Blu Ray/DVD Review: FOUR LIONS

This sharp satire was just released this week on Blu ray and DVD. It will also be available on Netflix Instant on April 7th.

FOUR LIONS (Dir. Christopher Morris, 2010)

On this film’s Blu ray and DVD box the word “funny” is printed 15 times as quoted by 15 different critics. Well, I’ll say up front that FOUR LIONS is indeed funny. It’s also odd, quirky, and just plain silly.

It’s a comedy about suicide bombers so for it to be all those things is quite a feat.

The film concerns the misadventures of a group of jihadists who live in Sheffield, England. One of the members, Nigel Lindsay as a Caucasian convert to the cause, bemoans the current state of affairs:

“These are real bad times…Islam is cracking up. We’ve got women talking back. We’ve got people playing stringed instruments. It’s the end of days.”

In preparation for the end times, Riz Ahmed as the team’s leader and Kayvan Novak (who won a Best British Performance Award for this film at the British Comedy Awards) travel to a terrorist training camp in Pakistan where there’s more comic clashing than actual training goes down.

Although Lindsay keeps spouting out about bombing a mosque, the “Lions” decide to target a London marathon in which they can dress in big puffy colorful costumes (such as a Teenage Mutant Ninja Turtle, an Ostrich, a Honey Monster, and a clown) that can conceal their explosives.

At first I cringed at the notion of Keystone terrorists, but the film’s likable tone and satirical take on misplaced ideology isn’t hateful – it sympathizes with these characters even as it has them blowing themselves up (that can’t really be a Spoiler!, can it?).

There’s a welcome Monty Python-esque feel to a lot of the material – it particularly reminds me of the ineffective political rhetoric and misguided actions of the People’s Front Of Judea (or the Judean Peoples Front?) in LIFE OF BRIAN.

Though it doesn’t have the balls as big as church bells that that classic Biblical parody does, FOUR LIONS makes a great game of hilariously exposing the same closed systems of thought (or maybe just extremist stupidity).

Special Features: “Bradford Interview” - a behind-the-scenes look at the making of the film featurette, background material, deleted scenes, and storyboards.

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CASINO JACK: The Film Babble Blog Review

CASINO JACK (Dir. George Hickenloper, 2011)

In his portrayal of lobbyist/businessman/sleazebag Jack Abramoff, Kevin Spacey busts out a lot of celebrity impressions. He does Walter Matthau, Al Pacino, Ronald Reagan, and Bill Clinton among others, but while his mimicry is dead on, his performance as Abramoff never quite convinces.

Especially if you’ve seen last year’s Alex Gibney directed documentary CASINO JACK AND THE UNITED STATES OF MONEY which this film is based on.

Also since Spacey has played incredibly similar slick-talking salesman types roles in films like SWIMMING WITH SHARKS, THE BIG KAHUNA, and HURLYBURLY, he is unable to capture a distinct characterization here.

But it simply may be because Spacey is miscast.

An actor doesn’t have to resemble the real life person they are cast as in order to inhabit the part (witness Anthony Hopkins as Nixon, Johnny Depp as Ed Wood, or Warren Beatty as Bugsy Siegel to name a few), but Spacey is so far off that the whole project never gels.

Incidentally from much of the footage and photos in the documentary, it looks like Bob Saget would’ve been a better match.

CASINO JACK glosses over a lot of juicy information in charting the downfall of the man that Time Magazine called “the man who bought Washington D.C.” Abramoff’s shady dealings involving Chinese chop shops, Native-American casinos, cruise ships, and political fraud on a massive level are best covered by Gibney’s film, as crammed with unnecessary graphics as it is.

Here with Spacey living it up on the way down joined by a wonderfully scummy Jon Lovitz (one of the movie’s highlights) as a disbarred lawyer with mob connections, and Barry Pepper as Spacey’s associate partner-in-crime, there’s a creepy feeling that the film wants us to be on Abramoff’s side.

It’s well known that Abramoff was movie obsessed and often quoted classic films, but when Spacey delivers his impeccable impressions (that you just know that Abramoff could never come close to) it makes the man too likable and distracts from the seriousness of the man’s corrupt actions.

So in conclusion, if you want to see the story of the real Jack Abramoff – see Gibney’s dense yet fascinating doc CASINO JACK AND THE UNITED STATES OF MONEY (available on Netflix Instant by the way).

