Wednesday Oscar Retrospective: Five to Ten for 2006

Welcome back to weekly feature here at Movies with Abe, Wednesday Oscar Retrospective. Five to Ten is the fifth in a series of projects looking back at the past eight years of the Oscars, dating back to the first ceremony I watched and closely followed.

On the heels of the Academy’s announcement that this coming year will feature anywhere from five to ten films in the Best Picture list, I thought to look back at the most recent decade to determine what number of films would have ultimately earned a slot in the top category. Obviously, this is all guesswork and designed, above anything, to be fun. In the new system, films will need to earn at least 5% of the first-place votes. Feel free to post your thoughts in the comments!

Five to Ten for 2006
The actual lineup: Babel, The Departed, Letters from Iwo Jima, Little Miss Sunshine, The Queen

The locks: The above five and, most certainly, Dreamgirls. This is one of those cases where a film was a sure thing up until the nominees were announced, and whatever backlash caused it to be snubbed couldn’t have been vicious enough to bounce it out of a widened field.

The benefactors: There was enough support behind Guillermo del Toro’s Pan’s Labyrinth that it probably could have managed a Best Picture nod. Also strongly in the running: Children of Men, which may have peaked too late and ended up earning only three nominations, and United 93, which merited Best Director and Best Film Editing mentions and could have been included if enough people weren’t too turned off by the subject matter.

The longshots: A few contenders that probably couldn’t have mustered up enough number one votes, such as Little Children, Notes on a Scandal, The Devil Wears Prada, Borat, and Flags of Our Fathers. Maybe even Golden Globe Best Motion Picture – Drama nominee Bobby.

And the nominees could have been… Babel, The Departed, Dreamgirls, Letters from Iwo Jima, Little Miss Sunshine, The Queen, United 93

Does it change the winner? No. There was clearly enough backlash against “Dreamgirls” for it not to get nominated, so a win would have been unlikely. The same goes for “United 93,” since it would have proved extremely divisive had it been included. More importantly, “The Departed” was the crowd-pleaser of the year, and it was going to win no matter what.

Which lineup is better? I would have traded “Babel” and “The Queen” for “Children of Men” and “United 93” (in shaping a realistic Oscar lineup, of course, rather than strictly my own selections). Regardless, I do think that “Dreamgirls” was one of the most significant and definitive movies of the year, and “United 93” was very important in its own way, so I prefer the wider list.

Tuesday’s Top Trailer: Mission Impossible – Ghost Protocol

Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.

Mission Impossible – Ghost Protocol – Opening December 16, 2011



It can be very exciting to see a trailer for a sequel that you didn’t even know was being made. That’s true only if the series has yet to exhaust itself and the new story looks cool, and fortunately both of those things are doubly correct here. The third film sort of came and went without much fanfare despite being directed by J.J. Abrams, but it was definitely action-packed and fun. Even the second film was highly enjoyable and full of pulse-pounding thrills and explosions, so this series isn’t too capable of outright disappointing. Installment number four, however, looks awesome. Tom Cruise has on more than one occasion proven himself to be a terrifically energetic runner, and he appears to be doing a whole lot of running in this film, which is great. It’s not just about him, but rather about a whole team, to be portrayed by an interesting and eclectic group. Perhaps most notable is Jeremy Renner, who, after “The Hurt Locker,” “The Town,” and his already-begun Avengers role as Hawkeye, has exactly the type of role he should, as a featured player in this sleek thriller with a secret past and some nifty skills with a gun. Also along for the ride are Josh Holloway, best known as Sawyer from “Lost,” Paula Patton, Simon Pegg, Tom Wilkinson, and two foreign imports, Anil Kapoor from “Slumdog Millionaire” and Michael Nyqvist from “The Girl with the Dragon Tattoo.” Most intriguingly, the film will be directed by Brad Bird, who to this point has made three features films: “Ratatouille,” “The Incredibles,” and “The Iron Giant,” which means that this live-action PG-13-rated blockbuster is quite a departure for him. The team being out of the lam and considered terrorists is nothing too unusual, but should definitely serve to amp up the excitement level. Some of the action scenes look to be rather intense and fast-paced, and the rap music pounding in the background of the trailer makes this seem like a very modern thriller. The takeaway: I’m set and ready to see this one.

Monday Movie on the Mind: American History X

Welcome to a weekly feature here at Movies With Abe: Monday Movie on the Mind. I’ll be kicking off each week with a clip or trailer from a film that happens to be on my mind, designed as a retrospective look at some well-known, forgotten, or underappreciated classic from movie history, be it antique or current. Chime in with your thoughts about the film or any other movies that you might be thinking of this week!

