Attack of the Sequels

Aside from adaptations of popular comic books, sequels are the security blanket of the movie business. If a movie is successful (sometimes even mildly so), the likelihood of a sequel is very strong. If such a movie had a relatively small budget and stars without huge salaries, then the sequel chances grow exponentially. But how many sequels out there are really necessary? With the possible exception of sequels based on multiple books in a series, the number is undeniably low. Horror movies are probably the biggest offender, as they're relatively cheap to produce, rarely have big name stars attached and the scripts are, let's just say less than Oscar-worthy.

That said, Entertainment Weekly recently released its list of the 25 worst sequels ever made. Its list used criteria that measured the sequels' drop-off in quality from the original, but left off movies that were deemed "so bad they're good." Not really sure what that means, but you'll find only three horror movie sequels on the list – a rather shocking outcome. Heck, you could make a 25 worst list in that genre alone.

So here's the list, accompanied by my brief comments on them. Admittedly, a number of them I've never seen – and I'm sure my life is all the better for it. Feel free to interject your comments too, including any you might think are missing from the list.

25. "The Matrix Reloaded" - OK, so this is clearly inferior to the 1999 original, but I thought it was still pretty good overall. Plus, it's not even the weakest movie of the trilogy, as "The Matrix Revolutions" seems to run out of creativity about halfway through, going into special effects overload.

24. "The Next Karate Kid" - Once I heard Ralph Macchio wasn't returning for the third "Karate Kid" movie, I was outta there. So I've never seen this alleged hunk of junk starring some nobody named Hilary Swank. I wonder whatever happened to her?

23. "Porky's II: The Next Day" - I've seen this, but would have a difficult time distinguishing it from the first one. As I recall, the first one pretty much stunk too. Somehow, this sequel would somehow spawn another with "Porky's Revenge."

22. "Teen Wolf Too" - The original one, starring Michael J. Fox, was barely passable as far as teen comedies went, but at least was cleaner than "Porky's." But without Fox returning for a sequel, did the filmmakers really think they had a potential hit on their hands? Pity poor Jason Bateman for getting involved with this, as well as any viewers who actually watched it.

21. "Legally Blonde 2: Red, White & Blonde" - Reese Witherspoon proved her ability to carry a film with the first "Legally Blonde," as she was clearly the best part of what was a likable, but slight film. Critics and audiences weren't too kind on the sequel, however, meaning all concerned would probably have been better off leaving well enough alone.

20. "The Godfather Part III" - The only reason I can think this film is on here is that the first two films in the series won best picture Oscars and the third is a fair drop off. But it also got nominated for best picture and should not be on this list. Did they really think Sofia Coppola's acting was that bad? Granted, she was definitely the weakest acting link in the film, but I guess this is seen as a failure due to its lofty aspirations and expectations.

19. "Revenge of the Nerds II: Nerds in Paradise" - I'm sure "The Godfather" is thrilled to be in company with those lovable nerds, making their unnecessary return to the big screen. I mean, they already had their revenge at the end of the first film. How much more did they need? I've actually lost count of how many sequels this series has spawned, with the last one a made-for-TV one, if memory serves. Then again, it's probably best I don't remember.

18. "Battle for the Planet of the Apes" - Damn you! Damn you all to hell for making this sequel! Actually, Charlton Heston had nothing to do with this, the fifth film in what had become a tired franchise by this point.

17. "Star Trek V: The Final Frontier" - If you've ever desired to see Kirk, Spock and "Bones" McCoy sing "Row, Row, Row Your Boat" around a campfire, then you're in luck. For the rest of us, it's a painful sight indeed. And that's not even counting the barely competent directing job done by William Shatner, his first and only foray into movie directing. This one makes the first "Star Trek" movie look like an Oscar-winner. And I hated the first movie.

16. "Ocean's Twelve" - Frankly, I don't believe this one belongs here either, as it was fairly entertaining, in my opinion. Sure, it's a bit too pleased with itself and just isn't as fun as the first one. But you can do a whole lot worse than this. Maybe some people think that a cast this talented shouldn't be allowed to have more fun than the audience.

15. "Dumb and Dumberer: When Harry Met Lloyd" - So, you've got no Jim Carrey and no Jeff Daniels, or any of the original cast, for that matter in this movie. No problem, just move them to high school and cast younger actors in the roles. Does that work for you? No, me neither.

14. "Conan the Destroyer" - Cast Arnold Schwarzenegger, Grace Jones and Wilt Chamberlain in a film together and you have comic gold. Of course, this wasn't a comedy, so that's kind of a problem. And with that trio, Schwarzenegger is clearly the closest to a seasoned thespian and that spells trouble.

13. "The Sting II" - Substitute Paul Newman and Robert Redford with Jackie Gleason and Mac Davis for the sequel to the 1973 best picture winner and you just know something stinks. Plus, this movie is 10 years after the original. Was there an audience clamoring for it? If so, why?

12. "Star Wars: Episode I - The Phantom Menace" - Yes, Jar Jar Binks was a horrible idea and one that George Lucas may never live down. But this film is not that bad. It just happens to be the one forced to introduce most of the characters and wade through a lot of exposition. Still, it had some great light saber duels and a great looking villain in Darth Maul. And little Jake Lloyd (who played young Anakin) has never been heard from again ...

11. "Dirty Dancing: Havana Nights" - I thought the first film was stupid, so imagine my complete indifference to its sequel. This one was filmed about 17 years after the original and has really no connection other than the catering. Now that I think about it, I'm pretty sure that isn't even the same. Patrick Swayze does have a brief cameo and if you look hard enough, you'll see him reach for his paycheck before the scene's conclusion.

10. "Jaws: The Revenge" - Michael Caine actually missed picking up his Oscar for "Hannah and Her Sisters" to film this piece of crap. This one makes "Jaws 3" (actually filmed in 3-D) look decent in comparison. You'll be rooting for the shark this time around.

9. "Speed 2: Cruise Control" - Keanu Reeves opted out of the movie, leaving "Speed" co-star Sandra Bullock to sink on her own in this waterlogged sequel. It quickly flopped at the box office, leaving the future of "Speed 3: Deaf Children at Play" in serious jeopardy.

8. "Friday the 13th Part VIII: Jason Takes Manhattan" - Having stopped watching the "Friday the 13th" movies around Part III, I'd have to imagine this must really suck to be the lone film in the series to make the list. It amazes me that there was still a demand for this series to even reach Part VIII, since there was barely an original idea in all the films that preceded it.

7. "The Fly II" - What was Eric Stoltz doing in this way inferior sequel to the Jeff Goldblum - Geena Davis 1986 remake? This film has the distinction of having even more gross out sequences than the first one. And with David Cronenberg having directed the original, that's really saying something.

6. "Weekend at Bernie's II" - This guy died in the first film and should be stiff as a board and stink something awful by the time of the sequel. This time, the two morons (Jonathan Silverman and Andrew McCarthy) bring their dead boss to the Virgin Islands. So it's not really a weekend or at Bernie's this time. If only that was the lone thing to fault with this unfunny movie.

5. "Batman & Robin" - Star George Clooney seems to joke about this movie at every opportunity and director Joel Schumacher actually apologized for it in his commentary on the DVD. So that should say it all about this movie that almost ended the franchise.

4. "Blues Brothers 2000" - A "Blues Brothers" sequel without John Belushi and nearly 20 years after the original? Where do I sign up? For that matter, I hardly think the flawed original was even deserving of a sequel. Belushi would probably be spinning in his grave, but is probably too busy partying to care.

3. "Leprechaun: Back 2 Tha' Hood" - Having never seen any of the "Leprechaun" movies, I'd have to think, judging by the title alone, that this one has got offensively God-awful written all over it. This is actually the sixth in the series. The sixth?! Who out there can actually admit to having seen the previous five?

2. "Caddyshack II" - Casting Jackie Mason as your lead actor is trouble sign number one. The fact that from the original cast, only Chevy Chase reappears (in a cameo), and you've got trouble sign number two. Plus, this movie actually seems to have less of a plot than the original – a true dubious accomplishment.

1. "Staying Alive" - For future reference, if you're a film producer and you have Sylvester Stallone and Frank Stallone signed on to direct and provide music for your movie, run away. Quickly. And no matter what you do, don't look back. I thought "Saturday Night Fever" was great, with its opening sequence of John Travolta walking the street to the Bee Gees' "Staying Alive." You get to relive that moment in the sequel. Unfortunately, you have to suffer through a veritable cinematic hell to get there, as it takes place in the last scene. I'm pretty sure you can't put Travolta and Stallone together in a room together anymore, as it would certainly be hazardous to the health of anyone else in there.

DVD Releases - April 4

The top winners at this year’s Oscars highlight a fairly light release week, as one makes its debut, while the other predictably capitalizes on its best picture win with a rerelease. After all, when an extra buck can be made, why not? Oh yeah, I know why not. Because some people just shelled out money for the original DVD release just a few months ago and aren’t happy that there’s a new version coming already. Setting aside that bitterness, here’s some of the releases for April 4:

“9 to 5: Sexist, Egotistical, Lying, Hypocritical Bigot Edition” (PG) - Possibly qualifying as the longest special edition title in DVD history, the 1980 workplace comedy is quite outdated in many aspects. But with a cast of Jane Fonda, Lily Tomlin, Dolly Parton and Dabney Coleman, the humor still holds up quite well.
Extras: Commentary from Fonda, Parton, Coleman and producer Bruce Gilbert, a featurette, gag reel, deleted scenes and “9 to 5” karaoke (now you can sing just like Dolly!).

“Brokeback Mountain” (R) - Winner of three Academy Awards (but not best picture, as picked by many), the drama depicting the friendship and concealed romance between two cowboys (played by Oscar nominees Heath Ledger and Jake Gyllenhaal) makes its DVD debut. The movie was critically acclaimed, won lots of awards and did remarkably well at the box office, yet has had more cornball gay jokes lobbed its direction than one could count.
Extras: Multiple featurettes, including ones focusing on Oscar-winning director Ang Lee and the adaptation of the script to the screen.

