness, justice, and logic and refusal to go along with the army’s code of following orders, are foils for their drill instructor, Sgt. Toomey. In Christopher Walken, director Mike Nichols found the perfect actor to portray the soft-spoken, but menacing Toomey. He doesn’t get results by braying orders and insults a la Sgt Hartman in Full Metal Jacket, but by constantly undermining the appearance that humor and laughter will save these boys. His methods seem unorthodox from an outsider’s perspective, but barring a final act of madness he seems entirely reasonable as a man charged with training boys for war. I believe this was my first exposure to Walken and in a way it’s the quintessential Walken role and undertaken long before he became an object of parody and imitation.

Biloxi Blues works better as a movie than its predecessor thanks to Nichols’ direction. His vast experience in both film and stage means he’s able to make Simon’s screenplay more open while also working well with the actors to breathe fresh life into the dialogue. It never really feels like it was written with a live audience in mind.

Short Cut Movie Review: Brighton Beach Memoirs

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.

Neil Simon’s semi-autobiographical Brighton Beach Memoirs spoke to me in small ways as a pre-adolescent. It was hard not to identify in some small way with a Jewish kid struggling with puberty and curious about sex while dealing with a nagging mother. Okay, I was barely a Jewish kid and I’m not from Brooklyn and I didn’t grow up in a house where extended relatives lived and my older brother had to contribute his salary to support the family, but you get the point.

For the movie, Simon adapted his own play into a screenplay and Gene Saks directed (after also directing the original Broadway production). The movie hues too closely to the mannerisms of stage acting and blocking. I have to credit Saks a great deal with opening the story up and making it more cinematic than a stage play, at least enough that it’s difficult to imagine this as a play. I’ve never read nor seen the play so I can only guess that the majority of the action is set in the Jerome household. Saks takes us to the beach, a pool hall, the street, the grocer’s, a soda shop, and even the inside of an automobile.  You get a real sense for Brighton Beach, Brooklyn, as a place and not just an idyll in Simon’s head.

As Eugene Jerome, Simon’s alter-ego, Jonathan Silverman at nineteen or twenty was far too old to play the part of a nearly 15 year old boy. He gets the breaking voice down pat, however. It’s the grownups in the cast that stand out to me most now: Blythe Danner as Eugene’s mother Kate and Bob Dishy as his beleaguered father Jack are just about the most marvelous pair of actors you could ask for in these roles.

The laughs roll in quickly and it can be hard to keep up. It’s a beautiful portrait of Jewish family life in New York pre-WWII, and a lovely little coming-of-age tale, but I continually felt throughout that I could ‘see’ the theatricality of every gesture and spoken word. Simon’s dialogue doesn’t come off the page quite enough in this adaptation.

The Deep Blue Sea Movie Review

I can’t figure out why director Terence Davies thought it necessary to adapt The Deep Blue Sea, the 1952 Terence Rattigan play about an extra-marital love affair in post-war London, to the screen again. It was done once with Vivien Leigh in the starring role in 1955 and, though I haven’t seen it, I would bet that it’s a much better production, if only because it fits its time period. Davies’ version, which stars Rachel Weisz, does nothing to update the material or to break it free of its period constraints, both in terms of subject matter and film style. This is a movie that moves as slow as molasses on a cool day. For a story about a woman desperately in love with a man whose ardor has cooled, it just feels stilted and wrong.

Beasts of the Southern Wild Movie Review

Beasts of the Southern Wild got a great deal of attention last year, from its Sundance Festival premiere in January through its national release to talk of possible Oscar nominations including Best Picture. I think a lot of it has to do with the type of production it is and less to do with the whimsical fantasy elements and completely adorable young actress who stars. It was written, produced and directed outside the studio system with a cast comprised entirely of non-professional actors. Plus the film is made to feel unlike any other film you’re likely to have seen.