American History X
Directed by Tony Kaye
Released October 30, 1998

This iconic film is one of the best of the 1990s, and also one of the most disturbing. Fortunately, the two most horrifying clips were not embeddable, which is probably for the best since they don’t need to be seen here, though they do serve an important purpose in the film. The story of neo-Nazi high schooler Danny Vinyard (Edward Furlong) is told through black and white flashbacks to the influence of his brother Derek (Edward Norton) while Danny is given an assignment to write an essay on tolerance by one of his teachers. After he commits a violent murder, Derek begins to rehabilitate as he sees things differently in prison just as his brother heads down exactly the same path he did. Norton received a well-deserved Oscar nomination for his astonishing performance, and the film barely received any other accolades, save for a standing in the thirties in the top 250 rankings on IMDB. It’s an extraordinarily moving and upsetting story, and there are a few clips embedded below that capture the essence of this film. A simple basketball game becomes an epic racial territorial battle, complete with a sweeping score and overhead cinematography. In a discussion about Rodney King, Derek so freely spews hate as a horrified Murray (Elliott Gould) tries, with no luck, to get him to back down as Danny feeds right into it. In a later flashback, the root of the brothers’ hatred is revealed as their father Dennis (William Russ) teaches them hate with a smile on his face. From towards the end of the film (stop reading if you haven’t seen it), the dismounting of the symbols is a powerful scene, and there’s nothing quite as heartbreaking as the final moments of the film. If you haven’t seen it, watch it soon, but beware of some immensely disturbing content.

Basketball Game



Discussion about Rodney King



Derek and Danny’s Father



Taking Down the Symbols



Ending Scene

Movie with Abe: Salvation Boulevard

Salvation Boulevard
Directed by George Ratliff
Released July 15, 2011

Some movies find themselves at a point of no return shortly into their run times. Once something outlandish has occurred, it can be hard to turn back and recover. “Salvation Boulevard” starts out with an intriguing and somewhat eerie video featuring former Dead Head Carl Vanderveer (Greg Kinnear) explaining how he came to find salvation. Fifteen minutes later, however, a man has been accidentally shot and the road to a cover-up means plenty of over-the-top shenanigans, a complete departure from any form of seriousness, and only occasional interactions with coherence.

Some films that aim to satirize religion seem to feel the need to starkly portray their characters in a certain way and to ensure that the events around them are equally intense and spectacular. Yet trying too hard can produce unfavorable results, as is the case with Pierce Brosnan’s Pastor Dan Day, a caricature of a preacher whose church is filled by legions of fans each week. While many would question Brosnan’s skills as a serious actor, understandably so, that’s not the root of the problems of his character. It’s hard to take him at face value since he seems so excessive in nearly every situation, and the film’s wild storyline doesn’t help matters at all.

“Salvation Boulevard” is trying to do too many things at the same time: to offer a parody of religious zealots and to weave a conspiracy story. It’s far more effective at the former than the latter, but attempting to put the two together detracts greatly from both. It’s hard to care about any of the characters since they’re all so detestable, and even the decently interesting ones, like Marisa Tomei’s security guard and overt Dead Head Honey Foster, are poorly written and relatively inconsequential. There’s no one to root for and plenty of people to dislike, and as a result it’s an entirely off-putting and unengaging story.

Aside from Brosnan, the cast is in theory fairly good, though few of them make much of an impression. Kinnear is doe-eyed and easily distracted, but hardly makes for a formidable lead. Ed Harris has an intriguing role, as an atheist author, but there isn’t much for him to do. Jennifer Connelly, whose career following her Oscar-winning turn in “A Beautiful Mind” has been puzzling and disappointing at best, tries hard as Carl’s excitable and devout wife Gwen, and she does a good job with meager material. Isabelle Fuhrman, who plays Gwen’s young daughter Angie, is the film’s standout, crafting a compelling character out of very little, imbuing at least one person in the film with some energy. There isn’t much to be found in this film save for hyperbole and an illustration of just what happens when parody goes too far.

F

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. Absent a wealth of new film reviews during the weekend, I’d like to start providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing in NYC

Winnie the Pooh (recommended): It’s always a pleasure to see Christopher Robin and all his imagined friends back for another classic tale. This isn’t a remake or a reboot, just another fun and wonderful story involving the honey-obsessed Pooh for audiences of all ages. Read my capsule review from yesterday.

Salvation Boulevard (anti-recommended): This zany religious comedy goes downhill incredibly fast moments into its run, and doesn’t recover at any point after that. Jennifer Connelly and her onscreen daughter Isabelle Fuhrman are trying hard, but no one else gives much effort, which, coupled with a poor script, doesn’t offer a particularly meaningful experience. My review will be up tomorrow.

