Movie Loner

There was no better American actor than Paul Newman. In my mind, you can’t argue that statement. Charismatic, charming, sly, a rebel, Newman was everything movie stars should be. There’s a lot of tributes floating around the net right now. It would take too long to name all his great roles in all his great films. In the spirit of the Movie Loner I prefer to remember Newman in perhaps his most underrated performance: Washed-up lawyer Frank Galvin in Sidney Lumet’s exceptional legal drama The Verdict. In the following scene Galvin speaks of humanity’s desire to be just. A desire that Newman himself sought countless times in his art and in his life.

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I’ve written many times on these pages about filmmakers “getting it.” Some do, some don’t. What do I mean? The ones who get it are the ones who tell their stories the best way they know how, without compromise, without fear. They don’t answer to committees or executives. They answer to themselves. That’s what I mean by “getting it.” David Gordon Green is a filmmaker who gets it. Since breaking onto the scene in 2000 with the stunning George Washington Gordon Green has dedicated himself to making uniquely original films that deal with real people and real problems. At only 33, Gordon Green continues to mature at his craft but if Snow Angels is any indication he is close to reaching the prime of his career.

As Christmas nears, life in a bucolic small town is about to get very interesting. Teenager Arthur Parkinson works as a bus boy at a local Chinese restaurant. Adolescence is proving complicated for Arthur; his parents are heading for divorce and a new girl named Lila is showing an interest in him. Arthur’s childhood babysitter Annie is having difficulties of her own. A single mother, Annie is becoming frustrated with raising her young daughter Tara. Annie’s ex husband Glenn is also back in the picture. Glenn, a born-again loser who survived a suicide attempt, is futilely trying to regain Annie’s trust and love. Annie rejects Glenn’s advances and instead continues an affair with the husband of a co-worker.

Once Glenn learns of Annie’s new boyfriend, his unstable behavior returns. Meanwhile, as Arthur’s family erodes his relationship with Lila blossoms. Seemingly headed in different directions the lives of all these characters are about to converge. A tragedy will bring them together and alter their paths. The aftermath of said tragedy will leave Arthur, Annie and Glenn trapped in an inextricable maze of sadness and confusion. Some will gather the strength to escape, others will struggle, unable to cope with the loss. A cold, winter wind blows bringing with it a cloud of sorrow that will forever change life in this bucolic small town.

Gordon Green is an expert at balancing multiple characters and story lines. He creates a prosaic existence for his characters to dwell and eschews all sense of melodrama. A simple shot of an empty snow-covered swing says more than any soliloquy ever could. Gordon Green’s direction is appropriately subtle. He allows his actors to propel the plot to a natural conclusion. Michael Angarano stands-out playing Arthur, a quiet goodhearted young man forced to grow up a little early. Kate Beckinsale and Sam Rockwell also deliver powerful performances as Annie and Glenn, a tortured couple destined to meet a mournful end. Snow Angels won’t leave you feeling warm and fuzzy inside and it won’t apologize for doing so. David Gordon Green tells his stories his way. He does this because he’s one of those filmmakers who gets it.

A scene from Snow Angels:

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A lot of really good movies during the 1980s got lost amidst the mountain of shit that defined a decade considered one of the worst in the history of film. Movie studios spent most of the 80s searching for the next huge Blockbuster or hitching a ride on the never-ending sequel train. Mindless, albeit extremely profitable, drivel like the Friday the 13th, Nightmare on Elm Street and Halloween series took center stage for most of the decade. Consequently films like The Mean Season were largely ignored. Well, no longer my filmic friends. Here’s your chance to revisit a solid thriller that came and went without much fanfare.

Miami Journal crime-beat reporter Malcolm Anderson (Kurt Russell) is burned out and ready to call it quits. He and his girlfriend Christine (Mariel Hemingway) are looking forward to starting a life together in a small town. Malcolm’s future is put on hold after he gets a call from a man claiming responsibility for the murder of a young woman. The killer calls himself a fan of Malcolm’s and reveals a plan to murder four more people. Malcolm notifies the police and together they join forces to find the killer’s identity. The phone calls continue as the killer looks to use Malcolm to achieve stardom.

