janschbern

This movie is deceptive. What attracted me was the director John Badham. The cast fits the machinations of the plot, how unlikely they may be. There are outstanding questions throughout that seem to make little sense. But for the most part, they are resolved. This is worth the time and effort for a moderately successful mystery, cops, crime, who don it, well shot film. The prime cast is attractive and establishes an ongoing rapport. The film hinges on the seriousness of the action, but the humour leads to some unknown surprises. The relationship among the 3 main protagonists sets up questions as to why and what the bad guy/guys are doing what they are doing. The answers are not straightforward. Recommended

Makes absolutely no sense. Some unusual acting - basically filling space, to make a movie that hardly entertains. Just because the Coen brothers can come up with brilliance from time to time, doesn't mean one should waste time on something like this. Entertainment? Hardly. Plot - none. Well there is a plot - the role of an auteur is to entice viewers to be drawn into some meaning, some reason to keep watching. In the end, the only reason to rent, watch this movie, is to see what nonsense will ensue - if that is a good world for it. This is a complete waste of time - the fact that the Coen's have the ability to gather actors who are always compelling, is no reason to release a movie. If this were anyone author producer/directors, would it even attract attention. Well maybe because Brad Pitt, George Cloony and a relative host of "stellar" performers. But, as the famous guy said, Stupid is as Stupid does. This is stupid, and not even entertaining, when one gets down to hit. Its really not even a 5 out of 10, but I watched it, so I give myself 1 or 2 for even thinking about it - and if anyone actually likes it, well everyone is entitled to an opinion.

There is only one outstanding reason to search out this film. Michal Cane. His performance is subtle, intriguing and masterful. His acting elevates this film into a level of "must see". Otherwise, the plot is predictable and plodding. It does portray a part of the seamy life of lower working and non-working class England. But, the story line doesn't make much sense. There is also an outstanding question as to Cane's character's back story, which isn't fleshed out in any great detail. There are some scenes that attempt to show the quality of life in modern day England. So-called estate living is are regular feature of TV British police procedure series. A question arises as to why they all look the same and whether he residents' lives are really comprised of hanging around with nothing much to do? Despite its contrivances and questionable commentary value,its worth a look.

I have only watched series 2. The plots are interesting enough - but really, they are almost beside the point. Yes, there are social issues, there are personal issues, there is some suspense, some romance and not hard to figure out plot twists. Also there is this big question. What always baffles non-British is why do British police (in TV series) so often go into knowingly risky, if not potentially fatal situations, unarmed and not backed up. It happens time and time again. It happens here. It happens in other British police, crime, legal series.

So, what is it that makes The Vice - so good? What impressed me was the very high quality of the actors. Their ongoing performances are stellar. There is a constant upward moving arc in character development, in their subtleties, and in the connections they make with their audience. Its ensemble casting at its best. Ken Stott is a master in every way. David Harewood and Caroline Catz are equally intriguing in their roles. The secondary characters are invariably terrific. Highly recommended.

This film is one full of tragedy, sadness, loss - a bit of humour, found love, lost love, meaning of life and questions of why people are the way the are - or are not. One of the characters explains that when trouble comes, she hides. Her advice is not to be like she is. But she makes no effort to explain how to do this. There is much about broken relationships, damaged resonsibilites, of who is right or wrong. Life goes on, so the saying goes. But, it doesn't go on the way people think it should or hope it would. This film is fraught with some of the most annoying characters to ever fill the wide screen. There is no real explanation for their accumulated anger - just that they are angry. Each of the most angry are shown having times of complete calm and reason. At other times, they explode in anger - to the point of verbal or other violence. Makes no sense. The question is why? Are they all nuts? Do they all hate each other so much - or is it the semi-nasty weather? Who knows. Sam Rockwell seems to be regularly good at playing over the top characters. He does fine here. But, its all over the top. Its plain annoying - and it doesn't make a bit of sense, in my humble opinion. The others, principals and supporting, at least seem to have reason. But, the huge outbursts don't necessarily hold. As I said, it makes little sense, in my humble opinion. Others may see some great tragedy in all that develops. There are some cute scenes between two characters which act as counterpoint to all the meanness. And the scenes of the marching band that can't march add some lightness. In the end, this is a mediocre film, often slow, often boring. The resolutions to the various human conflicts come as no surprises. A film well worth avoiding.

This is a special film. As good it is, special mention should be made of Jimmy Smit's subtle contribution. I saw this movie several month's ago, and a mark of a good film is how it stays in one's mind. The lead female actors are all well defined and to be commended. But for some reason, Jimmy Smits has somehow left an indelible impression that refuses to go away.

He shows up as a mild mannered, somewhat restrained character who acts as a counterpoint to Annette Benning's somewhat manic and remote character. For the longest time, the setup between these two seems to be going in one direction. Where it goes, is for the viewer to find out. But, it develops in ways unforeseen, as least to this viewer's mind. There is a kind of bond that forms between top notch actors such as these two, that helps cement complex plots in ways that create film magic. I believe that is what happens here.