Of course, all the buzz this weekend is about Harry Potter and the Deathly Hallows – Part 2. I missed the press screening earlier this week and will probably see at some point when all the fuss has died down and it won’t be crazy crowded.

New to DVD

Brother’s Justice (anti-recommended): This Tribeca entry starring Dax Shepard as himself is like an overtly scripted “I’m Still Here” which doesn’t pretend to be anything but that and fails to do anything but annoy, infuriate, and bore to no end, even after only eighty minutes.

Miral (anti-recommended): This film from director Julian Schnabel (“The Diving Bell and the Butterfly”) caused a stir for its political content and its highly publicized premiere at the UN. Related criticisms are valid, but this film is plagued by plenty of other problems, including a dull story and poor characters.

White Irish Drinkers (anti-recommended): This two-brothers-in-Brooklyn story is about as familiar and tried-and-true as they come, not offering too much in the way of new or innovative contributions to cinema. Unless it’s a particularly interesting subject to you, don’t bother.

I imagine I’ll get around to watching Rango and maybe the Russell Brand remake of Arthur at some point soon.

Now on Netflix Instant Streaming

Before the Devil Knows You’re Dead (recommended): The late Sidney Lumet, who passed away three months ago, made his final film at the age of 82. It’s a smart, sleek, and unnerving thriller with captivating performances from Philip Seymour Hoffman, Ethan Hawke, and Marisa Tomei.

Movie with Abe: Winnie the Pooh (Capsule Review)

Winnie the Pooh
Directed by Stephen J. Anderson & Don Hall
Released July 15, 2011

There’s not too much to say about the new “Winnie the Pooh” movie other than to affirm that it’s a wonderful return to a terrific group of characters. Unlike many remakes, this isn’t a re-envisioning or a reboot. There’s plenty of cleverness in terms of how the story is told with the narrator often directly addressing characters as they encounter letters, sentences, and paragraphs from the story, but beyond that, this is classic Pooh. It’s an extraordinarily simplistic story, but a heartwarming and funny one that should please both kids and adults alike. It’s hard to find fault with anything since it does a stellar job of staying true to these classic figments of Christopher Robin’s imagination. Clocking in at under seventy minutes, it’s over almost as soon as it started, yet there’s a sense of satisfaction and joy that only a fulfilling tale can produce.

B+

Thursday Token Themes

Welcome a weekly feature here at Movies With Abe. I’m a hugely enthusiastic fan of film scores, and music is far too often an element of cinema that goes unrecognized. Therefore I present a platform for a look – or rather, a listen – to some fantastic film scores. I’ll be selecting a composer and one or more of their film scores for your listening pleasure, embedded from YouTube.

This week’s featured composer is Mark Isham. The New York City native has created some sweeping, melancholy scores as well as some more action-oriented pieces, all equally impressive. One of his most recent works is the soundtrack for the Robert Redford film, “The Conspirator,” and his track “A Genuine War Hero” is a fitting tribute to the film’s characters. “Give Me Two Minutes” from the horrific flop “Next” is considerably more fast-paced and invigorating, even if the film was horrendous. “Eva’s Theme” from “Freedom Writers” is an appropriately inspiring anthem for that film, and “Nothing Stays Buried Forever” from “The Black Dahlia” is a proper schizophrenic composition for a film that just didn’t work at all. The track that initially attracted me to Isham is “Negligence” from “Crash,” which helped to make that movie so powerful. The end credits suite from “Spartan” is dark, moody, and decently thrilling. His theme from “October Sky” is wonderfully hopeful and endearing, as it should be.

The Conspirator (2011)



Next (2007)



Freedom Writers (2007)



The Black Dahlia (2006)



Crash (2005)



Spartan (2004)



October Sky (1999)

Wednesday Oscar Retrospective: Five to Ten for 2007

Welcome back to weekly feature here at Movies with Abe, Wednesday Oscar Retrospective. Five to Ten is the fifth in a series of projects looking back at the past eight years of the Oscars, dating back to the first ceremony I watched and closely followed.

On the heels of the Academy’s announcement that this coming year will feature anywhere from five to ten films in the Best Picture list, I thought to look back at the most recent decade to determine what number of films would have ultimately earned a slot in the top category. Obviously, this is all guesswork and designed, above anything, to be fun. In the new system, films will need to earn at least 5% of the first-place votes. Feel free to post your thoughts in the comments!

Five to Ten for 2007
The actual lineup: Atonement, Juno, Michael Clayton, No Country for Old Men, There Will Be Blood

The locks: Just the five films listed above.