“The Chronicles of Narnia: The Lion, the Witch and the Wardrobe” (PG) - The first big screen adaptation of the popular C.S. Lewis novel, “Chronicles” was a huge hit over the holiday season. And with several other books in Lewis’ series available for adaptation, count on Disney studios to fast track a new franchise, much in the vein of the “Harry Potter” series.
Extras: The two-disc special edition features lots of goodies, including a pair of commentaries, bloopers, numerous featurettes, such as a director’s diary and the secrets behind the creation of many of the film’s creatures.

“Crash: Director’s Cut” (R) - Coincidentally (or not), the recently crowned best picture at this year’s Oscars is back in its second incarnation on DVD. The two-disc set gives consumers more bang for their buck over the suckers who went and spent money on the first release several months ago. Those poor, poor fools.
Extras: Director Paul Haggis includes deleted scenes with commentary, as well as a commentary track with himself, co-screenwriter Bobby Moresco and star Don Cheadle. Also included are several featurettes and a behind-the-scenes look at the making of the film.

“Magnum P.I.: Season 4” - Tom Selleck fans rejoice! The actor and his mustache are back for the fourth season of the private detective’s exploits in Hawaii. All 21 episodes of the season are featured, as are many shots of a shirtless Magnum and bikini-clad women. Heck, he’ll even occasionally solve cases.
Extras: Not much, save for “The Great ‘80s TV Flashback,” whatever that is. Although I imagine that would beat a drug-induced flashback. Also included is a bonus episode of season 5 of “Magnum,” which will hardly be a bonus once fans go and buy season 5. Thanks a lot, MCA Home Video!

Movie Review: "V for Vendetta"

Starring Natalie Portman, Hugo Weaving, Stephen Rea, Stephen Fry and John Hurt
Directed by James McTeigue

After the completion of "The Matrix" trilogy, a movie series that ultimately suffered from diminishing returns, there was probably more than a healthy dose of skepticism from the moviegoing public about whatever the Wachowski brothers' next project would be. But those skeptics can breathe a bit easier now, as "V for Vendetta," while not an absolute return to greatness, is a big step forward from the overblown messiness of "The Matrix Revolutions."

Based on Alan Moore's graphic novel of almost 25 years ago, the screenplay by the Wachowskis focuses on Britain in 2020, as the country is governed under a totalitarian regime. Sutler (John Hurt), the government's leader, is that nation's version of Big Brother, ruling the land with an iron fist through fear and intimidation. As most of his communication with the citizens, and even his own government officers, takes place on televisions or giant video screens, there is an obvious disconnect between Britain's leaders and the people. In short, it's a place that's ripe for rebellion.

Thus enters a mysterious freedom fighter named V (Hugo Weaving). Enshrouded in a black cape and mask patterned after Guy Fawkes, a true-life rebel who attempted to blow up Parliament in 1605, he quickly becomes a thorn in Sutler's side. V's initial appearance in the movie plays out almost like he's a superhero, saving Evey (Natalie Portman), an employee at a television station, from assailants. Then again, most superheroes aren't nearly as eloquent with a propensity for quoting Shakespeare. But V quickly shows he has more on his agenda than saving damsels in distress by escorting Evey to a rooftop to witness the destruction of the Old Bailey (where British courts are housed).

The government tries to put a positive spin on what they see as a terrorist act, only to have V quickly claim responsibility and announce plans for his next major action to take place in exactly one year. Evey is reluctantly drawn into V's revolutionary agenda, making her and her friends targets of the state. Drawing on some parallels to "The Phantom of the Opera," V and Evey's relationship is one of curious fascination to each other, as they both reveal their troubled past and come to realize they each have legitimate and understandable reasons to rebel against their government.

Confidently directed by James McTeigue (a former assistant director under the Wachowskis), "V for Vendetta" is one of those rare action movies that can equally flex its muscles while still stimulating the mind. Granted, some of its characters are a bit thinly veiled (Cutler's political rallies resemble Hitler's, a corrupted priest has a fetish for young girls), yet its depiction of V is thankfully a bit more gray. His hatred of the government is born primarily out of deeply personal reasons, and his actions are elaborately staged, yet are sometimes morally questionable.

The movie mostly avoids a heavy handed approach with the presentation of its terrorist themes, even as today's "war on terrorism" continues. Some of that credit has to go to the game cast, headed up by Portman, who has to do most of the emotional heavy lifting in the film, not to mention the sacrifice of her hair after her character is imprisoned. Weaving is also very good in what had to be a terribly difficult role, as his face remains hidden behind a mask for the film's duration. (Weaving was actually brought on board after James Purefoy dropped out, due to the difficulty of acting in a mask.)

With numerous action set pieces that carry some of the same visceral thrills of "The Matrix," people looking for escapist popcorn fare can generally get their fill with "V for Vendetta." But those looking for a little story with their fights and explosions are likely to find some challenging ideas being bandied about here. And in today's Hollywood, where the practice of dumbing down movies for mass consumption is more the norm, such an approach seems pretty revolutionary.
Grade: B+
(Rated R for strong violence and some language.)

DVD Releases - March 28

It’s a rather eclectic collection of new releases I’ve gathered together for you this week, as King Kong, 50 Cent and some French schoolchildren mix it up. If this group got into a fight, I’m thinking three words: Pay Per View. In this corner are some of the notable releases for March 28:

“Au Revoir Les Enfants: Criterion Collection” (PG) - French writer-director Louis Malle uses some events from his own childhood to frame the story of a 12-year-old French boy who befriends a new classmate at a Catholic boarding school in World War II-era France. Yeah, this is a foreign flick with subtitles, but don’t let that stop you from experiencing this wonderfully shot and performed film.
Extras: Essays by film critic Phillip Kemp and historian Francis J. Murphy (yeah, I’ve never heard of them either), and more.

“Get Rich or Die Tryin’” (R) - Certainly an odd combination on paper, Curtis “50 Cent” Jackson and director Jim Sheridan teamed up for last fall’s drama based on parts of Jackson’s life. In “Get Rich,” Jackson is an inner city drug dealer who sees a way out of the life by becoming a rap star. Likely hoping to capitalize on the success that Enimen’s similarly themed film debut had, 50 Cent’s movie wasn’t nearly as successful with critics or audiences.
Extras: A making of featurette and that’s about it. What, no videos?!

“King Kong: Special Edition” (PG-13) - Coming off the gigantic success of “The Lord of the Rings” trilogy, the success of director Peter Jackson’s “King Kong” almost seems to pale in comparison. But with a large worldwide box office haul and three Oscars, the big ape didn’t do too shabby. Just don’t go expecting a sequel. Although seeing Jackson attempt to remake “Son of Kong” would be quite amusing.
Extras: Numerous featurettes on the two-disc release, including some on the recreation of 1930s New York, as well as Skull Island. Plus, Jackson’s extensive post-production diaries make up almost three hours of footage.

“Knots Landing: Season 1” - Billed as the second longest running TV drama in history, this glorified nighttime soap opera makes its debut on DVD. Following the lives of five suburban families in southern California, this release features all 13 of the first season’s episodes and more back stabbing and scheming than you can shake a stick at. Not that doing so would be recommended in the presence of star Joan Van Ark in the first place.
Extras: Interviews with Van Ark and co-star Ted Shackleford, cast commentary on a couple of episodes.

“Memoirs of a Geisha” (PG-13) - Winner of three Academy Awards, “Memoirs,” an adaptation of a best-selling book by Arthur Golden, seemed to be generally liked, but hardly loved by critics or audiences upon its release last December. Having a Chinese cast of Ziyi Zhang, Michelle Yeoh and Gong Li, among others in the lead roles, was a sticking point with some. The film is labeled as an historical and romantic epic, but it looks like there could be some awesome geisha catfights. A kick from one of those wooden shoes would hurt, I tell ya.
Extras: Commentary from director Rob Marshall and John DeLuca, commentary from several on the production crew, tons and tons of featurettes on just about every aspect of the production, including geisha bootcamp and a history of sumo wrestling (cool!).

“Quantum Leap: Season 4” - Scientist Sam Beckett (Scott Bakula) keeps “leaping” around, getting transported into the lives of various people, trying to make their lives not suck so much. His only help, if you can call it that, comes from Al, a holographic image played by Dean Stockwell. Originally aired on NBC, this was one of the better shows from the 1980s, helped in no small part from the likable performances from Bakula and Stockwell.
Extras: The Great ‘80s Flashback (whatever that is), and the truly novel idea of a bonus episode of “Quantum Leap.”

“Stay” (R) - Ewan McGregor, Naomi Watts and Ryan Gosling star in what is billed as a horror movie (?!) about a psychologist (McGregor) who attempts to stop a deeply troubled patient (Gosling) from killing himself. In doing so, he becomes wrapped up in trying to unlock the screwed up psyche of the patient. (Good luck trying to get that guy to pay his medical bill.) This film did the exact opposite of its title upon hitting theaters last year. (Umm, that is, it left – and quickly.)
Extras: Commentary from director Marc Forster, Gosling and various crew members, featurettes.

DVD Releases - March 21

This week features some more Oscar-nominated fare along with multiple TV season releases. There’s quite a bit of variety in this week’s offerings overall, so here are some highlights (maybe a matter of opinion) for March 21:

“Bewitched: Season 3” - The popular sitcom’s first color season features 33 episodes on four discs. Samantha (Elizabeth Montgomery), Darrin (Dick York) and Endora (Agnes Moorehead) are back, with new baby Tabitha showing off witchcraft powers of her own.
Extras: Evidently, Samantha made them all disappear, as there are none.

