THE BEGUILED (2017) – Showcases Talented Female Cast

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Director Sofia Coppolla and the cast of THE BEGUILED (2017).

THE BEGUILED (2017) is a remake of a 1971 Clint Eastwood movie of the same name, directed by Don Siegel.

The Eastwood film, which is something of a cult favorite among Eastwood fans, is certainly one of the more offbeat and haunting movies Eastwood ever made.  It was a box office failure at the time, due to a poor ad campaign which marketed it as another Clint Eastwood action film, which it isn’t, and also because audiences in 1971 weren’t quite sure what to make of this dark tale of a Union soldier recuperating at an all-girl Confederate school.  Directed by Don Siegel, the film is steeped in atmosphere and style.

The 2017 version was directed by Sofia Coppola and tells pretty much the same story.

In Virginia, in the waning days of the Civil War, a young girl Amy (Oona Laurence) discovers a wounded Union soldier, Corporal John McBurney (Colin Farrell) in the woods while she is picking mushrooms.  She brings the soldier back to her school, and the head of the school, Miss Martha (Nicole Kidman), decides it would be un-Christian of them to turn the Corporal over to the Confederate army until he has a chance to recuperate.  And so they tend to his wounds and nurse him back to health, with the intention of handing him over to the Confederate army once his wounds have healed.

But John is a man, and the school is full of women and girls who simply haven’t been around men all that much.  As such, during his stay, the sexual tensions build.  Not only is Miss Martha attracted to John in her own reserved way, but teen student  Alicia (Elle Fanning) can’t keep herself from openly flirting with him.  Even young Amy is attracted to him.

And matters become more complicated when privately John declares his love for teacher Edwina (Kirsten Dunst), who he says is the most beautiful woman he’s ever seen. Edwina falls for John instantly, mostly because she is unhappy and sees John as her ticket out of her present life at the school. She would like to run away with him.

For his part, John remains quiet and polite, keeping things proper, except for his declaration of love to Edwina.  But one night he makes a fateful decision to enter a certain bedroom, and things change dramatically from that point on.

Director Sofia Coppolla, who also wrote the screenplay, gets the atmosphere right but struggles somewhat with the characterizations, specifically with Corporal John McBurney, who is too reserved to be effective.

THE BEGUILED is beautiful to look at.  Director Coppolla captures the essence of a school in the southern countryside, photographing the manor through abundant green trees and filtered sunlight.  There are also some nice shots of red sunlight reflecting off the front of the elegant structure.

But the majority of the film is shot in shadowy darkness, as the bulk of the action takes place inside the school, lit by low burning candles.  The look of this film drew me in immediately and kept me in its Civil War world throughout.

It is definitely slow-paced and plays out like the period piece Civil War drama that it is. This worked for me for the most part, but towards the end of the film when things get seriously darker, the film downplayed these heavy moments, which worked against the movie for me.  I expected things to get very ugly, but the horrible things that happen are only hinted at and not fully explored.  The film never really rises above its southern slice of life portrait.

As I said, Sofia Coppolla also wrote the screenplay, which is based on the screenplay to the 1971 film by Albert Maltz and Irene Kamp, itself based on the novel by Thomas Cullinan.   Coppolla does a nice job with the female characters, but Corporal John McBurney isn’t as defined as well as he needs to be.  In the 1971 film, you knew Clint Eastwood’s character was conning the women. Here, as played by Colin Farrell, the audience isn’t so sure.  Is he playing these women or not?  Since the screenplay isn’t clear, it makes what happens at the end of the film far less satisfying, because we don’t know how to react to John’s fate, since we really don’t know what kind of a person he truly is.

In terms of casting, you can’t ask for a better female cast.

Nicole Kidman plays Miss Martha as a strong and independent woman.  She is clearly in charge of everyone at the school.  But questions remain about her character as well. For instance, would she do what John accuses her of doing at the end of the movie?  Or did she do it for the reason she said, to save his life?  The film isn’t clear.

Kirsten Dunst is also very good as Edwina, the depressed school teacher who is only too willing to fall in love with John.  And Elle Fanning is sultry and seductive as the young woman who is intent on getting John into her bed.