The benefactors: This is one year where there were nine films certifiably in the running for Best Picture. Three of those would have had their chances amplified here. French film The Diving Bell and the Butterfly earned PGA and DGA nods before managing a place in the directing category and three others, and probably earned enough number one votes to manage a place under this new system. Into the Wild petered out just before the Oscars, resulting in just two nominations, and might have gotten many number one votes. Sweeney Todd beat “Juno” for the Golden Globe for Best Motion Picture – Comedy/Musical and, individualistic as it was, definitely had its fans.

The longshots: I suspect that American Gangster didn’t come too close to a Best Picture nod, but it did have a strong showing at the Golden Globes. The fun choice here would have been Once, though I doubt it would have incurred enough number one votes.

And the nominees could have been… Atonement, The Diving Bell and the Butterfly, Into the Wild, Juno, Michael Clayton, No Country for Old Men, Sweeney Todd, There Will Be Blood

Does it change the winner? Nope. While “The Diving Bell and the Butterfly” definitely had its fans, I don’t think a foreign film could have won this.

Which lineup is better? This is one year where none of the Best Picture nominees match up with mine, and all three of the films that might have been included were terrific. Therefore, I’d say that the eight-wide list is stronger, and I think that recognizing a foreign film, a road movie, and a musical would be considerably fairer to the year in cinema.

Tuesday’s Top Trailer: Tinker, Tailor, Soldier, Spy

Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.

Tinker, Tailor, Soldier, Spy – Opening November 18, 2011



Sometimes, you really luck out with a cast. This subtle and dark trailer doesn’t give much away about its content or its characters aside from the one obvious charge: there is a mole, and it’s one of these five men. The story sounds fascinating, and the trailer looks absolutely terrific. Now to the men involved: Gary Oldman, Colin Firth, John Hurt, Mark Strong, Tom Hardy, Benedict Cumberbatch, and Toby Jones, and that’s not even including the cast members not specifically credited, such as Ciaran Hinds, Christian McKay, and Simon McBurney. It’s hard to imagine that a film with a cast this insanely strong, mixing those more venerable and established actors, such as Hurt and Firth, with those up-and-comers like Hardy and Cumberbatch, could be full of anything but terrific performances. It’s sure to draw some attention for its inclusion of Firth alone following his Oscar win last year. This story was already made into a TV movie starring Alec Guinness back in 1979, and that was a hit. The British often know how to make good thrillers, and this looks plenty stylized (for a good TV example, watch the miniseries “The State Within” starring Jason Isaacs). I can’t wait for this one, and I hope it’s as bleak and good as it looks.

Monday Movie on the Mind: The French Connection

Welcome to a weekly feature here at Movies With Abe: Monday Movie on the Mind. I’ll be kicking off each week with a clip or trailer from a film that happens to be on my mind, designed as a retrospective look at some well-known, forgotten, or underappreciated classic from movie history, be it antique or current. Chime in with your thoughts about the film or any other movies that you might be thinking of this week!

The French Connection
Directed by William Friedkin
Released October 9, 1971

Just over a year ago, I saw this film as part of the annual outdoor HBO Bryant Park Summer Film Festival. While it’s a fun classic, it’s not the greatest film to watch outside in the city since it’s often hard to hear, but fortunately there’s plenty of action and excitement to be had that make it a more than enjoyable experience. This film defeated “A Clockwork Orange” and “Fiddler on the Roof” for Best Picture back in 1971, and also took home Oscars for directing, writing, editing, and lead actor Gene Hackman. Roy Scheider and Hackman make an entertaining disgruntled team of narcotics cops looking into a “French connection” in a smuggling job. The film is full of terrific scenes, beginning with the opening sequence, where Hackman’s Popeye Doyle is dressed as Santa and chases down a fleeing suspect. His treatment of an informant in the subsequent clip also leaves much to be desired. Two of the film’s cleverest scenes are also embedded below. The first involves an intriguing discovery of the contents hidden behind panels in a seized car, and the second is an amusing cat-and-mouse game played by Doyle and Devereaux (Frédéric de Pasquale) as they both try to catch a subway. Finish off by watching the iconic car chase scene here.

Trailer



Opening

Informant



Panels



Losing the Tail

Movie with Abe: The Ledge

The Ledge
Directed by Matthew Chapman
Released July 8, 2011

Hunnam and Tyler star in the film
Some movies are meant to be metaphors, and even if they’re effective, they may not also work literally. “The Ledge” is the story of a hotelier named Gavin (Charlie Hunnam) who finds himself forced to stand on top of a building and prepare to jump as mandated penance for his affair with a married woman, his neighbor Shana (Liv Tyler), by her religious husband Joe (Patrick Wilson). The construction that goes into such a story is highly complex, yet the outcome is doomed to be inferior to the premise, as characters and dialogue come second to a compelling concept.