But if you want a flashy Kevin Spacey showcase that over simplifies the historical record for the sake of cheap laughs then CASINO JACK is the one for you.

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THE ADJUSTMENT BUREAU: The Film Babble Blog Review

THE ADJUSTMENT BUREAU (Dir. George Nolfi, 2011)

As the youngest Congressman ever elected to the House of Representatives, Matt Damon can win over crowds just by flashing his blinding grin as this film’s opening montage of his senate campaign attests. But his bid for office is derailed when photos of an old college prank surface, and he ends up losing even in his home county.

Nevertheless Damon while preparing to deliver his concession still has reason to flash that grin as he has a “meet cute” with Emily Blunt funnily enough in a restroom at the Waldorf Astoria.

Blunt just happened to hiding from security in the men’s room stall because she crashed a wedding in case you are wondering.

They flirt then kiss, but don’t exchange names or phone numbers so when Damon is whisked away by his campaign manager (Michael Kelly), and Blunt is spotted by hotel security, fate seems to separate them.

Or that’s what “they” want Damon to think. Who are “they”, you ask? Why they’re the ones behind the scenes manipulating circumstances to influence human history.

They are men who wear classic suits and sport fedoras who will make you think of Mad Men especially since John Slattery is one of them.

When another member of the “intervention team” (as Slattery calls it), played by Anthony Mackie fails to divert Damon off his course to a meeting, things go askew.

Damon runs into Blunt on a bus and this time gets her digits, but then walks into an office of his frozen-in-time co-workers being scanned (or something) by, yep, the Adjustment Bureau.

In a huge shiny warehouse setting, Damon is told by Slattery and Mackie that he will be reset – that is, his mind will be erased if he tells anybody about them, and more importantly he can never be with Blunt.

Slattery burns the card with her phone number on it right in front of Damon to hammer home the point.

3 years pass and Damon is back on the campaign trail and lo and behold he sees Blunt on the street on the same bus route. The spark is still there as they chitchat while Slattery and crew surround them.

The film then becomes a series of elaborate chase scenes with brief exposition breaks. The men of the Bureau can use any door as a portal to a different place – but, only if they are wearing their fedoras. That and other nonsensical rules of the team tracking Damon are never satisfyingly explained, and the supposed plan they follow appears to be ultimately flexible.

Yet there is some fun to be had here. Damon and Blunt’s performances are top notch and at times it’s a treat to watch them run around through a well shot New York City.

Slattery and second half stealing Terrence Stamp bring gravitas to the convoluted material which is loosely based on a Phillip K. Dick short story from 1954.

The directorial debut of screenwriter George Nolfi (BOURNE ULTIMATUM, OCEAN'S 12, THE SENTINEL), THE ADJUSTMENT BUREAU simply isn’t inventive enough to be a memorable mind bender a la INCEPTION. In other words you're not left with anything really to discuss or think about afterwards.

It strives to be a modern surreal take on a classic Hitchcockian thriller, but it’s more on the VANILLA SKY-side.

Stamp tells Damon that he never actually had free will – he only had the illusion of free will. Well, in this film, the illusion of intelligent entertainment is all we get.

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BEASTLY: The Film Babble Blog Review

BEASTLY (Dir. Daniel Barnz, 2011)

A week ago I had no idea who Alex Pettyfer is. Now I’ve seen 2 movies starring the bed headed pretty boy – the first being I AM NUMBER FOUR, and then this modernized take on the ancient fairy tale “Beauty And The Beast” aimed at the TWILIGHT teens – and no one else.

We meet the arrogant Pettyfer as he’s running for his New York city High School’s “Green Committee” on a platform based entirely on his looks.

Pettyfer decides to humiliate one of the uglies – a fellow student (a punk attired Mary-Kate Olsen!) who he calls a “self-mutilated, tattooed Frankenskank” (I only remember this phrase because it’s said more than once) by inviting her to a school dance when he already has a date (Dakota Johnson).

Olsen, who with no background given is a real witch, retaliates by casting a vicious spell on Pettyfer that leaves him bald, tattooed, and scarred beyond recognition. He will remain that way forever unless somebody tells him that they love him by the end of a year.