“Capote” (R) - Oscar-winner Philip Seymour Hoffman gives a sensational performance as the title character in this examination of author Truman Capote’s research and subsequent writing of the classic non-fiction book “In Cold Blood.” Oscar nominee Catherine Keener, Clifton Collins Jr. and Chris Cooper co-star in the drama nominated for five Academy Awards.
Extras: Commentary with Hoffman and director Bennett Miller, commentary with Miller and cinematographer Adam Kimmel, a Truman Capote documentary, and two behind the scenes documentaries.

“Chicken Little” (G) - Disney made its first significant foray into computer animation without Pixar in this fairly popular movie about the chicken who thought the sky was falling. However, critical response to it was mixed, at best, and the box office receipts weren’t as strong as hoped by the studio. Their recent expensive buyout of Pixar means the studio should likely stay solidly on top of the computer animation heap for a long time.
Extras: Making of featurette, deleted scenes, an interactive game and music videos.

“Derailed” (Unrated) - Jennifer Aniston takes a dark turn away from “Friends” by starring in a thriller with Clive Owen. The two stars play strangers who meet on a commuter train and have a one-night stand that leads to dangerous consequences for both. The movie didn’t seem to make an impact on critics or audiences, and is one that Aniston and Owen will probably quickly put behind them.
Extras: Deleted scenes and a making of featurette.

“Dreamer: Inspired by a True Story” (PG) - Dakota Fanning continues her career ascension to becoming the most powerful pre-teen in America, co-starring in this family drama about the bonding between a father and daughter, thanks to an inspiring horse. There’s likely few surprises in the movie, co-starring Kurt Russell and Elizabeth Shue, but those who can’t get enough out of Fanning (who seems intelligent and poised well beyond her 11 years of age) should be satisfied.
Extras: Commentary, deleted scenes and multiple featurettes.

“Paradise Now” (PG-13) - Two Palestinian friends are recruited for a suicide bombing strike against Tel Aviv and spend their last days together, comtemplating their past and seemingly short future. Oscar-nominated for best foreign film, “Paradise Now” examines the Palestinian/Israeli conflict on a very small scale, written and directed by Hany Abu-Assad.
Extras: None.

“Roseanne: Season 3” - The third season of the Conner family’s exploits features 25 episodes and numerous guest stars, including Martin Mull, Ned Beatty, Shelley Winters and some guy named Leonardo DiCaprio.
Extras: Interviews with cast members Laurie Metcalf and Lecy Goranson, best of season clips.

“The Squid and the Whale: Special Edition” (R) - A two-time winner at the 2005 Sundance Film Festival, writer-director Noah Baumbach’s independent comedy-drama snagged a best original screenplay Oscar nomination, not to mention lots of critical praise. Jeff Daniels and Laura Linney star as a couple whose marriage is falling apart and their two children are inevitably drawn into the conflict.
Extras: Commentary with Baumbach, behind-the-scenes featurette.

Movie Review: "The Weather Man"

Starring Nicolas Cage, Michael Caine, Hope Davis, Gemmenne de la Pena, Nicholas Hoult, Michael Rispoli, Gil Bellows
Directed by Gore Verbinski

With a release date delayed by its studio for several months last year, it’s clear that Paramount executives weren’t really sure about what to make of “The Weather Man.” The movie’s trailer and ads make it look like an unconventional comedy about a dysfunctional family, when in fact it’s much more of a drama with comedic elements about a man struggling to find his true identity amidst a series of family crises.

Nicolas Cage captures just the right amount of inner turmoil as Dave Spritz, a Chicago weather man, who sees his professional star rise, even as the star in his personal life is sinking rapidly. Dave desperately wants the potential career high of the former (a weatherman job on a New York morning show, hosted by Bryant Gumbel) to turn things around in what’s failing in the latter.

However, what’s failing is something that a new job can do little to fix, what with a failed marriage and two troubled children to contend with. Misery just seems to follow Dave around, and is occasionally hurled at him, as passersby pelt the poor sap with a variety of fast foods – presumably because they’re upset about his forecasts.

Dave’s father Robert (Michael Caine) meets his son right after one such drive-by incident and questions why anyone would want to do this. After all, Dave just tells the weather and doesn’t even have a degree in meteorology, Robert not-so-helpfully points out.

Little character jabs like that from his father are also dealt with on a regular basis from Dave, who desperately wants the admiration and respect from Robert, a Pulitzer Prize-winning author. Caine gives a very good performance by capturing the essence of a disappointed father in just a few scenes. He doesn’t inherently see his son as a failure (although Dave has a way of feeding into that possible perception), just as someone who needs to “knuckle down” to improve his life.

While he also gets good supporting performances from Hope Davis as his frustrated ex-wife, and Gemmenne de la Pena and Nicholas Hoult as his sullen, yet likable children, the majority of the film rests on Cage’s shoulders. Cage has shown the ability to carry pictures playing characters that are difficult to like, such as his Oscar-winning turn in “Leaving Las Vegas.” His portrayal as Dave captures some of that same vibe, as he carries a sad hangdog look through much of the film. Moments where he seems happy come across almost as a force of will, such as his smile as he gets ready for work at the movie’s start. The smile he gives for the mirror simply can’t last for long, before his more natural propensity for sadness overtakes him.

Having such a character as the movie’s center provides a challenge for director Gore Verbinski, as audiences are asked to spend time with a man that few in the movie itself even seem to like or respect. There are certainly moments when you might feel like chucking some food at him yourself, or glove slapping him, as he embarrassingly does to a character in one scene.

But for those who can hang with the movie through some of its more turbulent moments and tonal shifts might just find a man discovering the warm sunshine lies just behind those storm clouds in the sky.
Grade: B
(Rated R for for strong language and sexual content.)

DVD Releases - March 14

After such a deep offering from the first week of March, what can March 14 releases hold for us? Press on, intrepid reader ...

“Basic Instinct: Ultimate Unrated Director’s Cut” - Marking at least the third different version of this movie to come on DVD, this one is clearly meant to capitalize on the release of the movie’s sequel that next to no one has been anticipating. Sharon Stone will be the lone link from the original, released 14 years ago. In this DVD release, Stone will still not get charged with smoking in the police department and Michael Douglas still plays a too close variation on his cop character from “Black Rain.”
Extras: Features an introduction and conversation from Stone, commentary from director Paul Verhoeven and director of photography Jan De Bont, screen tests and more.

“Good Night, and Good Luck” (PG) - The 1950s period that focused on reporter Edward R. Murrow’s decision to take on the Communist witch-hunt of Senator Joseph McCarthy through his CBS-TV show is dramatized in director George Clooney’s Oscar-nominated film. David Strathairn, Frank Langella, Clooney, Robert Downey Jr., Jeff Daniels and Patricia Clarkson (what a cast!) star, along with actual footage of McCarthy.
Extras: Commentary with Clooney and his co-screenwriter Grant Heslov.

“A History of Violence” (R) - The seemingly ideal life of an Indiana man, played by Viggo Mortensen, is thrown into conflict when a heroic act he performs has undesired consequences. Mario Bello, Ed Harris and Oscar-nominated William Hurt co-star in this intense, but involving movie by director David Cronenberg.
Extras: Commentary by Cronenberg, a deleted scene with commentary, an “Acts of Violence” documentary and multiple featurettes.

“I Dream of Jeanie - The Complete First Season” - More than 40 years after its debut, “I Dream of Jeanie” finally makes it to DVD with this collection of all 30 episodes of its first season. Larry Hagman, Barbara Eden and Bill Daily starred in this slightly unrealistic portrayal of an astronaut and a genie from a bottle falling in love. These guys never even had one scene of drinking Tang!
Extras: Commentary on the pilot episode from the show’s stars, as well as interviews with Hagman, Eden and Daily.

“Murder, She Wrote - The Complete Third Season” - Its another season of that intrepid, yet snoopy mystery writer Jessica Fletcher (Angela Lansbury) making the local law enforcement look stupid by solving crime after crime. Somehow, murders just keep following her around. Surely it’s just coincidence, right?
Extras: A featurette called “The Great 80s Flashback” and a bonus “Magnum, P.I.” episode – a logical addition as I’m sure these shows shared lots of the same viewers. I mean the two shows are pratically interchangable.

“The Prize Winner of Defiance, Ohio” (PG-13) - Julianne Moore stars as a mother of 10 children who overcomes household financial struggles by becoming a successful writer for jingle contests. Woody Harrelson co-stars as her alcoholic husband in a movie that barely made a dent at the box office.
Extras: Commentary with Moore and director Jane Anderson.

“The Year of the Yao” (PG) - A documentary focusing on the NBA arrival of Yao Ming, a 7’6” center for the Houston Rockets, the tallest player in the league. A superstar in his native China, the film follows Yao in his first season as he learns the language, customs and lifestyle of playing as a high profile athlete in America.
Extras: More than an hour of deleted scenes.