After two bodies are discovered the focus shifts from the murderer to the reporter. Malcolm’s relationship with the killer becomes the story. Angered by taking a back seat, the killer decides to turn up the heat and publicly humiliate Malcolm while persisting to complete his murder plot. Frustration mounts for the cops as leads go nowhere. Matters take a turn for the worst once Christine is kidnapped. One last call from the killer leads to a stormy showdown in the Everglades. Can Malcolm save Christine before the killer makes her his final victim? Or is the killer preparing to spring a trap that will give him the fame he so desperately seeks?

Director Phillip Borsos steers a taut story to a satisfying conclusion without veering of course. The idea of a reporter becoming a media star is nothing new today but back in 1985, before the 24/7 news cycle, it was a relatively new concept. Journalistic integrity and impartiality are called into question. Is it right for a news person to become bigger than the story he or she is covering? Does the public suffer if a news personality trades a supposed unbiased for media celebrity? Kurt Russell delivers another top-notch performance playing the driven, conflicted Malcolm. A strong supporting cast includes Richard Jordan, Richard Masur, Richard Bradford, Joe Pantoliano and Andy Garcia. The Mean Season doesn’t break any new ground but it’s more than deserving of a look.

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No one enjoys the success of ‘little movies that could’ more than myself. I find it extremely satisfying when a film with a budget a hundred times less than a Hollywood tent-pole manages to crawl through the high grass and cultivate an audience. I’m not talking about movies like Juno either. As much as I liked Juno it is not an independent movie; one of its Producers was John Malkovich and its Director, Jason Reitman, while young, is not a neophyte when it comes to the movie game. Legit independent films are made “outside” of the system for relatively little cash and star unknown actors. Movies like Once, a quaint romance that snagged a Best Original Song Oscar in 2007.

A struggling Dublin singer/songwriter (Glen Hansard) repairs vacuum cleaners by day while peddling his songs at night for a pittance. His heartfelt melodies draw the attention of a young immigrant woman (Marketa Irglova) who probes him with questions. Once she learns he works at a Hoover shop she solicits his help in fixing her busted cleaner. The following day she brings him her vacuum. The two end up spending the day together and discover they share a love of music. A fast friendship forms as they reveal tales of heartache and use the power of music to help heal one another.

Armed with renewed fervor, he gains the courage to take his talents off the sidewalk and into the studio. Accompanied by her on piano and a collection of fellow street performers, he turns a weekend recording session into a demo disc. With disc in hand, next stop is London to secure a record deal. However, a reluctance to leave is further complicated by his feelings for her and the rare bond they have built. Unwilling to admit their true desires, an unrequited love is manifested through their songs. Will he leave for London to find fame and fortune? Will she allow him to leave without acknowledging their passionate connection?

Writer/Director John Carney filmed Once over a three week period with only two digital camcorders at a budget of roughly $145,000. That’s what I call independent. A simple story about chasing dreams and falling in love, Carney did more with $100,000 than most filmmakers achieve with $100 million. Hansard and Irglova are both professional singers and had never acted prior to this project. Since then the duo has taken the music world by storm performing songs from the film and releasing an album together, “The Swell Season.” By the way, the songs are all fantastic. Once in a while a tiny movie like Once comes along and breaks into the mainstream. If your like me and appreciate when this phenomenon occurs do yourself a service and see Once.

The trailer for Once:

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I don’t know what it says about our society that we seem inordinately fascinated with serial killer films. Perhaps it’s simply a morbid curiosity with all things evil, or maybe it’s something darker and disturbing. Who am I to say? As nutty as the Ted Bundys and David Berkowitzs of the world were, cinema always manages to concoct more and more inventive lunatics. The Saw movies, Seven and the iconic Silence of the Lambs all feature a particular brand of psycho killer. Normally reserved to Hollywood, France has taken the serial killer ball and ran with it in recent years. The Crimson Rivers offers a different twist in this extremely popular genre.

Jean Reno plays Commissioner Pierre Niemans, a Paris top-cop dispatched to the university hamlet of Guernon to investigate the torture and murder of a young professor. Guernon, nestled in a picturesque mountain valley, is home to the country’s best and brightest minds. Pierre takes little time gathering clues and piecing together the puzzle. Sixty miles away, in the town of Sarzac, Lt. Max Kerkerian (Vincent Cassel) is probing the desecration of a grave-site belonging to a little girl who was killed twenty years prior. Dogged detective work leads Max to the girl’s mother who claims her daughter wasn’t killed but rather kidnapped by “demons.”

