Indiana Jones Rides Again in THE KINGDOM OF THE CRYSTAL SKULL

The question that begs to be asked is if the latest installment of Indiana Jones is any good? The answer is yes, and one needn’t fret over another letdown like The Phantom Menace, which undermined the original Star Wars trilogy. Indiana Jones and the Kingdom of the Crystal Skull, far from perfect, gets the job done and carries on its tradition of high adventure in satisfying fashion.

In 1957 Nevada, mysterious soldiers persuade Dr. Henry ‘Indiana’ Jones Jr. (Harrison Ford) to locate an important crate amidst a large warehouse of X-Files type of treasures. A ruthless Russian, Irinia Spalko (Cate Blanchett), leads her troops in an obsessive search for a mythic, crystal skull of unknown origin that may have potential psychic powers if it is joined with other skulls hidden in a lost city in the South American jungle. Meanwhile at his college, Professor Jones meets young ‘Mutt’ Williams (Shia LaBeouf) who needs Indy’s help to rescue his mentor, Dr. Oxley, and his mom, Marion. It seems they, too, have been hunting for the skull. Pursued by Russian agents, Indiana and Mutt attempt to rescue their comrades while discovering clues about the crystal skull. During the journey, certain truths emerge, and Indy must confront his past and a former love. As Irina closes in, who will survive when the enigmatic skulls are reunited and unleash their hidden, unworldly power?

The screenplay by David Koepp cobbles previous stories and ideas from a battery of writers. While it has more heart than any Lara Croft film by far, one wishes that original writer, Lawrence Kasdan, had a final rewrite to punch up the emotional content to compliment the action. I do like, however, that they tease you with the possibility that Mutt may or may not be Indy’s son and if Indy will ‘get the girl’. Bravo to the filmmakers for confronting these issues head on by story’s end.

Harrison Ford may be 65 years of age, but he looks great and does most of his own stunts! (To put things in perspective, John Wayne was 62 in True Grit and Cary Grant was 59 in Charade.) Shia LaBeouf is more than able as his new sidekick with a greased comb and an attitude, and Karen Allen is most welcome as Marion, able to take charge and hold her own. Cate Blanchett is appropriately sinister and alluring as the deadly Irina. Unfortunately other talents are not well developed, leaving in its lurch, John Hurt as Oxley, Jim Broadbent as a college dean, and Ray Winstone as an older sidekick with his own agenda.

While Raiders of the Lost Ark had countless, memorable action scenes, this film has a few of its own. There are the usual barrage of bloodless shootouts, fistfights, and bits of customary nastiness with bugs, snakes and skeletons not to mention the exciting climax where you just know the greedy, evil commies will get theirs. Naturally, some of the scenes strain credibility in being quite implausible and unrealistic (as in plunging from a waterfall or two or three), but it is all in good fun. The hair raising escapes are like a well oiled machine particularly in an exhilarating but impossible chase in the jungle as major characters leap among three, count ‘em three moving vehicles! And if it feels like parts of the story seem familiar, keep in mind that the filmmakers are paying homage to the Saturday morning serials of their youth. Other referenced movies come to mind like Forbidden Planet and Journey to the Center of the Earth.

Production values are top notch. Veteran composer John Williams rekindles the musical cues, and Michael Kahn’s editing pushes the limits of nail biting suspense. A couple scenes look a little sloppy and don’t come off as well as they should, and although there are some slow spots with confusing dialogue and murky exposition, there is always a marvelously choreographed action scene waiting around the corner. For example, the opening sequence is vintage Indiana Jones as Spielberg builds up a grand entrance for his star and puts him in immediate peril. Later, there is an anxious moment when Jones is about to be caught in an atomic blast and must use his wits to survive. What has always made the character so likeable is that he is fallible. Even Indy’s mistakes and hiccups can be humorous and exciting, as evidenced in a sinking pit where he must come to grips with a childhood fear.

Lucas and Spielberg proved that lightning could strike three times in a row in the 1980’s (Raiders of the Lost Ark, Temple of Doom, and The Last Crusade), and now they have done it a fourth time. I put this film on par with the later chapters. Viewers who keep in mind how the 1950’s timeline lends itself to more science fiction elements, will understand that, while every Indy saga ends with a supernatural event, this one is grounded in the ‘watch the skies’ frame of mind. It is this conceit that may throw off a few fans of the older films.

The door is left open for more adventures, but the film does wrap things in a neat bow. You wish that they would just leave well enough alone and gracefully end on a high note. Indeed, the last, parting shots are terrific for fans. As with the previous chapters, this film is likely to improve with repeated viewings. I seem to recall liking the first one and then savoring it considerably more over time. Indiana Jones ages like fine wine. Drink up.

*** of **** stars

Downey Triumphant as the Invincible IRON MAN

Although not as well known as other Marvel Comic icons as Spiderman or X Men, this film adaptation of Iron Man works due to the sure hand of director Jon Favreau (Swingers, Elf) who cleverly mixes action, drama, humor, and a totally winning performance by comeback actor, Robert Downey Jr. In terms of a first film showing a superhero’s origin, it is the one of the best to date.

Billionaire industrialist Tony Stark is a weapons manufacturer whose cavalier attitude and playboy appetite are matched only by his sheer genius in technology. On a tour of his weaponry in Afghanistan, he is wounded in the heart by shrapnel and captured by rebels who order him to build a super weapon of mass destruction. With the help of another civilian, Stark changes up and instead builds a powerful suit of high tech armor that sustains his weak heart and enables his escape but not without a price. Guilt ridden and traumatized by his experiences, Stark has a literal change of heart and alters the militaristic direction of his company much to the chagrin of his elder partner, Obadiah Stane (Jeff Bridges). A couple of friends, his assistant, Pepper Potts (Gwyneth Paltrow), and military liaison, Jim Rhodes (Terrence Howard), stick loyally by Stark’s side despite his earlier predilections. Intent on improving and perfecting his Iron Man suit, Stark experiments with its design and takes dangerous risks. His mission is to utilize his Iron Man technology to fight the evil in the world, starting first in Afghanistan. When the truth comes out about what Stark Industries is really doing with weapons sales, it leads to a deeper conspiracy and a battle of titans as Iron Man meets an old foe.

Buffed and in terrific physical condition, Downey is quite convincing as the prodigy whose initial devil-may-care attitude must undergo a transformation. (It is not without irony that the role and the person should merge in light of Downey’s real life, personal setbacks.) The movie rests on his shoulders, and he makes the most of his role. Bridges is great at playing a businessman with a sinister agenda. Paltrow strikes sparks with Downey and you yearn for more scenes with the two of them. The same goes for Howard as Stark’s best friend. What is a little hard to swallow is how Pepper and Rhodes could put up with such a pompous persona in the early goings.

Favreau has an amusing bit part as an assistant to Stark. Further, the robotic voice that assists Stark in his technological work is actor Paul Bettany! And yes, Stan (the man) Lee, one of the comic book creators, has a fleeting cameo.

The scenes, which show Stark developing his updated Iron Man suit and test-driving it, are realistic and at times amusing. The Iron Man suit 2.0 is a marvel of construction and is the coolest thing imaginable. There is no way that this concept of a hero could have been rendered as convincingly even a few years ago. My how movie magic has caught up with these stories finally and done them justice. It is clever how the film incorporates the original Iron Man design (which brings to mind a sort of poor man’s version of Robocop) and progresses through its more modernized version. Pure fans of the original comic (including myself) are thrilled at the reverence paid to the classic beginnings.

There is an aerial battle between American fighter jets and Iron Man that is a lot of fun. The special effects, while being among the most realistic and cleverly used in any action film, are well integrated with the strong narrative. Despite the eye candy, you get the feeling that the filmmakers never lose sight of what the story is about and how to stay focused on the characters. The pacing is excellent.