"Crash" Climbs Over "Mountain"

Hollywood’s annual gala to celebrate the finest in film concluded Sunday night as the Oscars went off with little surprise, until the final award in the broadcast. “Crash” upset “Brokeback Mountain” for best picture, taking home its third Academy Award of the night.
“Brokeback Mountain,” generally considered the front-runner for the Oscar, based on its strong showing at other award shows leading up to the Oscars, received a total of three awards.
In fact, three seemed to be a popular number during the solid, but unspectacular broadcast, as “King Kong” and “Memoirs of a Geisha” also took home three Oscars each – all in technical categories. Neither of those films managed nominations in any of the major categories.
Among the acting categories, all four were first-time winners. Phillip Seymour Hoffman won for his portrayal of author Truman Capote in “Capote,” while Reese Witherspoon received a best actress Oscar for her performance as June Carter Cash in “Walk the Line.” Supporting actor and actress nods went to George Clooney for “Syriana” and Rachel Weisz for “The Constant Gardener.”
“Crash” and “Brokeback Mountain” each garnered screenplay Oscars, while Ang Lee was honored as best director. However, other best picture hopefuls, “Good Night, and Good Luck” and “Munich” both were shut out in the five categories for which they received nominations.
Jon Stewart from TV’s “The Daily Show” made his debut as Oscar host, with middling results. The popular comedian had his moments, but the telecast was missing much of the irreverent humor that he and his staff bring to the typical “Daily Show” episode. Perhaps the show’s producers restricted Stewart’s freedom, but where were any reports from his show’s correspondents? Plus, a golden opportunity to have Stewart reunite with former correspondent Steve Carell was lost, as he appeared as a presenter with Will Ferrell.
One segment that featured a humorous faux negative campaign ad from one of the nominees for sound editing hinted at the funnier direction the show could have gone.
Among the more interesting portions of the evening was the performance from Three 6 Mafia for best original song for the hip-hop number “It’s Hard Out Here for a Pimp” from “Hustle & Flow.” The song won the Oscar, but was a real departure from the normally stoic and generally boring performances trotted out on stage in that category. Still, Stewart made a funny, yet pointed observation shortly after the group grabbed their Oscar – noting that for those keeping score, it’s Three 6 Mafia - 1, Martin Scorsese - 0.
Other observations from the 3-hour and 33-minute broadcast:
• Was it just me or did Charlize Theron’s bow on the shoulder of her dress look to be getting bigger as the evening went on?
• It's starting to feel like only the host of the show gets more screen time than Jack Nicholson these days. I mean, he hasn't even been in a movie since 2003. And was that just coincidental seating, or was Keira Knightley Jack's date?
• It’s good to encourage award winners to keep their acceptance speeches short, but having the band practically playing the people off the stage the moment they got up there seemed a bit rash. Not to mention it had to be a bit distracting for the winners.
• Two categories that were weakened for their lack of nominees were best visual effects (where was “Star Wars: Episode III”?) and best makeup (how does “Sin City” miss out here?). For that matter, “Star Wars” only got one nomination total, while “Sin City” was shut out entirely. Regardless of what you thought of those films’ overall quality, they were pretty amazing on the technical level.
• George Clooney’s acceptance speech that mentions his pride at being a part of the Academy seemed to be a bit self-congratulatory – especially for mentioning the 1939 Oscar going to Hattie McDaniel for “Gone with the Wind.” He referenced how bold that was of the Academy, as blacks were still forced to sit in the back at the time.
Yeah, but George, how long did it take for the Academy to honor a black woman for best actress? Answer: 2002, when Halle Berry won. That’s pretty slow progress. To my knowledge, no black woman has even been nominated in that category since then.
Don’t get me wrong – I like George Clooney. But let’s face it: The Academy has a long ways to go to seem truly progressive. Maybe finding a way to break up the predictability of the annual broadcast would be a good step. Then again, giving an Oscar for a song about a pimp doesn’t happen every year.

The Return of the DVD Releases

OK, seeing as how I started with the idea of posting weekly updates on the latest (and not necessarily greatest) coming out on DVD several months ago, you’d think I’d have been able to produce more than one by now.
Alas, I allowed myself to be distracted – but I shan’t let that happen so easily again. (Nor use the word shan’t again.)
These weekly lists will include mentions of movies, TV show collections, and occasionally, the just plain odd releases of the week. So, once again, here comes my plan to offer weekly rundowns of upcoming DVDs, beginning with some of the notable releases for March 7:

“The Brady Bunch: Season 5” - Here’s the story of the final season from the Brady clan. By now, storylines were becoming even more of a stretch (if that seems possible), and the kids weren’t quite as cute and lovable as they were when the show started. So enters the Notorious Cousin Oliver (nephew to Carol), who proceeds to stay with the family while his parents are in South America – presumably to keep him from screwing up their major drug deal. (I kid!) Anyway, this marked the beginning of the end for the series. That is unless you count the bazillion TV movies they’ve had since then.
Extras: None (but you get plenty of Oliver, so what do you want?)

“The Cosby Show: Season 2” - The Huxtable clan just started to pick up steam in its second season, becoming a #1 hit show for NBC. It was with this show (along with “Cheers”) that NBC built its Must See Thursday ratings powerhouse. Oh, but how they would gladly sell their soul to have that strength back now. Thank you very much, “Joey.” Sorry, I digress.
Extras: Audio commentary from director Jay Sandrich, bloopers and a featurette.

“Harry Potter and the Goblet of Fire: Special Edition” (PG-13) - A two-disc special edition also offered as a single disc, the latest in the “Harry Potter” movies makes its first foray into PG-13 territory. In this one, Harry is entered into a grueling competition known as the Triwizard Tournament. This one was another huge hit in theaters and should do equally well on DVD.
Extras: Interview with the cast, multiple featurettes, additional scenes, and DVD-ROM interactive games (Special Edition only).

“Howl’s Moving Castle” (PG) - A teenager is cursed by a witch into the body of an old woman and embarks on an adventure with a magician named Hauru, his fire demon and a moving castle. Yeah, that’s pretty weird, but this movie, from director Hayao Miyazaki (“Spirited Away” and “Princess Mononoke”) is Oscar-nominated for best animated film. It was a huge hit overseas, yet made next to no impact in America. Go figure.
Extras: Interview, featurettes and storyboards.

“Jarhead” (R) - Initially thought to be a serious contender at the Oscars, this Gulf War-set drama based on the book by Anthony Swofford didn’t even garner any nominations. It did get quite a few good reviews; it just wasn’t seen as a consensus great movie. But it does feature a topnotch cast, with Jake Gyllenhaal, Jamie Foxx, Peter Sarsgaard and Chris Cooper included.
Extras: Two commentary tracks, deleted scenes with optional commentary. (Also available in Collector’s Edition with additional behind-the-scenes footage and interviews with cast and former Marines.)

“Prime” (PG-13) - Meryl Streep and Uma Thurman star in this box-office dud about an older single woman (Thurman) falling in love with the son of her therapist (Streep). Naturally, neither woman knows his connection to the other. It’s good to see Streep in a comedy, a genre she’s just as adept at as drama, when given the chance. But this sounds like a case where the actors probably outshine the material.
Extras: Commentary, deleted scenes and outtakes.

“Three’s Company: Season 6” - During the course of this season, Jenilee Harrison (the first Chrissy replacement) moves out and Priscilla Barnes (the next replacement) moves in. Cue the misinterpreted and partially overheard conversations and let the hilarity ensue! But for those Don Knotts fans out there, this is a chance to see him in fine comic form as landlord Mr. Furley.
Extras: Commentary from director Dave Powers, a presentation from Lucille Ball (?!)

Spring 2006 Movie Preview

Well, the winter season (an unusually mild one in this neck of the woods) is just about done, meaning the flowers, birds (and yes, bugs) will be back as the warmer weather of spring pushes to the forefront. That also means that Hollywood will be gearing up for its next slate of films – typically a build up to the big summer movie season. Spring films usually fall into holes in studios schedules (not quite summer blockbuster possibilities, but also not typically seen as Oscar fodder). Of course, the audiences generally have the last word. Some gems usually crop up at this time period (last spring’s “Crash” is a perfect example).
So here’s a look at the next couple of months worth of some of the big and little films expected to hit a theater near you. Naturally, release dates are subject to change.

March
“Inside Man”
Starring Denzel Washington, Clive Owen, Jodie Foster, Willem Dafoe, Chiwetel Ejiofor and Christopher Plummer.
A terrific cast heads up this New York crime drama about a standoff between a bank robber (Owen) and police, led by a driven detective (Washington). Director Spike Lee might just have his biggest commercial hit on his hands here, teaming up with Washington for the fourth time. This also marks the first screen pairing of Washington and Foster, both two-time Oscar winners. (March 24)

“V for Vendetta”
Starring Natalie Portman, Hugo Weaving, Stephen Rea and John Hurt.
Pushed back from its original November release, due to its terrorist themes, this movie’s script comes from Larry and Andy Wachowski, the creators of “The Matrix” trilogy. A totalitarian society is undermined by a freedom fighter only known as “V” (Weaving), who enlists the aid of a young woman (Portman) to take down the government. (March 17)

“16 Blocks”
Starring Bruce Willis, Mos Def, David Morse.
Bruce Willis plays (surprise) a burned-out New York cop forced to escort a prosecution witness (Mos Def) for a court trial. Complications ensue when he realizes this case involves the witness testifying against cops and is forced to protect him from his own department. Clearly, Willis is in his comfort zone with this pic, and with director Richard Donner (“Lethal Weapon” series) at the helm, this one might exceed expectations. (March 3)

“Failure to Launch”
Starring Matthew McConaughey, Sarah Jessica Parker, Zooey Deschanel, Terry Bradshaw and Kathy Bates.
In some casting creativity, Bates and Bradshaw are parents of McConaughey, looking to get their slacker son out of their home by enlisting the aid of a woman (Parker). Naturally, sparks fly between the cute couple. This seemingly quintessential date movie should work well for both men and women – provided it’s halfway decent. (March 10)

“The Shaggy Dog”
Starring Tim Allen, Kristin Davis, Robert Downey Jr., Danny Glover, Spencer Breslin, Zena Grey.
Yet another remake of a Disney film, Allen plays a constantly busy district attorney with too little time for his family, who then has to deal with being infected by a top-secret serem that occasionally turns him into a dog. It’s a family-oriented comedy and if you’ve seen any of the ads, you can figure out what you’re getting. (March 10)

“Dave Chappelle’s Block Party”
Starring Dave Chappelle, Kanye West, Lauren Hill, Pras, Wyclef Jean.
It’s like “Chappelle’s Show,” only you have to pay to see it now. Actually, this mix of sketch and standup comedy, along with music from West and the reunited Fugees, has the potential to be a breakout hit for Chappelle and director Michel Gondry. One only needs to look at DVD sales for “Chappelle’s Show” to know his popularity. (March 3, limited)

