Happy Sunday, folks! Hope everyone is doing great. It's been a short but eventful weekend. On that note, please note the following updates:
1. With FERRIS BUELLER in the can, we are ready to start our Thriller Reviews.
2. With the MLS season about to start, and the World Cup Qualifiers heating up, I will be spending more time on the Soccer Blog. Accordingly, I have to reduce our film reviews on this blog to two or three a week - one new film, and one or two general films.
3. As such, please note our revised Thriller schedule. The reviews will start posting tomorrow and should all post by next weekend.
# 426 - THE RECRUIT
# 427 - HAYWIRE
# 428 - THE FIRM
# 429 - ENTRAPMENT
# 430 - CELLULAR
# 431 - THE GREY
4. Once the Thrillers post, we begin our Valentine's Celebration, starting 2/6/12. We will be reviewing a dozen or so films (new and general) for the entire month of February - films that celebrate love in all its shapes and sizes. Love of lovers, love of family, love of friends, love of sport, love of cause and ideals, love of food, love of love. As a reminder, please see the Valentine sneak peeks below...
Have a great evening, folks. Please expect all the Thriller reviews to post by Sunday - then we start our Valentine's celebration in full...
Sunday, January 29, 2012
# 425 - FERRIS BUELLER’S DAY OFF (1986)
FERRIS BUELLER’S DAY OFF (1986 - COMEDY) ****1/2 out of *****
(Ferris Bueller - For President. Seriously…)
CAST: Matthew Broderick, Alan Ruck, Mia Sara, Jeffrey Jones, Jennifer Grey, Cindy Pickett, Lyman Ward, Charlie Sheen.
DIRECTOR: John Hughes
WARNING: Some SPOILERS and one really awesome slacker genius - straight ahead…
IT’S LIKE THIS: We all know or have known at least one “Ferris Bueller” in our lifetime. You know: a guy who is impossibly clever, funny, charismatic, intelligent, creative, disarming, cute, unpredictable, exciting, and daring - and gets away with murder. My “Ferris Bueller” is my best friend “Forest Whitaker”, who would pull off such Machiavellian shit without so much as breaking a sweat - and have everyone eating out of his hands afterwards. I could only stand at the back of the room, shaking my head while thinking, “Amazing. Fu-cking amazing.” If he could bottle that “X-Factor” and sell it, he’d make a trillion dollars - easy.
The real Ferris Bueller is the hero of our latest review. He looks at lot like Matthew Broderick, and on one particular day, decides to play hookie from school by feigning sickness. The movie helpfully points out the best way to snow your parents into letting you stay home. See below:
Needless to say, Mom and Dad Bueller (Cindy Pickett and Lyman Ward) fall for it like Carrie Bradshaw going for the last half-off pair of sapphire rhinestone-glitter strappy Manolo Blahniks on the sale table. And just like that, our boy Ferris has got 10-12 hours of potentially awesome skating (not literally, although that is an option) ahead of him. He recruits best pal Cameron Frye (Alan Ruck), who (in an ironic twist) is actually sick, and together they snatch Ferris’ gal Sloane Petersen (Mia Sara) outta school - and set their mischievous sights on the Windy City.
Not so fast, though, because Ferris’ two nemeses are hot on this trail to bust his shit wide open: (1) Jeannie Bueller (Jennifer Grey), Ferris’ jealous spiteful sister; and (2) Mr. Rooney (Jeffrey Jones), high school principal/douchebag who has been chasing Ferris for years - and just might nab him now. The chase is on!
THE DUDE (OR DUDETTE) MOST LIKELY TO SAVE THE DAY: Believe it or not, Jeannie. And that’s all I’m going to say. Go, girl. Talk about hidden layers…
EYE CANDY MOST LIKELY TO FIRE UP A WOODY: Everyone in this flick is hot. My special favorite, though, is Alan Ruck - who’s got that sweet nerd thing going….
MOST INTENTIONALLY HILARIOUS SCENE: Oh, where the hell do I start? Ferris stealing Cameron’s dad’s Ferrari? Our trio crashing an art museum? A hoity-toity restaurant? The stock exchange? The Sears Building? A downtown Chicago parade? They’re all winners!
MOST UNINTENTIONALLY HILARIOUS SCENE: Jeannie’s scene with The Actor Who Will Go On To Star On TWO AND A HALF MEN - Then Leave It Abruptly. And the scene at the very end where Jeannie saves Ferris’ ass.
HOTTEST SCENE: Sorry, but I have to go for Ferris‘ shower scene where he… well, I‘m not sure what he‘s doing but he obviously doesn‘t want us to see it. So it has to be naughty!
INQUIRING MINDS WANT TO KNOW: Will Ferris, Cameron, and Sloane have a crazy day of illicit fun in the Windy City? Or will someone see them on the street and report them to Rooney? Or will Rooney catch them himself? And what will he do if he does? What about Ferris’ parents? Will they catch on to his schtick? Or will he live to play hookie another day? How will this “day off” end? And the most important question of all: where is that sequel?
WHY YOU SHOULD WATCH “FERRIS BUELLER‘S DAY OFF”: If you like youth comedies that are just as clever, funny, quirky, and intelligent as their lead character. If so, you are in for sooooooo much fun.
WHY YOU MAY NOT ENJOY “FERRIS BUELLER‘S DAY OFF”: If you have a hard time sitting through “youth” comedies and prefer “mature” fare. If so, you’re loss…
BUT, SERIOUSLY: Just as smart, funny, irreverent, and unpredictable as its hero, FERRIS BUELLER DAY’S OFF is a one-of-a-kind film. It’s a lot more mature and intelligent than your average teen comedy. Not surprising since its director, John Hughes, was also responsible for THE BREAKFAST CLUB, PRETTY IN PINK, and SOME KIND OF WONDERFUL. While Hughes was also responsible for more juvenile (but still good) fare like SIXTEEN CANDLES and WEIRD SCIENCE, he is also notable for adding surprisingly serious and somber threads to his latter films like the first three mentioned above. FERRIS BUELLER’S DAY OFF is a nice combination of these two categories.
It was crucial to have the right actor play Ferris. You can’t just have someone who’s very handsome, because looks are only skin deep, and Ferris is more than just another cute face. The right actor also has to be boyish, intelligent, funny, creative, subversive, and have the perfect amount of swagger. In casting Matthew Broderick, Hughes found the perfect actor for this unique character. Broderick makes the role his own, and instantly elevates it to iconic status. Broderick as Ferris charms us just as he does everyone onscreen.
He is complemented nicely by Alan Ruck as the far less vibrant, more subdued Cameron Frye. Ruck has an unconventionally handsome face that further helps give Cameron some welcome quirkiness. Ruck also nicely pulls off some semi-dramatic moments later in the film. It really helps that he and Broderick are very believable as best friends - and sell the relationship with their brotherly chemistry. Then there’s Mia Sara, who is just as good as Sloane Petersen, Ferris’ girlfriend who is just as free-wheeling as him. Sara’s slightly-exotic, dark-eyed beauty is a nice match for Broderick’s, and she turns Sloane into a very fresh and welcome “Third Musketeer”.
Of the supporting cast, the most important roles are Mr. Rooney, Ferris’ nemesis, and Jeannie, Ferris’s sister who envies Ferris’ “X-Factor”. Both roles are perfectly cast. Jeffrey Jones makes Rooney hissable, but also somewhat sympathetic - after all, he’s just doing his job (even if he goes to extreme lengths to do it). The result is a fine adversary for the wily and talented Ferris. Jennifer Grey also has some great scenes as Jeannie, and gives her character some unexpected shadings, especially at the very end where she must choose between throwing her brother under the bus - or saving him. She also has a great scene with a “bad boy” played by Charlie Sheen in a hilarious early role. Good work here from both Jones and Grey (and Sheen).
Lyman Ward and Cindy Pickett are suitably clueless as Ferris’ oblivious parents, but in the end, this movie belongs to the titular character himself - and his two partners-in-crime. Their day-long adventures in downtown Chicago are cinematic and comic gold. Whether crashing an art museum, a ritzy restaurant, or huge parade, Ferris, Cameron, and Sloane’s shenanigans are filled with that special energy you get when you’re around some really fun people and have a short amount of time to burn with them. A lot of these scenes, just like the movie they grace, are now iconic. And deservedly so.
Few movies, before or after, capture the power and vibrancy of youth as FERRIS BUELLER’S DAY OFF does. Perhaps it’s just as well that a sequel (Ferris in college or in the workforce) never materialized. Because how do you top this?
In closing, please find below the amusing Super Bowl teaser for this year that had people mistakenly thinking there was a FERRIS BUELLER sequel coming. Ha ha. Go, Ferris:
Oh, and speaking of "special days": HAPPY BIRTHDAY TO GIANLUIGI BUFFON! The Juventus keeper turned 34 yesterday! Go, G.G.!
(Ferris Bueller - For President. Seriously…)
CAST: Matthew Broderick, Alan Ruck, Mia Sara, Jeffrey Jones, Jennifer Grey, Cindy Pickett, Lyman Ward, Charlie Sheen.
DIRECTOR: John Hughes
WARNING: Some SPOILERS and one really awesome slacker genius - straight ahead…
IT’S LIKE THIS: We all know or have known at least one “Ferris Bueller” in our lifetime. You know: a guy who is impossibly clever, funny, charismatic, intelligent, creative, disarming, cute, unpredictable, exciting, and daring - and gets away with murder. My “Ferris Bueller” is my best friend “Forest Whitaker”, who would pull off such Machiavellian shit without so much as breaking a sweat - and have everyone eating out of his hands afterwards. I could only stand at the back of the room, shaking my head while thinking, “Amazing. Fu-cking amazing.” If he could bottle that “X-Factor” and sell it, he’d make a trillion dollars - easy.