In terms of subplots, the Afghan conflict hits close to home with the current war in Iraq. Also, the secret government agency S.H.I.E.L.D. gets an introduction as support for Stark and figures to have a bigger role in future Marvel movies; don’t forget to stay until the credits are done for a bonus. The film has an edge about it in dialogue and theme, and is better for it especially in the final scene, which is surprising and has implications for future adventures.

I would put this film on par with Batman Begins and Spiderman, not bad company. While not as emotionally stirring as the best moments of X Men United or Spiderman 2, this is only the first of what likely will be a long running franchise. If the sequel can maintain the same quality as this effort, we could be in for the best superhero movie yet! And lest there be any doubt about Favreau’s ability to take on comic heroes, don’t worry; he understands what they mean and how to do them justice. He ‘get’s it’!

***1/2 of **** stars

Oscar Predictions for 2007

OK, I admit to having limited viewings of the nominees for 2007 so I will base my picks on what I did see and also make an educated guess. I confess to having only seen the best picture nominees and few of the other nominated films.

PICTURE-Atonement might have won in the past, but this kind of film doesn’t win anymore. There Will Be Blood is hailed as a Citizen Kane of sorts but it worked for some and really turned off others. Juno is that little film that could but, like Little Miss Sunshine from year’s past, won’t make it here. Michael Clayton is wonderful but its nominations are award in itself for this kind of film. I can get past its abrupt ending and admire No Country for Old Men (think The Departed which had an unsatisfying end) which should win.

DIRECTOR-Coen brothers get their dues for No Country for Old Men.

ACTOR-Daniel Day-Lewis towers above them all.

ACTRESS-I will stick my neck out even though Julie Christie is the favorite; I will go with my heart and pick upset winner Marion Cotillard’s knockout job in La Vie en Rose.

SUPPORTING ACTOR-Javier Bardem period.

SUPPORTING ACTRESS-toughest, most unpredictable category….Tilda Swinton could get the consolation award for Michael Clayton

ORIGINAL SCREENPLAY-Juno!

ADAPTED SCREENPLAY-No Country for Old Men

The rest of the tech categories should evenly split such films as Transformers, Sweeney Todd, Atonement, Bourne Ultimatum, and La Vie en Rose.

ANIMATED-Ratatouille
SONG-Once gets its just due
SCORE-Atonement
MAKEUP-La Vie en Rose
VISUAL EFFECTS-Transformers
EDITING-Bourne Ultimatum should win in the tradition of Bullitt and all great action films.
CINEMATOGRAPHY-Atonement
ART DIRECTION-Sweeney Todd
FOREIGN FILM-Counterfeiters
COSTUME-Sweeney Todd
SOUND MIXING-Bourne Ultimatum
SOUND EDITING-Bourne Ultimatum
DOCUMENTARY-Sicko

Have not seen any of the short subject so I won’t hazard a guess.
The totals award count should go to No Country for Old Men with at least 4 awards.

ENJOY!

MICHAEL CLAYTON and His Conscience

Tony Gilroy, who has scripted all three Jason Bourne adaptations recently and helped revive the spy genre, has his directorial debut of his script in Michael Clayton, and the results are nothing short of spectacular with a story that harkens back to the conspiracy laden, morality plays of the 1970’s and passionate acting to boot by a strong cast.

Michael Clayton (George Clooney) is a fixer of problems for a leading law firm which experiences a crisis as its leading legal mind, Arthur Edens (Tom Wilkinson) has a breakdown as he defends an industrial giant, U-North, from a multi-billion dollar lawsuit. U-North’s corporate counsel Karen Crowder (Tilda Swinton) grows worried and later realizes that Edens may have some other agenda in mind, a trump card of sorts, that may threaten U-North, and she orders a couple of men to eliminate the problem. Add to this Clayton’s own woes as he owes loan sharks big money. As Clayton attempts to help Edens, a tragedy occurs which reverberates with Clayton’s own values and tests his resolve to delve deeper into an insidious world of corporate greed and murder. How far he is willing to go to save his own skin or find justice even if it risks his well being brings him to a defining point in his life.

You know this movie has a high minded agenda and stamp of quality when some of the producers include Steven Soderbergh (Erin Brockovich), Sydney Pollack (Absence of Malice), Anthony Minghella (The English Patient), and Clooney (Syriana) himself. Production values from camerawork to music are all topflight. Gilroy proves a sure-handed director and the film feels like the work of a veteran director of thrillers in the mode of The Insider or any John Grisham adaptation. like The Firm.

Clooney does a very good job as Clayton, a man who solves problems for a law firm. A smart, talented man who knows the legal business, he also is human with a mysterious past. He is far from perfect with shortcomings including a gambling problem and debt, which makes him more identifiable to the audience. Tom Wilkinson (In the Bedroom) is quite convincing with his American accent as the legal giant who has apparently lost his mind (like Bulworth or Network’s Howard Beale), and Tilda Swinton’s company woman, is so good, you wish there were more of her. Swinton’s talent is on the rise after such films as The Deep End. Sydney Pollack has been displaying his acting chops lately and proves to be equally adept at character roles (Tootsie, Eyes Wide Shut) as he is at directing.

The film is quite strong and when it reaches its bravura, concluding scene, it rises to the occasion and elevates the plot to lofty heights and rarefied air. It is a supremely crowd pleasing moment and cinches Michael Clayton as not only an interesting thriller and mystery, but an intelligent, literate morality play highlighting a talented writer now director and its ever shining star.

***1/2 of **** stars

A Bold NO COUNTRY FOR OLD MEN

Starting with the film noir hit, Blood Simple, co-directors and screenwriters, Joel and Ethan Coen have had a productive output of auteur films that range from manic comedies (O Brother, Where Art Thou?, Raising Arizona) to thoughtful crime dramas (Fargo, Millers Crossing). With their latest, No Country for Old Men, they have excelled at personal filmmaking that just misses the mark by not delivering a more pronounced ending. Under the trappings of a mystery and then chase thriller, this film is an exercise in movie making at its best while taking chances with conventional characters and plot. It also features splendid performances by Josh Brolin and Javier Bardem.

Set in 1980 after the Vietnam War, an aged sheriff, Ed Tom Bell (Tommy Lee Jones), talks of a long line of lawmen in his family. One day, in the desert a welder named Llewelyn Moss (Josh Brolin) comes upon the remnants of a drug deal gone badly and a case of money and decides to take it. It turns out that some Mexicans are on his trail and mean business. So does a mysterious stranger, a clever, psychotic assassin, Anton (Javier Bardem). And the chase is on with Mexicans, the law, and worst of all, Anton, in pursuit. Moss sends his wife Carla to her mom’s, and he hightails it to an obscure motel. Apparently a syndicate has hired Anton to get the money and dispatch anyone who gets in the way, but Anton has other ideas and begins to eliminate not just the Mexican competition, but nearly everyone connected with him! Anton’s weapons of choice are a lethal air gun and the largest silencer rifle ever. He methodically hunts down Moss through detective work and a tracking device. You know that despite his resourcefulness, Moss is simply overmatched. Meanwhile, the syndicate hires another hitman, Carson Wells (Woody Harrelson) to recover the money and eliminate Anton. All the while, Bell is adding up the clues and the growing trail of bodies to form an ominous picture of what is happening and what is to become. As much as he tries to help Moss and his wife, he cannot compete with the likes of Anton. By the end, Bell contemplates retirement knowing a killer is on the loose.

Josh Brolin really makes a strong impression as the doomed Moss. His character reminds one of a younger Kris Kristofferson. Not since Michael Madsen in Reservoir Dogs has there been a hideously terrifying character as Bardem’s hitman, Anton. His calm, dispassionate killer is surely inspired by past movie villains as the ones in Point Blank and The Terminator. Yet, in his own strange way, Anton has his code and motivation. He even gives his potential victims a second chance based on random luck. And he is most unforgiving if he is crossed.