April
“American Dreamz”
Starring Hugh Grant, Dennis Quaid, Mandy Moore, Marcia Gay Harden, Willem Dafoe.
Reuniting with Paul Weitz, his director from “About a Boy,” Grant stars as the host of a hugely popular TV singing competition show, with Quaid as a less-than-brilliant President of the United States asked to serve as a judge. Farfetched? Sure, but this satirical film has a cast worth watching and is pretty topical to boot. (April 21)

“The Benchwarmers”
Starring Rob Schneider, David Spade, Jon Heder, Jon Lovitz, Tim Meadows.
With a large contingent of former “SNL”-ers, most of whom have starred in a lot of lowbrow comedies, you should know what you’re getting with this one. For the record, a trio of nerds, played by Schneider, Spade and Heder, are picked to participate in a highly competitive Little League tournament. OK, reality and logic are probably not strong suits of this particular movie. (April 7)

“The Wild”
Featuring the voices of James Belushi, Kiefer Sutherland, Eddie Izzard and William Shatner.
On the heels of last year’s “Madagascar” comes another animated movie centering around a group of animals having to work together to solve a problem – this one involving a teenage lion being accidentally shipped from a New York zoo to Africa. With not a lot of family-oriented films clogging up the release schedule in April, this one might be poised for success. (April 14)

“R.V.”
Starring Robin Williams, Cheryl Hines, Jeff Daniels, Kristin Chenoweth.
Williams and Hines are a married couple who take their kids on an R.V. trip, hoping to bond as a family. Naturally, things don’t quite go according to schedule. It’s been a while since Williams has been in a truly funny film. Not sure if this one’s going to be it, either. (April 28)

“The Sentinel”
Starring Michael Douglas, Kiefer Sutherland, Eva Longoria and Kim Basinger.
A longtime and highly trained Secret Service agent (Douglas) attempts to foil a plot to assassinate the U.S. President. But when he’s framed for the murder of another agent, he’s forced to elude authorities, including his protégé (Sutherland). (April 14)

Movie Review: "Capote"

Starring Phillip Seymour Hoffman, Catherine Keener, Clifton Collins Jr., Bruce Greenwood, Bob Balaban and Chris Cooper
Directed by Bennett Miller

With popular, early literary works such as "The Grass Harp" and "Breakfast at Tiffany's" to his credit, author Truman Capote stumbled upon an article in the New York Times in 1959 that would lead to writing "In Cold Blood," largely considered one of the great pieces of non-fiction in the 20th century. It would also forever change his life – for the worse.
Focused on the several years that would go into researching, writing and finally finishing the book, "Capote" is powered by a sensational and detailed lead performance by Phillip Seymour Hoffman. His portrayal of Capote is less of an exact duplication of the diminutive author (Hoffman stands nearly six inches taller), but an uncanny channeling of his spirit. The mannerisms, flamboyance and lisp are all there, to be sure, but Hoffman takes care to avoid the temptation of making the man a caricature. His confident take on Capote is evident from his opening scene, as he holds court in the New York social scene, by enrapturing a group of friends with his storytelling prowess.
One morning, he sees an article about a Kansas farm family brutally killed in their home. While one would have to imagine that murders were not that unusual in New York, Capote took a particular fascination with the death of the Clutter family. After selling William Shawn (Bob Balaban), editor of the New Yorker, on doing a story of his own about how the small town of Holcomb, Kan., was dealing with the tragedy, he quickly finds himself in a completely different world from the Big Apple. To help him in the jarring transition, he enlists the aid of longtime friend Nelle Harper Lee (Catherine Keener), who would go onto success of her own upon writing "To Kill a Mockingbird." Lee proves to be invaluable during his early research, as she is much more approachable and less of an outside presence than Capote.
Eventually making headway with many of the town's residents, including the case's chief investigator, Alvin Dewey, Capote soon realizes he has material beyond just a magazine story. Instead, he decides to approach the story as a reporter would, with the intent of crafting his material into a full-fledged book, "a non-fiction novel," as he repeatedly tells people. His story truly comes into focus once Perry Smith and Dick Hickok, the two killers, are apprehended. He quickly takes a strong, some would say unhealthy interest in Smith (Clifton Collins Jr.), a quiet, sullen young man, who shows more of an interest in doodling on a notepad than paying attention to his trial.
When both men are found guilty and sentenced to death, Capote almost recklessly intercedes on their behalf to find them better lawyers. They didn't get sufficient representation, he reasons, managing to help draw out the legal process. But, as the film makes perfectly clear, Capote has ulterior motives for his early involvement in their case. After all, he needs them to stay alive long enough for him to get the full story of the case.
Through his repeated visits in Smith's jail cell, Capote begins to understand what makes the young criminal tick. In doing so, he realizes that he and Smith aren't too different. Both came from broken homes with neglectful mothers, and Capote soon feels empathy for how Smith's life has turned out.
"It's as if Perry and I grew up in the same house. And one day he went out the back door and I went out the front," he tells Lee.
Of course, even as he learns more about Smith, he grows frustrated at the man's unwillingness to share with him what happened that fateful night in 1959. Gaining confidence from Capote's involvement in the case, the two criminals begin a long appeal process that is a form of torture for the author. Without their execution, he has no end to his book.
Always a regular social drinker, Capote begins drinking more, falling into a deep depression over his inability to finish his book. In the process, he keeps Smith at bay by claiming he's not even come up with its name, let alone made any real progress in writing it. The scenes between Hoffman and Collins (who gives a very effective performance of his own) are pretty riveting stuff, with each character seemingly opening up his heart, even as both hold back pertinent information from each other.
Obviously, Capote eventually got his ending and finished his book. But the experience, which included being a witness to the execution, left him a shell of his former self. At the end of his five and a half year journey to create a great literary work, it would seem that the Clutters weren't the only victims.
In his desire to craft a masterful piece of non-fiction, Capote (who never took notes during his interviews, claiming to have a 94 percent retention rate) disregarded an important and generally followed rule of journalism: don't get too close.
Grade: A-
(Rated R for some violent images and brief strong language.)

Movie Review: "A History of Violence"

Starring Viggo Mortensen, Maria Bello, Ed Harris, Ashton Holmes and William Hurt
Directed by David Cronenberg

Tom Stall (Viggo Mortensen) would seem to be your average, everyday soul residing in Small Town, USA. With two kids, his lawyer wife Edie (Maria Bello), a house out in the country and a respectable job running a coffee shop in the heart of quiet Millbrook, Ind., life's good for Tom.
Still, this is a David Cronenberg film, so you just know things aren't quite what they seem. Having helmed dark movies such as the 1986 remake of "The Fly" and "Dead Ringers," Cronenberg has never been one to shy away from a little violence. After all, violence is in this film's title.
But with many of his movies also skewing towards the bizarre, "A History of Violence" is probably Cronenberg's most conventional and accessible movie yet. Clearly, some of that credit has to go to Josh Olsen's Oscar-nominated screenplay, an adaptation of a graphic novel by John Wagner and Vince Locke.
The cast also helps considerably at drawing in the viewer, by carving out memorable performances, some in very limited screen time (Oscar nominee William Hurt dazzles in a true departure from previous roles in his mere 10 minutes on camera).
Mortensen gives a quietly intense, but understated performance as Tom, a man who would seemingly love nothing more than his life to maintain status quo. That hope is swiftly interrupted as a couple of gun toting thugs come riding into town looking for money and target Tom's diner. But when Tom realizes they also intend to do harm to the employees and customers, he takes matters into his own hands and makes quick work of the criminals.
Recognized as a hero, Tom quickly becomes a media darling, bringing a whole lot of attention he could care less about. Shortly thereafter, mobster Carl Fogarty (Ed Harris, appropriately creepy) comes to town, convinced that Tom is a very familiar and disliked face from his past.
Despite warnings from the law to get out of town, Fogarty expands his harassment of Tom by following his family around. Fogarty's confrontation in a shopping mall with Edie is unsettling for her, yet plants a seed of just how far he is willing to go with his strong conviction. "You should ask Tom how come he's so good at killing people," Fogarty suggests.
Edie and Tom begin to fear how this volatile scenario will play out, with Fogarty continuing to press the issue by paying a visit to the family's home. Where the story goes from there is best left to be revealed upon viewing, so I'll say no more about it.
While the actors do a good job at showing different shades of their characters, as well as the impact of violence on this particular family, the movie suffers from a sluggish pace at times. Plus, the realization that violence begets violence is hardly a revelation. That's not to say that the violence in the film isn't occasionally shocking in its swiftness. It's just that some of the scenes lack an underlying credibility.
Still, carrying a number of violent confrontations during the movie's running time, Cronenberg strikes just the right chord with its concluding scene. It also ranks as the film's quietest, as nary a word is spoken. But what it says in silence speaks volumes.
Grade: B
(Rated R for brutal violence, graphic sexuality, nudity, language and some drug use.)