Pettyfer’s just as vain television anchorman father Peter Krause (Six Feet Under) can’t stand to live (or look at) with his deformed son so he banishes him to a Brooklyn townhouse with their Jamaican maid (Lisa Gay Hamilton) and a blind tutor (Neil Patrick Harris).

Because of the dire charisma less acting, I was so thankful when Harris showed up. He’s intended to be the film’s one-liner spouting comic relief, but he functions as much more than that – he’s the only likable presence here.

So Pettyfer starts pining for a girl – Vanessa Hudgens (HIGH SCHOOL MUSICAL) – he thinks can help him out of this predicament by at first stalking her, then implausibly getting her to move in to his townhouse in order to protect her from her junkie father’s dangerous drug dealer.

There is not a single surprise in this cutesy cringe-inducing piece of fluff. There’s no believable chemistry between the leads, and its moralizing is offensive as although Pettyfer is supposedly uglied up (in real life NYC his appearance wouldn’t get a second glance) he’s still an empty jerk with money who gets all that he wants in the end.

If nothing else I can now recognize Alex Pettyfer as a British model (he’s so not being cast for his acting chops) who stars in soon to be forgotten dumping ground movie season fodder.

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Oscar Postpartum 2011

It was far from the most exciting Academy Awards broadcast. The most surprising thing that happened was that Kirk Douglas stole the show from hosts James Franco and Anne Hathaway.

As for my Oscar picks I got exactly the same amount right that I did last year - 13 out of 24.

Here are the ones I got wrong:

BEST PICTURE: THE KING'S SPEECH. For the first time in 4 years I got this one wrong. I picked THE SOCIAL NETWORK because that was what I was feeling, but the Academy voters felt differently. THE KING'S SPEECH is excellent and deserving so I'm not disapointed.

Funnily enough last September Bill Maher joked on his HBO show (Real Time With Bill Maher):

"New rule: If they are going to make a historic epic full of British actors in period costumes about Queen Elizabeth helping her father get over his speech impediment, why bother having the Oscars at all? You win."

He didn't get the plot right exactly, but he was dead on there.

BEST SUPPORTING ACTRESS: Melissa Leo won for THE FIGHTER. I really thought Haileed Steinfeld would take it. Sigh.

BEST DIRECTOR: Tom Hooper for THE KING'S SPEECH. I picked David Fincher for THE SOCIAL NETWORK - I really should've seen THE KING'S SPEECH sweep coming.

These were pretty much stabs in the dark:

BEST FOREIGN FILM: IN A BETTER WORLD. Honestly can't remember why I went with INCENDIES.

BEST CINEMATOGRAPHY: Wally Pfister for INCEPTION. Was pulling for Roger Deakins for TRUE GRIT because he's been nominated 9 times and I thought it was his time. It wasn't.

BEST SCORE: Trent Reznor and Atticus Ross for THE SOCIAL NETWORK. The Academy got this one right, but I didn't with my pick of Alexandre Desplat for THE KING'S SPEECH.

BEST SONG: Randy Newman for TOY STORY 3. Another I was happy to be wrong about. I had choosen A.R. Rahman, Rollo Armstrong, and Dido for 127 HOURS which didn't win anything.

BEST DOCUMENTARY: INSIDE JOB - Man, I so wanted Banksy to win for EXIT THROUGH THE GIFT SHOP. However INSIDE JOB was a great flick too so I'm fine with it.

BEST DOCUMENTARY SHORT: STRANGERS NO MORE. My pick - KILLING IN THE NAME is another that I can't remember why I picked it.

Ditto on these 2:

BEST SHORT (ANIMATED): THE LOST THING.

BEST SHORT (LIVE ACTION): GOD OF LOVE.

My favorite line of the entire broadcast: "You've just been Inceptioned!" - as spoken by Alec Baldwin.

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Hey Kids - Funtime Oscar Picks 2011!

It's that time of year again - the Oscars are Sunday so I've got to make my annual predictions. If you've followed this blog in previous years you'll know I'm no expert - I usually do okay with the major categories, but come up short in my picks for the smaller awards.

Still here's what I got:

1. BEST PICTURE: THE SOCIAL NETWORK

Yes, many are saying THE KING'S SPEECH will win this, having won many previous awards, and boasting the most nominations, but I am so feeling the Facebook film to go home with the gold.