Pierre’s and Max’s cases intertwine. The two men soon cross paths and reluctantly team-up. Two more gruesome murders occur and a link between the three victims is discovered. The evidence leads Pierre and Max to the university at Guernon where dark secrets and bizarre goings-on are revealed. As the inspectors close in on the killer they become targets of an underground elite with Nazi ties bent on perpetuating a sinister master-plan. A hair-raising finale atop the snow covered  French Alps pits Pierre and Max against an unexpected enemy.

It’s great to watch two of France’s best actors, Reno and Cassel, side-by-side. They tackle the typical “buddy cop” roles but do so with equal parts humor and seriousness. Yeah, they deliver the usual clever quips, and of course don’t like each other at first, but it’s not to the absurd level of say, Rush Hour III. Director Mathieu Kassovitz keeps a winding plot from unraveling by sustaining a logical progression. There are a few left turns, but none that steer away from the central plot. However, a quick trip to the kitchen for a drink refill may leave you scrambling if you forget to press pause. An intense snowy-night foot chase and gorgeous mountain scenery add some additional flavor. Serial killer movies have become somewhat pedestrian, but The Crimson Rivers provides more than its share of thrills.

The trailer for The Crimson Rivers:

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Every magic trick has three acts. The first act is called The Pledge: the magician shows you something ordinary. The second act is called The Turn: the something ordinary is turned into something extraordinary. The third and final act is The Prestige: you see something you’ve never seen before. One of the most amazing tricks I’ve ever seen is how quickly The Prestige disappeared from theaters. The best film of 2006 that nobody saw asks one very simple question: “Are you watching closely?” If you are, you may be able to unravel the many secrets of The Prestige.

Robert Angier (Hugh Jackman) and Alfred Borden (Christian Bale) are competing magicians in late 19th century London. Angier is a born showman, handsome and charismatic, filled with ambition. Borden is a dark, moody genius, fiercely dedicated to his craft. Both are bent on becoming the greatest illusionist of their time. Once partners, the two go their separate ways after the tragic death of Angier’s wife. Angier blames Borden. Borden refuses to accept responsibility. Rivalry soon turns to vengeance as each man embarks on destroying the other’s livelihood. Borden starts a family and consumes himself with inventing a trick the world has never seen. Angier’s jealousy mutates into obsession as he attempts to unlock the mystery behind Borden’s grand illusion.

While Borden’s fame and reputation grows in England, Angier travels to America to perfect his masterpiece. He settles in remote Colorado Springs where he pursues the brilliant physicist Nikola Tesla to help him create a machine that will define his career. Tesla’s groundbreaking electricity experiments reveal a scientific conundrum only a wizard could imagine. Tesla leaves his findings with Angier, warning him of the potential dangers of playing with the unknown. Hubris and compulsion guide Angier as he returns to London armed with the knowledge to quench his vengeful thirst and ruin Borden once and for all. The tables flipped, Borden must now discover Angier’s shocking secret. As Angier’s plot nears its fruition, the superior Borden unveils one final riddle that will prove him to be the master illusionist.

Writer/Director Christopher Nolan has garnered much acclaim for his miraculous resuscitation of the Batman franchise, but without question The Prestige is the most complete film of his young career. Adapting from Christopher Priest’s novel, Nolan and brother Jonathan craft a clever script that gradually builds to a stunning crescendo. Beautifully lit and shot by Oscar nominated DP Wally Pfister, the film assumes an appropriately mysterious air that defines its perplexing subject matter. Jackman and Bale are perfectly cast portraying men of similar ilk, driven by ambition and ego. Bale in particular stands out, deftly embodying the duplicitous Borden. The always-great Michael Caine provides terrific support playing Cutter, an aged insider who represents the story’s superego. The greatest trick is often the most obvious. We never see it because we never bother to look. Don’t be fooled, see The Prestige.

The trailer for The Prestige:

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Some films defy explanation. They can’t easily be categorized or placed in a specific genre. These movies are rare indeed, but they’re out there. Whenever I stumble-upon such a find I make a point to view it twice before passing judgment and writing a review. I first watched Oldboy a couple years ago and was completely blown away. I was so impressed I greedily stowed away the memory for fear it might be spoiled by a second pass. Well, I caught Oldboy a few nights ago and my opinion has not wavered. It is a masterwork and without question one of the best movies I’ve seen in the last ten years.