There are a number of well constructed scenes to enjoy including a marvelous one at a convenience store which illustrates Anton’s manic state, and a moment in a Mexican hotel that is unbearably tense as Moss is cornered in his room by someone who could be Anton.

The cinematography by Roger Deakins (The Shawshank Redemption) is quite effective as it illustrates a desolate, barren landscape in which this cat and mouse game is played out.

There are a couple problems with the films narrative, however. While it is good that the film attempts and mostly succeeds at being unique and offbeat, a few things are confusing like what really happens toward the end at a motel as Moss waits for his wife. What happens to the money? Some killings are off screen or suggested, and you have to make assumptions based on the context of a given scene.

The abrupt conclusion is a bit baffling; it won’t work for most audiences, and even the most ardent cinephile may need to digest the last several minutes to make sense of it. Pay attention to the film’s underlying theme. Reread the title of the film and understand that it is about the tradition of the lawmen being displaced by a new world order. Jones does a voice over at the beginning and he concludes it with a melancholy lament and recounting of a disturbing dream. If only the structure of the film could convey that more clearly, there would have been a better narrative flow to its finale. Some may call the device brilliant, but it does not work as it may have been intended. But don’t let this slip deny the pleasures of a marvelous ensemble of actors and some great camerawork. It could easily be the Coen brothers’ best work to date, and that is something to truly appreciate.

***1/2 of **** (mostly for Bardem and the terrific narrative until the unconventional, confusing ending)

Oil and Family in THERE WILL BE BLOOD

Having been praised for his Altmanesque work on such multi-character and interweaving storyline films as Boogie Nights and Magnolia, Paul Thomas Anderson has set out for completely new territory, and the results, while not necessarily commercially palatable for mainstream audiences, is a unique tale of greed, power, and the loss of one’s soul in There Will Be Blood. Adapted loosely from Upton Sinclair’s novel, Oil, this is truly a labor of love by Anderson, who has elicited a stunning performance from Daniel Day-Lewis.

A struggling oil miner in 1898, Daniel Plainview (Daniel Day-Lewis), slaves away on a dig until it begins to yield oil. Years later, he raises a child as his son amid the rural setting and buys oil fields while paying little or nothing for them. One day a stranger, Paul, offers to sell his family’s land knowing there is some oil. Plainview sets forth to this property in the guise of a hunter and makes an offer to the religious family. The elder son, Paul’s brother Eli (Paul Dano), is mistrustful. Eventually Plainview gets his land, begins to pump oil, and coddles the locals in a public relations sleight of hand. Although not a religious man, he subjugates his convictions to secure needed land rights. As Eli becomes a rising force of religious zeal, Daniel becomes a wealthy oil baron. Enter a mysterious man who has family ties to Plainview, and the quest for money and power takes on another aspect that complicates matters. Plainview’s thirst for oil will stop at nothing until he is eaten away to a vindictive, monstrous self, setting the stage for a macabre reunion with an old face.

This is a slice of the industrial revolution and the horrors of quality control in keeping with author Sinclair’s The Jungle. The period setting, with its raw, forbidding environment and dangerous existence, is vividly realized. This was a time where greedy men dealt with their own kind for personal gain, and women stood their place. Its antecedents are other similarly themed films like Giant, Greed, and The Treasure of the Sierra Madre, while it’s lack of warmth and stark visuals would have impressed director Stanley Kubrick. It was a time where future billionaire’s were in the making. As such it is a fascinating history and culture lesson all at once. Is this how the West was really won? Is this the darker side to Manifest Destiny?

Aside from watching Plainview’s amassing of wealth, the core relationship he has with his son, who witnesses much of his machinations, is an interesting one. Plainview at times shows paternal affection only to betray any semblance of loyalties and love for the prospect of oil. In fact, the film is filled with betrayals such as the way Plainview cheats families out of their potential wealth and a gut wrenching scene with his son on a train. It is a bleak film, but you’ve got to admire the singular vision with which Anderson and Lewis convey this character. We are fascinated by Plainview, but we don’t have to like him.

There is a scene that illustrates Plainview’s willingness to sacrifice his beliefs (or non-beliefs) in order to gain more oil fields. Set in a small church, this baptism scene is the highlight of the film and goes so over the top that it is a hoot. Further, when Plainview makes a play for land rights among sellers, his pitch becomes canned and rehearsed like a well ‘oiled’ commercial. He is a selfish con man, a liar, and a cheat. As much as you want to find something redeeming about him, it never fully emerges. He is also a most unforgiving and vengeful man in the worst way.

Former Oscar winner (My Left Foot) Lewis, like legendary actor Paul Muni, has limited his film output over the years. That he chose to do this based on Anderson’s script speaks highly of the attraction of other high profile stars (e.g. Tom Cruise in Magnolia or Adam Sandler in Punch Drunk Love). Paul Dano (Little Miss Sunshine) is pretty compelling as Eli, quite a weird, and ominous figure. The cinematography (Robert Elswit) recalls Days of Heaven. The minimalist score (Jonny Greenwood) is a bit unusual as it almost becomes an accompanying sound effect than theme.

The movie does have some impressive, opening minutes that are visual without talking. Some of the dialogue has a sadistic bite to it while the staging of scenes lends itself to a strong theatricality; despite its wide expanse of land setting, it has a claustrophobic feel. The pace of the film, which may test the audience’s patience, is quite deliberate and almost slows to a halt, but Lewis surprises and fascinates at every turn. Watch out for the bizarre ending which may perplex some viewers. Although some may not appreciate it, others will simply relish this informal history lesson in the making of a turn-of-the-century mogul as personified by an acting giant who is about to add another gold statuette to his collection.

*** of **** stars (**** for Lewis’ performance)

ATONEMENT and the Power of Love and Lies

With the sweep of an epic and the intimacy of romance, Atonement comes across as a pretty good piece of period filmmaking until its devastating truths elevate the film to even greater heights. Joe Wright, who is becoming the torchbearer to period filmmakers, Ivory and Merchant (Room with a View), has been down this path before with his terrific Pride and Prejudice.

It is 1935 at a wealthy estate in England where two sisters contemplate life. The older sister, Cecilia (Keira Knightley), is at odds with the housekeeper’s grown son, Robbie (James McAvoy). The younger sister, Briony (Saoirse Ronan), is an impressionable teen and budding writer. Cecilia’s brother, Leon, arrives with a male friend, Paul, who takes keen interest in some children staying at the home. One evening, a passion erupts between Cecilia and Robbie that is interrupted by Briony. Later that night a girl is brutally assaulted by an unknown assailant. The subsequent allegations will have tragic consequences. The story shifts between London where Cecilia is a nurse and Dunkirk where Robbie fights to survive the early stages of World War II. The couple struggle to be reunited from afar even as a maturing Briony comes to terms with her past deeds. It is only later in life that she faces her guilt by paying tribute to the undying love of a tragic couple.

Atonement sets out to be an ambitious undertaking of love corrupted by outside forces and those from within as it spans the decades. It shows how mere words can hurt in ways that cannot be imagined. In this, the plot is not dissimilar to The Children’s Hour where a child’s words hurt deeply. The story focuses less about the horror and effects of war, and more on the purging and cleansing of sins. Briony chooses to deal with her misrepresentations and redeems herself with a final act of poetic justice (think Titanic), even if it takes a lifetime.

The film suffers a bit from confusing points of view as seen through the eyes of Briony by replaying the same scene to depict her point of view. What remains somewhat unclear are her motives. Is she jealous of the love between Cecilia and Robbie or is she making wild assumptions based on distortions?

