THE ROAD: The Film Babble Blog Review

THE ROAD (Dir. John Hillcoat, 2009)

Your eyes may roll when once again reading the phrase “set in a post apocalyptic world” and that this film’s release was pushed back several times (it was originally set for Dec. ’08) may be discouraging, but hold on because this film is an intensely moving and towering piece of work. While on the surface its bleak depiction of an ash covered world in ruins with death in every direction may be for many a grueling experience, in all the darkness a tiny light shining off a glimmer of hope can be seen.

That light is almost impossible to see at times for a man (Viggo Mortensen) and his son (Kodi Smit-McPhee), only credited as “Man” and “Boy”, in rags making their way through the rubble with a grocery store shopping cart and a gun that only has 2 bullets in it. We’re never told how this all happened, we’re only given a few flashbacks from before the devastation that present the Man’s wife (Charlize Theron) sacrificing herself for her family as the world seemingly comes to an end.

Mortensen gives a career best performance as the Man, a desperate but ferociously protective father tuned into every threatening tick of movement on the terrain surrounding him and his shaking but just as driven son. Every element they encounter might as well have “from Hell” attached to it. They hide in the woods off the road from groups of hunters or hoards of cannibals, they look for food in battered houses, they share dwindling provisions with a grizzled old Robert Duvall (the only character in the film given a name – Ely), and they just keep on heading towards the ocean.

This sprawling epic is the third film adaptation of a Cormac McCarthy novel (the others being Billy Bob Thornton’s ALL THE PRETTY HORSES and the Coen Brothers’ acclaimed Oscar winning NO COUNTRY FOR OLD MEN). Save for the expansion of the role of the wife, THE ROAD is extremely faithful to its source, retaining its scary tense tone with almost all of the spare spoken dialogue verbatim from the book.

It’s maybe the anti-“feel good” movie of the year (or the decade) but its strengths as a tale of survival and its powerful emotional pull will linger for a long time. The Man tells his son that they’re “the good guys” and that they will live through this. The Boy believes it and somehow in the face of the complete breakdown of society and all the anarchy of the wilderness we believe it too. THE ROAD may be a long tough one, but it does get to that glimmer and it really got to me.

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INVICTUS: The Film Babble Blog Review

INVICTUS (Dir. Clint Eastwood, 2009)

Like a huge signpost that announces: "It's now officially Oscar season", a new Clint Eastwood directed movie has opened at this time almost every year this last decade. Eastwood makes the kind of film that Academy voters love - event films with A-list actors about important issues; movies that make movie goers feel guilty if they try not to pay attention to them. For they're noble works with an old school sentimentality, but ultimately they're to be admired more than enjoyed.

Such is the case with INVICTUS, a historical sports drama centering on Nelson Mandela's rugby obsessed first term as President of South Africa. Oddly, Morgan Freeman as Mandela is an almost too obvious piece of casting. It never quite works, it's like Dustin Hoffman playing Lenny Bruce - the images of both are too well known separately for them to blend into a natural personification. We're always aware that it's Freeman doing his wizened Freeman thing; except for a tint of an accent, it's the same basic performance as a President that he did in DEEP IMPACT.

Mandela faces an intimidating workload upon taking office in 1994, with long brewing racial tensions, poverty, and crime filling the streets. He comes to believes that a World Cup win by the Springboks, the country's rugby team, will unite the nation and lead them into a new era. He meets with the team Captain (a reserved and in a "respect your elders" mode Matt Damon) to fan the flames of inspiration. He shares a poem with Damon that helped him through years of inprisonment - "Invictus" written by William Earnest Henley. This, of course, is the film's title so I was a bit taken aback to find out that in reality Mandela actually gave the Captain a copy of a Theodore Roosevelt speech.

That's just one of many details many fact checkers will have problems with here. Eastwood undoubtedly subscribes to John Ford's infamous stance: "Print the legend" and that's an honorable tact to take but this strained un-involving film does little but to pile on the platitudes.

By the time we get to the big climatic game filled with all the sports movie clichés you can think of (slow motion, strained close-ups, crowd elation manipulation, etc.) it didn't matter to me whether or not the outcome will bring the country together or have any spiritual impact at all - my eyes were too glazed over to care. Whatever the historical relevance, INVICTUS is an admirable exercise with pure intentions, fine performances, and seasoned craftmanship, but sadly a very dull film.