But it’s the younger girls who make an even stronger impression here.  Oona Lawrence is exceptional as young Amy, the girl who first finds John and really likes him throughout the movie.  Angourie Rice, who played Ryan Gosling’s daughter in last year’s comedy THE NICE GUYS (2016) is memorable here as Jane, the one girl in the school who is offended by the idea of housing a Union soldier at the school.  And Addison Riecke also has some significant moments as Marie, the girl who makes the ominous suggestion at the end of the movie on how to stop John.

As John, Colin Farrell is okay, but I’ve seen him deliver far better performances.  He was too calm and relaxed throughout.  The character seemed to be begging for a nefarious side, which doesn’t come out at all.  Towards the end of the film, when bad things begin to happen, we finally see John act passionately, which gives us some insight into his character, but it’s too little too late.  He remains polite to the last, apologizing after his deplorable behavior and sounding sincere in his apology, which makes the ending of this one all the more tragic.  Then again, without a clear-cut defintion of John’s character, it’s difficult to know how to feel about him.

In spite of this, when the women make their bold decision at the end of the movie, the coldness with which they proceed is jarring and potent.  The shot of the women around the dinner table afterwards is one of the more memorable images in the film.

That being said, the film would have been stronger had it gone to these dark places more often instead of avoiding them.

THE BEGUILED is a moderately entertaining movie, a showcase for its talented female cast and its female writer/director, Sofia Coppolla, but with a vaguely defined male protagonist, the story they are telling is far less potent than it should have been.

—END—

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

LOGAN (2017) – Fitting Final Chapter for Wolverine

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You can’t run away from your past, especially if you’re a killer with a heart.

That’s the theme which runs through LOGAN (2017), the latest Marvel superhero movie about everyone’s favorite X-Men, the Wolverine, and it’s a theme that’s backed up by frequent references to the classic western SHANE (1953) starring Alan Ladd as a former gunslinger also haunted by his past.

And in the case of LOGAN, it’s more than just a figurative canker, as in this movie Logan’s murderous past is literally poisoning him from within.

When LOGAN opens, a gang of thugs pick the wrong limo to car jack, because resting inside the vehicle is Logan (Hugh Jackman) and he doesn’t take too kindly to people messing with his property.  But we quickly see that this is an older and weaker Logan, and where in the past his alter ego Wolverine would have made quick work of these thugs, now it’s a much more difficult job.  Wolverine takes care of these baddies, but it’s more of a struggle than we are used to seeing.

That’s because the story takes place in the near future, in 2029, a time when all the mutants are now a thing of the past, and Logan is trying his best to live out his life under the radar.  He’s living in Mexico, in very poor conditions, and with the help of fellow mutant Caliban (Stephen Merchant) he’s caring for a very fragile and elderly Professor Xavier (Patrick Stewart).   This is no easy task, since Professor X is prone to seizures, and when he has them, his extraordinarily powerful mind becomes a dangerous weapon and disrupts the world around him.  So, Logan has to keep the professor constantly medicated to prevent him from having seizures, and a lot of the money Logan earns running his limousine service goes towards purchasing these meds.

One day, Logan is approached by a woman Gabriela (Elizabeth Rodriguez) who begs for Logan’s help.  She wants him to protect a young girl  Laura (Dafne Keen) who she says dangerous people are after.  Logan isn’t interested in helping and tells her to go away, but later he is approached by a man named Pierce (Boyd Holbrook) sporting a powerful mechanical hand who questions Logan about this woman, claiming he needs to find her because she stole something from him.  And when Professor X tells Logan about a young girl who is a mutant, Logan ignores him as well, telling the professor there simply aren’t any mutants being born anymore.

But Logan is wrong, and when Pierce and his men locate Gabriela, Laura escapes in the back of Logan’s car, and suddenly it’s up to Logan and the ailing Professor X to protect her.  And while Logan initially is not interested, Professor X  tells him just who she is and who her father is, and that point, for Logan, there’s no going back.

I really enjoyed LOGAN, so much so that’s easily my favorite of the Wolverine movies.