The acting is quite good with teen Saoirse Ronan a standout as Briony. In fact, all three actresses who play Briony at various stages of life are a splendid tandem (much like the tandems in Shine or TV’s Life with Judy Garland).

Almost functioning as a Greek tragedy, the film most people will compare this to is The English Patient, which is ironic because there is a scene that has a television interviewer played by Patient’s director, Anthony Minghella! Atonement benefits from some good cinematography (Seamus McGarvey), which depicts some startling, surreal imagery especially in a tracking shot that says all that need be said of the horrifying evacuation of British troops at Dunkirk. The editing flashes back and forth to make a point or give background, and yet you wonder what is real or imagined. The musical score (Dano Marianelli) is in keeping with the dramatic mood quite nicely.

By the finale, we get to have an ending of sorts. Is it reality or the fabrication of an author’s guilt-ridden imagination? One thing is for sure: the feelings of longing and love are real. Atonement is like reading an epic romance novel with a bit of Jane Austen thrown in for good measure. As such, it’s pretty compelling.

***1/2 of **** stars (for romantics)

JUNO’S Touching, Growing Pains

An interesting phenomenon is happening slowly in Hollywood. The offspring of some of the movie industry’s best directors have begun to assert themselves with their own, distinct voices. Sofia Coppola (Lost in Translation), whose father is Francis Coppola of The Godfather fame, Nick Cassavetes (The Notebook) whose father John Cassavetes pioneered independent films, and now Jason Reitman whose father is Ivan Reitman of Ghostbusters fame, have all proven that talent can be in the genes. Reitman has perfectly realized his vision of a coming-of-age drama, Juno, based on a fabulous script by newbie, Diablo Cody. This small, original film has enough intelligence and creative filmmaking to stand among bigger budgeted studio releases as among the best of 2007.

Juno MacGuff (Ellen Page) is a sixteen year old high schooler whose planned sexual encounter results in an unplanned pregnancy that causes a sensation among her classmates and at home with her dad and stepmom. A smart, sassy-mouthed loner, Juno, after deliberating on whether or not to abort the unborn, takes matters in her own hands and decides to donate her baby to an adopting, yuppie couple, Mark and Vanessa. Life is not so easy as situations change suddenly, and the dynamics of Mark and Vanessa throw everything into a tailspin as Juno’s life becomes much more complicated. Wondering if couples can ever really stay together and if true love can exist, Juno makes some hard, mature choices in her life.

The movie is presented in a unique format with actual, script lines subtitling the bottom of every shot. It’s almost as if the DVD extras are being used onscreen. This device, while interesting, can be a bit annoying too. A series of ballads punctuate and underscore the narrative much like Cat Stevens did in Harold and Maude. It does enhance the story and mood. The structure of the narrative is sectioned by the seasons beginning with autumn.

High school life is portrayed in a convincing manner with the behaviors and interplay dead on target. Some individual scenes like Juno’s parents first hearing and fearing what big announcement Juno has in store for them, or the confrontation with the ultrasound technician are pretty amusing. And there are quiet, introspective moments like between Juno and her dad or with her ‘boyfriend’ Bleeker that are quite touching.

Ellen Page already made her mark with the recent Hard Candy and showed her versatility in X Men-The Last Stand, but to exhibit that rare combination of drama and humor in a believable manner is quite a feat. There is not one false note in her impressive performance. You begin to place yourself in her position and empathize through her joy and pain. The rest of the cast is strong, and each has good portions of dialogue to capitalize upon. J .K. Simmons is quickly becoming a go-to character actor as Juno’s dad, and you wish Allison Janney had a bit juicier part to fly with as the stepmom. Jennifer Garner and Jason Bateman are quite good as the prospective, adoptive parents. Michael Cera (Superbad) and Olivia Thirlby make convincing schoolmates.

We discover with Juno that life can be full of unexpected surprises and twists, and it is how we deal with those events that can have a profound and lasting effect on one’s future and happiness. (I can’t wait for writer Cody’s next story.) When you think about it, the screenplay rings true throughout without being preachy or awkward; it just sounds like it could really happen. That’s what makes Juno a terrific slice of life tale, a deceptively simple story with a rich core of acting and words. Oscars love this kind of independent jewel.

***1/2 of **** stars

War as Parable - IN THE VALLEY OF ELAH

‘War is hell’ but perhaps it is the postwar that is most telling. At least that is the thesis of Paul Haggis’ latest film, In the Valley of Elah, a story of a father’s quest for his son that reveals some bitter truths about war. Not an easy film to swallow upfront, it is certainly one of the best films of the year.

A grizzled, former military policeman, Hank Deerfield (Tommy Lee Jones), is notified that his son, Mike, is AWOL after returning from the fighting in Iraq. What begins as a methodical search for his son’s whereabouts becomes more tragic and clashes with local police and military brass. Where is his son, and what do his soldier buddies know about one fateful night near their base? And what if anything did happen to him in Iraq? These questions are answered in small pieces and with alarming implications. Hank’s skills at police work help convince local Detective Emily Sanders (Charlize Theron) to take charge of the case despite the doubts of her own colleagues and the military, led by investigator Lt. Kirklander (Jason Patric). Mike’s PDA has garbled video that begins to paint a disturbing picture of the war front. Hank’s search takes an emotional toll on himself and his wife (Susan Sarandon). He and Emily form an uneasy alliance, and, amid theories and suspects, what emerges is an ominous portrait of war veterans on the homefront. Ultimately Hank comes face to face with a disarming truth about his son’s fate and the possible involvement of his military brethren.

The story is based on actual events in 2001 in Tennessee, and its title references the mythic tale of David and Goliath set at a time when the rules of engagement were different than the present. Its sparse, simplistic structure of a mystery peppered with flashback video and imagery may seem on surface like an independent film, but its message and execution is on a grander scale and not merely with dialogue. With effective visuals, much is conveyed by silence, expression, or simple body language.

As with other Haggis films, things that seem ordinary and insignificant at the beginning have implications later on. Though not as overtly obvious with connecting a myriad of dots as in his Oscar winner Crash, the threads are all there to gradually weave together. It is refreshing that the jurisdictional conflict between local police and the military does not take a stereotypic turn of heavy handed conspiracy and coverup even though the military investigators are not cast in the best light. It shares a similar feel with the recent Courage Under Fire where the truth is unearthed in small bits until a bigger picture emerges. A couple of minor plot points go nowhere such as Hank meeting an old comrade who may have connections with military intelligence.

As grandiose and flamboyant as was his Oscar–winning turn in The Fugitive, Tommy Lee Jones’ acting here is equally underplayed; he is magnificent. Through the pain and guilt that creep over his lined features, you also feel his suffering, his loss, and understand his bitterness. His Hank is a proud man, a patriot, who wants the truth. The truth ultimately changes him forever. Equally up to the challenge is Theron, in a strong performance, whose detective is a single mother who must battle her own squad and superiors while trying to solve a mystery. Even Sarandon’s brief moments are affecting as the long distance wife. The rest of the cast is very good; they become real people.

This is not simply the readjustment to the homefront done magnificently in The Best Years of Our Lives or the heavy use of dramatic love triangle to condemn the Vietnam War in Coming Home. Rather, it takes the concept of a given war and allows it to become the ultimate villain in an increasingly sordid mystery. Its ending calls to mind The Deer Hunter but with a more pessimistic bent. It most certainly vilifies the effects of war on its men.

It is significant that a passing quote, “We all do stupid things,” says something about not just the horror of warfare, but what such conflict does to its soldiers, and how they become soulless monsters capable of the most brutal of crimes. This is a brave, imperfect film that sets a somber tone and never lets up. The final image is a statement that makes this perhaps the subtlest of antiwar films ever. Oscar nominations can start here with picture, direction, screenplay, and the duo of Jones and Theron. While not everyone will be willing to let the story unfold with its nuanced direction and understated acting, those who are patient will find a moving tale of innocence lost and corrupted.

