Movie Loner

This movie got a lot of pub due to the gag order placed on cast and crew by wunderkind producer J.J. Abrams. Leave it to the creator of Lost to be vague. Everyone knew Cloverfield was a monster flick but the creature’s appearance was kept top-secret. Amazingly, in this information age, spoilers were kept under wraps until right before the release date. The film opened big but was quickly sucked into the pop-culture vacuum with little fanfare. No matter because this is an entertaining monster mash sure to spawn at least one sequel.

The story is told via a videotape recovered from Central Park after a surprise attack on Manhattan. The tape opens a month prior with longtime friends Rob and Beth basking in post-coital bliss. They playfully record one another while planning a day trip to Coney Island. Flash forward a few weeks to Rob’s ‘Moving to Japan’ farewell party. His brother Jason and Jason’s girlfriend Lily prepare for Rob’s arrival. Jason passes off the video camera to Rob’s best pal Hud and instructs him to shoot goodbye testimonies from the guests. Hud eagerly accepts his role as documentarian and commences annoying party goers. Rob arrives in a less than festive mood. Beth shows up later with a date. A frosty reception by Rob leads to a tense hallway confrontation between he and Beth. A shaken Beth quickly leaves.

The lover’s quarrel and slammin’ party is interrupted by a loud tremor. A check of the television confirms a possible earthquake in Manhattan. The gang head to the roof for a better look. In the distance a building explodes pouring a shower of flames across the city. Party over, dude. A panicked crowd flees the apartment building. Something is attacking the city. Lady Liberty’s head is hurled into the streets followed by a massive cloud of collapsed building dust. Soldiers and tanks race toward midtown to engage a 300 foot tall monster with a nasty disposition. Rob desperately tries to reach Beth. She is hurt and trapped in her midtown apartment. So Rob, Lily, a girl named Marlena, and cameraman Hud dash on foot to rescue Beth from the belly of the beast.

Memories of 9/11 can’t help but be conjured after seeing images of dust-covered people wandering in a daze after a terrifying attack on the city. This may be a monster movie but it’s an accurate depiction of the events of that fateful day in 2001. The herky-jerky handheld POV camera perfectly captures the frantic pace of this frightening tale. The Jaws method of less-is-more applies; we only get sporadic glimpses of the creature until the very end. The unknown cast does a credible job maintaining their fright throughout. The movie would’ve fallen apart if the characters didn’t seem genuinely freaked out. Cloverfield isn’t Alien but in a genre that lacks originality it proves to be a welcome entrant capable of delivering some good scares.

A kick-ass scene from Cloverfield:

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I’ve been writing a lot about 2007 movies for a reason. 2007 was a damn good year for film. In fact, it might have been the best year since 1999, a groundbreaking 365 days that included The Matrix, American Beauty, Fight Club, The Sixth Sense, Boys Don’t Cry, Being John Malkovich and Magnolia. WOW! What a list. But I digress, I’m supposed to be extolling 2007. The Assassination of Jesse James by the Coward Robert Ford may be guilty of a verbose title, but it is without question one of last year’s best films.

The story follows Jesse James (Brad Pitt) through his final years focusing on his odd relationship with Robert Ford (Casey Affleck), an ambitious young man who took part in The James Gang’s final heist. Ford grew up idolizing Jesse’s criminal exploits and believed a friendship with Jesse would lead to fame and fortune. Jesse, at first flattered by Ford’s fanaticism, soon grows weary of the obsessive behavior. Jesse would spend his post-crime life wandering Missouri in a constant state of paranoia fearing his inevitable capture or betrayal.

Jesse’s trust issues send him on a mission to eliminate anyone associated with the last robbery. That includes Robert Ford and his brother Charley (Sam Rockwell), who have devious plans of their own. Jesse sees through Robert’s innocent guise but does nothing to stop him. In the end, Jesse James welcomes his own death, tired of living a life on the run. For his part, Robert Ford achieves his desired stardom becoming one of the country’s most recognizable men. However, as time passes Ford’s heroic persona mutates into his true identity, that of a coward who gunned down a beloved American outlaw. The rest of Ford’s life would be one lived in shame.