The real Ferris Bueller is the hero of our latest review. He looks at lot like Matthew Broderick, and on one particular day, decides to play hookie from school by feigning sickness. The movie helpfully points out the best way to snow your parents into letting you stay home. See below:
Needless to say, Mom and Dad Bueller (Cindy Pickett and Lyman Ward) fall for it like Carrie Bradshaw going for the last half-off pair of sapphire rhinestone-glitter strappy Manolo Blahniks on the sale table. And just like that, our boy Ferris has got 10-12 hours of potentially awesome skating (not literally, although that is an option) ahead of him. He recruits best pal Cameron Frye (Alan Ruck), who (in an ironic twist) is actually sick, and together they snatch Ferris’ gal Sloane Petersen (Mia Sara) outta school - and set their mischievous sights on the Windy City.
Not so fast, though, because Ferris’ two nemeses are hot on this trail to bust his shit wide open: (1) Jeannie Bueller (Jennifer Grey), Ferris’ jealous spiteful sister; and (2) Mr. Rooney (Jeffrey Jones), high school principal/douchebag who has been chasing Ferris for years - and just might nab him now. The chase is on!
THE DUDE (OR DUDETTE) MOST LIKELY TO SAVE THE DAY: Believe it or not, Jeannie. And that’s all I’m going to say. Go, girl. Talk about hidden layers…
EYE CANDY MOST LIKELY TO FIRE UP A WOODY: Everyone in this flick is hot. My special favorite, though, is Alan Ruck - who’s got that sweet nerd thing going….
MOST INTENTIONALLY HILARIOUS SCENE: Oh, where the hell do I start? Ferris stealing Cameron’s dad’s Ferrari? Our trio crashing an art museum? A hoity-toity restaurant? The stock exchange? The Sears Building? A downtown Chicago parade? They’re all winners!
MOST UNINTENTIONALLY HILARIOUS SCENE: Jeannie’s scene with The Actor Who Will Go On To Star On TWO AND A HALF MEN - Then Leave It Abruptly. And the scene at the very end where Jeannie saves Ferris’ ass.
HOTTEST SCENE: Sorry, but I have to go for Ferris‘ shower scene where he… well, I‘m not sure what he‘s doing but he obviously doesn‘t want us to see it. So it has to be naughty!
INQUIRING MINDS WANT TO KNOW: Will Ferris, Cameron, and Sloane have a crazy day of illicit fun in the Windy City? Or will someone see them on the street and report them to Rooney? Or will Rooney catch them himself? And what will he do if he does? What about Ferris’ parents? Will they catch on to his schtick? Or will he live to play hookie another day? How will this “day off” end? And the most important question of all: where is that sequel?
WHY YOU SHOULD WATCH “FERRIS BUELLER‘S DAY OFF”: If you like youth comedies that are just as clever, funny, quirky, and intelligent as their lead character. If so, you are in for sooooooo much fun.
WHY YOU MAY NOT ENJOY “FERRIS BUELLER‘S DAY OFF”: If you have a hard time sitting through “youth” comedies and prefer “mature” fare. If so, you’re loss…
BUT, SERIOUSLY: Just as smart, funny, irreverent, and unpredictable as its hero, FERRIS BUELLER DAY’S OFF is a one-of-a-kind film. It’s a lot more mature and intelligent than your average teen comedy. Not surprising since its director, John Hughes, was also responsible for THE BREAKFAST CLUB, PRETTY IN PINK, and SOME KIND OF WONDERFUL. While Hughes was also responsible for more juvenile (but still good) fare like SIXTEEN CANDLES and WEIRD SCIENCE, he is also notable for adding surprisingly serious and somber threads to his latter films like the first three mentioned above. FERRIS BUELLER’S DAY OFF is a nice combination of these two categories.
It was crucial to have the right actor play Ferris. You can’t just have someone who’s very handsome, because looks are only skin deep, and Ferris is more than just another cute face. The right actor also has to be boyish, intelligent, funny, creative, subversive, and have the perfect amount of swagger. In casting Matthew Broderick, Hughes found the perfect actor for this unique character. Broderick makes the role his own, and instantly elevates it to iconic status. Broderick as Ferris charms us just as he does everyone onscreen.
He is complemented nicely by Alan Ruck as the far less vibrant, more subdued Cameron Frye. Ruck has an unconventionally handsome face that further helps give Cameron some welcome quirkiness. Ruck also nicely pulls off some semi-dramatic moments later in the film. It really helps that he and Broderick are very believable as best friends - and sell the relationship with their brotherly chemistry. Then there’s Mia Sara, who is just as good as Sloane Petersen, Ferris’ girlfriend who is just as free-wheeling as him. Sara’s slightly-exotic, dark-eyed beauty is a nice match for Broderick’s, and she turns Sloane into a very fresh and welcome “Third Musketeer”.
Of the supporting cast, the most important roles are Mr. Rooney, Ferris’ nemesis, and Jeannie, Ferris’s sister who envies Ferris’ “X-Factor”. Both roles are perfectly cast. Jeffrey Jones makes Rooney hissable, but also somewhat sympathetic - after all, he’s just doing his job (even if he goes to extreme lengths to do it). The result is a fine adversary for the wily and talented Ferris. Jennifer Grey also has some great scenes as Jeannie, and gives her character some unexpected shadings, especially at the very end where she must choose between throwing her brother under the bus - or saving him. She also has a great scene with a “bad boy” played by Charlie Sheen in a hilarious early role. Good work here from both Jones and Grey (and Sheen).
Lyman Ward and Cindy Pickett are suitably clueless as Ferris’ oblivious parents, but in the end, this movie belongs to the titular character himself - and his two partners-in-crime. Their day-long adventures in downtown Chicago are cinematic and comic gold. Whether crashing an art museum, a ritzy restaurant, or huge parade, Ferris, Cameron, and Sloane’s shenanigans are filled with that special energy you get when you’re around some really fun people and have a short amount of time to burn with them. A lot of these scenes, just like the movie they grace, are now iconic. And deservedly so.
Few movies, before or after, capture the power and vibrancy of youth as FERRIS BUELLER’S DAY OFF does. Perhaps it’s just as well that a sequel (Ferris in college or in the workforce) never materialized. Because how do you top this?
In closing, please find below the amusing Super Bowl teaser for this year that had people mistakenly thinking there was a FERRIS BUELLER sequel coming. Ha ha. Go, Ferris:
Oh, and speaking of "special days": HAPPY BIRTHDAY TO GIANLUIGI BUFFON! The Juventus keeper turned 34 yesterday! Go, G.G.!
Saturday, January 28, 2012
# 424 - HUMPDAY (2009)
HUMPDAY (2009 - COMEDY) *** out of *****
(Wait… what? You guys are going to do WHAT!?!?!)
CAST: Mark Duplass, Joshua Leonard, Alycia Delmore, Lynn Shelton, Trina Willard.
DIRECTOR: Lynn Shelton
WARNING: Some SPOILERS and one really compelling reason not too drink too much around your drinking buddies - straight ahead…
IT’S LIKE THIS: You’re all familiar with the term “Designated Driver”, right? Someone who purposefully doesn’t drink so that he/she can keep all the drunk fuckers at the party from killing themselves on their way home? Well, someone should amend the “Party Constitution Manual” to expand the duties/responsibilities of the “Designated Driver”. Specifically, those chosen for this hallowed position should also look out for their inebriated comrades AT the party - not just when driving them home AFTER. As in: monitor their drunken conversations to ensure they don’t end up making outlandishly asinine dares such as the one at the center of our next review, the indie darling HUMPDAY. And I assure the movie isn’t about “Wednesday”. If it were, we wouldn’t need a “designated driver”.
Our “heroes” are two former college buds: (1) Ben (Mark Duplass), sane-and-settled Seattle yuppie who is trying to start a family with his wife Anna (Alycia Delmore); and (2) Andrew (Joshua Leonard), stoned-and-soused hippie who thinks he’s still an undergraduate and has no intentions of settling down - ever, apparently. Ben’s world is all fine until Andrew comes trekking back into it. And before you know it, the buttoned-up Ben is hanging out again with Andrew and a bunch of hipster lesbos - and slammin’ back lots of judgement-impairing alcohol. Which leads to the reason why they should’ve had a designated driver with them that night…
You see, in the middle of their drunken stupor, Ben and Andrew hear about some amateur porn film festival called, ahem, “Humpfest”. And being drunk, stupid characters in a “clever“ indie film, they hit on the idea of making a movie of them… having sex. Their hook? Simple: “Two straight guys having sex is beyond gay!” Um, yes, it is. It is idiotic. Ben and Andrew somehow think this shit is actually original, novel, and will win them the top prize at, ahem, “Humpfest“. Completely overlooking the fact that two pale, tubby, okay-looking, hetero white guys porking each other is about as erotic as watching a blind person devein a shrimp. And about as awkward, too. It’s not like these guys are GQ models or anything like that. That would be a different story. Very different.
THE DUDE (OR DUDETTE) MOST LIKELY TO SAVE THE DAY: The guys are so busy trying to prove who’s the bigger stud (stupid men), to realize the colossal blunder they are planning. So its up to Anna to try and talk some sense into these chuckleheads. Good luck, girl. You’ll need it.
EYE CANDY MOST LIKELY TO FIRE UP A WOODY: Mark Duplass, Joshua Leonard, and Alycia Delmore are reasonably attractive.
MOST INTENTIONALLY EXCITING SCENE: Anna discovering the true details of Ben and Andrew’s, ahem, project…
MOST UNINTENTIONALLY HILARIOUS SCENE: Ben and Andrew trying to “suck face” for the first time. That shit is enough to make Elton John go straight…
HOTTEST SCENE: Um… none. Really. After watching this movie, I’m ready to fly to L.A. and party hardy at the Playboy Mansion. If you know what I mean. Or call up Chris Evans’ Twin for an intervention. Seriously.