***1/2 of **** stars (give Tommy Lee ****)

HIGH NOON WITH 3:10 TO YUMA

Although the western film recently experienced a brief resurgence with Unforgiven, the number of quality ones has been few like Open Range. With the remake of the 1956 cult western, 3:10 to Yuma, (itself adapted from a short story by Elmore Leonard), the genre is primed for another comeback with this tense, well acted film.

Set in the old west not long after the Civil War, a cattle rancher, Dan Evans (Christian Bale), and his family struggle to make a life for themselves as a local businessman threatens to foreclose on his property and make way for a railroad. His cattle are poached by outlaws led by Ben Wade (Russell Crowe) and his lieutenant, Charlie Prince (Ben Foster in a surly, effective performance). The criminals rob a money wagon (in a scene right out of Heat done western style) and stop at a local town. Wade is captured by local lawmen and is escorted to catch the Yuma prison train, which is hours away from arriving. Evans offers to join the group in return for some valuable reward money that will ultimately help his family’s plight. Thus begins a tortuous journey that has potential repercussions for Evans’ family and Wade’s bid for freedom even as his gang is in pursuit. Will Evans and his motley crew get Wade to the railroad station in time and who will survive?

Director James Mangold, fresh from his successful biopic, Walk the Line, again elicits strong performances from his two leads, Crowe and Bale. Crowe is everything we expect him to be, and his role is Oscar worthy. His outlaw is a cultured, Bible-quoting man who effuses an animal magnetism that is appealing to men and women. What is so satisfying here is that Bale is equally up to the task and really shines in a difficult, challenging role. The supporting cast is uniformly sharp with special nod to a grizzled, unrecognizable Peter Fonda as a tough bounty hunter. Logan Lerman is effective as Evans’ older son who is ashamed of and gradually realizes a growing respect for his father. Luke Wilson has an amusing bit role as a corrupt railroad hand.

The film has a plot similar to the 1950’s westerns High Noon and Last Train from Gun Hill, and encompasses elements of the classic western formula, namely the cattleman versus the railroad; only in this case, it is used as a jumping off point to a deeper, more psychological conflict. This is really a movie about what motivates people to do what they do. Most of the dialogue involves Wade’s hurling insults and quips at a stoic Evans. We can see that Wade has a respect and growing admiration for Evans’ seemingly hopeless quest, and the emerging facts have a strong bearing on what is to come. We learn about Wade’s childhood and about what truly guides Evans’ reasons for taking such a risky mission. His role in the Union Army during the Civil War comes to the fore. And how did he get his leg maimed? These shades of background and characterization enrich an already tense and interesting plot. The memorable ending, which pushes credibility just a tad, truly tests each man’s resolve and sense of justice.

Production values are strong with beautiful cinematography by Phedon Papamichael (Walk the Line, The Pursuit of Happyness). The film moves at a deliberate, methodical pace (editor Michael McCusker) and is never boring. It gets to the conflict fairly quickly and reaches its finale, an agonizing chase across town that is quite exciting and riveting right to the startling end.

Make no mistake, this is a film that western enthusiasts will love while those who appreciate a strong, tense character study will find much to savor. Although we expect gold performances from Crowe and the ever maturing Bale (hard to believe this was the boy in Spielberg’s Empire of the Sun), it is Mangold’s prowess in that delicate balance of critically acclaimed, popular filmmaking, that may become a major force in Hollywood for years to come.

***1/2* of **** (mostly for Crowe and Bale and of course western fans)

HORRORFIND’s FAMILIAR FACES

The latest edition of the horror convention Horrorfind in Hunt Valley, MD, on August 11, 2007, was a bit smaller in vendor participation, but not lacking in star power as usual. Headlining the actors and authors was Malcolm McDowell (A Clockwork Orange, Time After Time, Star Trek: Generations) whose latest works include stints on TV’s Heroes and the upcoming Rob Zombie remake of Halloween. A gracious fellow who had the longest of autograph seeking lines, McDowell certainly has lost none of his appeal.

Also signing and mixing with the public were such notables as Udo Kier who gained fame through the early 1970s as Andy Warhol’s Dracula. There was Ernie Hudson from Ghostbusters and The Crow, and Michael Gross from TV’s Family Ties and the Tremors movies (featuring one of the greatest man versus monster face-offs in movie history). Other notables included Dee Wallace Stone from E.T., makeup effects guru now actor, Tom Savini, and many others. One notable absentee was actress Amanda Plummer.

Yes, there were the usual vendors selling posters and other horror-related items that seemed quite bizarre, but a ghoulish time was had by all.

SHORE LEAVE 29 BOASTS ORIGINAL SERIES STAR

Actress Nichelle Nichols played Lt. Uhura in the original television series Star Trek. It was a supporting role that has, in decades since, catapulted her to royalty status at the recent Shore Leave event in Baltimore’s Hunt Valley. It was impressive to see how stunning she looked (at the age of 74) and very much on top of her game when fielding questions during a question-and-answer session. She contributed significantly to the progressive changes and perceptions of the civil rights movement through her portrayal of a star ship officer at a time when multiracial casts were unique to the small screen. She participated in the first interracial on air kiss with William Shatner in 1968 and was very influential in the recruitment process of astronauts in the U.S. space program which actively expanded its roster to include minorities and women. It was she who helped cultivate her character’s name, which started as the name of a book, Uhuru and softened to Uhura. Ever the professional, she stayed for hours into the evening to sign autographs for grateful fans.

Also on hand were cast members from other sci-fi shows past and present including Claudia Christian (from Babylon Five). Did you know that it was between her and Sandra Bullock for the starring role in Speed? She wondered out loud how that might have changed her life. In addition to her acting jobs, she has done singing and voiceover work. A playful, witty actress, she has been working nonstop for several years and currently resides in England.

Herb Jefferson, Jr has appeared in many television roles and was memorable as Nick Nolte’s friend in the landmark Rich Man Poor Man miniseries. Perhaps most people remember him as one of the pilots in the original Battlestar Galactica series of the 1970’s. He reminisced about the hurried, shooting schedule for that show, (which was adored for a brief time in the wake of the Star Wars fad) and how he forged a lasting, deep friendship with series star, Lorne Greene.

The usual group of dealers and vendors selling sci-fi related items was on hand, and the diverse attendees, some of whom were dressed as a favorite Star Trek character (a couple Harry Potter types were there too), all seemed to be enjoying the festive day.

2007 OSCAR PREDICTIONS

Here are my 2007 OSCAR predictions and I can only say that while I saw all the Best Picture nominations and some other titles (Dreamgirls, Pan's Labyrinth, Notes on a Scandal, Devil Wears Prada, Cars), I was unable to catch other nominated ones, so an educated guess is all I can give.

PICTURE-Even though Letters from Iwo Jima was the best of these, and Dreamgirls should have been nominated, and The Departed is 3/4 a great movie, and Babel starts like a great film with great ambitions, and the Queen was too 'perfect' to garner votes, a small, 'a feel good film that could' and one that is neither remarkable or extraordinary except for the fact it humorously expouses the importance of family will win-Little Miss Sunshine.