Until this film Casey Affleck was always Ben’s little brother. Well, not anymore. His searing portrayal of Robert Ford earned him an Oscar nomination and permanent removal from Ben’s shadow. Great westerns are hard to find these days but writer/director Andrew Dominik paints a stark portrait of Missouri in the 1880s. Grim realism dominates a land where the code of criminals supplants the code of law. The Assassination of Jesse James by the Coward Robert Ford isn’t about elaborate gunfights or men with no names. It’s about the last days of a historic figure presented in a simple, yet effective manner.

The trailer for The Assassination of Jesse James:

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There’s been a lot of chatter lately about the career decline of both Robert De Niro and Al Pacino. Last week’s 88 Minutes did nothing to dispel the notion that Pacino is finished, and the negative grumblings surrounding the upcoming Righteous Kill won’t help either Al or Bob. Two old-timers who continue to churn out great performances in interesting films are Jack Nicholson and Michael Caine. One such film is Blood and Wine, a gritty noirish thriller that proves there is no honor among thieves.

Nicholson plays Alex Gates, a philandering Miami wine dealer looking for a big score. Alex has his eyes on a priceless necklace stashed away in a wealthy client’s palatial estate. To nab the jewels Alex partners with Vic Spansky, a short-fused safecracker dying of lung disease. Once Alex and Vic get their hands on the necklace things begin to go awry. A domestic tiff between Alex and his wife Suzanne (Judy Davis) leaves Alex unconscious. Suzanne grabs a bag, unaware it contains the stolen goods, and flees with her son Jason (Steven Dorff).

Suzanne and Jason head for the Keys with Alex and Vic in fast pursuit. The venomous Vic will do anything to reclaim the jewels. Standing in his way is Jason, who cleverly pieces together the scheme and devises a plan of his own. It’s every man for himself as Alex, Vic and Jason vie for possession of the diamonds. Self-preservation takes grip as the lure of immense riches consumes the trio of thieves.

People often complain about not liking any of the characters in a particular movie. I find that criticism ridiculous. Since when do characters have to be likable? Blood and Wine is about loathsome criminals. We’re not supposed to identify with or cheer for scumbags like Vic and Alex. Quentin Tarantino made it cool to like bad guys, but real bad guys are pieces of shit that we should abhor. Blood and Wine works because its villains get what’s coming to them. Special praise goes to Michael Caine for his spot on portrayal of the repugnant Vic.

A scene from Blood and Wine:

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I’ve never put much stock in the Academy Awards but I’m shocked that Paul Newman has only won 1 Oscar in his illustrious career. Believe it or not films like Cat on a Hot Tin Roof, Hud, Cool Hand Luke and The Verdict netted him zero wins. Not to mention he wasn’t even nominated for The Long Hot Summer, Butch Cassidy and the Sundance Kid and The Sting. His most recent and potentially his last nomination for Best Leading Actor was in Nobody’s Fool, a smart little movie that allowed Newman to showcase his incredible range as an actor.

Newman plays Sully, a set-in-his-ways odd jobber who calls the quiet hamlet of Bath, New York home. Upon the arrival of his son Peter (Dylan Walsh), whom he abandoned long ago, Sully’s routine existence is turned topsy-turvy. When he’s not participating in good-natured hijinks with town rival Carl Roebuck (Bruce Willis), Sully attempts to connect with his son and grandson Will. Being a dad-figure proves difficult for Sully; painful memories of his abusive father have left indelible scars. However, Sully’s gruff personality grows on people. Soon he forges a relationship with Peter and Will.

There isn’t much of a story to follow, but it hardly matters. Sully’s droll antics are more than enough to sustain a thin plot. Stealing a snowblower, flirting with Carl’s wife, punching a cop, and verbally sparring with everyone he encounters are some examples of Sully’s acerbic behavior. Gimping around on a bum knee and scowling at every chance, Donald “Sully” Sullivan never fails to entertain. I only hope I can be as cool a grandfather as Sully.