INQUIRING MINDS WANT TO KNOW: Will Ben and Andrew, two Grade-A straighties, go through with this colossally stupid idea? Who the hell wants to see two thoroughly-ordinary-looking heteros fuck each other? It’s not like we’re taking about Sam Worthington and Gerard Butler here. Will Anna put a stop to this nonsense? Or will Ben and Andrew just run roughshod over her? What are their motivations, anyway? Is one or both of them a closet case - and is using the movie as an excuse to explore his sexuality? And what happens when “Humpday” finally arrives? Will they both get it up? Or is someone going to have to chug a Viagra shake? Who cares. I’m going to fuck Chris Evan’s Twin’s brains out now to erase the memory of this movie.
WHY YOU SHOULD WATCH “HUMPDAY”: If you like talky, quirky, reasonably funny, but also somewhat overrated indie flicks. If so, pull up a chair…
WHY YOU MAY NOT ENJOY “HUMPDAY”: If you don’t like talky, quirky, reasonably funny, but also somewhat overrated indie flicks. If so, pull out of this one and stick it in a big, expensive studio movie instead.
BUT, SERIOUSLY: An audience darling at the 2009 Sundance 2009 Film Festival (where it won the Audience Award) HUMPDAY was mostly well-received during its release. I didn’t see this film until last year, when a reader recommended it as a review. Based on all the positive critiques and word-of-mouth, it was easy to believe that HUMPDAY was a modern comedy classic. The reality is very different. Is HUMPDAY a good movie? In my opinion, not quite. It’s definitely far from being a bad movie, and broaches some very intriguing ideas. Unfortunately, like other elements in the film, it is half-baked and not fully realized - and doesn’t quite live up to all the hoopla surrounding it.
My main issue with HUMPDAY is the same quibble I had with THE BLAIR WITCH PROJECT (another interesting but flawed film): it is largely improv. Now, improv can yield some truly inspired comic and/or dramatic gold - but it can also lead to some endless and unfocused meanderings. This was very true of BLAIR WITCH, which had tension and suspense that was constantly being undercut by some unfocused scenes and improv dialogue on the part of its performers. The same thing occurs in HUMPDAY - much of the dialogue of the characters in HUMPDAY is made up on the spot, and while it does occasionally lend the film some depth and amusement, it also goes on far too long than necessary. Instead of feeling as if you’re watching characters interacting, you instead get the sense of actors being unleashed to do their thing - and it actually takes away somewhat from the naturalism of the film. Ironically, for all of HUMPDAY’s “mumblecore” unadorned pedigree, you can’t help but feel you are watching just another “stagey” movie.
The actors themselves are competent. Unfortunately, I just don’t think they delivered any convincing characters - but, rather, were only giving endless speeches. There’s a difference between creating a full-blooded, three-dimensional, unique character - and just making up lines that are purportedly interesting. Alycia Delmore as Anna fares better than Mark Duplass and Joshua Leonard as Ben and Andrew, primarily because we can totally relate to her disbelief at what her husband and his best friend are attempting to do. It’s only later when she calmly lets them do as they please “to get it out of your system” that Anna starts to appear as contrived as Ben and Andrew.
This lack of actual written dialogue may be the reason why it’s hard to buy into Ben and Andrew’s dare. I understand that males can be irrationally competitive at times, but two straight men reluctant to be the first to back down from a drunken bet to sleep with each other (especially when one of them is married and starting a family) is simply ridiculous. And while Duplass and Leonard are decent actors, they do not quite get us to suspend our disbelief and buy into Ben and Andrew’s motivations. Towards the end of the film, Ben does provide something of an explanation when he talks about a surprisingly powerful same-sex attraction he had to a male video store clerk when he first moved to the big city. This is ostensibly supposed to provide the impetus for Ben to pursue the “Humpfest” project with Ben - to find out if he has any secret desires for men. Unfortunately, because of the lack of a carefully crafted script, it feels like something pulled out of mid-air and not a motivation organic to the plot. In the end, it’s just another bit of improv.
I have to state again that HUMPDAY is not a bad film, or even average one. It is an interesting but flawed one - proof that just because you have a clever idea, doesn’t mean you automatically have a good film. You also must have the right execution. And in my opinion, they should’ve used an actual written script and jettisoned the improv.
(Wait… what? You guys are going to do WHAT!?!?!)
CAST: Mark Duplass, Joshua Leonard, Alycia Delmore, Lynn Shelton, Trina Willard.
DIRECTOR: Lynn Shelton
WARNING: Some SPOILERS and one really compelling reason not too drink too much around your drinking buddies - straight ahead…
IT’S LIKE THIS: You’re all familiar with the term “Designated Driver”, right? Someone who purposefully doesn’t drink so that he/she can keep all the drunk fuckers at the party from killing themselves on their way home? Well, someone should amend the “Party Constitution Manual” to expand the duties/responsibilities of the “Designated Driver”. Specifically, those chosen for this hallowed position should also look out for their inebriated comrades AT the party - not just when driving them home AFTER. As in: monitor their drunken conversations to ensure they don’t end up making outlandishly asinine dares such as the one at the center of our next review, the indie darling HUMPDAY. And I assure the movie isn’t about “Wednesday”. If it were, we wouldn’t need a “designated driver”.
Our “heroes” are two former college buds: (1) Ben (Mark Duplass), sane-and-settled Seattle yuppie who is trying to start a family with his wife Anna (Alycia Delmore); and (2) Andrew (Joshua Leonard), stoned-and-soused hippie who thinks he’s still an undergraduate and has no intentions of settling down - ever, apparently. Ben’s world is all fine until Andrew comes trekking back into it. And before you know it, the buttoned-up Ben is hanging out again with Andrew and a bunch of hipster lesbos - and slammin’ back lots of judgement-impairing alcohol. Which leads to the reason why they should’ve had a designated driver with them that night…
You see, in the middle of their drunken stupor, Ben and Andrew hear about some amateur porn film festival called, ahem, “Humpfest”. And being drunk, stupid characters in a “clever“ indie film, they hit on the idea of making a movie of them… having sex. Their hook? Simple: “Two straight guys having sex is beyond gay!” Um, yes, it is. It is idiotic. Ben and Andrew somehow think this shit is actually original, novel, and will win them the top prize at, ahem, “Humpfest“. Completely overlooking the fact that two pale, tubby, okay-looking, hetero white guys porking each other is about as erotic as watching a blind person devein a shrimp. And about as awkward, too. It’s not like these guys are GQ models or anything like that. That would be a different story. Very different.
THE DUDE (OR DUDETTE) MOST LIKELY TO SAVE THE DAY: The guys are so busy trying to prove who’s the bigger stud (stupid men), to realize the colossal blunder they are planning. So its up to Anna to try and talk some sense into these chuckleheads. Good luck, girl. You’ll need it.
EYE CANDY MOST LIKELY TO FIRE UP A WOODY: Mark Duplass, Joshua Leonard, and Alycia Delmore are reasonably attractive.
MOST INTENTIONALLY EXCITING SCENE: Anna discovering the true details of Ben and Andrew’s, ahem, project…
MOST UNINTENTIONALLY HILARIOUS SCENE: Ben and Andrew trying to “suck face” for the first time. That shit is enough to make Elton John go straight…
HOTTEST SCENE: Um… none. Really. After watching this movie, I’m ready to fly to L.A. and party hardy at the Playboy Mansion. If you know what I mean. Or call up Chris Evans’ Twin for an intervention. Seriously.
INQUIRING MINDS WANT TO KNOW: Will Ben and Andrew, two Grade-A straighties, go through with this colossally stupid idea? Who the hell wants to see two thoroughly-ordinary-looking heteros fuck each other? It’s not like we’re taking about Sam Worthington and Gerard Butler here. Will Anna put a stop to this nonsense? Or will Ben and Andrew just run roughshod over her? What are their motivations, anyway? Is one or both of them a closet case - and is using the movie as an excuse to explore his sexuality? And what happens when “Humpday” finally arrives? Will they both get it up? Or is someone going to have to chug a Viagra shake? Who cares. I’m going to fuck Chris Evan’s Twin’s brains out now to erase the memory of this movie.
WHY YOU SHOULD WATCH “HUMPDAY”: If you like talky, quirky, reasonably funny, but also somewhat overrated indie flicks. If so, pull up a chair…
WHY YOU MAY NOT ENJOY “HUMPDAY”: If you don’t like talky, quirky, reasonably funny, but also somewhat overrated indie flicks. If so, pull out of this one and stick it in a big, expensive studio movie instead.
BUT, SERIOUSLY: An audience darling at the 2009 Sundance 2009 Film Festival (where it won the Audience Award) HUMPDAY was mostly well-received during its release. I didn’t see this film until last year, when a reader recommended it as a review. Based on all the positive critiques and word-of-mouth, it was easy to believe that HUMPDAY was a modern comedy classic. The reality is very different. Is HUMPDAY a good movie? In my opinion, not quite. It’s definitely far from being a bad movie, and broaches some very intriguing ideas. Unfortunately, like other elements in the film, it is half-baked and not fully realized - and doesn’t quite live up to all the hoopla surrounding it.
My main issue with HUMPDAY is the same quibble I had with THE BLAIR WITCH PROJECT (another interesting but flawed film): it is largely improv. Now, improv can yield some truly inspired comic and/or dramatic gold - but it can also lead to some endless and unfocused meanderings. This was very true of BLAIR WITCH, which had tension and suspense that was constantly being undercut by some unfocused scenes and improv dialogue on the part of its performers. The same thing occurs in HUMPDAY - much of the dialogue of the characters in HUMPDAY is made up on the spot, and while it does occasionally lend the film some depth and amusement, it also goes on far too long than necessary. Instead of feeling as if you’re watching characters interacting, you instead get the sense of actors being unleashed to do their thing - and it actually takes away somewhat from the naturalism of the film. Ironically, for all of HUMPDAY’s “mumblecore” unadorned pedigree, you can’t help but feel you are watching just another “stagey” movie.