ACTOR-Forest Whitaker has paid his dues and made the most of a role of a lifetime.easy pick.
ACTRESS-Helen Mirren has paid her dues and made the most of a role of a lifetime. easy pick. deja vu.
SUPPORTING ACTOR-Eddie Murphy's comeback role. He may never do work so good or display his total talent so well. I am wistful in wishing Peter O'Toole the best and Alan Arkin needed a bit more screentime.
SUPPORTING ACTRESS-Jennifer Hudson found the right part at the right time. Just watch her climactic song "AND I AM TELLING YOU I'M NOT GOING" and you could give her the Oscar for those few minutes alone.
DIRECTOR-MARTIN SCORSESE finally gets his dues with The Departed. It would be stunning upset otherwise. Inarritu for Babel and Eastwood for Letters from Iwo Jima would be justified in any other year.
ORIGINAL SCREENPLAY-Little Miss Sunshine.
ADAPTED SCREENPLAY-The Departed one of the few times a film adapted from another film (Infernal Affairs)was honored.
CINEMATOGRAPHY-Pan's Labyrinth.
VISUAL EFFECTS-Pirates of the Caribbean-Dead Mans Chest
COSTUME-Dreamgirls
EDITING-Babel although United 93 stands a great chance.
ART DIRECTION-Pan's Labyrinth despite a possible surge in Dreamgirls
MAKEUP-Pan's Labyrinth
SOUND MIXING-Deamgirls
SONG-Listen/Dreamgirls
SOUND EDITING-Pirates of the Caribbean Dead Mans Chest
ORIGINAL SCORE-The Queen but possible competition from Babel
FOREIGN -Pan's Labyrinth
DOCUMENTARY-An Inconvenient Truth
ANIMATED-Cars
I think Dreamgirls and Pan's Labyrinth could win alot of the smaller awards between them.

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ROBERT ALTMAN-Beloved Maverick

The death of famed director Robert Altman at age 81 is the loss of a true auteur of filmmaking whose prowess was undiminished right to the end.

A late bloomer who had done considerable television work in its golden era (his TV work was formidable in its own right-Combat, Alfred Hitchcock Presents, Bonanza, Peter Gunn), Altman had minor success in feature films in the sixties until he transformed M*A*S*H into a critical and popular success which would launch him throughout the seventies as a visionary artist who told stories in a candid, realistic manner. Of course, his style has been emulated by newer directors like Paul Thomas Anderson (Magnolia) and Paul Haggis (Crash) who have adopted aspects of Altman’s storyline structure of often seemingly unrelated characters in a vast tapestry of contemporary America that gradually coalesce into a unifying theme. Witness the recent Babel, which bears a striking similarity to the Altman way.

If you wanted ‘precise to the page’ scripted dialogue, then you wouldn’t look to an Altman film. He was notorious for improvising scenes and lines, and his fierce independence and respect for actors attracted the biggest and best of stars. How else could he get Bruce Willis and Julia Roberts do what amounted to superb cameos in The Player! It was fun to watch him match different actors together just to see how they would respond. One minute there was Lily Tomlin paired with Keith Carradine in Nashville and both get Oscar nominations, and next there was Lindsay Lohan paired with Meryl Streep in A Prairie Home Companion.

I had the good fortune of meeting Altman while I was working with the student union film committee at the University of Maryland in College Park, Maryland. He was featured to speak to the students at a showing of some of his films, and several of us had lunch at a nearby restaurant. Altman was always patient and informative in his responses to questions from the committee. What you saw on TV was what you got; he was just like that in real life. When asked what he thought of the hit television show M*A*S*H based on his movie, he wasn’t particularly fond of it since it sanitized and distorted the truth about what his film was trying to depict. When asked which of his films was his favorite, he answered that it was difficult to choose in the same way that his films were like his children, all special and beloved. I asked him what he had thought of Sam Peckinpah, another contemporary director, and his answer was “sick man…very sick….”, which was often an opinion shared by many. Altman’s individuality was evident when the waitress took our orders, and all of us went for the all-you-can-eat buffet. When it came time for Mr. Altman to order, he instead ordered a sandwich. Go figure.

A case could be made that as he got older, he became a better filmmaker. Sure, there were misfires like Popeye or the quirky Brewster McCloud, but you had to give him credit for being willing to take chances. Every few years or so, when you thought his career was foundering, he would return with The Player or Gosford Park and silence the critics and scholars. His is a body of work (Nashville, McCabe and Mrs. Miller, 3 Women, Short Cuts) that will be admired and imitated for a long time.

STRANGER THAN FICTION –Life as Narrative

Marc Forster is making a name for himself with such major films as Monsters Ball and Finding Neverland. In Stranger Than Fiction, he takes a plot that could have been suggested by Charlie Kaufman (Being John Malkovich, Adaptation) and creates a world that suggests fantasy yet is grounded in what we call reality. It is an inventive plot made convincing by sensitive direction and fine performances by its stars, Will Ferrell and Maggie Gyllenhaal.

IRS civil servant Harold Crick (Ferrell) leads a regimented, mundane existence, which consists of an orderly routine guided by his punctual wristwatch. His solitary life becomes upset by the presence of a female voice that seems to be narrating his every move. His daily rituals are altered and, when he audits a baker, a free spirited activist named Ana Pascal (Gyllenhaal), he meets stiff resistance and hostility. Compelled to find the answers to the mysterious voice, he first consults the company shrink (Tom Hulce in a welcome, yet short performance), a therapist (Linda Hunt in too brief a role), and finally a literary professor, Dr. Jules Hilbert (Dustin Hoffman in bravura support). It is with Dr. Hilbert that Harold finds hope and a methodology to solve the puzzle of the narrative voice.

At the same time, famed author, Kay Eiffel, is trying to finish her latest novel about a taxman who is hearing voices. When she struggles to find a suitable end for her character (all her principal characters are killed off in her books), a publisher’s assistant arrives in the name of Penny Escher (Queen Latifah wasted in a pedestrian part). Harold visits Ana for a followup audit and becomes smitten and attracted by her perky charm. As he audits her maze of disorganized tax documents, Ana begins to feel bad for the poor soul and gives him a sort of peace offering of homemade cookies, and thus their relationship grows. His visits with Dr. Hilbert begin to narrow the possible sources of his affliction until one day he stumbles on the answer and in doing so, he realizes that his life is predestined. His life out of kilter, Harold begins to break out of his quiet shell and experience life’s interesting aspects. Kay’s mental block soon gives way and when she finishes her novel and is ready to type the manuscript, Harold tracks her down using some creative ingenuity. She too has realized some incredible connection between her story and his real life. When Dr. Hilbert reads the final manuscript, his conclusions are a stunner to Harold. How Harold and Kay respond to this is what winds the film to a tense conclusion.

The dialogue is funny at times and always interesting. There are traces of other films like Groundhog Day, Field of Dreams or an episode of The X Files that will come to mind. The movie touches on the concepts of fate and destiny without being too obvious-perhaps it should have been more obvious come to think of it. Do we control our lives or are we part of some other plan or manuscript (like The Matrix)? The concept of ‘cause and effect’ and of randomness figures heavily in the overall theme of the film.

Harold is a sort of distant cousin to Forrest Gump complete with an innocent perspective on life. His character works because his persona changes throughout the film and when he faces his fears and desires head on, his life begins to move forward in ways he never imagined. He is starting to live life. And when he finds out his fate, he makes a big decision that brings his character full circle.

Harold’s watch becomes a kind of supporting character, as it serves as a catalyst for him and Ana to bond, but it is used too sparingly at times. There is a slight feeling that the filmmakers did not have enough confidence in the fantasy part to match the reality which is well done. Too bad, as the film steadily progresses in its story and etches some interesting characters. It also gets a bit confusing as to why a couple of characters pop in and out briefly, and you know it’s for some reason that becomes more evident by the climax.

The movie is at its best when Harold warms up to Ana, and the two begin a courtship that is affecting and genuine. In this, Gyllenhaal and Ferrell shine. Will Ferrell has always been a dependable comic from his Saturday Night Live years, but here, he successfully portrays a shy, passive man complete with blank expressions and awkward body language. Hoffman has his most significant role in years since his brief but memorable turn in Foster’s previous Finding Neverland. And Gyllenhaal proves adept as a romantic lead.