Chapman at a press day for the film
There’s a great deal of background that went into the production of “The Ledge” that doesn’t show through in the final product. The film was written and directed by Matthew Chapman, the great-great-grandson of Charles Darwin. While Chapman does not let his lineage define him, he does write much, both in screenplay and book form, about evolutionism and particularly atheism. Discussing the film, he notes that atheists today are treated much like the LGBT community was half a century ago, and he would like to see more tolerance towards atheists, whom, he expresses, simply take any religion one step further, not believing in anyone’s god.

Tyler at a press day for the film
As a result of his strong beliefs, Chapman based the character of Gavin on himself. When proselytized to rather directly by Joe, Gavin reacts negatively, exerting just as much right to try to convert Joe to his own set of beliefs as Joe has to preach to him. When Shana comes to work for him at his hotel, Gavin bonds with her over the life she had before she found religion – and her husband – and that sense of freedom is what serves as the basis of their relationship. Their affair does seem to progress awfully quickly, which casts suspicion on its validity, especially for the carefully-watched wife.

Wilson at a press day for the film
Chapman contends that it was natural for this story to play itself out in a thriller format, but it doesn’t work nearly as well as he thinks it does. A side plotline involving Hollis (Terrence Howard), the cop assigned to talk Gavin off the ledge, is intriguing but also somewhat distracting. While the themes of the film may be engaging, the dialogue is much less impressive. Hunnam is much better in his element on “Sons of Anarchy,” and, for all their efforts, Wilson and Howard deserve much better roles like the ones they had in “Little Children” and “Crash,” respectively. Tyler’s performance is particularly inconsistent, decreasing even more from the credibility of the character as she alternately keeps herself isolated from human interaction and lets her guard down entirely without much reason or explanation for the switch. This could have been a contemplative, thought-provoking drama, but instead it’s a faulty execution of a creative concept.

C

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. Absent a wealth of new film reviews during the weekend, I’d like to start providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing in NYC

Horrible Bosses (recommended): This comedy is even more hilarious than it looks in the trailers, thanks to spot-on performances from all of the cast members, both the protagonists and the bosses. Most impressively, it knows when not to go over the top and manages to stay consistent and funny the entire time. Read my enthusiastic review from yesterday.

The Ledge (mixed bag): This film, now playing at the IFC Center, involves an intriguing premise and a rather interesting back story, but the way the plot is executed just doesn’t work. The debate between religion and atheism is compelling, but not effective in this thriller setting. Read my review and feature tomorrow.

New to DVD

Of Gods and Men (highly recommended): This New York Film Festival entry was shut out of the Best Foreign Film race, but was easily one of the strongest and most moving films of this or last year, depending on when you saw it. A thought-provoking, extraordinarily well-acted and powerful film.

Now on Netflix Instant Streaming

Secretariat (recommended): This horse movie offers about what you’d expect from a film of its kind, a sense of adventure, pride, and excitement mixed in with more than a bit of periodic melodrama. It’s easily better than it could have been, but hardly essential viewing.

Movie with Abe: Horrible Bosses

Horrible Bosses
Directed by Seth Gordon
Released July 8, 2011

When an impressive cast with a number of notable actors and actresses is assembled for a film, it’s easy to think that things are too good to be true. Take the 2006 remake of “All the King’s Men,” for example, which starred Sean Penn, Jude Law, Anthony Hopkins, Kate Winslet, Mark Ruffalo, and James Gandolfini, and still managed to bomb terribly and contribute nothing positive to the cinematic landscape aside from its original score. In “Horrible Bosses,” the ensemble includes multiple actors who have won Golden Globes and Oscars, all coming together to do their part and make this highly entertaining and hilarious comedy work.

It’s rare to find an R-rated comedy where all of the characters are consistent and relevant to the plot. Often, there are loose ends and unconnected personalities that appear specifically to create humorous situations not germane to the main story. That’s not the case in “Horrible Bosses,” which features six main characters: three disgruntled employees and their unbearable supervisors. Each hellish boss has his or her own particular despicable traits, all involving direct harassment and evil manipulation. The awfulness of each situation is greatly amplified by the reactions from the respective employees.

The casting and characterization of the three protagonists are among the film’s greatest assets. Jason Bateman, Charlie Day, and Jason Sudeikis all bring something different to the table. Bateman’s Nick Hendricks is a hopeless rule-follower, Day’s Dale Arbus is a loose cannon prone to high-pitched outbursts, and Sudeikis’ Kurt Buckman is an unserious philanderer easily led astray by the allure of any woman who flirts with him. They make a fun and hapless team, and their bosses are perfectly suited for them. Kevin Spacey’s Dave Harken is a highly motivated and power-hungry jerk, Jennifer Aniston’s Dr. Julia Harris is a completely devious sexual predator, and Colin Farrell’s Bobby Pellitt is a drug-addicted slacker unconcerned with anything but being rich. Even though they can be considered caricatures, they’re still believable as people.