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THE DAMNED UNITED: The Film Babble Blog Review

THE DAMNED UNITED (Dir. Tom Hooper, 2009)

Playing Prime Minister Tony Blair in full on damage control mode in THE QUEEN, taking on television journalist David Frost's striving for a career making spotlight on an impeached President in FROST/NIXON, and now here as the infamous arrogant football manager Brian Clough, Michael Sheen appears to be on a mission to redefine the role of refined British masculinity movie-wise for the new millennium.

It's not a one man mission as Sheen is the front man for screen writer Peter Morgan’s retellings of pivotal points in UK public relations. Sheen has the fierce focus necessary for these pointed recreations, while the sense that deep down he’s a decent bloke helps their cinematic cause along nicely. So the suave but spineless English archetypes (think Hugh Grant's inept Prime Minister in LOVE ACTUALLY) now fade into anachronism as history sorts the winners from the losers, with the brashly flawed figures Sheen embodies definitively deemed as winners.

There are many times, however, in THE DAMNED UNITED that Sheen’s Brian Clough doesn’t resemble a winner at all. After taking over Leeds United in 1974, Clough doesn’t quite endear himself to his players when announcing: “the first thing you can do for me is to chuck all your medals and all your caps and all your pots and all your pans into the biggest fucking dustbin you can find, because you've never won any of them fairly. You've done it all by bloody cheating!”

The film skips back to 1967 to acquaint us with the long brimming but basically one-sided rivalry between Clough and the previous Leeds manager Don Revie (Colm Meaney) who had driven the team to win all those medals over the years. Clough’s then team Derby County rose from underdog status to win the Second Division, but still lost the First Division title to the brutal tactics of the Leeds players.

Assistant manager Peter Taylor (Timothy Spall as one of the most likable and grounded of the film’s characters) and Derby chairman Sam Longson (Jim Broadbent) shake their heads at Clough’s over confidence and unrestrained bravado, which threatens his friendship with Taylor (“That’s the trouble with you Brian, too much ambition!”) and the financial stability of the team. There's nothing that can put out the fire burning in Clough - not harsh complaining heard through closed doors, not the icy glares from elder superiors, and most of all, not the 0 scoring loses that Leeds racks up after he assumes their management.

While there is action on the field, sometimes depicted by way of archival footage, this film is primarily concerned with Clough’s back room verbosity. In every acidic line reading and exasperated expression, Sheen captures the intensity of a man who doesn’t have it in his nature to back down even as he’s so plainly pissing in the wind. It’s a tour de force performance that drives the film and is invigorating to behold even if you have no interest in soccer strategies or sports at all. I say this because I sure as Hell don’t.

Though it’s largely Sheen’s show he’s joined by a highly capable and credible cast. Standing out with the previous mentioned Spall, Broadbent, and Meany is the grimacing Stephen Graham as team Captain Billy Bremner, providing a needed dividing edge to Sheen’s abrasive stubbornness.

Marred only by one too many sad fades to black, and some fake looking hair (blame it on period style wigs), this poignantly plotted drama scores another winning shot for Sheen and writer Morgan, whether it indulges in revisionism or not. In the concluding moments there are glimpses of the real Clough surrounded by a crowd of supporters years after the events in the movie - a typical biodoc manuever - and while it's impossible to see if he was as obnoxiously determined as Sheen's portrayal made him out to be, the vigorous spirit that this sturdy movie tenaciously touches on is without a doubt on display.

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Being Brutally Beaten Senseless By BRONSON

BRONSON (Dir. Nicholas Winding Refn, 2009)

A bald, circus mustached, bare chested brute stands bathed in light before a black background. He speaks in gruff yet confident tones, sometimes showing a crazed grin then instantly changing into a stoical stare. He calls himself “Britain’s most violent criminal” and within a few minutes of this blistering film we believe him.

This brutal biopic is based on the life of convicted felon Michael Peterson, jailed for theft in 1974, who goes by the fighting name Charles Bronson (yes, named after the movie star then famous for DEATH WISH) and decides early on that he really likes prison. It’s a hotel for him filled with edge and excitement. However he attacks the guards so regularly that he spends much of his time in solitary confinement and then a stint drugged up beyond comprehension in a mental institution which he doesn’t like as much.

As Bronson, Tom Hardy tells his story on stage in the surreal setting of a ritzy theater with a formal attired audience hanging on his every word. At times different configurations of black and white performance face paint accompany scene changes as he speaks directly to the camera with his particular brand of menacing charisma. Still it’s hard to muster a desire to know a man who even in a childhood flashback is assaulting his school teacher with murderous rage.