Forster is becoming a modern day teller of fables. In Stranger Than Fiction he spins a simple tale (written by Zach Helm) of love, life, and fate with a moral that is redemptive and refreshing. Not everyone will connect with this film; I suspect that the romantics out there will.

*** of **** stars

BABEL’s Microcosm of the World

With a plot structure not unlike his previous Amores Perros or 21 Grams, director Alejandro Gonzalez Inarritu and writer Guillermo Arriaga have created Babel, the final act of a trilogy about the human condition. With seemingly unrelated characters and storylines that gradually merge, it is as ambitious as a narrative can get, and the filmmakers pull it off with great aplomb.

Four parallel stories take place within days if not hours of each other. In Morocco, the father of a goat herding family buys a rifle from a neighbor. Set to guard the flock from predators, his two sons decide to do some target practice. As a tour bus happens by, a single shot rings out, and a careless act will create havoc and distress for innocent victims and have severe repercussions for others.

In the bus, an American couple, Richard (Brad Pitt) and Susan (Cate Blanchett), are having a marital crisis when all of a sudden their world is turned upside down. The tour bus stops at a remote village as the passengers begin to stir and fear for their own safety. As the Moroccan police investigate the incident, Richard is desperate to save the life of his wife amid primitive surroundings in a foreign land.

The couple’s two children in California are under the care of their nanny, Amelia (Adriana Barraza), who is anxious to go to her son’s impending wedding. After failing to find suitable caregivers to watch over the children, she takes them with her to Mexico. Escorted by her volatile nephew Santiago (Gael Garcia Bernal), they drive to a festive wedding ceremony and reception. Afterwards, they are stopped at a border checkpoint where events turn nightmarish.

In Japan, a lonely teenaged girl, Chieko (Rinko Kikuchi) who is deaf, hangs with her other deaf friends and dreams of flirting and connecting with a male even if it means compromising her dignity. Her father, Yasujiro (Koji Yakusho) is inadequate as a parent since his wife died under obscure circumstances. As detectives want to question Yasujiro, Cheiko is smitten by a younger detective and unleashes a torrent of passion and secrets.

The final moments of the film are memorable as each storyline becomes clearer and potent in their revelations and truths. Time slips back and forth and certain events catch up to the others (Christopher Nolan’s Momento comes to mind). The threads that connect the different stories are not as obvious as one might expect and when they do become apparent, they hold emotional meaning. What is so remarkable is how a seemingly innocent prank sets off a chain reaction of angst and responsibility.

The film does not sermonize but rather it presents the events as they happen albeit in an incongruent time frame. You experience life and its effects on other events and people. The director and writer try to depict people like you or me with the same needs or longings. With a setting that reaches the far-flung corners (Japan, Mexico or Morocco) of the world, Inarritu has forced his audience to go with him and face a myriad of characters that speak English, Japanese, Spanish, Arabic, Berber, or French! Yet when we get to know these disparate individuals and their situations, we begin to empathize and care for them despite their faults or shortcomings. Although the title has biblical references with its different languages, these stories share common emotional bonds that transcend mere dialects. This is a film that could easily play anywhere in the world and still be affecting.

The international cast melds amateurs with seasoned veterans and the honest performances are completely captivating and affecting. I dare anyone to pick out the professional actors from the non professionals (save Pitt and Blanchett). This use of unknowns adds to the believability of the whole storyline. (It is ironic that Michael Pena plays a border policeman; he was featured in last year’s similarly structured Crash-a coincidence perhaps?)

There are painful, agonizing moments where human suffering is brought with unflinching, explicit realism to an almost unbearable level. This film presents characters with all their strengths and weaknesses and it does so unsparingly. Sometimes the punishment or consequences unfairly outweigh the crime or the mistake. The brothers who watch over their father’s goats must face their own culpability and ugly family secrets that threaten to destroy their way of life. There are Richard and Susan who are at the center or eye of a growing hurricane of life’s cruel randomness and must depend on strangers for survival. A jaunt across a Mexican border turns ugly.

Things are not wrapped up nicely, and several plot threads are left hanging and open-ended on purpose. The marital problems of Richard and Susan are never clearly delineated and their relationship gets short shrift even as they go through a harrowing event. The music is somber and spare. The imagery is powerful despite the handheld documentary feel. The scenes of Japanese nightlife are vivid and disturbing in their portrayal of urban youth.

Babel is about how families are torn apart and come together. It is also about children. It could be your children or mine or the world’s children. There are some significant issues (racial tension, illegal immigrants, adolescent yearnings, perceptions of a foreign country, and the arrogance of the ‘ugly American’) the filmmakers touch upon and you wish they had gone even farther with the material, but you are glad they went as far as they did. Babel is a film that this reviewer has no desire to sit through again, but having gone through it once, it is a unique, remarkable experience. This is an imperfect, significant film and destined for major Oscar nominations.

*** ½ out of **** stars

THE DEPARTED - Scorsese’s Gangs of Boston

No one has depicted the modern underworld better than film maestro Martin Scorsese who has melded cinematic acumen with his Italian-Catholic upbringing to form a trilogy of unparalleled morality plays: Mean Streets, Goodfellas, and Casino. The trilogy has become a quartet by default as the director tackles the Asian cult classic, Infernal Affairs, and has fashioned The Departed, a film so good up until its stunning conclusion, it almost can’t possibly live up to its steadily built, character driven narrative.

Set in Boston, mobster Frank Costello (Jack Nicholson) rises from small time hood to major crime boss. He befriends and mentors a boy, Colin Sullivan, who, as a grown man (Matt Damon) has studied his way to the State Police academy. Simultaneously, another young man, Billy Costigan (Leonardo DiCaprio), is about to graduate as a policeman. A task force is formed to build a case against Costello. Led by Captain Queenan (Martin Sheen) and Sergeant Dignam (Mark Wahlberg), Sullivan and Costigan are recruited for the team separately and unbeknownst to each other. Sullivan takes advantage of his status by tipping off Costello and keeping the kingpin one step ahead of the law. Costigan infiltrates Costello’s crew while Sullivan ironically leads an internal investigation into probable traitors/informants in the police department. Soon, Costello and Sullivan realize that there is a ‘mole’ in their own ranks too, but who can it be? It becomes a perverse game of cat and mouse as the policemen try to expose each other. Furthermore, Sullivan begins dating Madolyn (Vera Farmiga), a police shrink who also counsels and then forms a bond with Costigan. Realizing that he is about to be discovered, Costigan wants to be extracted by Queenan who senses that the situation is desperate. As the task force closes on Costello, Sullivan zeros in on Costigan’s identity by tailing Queenan, and thus good and evil are set on a collision course with startling, tragic finality.

Here we have a dichotomy or duality of two men, Sullivan and Costigan, both intelligent, well read, and streetwise, who happen to be on opposing sides and for a majority of the story, unaware of each other’s identity. Costigan is the noble undercover cop whose life is in ever increasing peril and Sullivan is the hotshot policeman who will do anything to protect Costello. Then there are the surrogate fathers as Nicholson’s Costello mentors Sullivan while Sheen’s Captain Queenan shepherds Costigan. It is amusing to see how Costello sort of adopts Costigan and Queenan is the elder to Sullivan at the police station. It is a parallel family nucleus turned inside out.

The acting is simply put-great. Jack Nicholson convincingly portrays a powerful mob boss with utter arrogance and ruthlessness. His dialogue is chilling and at times outrageously funny. Damon, in his old stomping grounds, sports a New England accent and does a very credible job as the heavy. DiCaprio demonstrates an ever-growing maturity in his roles; his recent partnership with Scorsese is proving fruitful (Gangs of New York, The Aviator). You have to hand it to Scorsese as one of the few directors who can attract the best actors who are dying to work with him. How else could such lead actors as Martin Sheen, Alec Baldwin (who is a riot as a profanity-laced FBI boss), and Mark Wahlberg accept what are essentially supporting roles!