2. BEST DIRECTOR: David Fincher for THE SOCIAL NETWORK. Yep, likewise.

3. BEST ACTOR: Colin Firth for THE KING'S SPEECH. I'd prefer James Franco for 127 HOURS but Firth seems like a shoe-in for his stammer-perfect part as George VI.


4. BEST ACTRESS:

Natalie Portman for BLACK SWAN.

Seeing the young Portman again recently at a revival screening of THE PROFESSIONAL (1994) reminded me how far she's come - I expect this to confirm that.


5. BEST SUPPORTING ACTOR:

Christian Bale for THE FIGHTER.

None of the other actors nominated have that unhinged intensity that Bale brought to his role as a boxer gone to seed - or crack.

6. BEST SUPPORTING ACTRESS: Hailee Steinfeld for TRUE GRIT. Seems about time for such a young actress to win this - also seems time because Steinfeld was so good holding her own up to Jeff Bridges, Matt Damon, and Josh Brolin in this instant Western classic.

And the rest:

7. ART DIRECTION: ALICE IN WONDERLAND

8. CINEMATOGRAPHY: Roger Deakins for TRUE GRIT

9. COSTUME DESIGN: ALICE IN WONDERLAND

10. DOCUMENTARY FEATURE: EXIT THROUGH THE GIFT SHOP. Go Banksy!

11. DOCUMENTARY SHORT: KILLING IN THE NAME

12. FILM EDITING: THE SOCIAL NETWORK

13. MAKEUP: THE WOLFMAN (Rick Baker, Dave Elsey)

14. VISUAL EFFECTS: INCEPTION

15. ORIGINAL SCORE: Alexander Desplat for THE KING'S SPEECH

16. ORIGINAL SONG: "If I Rise" (A. R. Rahman, Dido) from 127 HOURS

17. ANIMATED SHORT: THE GRUFFALO

18. LIVE ACTION SHORT: THE CONFESSION

19. SOUND EDITING: INCEPTION

20. SOUND MIXING: INCEPTION

21. ORIGINAL SCREENPLAY: THE KING'S SPEECH

22. ADAPTED SCREENPLAY: THE SOCIAL NETWORK

23. ANIMATED FEATURE FILM: TOY STORY 3

24. BEST FOREIGN FILM: INCEDIES

We'll see how many I get wrong on Sunday night.

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HALL PASS: The Film Babble Blog Review

HALL PASS (Dirs. Bobby Farrelly & Peter Farrelly, 2011)


At a preview screening of this film the audience in the packed theater cheered during the trailers when the cast of the upcoming THE HANGOVER PART II hit the screen.

I knew right then that this crowd was going to absolutely love what was ahead. And they did from start to finish of HALL PASS – they laughed loudly at every sex joke, masturbation joke, drug/alcohol joke, every single scatological shenanigan, every utterance of profanity, everything.

So much so that I missed a lot of dialogue, but, hey, I’m not complaining about that.

I more than got the gist that the premise - Owen Wilson and Jason Sudeikis (Saturday Night Live) are long married yet still juvenile horndogs who are given a week off from their marriages by their wives Jenna Fischer (The Office) and Christina Applegate – was just another excuse for the Farrelly brothers to again bombard the populace with their brand of extremely cheap humor.

From OLD SCHOOL to the oeuvre of Judd Apatow, the boy-men-who-can’t-grow-up-genre has been so much better served.

There are a few laughs here and there – the familiar Law And Order sound effect greets the day 1-7 segment titles, and there are a fair amount of decent (though not laugh out loud funny) one-liners, but they are a rarity among the hundreds of groaners throughout.

There’s an odd mixture of a supporting cast: Stephen Merchant (who’s usually not far away from Ricky Gervais), J.B. Smoove, Joy Behar (!), Alyssa Milano, and most ridiculously Richard Jenkins as a too tan gold necklace sporting swinger who guides the 2 men in their quest to get laid while their wives are out of town.

Predictably Fischer and Applegate are themselves tempted by convenient suitors so the film tries to grow a heart in its last third, but by then I was so worn out by the tiresome cramming of foul gags into every scene that I really didn’t care how it turned out – who scored, who realized the supposed strength of their love, who got punked –none of it mattered to me.

But then, I may be in the minority because from what I witnessed at that screening, there’s no denying that it’s a crude crowd pleaser that will probably be a big hit.

To me, however, it just confirmed that the Farrelly brothers are still on my short list of my least favorite film makers.

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