The first thing that stands out about LOGAN is that it is Rated R.  As such, there is a lot of language and bloody violence throughout, things not typically found in a superhero movie.  I’m sure this movie was able to be made as an R rated vehicle because of the extraordinary success at the box office of DEADPOOL (2016) which was also rated R.  And while the language in LOGAN is nowhere near as raunchy as the language in DEADPOOL, the film certainly earns its R rating.

The violence and the language both work here because they are integral to the story.  It’s the way Logan talks, and anything less wouldn’t have seemed as realistic.  Likewise, the violence reflects the ugliness which Logan is trying to forget.  LOGAN is an adult tale, and as such, is completely at home with its R rating.

At one point in the movie Professor X and Laura are watching SHANE (See my review at this site)  on TV, and the professor tells her that they are watching a very famous movie. More than that, SHANE with its story of Alan Ladd’s gunslinger Shane trying to forget his past serves as a backdrop to the main theme of this movie.  Logan wants out, but he finds he cannot turn his back on the people who need him.  In an interview, writer/director James Mangold cited SHANE and Clint Eastwood’s UNFORGIVEN (1992) as inspirations behind LOGAN.

I enjoyed the way Mangold directed this movie.  The action scenes work, and the pacing is good, until the end, when things definitely slow down.  The most exciting sequence in the film is probably when Logan, Professor X, and Laura befriend a farming family— another SHANE reference— and later that night they are attacked by Pierce and his men and their new “secret weapon.”  It’s the most intense sequence of the movie.

The violence is effective and fits in with the story being told here. It also looks a bit more real here than in other R-rated action movies. Often an R rating means nothing more than the ability to show blood, and in this day and age, the blood is CGI -created and very fake looking. The violence in LOGAN looks real.

There’s also a seriousness to the movie that sets it apart from a lot of the other Marvel superhero flicks.

Mangold also directed the previous film in the Wolverine series, THE WOLVERINE (2013). LOGAN is a much better movie than THE WOLVERINE and plays more like another Mangold movie that I really liked, the western remake 3:10 TO YUMA (2007) starring Christian Bale and Russell Crowe.

The screenplay by Mangold, Scott Frank, and Michael Green is also very good, which comes as no surprise since all three of these guys have extensive impressive writing credits. In addition to the theme of trying to forget one’s past, the story also deals with getting old.  Both Logan, and to a greater degree, Professor X, are nearing the end of their lives, and to watch them at this stage of their life journeys is interesting.

Like the rest of the world, I’ve always enjoyed Hugh Jackman as Wolverine, and while he can play the character in his sleep by now, his performance here in LOGAN is a step above his usual work because of the added element of the age factor.  In the very first sequence of the movie we are introduced to an aged Wolverine. In previous movies, Wolverine would have made short work of the men attacking him, but here, it’s a major struggle for him. It’s a cool scene, a neat way to open the film, and it sets the stage for Jackman’s superior performance.

And not only is Logan dealing with the normal aging process, but he’s sick.  The years of having metal inside his body have been slowly poisoning him to death.

Equally as good as Jackman is Patrick Stewart as Professor X.  In fact, probably my favorite part of LOGAN is the chemistry between Patrick Stewart as Professor X and Hugh Jackman as Wolverine. Their banter is a highlight of the film.  They are both terrific actors, and they really work well together.

It was a lot of fun to see Patrick Stewart playing Professor X again. He’s been sharing duties with James McAvoy, who plays the character in the rebooted series featuring younger X-Men.  As such, the character of Professor X has struck gold in these movies, as he is portrayed by two top-notch actors, Patrick Stewart and James McAvoy. You can’t go wrong with either portrayal.

While I liked Dafne Keen as Laura,  she didn’t blow me away. Part of it is the writing of the character. She doesn’t say a whole lot, and a bulk of her scenes are strictly action scenes where she’s helped out by some CGI effects.  As such, she is less effective than she might have been.  Laura reminded me a little bit of the character Eleven played by Millie Bobby Brown in the TV show STRANGER THINGS, but ultimately was not as interesting.

The supporting cast was okay.  I found Stephen Merchant rather blah as Caliban.  I liked Boyd Holbrook as Pierce, but ultimately, he just becomes a glorified henchman. As the movie goes on, there’s less and less for him to do.