Writer/director Robert Benton has a storied career of his own. Two Oscars for Kramer vs. Kramer, another one for Places in the Heart, and he co-wrote Bonnie and Clyde. Nobody’s Fool is a well-conceived character study perfect for the likes of Newman. The role of Sully allows Newman to be charming, funny, tough, and conflicted. A quality supporting cast features Jessica Tandy, Melanie Griffith, Pruitt Taylor Vince and a young Philip Seymour Hoffman. If your a Paul Newman fan and you missed this exceptional movie, do yourself a favor and find it.

The trailer for Nobody’s Fool:

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Good stories make good movies. Makes sense, right? A simple concept that the moviemakers of the world should have grasped by now. Unfortunately, they haven’t. More and more I see awful stories being put to film. Hollywood isn’t the only culprit either. Indie and foreign cinema are also reaching for tired, unoriginal stories not worth telling. Well, here’s a good story from twenty years ago that was worth telling: Robert Redford’s The Milagro Beanfield War.

Frustrated, out-of-work Joe Mondragon decides to irrigate his father’s old beanfield. No big deal. Problem is corporate developer Ladd Devine plans to build a resort golf course smack dab in the middle of Joe’s field, as well as the rest of the small New Mexico town of Milagro. Joe’s agricultural endeavors send shockwaves all the way to the Governor’s office. With millions at stake the Governor dispatches tough lawman Kyril Montana (Christopher Walken) to mediate the situation. Meanwhile, local activists Ruby Archuleta and Charlie Bloom rally the townspeople against the land developers.

Despite mounting pressure, Joe continues to plant his beanfield. A line is drawn in Milagro between supporters and non-supporters. Ruby pens a petition to fight the impending displacement of her people. Montana and his cronies resort to scare tactics to halt Joe’s actions. Joe refuses to budge and the town residents arm themselves for battle against Ladd Devine’s corporate machine. An accidental shooting threatens the future of Milagro. It will take luck and a little bit of magic to save the tiny town.

The U.S. government versus Mexican people. Sound familiar? Redford’s simple but prescient movie is more relevant today than twenty years ago. Immigration issues aside, The Milagro Beanfield War is an enjoyable tale that neatly balances comedy and drama. Redford handles the serious subject of corporate greed with enchanting care, deftly illustrating the absurd lengths people go to for monetary gain. A solid cast is led by Chick Vennera who carries the film as unlikely martyr Joe Mondragon. Good stories make good movies. This is a perfect example.

A scene from The Milagro Beanfield War:

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It’s time to wrap up sci-fi week with what I believe to be the best science fiction movie of the decade. Those familiar with the short-lived FOX series Firefly have heard of Serenity, the feature-length follow-up/conclusion. Creator Joss Whedon made Buffy the Vampire Slayer a smash success from 1997-2003, but a prolonged battle with FOX executives afforded him only 14 episodes of Firefly. Thankfully, he was able to secure funding for Serenity, a rip roaring space adventure that never fails to entertain.

Mal Reynolds, stalwart Captain of the ship Serenity, and his crew of space pirates have been hiding Dr. Simon Tam and his sister River, an unstable psychic whom Simon rescued from an Alliance medical facility. The Alliance, a ruthless galactic government, fears what River knows so they dispatch a cold-blooded assassin called an Operative to find her. Concerned for River’s safety, Simon chooses to remove her from the criminal lifestyle aboard Serenity. Before the Tams can leave, River unleashes an deranged attack on the patrons of a bar, leaving her near catatonic and muttering the word “Miranda.”

An angered Mal locks up River and interrogates the good doctor. Simon confesses that River was trained to be a weapon and what’s inside her head threatens the Alliance. Rather than give River up, Mal decides to stay on the run. The mystery behind Miranda sends the crew to the remote reaches of space in search of a forgotten planet. Standing in their way are Reavers, cannibalistic marauders who terrorize the galaxy. A stunning revelation pits Serenity versus the enormous Alliance army and the maniacal Reavers in an action packed climax.