“Horrible Bosses” impresses by stopping short of getting preposterous, and fortunately doesn’t include a ridiculous twist in the third act that often seems almost required in films like this. Never does this movie lose sight of its characters’ poorly conceived endgame, and all six personalities remain true to themselves throughout the entirety of the film, which is no small feat for an unhinged comedy such as this. Even the gross-out humor, which is wonderfully sparse, is well-incorporated. Most importantly, the film is laugh-out-loud funny for a good portion of its run time, and more than enjoyable enough for the rest. Its ending might come sooner than expected, but this is one film that knows to quit when it’s marvelously ahead.

B+

Movie with Abe: Beginners

Beginners
Directed by Mike Mills
Released June 3, 2011

There are many films about two people meeting and falling in love. Yet somehow amidst all the onscreen romances that exist, it’s rare to find one union that’s truly compelling and believable from its very inception, and continually real throughout its cinematic duration. Recently, “Blue Valentine” did a magnificent job of capturing one couple’s honeymoon bliss at the very start of the relationship. “Beginners” does the same thing, yet manages to hold on to the magic without fabricating anything for its entire run, creating a beautiful and magnetic portrait of two loners brought together and helpless not to give romance a try.

“Beginners” is in many ways two films bundled into one. In the present, Oliver (Ewan McGregor) meets the lovely Anna (Mélanie Laurent) at a party, and the two instantly click. As his relationship progresses, Oliver is constantly reminded of his late father Hal (Christopher Plummer), recalling the months leading up to his death when the widowed Hal lived out his life-long homosexuality and hid his progressively worsening cancer from all those closest to him save for his son. Pairing the two stories together, interwoven almost without any signification of change between time periods, is an extraordinarily effective way of getting at the root of just who Oliver is. The character analysis is extremely subtle, explaining Oliver’s motivations for an action or a decision with Anna through a flashback to his childhood or to his time with his father without feeling disruptive or preachy in the slightest sense.

The film’s strongest scene, to rival the song and dance routine from “Blue Valentine,” comes when a Freud-costumed Oliver first meets a laryngitis-stricken Anna at a costume party and cultivates a bond with her before she even utters a single word. It’s that nonverbal communication that makes McGregor and Laurent such a marvelous pair. McGregor is a melancholy hero and a venerable narrator for the film, creating humor out of self-reflection and portraying depression and lack of direction with honesty. Laurent says so much before she even speaks that when she first opens her mouth she already feels like a developed character, even though her background and personal life remain a mystery for most of the film. Plummer is charming and endearing as Hal, brilliantly inhabiting a doomed role with gusto and energy. “Beginners” is full of sweet, tender moments and exceptional dialogue, alternating between heartwarming and heartbreaking with ease and grace. It’s a wonderful love story and an equally poetic alternative father-son drama, and a lovely film all-around.

A-

Wednesday Oscar Retrospective: Five to Ten for 2008

Welcome back to weekly feature here at Movies with Abe, Wednesday Oscar Retrospective. Five to Ten is the fifth in a series of projects looking back at the past eight years of the Oscars, dating back to the first ceremony I watched and closely followed.

On the heels of the Academy’s announcement that this coming year will feature anywhere from five to ten films in the Best Picture list, I thought to look back at the most recent decade to determine what number of films would have ultimately earned a slot in the top category. Obviously, this is all guesswork and designed, above anything, to be fun. In the new system, films will need to earn at least 5% of the first-place votes. Feel free to post your thoughts in the comments!

Five to Ten for 2008
The actual lineup: The Curious Case of Benjamin Button, Frost/Nixon, Milk, The Reader, Slumdog Millionaire

The locks: The above five.

The benefactors: This year is probably the main reason that the ten-wide system was instituted. This could have been avoided if two highly acclaimed films had been recognized: The Dark Knight and Wall-E, which managed eight and six nominations, respectively, even without making the top category.

The longshots: Three films might have come close to being included in the top category, though they would presumably have all missed the boat for different reasons. Revolutionary Road was the less popular Kate Winslet film of the year, and may have depressed too many voters. The Wrestler won acclaim for star Mickey Rourke but didn’t even manage a writing nomination, so it clearly didn’t have universal support. Golden Globe Comedy/Musical winner Vicky Cristina Barcelona certainly garnered some votes, but probably not enough over the other candidates.