Oh Dae-su is an alcoholic loudmouth with a wife and little girl. After a nightlong bender, he wakes up imprisoned in a strange room. Unable to decipher the reason for his incarceration Oh Dae-su spends his days beating his fists against the walls and watching countless hours of television. Fifteen years pass before Oh Dae-su is released. He reenters society a bitter, hardened man. Soon after he meets Mi-do, a young female sushi chef. Mi-do takes him home with her and the two form an instant bond. But Oh Dae-su is consumed by vengeance and embarks on a violent vendetta to find his mysterious captor.

Oh Dae-su’s bloody mission leads him to Woo-jin Lee, the cryptic man responsible for his long confinement. Woo-jin Lee’s face-to-face meeting with Oh Dae-su is part of his master-plan, a plan that Oh Dae-su must unravel. Along with Mi-do, Oh Dae-su searches for why Woo-jin Lee chose to punish him. As he pieces the puzzle together he finds the answers he’s been seeking. A final confrontation at Woo-jin Lee’s penthouse apartment uncovers a devious plot that will force Oh-Dae su to deal with a fate far worse than imprisonment.

Director Chan-wook Park constantly keeps you guessing throughout this meticulous story. Just when you think you’ve figured it out, he slips in another detour. Precise pacing incites curiosity rather than frustration. We are aware a shocking climax is coming and when it does it fails to disappoint. Park’s choice to unleash the big reveal to Oh-Dae su and the audience simultaneously is absolute brilliance. The awe becomes that much more powerful. Min-sik Choi portrays the tortured Oh-Dae su with admirable gusto. Oh-Dae su plows through humanity like a crazed superhero bent on finding a truth all too painful. It is a memorable character and performance that rivals any I’ve EVER seen. I could sing this film’s praises for another two paragraphs but I won’t. Instead, just trust me and see Oldboy.

The trailer for Oldboy:

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Writer/Director David Mamet has had his hand in some of the most acclaimed films of the last twenty-five years. The Verdict, The Untouchables, House of Games, Glengarry Glen Ross, Hoffa, Wag the Dog, Ronin and Hannibal all feature Mamet’s signature stamp. Known for his sharp, curt dialogue Mamet has the reputation of being one of Hollywood’s best scribes. However, he has also proven to be an adept Director focusing on dark mysteries steeped in betrayal. One such movie is the little seen Spartan, an intense, tightly woven thriller about a government cover-up.

The President’s daughter has been kidnapped. The FBI, Secret Service and a “lone wolf” operative named Scott (Val Kilmer) converge to crack the case. Scott, a tough, no questions asked kind of guy accepts the role of enforcer to ensure the girl’s safe return. The team is on a strict timetable. If the media catches wind of the abduction the impending reelection campaign will be placed in jeopardy. Speedy detective work and a couple rough interrogations reveal the girl has fallen victim to an international sex slave ring. Scott is called upon by the powers that be to do whatever it takes to bring her back.

Scott, and a special ops unit are ordered to Dubai to rescue the girl and break-up the slave trade ring. But before they can lift off news of the girl’s death is released. Apparently, she and one of her professors drowned in the ocean following a cocaine binge. The dogs are called off and Scott is sent home. Soon after, new evidence surfaces that the girl’s death was a fabrication. She is alive and in Dubai. Scott’s probing makes him a target. He must go off the reservation to expose a government conspiracy and extricate the girl. All alone in his quest, Scott will put himself in the line of fire to do what’s right.

Mamet employs all his tools to tell this intricate story. Power corrupted is often a central theme in his films and here he takes solid aim at the White House, even though it’s only implied. To what extremes would an administration go to secure reelection? It’s only fiction, but it makes you wonder if a leader would be capable of this type of moral perversion. Kilmer effectively seizes the reigns playing Mamet’s typical strong male lead. Scott is driven and loyal, but his robotic persona doesn’t lack a conscience. A credible supporting cast includes Derek Luke, Clark Gregg, Ed O’Neil and Mamet regular William H. Macy. If you’re looking for a quality suspense-filled movie, give Spartan a watch.

The trailer for Spartan:

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