Carnage Movie Review

Carnage is an interesting choice for director Roman Polanski. It’s been 25 years since his last comedy, Pirates, and that was a complete flop. He tends toward dramatic thrillers more than anything. Perhaps after the recent troubles he’s had with his arrest in Switzerland and near extradition back to the United States he needed some light-hearted fare to ease the stress. In the French stage farce God of Carnage by playwright Yasmina Reza, who co-wrote the screenplay with Polanski, he found material for his next movie. Among the themes that tie his movies together is an often nihilistic view of a Godless world. The personal tragedies of his life may or may not have contributed to his being drawn to such subject matter, but being stripped of his parents in the Holocaust and losing his wife and unborn child to the murderous Manson family are events that can hardly be ignored when evaluating his work. Though Carnage is a comedic farce, it retains some of the motifs we find in his other work.

The Ides of March Movie Review

The Ides of March, a political drama written and directed by George Clooney arrives just as many people in the country are beginning to wonder if President Obama is capable of sticking to the principals he lauded in his campaign or if he is no different than any other politician, making compromise after compromise for political expediency without regard for the values he claims to uphold. That the movie’s subject matter fits snugly into the current political landscape is a bit serendipitous, being based on a play originally produced before Barack Obama was elected to the Presidency.

Classic Movie Review: Long Day's Journey Into Night

After Sidney Lumet's recent passing, I present a fresh look at one of his early films.

It’s not an easy thing to adapt a stage play for the screen, especially most 20^th century American drama that centers on family conflicts. Dramatists like Tennessee Williams, Arthur Miller and Eugene O’Neill present intimate portraits of a handful of characters, usually bound by time and place. The drama is designed specifically to play out on a stage where there are far more limitations than in cinema.

Director Sidney Lumet, who recently passed away after a long and distinguished cinematic career, got his start in television presenting teleplays and his early cinematic efforts were often adapted stage plays. His Twelve Angry Men was a film adapted from a teleplay that was later adapted for the stage. Of course the film was almost perfectly tailored to be done on stage, although he made it cinematic.

His 1962 adaptation of O’Neill’s Long Day’s Journey Into Night feels much more constrained by the conventions of theater and a bit hamstrung by what appears to be an attempt to take the drama off the ‘stage’ and into the camera.

Incendies Movie Review

This film will open commercially in the United States on 22 April 2011.

Immediately after being born, an infant child is tattooed with three black dots on his heel. This act serves no function except as a narrative device so that at various points throughout the film, the audience (and later a character) will recognize who he is. The Canadian film Incendies, which was nominated for the Foreign Language Film Oscar this year, is built on a series of absurd coincidences contrived specifically for the purposes of completing a narrative.

The woman who gives birth to that baby is Nawal Marwan played by Lubna Azabal who may be somewhat familiar to American audiences after a small role in Body of Lies and in the Oscar nominated film from the Palestinian Territories, Paradise Now. Nawal is an Arab Christian from an unspecified Middle Eastern country, though it bears some historical resemblance to Lebanon. The film is written and directed by Canadian filmmaker Denis Villeneuve based on a play of the same name by Wajdi Mouawad, a Canadian born in Lebanon.

Rabbit Hole Movie Review: The Reverberations of Unbearable Loss

When a neighbor greets Becca (Nicole Kidman) in her garden and invites her to dinner, there’s something noticeably strained in the conversation. Likewise when her husband, Howie (Aaron Eckhart), arrives home from work, there is something not altogether right in their interactions. When Becca learns, after bailing her out of jail for a barfight, that her little sister is pregnant, she is uncomfortably happy. When she asks Izzy (Tammy Blanchard) why she told their mother first, she responds, “Why do you think?” Something seems dreadfully wrong in the opening moments of Rabbit Hole, so wrong that the crisp and clean suburban Long Island surfaces can’t cover it up, no matter how hard everyone seems to be trying. Becca and Howie are grieving over the death of their four year old son, killed eight months earlier chasing their dog into the road.