I'd be interested in knowing if its my imagination or is Jimmy Smits as good as I believe? Is that added weight he carries here something that he did specifically for this film? His extra heft certainly helps to reinforce the deep portrayal of empathy that has always been a hallmark of his acting. And, this is not to forget that Annete Benning and Naomi Watts are doing some of their own stellar work in this ensemble piece. Together they have created something very special.

In any case, this is a highly regarded film for many reasons, beyond just the performances. If you haven't seen it, consider yourself lucky. You have something very special to look forward. It's a gem.

The Uninvited is a remake of a Korean movie, which likely is relativity unknown to most viewers. The big plus in this film is the performance of Emily Browning. She is in just about every scene and is a delight. The plot is straightforward and has some supposedly "scary" dream sequences which are pedestrian at best. There are a few surprises, of sort, some which are easy to figure out, some which are not. Big deal. The pacing of the film is slow and sometimes confusing. The setting, just north of Vancouver, British Columbia is stunning. There are some compelling moments. But there are some parts of the plots that make no sense whatsoever. Rather than analyze and provide a semi-spoiler, trust me. Someone goofed in the editing process. Overall, the film is a dud.

There is not much to say about this convoluted story. Its based on a real event. It relies on lots of talk and minimal action. Atom Egoyan had full control in making this film, from writing to direction. The main pluses are the performances of the principal three of the principal actors. The main negative is the questionable use of "technology", particularly of teenage chat rooms, of older people chat rooms, of video cell phones and so on - the focus of these internet & tech based products is to present talking heads by other means. There is also a violin, which is the one major non-tech focus of the story.

There is no doubt that this film has potential. It has the making of a compelling plot, given its built in twists, turns and periodic surprises. Could it have been presented in a more exciting and direct way? Maybe not given budget considerations, which are so obvious.

At an early point, the movie takes on that feeling of seeming to go on and on and on. But, there is an interesting, underlying story. And Egoyan is a skilled and always worthwhile filmmaker. So, one persists watching, with some judicious use of occasional fast forwarding of the DVD (particularly the seemingly endless, ridiculous multi-channel computer talkfests). The film has craft and is a serious endeavour. But in the end, it is boring. And boring is boring.

This documentary about Luis Tiant is about one great athlete who succeeded beyond his wildest dreams and hopes. It is also about his father, who may have been one of the greatest baseball pitchers of all time, but lived in an age where players of colour were banned from the major leagues.

It is about a quiet but unbelievably determined individual who was one of the greatest pitchers and most popular athletes in America, or at least in Boston. He was unique in so many ways and still is.

The film-makers follow Tiant as he returns home to Havana after 46 years, making contacts with family and friends. Tiant is not one to talk a lot. He isn't particularly insightful and tends to repeat certain observations. He loves to play with a cigar in his mouth as he spends time with close relatives and friends in Havanna. He rarely brings up his career in baseball, allowing others to relish in his accomplishments.

But, through it all, his emotions and feelings come through loud and clear. His love for his aunts, father and mother, cousins. His sadness at the state of affairs of Cuban life.

Note - next paragraph may be considered a spoiler !

There is one remarkable episode where he is taken to a park where people gather just to discuss baseball, Cuba's national obsession. One of Tiant's guides goes into the crowd and interrupts some heated discussion or other and gets their attention with the question: "Who do you think was the greatest Cuban pitcher ever"? Most of these Cubans are young kids, born well after Tiant's final playing days.

As the film proceeds, more is told about his unbelievable accomplishments and how his journeys were not quite so easy or straightforward. As great as his record was, he found himself discarded by baseball teams on various occasions only to come back with even greater abilities and determination.

For those who love sport, Tiant was a player to behold. No one pitched like him with his whirling style and head up motion. His will not to give up comes up time and again. And while we are only given snippet details of his personal life, it seems that his stubbornness followed him into other areas and pursuits.

The film is focused on Tiant the great pitcher and contrasts him with all his buddy childhood friends who were trapped in Cuba. He was lucky in certain ways - certainly in comparison to his talented father. His journey back home obviously has great meaning for him. What that is for him exactly is hard to discern. But, it may have something to say for those looking for some inspiration in these supposedly tough times.

This movie has become an iconic stand-in for what is great about America.

Fame is famous for its music and performances. There are several standout actors, singers, and dancers, including Irene Cara, Paul McCrae, Anne Meara*, and the superb Gene Anthony Ray.

The plot is not the movie. It follows an interesting format ... but, it all really ends in a kind of mush.

Where Parker succeeds is in pushing this movie into periodic overdrive - with the extremely poignant, sometimes beautiful and outright campy music score & performances.

The film's climax is a song-dance fest of musicians,dancers, & score by Christopher Gore. A wonderment to behold.

* An interesting note about the magnificent and superbly talented Anne Meara ... sometimes talent must reside in the genes ... Ms. Meara is married to one Jerry Stiller and is the mother of Ben Stiller ...