Bronson does taste freedom as he is certified sane and takes up residence in a brothel. He falls in love with a young woman (Juliet Oldfield) but she tells him she’s in love with another man. This doesn’t deter him from stealing a ring for her which, of course, lands him back in the slammer. This isn’t presented as a heartbreaking fate for director Refn’s vision of 70’s England is just as grey and grim on the outside as it is behind bars. Bronson’s limited world view is actually a plus for a soul that can be battered and beaten beyond recognition, but never crushed completely.

The many comparisons critics have made to Stanley Kubrick’s A CLOCKWORK ORANGE are accurate, but BRONSON is strapped to the struggle of crimes against self instead of crimes against society. There’s not much real insight to Bronson as a man, but there doesn’t really need to be; he doesn’t so much deny apologies as he does tear them apart. The inner nature of such a man isn’t what this film is truly about – if anything it’s about what Walter Sobchek would call “unchecked aggression”. Like its subject, the film is raw, uncompromising, and ugly. But don’t let that discourage you because it’s concurrently one of the most gripping and grittily entertaining movies of the year.

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BLACK DYNAMITE: The Film Babble Blog Review

BLACK DYNAMITE (Dir. Scott Sanders, 2009)

There have been blaxploitation parodies before, and also many stylistic throwbacks to 70’s cinema, but nothing like this that looks and feels so much like the original artifact that many will mistake it for the real thing. Authenticity is enhanced throughout with grainy saturated film stock, split screen dynamics, and many funk musical cues (every time our smooth hero walks into a room or shows up suddenly his name is sexily sung by a chorus of female soul singers).

That name is “Black Dynamite” (Michael Jai White who also co-wrote with director Sanders) – a Vietnam vet, Martial arts master, and former member of the CIA who’s “badder than SHAFT, SUPER FLY, and THE MACK put together” just as the trailer promised.

The mysterious death of Black Dynamite’s brother leads him into the underbelly of 1972 Los Angeles, where the ghettos are overrun with smack and Anaconda Malt Liquor, and “The Man” is in control. CIA Agent O’Leary (Kevin Chapman) tells the vengeance fueled fighter : “We heard about your brother's death and we don't want you running around turning the streets into rivers of blood.” Black Dynamite responds: “Then tell me who did it and I'll just leave a puddle!” We know, of course, that just a puddle is out of the question; we’ll know him well by the trail of the dead well before the end of this motion picture. It doesn’t stop there though, in the form of cheap ass animation he even beats up, and it some instances blows up, many of the end credits.

To say anymore about the plot, especially to reveal the severe side effect of Anaconda Malt Liquor or who turns out to be the evil mastermind, would be to spoil the fun, and there’s a lot of fun here, so I’ll leave it at that. I laughed more during this movie than any other film this year. It’s a hilarious homage instead of a savage satire but its dead-on attention to detail never lets up and neither do the non-stop laughs.

The amusing aesthetics of actors’ eyes darting to off screen cue cards, visible boom mikes dropping too low into the shot, and not quite timed right edits are much more effective than the fake scratches and bogus missing reels of the more expensive retro exercise GRINDHOUSE, with the mixing in of period footage effectively matching the newly made material. I think we see the same shot of a car driving of a cliff twice but it really doesn’t matter, or it matters absolutely, in the fast pace free for all flow.

There are few familiar faces in BLACK DYNAMITE, but Arsenio Hall, Tommy Davison, Richard Edson, Nicole Sullivan, and Mike Starr all stand out in gloriously stereotyped roles. With its tons of quotable lines, scores of explosive action set pieces, and more jokes per minute than a dozen of current commercial comedies, this has cult film written all over it. That would be nice for the its future, but the film is in limited release right now so it’d be nicer if it got the packed houses it deserves much sooner. The genre may be mostly forgotten by all but die-hard fans and film buffs, but this hysterical yet sturdy tribute brings blaxploitation back with riotous results and should not be missed.

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EVERYBODY'S FINE: The Film Babble Blog Review

EVERYBODY’S FINE (Dir. Kirk Jones, 2009)

A few months ago when I first saw the trailer there was a brief instance that I thought that this could be Robert De Niro’s ABOUT SCHMIDT – a powerful portrait of an iconic actor in his autumn years. That instance was incredibly brief mind you, because as the preview played out the glossy schmaltz it began to look more like De Niro’s LAST CHANCE HARVEY – a cute though vapid vehicle for a once vital actor in his autumn years. Well, sadly the latter is what we have here.