The actors themselves are competent. Unfortunately, I just don’t think they delivered any convincing characters - but, rather, were only giving endless speeches. There’s a difference between creating a full-blooded, three-dimensional, unique character - and just making up lines that are purportedly interesting. Alycia Delmore as Anna fares better than Mark Duplass and Joshua Leonard as Ben and Andrew, primarily because we can totally relate to her disbelief at what her husband and his best friend are attempting to do. It’s only later when she calmly lets them do as they please “to get it out of your system” that Anna starts to appear as contrived as Ben and Andrew.
This lack of actual written dialogue may be the reason why it’s hard to buy into Ben and Andrew’s dare. I understand that males can be irrationally competitive at times, but two straight men reluctant to be the first to back down from a drunken bet to sleep with each other (especially when one of them is married and starting a family) is simply ridiculous. And while Duplass and Leonard are decent actors, they do not quite get us to suspend our disbelief and buy into Ben and Andrew’s motivations. Towards the end of the film, Ben does provide something of an explanation when he talks about a surprisingly powerful same-sex attraction he had to a male video store clerk when he first moved to the big city. This is ostensibly supposed to provide the impetus for Ben to pursue the “Humpfest” project with Ben - to find out if he has any secret desires for men. Unfortunately, because of the lack of a carefully crafted script, it feels like something pulled out of mid-air and not a motivation organic to the plot. In the end, it’s just another bit of improv.
I have to state again that HUMPDAY is not a bad film, or even average one. It is an interesting but flawed one - proof that just because you have a clever idea, doesn’t mean you automatically have a good film. You also must have the right execution. And in my opinion, they should’ve used an actual written script and jettisoned the improv.
Friday, January 27, 2012
RANDOM HILARIOUS YOUTUBE VIDEO - Behind The Scenes of THE PROPOSAL...
Hiya, folks...
Remember that classic "I Love You/I Hate You/I Love You" romantic comedy THE PROPOSAL (review # 369)? Well, a loyal viewer just alerted me to the hilarious behind-the-scenes spoof of stars Sandra Bullock, Ryan Reynolds, and Betty White going at it like a bunch of spoiled divas. Check out the vid below. Even funnier than the MEMOIRS OF A GEISHA spoof.
Ha ha ha. Damn. Ryan got owned by the girlz... And not in that good way.
Remember that classic "I Love You/I Hate You/I Love You" romantic comedy THE PROPOSAL (review # 369)? Well, a loyal viewer just alerted me to the hilarious behind-the-scenes spoof of stars Sandra Bullock, Ryan Reynolds, and Betty White going at it like a bunch of spoiled divas. Check out the vid below. Even funnier than the MEMOIRS OF A GEISHA spoof.
Ha ha ha. Damn. Ryan got owned by the girlz... And not in that good way.
REVIEW UPDATE: HUMPDAY & FERRIS BUELLER....
Hello, all...
Happy Friday! We made it to the weekend - finally. We were supposed to have been waist-deep in our Thriller Reviews by now, but it's been a busy week for the Soccer Blog (and other social engagements), and so all my energies have been focused on those avenues.
However, please note that the reviews for HUMPDAY and FERRIS BUELLER'S DAY OFF will both post tomorrow. Then we start our Thriller Reviews, beginning with THE RECRUIT, ENTRAPMENT, and THE FIRM. Others to follow.
Thanks for understanding. It's been a "molto-particulare" week. In other words, "one of a kind" - but in a very good way.
Ciao, folks...
Happy Friday! We made it to the weekend - finally. We were supposed to have been waist-deep in our Thriller Reviews by now, but it's been a busy week for the Soccer Blog (and other social engagements), and so all my energies have been focused on those avenues.
However, please note that the reviews for HUMPDAY and FERRIS BUELLER'S DAY OFF will both post tomorrow. Then we start our Thriller Reviews, beginning with THE RECRUIT, ENTRAPMENT, and THE FIRM. Others to follow.
Thanks for understanding. It's been a "molto-particulare" week. In other words, "one of a kind" - but in a very good way.
Ciao, folks...
Sunday, January 22, 2012
Arise, Sir David, MLS Savior, and (*update*) Juventus, Serie A 2011-2012 Winter Champs......
Happy Sunday, folks...
It's been a terrific weekend for various reasons, which is why I haven't gotten HUMPDAY and FERRIS BUELLER'S OFF DAY posted yet. Please expect them to go up tonight when we get back in.
And while I know I've decided to separate all soccer, Sounders, and World Cup-related matters to the other blog, I can't resist posting a little tribute to Sir David Beckham here. I posted a tribute and celebratory post on the soccer blog to commemorate his decision to give the finger to Paris-St. Germain - and remain here in the U S of A. And now I'm finally posting a similar (if a lot shorter) tribute to him here on this movie review blog.
I don't have to tell you how important it is for American soccer to have this brilliant, unique individual in our folds, especially on the eve of the MLS 2012 season kickoff in March... We were genuinely concerned that Becks would actually go to to France. Turns out we have nothing to worry about - for the next two years, anyway.
But let the images of this brilliant man speak for themselves:
Cheers, Becks. See you at CenturyLink Field this season. Give me some great pictures like you did last season...
UPDATE: And to fellow Juventus fans back in Italy and around the World, congrats on Juve being the Winter Champs for the Serie A 2011-2012 season, which is the half-way mark title. This is a good sign because, historically, the teams that won the Winter Champs title, went on to win the Scudetto (Serie A version of the MLS Cup). After Napoli, Inter-Milan, and Roma, Juventus is my next fave team, which along with Becks' decision to stay Stateside, makes this month a great time in soccer, both domestic and international.
A tribute to La Vecchia Signora, AKA The Old Lady (Juventus's nickname as one of the oldest football clubs in Italy)...
It's been a terrific weekend for various reasons, which is why I haven't gotten HUMPDAY and FERRIS BUELLER'S OFF DAY posted yet. Please expect them to go up tonight when we get back in.
And while I know I've decided to separate all soccer, Sounders, and World Cup-related matters to the other blog, I can't resist posting a little tribute to Sir David Beckham here. I posted a tribute and celebratory post on the soccer blog to commemorate his decision to give the finger to Paris-St. Germain - and remain here in the U S of A. And now I'm finally posting a similar (if a lot shorter) tribute to him here on this movie review blog.
I don't have to tell you how important it is for American soccer to have this brilliant, unique individual in our folds, especially on the eve of the MLS 2012 season kickoff in March... We were genuinely concerned that Becks would actually go to to France. Turns out we have nothing to worry about - for the next two years, anyway.
But let the images of this brilliant man speak for themselves:
Cheers, Becks. See you at CenturyLink Field this season. Give me some great pictures like you did last season...
UPDATE: And to fellow Juventus fans back in Italy and around the World, congrats on Juve being the Winter Champs for the Serie A 2011-2012 season, which is the half-way mark title. This is a good sign because, historically, the teams that won the Winter Champs title, went on to win the Scudetto (Serie A version of the MLS Cup). After Napoli, Inter-Milan, and Roma, Juventus is my next fave team, which along with Becks' decision to stay Stateside, makes this month a great time in soccer, both domestic and international.
A tribute to La Vecchia Signora, AKA The Old Lady (Juventus's nickname as one of the oldest football clubs in Italy)...
Thursday, January 19, 2012
UPCOMING REVIEWS FOR 1/23/12 - 2/3/12
Evening, folks...
Hope everyone's doing great thus far, and having a blast. We're right on schedule with our film reviews. I still owe you folks HUMPDAY and FERRIS BUELLER'S DAY OFF for this week. Yup, our list changed a bit because I pulled BELLA and MONEYBALL to save them for the Valentine's Celebration for most of the month of February. They're great examples of "Love of Sports" movies.
Speaking of the Month of Love, the last two weeks of January will be devoted to... thrillers. Since most of February will be devoted to movies about love in all its shapes and sizes, we have to get all the adrenaline out of our system. I've chosen a bunch of thrillers, mostly recommendations with a couple of personal favorites, to also mark the release of THE GREY and HAYWIRE in theaters and ABDUCTION on DVD. Yup. Once we get the thrills and chills out of our system, we'll be ready for a month of Amore.
Please see our Thriller Schedule for the next two weeks below:
# 426 - THE RECRUIT (AKA: If All CIA Agents Looked Like Colin Farrell And Bridget Moynahan, I Would Gladly Be A Bad Guy Just So They Could Frisk Me)
# 427 - CELLULAR (AKA: Jason Statham And Chris Evans In One Movie - I Think I Just Died And Went To A "Happy Ending" Sauna)
# 428 - THE FIRM (AKA: Goddamn That Fucking Placement Office)
# 429 - ENTRAPMENT (AKA: Catherine Zeta Jones In A Catsuit - Partay!)
# 430 - THE GREY (AKA: More Reasons Not To Fly Anywhere North of Seattle)
# 431 - ABDUCTION (AKA: Taylor Lautner Plays A Bastard - No, He's Literally A Bastard, As In: An Illegitimate Spawn)
# 432 - HAYWIRE (AKA: Jason Bourne - With Tits)
# 433 - THE CLIENT (AKA: Susan Sarandon - Best. Lawyah. Evah.)
Please expect the reviews for HUMPDAY and FERRIS BUELLER'S DAY OFF to post sometime this weekend. Have a great one, folks!
Hope everyone's doing great thus far, and having a blast. We're right on schedule with our film reviews. I still owe you folks HUMPDAY and FERRIS BUELLER'S DAY OFF for this week. Yup, our list changed a bit because I pulled BELLA and MONEYBALL to save them for the Valentine's Celebration for most of the month of February. They're great examples of "Love of Sports" movies.