Movie Review: "The Brothers Grimm"

Starring Matt Damon, Heath Ledger, Lena Headey, Peter Stormare, Jonathan Pryce and Monica Bellucci
Directed by Terry Gilliam

Long considered a great visual director with films such as "12 Monkeys," "The Fisher King" and "Brazil" among his credits, Terry Gilliam's movies often walk the line between creativity and chaos. Unfortunately, his latest concoction, "The Brothers Grimm," falls closer to the latter.
There's certainly plenty to admire in this interesting spin on the early lives of the Brothers Grimm, who would go on to great notoriety for their twisted takes on fairy tales. But so many ideas and visuals on are display here that the narrative thrust of the movie never fully takes hold. Numerous scenes work on their own, but just as many seemingly go nowhere.
The story's concept is a clever idea, as brothers Will (Matt Damon) and Jacob (Heath Ledger) are 19th-century con artists who are able to "eliminate" evil spooks and spirits from German villages – for the right price. Never mind the fact that they are also responsible for the hauntings in the first place.
Problems arise when General Delatombe (Jonathan Pryce), a egotistical head of the French military during his country's occupation of Germany, discovers the brothers' ruse. Having received reports of disappearing children from Marbaden, Delatombe dispatches them to flush out the people he believes are now conning that village. Accompanying them is Cavaldi (Peter Stormare, hamming it up without mercy), an Italian torture expert who is also a notable coward.
With the assistance of Angelika (Lena Headey), an attractive huntress with a sour disposition, the brothers discover an enchanted forest that is by no means the work of con artists. Rather, it's the work of a 500-year-old queen (Monica Bellucci) looking to break a curse and the aging process. Jacob, a believer in magic from childhood, is eager to finally get the chance to be a hero for real. Will, a longtime skeptic, is more interested in self-preservation, but feels compelled to help his brother.
The cast is very much game for the proceedings (one could argue too much so, in the case of Pryce and Stormare), but the screenplay by Ehren Kruger doesn't seem to settle on what kind of a movie it should be. As with most Gilliam movies, there's an undercurrent of dark humor present along with wild visuals, but seemingly too much reliance on inconsistent CG effects.
Despite authentic recreations of early 19th-century life (shot entirely on location in the Czech Republic), the movie doesn't seem to follow much of a realistic outline for the characters themselves. In the lead parts, you have an American (Damon) and an Australian (Ledger) playing Germans with English accents. Still, even with their wavering accents, Damon and Ledger give amiable performances as the heroes, leaving the overacting to the villains.
This is an example where the individual pieces don't quite add up to a satisfying whole. But as far as scattershot films go, a Terry Gilliam one is worth more than most.
Grade: C+
(Rated PG-13 for violence, frightening sequences and brief suggestive material.)

Movie Review: "The Constant Gardener"

Starring Ralph Fiennes, Rachel Weisz, Danny Huston, Bill Nighy and Pete Postlethwaite
Directed by Fernando Meirelles

Making terrific use of on location shooting in Kenya and the surrounding area, "The Constant Gardener" achieves a gritty realism to its story involving the murder of a British diplomat's wife and the husband's persistent efforts to discover whodunit.
That said, the plot isn't based on fact, but a John Le Carré novel that tracks the amateur sleuthing of Justin Quayle (Ralph Fiennes), a relatively low-level diplomat sent to work for the British government in Africa. His wife Tessa, (Golden Globe winner Rachel Weisz) a headstrong and outspoken political activist, has been found murdered in the African countryside. Early thoughts are perhaps bandits are responsible for the murder, but Justin suspects otherwise, and rightfully so.
Director Fernando Meirelles (a previous Oscar-nominee for the outstanding drama "City of God") proves to be a great match for the material, by keeping the story and its underlying mystery moving at a steady pace. Yet, he's not afraid to use a wide variety of color schemes and camera angles to keep things just left of conventional.
Not that the story itself can be considered conventional, although it does incorporate some standard elements of thrillers, such as government conspiracies and hidden agendas of characters. But while the movie works very well on the thriller level, at its heart beats a love story about a husband falling even more in love with his wife after her death.
The couple's relationship is effectively weaved into the story through a series of flashbacks, choosing to depend on the audience to pick up some of the details of their live along the way. The well structured and intelligent screenplay by Jeffrey Caine allows the audience to make its own discoveries right along with Justin, instead of choosing to spell everything out.
On the surface, Justin and Tessa would appear to be complete opposites. He's a quiet, mild-mannered person, more at ease in his garden than at social and business functions. She's brash and doggedly persistent, yet big-hearted and passionate. In short, they are both attracted to those character traits that the other possesses.
As Justin begins to dig deeper into Tessa's death, he realizes she had uncovered a pharmaceutical company involved in testing products on African residents. She had chosen to keep her findings secret from him, a fact he struggles to understand. Still, he feels compelled to finish the investigation she started, even though he is well aware of the risks involved.
Fiennes is a dependably good actor, and gives his best performance since "Schindler's List." He has to play two diverse sides to his character and serve as the film's centerpiece. Though she has much less screen time, Weisz also does great work here, crafting a lively performance that resonates through the entire movie.
Some of the supporting parts, while probably more fleshed out in Le Carré's book, are rather undercooked here, but still mostly serve their purpose.
With its topical storyline portraying influence and possible corruption in the world of pharmaceuticals, "The Constant Gardener" shows the power such an industry can have. But it also demonstrates that the power of love can be even stronger.
Grade: A-
(Rated R for language, some violent images and sexual content/nudity.)

Movie Review: "Kiss Kiss, Bang Bang"

Starring Robert Downey Jr., Val Kilmer, Michelle Monaghan, Corbin Bernsen
Directed by Shane Black

Poking fun at some of the action movie conventions that he helped create with his scripts for "Lethal Weapon" and "The Last Boy Scout," writer Shane Black has returned to the Hollywood scene in a rousing way, with the fast-paced confection, "Kiss Kiss, Bang Bang."
In doing so, he also manages to give Robert Downey Jr. and Val Kilmer, both among their generation's best actors, their meatiest role in years.
"Kiss Kiss, Bang Bang" is a movie that asks (and practically encourages) audiences to not take the proceedings too seriously. Downey stars as Harry Lockhart, a two-bit criminal and the movie's admittedly inconsistent narrator. Early on, it becomes clear that the movie is willing to jump all over the map, as Harry recounts the tale of how he got to Hollywood, only to struggle to remain on a single train of thought. He's not a particularly good narrator, he says, but he's the only one we've got.
When a store break-in goes bad, Harry hides from the police where an acting audition is taking place. The producers are impressed by Harry's intensity and cast him in the role of a private eye. Next thing he knows, he's rubbing elbows with the bold and the beautiful at parties and clubs in Los Angeles. It's at these locations that he meets the story's other main characters, including private investigator Perry van Shrike, better known as Gay Perry, and Harmony Faith Lane (Michelle Monaghan), a childhood friend of his and down-on-her-luck actress.
Perry, who casually mentions that he's not gay (he is), but just likes the nickname he was given, also acts as a movie consultant and is employed to teach Harry about private eyes. In doing so, the pair stumble on an apparent murder, which may or may not be connected to another dead body that is later discovered. Harmony enlists the aid of Harry, who she believes to be a private eye. Harry, thrilled to find a familiar face in L.A., plays along and eventually manages to pull a reluctant Perry into the mystery.
As the characters struggle to wrap their heads around the quickly developing plot, audiences will be tempted to do the same. But make no mistake, this is a story built on style and attitude, with the seeming intent of trying to stay a couple of steps ahead of viewers at all time. The fast pace of the movie, Black's first as director, definitely works in its favor as you're much less inclined during slower periods to think just how illogical some of the situations seem to be.
The movie, which throws in accidental killings, an unfortunate end to a severed finger and more witty dialogue than can be followed in a single viewing, works best if you simply give in to the sometimes frustrating machinations of the plot and just sit back and enjoy the ride.
Downey brings just the right spark of wit and attitude to his role as a guy who's not nearly as clever as he thinks he is. He's matched by Kilmer as the stylish Perry, who's clearly annoyed by Harry's frequent screw-ups, yet feels compelled to get to the bottom of the developing mystery. They're a truly odd couple that ultimately work great together in this environment.
Anyone who has seen Downey and Kilmer in '80s comedies such as "Back to School" and "Real Genius" know the two are capable of producing laughs. So after years of the two tackling much more serious roles, it's a real joy to see them actually having fun on screen.
Monaghan, who has only had small roles in movies up until now, makes the most of her screen time here, producing a sexy, yet vulnerable performance as an actress whose only claim to fame is co-starring with a bear in a beer commercial. Monaghan would seem to be one to watch for in future roles, one of which includes next summer's "Mission: Impossible 3."
Even accounting for the energetic performances, it's a credit to Black that the whole enterprise holds itself together, as it careens towards a big violent finale. But leave it to these characters to even find a clever way to make fun of that genre's cliché. By its conclusion, the movie's probably a bit too pleased with itself. However, in a genre that nowadays shows sparse amounts of imagination, "Kiss Kiss, Bang Bang" feels like a breath of fresh air.
Grade: B+
(Rated R for language, violence and sexuality/nudity.)