Based on the glowing reports, this is not what I expected. At all!

Just because an ambitious bio-pic aims to portray genius in a arty, quasi-academic, pseudo-genre laden, historical substitute accurate, fawning over genius manner, does not mean that it is to be admired.

The music is great. Bob Dylan has long been acknowledged for his genius. The range of the actors here are no less than astounding. The irony of Heath Ledger, Michelle Williams in a movie replete with songs of sorrow, doom, protest and commercial success .... and eventual transformation. Well, aim high, fall high.

Regrettably, the one big fault of this high work of art. It fails to entertain. My subjective opinion. It is a bore. It is a snore. The music is rightfully fantastic - and I prefer to listen to them on Vinyl, CD, DVD and various video/live performances of Mr. Dylan/Zimmerman himself.

Take out the songs and the music - the film itself. All the kudos - are more for the awe of it all. Dylan performs live to this day - he is a different icon from the years gone by in those days long ago of the nostalgic 1960's going forward.

He himself does not hold himself out as being anything more than he is - which is a lot.

For those than wish some yawning diversion and fine acting. Or Richard Gere on a horse. Or Cate Blanchett marvelously mimicking Dylan as Can Do No Wrong or Juliette Moore as an oh so ennui fill-in for Joan Baez, or the marvelous Christian Bale in one of his poorest performances for an actor for whom poor is better than most. Maybe the worth in this movie is seeing the talent of one Mr. Heath Ledger. Like James Dean before him, he will be rightly remembered for his extreme talent, charisma and tragic early end.

That may be the best and only reason to recommend this film.

Disappointing.

This movie is all "message". Made in an arty, low-budget format - with a albeit, serious motif of dark yellowish colouring, a muddled but stated viewpoint and protagonists asking for empathy.

It does not work. Yet, the movie isn't bad. The problem is that the story aims to manipulate. It entertains somewhat, at times. And the scenes at the Dead Sea are interesting and germane.

There is one performance - that of the suffering mother, wife stereotype of many religious mothers - here, the proverbial loving one of one boy. She seems to have absolutely no other purpose in life - although the boy is not yet in his teens, both parents seem to be well into mid-life. OK, the father is a well-respected, self-involved, evidently righteous rabbi - with a flock of well attending followers who listen and almost never register a word, comment or view. But, who is she? What was she, before she became a mother? As portrayed, she appears to be so much more.

The Rabbi, Assaf Dayan. He looks tired. Very studious, caring, so involved in his religion. Distracted. To a fault.

The son. Cute. A caricature though of a young, impressionable youth who asks many questions but understands few answers. Unfortunately, the acting is too stilted here, so there is an element of "he doesn't seem real". His non-performance is a drag on the overall movie. Not bad. Not good.

Esther the wife is the heart of the film. Her life is bereft of much outward meaning, contact with others, or anything except for running a little household, reading a prayer book, being very tired for some reason, and showing love to her son and husband. Her husband merits much questioning - but, Esther, seems to be in some sort of rapture, at times. Who knows? A question - at the core of the film - or not.

The film is relatively short - so, ennui hasn't much time to settle. The scenes are fairly quick and pointed. Yet, the parts are better than the whole.

The message doesn't ring true. The Hebrew title is "Summer Holiday"; it has been changed to "My Father, My Lord" in English. Why? Such a discrepancy? The English title basically gives it away, if only it had an (!) exclamation mark at the end .... Then, we might hear Tevye the Milkman breaking into his patterned speech of "Why oh Lord did you have to choose we Jews?" "We pray, we do righteous deeds, we are good. Yet, you persist in all this suffering that you heap upon us! Why not choose some other people? For a century or two, might be a good suggestion? Oh Lord!"

There is a side story of a mother bird and two new babies - more underlying meaning here.

Boring prattle.

Change the name of the movie once more to "Oy Vey - Life Can Be Such A .... Life !". Or something more to the point.

Yet, there is something well worth seeing here. So, despite my low rating - for the dumbness of it all - I recommend this movie, but, don't take it much to heart. Gevalt!

Excellent acting by the two female leads. Sharp tension throughout. Ironic intersection of chance occurrences that is totally believable even if it is plot directed. Surprises and twists where least expected. Flashbacks and forward flashes that don't detract. Shocks that are the least shocking aspects of the fast paced movement. Strength and weaknesses in all the main protagonists. All of this in a made for TV movie. A superb plot, so well shot, so well thought through. The last made for TV movie that comes to mind that was on par for such quality all round - Duel by Stephen Spielberg. This movie is more than its parts and its final moments sum up the lack of answers that fate has for people, strong women, weak men, dependent children as the case may be .... this is a film which entertains while raising questions - most of which are never answered ... and the answers provided are almost all inadequate. Tragedy is a follower of the various individuals, parents, children, bosses, underlings ....but no one necessarily realizes or acknowledges what their lives are or what it may become. When the consequences of their actions take root, the results are not necessarily what are expected, for the various participants, and for us.