The opening shots show De Niro vacuuming his carpet, mowing his lawn, getting his grill out of the garage, etc. Watching this I was struck but the question: who wants to go to the movies to see Robert De Niro doing household chores? We even follow him to the grocery store to see him ask a clueless clerk about wine. He’s getting ready for Thanksgiving with his kids he explains, awkwardly clarifying that they’re all grown up and that he’s not actually serving children wine.

That's the type of detail that's meant to endear De Niro to us. His Franke Goode is a recently widowed and retired and without a doubt entering into a very needy zone of existence so when he learns that none of his family is going to make it home for the holiday there's no other course of action but for him to hop aboard buses and trains and go to them. His doctor warns him against the trip, because that's what most movie doctors do, but there's no stopping this strained father Frank.

We learn from his chatting up a fellow passenger on the train to see his son in New York that De Niro had a career in coating telephone wire from coast to coast. This gives the film the excuse to have many shots of telephone polls and cables as we hear the voices of his offspring (Drew Barrymore, Katie Beckinsale, and Sam Rockwell) making calls to one another. They discuss in hushed tones a fourth sibling who is in some unspecified trouble and how they should keep it from Dad.

Since that's the son that De Niro first goes to visit he comes up short in NYC, so then he's off to Chicago to see his advertising exec daughter (Beckinsale). One gimmick the film has is that when he first sees his kids, he sees them as that - kids - so children actors stand in for their older counterparts for a few shots before they embrace. This is certainly making the point that he never dealt with them as grown-ups before but it still comes off as an artsy gimmick.

After an tense dinner with Beckinsale, her husband and son, De Niro heads off to Denver to see his classical musician son (a very reserved Rockwell) who turns out not to be the conductor he told his father he was, but a percussionist. Rockwell doesn't appear to want to spend much time with his father so then we're off to Las Vegas to visit with his dancer daughter (Barrymore) who may not be who she's claimed to be either.

EVERYBODY'S FINE was based on an 1990 Italian film (STANNO TUTTI BENE) which I haven't seen but I bet has a lot more emotional weight than this well meaning but drab adaptation. None of the characters or situations take hold so there's nothing to truly care about. A 3rd act dream sequence involving De Niro confronting his offspring - the children actors mentioned above - tries its damndest to pull on the heart strings but the strings don't seem to be attached to anything. An all too happy ending feels like it was tagged on so the film would match its misguided marketing as a holiday film.

It's been a long time since the New Hollywood era in which De Niro ruled as an electric engaging entity in such landmarks as MEAN STREETS, TAXI DRIVER, and RAGING BULL (among others). Of course the man has long mellowed into the mainstream in commercial comedies and forgettable cop dramas but I think most film folks believe he could still bring it if given the right material. Until that happens though I guess we'll have to deal with watching De Niro do the dishes and take out the trash, instead of stalking the streets thanking God for the rain to wash the trash off the sidewalk.

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10 Blink And Miss Them Movie Cameos

Followers of this blog may have noticed that I have a fondness for film cameos. Film Babble Blog has featured lists like 20 Great Modern Movie Cameos, The Cameo Countdown Continues, and more recently Without A Hitch - 10 Definitive Directors' Cameos In Their Own Movies, but this list is a bit different because many people may not have noticed these cameos at all. They can be difficult to catch as they go by fast but they're there just waiting for some film geek like me to point them out. So here goes:

1. George Harrison in MONTY PYTHON’S LIFE OF BRIAN (Dir. Terry Jones, 1979) Harrison helped finance this film solely because he was a big fan so it stands to reason that they'd throw him a bit part. He can be seen in a crowd scene and although he is uncredited he actually has a character name: Mr. Papadopoulos. He has one word of dialogue ("ullo") spoken to Brian (Graham Chapman) as he is introduced by Reg (John Cleese) as "the owner of the mount" they are planning to rent. It's brief but worth looking for - if only so you can point out to your friends: "Look! There's a Beatle!" Speaking of the Beatles...