Speaking of the Month of Love, the last two weeks of January will be devoted to... thrillers. Since most of February will be devoted to movies about love in all its shapes and sizes, we have to get all the adrenaline out of our system. I've chosen a bunch of thrillers, mostly recommendations with a couple of personal favorites, to also mark the release of THE GREY and HAYWIRE in theaters and ABDUCTION on DVD. Yup. Once we get the thrills and chills out of our system, we'll be ready for a month of Amore.
Please see our Thriller Schedule for the next two weeks below:
# 426 - THE RECRUIT (AKA: If All CIA Agents Looked Like Colin Farrell And Bridget Moynahan, I Would Gladly Be A Bad Guy Just So They Could Frisk Me)
# 427 - CELLULAR (AKA: Jason Statham And Chris Evans In One Movie - I Think I Just Died And Went To A "Happy Ending" Sauna)
# 428 - THE FIRM (AKA: Goddamn That Fucking Placement Office)
# 429 - ENTRAPMENT (AKA: Catherine Zeta Jones In A Catsuit - Partay!)
# 430 - THE GREY (AKA: More Reasons Not To Fly Anywhere North of Seattle)
# 431 - ABDUCTION (AKA: Taylor Lautner Plays A Bastard - No, He's Literally A Bastard, As In: An Illegitimate Spawn)
# 432 - HAYWIRE (AKA: Jason Bourne - With Tits)
# 433 - THE CLIENT (AKA: Susan Sarandon - Best. Lawyah. Evah.)
Please expect the reviews for HUMPDAY and FERRIS BUELLER'S DAY OFF to post sometime this weekend. Have a great one, folks!
# 423 - THE PELICAN BRIEF (1993)
THE PELICAN BRIEF (1993 - THRILLER / MYSTERY) *** out of *****
(So… is this flick about a bird‘s underwear?)
CAST: Julia Roberts, Denzel Washington, Sam Shepard, Tony Goldwyn, John Lithgow, Robert Culp, Stanley Tucci, Cynthia Nixon, Jake Weber, Hume Cronyn, Ralph Cosham.
DIRECTOR: Alan J. Pakula
WARNING: Some SPOILERS and one really fucked-up way to be proven right - straight ahead…
IT’S LIKE THIS: In one night, two Supreme Court Justices, Justices Rosenberg (Hume Cronyn) and Jensen (Ralph Cosham) are brutally iced. Given that one was a conservative Republican (Rosenberg) who was older than mold with one foot in the grave, and the other (Jensen) was a middle-aged Democrat who liked to secretly frequent gay porno theaters (in fact, he is killed in one), it’s safe to say their social circles didn’t exactly overlap, know what I’m sayin’? So why would an assassin kill those particular two? What did they have in common that made them targets? While the FBI and the rest of Washington DC go into conniption fits over the assassinations and try to find out who was behind them, someone 1,000 miles away in New Orleans has already done their fucking jobs for them.
She is Darby Shaw (Julia Roberts), a brilliant and driven Tulane University law student who has a flash of inspiration after the murders - and writes a lengthy speculative paper explaining who ordered the hits and why. She dubs this saga as, ahem, “The Pelican Brief”, for reasons that you will find out if you see the movie. Anyhow, Darby passes the brief on to her professor/lover Thomas Callahan (Sam Shephard) - who then passes it on as a joke to FBI pal Gavin Verheek (John Heard), who then passes it on up to his higher-ups, who then pass it on to the… the President (Robert Culp).
Bad move. Because it turns out that whoever ordered the killings of Justices Rosenberg and Jensen is very well-connected - and very powerful. Before you can say “Run, Julia, Run!” Thomas is killed in a car bombing that Darby herself barely manages to escape. It appears that someone wants anyone who’s read “The Pelican Brief” to be a thing of the past - including the author herself. Especially the author herself. After lots of THREE DAYS OF THE CONDOR-like shenanigans and perils, Darby hooks up with Washington Post reporter Gray Grantham (Denzel Washington), and together they try to figure who hates Darby’s theory enough to kill her for it. Damn, Darby, what the fuck did you write in that thing?
THE DUDE (OR DUDETTE) MOST LIKELY TO SAVE THE DAY: Gray and Darby, I guess. They’re the only ones doing anything to figure out what the hell is going on. Everyone else just wants ‘em dead.
EYE CANDY MOST LIKELY TO FIRE UP A WOODY: It‘s the Julia and Denzel show - make no mistake….
MOST INTENTIONALLY EXCITING SCENE: The final parking gargage chase scene where the assassins chase Darby and Gray, just after they’ve uncovered proof of the conspiracy, is the closest thing this movie has to an outright climax - therefore it’s the most exciting, if only by default. Oh, and the scene where Darby and Gray break the story of the, uh, “bird brief”.
MOST UNINTENTIONALLY HILARIOUS SCENE: That dipshit assassin Khamel (Stanley Tucci) getting a dose of his own medicine when Darby’s “guardian angel” assassin crashes their party…
HOTTEST SCENE: Any time Julia is called upon to convey the kaleidoscope of emotions going through Darby - without a single word and just using her face. This. Woman. Rocks.
INQUIRING MINDS WANT TO KNOW: What the hell is in “The Pelican Brief”? What kind of a shit-storm has Darby started with her (apparently) dead-on speculations? And who is behind the whole thing? A powerful friend of the President’s? If so, is the President himself a baddie? And if he is, what hope does Darby have of surviving this thing? Can Gray help her? Or is he part of the conspiracy, too? Will the assassins eventually catch up with Darby? If so, how will she outwit them? And why didn’t she just take the brief to the NATIONAL ENQUIRER instead? Because assassins wouldn’t dare go after paparazzi. It would wind up in all the papers, you see…
WHY YOU SHOULD WATCH “THE PELICAN BRIEF”: If you like conspiracy-chase legal thrillers based on bestselling books. And if you like Julia, Denzel, and author John Grisham.
WHY YOU MAY NOT ENJOY “THE PELICAN BRIEF”: If you don’t care for conspiracy-chase legal thrillers and prefer to see Roberts in lighter fare like PRETTY WOMAN, RUNAWAY BRIDE, AMERICA’S SWEETHEARTS, and SLEEPING WITH THE ENEMY. Kidding about that last one…
BUT, SERIOUSLY: I first read John Grisham’s bestselling thriller “The Pelican Brief” not long after its publication in 1992. Hot off the mega-success of his previous novel “The Firm”, Grisham once again hit the bull’s eye with this story about a too-brilliant-for-her-own-good law student who correctly deduces the motive and perpetrator behind the high-profile assassinations of two Supreme Court Justices, and must go on the run to not only stay alive, but also prove that she’s right. From reading the heroine’s physical description the book, I couldn’t help but think Grisham had written the role of Darby Shaw with Roberts in mind. Whether or not this is the case, it’s a good thing she took the role because she elevates this film with her star power.
I write “elevates” because without Julia Roberts, THE PELICAN BRIEF would’ve been an average film. Suffice it to say, I was somewhat disappointed when I finally saw the cinematic version of the novel that I thoroughly enjoyed. I love Hitchcockian chase thrillers, and the novel was a solidly good example of one. On the surface, THE PELICAN BRIEF looks like it can’t miss: (1) Alan J. Pakula (director of such classics as ALL THE PRESIDENT’S MEN, KLUTE, and PRESUMED INNOCENT) at the helm; (2) Roberts and Denzel Washington as her co-lead; and (3) a solid supporting cast consisting of Sam Shepard, John Heard, Stanley Tucci, John Lithgow, Robert Culp, Tony Goldwyn, and a young Cynthia Nixon, pre-SEX AND THE CITY.
Unfortunately, the kinetic energy of the book is replaced by a broodingly-slow pace that might’ve been welcome in another kind of thriller, but somehow doesn’t feel right for this “race-to-stay-alive” story. Scenes that came across as tense and exciting on book and script page somehow feel muted and lackluster onscreen. To be sure, there are still a few suspenseful setpieces here, such as Khamel the assassin going after Gavin Verheek, and the final confrontation (as such) in the parking garage between Darby, Gray, and the killers on their trail. But these are too few and far between. Most of the time, we get a whole slew of perfunctory sequences of Darby being chased by nameless thugs, or she and Gray going about their investigation in mechanical manner.
I’m not sure what to attribute this lethargic feel to THE PELICAN BRIEF except Pakula must have specifically aspired to it. Sadly, Pakula was killed in a bizarre car accident years ago, and I certainly respect the man’s talent. After all, he gave us ALL THE PRESIDENT’S MEN, KLUTE, and PRESUMED INNOCENT. Like those films, THE PELICAN BRIEF is a thriller. Unlike those films, however, THE PELICAN BRIEF is a chase thriller. As such, it needed a more galvanizing, and less somber, feel. Think of THREE DAYS OF A CONDOR from 1974, which was the right blend of cerebral and visceral. Director Sydney Pollack made that movie a memorably energetic thriller that didn’t short-change the audience’s intelligence. Pollack would go on to repeat this winning combo with THE FIRM (1993 - the same year as THE PELICAN BRIEF and also from a Grisham novel) and THE INTERPRETER (2005).
Indeed, if you want to see the kind of directorial approach THE PELICAN BRIEF should have received, just watch THE FIRM (review coming next week) and see how Pollack manages to not only combine suspense and action, but also humor and humanity. Unfortunately, THE PELICAN BRIEF doesn’t have enough of these elements to allow it to reach THE FIRM’s level of quality. I often wonder how THE PELICAN BRIEF would’ve turned out if Sydney Pollack had directed it. Again, I’m a deep admirer of Alan J. Pakula’s talents, and I certainly mourn his passing like all film lovers, but I just feel his handling of THE PELICAN BRIEF was not the most ideal one.
Why, then, does THE PELICAN BRIEF manage to rate *** (above average). As I wrote before, two words: Julia. Roberts. Prior to THE PELICAN BRIEF, Roberts had done mostly comedies and dramas, and only starred in two other thrillers: the flawed-but-interesting FLATLINERS (1990) and SLEEPING WITH THE ENEMY (1991). Coming straight off PRETTY WOMAN, Roberts proved in these flicks that she was more than just a comedy actress and could also do “serious and scared” compellingly. There are moments in both FLATLINERS and SLEEPING WITH THE ENEMY where Roberts holds the screen and our attention with her expressions alone - revealing more about her characters’ emotional states than ten pages of dialogue.