And the nominees could have been… The Curious Case of Benjamin Button, The Dark Knight, Frost/Nixon, Milk, The Reader, Slumdog Millionaire, Wall-E

Does it change the winner? Maybe. “Slumdog Millionaire” sure was all the rage in 2008, but so was “The Dark Knight.” They didn’t have all that many chances to compete together in the same race, and while “Slumdog” probably still would have prevailed, Batman would have given it quite a run for its money.

Which lineup is better? I know that most filmgoers would have been relieved to see the two previously mentioned films nominated alongside with the puzzling inclusion of “The Reader,” and I think it would have been a much more accurate reflection of the year in popular cinema.

Movie with Abe: The Perfect Host (Capsule Review)

The Perfect Host
Directed by Nick Tomnay
Released July 1, 2011

This is one film where discussing its merits and demerits without giving away any of the plot details is extremely difficult. What can be said is that its first half hour is absolutely fascinating, as John (Clayne Crawford) limps away with a bleeding foot from a bank robbery and talks his way into the home of the welcoming Warwick (David Hyde Pierce), who is in the midst of preparing for a dinner party. As the night goes on, much surprising information is revealed about both men. In trying to one-up itself, “The Perfect Host” incorporates too many twists that detract from the film’s credibility and enjoyment. The effort put into each new turn in the story feels forced and too incredible. It’s reminiscent of 2007’s messy “Sleuth” starring Michael Caine and Jude Law, starting off from a higher point but becoming so frustratingly inconsistent by its midpoint. Commendation is certainly due to star David Hyde Pierce, who puts an extraordinary amount of care and delicacy into crafting his character. It’s not his fault that his character becomes so unbelievable that it’s impossible to take him seriously by film’s end.

C+

Movie with Abe: Larry Crowne

Larry Crowne
Directed by Tom Hanks
Released July 1, 2011

Certain films are made particularly for a certain crowd. Tom Hanks and Julia Roberts were big, bankable stars in the late 1980s and throughout the 1990s. They both typically played strong, likeable heroes in a range of films, from the purely fun – like “Big” and “My Best Friend’s Wedding” – to more challenging and award-winning – like “Cast Away” and “Erin Brockovich.” Neither has experienced nearly as much success in the twenty-first century, and their previous collaboration, Mike Nichols’ “Charlie Wilson’s War,” wasn’t all that superb. Now they’re back in a film tailor-made for their fans that is sure to please some and do nothing for others.

This is a film written and directed by Hanks, only his second time in either of those roles, following his 1996 debut, “That Thing You Do!” Hanks teams up on the script this time with Nia Vardalos, the architect behind the 2002 independent smash “My Big Fat Greek Wedding. A familiarity with Hanks’ typical lighter work and Vardalos’ signature film paints an accurate portrait of what “Larry Crowne” is, a comedy assembled just for audiences who love the usual roles held by Hanks, as a happy-go-lucky everyman, and Roberts, as a moody, sarcastic, independent woman.

What that means for moviegoers in general is a broad, predictable film that follows Larry Crowne (Hanks) as he bounces back from being laid off from his job and reinvents himself by enrolling in community college. Hanks plays doofy and doe-eyed well, and Roberts goes head-to-head with him as his eyeroll-prone public speaking professor Mercedes Tainot. Both play their roles well, but it’s not much of a stretch for either of them. The true entertainment comes from the supporting cast that embodies Crowne’s classmates, led by promising actress Gugu Mbatha-Raw of the recently cancelled “Undercovers” and also including Malcolm Barrett, Rami Malek, Grace Gummer, and Wilder Valderrama.

The construction of “Larry Crowne” is not highly original, and it’s hardly a classic in the making. A number of Ms. Tainot’s thoughts are allowed to be expressed out loud to no one in particular, lending an air of inconsistency to the film as her spoken stream of consciousness breaks the narrative. The presence of a scooter gang that employs snapping and reorganizing as methods of initiation demonstrates how scattered and random this film often feels. It should definitely appeal to those seeking a bit of light fun with these two beloved actors, but anyone looking for an actual great film should look elsewhere.

B-

Movie with Abe: Love Etc. (Capsule Review)

Love Etc.
Directed by Jill Andresevic
Released July 1, 2010



This documentary could well be described as a real-life version of “New York, I Love You,” an ode to love set against the backdrop of New York City. This whimsical film follows five different subjects, terming each by a different name – Lasting Love, Starting Over, Getting Married, Single, and First Love. Among them are an adorable pair that have been married happily for forty-eight years, two impending newlyweds, two high schoolers, a divorcé, and a gay man planning to adopt via a surrogate. There is such diversity among the stories told that it really does paint a true picture of the complexities and different possibilities of love without holding anything back and presuming that each couple or individual will end up happy simply because that’s the way their tale is supposed to end. “Love Etc.” is a sweet, funny, charming, honest, wholesome, and ultimately affecting drama that deserves to be seen by any and every audience.