Movie Review: "Munich"

Starring Eric Bana, Daniel Craig, Cirian Hinds, Matieu Kassovitz, Hanns Zischler and Geoffrey Rush
Directed by Steven Spielberg

Offering various moments of pensive examination into the worth of retribution as well as the violence associated with its pursuit, "Munich" is a brutal, yet conscientious movie. After assaulting the senses with last summer's box-office hit "War of the Worlds," director Steven Spielberg puts his serious artiste cap back on with this dramatization of the killing of 11 Israeli athletes at the 1972 Summer Olympics in Munich and the violent response from Israel.
Wasting no time with a buildup, Spielberg opens the film in Munich, as the Palestinian terrorist faction that calls itself Black September gains entry into the Olympic village and proceeds to take the Israeli athletes hostage. With merely a handful of scenes, weaving in actual and recreated moments from the tragedy, Spielberg is able to quickly build tension and uneasiness about the series of events that unfold.
But he also makes it clear that the incident itself will not be a primary focus of the film, as he swiftly gets to the ABC footage of when broadcaster Jim McKay relays the tragic information that "they're all gone." The tragedy is revisited through flashback at various points in the movie, as a series of harrowing and at times, shockingly violent scenes.
Israel's decision for retribution is what makes up the nucleus of the screenplay, written by Eric Roth and noted playwright Tony Kushner ("Angels in America"). (To get a much more thorough examination of the the 1972 incident, see the excellent and enlightening documentary, "One Day in September.")
The story specifically focuses on the creation of a covert squad given one central purpose: kill those responsible for Black September. A total of 11 people are targeted by the group's handler, Ephraim (Geoffrey Rush, giving a strong, focused performance), with Avner (Eric Bana), an ex-Mossad agent, serving as the leader of the group of five. Rounding out the squad is a driver (Daniel Craig), a cleanup man (Cirian Hinds), a bomb maker (Mathieu Kassovitz) and a document forger (Hanns Zischler). Ephraim explains to Avner that bombs are the preferred killing method, as they are likely to generate publicity in the press. He also makes it clear that while the group will be receiving financial assistance in their mission, for all intents and purposes, they don't exist.
Thus, the stage is set, as the group begins to track down and attempt to eliminate their list of targets. The squad, far from ice-cold killers, finds their early efforts a bit of a struggle, as various unexpected developments crop up. One particularly great scene involves the realization that the young daughter of one of their targets is in the very apartment they are moments away from blowing up. It's in scenes like this that "Munich" works not only as a strong historical drama, but an effective and tightly wound thriller.
In between targets, some of the squad members begin to be weighed down by their conscience and uncertainty of the effectiveness of their mission. Avner, the only character whose private life is developed in the movie, also begins to be plagued by nightmares and fear for the safety of his wife and newborn child.
Although he is Jewish and sympathizes with Israelis, Spielberg doesn't aim for "Munich" to choose sides in the conflict. But it does effectively question the worthiness of revenge. Is killing people responsible for terrorism, as Israel chooses to do in this film, a morally acceptable response? After all, as some of the characters point out in the film, those terrorists killed will only be replaced by someone else – and possibly someone even more ruthless. In one of the movie's best scenes, Israeli Prime Minister Golda Meir (Lynn Cohen) finds what she believes to be justification for violence, by stating, "Every civilization finds it necessary to negotiate compromises with its own values."
On those grounds, "Munich" plays out as a film that would seem to be headed towards the literal result of "an eye for an eye" – leaving both sides blind. The debate over such actions and their acceptability rages on today.
Grade: A
(Rated R for strong graphic violence, some sexual content, nudity and language.)

Movie Review: "Murderball"

Featuring Mark Zupan, Joe Soares, Keith Cavill, Andy Cohn, Bob Lujano, Scott Hogstett
Directed by Henry Alex Rubin and Dana Adam Shapiro

The eye-opening documentary "Murderball" takes an intriguing idea of introducing people to the sport of quad rugby, only to find even more drama and action taking place off the court.
That's largely because filmmakers Henry Alex Rubin and Dana Adam Shapiro had the good fortune to find a group of men that are as passionate about their sport as they are about life. Nicknamed Murderball, quad rugby is quickly, but effectively explained by the documentary as a fast-paced contest featuring teams of quadriplegics working to score goals, while attempting to avoid violent collisions from opponents. All competitors participate while riding in wheelchairs reinforced by metal, making them more like battering rams with wheels.
The players are quick to dispel a somewhat popular misconception of quadriplegics as people with no use of their limbs. They all have sustained neck and/or spinal cord fractures, but there are varying degrees of limb disabilities for them, with those serving as ratings for the purpose of the sport. For example, someone who has little impairment in their limbs would rate a 3.0, while a 0.5 would be given to a player with little or next to no use of their limbs. Those ratings are then applied during the game, with no team allowed to have the players exceed 8.0 on the court at one time.
By the first time the sport is shown on camera, viewers are given a quick introduction into its excitement, with frequent shots of wheelchairs crashing into each other, occasionally knocking competitors over. But far from being intimidated by the sport's physical nature, these players thrive on it. They want to leave no doubt that they are not handicapped – they are athletes who just happen to compete in a wheelchair.
Away from the competition, the film largely focuses on the U.S. quad rugby team, as they compete in a pair of world championships (yes, this sport has participants from many countries) and the 2004 Paralympics in Athens, Greece. But it also looks at the life of one of the team's former players, Joe Soares, who, bitter at being cut from the U.S. squad, decides to coach the Canadian national team. Soares, a fiercely competitive man, is seen by the U.S. team as a traitor, but is clearly a driving force in making the Canadian team a serious threat to the Americans longtime dominance in the sport. The fact that U.S. team leader Mark Zupan and Soares clearly dislike each other is played up to good dramatic and comic effect by the film.
Many of the players recollect how they came to be in a wheelchair and what their life is like today. Among the more compelling people is Zupan, arguably one of the world's best quad rugby players, who details how a late night of drinking at 18, led to him breaking his neck after being thrown from the back of his best friend's truck into a ditch, where he would remain for more than 13 hours before being rescued. More than 10 years removed from that day, Zupan looks back on the incident with no anger or bitterness, simply seeing it as the end of one chapter in his life.
Many of the other players interviewed have similar feelings about their lives, displaying an admirably positive attitude about situations that could easily have had lesser people mired in depression and anger. Not that those feelings didn't ever surface, as one describes his initial withdrawal from society, even being against going out to get the mail, for fear of people staring at him.
Many years removed from the accidents that changed their lives, their stories are mixed in with the rehab of Keith Cavill, a young man who is only months removed from the accident that led to him becoming a quadriplegic. The uncertainty and fear of his new life is given a genuine jolt of excitement when Zupan comes to the rehab center to introduce the residents to quad rugby.
Much like the superior documentary "Hoop Dreams," "Murderball" is more focused on the players and their lives rather that the sport itself. In actuality, the film moves by a bit too quickly, as it would have been nice to have seen the team in more off the court interaction. But with this many people occupying screen time, perhaps the directors felt less is more.
Sure, the collisions of the armored wheelchairs in "Murderball" are impactful, resulting in numerous metal dents. But it's the personalities of the people in the chairs that will leave the real lasting impression.
Grade:A-
(Rated R for language and some sexual content.)

Movie Review: "Cronicas"

Starring John Leguizamo, Leonor Watling, Damian Alcazar, Jose Maria Yazpik

Combining a compelling story idea in Latin American settings rarely seen in movies had the potential to be an outstanding examination of crime and the television media's role in reporting it. But "Cronicas," while featuring a standout performance from star John Leguizamo, is an inconsistent affair that audiences will likely stay one step in front of through most of its running time.
Leguizamo, in his first Spanish speaking role (noteworthy because he is not fluent in the language), plays Manolo Bonilla, a young, rising star of a Miami-based Spanish language television network. Known for his aggressive investigative style, Bonilla finds himself in Ecuador on the hunt of a serial killer, known as the "Monster of Babahoyo." One would have to think any similarity to investigative TV reporters like Geraldo Rivera is purely intentional – although credit Leguizamo for refraining from doing any impersonations.
While conducting an interview with a family member of one of the killer's victims, Bonilla and his crew, cameraman Ivan (Jose Maria Yazpik) and producer Marisa (Leonor Watling) witness a mob scene after a man accidentally runs over a child crossing the road. The mob, believing the man intended to flee the scene, nearly beat him unconscious, then douse him with gasoline in an intense sequence of events. But Bonilla uses this moment to step in and quell the mob before they kill the man – all of which is, of course, caught on camera.
The rescued man, named Vinicio (Damian Alcazar), is imprisoned for crashing into the child, but is desperate to have Bonilla visit him, as he says he has important information about the identity of the Monster. Skeptical, yet intrigued, Bonilla visits and receives information about the whereabouts of a body the police are yet to uncover. The tip turns out to be correct, but Bonilla decides to keep the police at bay about what he's discovered, in order to extract more information from Vinicio.
However, he quickly suspects there's a logical reason why Vinicio knows what he does, even as Bonilla's putting together a sympathetic story about him.
Writer/director Sebastian Cordero employs multiple scenes featuring Bonilla and Vinicio in a kind of cat and mouse game, where neither one is being completely honest with one another. Those scenes, while well acted, become a bit redundant after a while, as it becomes more apparent where the story is headed. Cordero does take a critical look at television media and the drive for breaking the big story – in particularly with Bonilla's increasingly unethical decisions. But the observations are not that surprising and the film's leisurely pace drains some of the dramatic impact they could have had.
However, filming on location in Ecuador gives the film some gritty realism, while conveying poverty-stricken villages filled with residents full of fear from a killer that has already taken 150 lives of children in their country. The story just doesn't quite match up to its locale, as when the killer's identity is finally revealed (an unsurprising development), the dramatic tension is absent.
By the film's conclusion, Cordero is clearly aiming for audiences to feel outrage at what has taken place. But it's even more likely that the feeling will be indifference.
Grade: C
(Rated R for violence, a scene of sexuality, and language.)