She does the same thing in THE PELICAN BRIEF with Darby Shaw, beautifully. Some great examples to look for: (1) Darby’s reaction when Thomas is first killed in the car bombing; (2) her realization in the Emergency Room that his death was not an accident - and she was supposed to die, as well; (3) Darby hiding in the hotel room, trying to control her panic; (4) Darby’s reaction when she discovers that Gray’s contact at the law firm has been killed, and her ensuing “breakdown”; and (5) her farewell look to Gray at the end.
If there was ever proof of star power being able to save a movie from average-dom, it’s Roberts’ emotionally compelling turn in THE PELICAN BRIEF. As it is, Roberts manages to do this even when the script shunts Darby to the side for extended periods of time while it follows the uninteresting machinations of most of the male supporting characters (including Gray - more on that below). Imagine how much more stunning Eoberts could’ve been - and how much better THE PELICAN BRIEF would be - if Darby was the main focus of the story for most of the running time. That’s another reason why THE FIRM is a superior film to THE PELICAN BRIEF - in the former, we spend more time in the lead character’s shoes and get caught up in his dilemma.
Another reason THE PELICAN BRIEF isn’t as energetic as it can be is a rather bland performance from Denzel Washington. Anyone who reads this blog knows I’m a fan of the guy. But, as I’ve mentioned in previous Washington film reviews, I find him more interesting when he’s playing flawed, imperfect characters. When he plays “goodie-goodie” type of heroes (as in THE BOOK OF ELI), I tune out. Here, he is playing such a guy: someone who is not only perfect, but boringly-so. I didn’t feel this way about the character in the book, so I can only surmise it’s Washington’s “Knight-In-Shining-Armor” approach to the role - or Pakula’s direction of him. In any case, THE PELICAN BRIEF would’ve been a stronger thriller with a “rougher-edged” reporter as its co-lead. Think of Russell Crowe’s dynamic character in STATE OF PLAY - that’s how Gray should’ve been played. Or even just casting Laurence Fishburne in the role - he always seems to have an element of dangerous unpredictability to him, no matter how nice his character is.
Ultimately, THE PELICAN BRIEF is a curiously restrained chase thriller (there’s a contradiction in terms) that is enlivened by Julia Roberts’ sheer charisma and “X-Factor“. Without her, I don’t know how enjoyable this film would’ve been. No disrespect to the talented late Mr. Pakula. Just keeping it real.
(So… is this flick about a bird‘s underwear?)
CAST: Julia Roberts, Denzel Washington, Sam Shepard, Tony Goldwyn, John Lithgow, Robert Culp, Stanley Tucci, Cynthia Nixon, Jake Weber, Hume Cronyn, Ralph Cosham.
DIRECTOR: Alan J. Pakula
WARNING: Some SPOILERS and one really fucked-up way to be proven right - straight ahead…
IT’S LIKE THIS: In one night, two Supreme Court Justices, Justices Rosenberg (Hume Cronyn) and Jensen (Ralph Cosham) are brutally iced. Given that one was a conservative Republican (Rosenberg) who was older than mold with one foot in the grave, and the other (Jensen) was a middle-aged Democrat who liked to secretly frequent gay porno theaters (in fact, he is killed in one), it’s safe to say their social circles didn’t exactly overlap, know what I’m sayin’? So why would an assassin kill those particular two? What did they have in common that made them targets? While the FBI and the rest of Washington DC go into conniption fits over the assassinations and try to find out who was behind them, someone 1,000 miles away in New Orleans has already done their fucking jobs for them.
She is Darby Shaw (Julia Roberts), a brilliant and driven Tulane University law student who has a flash of inspiration after the murders - and writes a lengthy speculative paper explaining who ordered the hits and why. She dubs this saga as, ahem, “The Pelican Brief”, for reasons that you will find out if you see the movie. Anyhow, Darby passes the brief on to her professor/lover Thomas Callahan (Sam Shephard) - who then passes it on as a joke to FBI pal Gavin Verheek (John Heard), who then passes it on up to his higher-ups, who then pass it on to the… the President (Robert Culp).
Bad move. Because it turns out that whoever ordered the killings of Justices Rosenberg and Jensen is very well-connected - and very powerful. Before you can say “Run, Julia, Run!” Thomas is killed in a car bombing that Darby herself barely manages to escape. It appears that someone wants anyone who’s read “The Pelican Brief” to be a thing of the past - including the author herself. Especially the author herself. After lots of THREE DAYS OF THE CONDOR-like shenanigans and perils, Darby hooks up with Washington Post reporter Gray Grantham (Denzel Washington), and together they try to figure who hates Darby’s theory enough to kill her for it. Damn, Darby, what the fuck did you write in that thing?
THE DUDE (OR DUDETTE) MOST LIKELY TO SAVE THE DAY: Gray and Darby, I guess. They’re the only ones doing anything to figure out what the hell is going on. Everyone else just wants ‘em dead.
EYE CANDY MOST LIKELY TO FIRE UP A WOODY: It‘s the Julia and Denzel show - make no mistake….
MOST INTENTIONALLY EXCITING SCENE: The final parking gargage chase scene where the assassins chase Darby and Gray, just after they’ve uncovered proof of the conspiracy, is the closest thing this movie has to an outright climax - therefore it’s the most exciting, if only by default. Oh, and the scene where Darby and Gray break the story of the, uh, “bird brief”.
MOST UNINTENTIONALLY HILARIOUS SCENE: That dipshit assassin Khamel (Stanley Tucci) getting a dose of his own medicine when Darby’s “guardian angel” assassin crashes their party…
HOTTEST SCENE: Any time Julia is called upon to convey the kaleidoscope of emotions going through Darby - without a single word and just using her face. This. Woman. Rocks.
INQUIRING MINDS WANT TO KNOW: What the hell is in “The Pelican Brief”? What kind of a shit-storm has Darby started with her (apparently) dead-on speculations? And who is behind the whole thing? A powerful friend of the President’s? If so, is the President himself a baddie? And if he is, what hope does Darby have of surviving this thing? Can Gray help her? Or is he part of the conspiracy, too? Will the assassins eventually catch up with Darby? If so, how will she outwit them? And why didn’t she just take the brief to the NATIONAL ENQUIRER instead? Because assassins wouldn’t dare go after paparazzi. It would wind up in all the papers, you see…
WHY YOU SHOULD WATCH “THE PELICAN BRIEF”: If you like conspiracy-chase legal thrillers based on bestselling books. And if you like Julia, Denzel, and author John Grisham.
WHY YOU MAY NOT ENJOY “THE PELICAN BRIEF”: If you don’t care for conspiracy-chase legal thrillers and prefer to see Roberts in lighter fare like PRETTY WOMAN, RUNAWAY BRIDE, AMERICA’S SWEETHEARTS, and SLEEPING WITH THE ENEMY. Kidding about that last one…
BUT, SERIOUSLY: I first read John Grisham’s bestselling thriller “The Pelican Brief” not long after its publication in 1992. Hot off the mega-success of his previous novel “The Firm”, Grisham once again hit the bull’s eye with this story about a too-brilliant-for-her-own-good law student who correctly deduces the motive and perpetrator behind the high-profile assassinations of two Supreme Court Justices, and must go on the run to not only stay alive, but also prove that she’s right. From reading the heroine’s physical description the book, I couldn’t help but think Grisham had written the role of Darby Shaw with Roberts in mind. Whether or not this is the case, it’s a good thing she took the role because she elevates this film with her star power.
I write “elevates” because without Julia Roberts, THE PELICAN BRIEF would’ve been an average film. Suffice it to say, I was somewhat disappointed when I finally saw the cinematic version of the novel that I thoroughly enjoyed. I love Hitchcockian chase thrillers, and the novel was a solidly good example of one. On the surface, THE PELICAN BRIEF looks like it can’t miss: (1) Alan J. Pakula (director of such classics as ALL THE PRESIDENT’S MEN, KLUTE, and PRESUMED INNOCENT) at the helm; (2) Roberts and Denzel Washington as her co-lead; and (3) a solid supporting cast consisting of Sam Shepard, John Heard, Stanley Tucci, John Lithgow, Robert Culp, Tony Goldwyn, and a young Cynthia Nixon, pre-SEX AND THE CITY.
Unfortunately, the kinetic energy of the book is replaced by a broodingly-slow pace that might’ve been welcome in another kind of thriller, but somehow doesn’t feel right for this “race-to-stay-alive” story. Scenes that came across as tense and exciting on book and script page somehow feel muted and lackluster onscreen. To be sure, there are still a few suspenseful setpieces here, such as Khamel the assassin going after Gavin Verheek, and the final confrontation (as such) in the parking garage between Darby, Gray, and the killers on their trail. But these are too few and far between. Most of the time, we get a whole slew of perfunctory sequences of Darby being chased by nameless thugs, or she and Gray going about their investigation in mechanical manner.
I’m not sure what to attribute this lethargic feel to THE PELICAN BRIEF except Pakula must have specifically aspired to it. Sadly, Pakula was killed in a bizarre car accident years ago, and I certainly respect the man’s talent. After all, he gave us ALL THE PRESIDENT’S MEN, KLUTE, and PRESUMED INNOCENT. Like those films, THE PELICAN BRIEF is a thriller. Unlike those films, however, THE PELICAN BRIEF is a chase thriller. As such, it needed a more galvanizing, and less somber, feel. Think of THREE DAYS OF A CONDOR from 1974, which was the right blend of cerebral and visceral. Director Sydney Pollack made that movie a memorably energetic thriller that didn’t short-change the audience’s intelligence. Pollack would go on to repeat this winning combo with THE FIRM (1993 - the same year as THE PELICAN BRIEF and also from a Grisham novel) and THE INTERPRETER (2005).