This film just plain kicks ass. A layered story, smart, witty characters, knockout action sequences, and a menacing villain make Serenity a memorable movie experience. Nathan Fillion is sensational as Mal, the gruff but charming Captain who will risk everything to do what’s right. Opposite the heroic Mal is the Operative (Chiwetel Ejiofor), an astute, malevolent loyalist who kills without compunction. A note to Joss Whedon: make a sequel. Well, that wraps up sci-fi week at Movie Loner. It’s been fun. Until next time…

A scene from Serenity:

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It’s a cliche, but they don’t make movies like The Fabulous Baker Boys anymore. No special effects, no massive explosions, no prolonged car chases, no inane plot twists, and no costumed superheroes. Instead there is an original script, sharp direction, and superb acting. One of my favorite films features one of the truly great performances I’ve ever seen courtesy of the alluring Michelle Pfieffer.

Frank and Jack Baker (Beau and Jeff Bridges) have been playing piano at small clubs and lounges for thirty years. Times are tough and the gigs aren’t bringing in crowds like they used to. To jump-start their ailing business the Baker brothers decide to hire a singer. A painful day of auditions comes to a promising end once Suzie Diamond (Pfeiffer) arrives. The unrefined former escort wows the boys with her silky voice. A duo becomes a trio and soon after the money and audiences start flowing.

A road trip to a luxurious mountain hotel has the bickering Baker brothers at odds. Dorky family man Frank clashes with brooding loner Jack. Stuck in the middle is Suzie, a headstrong young woman with a bruised past. A mutual attraction between Jack and Suzie develops, much to Frank’s chagrin. Frank warns his little bro to stay away from her, but a family emergency calls him home, leaving charming Jack and sexy Suzie alone on New Year’s Eve. Will their budding relationship destroy thirty years of success for the Baker brothers?

I’ve praised Writer/Director Steve Kloves before in my review of Flesh and Bone. It’s hard to believe he’s only directed two movies. A master at crafting broken characters with veiled demons, Kloves possesses a savvy wit as well. The interaction between Beau Bridges and Pfieffer scores big laughs. Jeff Bridges kills playing the immensely gifted but damaged Jack. However, Pfeiffer is the real star; she’s striking as Suzie, boasting a dynamite singing voice. The Fabulous Baker Boys deserved much more attention when it was released. Take the opportunity to discover this extraordinary film.

A scene from The Fabulous Baker Boys:

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I usually avoid movies about dogs or starring dogs. Lassie, Benjie, Hooch, aren’t what I look for in a protagonist. A friend over at StumbleUpon recommended The Dog Problem so I took the bait. It’s been awhile since I’ve laughed-out-loud watching a comedy, but this little nugget of gold had me guffawing throughout. This film is one reason why I ask people to share their personal favorites.

Giovanni Ribisi plays Solo, an out-of-work writer with a penchant for self-loathing. Lonely and in need of distraction Solo heeds his therapist’s advice and buys a dog. His idle existence is turned upside down the moment the lovable mutt enters his apartment. In an attempt at bonding, Solo takes his nameless pooch to the dog park where he meets a celibate exotic dancer named Lola. An incident involving Lola’s dog sends Solo to the vet and ends in him owing Lola money.

Solo considers giving the dog up, until a low-rent hood (who he also owes money) and a flighty puppy broker take a deviant interest in the little tyke. Dodging his pursuers, Solo crashes at his buddy Casper’s place. A budding romance with Lola is interrupted by the disappearance of his four-legged friend. The dog’s sudden absence makes Solo realize he finally cares for something besides himself.

Known for playing tough guys in movies like Boiler Room, American Outlaws and Dallas 362, Writer/Director Scott Caan (Jimmy’s kid) tones it way down in this sharp little farce. Casting himself as the assured Casper, Caan complements Ribisi’s insecure Solo wonderfully. Ribisi deserves credit as well for giving Jimmy the Dog center stage. Jimmy’s indifference to his owner is priceless. Need a few good laughs, check out The Dog Problem.

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