Spinning the 'Globes'

Generally considered the most significant bellwether of nominations for the Academy Awards, last week’s Golden Globe nominations had an intriguing mix of selections – some bold, some predictable and others serving as head scratchers.
The annual awards show, to be held Jan. 16 on NBC, is an offering by the Hollywood Foreign Press Association that has only seen two of the last 13 Academy Award-winning pictures not also pick up a Golden Globe. Last year happened to serve as one of those two times, as “Million Dollar Baby” lost out to “The Aviator” at the Globes, only to turn the tables at the Oscars.
To me, it's rather amazing that this group of international journalists can seemingly wield so much influence, as it only numbers 90 members in size. The cornucopia of awards shows that pop out of the woodwork at this time of year can be staggering, but none bring the worlds of movies and television together like the Globes. Stars tend to show up in droves to the awards show, no doubt tempted by the free dinner and booze offered at the soirée. They even let the cast and crews of the various shows and movies sit together at the same table, where they can make fun of people at other tables. (Take that, Academy Awards!)
But does some of their nomination process have to seem so apparently random? This awards show makes it a point to have separate categories of drama and musical/comedy, in both movies and television, as if the genres have no connections. It means every year that two winners in each category emerge for best picture and best TV show. Granted, TV awards shows do tend to split up genres, but how many TV shows qualify as a musical?
While the Globes split up lead acting nominations in these respective genres, the supporting actor and actress nominations seem to fall in a catchall category. For example, George Clooney, Paul Giamatti and Matt Dillon have all been nominated this year for strong work as a CIA agent, boxing trainer and policeman, respectively. In that same category is Will Ferrell, playing a Nazi-loving playwright in the wacky musical-comedy, “The Producers.” Now, I’m not saying Ferrell’s work isn’t nomination-worthy. However, if he was nominated while playing the lead in that movie, such as Nathan Lane was, he would be grouped only with other comedic performances. A little consistency would be nice, Golden Globes.
TV supporting players have it even worse, as their categories throw together series, mini-series and made for TV movies. In 2003, for example, nine (yes, nine) nominees crammed into the supporting actor category, with Donald Sutherland beating out no fewer than six TV series regulars for his work in a TV movie. With that many included in the category, who didn’t get nominated that year?
The nominations in the television categories are always interesting to me, as you can have shows and actors going against one another based on different seasons of work. Case in point, the best actor in a comedy/musical category this year includes Zach Braff from “Scrubs,” along with fellow nominees Larry David, Charlie Sheen, Jason Lee and Steve Carrell. The new season of “Scrubs” doesn’t even start until next month, while all the others have had their seasons going on for months. The same situation exists with Kiefer Sutherland in the best actor - drama category.
As an aside, where have all the comedic TV actresses gone? The entire best television actress in a comedy/musical category is filled with the four main stars of “Desperate Housewives,” with Mary-Louise Parker of the Showtime series “Weeds” thrown in for good measure. How can one show dominate a category so much?
While the Globes have some definite problems with the selection process, the nominees this year have definitely skirted towards independent films, as the five best picture hopefuls in the drama category will probably make less money put together as “King Kong” (which only snagged two nominations overall) did in its opening weekend.
So some kudos should go towards the HFPA for not letting box-office and popularity dictate what gets nominated. Still, I find it hard to believe that the Oscar nominations will follow so confidently in their footsteps.
– MC

Movie Review: "Mysterious Skin"

Starring Joseph Gordon-Levitt, Brady Corbet, Michelle Trachtenberg and Elisabeth Shue
Directed by Gregg Araki

On the whole, movies try to stay far away from risqué subject matter, lest it affect the bottom line of profitability. But a select few, such as writer-director Gregg Araki's sensitive, yet potent examination of the psychological impact sexual abuse can have on children, remain uncompromising in telling a story.
Based on a novel by Scott Heim, "Mysterious Skin" follows the stories of two troubled teenagers in the midst of identity crises – both of which can be tied to what happened to them as 8-year-olds. Or to be more precise, it's tied to what was done to them.
The two teens were each molested by their Little League baseball coach (Bill Sage) on one summer night that sends them on wildly divergent paths. Brian (Brady Corbet) suffers from chronic nosebleeds, bedwetting, and social awkwardness in subsequent years. Neil (Joseph Gordon-Levitt) heads more towards juvenile delinquency, even while he turns towards a life of a gay hustler.
Brian's memories of that night as an 8-year-old and another incident several years later are a mystery to him, as he has blocked them from his subconscious. His mission becomes trying to find out what happened – a journey that leads him to seek out Neil, whom he hasn't seen since that night.
Catching a program on TV one night, Brian becomes convinced that his memory loss of those hours of his life are the result of an alien abduction. He seeks out Ayalyn (Mary Lynn Rajskub), a person featured in the program, who only strengthens his conviction in believing what we already know not to be the truth.
Neil's memories of his summer on the Little League team are definitely intact, as he quickly becomes the favorite player of the coach, who on the surface, would seem perfectly normal. With the lure of video games, candy and more importantly to Neil, attention from an adult (his father is long gone and his mother works a lot), he spends a lot of time with the coach in his home. In a thankfully restrained but no less disturbing scene, Neil is sexually seduced into believing what his coach is doing is acceptable.
As he grows up, Neil takes unwarranted risks in what has quickly become a sexually promiscuous lifestyle. But horribly bored with his life in his small Kansas hometown, Neil heads to stay with a friend in New York City, a place where his risky behavior leads to increasingly dangerous encounters.
If any of the above description doesn't spell it out, I'll be blunt – this is at times, a very difficult movie to watch. Nudity is kept to a minimum, but the subject matter certainly doesn't leave a lot to the imagination. However, the story itself is quite compelling as it skillfully juggles two separate threads between the two teens that don't intersect until a powerful finale.
And the acting, particularly from Corbet and Gordon-Levitt is outstanding. Viewers might recognize Gordon-Levitt from his role on the former NBC sitcom "3rd Rock from the Sun," but nothing on that show can possibly prepare you for the devastating emotional and physical performance he puts on in this film. In the less showy role, as it were, Corbet also gives a very effective performance, as he slowly begins to assemble the pieces of a troubled childhood.
Far from a fun experience, "Mysterious Skin" is still an important piece of filmmaking. It attempts to shine a light where others won't look, for fear of what will be found. But as long as heinous crimes such as pedophilia continue to plague society, it's important that films such as this exist. Whether viewers choose to acknowledge them is clearly another matter.
Grade: A-
(This film is not rated, but contains strong sexual content and language.)

Movie Review: "Walk the Line"

Starring Joaquin Phoenix, Reese Witherspoon, Ginnifer Goodwin, Dallas Roberts and Robert Patrick
Directed by James Mangold

Much like 2004's "Ray," which featured an Oscar-winning performance from Jamie Foxx, "Walk the Line" centers around a musical trailblazer who had to fight off personal demons during the course of a long and illustrious career. Both Ray Charles and Johnny Cash had to overcome early childhood tragedies involving a sibling, drug addictions and skeptics of their style of music.
But "Walk the Line" isn't merely a biopic that focuses on the full career path of Johnny Cash (Joaquin Phoenix) – although it does hit on a number of the highlights and lowlights in his early years. It becomes clear once the story introduces June Carter (Reese Witherspoon) that we're also dealing with a love story – and a pretty good one at that.
Cash's formative years in near poverty in rural Arkansas were spent working in the fields with his parents and older brother, occasionally fishing and listening to country and gospel music on the radio, featuring little June Carter, among others. At this point, a music career was merely a pipe dream for Cash, who would eventually leave home to join the Air Force, writing music in his free time.
After leaving the service, he marries and gets a job, but jumps at the opportunity to audition for Sam Phillips (Dallas Roberts) of Sun Records. Initially, the audition is going badly, leading to a great speech from Phillips that seems to awaken something in Cash. In this scene, the musical career of Johnny Cash is born.
Taking to the road performing at shows along with the likes of Jerry Lee Lewis, Roy Orbison and some guy named Elvis Presley, Cash begins to find his signature sound that will serve him for the next 40-plus years. Even those who aren't big Johnny Cash fans can recognize a song of his when they hear it.
It's at one of those shows that Johnny literally runs into June backstage and is instantly in love, even as she's effortlessly making comical banter with the onstage announcer to stall her pending performance. June later explains that she learned to be a good comedian, because she knew she could always fall back on that if the singing career didn't pan out.
While Johnny has the look of a man who would be willing to marry June right away, the problem in the early years would be that both were married to other people. Then, when Johnny divorced his wife, he turned more and more to drug dependency, which served as another roadblock to get to June. In fact, for a long time, taking the stage would be the one place the two could be together to genuinely express their feelings for one another – even if it was in front of thousands of people.
Phoenix gives a great performance as Cash, capturing his stage moves, demeanor and internal struggles, even while lacking the real Cash's physically imposing appearance. He's matched, if not surpassed by Witherspoon, in easily the best performance of her career. Watching the two of them together on stage, singing and playing their instruments themselves, shows some genuine chemistry that frequently brings the movie to vibrant life.
Director James Mangold keeps the story moving swiftly, wisely choosing to focus the movie on the unconventional, but undeniably powerful romance between Johnny and June. Plus, he gets a lot of great performance footage, including a rousing recreation of Cash’s hugely popular performance at Folsom Prison in California. Credit has to be given to music producer T Bone Burnett (himself a Grammy winner for his soundtrack to "O Brother, Where Art Thou?") for his work on the soundtrack, which included a lot of musical training with both Phoenix and Witherspoon.
Still, in just a few scenes, the script by Mangold and Gill Dennis manages to step away from the music and romance to clearly depict a very strained relationship between Johnny and his seemingly impossible to please father (Robert Patrick), who clearly favored his older son. Even upon achieving success, Johnny would look to gain the approval of his father. Much like his T-1000 character in "Terminator 2," Patrick achieves an icy disposition that has him at one family Thanksgiving showing more concern over a tractor stuck in the mud than his son's well being and new home.
Some characters, such as Cash’s first wife Vivian (Ginnifer Goodwin) and his mother, are rather underdeveloped, and the script doesn't cover any of the twists and turns that his career would take in his final 30-something years. But at a running time of well over two hours, they could have easily filmed two movies to fit all of that in.
One thing about biopics is that they generally follow a predictable pattern. After all, we usually will know about the principle people involved and the major events in their career/life before the movie starts. That leaves the performances and details, along with how well the movie adheres to them as the primary litmus test. On that front, "Walk the Line" would seem to acquit itself fairly well, with the occasional exception.
One surprising way for me that it maintained accuracy was in Johnny's final marriage proposal to June (he had a lot of them). It actually did take place on stage during a concert. In the movie, it plays as an emotional and rousing scene that would appear to a screenwriter's concoction. Then again, for a couple who appeared to have such a great partnership on stage, could there have been a more appropriate time and place for him to pop the question?
Grade: B+
(Rated PG-13 for some language, thematic material and depiction of drug dependency.)