Indeed, if you want to see the kind of directorial approach THE PELICAN BRIEF should have received, just watch THE FIRM (review coming next week) and see how Pollack manages to not only combine suspense and action, but also humor and humanity. Unfortunately, THE PELICAN BRIEF doesn’t have enough of these elements to allow it to reach THE FIRM’s level of quality. I often wonder how THE PELICAN BRIEF would’ve turned out if Sydney Pollack had directed it. Again, I’m a deep admirer of Alan J. Pakula’s talents, and I certainly mourn his passing like all film lovers, but I just feel his handling of THE PELICAN BRIEF was not the most ideal one.
Why, then, does THE PELICAN BRIEF manage to rate *** (above average). As I wrote before, two words: Julia. Roberts. Prior to THE PELICAN BRIEF, Roberts had done mostly comedies and dramas, and only starred in two other thrillers: the flawed-but-interesting FLATLINERS (1990) and SLEEPING WITH THE ENEMY (1991). Coming straight off PRETTY WOMAN, Roberts proved in these flicks that she was more than just a comedy actress and could also do “serious and scared” compellingly. There are moments in both FLATLINERS and SLEEPING WITH THE ENEMY where Roberts holds the screen and our attention with her expressions alone - revealing more about her characters’ emotional states than ten pages of dialogue.
She does the same thing in THE PELICAN BRIEF with Darby Shaw, beautifully. Some great examples to look for: (1) Darby’s reaction when Thomas is first killed in the car bombing; (2) her realization in the Emergency Room that his death was not an accident - and she was supposed to die, as well; (3) Darby hiding in the hotel room, trying to control her panic; (4) Darby’s reaction when she discovers that Gray’s contact at the law firm has been killed, and her ensuing “breakdown”; and (5) her farewell look to Gray at the end.
If there was ever proof of star power being able to save a movie from average-dom, it’s Roberts’ emotionally compelling turn in THE PELICAN BRIEF. As it is, Roberts manages to do this even when the script shunts Darby to the side for extended periods of time while it follows the uninteresting machinations of most of the male supporting characters (including Gray - more on that below). Imagine how much more stunning Eoberts could’ve been - and how much better THE PELICAN BRIEF would be - if Darby was the main focus of the story for most of the running time. That’s another reason why THE FIRM is a superior film to THE PELICAN BRIEF - in the former, we spend more time in the lead character’s shoes and get caught up in his dilemma.
Another reason THE PELICAN BRIEF isn’t as energetic as it can be is a rather bland performance from Denzel Washington. Anyone who reads this blog knows I’m a fan of the guy. But, as I’ve mentioned in previous Washington film reviews, I find him more interesting when he’s playing flawed, imperfect characters. When he plays “goodie-goodie” type of heroes (as in THE BOOK OF ELI), I tune out. Here, he is playing such a guy: someone who is not only perfect, but boringly-so. I didn’t feel this way about the character in the book, so I can only surmise it’s Washington’s “Knight-In-Shining-Armor” approach to the role - or Pakula’s direction of him. In any case, THE PELICAN BRIEF would’ve been a stronger thriller with a “rougher-edged” reporter as its co-lead. Think of Russell Crowe’s dynamic character in STATE OF PLAY - that’s how Gray should’ve been played. Or even just casting Laurence Fishburne in the role - he always seems to have an element of dangerous unpredictability to him, no matter how nice his character is.
Ultimately, THE PELICAN BRIEF is a curiously restrained chase thriller (there’s a contradiction in terms) that is enlivened by Julia Roberts’ sheer charisma and “X-Factor“. Without her, I don’t know how enjoyable this film would’ve been. No disrespect to the talented late Mr. Pakula. Just keeping it real.
Wednesday, January 18, 2012
# 422 - CONTRABAND (2012)
CONTRABAND (2012 - ACTION / THRILLER) ***1/2 out of *****
(Damn - is it that easy to get ahold of a bunch of counterfeit money?)
CAST: Mark Wahlberg, Kate Beckinsale, Giovanni Ribisi, Ben Foster, J.K. Simmons, Caleb Landry Jones, David O‘Hara, Lukas Haas, Diego Luna.
DIRECTOR: Baltasar Kormakur
WARNING: Some SPOILERS and some rather unpleasant Panamanian vacations - straight ahead.
IT’S LIKE THIS: Just when reformed contraband (get it?) smuggler Chris Farraday (Mark Wahlberg) thought he’d left the bad life behind, he gets sucked back into it when his dipshit brother-in-law Andy (Caleb Landry Jones) does the very thing Chris told him not to do: “running” for slimy scumbag crime kingpin Tim Briggs, Chris’ former crony. One of Andy’s jobs for Tim goes bad, and he’s forced to toss over 10 pounds of blow (powder/snort kind, not mouth/suck kind - relax) into the bay of New Orleans to keep customs from snatching it.
Tim, understandably, ain’t too thrilled about this unforeseen glitch, even if it really isn’t Andy’s fault. Being a colossal prick, Tim beats Andy and a friend within an inch of their lives, and tells Chris that if Andy doesn’t pony up the $5,000,000 that the blow would’ve fetched, he’s coming after all of them - to include Chris’s wife Kate (Kate Beckinsale) and their two sons. Before you know it, Chris is reluctantly organizing one last “run” with fellow ex-smuggler and best pal Sebastian Abney (Ben Foster) to dig Andy and his clan out of the hole. This involves infiltrating a Panama-bound cargo ship, where Chris and his crew must snag a bunch of counterfeit cash (in sheets) from a murderous Panamanian kingpin (Diego Luna) and smuggle it back to New Orleans, detected. The shit you do for family, huh?
THE DUDE (OR DUDETTE) MOST LIKELY TO SAVE THE DAY: Chris - easily. Mark Wahlberg could be playing The Hamburglar, and still win this award.
EYE CANDY MOST LIKELY TO FIRE UP A WOODY: Mark Wahlberg, who is like an American Russell Crowe. Kate Beckinsale and Ben Foster tie for second.
MOST INTENTIONALLY EXCITING SCENE: Chris and co.’s little day trip in Panama, where they must fetch the “contraband” and get their fine asses back to the ship before that asshole captain leaves them behind.
MOST UNINTENTIONALLY HILARIOUS SCENE: Kate telling Andy not to worry, because Tim probably won’t come after him and kill him for losing over $5 million worth of Tim’s cocaine. Remember the “I.T.F.F.R. Look” we discussed in previous reviews? As in: “Is This Fucker For Real?” Well, let’s just say that’s the look Chris gives his wife for this exceedingly naïve (read: stupid) statement.
HOTTEST SCENE: Any time Mark Wahlberg gets to furrow those eyebrows. Sexiest eyebrows this side of Michael Keaton, Colin O‘Donoghue, Chris Evans, Famke Janssen, Jennifer Connelly, and my # 1 man Russell Crowe…
And the rest of the “Eyebrow Porn Brigade”:
Michael Keaton
Colin O’Donoghue
Chris
Famke Janssen
Jennifer Connelly
Russ
INQUIRING MINDS WANT TO KNOW: Will Chris be able to save Andy, Kate, and the rest of his family? Will his high-stakes, all-or-nothing gamble down in Panama work? Or will the asshole captain catch on to what he and his team is up to? And what happens when the dangerous Panamanian drug lord double-crosses him? Will their plan still work? Or does Chris have to think fast and improvise? Meanwhile, back in New Orleans, can Sebastian continue to protect Kate from Tim and his homeys? Or does, ahem, Sebastian have some secrets of his own? If so, what are they? And will they help - or hinder - Chris? And the most important question of all: is it really that easy to get your mits on millions of dollars worth of counterfeit money? If so, I need assemble my own crack team of, uh, crackheads and head to Panama, ASAP!!!
WHY YOU SHOULD WATCH “CONTRABAND”: If you saw and liked the original Icelandic film this is based on, REYKJAVIK-ROTTERDAM. And if you like reasonably entertaining action/thrillers, and are a fan of Mark Wahlberg, Kate Beckinsale, Giovanni Ribisi, or Ben Foster.
WHY YOU MAY NOT ENJOY “CONTRABAND”: If you are more into light comedies or romances. And if Mark Wahlberg, Giovanni Ribisi, and Ben Foster are too intense for you.
BUT, SERIOUSLY: Baltasar Kormakur is the star of the 2008 Iceland action/thriller REYKAVIK-ROTTERDAM, and in an interesting twist, he has been given the directorial helms for its American remake CONTRABAND. It’s not uncommon for foreign directors to direct the American versions of their previously successful films (Takashi Shimizu with JU-ON and THE GRUDGE, Ole Bornedal with NATTEVAGEN and NIGHT WATCH). It is far less common, though, for the star of a foreign film to do the same. After all, even the most talented actor may not have the first clue of how to tell a story visually. In the case of REYKJAVIK-ROTTERDAM and CONTRABAND, original director Oskar Jonasson doesn‘t return for the American remake - his original star Kormakur does.
Fortunately, it appears Kormakur knows a thing or two about directing a film, and the result is a solid action/thriller that is seriously helped by the intensity and charisma of its lead and his supporting cast. I have not seen REYKJAVIK-ROTTERDAM, and can’t compare it to CONTRABAND, but it must be at least an above-average film it warranted an American remake. While the practice of smuggling has been shown in many thrillers, it mostly has been presented as tangential subplots - and not the main thrust of the film as it is here. This gives CONTRABAND a degree of originality. While you can’t help but wish Kormakur and his writers would’ve delved into the topic a little more, they still manage to take us on a relatively tense and entertaining ride by going into somewhat uncharted territory.