B+

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. Absent a wealth of new film reviews during the weekend, I’d like to start providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing in NYC

Terri (highly recommended): This “teacher movie” about a vice principal that takes an active interest in one of his students avoids being forgettable and instead, thanks mostly to a great performance by John C. Reilly, to be heartfelt and highly enjoyable. Catch it at the Angelika and Lincoln Plaza, and read my review from yesterday.

Love Etc. (highly recommended): This documentary follows five different types of couples in New York City and might well be described as a real-life version of “New York, I Love You,” albeit considerably more believable, genuine, and heartwarming. Now playing at the Landmark Sunshine Cinema, and it’s worth the trip. My capsule review will be up tomorrow.

Larry Crowne (mixed bag): This film is exactly what the trailer indicates: a perfect movie for those who love stars Tom Hanks and Julia Roberts and have always wanted to see them together in a movie that wasn’t “Charlie Wilson’s War.” Unfortunately, it’s nothing more, so it’s highly forgettable but not a terrible way to spend 100 minutes. It’s in wide release, and my review will be up on Monday.

The Perfect Host (mixed bag): This little indie is all about David Hyde Pierce, best known as Niles from “Frasier,” who delivers a commanding performance in a film that starts out incredibly strong but quickly gets derailed due to too many unlikely twists. It’s showing at the Quad Cinema, and you can read my capsule review on Tuesday.

New to DVD

Barney’s Version (mixed bag): This Golden Globe winner for star Paul Giamatti presents a complex portrait of a man thrice married, and it’s definitely full of entertainment and wit, as well as some decent performances, particularly from the likes of Minnie Driver. Overall, it’s an uneven film, but still one worth a look, especially at home.

Now on Netflix Instant Streaming

Iron Man 2 (recommended): This sequel, while not quite as invigoratingly awesome as the first film, is perfectly competent and plenty of fun, featuring some super cool effects and a great villain in Mickey Rourke’s Whiplash. It’s more than just a stepping stone for the Avengers movie, and definitely worthy of another sequel, which is already in development.

Movie with Abe: Terri

Terri
Directed by Azazel Jacobs
Released July 1, 2011

Teacher movies are very common. In fact, “Bad Teacher,” starring Cameron Diaz, was released just last week. To term “Terri” a teacher movie isn’t quite accurate since John C. Reilly’s Mr. Fitzgerald isn’t actually a teacher, but instead a vice principal. Yet the story is the generally the same: Mr. Fitzgerald spots Terri, an overweight teen who has begun wearing pajamas to school, and decides to take an active interest in him. Despite the familiar themes, “Terri” manages to present a fresh and funny take on the educational professional-student relationship that results in a warm and endearing film.

John C. Reilly had a great year back in 2002. He starred in four films, three of which – “The Hours,” “Gangs of New York,” and “Chicago” – were nominated for the Oscar for Best Picture. He also netted himself an Oscar nod for his supporting role as Mr. Cellophane in “Chicago.” In the years since, Reilly has taken on some interesting roles, some intriguing (“Criminal”) and others lamentable (“Walk Hard: The Dewey Cox Story”). Last year, Reilly charmed as an unlikely hero in “Cyrus,” and surprised in “Cedar Rapids” earlier this year by turning what could have been a despicable character into a loveable louse.

Now Reilly has found another terrific role in Mr. Fitzgerald, an enthusiastic, fake-tantrum-prone vice principal who takes a good deal of time out of his day to meet with the misfits at his school, which include Terri and a hair-plucking, off-balance child named Chad. Fitzgerald doesn’t just reach out to the troubled teens, but he devotes his entire self to whipping them into shape, even going off-book and outside regulations on occasion to ensure that his message is clear. Reilly embodies the character with sincerity and honesty, making him both the dramatic and comedic core of the film.

Reilly is at the center of the film as the known quantity, but he’s ably supported by young actors playing just the roles they’re supposed to play. Jacob Wysocki, an alumnus of the ABC Family series “Huge,” emits a considerable lack of enthusiasm as Terri, therefore prompting Mr. Fitzgerald to begin helping him. Bridger Zadina, whose credits prior to this include only TV guest spots, is a bundle of nutty energy as Chad, believably portraying a teenager with a few social issues. Olivia Crocicchia, previously known only as youngest daughter Katy Gavin on “Rescue Me,” balances out the budding testosterone with a bright performance as Heather, a popular girl whose circumstances thrust her into an unlikely friendship with Terri. This decent ensemble and a smart script from Patrick Dewitt and director Azazel Jacobs elevate this film from what could have been a forgettable replica to a worthwhile dramedy.

B+