The film does miss on a couple points. It would have meant more if the relationship of Madolyn and Sullivan had been explored with more depth, and the emergence of Costigan in this unlikely triangle would have had more poignancy. Likewise, at the end, those relationships are left unclear and never fully explored as much as we want after we get so involved in these characters good or bad as they might be. The film is a little long but never uninteresting, and when it reaches its astonishing ending, it is sudden and jarring in unexpected ways that reach Shakespearean proportions.

Scorsese is still very much in command of his medium, as he will throw in a cinematic device like an iris-in shot or freeze a frame here or there. (Editor Thelma Schoonmaker, his long time collaborator, is in fine form juggling a dozen characters and maintaining the tension at a very high level for a long time, no easy feat.) Though Scorsese’s early Mean Streets (1973) was a fictional tale of low level hoods, it was also semi-autobiographical in its depiction of the people he knew. Goodfellas (1990) and Casino (1995) took a semi-documentary approach that held a fascination of real life events amid a dramatic storyline. In terms of structure, The Departed, while similar in spirit and energy to his previous crime dramas, shows Scorsese fabricating essentially a purely fictitious story, and as always, he has a knack for depicting the inner workings of organized crime with realistic bravado.

There are echoes of the films, The Corruptor (featuring Wahlberg), Donnie Brasco and Reservoir Dogs (also a Hong Kong inspired plot) with their questions of loyalty and betrayal. While earlier police corruption stories were told primarily from the police/protagonist’s point of view like Serpico or the great Prince of the City, The Departed takes an equal time approach with its protagonists and antagonists.

The movie contains raw violence including a brief but action packed climax. The profanity is excessive but realistic, and at times there are amusing cussing matches between the various factions. It’s hard to wrap your arms around The Departed because there’s just so much to savor and admire while also wishing that the radical change in tone at the end weren’t so jarring to the rhythm of the plot. It’s basically a film about rats, and you know what happens to rats.

***1/2 of **** stars (almost as good as Goodfellas)

FIRST MID ATLANTIC NOSTALGIA CONVENTION SERVES UP IRWIN ALLEN ALUMNI

Saturday September 16, 2006
The first Mid Atlantic Nostalgia Convention took place this past weekend in Aberdeen, MD. As usual, this event featured the usual dealer tables filled with books, comics, posters and stills from movies and tv shows past. As a bonus, there were several recognizable celebrities including Lana Wood (Natalie's sister and memorable as Plenty in Diamonds Are Forever), Marta Kristen (Judy in Lost in Space), and David Hedison (Capt. Lee Crane from tv's Voyage to the Bottom of the Sea). It was the latter who drew my attention having spent a childhood filled with imaginative adventure and science fiction, and what better than the submarine Seaview (get the screenname connection?) and its weekly adventures before Star Trek became the intellectual landmark in scifi tv. My family would have dinners out on many a Sunday and we would rush back home (before VCRs) in time to turn on the tv and see the opening tag for Voyage at 7pm EST. For its time, the show was impressive technically with its heavy special effects and in its early years, complex storylines (often courtesy of William Read Woodfield and Allan Balter who would then propell tv's Mission Impossible to glory). Although the later seasons would devolve into the monster of the week (as most Irwin Allen shows did), the show was an action filled good time. It is not a coincidence that Steven Spielberg remade the show as Seaquest DSV in the early 1990's.


During an hour long question and answer session, Hedison was quite animated, humorous, and very candid about his love for his craft of acting and his appreciation of his profession and the mentors he had known including the Playhouse where he studied with Sydney Pollack, Joanne Woodward, and Steve McQueen. Hedison related a story that during classes, McQueen told him that the two would be stars one day, and sure enough, a few years later, Haedison recalled seeing a movie marquee featuring Steve McQueen in The Blob and David Hedison as The Fly. And yes, Hedison says he gets asked all the time if he was under the fly mask (he was). And yes, he did most of his own stunts in Voyage which was crazy to attempt. And he only did Voyage at the advice of friend, Roger Moore and because of the casting of Richard Baseheart as Admiral Nelson. Later, Hedison would have the distinction of being the only actor to play CIA operative Felix Leiter twice in the long running James Bond series (Live and Let Die and License To Kill). What a thrill it was to finally meet Captain Crane in person and share great memories. Yes, for a moment I became a groupie.

Horror Weekend Thrives Despite Terrorism

(George Romero and fan, Dee Wallace Stone, Priscilla Barnes)

A good time was had by fans of the macabre at the annual Horrorfind Convention at Hunt Valley Marriott Hotel this past weekend. Numerous vendors displayed posters, toys, books, and videos in the horror genre. Several celebrities were present including Dee Wallace Stone (the mother in E.T.), Priscilla Barnes (Three's Company, The Devils Rejects), and legendary director George Romero (The Night of the Living Dead trilogy, Creepshow). Despite the absence of others like Rutger Hauer (Blade Runner), Denise Crosby (Star Trek:The Next Generation), and Adrienne Barbeau (Maude, Escape from New York) due to issues including air flight disruption from the recent terrorist threat, this was a crowded event with something for every horror fan.

OSCAR PREDICTIONS 2006

OK, I have been out of the loop for awhile (due to some major construction at the homestead) and there are several significant movie reviews forthcoming. However, I cannot miss out on the annual Oscar picks. I have seen most of the major films but I have not been able to catch up to the middle of the pack e.g. Syriana
Here we go and I went with my heart on the top awards even if it went against the popular consensus.
PICTURE-BROKEBACK MOUNTAIN was not the strongest movie of the year but its central theme struck a chord that should sweep it into history.
ACTOR-PHILIP SEYMOUR HOFFMAN’s role of a lifetime that he makes the most of.
ACTRESS-Reese Witherspoon seems to have the popular edge by a mile. I choose FELICITY HUFFMAN’s more challenging though under seen role in Transamerica, but what do I know?
SUPPORTING ACTOR-If there is justice in the world, PAUL GIAMATTI’s gutsy performance in Cinderella Man will win a split decision over popular juggernaut George Clooney.
SUPPORTING ACTRESS-RACHEL WEISZ was the soul of The Constant Gardener even though Amy Adams leaped out of Junebug
DIRECTOR–for a versatile career, the award goes to ANG LEE especially in a relatively weak field.
ORIGINAL SCREENPLAY-CRASH works because some very fine actors brought a great screenplay to life.
ADAPTED SCREENPLAY-BROKEBACK MOUNTAIN emerged from a short story and with an assist from western expert Larry McMurtry
ANIMATED FEATURE-WALLACE & GROMIT IN THE CURSE OF THE WERE- RABBIT was in fact one of the best films of the year.
DOCUMENTARY FEATURE-MARCH OF THE PENGUINS will march down the aisle
ART DIRECTION-MEMOIRS OF A GEISHA
CINEMATOGRAPHY-MEMOIRS OF A GEISHA might be upset by Brokeback Mountain
COSTUME DESIGN-MEMOIRS OF A GEISHA
FILM EDITING-CRASH’s multiple storylines presented a great editing opportunity
SOUND EDITING and SOUND MIXING-KING KONG
VISUAL EFFECTS-KING KONG
MAKEUP-CHRONICLES OF NARNIA
FOREIGN LANGUAGE FILM-TSOSTI
ORIGINAL SCORE-MEMOIRS OF A GEISHA
ORIGINAL SONG-“Travelin’ Thru”-TRANSAMERICA
I won’t get into the short films which I have not seen.
I think that Memoirs of a Geisha will take some technical awards and could actually win the most Oscars. ENJOY!