Mark Wahlberg always turns up the heat in any film he’s in, and I don’t mean that in a sexual way (although he is most definitely attractive). I mean that in a dramatic way. The man has a powerful screen presence. He walks into a room, everyone takes notice, and the air becomes charged with anticipation - “something is going to happen“. The only other film stars I’ve seen with this kind of electricity are Russell Crowe, Tom Cruise, and Chris Evans. Wahlberg turns Chris Farraday into a solid, decisive hero that we can get behind, and he has nice way of hinting at deeper layers with simple looks, gestures, and movements. Watch for the early scene at the hospital, where Kate tries to reassure Andy that Tim and his goons won’t come after him anymore. The contrary look on Chris’ face very much says otherwise - and it is a chilling moment. Wahlberg pretty much makes this movie.
The strong support is headed up by Kate Beckinsale as Chris’ imperiled wife Kate. Beckinsale is a talented actress and handles this easy role well. She doesn’t get much to do here except fret and comfort her kids, but she does it sympathetically. To be fair, Kormakur and his writers try their best to involve Kate in the plot, especially in the third act. Giovanni Ribisi turns in another edgy, unpredictable performance as Tim Briggs, the lowlife crime lord whom Chris locks horns with. As with all his roles, the talented Ribisi manages to show some specks of humanity within his scummy character. But the most interesting presence (after Wahlberg) is the intense Ben Foster as Chris’ best pal Sebastian, who reveals some surprising sides as CONTRABAND unfolds. Like Wahlberg, Foster conveys a lot of these layers with some very telling non-verbals. Foster’s standout scene is Sebastian’s confrontation late in the film with an Irish crime lord played by David O’Hara. Foster shows a lot of Sebastian’s guilt, shame, and fear - without saying a word. Talented, talented man.
Ultimately, CONTRABAND can stand on its own as a good film. At some point, I’d like to watch REYKJAVIK-ROTTERDAM just to see how it compares to its American cousin. Until then, kudos to star/director Baltasar Kormakur for giving us some solid entertainment that nicely showcases the talents of Mark Wahlberg, Kate Beckinsale, Ben Foster, and Giovanni Ribisi.
(Damn - is it that easy to get ahold of a bunch of counterfeit money?)
CAST: Mark Wahlberg, Kate Beckinsale, Giovanni Ribisi, Ben Foster, J.K. Simmons, Caleb Landry Jones, David O‘Hara, Lukas Haas, Diego Luna.
DIRECTOR: Baltasar Kormakur
WARNING: Some SPOILERS and some rather unpleasant Panamanian vacations - straight ahead.
IT’S LIKE THIS: Just when reformed contraband (get it?) smuggler Chris Farraday (Mark Wahlberg) thought he’d left the bad life behind, he gets sucked back into it when his dipshit brother-in-law Andy (Caleb Landry Jones) does the very thing Chris told him not to do: “running” for slimy scumbag crime kingpin Tim Briggs, Chris’ former crony. One of Andy’s jobs for Tim goes bad, and he’s forced to toss over 10 pounds of blow (powder/snort kind, not mouth/suck kind - relax) into the bay of New Orleans to keep customs from snatching it.
Tim, understandably, ain’t too thrilled about this unforeseen glitch, even if it really isn’t Andy’s fault. Being a colossal prick, Tim beats Andy and a friend within an inch of their lives, and tells Chris that if Andy doesn’t pony up the $5,000,000 that the blow would’ve fetched, he’s coming after all of them - to include Chris’s wife Kate (Kate Beckinsale) and their two sons. Before you know it, Chris is reluctantly organizing one last “run” with fellow ex-smuggler and best pal Sebastian Abney (Ben Foster) to dig Andy and his clan out of the hole. This involves infiltrating a Panama-bound cargo ship, where Chris and his crew must snag a bunch of counterfeit cash (in sheets) from a murderous Panamanian kingpin (Diego Luna) and smuggle it back to New Orleans, detected. The shit you do for family, huh?
THE DUDE (OR DUDETTE) MOST LIKELY TO SAVE THE DAY: Chris - easily. Mark Wahlberg could be playing The Hamburglar, and still win this award.
EYE CANDY MOST LIKELY TO FIRE UP A WOODY: Mark Wahlberg, who is like an American Russell Crowe. Kate Beckinsale and Ben Foster tie for second.
MOST INTENTIONALLY EXCITING SCENE: Chris and co.’s little day trip in Panama, where they must fetch the “contraband” and get their fine asses back to the ship before that asshole captain leaves them behind.
MOST UNINTENTIONALLY HILARIOUS SCENE: Kate telling Andy not to worry, because Tim probably won’t come after him and kill him for losing over $5 million worth of Tim’s cocaine. Remember the “I.T.F.F.R. Look” we discussed in previous reviews? As in: “Is This Fucker For Real?” Well, let’s just say that’s the look Chris gives his wife for this exceedingly naïve (read: stupid) statement.
HOTTEST SCENE: Any time Mark Wahlberg gets to furrow those eyebrows. Sexiest eyebrows this side of Michael Keaton, Colin O‘Donoghue, Chris Evans, Famke Janssen, Jennifer Connelly, and my # 1 man Russell Crowe…
And the rest of the “Eyebrow Porn Brigade”:
Michael Keaton
Colin O’Donoghue
Chris
Famke Janssen
Jennifer Connelly
Russ
INQUIRING MINDS WANT TO KNOW: Will Chris be able to save Andy, Kate, and the rest of his family? Will his high-stakes, all-or-nothing gamble down in Panama work? Or will the asshole captain catch on to what he and his team is up to? And what happens when the dangerous Panamanian drug lord double-crosses him? Will their plan still work? Or does Chris have to think fast and improvise? Meanwhile, back in New Orleans, can Sebastian continue to protect Kate from Tim and his homeys? Or does, ahem, Sebastian have some secrets of his own? If so, what are they? And will they help - or hinder - Chris? And the most important question of all: is it really that easy to get your mits on millions of dollars worth of counterfeit money? If so, I need assemble my own crack team of, uh, crackheads and head to Panama, ASAP!!!
WHY YOU SHOULD WATCH “CONTRABAND”: If you saw and liked the original Icelandic film this is based on, REYKJAVIK-ROTTERDAM. And if you like reasonably entertaining action/thrillers, and are a fan of Mark Wahlberg, Kate Beckinsale, Giovanni Ribisi, or Ben Foster.
WHY YOU MAY NOT ENJOY “CONTRABAND”: If you are more into light comedies or romances. And if Mark Wahlberg, Giovanni Ribisi, and Ben Foster are too intense for you.
BUT, SERIOUSLY: Baltasar Kormakur is the star of the 2008 Iceland action/thriller REYKAVIK-ROTTERDAM, and in an interesting twist, he has been given the directorial helms for its American remake CONTRABAND. It’s not uncommon for foreign directors to direct the American versions of their previously successful films (Takashi Shimizu with JU-ON and THE GRUDGE, Ole Bornedal with NATTEVAGEN and NIGHT WATCH). It is far less common, though, for the star of a foreign film to do the same. After all, even the most talented actor may not have the first clue of how to tell a story visually. In the case of REYKJAVIK-ROTTERDAM and CONTRABAND, original director Oskar Jonasson doesn‘t return for the American remake - his original star Kormakur does.
Fortunately, it appears Kormakur knows a thing or two about directing a film, and the result is a solid action/thriller that is seriously helped by the intensity and charisma of its lead and his supporting cast. I have not seen REYKJAVIK-ROTTERDAM, and can’t compare it to CONTRABAND, but it must be at least an above-average film it warranted an American remake. While the practice of smuggling has been shown in many thrillers, it mostly has been presented as tangential subplots - and not the main thrust of the film as it is here. This gives CONTRABAND a degree of originality. While you can’t help but wish Kormakur and his writers would’ve delved into the topic a little more, they still manage to take us on a relatively tense and entertaining ride by going into somewhat uncharted territory.
Mark Wahlberg always turns up the heat in any film he’s in, and I don’t mean that in a sexual way (although he is most definitely attractive). I mean that in a dramatic way. The man has a powerful screen presence. He walks into a room, everyone takes notice, and the air becomes charged with anticipation - “something is going to happen“. The only other film stars I’ve seen with this kind of electricity are Russell Crowe, Tom Cruise, and Chris Evans. Wahlberg turns Chris Farraday into a solid, decisive hero that we can get behind, and he has nice way of hinting at deeper layers with simple looks, gestures, and movements. Watch for the early scene at the hospital, where Kate tries to reassure Andy that Tim and his goons won’t come after him anymore. The contrary look on Chris’ face very much says otherwise - and it is a chilling moment. Wahlberg pretty much makes this movie.
The strong support is headed up by Kate Beckinsale as Chris’ imperiled wife Kate. Beckinsale is a talented actress and handles this easy role well. She doesn’t get much to do here except fret and comfort her kids, but she does it sympathetically. To be fair, Kormakur and his writers try their best to involve Kate in the plot, especially in the third act. Giovanni Ribisi turns in another edgy, unpredictable performance as Tim Briggs, the lowlife crime lord whom Chris locks horns with. As with all his roles, the talented Ribisi manages to show some specks of humanity within his scummy character. But the most interesting presence (after Wahlberg) is the intense Ben Foster as Chris’ best pal Sebastian, who reveals some surprising sides as CONTRABAND unfolds. Like Wahlberg, Foster conveys a lot of these layers with some very telling non-verbals. Foster’s standout scene is Sebastian’s confrontation late in the film with an Irish crime lord played by David O’Hara. Foster shows a lot of Sebastian’s guilt, shame, and fear - without saying a word. Talented, talented man.
Ultimately, CONTRABAND can stand on its own as a good film. At some point, I’d like to watch REYKJAVIK-ROTTERDAM just to see how it compares to its American cousin. Until then, kudos to star/director Baltasar Kormakur for giving us some solid entertainment that nicely showcases the talents of Mark Wahlberg, Kate Beckinsale, Ben Foster, and Giovanni Ribisi.
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