2. Phil Collins in A HARD DAY’S NIGHT (Dir. Richard Lester, 1964)

This is kind of a cheat because Collins wasn't a well known celebrity at the time (he was 13), and you can barely see him in the audience shots of the concert climax but I just couldn't resist listing it. Collins has often bragged about being one of the 350 teenage extras screaming at the Beatles, especially when he hosted You Can't Do That!: The Making of "A Hard Day's Night" (1995). Though as you can see his visage is impossible to recognize, even when enlarged, he is listed in some movie guides as being one of the stars of the film.

3. Alan Ladd in CITIZEN KANE (Dir. Orson Welles, 1941) This is a pretty infamous one - Ladd is one of the reporters in the screening room after the opening newsreel. It's a smoke filled shadowy shot but he can be clearly seen, though it took Roger Ebert's commentary on the DVD for me to identify him. He can also be seen at the end of the film smoking a pipe and even has a few lines.

4. R2D2 in STAR TREK (Dir. J.J. Abrams, 2009)

This cameo/Easter egg was rumored when the film opened last summer (there was even a Paramount sponsored contest centered on finding it) but it was pinpointed by fanboys all over the internets when the film hit DVD/Blu ray last month. It works as a funny little visual joke as well as a shout out from one science fiction franchise to another.

5. Dan Aykroyd in INDIANA JONES AND THE TEMPLE OF DOOM (Dir. Steven Spielberg, 1984) It may have seemed strange to see the former SNL funnyman hawking Crystal Head Vodka in advertisements that refer to the last INDIANA JONES film, but Aykroyd actually has a legitimate connection to the series. He appears in Indy's second installment as Weber, a British cohort who arranges a getaway plane for Jones (Harrison Ford), Willie (Kate Capshaw), and Short Round (Jonathan Ke Quan). It's easy to miss him as it's a sweeping long shot and he's such an incidental character but he still makes the most of his 18 seconds in this film.

6. Dennis Hopper in HEAD (Dir. Bob Rafelson, 1968) This one is priceless because Hopper looks like he can't wait to get out of the studio, get on the road and shoot EASY RIDER (Monkees money funded EASY RIDER you see). Jack Nicholson, who co-wrote HEAD, is also in this scene which has the movie break down around Peter Tork with many members of the film's crew coming into the shot including director Rafelson. When he swoops behind Tork to get to Rafelson I'd like to believe he's asking "hey man, how long is this gonna be? We gotta get going!"

7. Christian Slater in STAR TREK VI: THE UNDISCOVERED COUNTRY (Dir. Nicholas Meyer, 1991)

I know, I know - another STAR TREK cameo but this one baffled me when I first saw this film. When Slater pops up it's a dark shot and I distinctly remember the murmur in the theater as everybody seemed to collectively wonder "was that Christian Slater?" Credited as "Excelsior Communications Officer" Slater appears in a doorway, has a few lines, and then he's gone. What was he doing there? In an interview with DVD Playground he answered that question: "My mother cast that film and needed someone to fill in. Yet even so, that was probably the most nervous I had ever been in my entire career."

8. Richard Dreyfuss in THE GRADUATE (Dir. Mike Nichols, 1967) Again, this might be playing loose with the definition of cameo too, but Dreyfuss' smart part as "Boarding House Resident" always makes me laugh when I watch this film. Over the shoulder of landlord Norman Fell, Dreyfuss's delivery is unmistakable on his only line: "Shall I call the cops? I'll call the cops."

9. Sigourney Weaver in ANNIE HALL (Dir. Woody Allen, 1977) She only appears in one shot, and it's a long one, as Alvy Singer's (Woody Allen) very tall date to yet another showing of THE SORROW AND THE PITY but if you ever see this film on the big screen you can see her features better. It was her first film and I bet nobody involved could predict that only 2 years later she would break through big in ALIEN. From "Alvy's Date Outside Theatre" with no lines to science fiction icon/feminist heroine Ripley is quite a leap considering.

10. The Clash in THE KING OF COMEDY (Dir. Martin Scorsese, 1982) From the IMDb Trivia section for this film: "In the scene where Robert De Niro and Sandra Bernard argue in the street, three of the "street scum" that mock Bernhard are Mick Jones, Joe Strummer, and Paul Simonon, members of the British punk rock band, The Clash." There are many pictures of Scorsese directing RAGING BULL wearing a Clash t-shirt so there's obviously a connection between the master film maker and "The Only Band That Matters" (as they were billed at the time).

Okay! There goes another patented Film Babble Blog list. If you have any other blink and miss them movie cameos please drop me a line.

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