Movie Loner

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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Movies about Hollywood are either hit or miss. The Player and Swimming With Sharks are home runs. Bowfinger and The Pickle go down swinging. I find it interesting when filmmakers get introspective and turn their camera on the maddeningly silly business that is showbiz. One of my favorites is Brian De Palma’s Body Double, an engaging romp about voyeurism, murder, and pornography. What’s not to like?

Struggling B-actor Jake Scully is having a bad week. First he finds his girlfriend on top of another guy, then he gets canned from a cheap Vampire flick after suffering a bout of claustrophobia. Drowning his sorrows at a Hollywood watering hole Jake bumps into Sam, a guy from his acting class. Aware that Jake needs a place to crash, Sam offers up an outlandish octagonal bachelor pad on stilts in the Hollywood Hills. A grateful Jake accepts the house-sitting gig, just as long as he remembers to water the plants.

The house is loaded with perks: big-screen TV, fully stocked bar, and a telescope pointed into a neighboring bedroom where a sultry brunette performs a nightly striptease. Jake immediately becomes infatuated with the raven-haired beauty and her erotic routine. The spy game ultimately leads to murder, so Jake takes on the role of detective in search of a strange disfigured Indian. His probing lands him in the sleazy world of adult films where he meets porn starlet Holly Body (Melanie Griffith), who holds the key to this Hollywood murder mystery.

Body Double is a stylish thriller with a clever, twisting plot that never disappoints. De Palma once again borrows from Hitchcock, this time paying homage to Rear Window in a masterfully constructed cat-and-mouse chase sequence. Dramatic lighting, skewed camera angles, and a tense musical score heighten the suspense. Craig Wasson is ideal as Jake Scully, a schlub-like hero who we want to see win in the end. Griffith is also terrific; her portrayal of the ditsy, straight-shooting Holly Body is hilarious. I can’t get enough of this movie.

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Before The Matrix made Neo and Trinity household names there was Crash Override and Acid Burn, the hacker handles used by Jonny Lee Miller and a young Angelina Jolie. Hackers is a guilty pleasure for me; the script is thin, the acting over-the-top, and the cyber-geek characters a little too cool and little too perfect. That being said, the movie is loads of fun to watch.

Miller plays Dade Murphy, a teen wunderkind with a punkish wardrobe, who years before got busted by the Secret Service for writing a computer virus that crashed over 1000 systems in one day. Little Dade’s punishment resulted in his computer privileges being taken away until his 18th birthday. Well, you can’t keep a good hacker down, so Dade hooks up with a group of fellow cyber savants called the “elite.” Chief among them is Kate Libby (Jolie), a steely eyed vixen with a mean set of fingers. Naturally, Dade and Kate are immediately attracted to one another.

Things get serious when Dade and Co. uncover a dastardly plot by corporate pirates to steal money by unleashing a devastating virus. These nefarious villains are led by a security expert known as ‘The Plague’, a trenchcoat wearing, skateboard riding super-nerd joyously played by Fisher Stevens. With the Secret Service in hot pursuit, the gang of hackers try to bring down The Plague in an intense cyberspace duel where laptops are the weapons of choice.

Hackers was one of the first films to introduce the underground cyber counterculture. The story is somewhat implausible, but inventive graphics and a pounding electronic soundtrack make the movie wildly entertaining. Director Iain Softley injects the plot with large doses of cool, from tricky cinematography to cutting-edge costumes. Hackers doesn’t claim to be an authority on hacking protocol, it just tries to be fun. That’s where it succeeds.

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It’s refreshing when filmmakers get it right. Make a comedy you should have some genuine laughs. A horror flick better include a few good scares. Movies about young love are tricky; they’re often cliche-filled melodramas wrapped in happy-endings with bows on top. Love isn’t that simple. Writer/Director David Gordon Green’s All the Real Girls poetically shows us love is great, love is special, and love is damn confusing.

Paul is a twenty-something small town slacker known for his womanizing ways. He hangs with his buddies Tip, Bo, and Bust-Ass (yeah, that’s his name!). Together they fix old cars and swap tales of sexual conquests. Then Paul meets Noel, the younger sister of best friend Tip. The virginal Noel just returned home after years away at boarding school. What begins as friendship quickly evolves. Innocent Noel falls for reckless Paul, and Paul feels something foreign to him. Love.

Thrown by his feelings, Paul seeks advice from his mom and uncle, who both warn him to be careful. He listens but can’t help but confess to Noel how deeply he cares for her. Noel decides to trust Paul with her heart. However, Noel’s weekend trip to the lake threatens irreparable damage to her relationship with Paul. Trusting someone comes at a price. Paul learns this lesson the hard way.

David Gordon Green understands the film medium. He shoots the bucolic North Carolina landscapes with a keen, caring eye. He also writes real characters, funny yet flawed. A scene between Paul and Tip, where Tip admits to his glaring immaturity, is quite poignant. High praise to Paul Schneider and Zooey Deschanel for putting the exact right amount of emotion into their portrayals of Paul and Noel. Their chemistry makes the movie. Remember the name David Gordon Green. He gets it.

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