Like other Marvel movies, LOGAN struggles with its villain.  As much as I enjoy the Marvel movies, you can pretty much bank on it that the villain in the film is going to be sub-par, which I find really puzzling. You’d think more effort would go into creating memorable villains in these movies.

The main villain here, the man Pierce works for, is Dr. Rice (Richard E. Grant) and he’s as dull as they come.  He pretty much put me to sleep.

And as good as LOGAN is, it doesn’t sustain its excellence all the way to the end. It starts off great, and up to that farmhouse scene, about two-thirds of the way in, it’s firing on all cylinders, but then it just fizzles out.

The final act is a letdown, and nowhere near as compelling as first two-thirds of the movie. And this is where not having a formidable villain really hurts, because you don’t have that to fall back on. If you have a memorable villain, then you are locked in until the end because you are waiting for that final confrontation. Without the villain, you’re not really waiting for anything, other than for the movie to be over.

LOGAN runs for two hours and seventeen minutes,and it could have easily been about 20 minutes shorter.

And while the final act is much less interesting than what came before it, the ending of the movie, the final frame, is a good one.  So, you have an excellent superhero movie that runs a bit too long and forgets itself for its final 30 minutes or so before ending with an exclamation point.

All in all, LOGAN is a fine entry in the Marvel superhero universe, a more adult tale than usual, and a fitting final chapter to the Wolverine story.

—END—.

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

 

 

 

Best Movies of 2016

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La La Land (2016)Sebastian (Ryan Gosling) and Mia (Emma Stone)

Ryan Gosling and Emma Stone in LA LA LAND (2016

 

Here’s a look at my picks for the Top 10 movies of 2016.  Of course, while I do see a lot of movies— 58 this year, and that’s just theatrical releases—  I’m not able to see every movie that comes out, and so this list is limited to only those movies I have seen.

We’ll start with #10 and count down to #1:

 

10. THE INFILTRATOR

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Excellent performance by Bryan Cranston powers this crime drama which tells the true story of how U. S. Customs Official Robert Mazur (Bryan Cranston) went undercover to take down a  Columbian drug lord.

 

9. THE JUNGLE BOOK

Loved this remake of Disney’s animated THE JUNGLE BOOK (1967), and I’m a huge fan of that original 1967 animated classic.  Special effects here were amazing, and I really liked how director Jon Favreau made this family friendly film a serious hard-hitting adventure.

 

8. DEADPOOL

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The role Ryan Reynolds has been waiting for.  Sure, this vulgar, violent tale isn’t for everybody, but the humor is spot-on.  My second favorite superhero movie of the year. Best part is it is so unlike other traditional superhero movies.

 

7. CAPTAIN AMERICA: CIVIL WAR

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My pick for the best superhero movie of 2016.  Plays much more like THE AVENGERS 2.5, rhis exciting tale pits Team Captain America vs. Team Iron Man, and the rift between these two friends comes off as real and believable, something that the similarly themed BATMAN V SUPERMAN:  DAWN OF JUSTICE (2016) failed miserably at.  The scenes with newcomer Tom Holland as Spider-Man are off-the-charts good.

 

6. EDGE OF SEVENTEEN

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Hilarious comedy-drama starring Hailee Steinfeld as a seventeen year-old dealing with life as a teenager.  Things get complicated when her best friend starts dating her older brother.  Topnotch script and direction by writer/director Kelly Fremon Craig.

 

 

Now we get down to my picks for the Top 5 movies of 2016:

5. HANDS OF STONE

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Critics panned this movie, but I absolutely loved this boxing pic about boxing champ Roberto Durant.  Edgar Ramirez  gives a spirited performance as Roberto Durant, and he’s supported by a fine cast which includes Robert De Niro, Ruben Blades, and Usher Raymond as Sugar Ray Leonard.  Excellent movie, much better than critics gave it credit for, although admittedly I am a sucker for boxing movies.

 

4. HELL OR HIGH WATER

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Easily could be my pick for the best movie of the year, this impeccably made crime drama follows a Texas crime spree by two brothers Toby (Chris Pine) and Tanner Howard (Ben Foster) with an old Texas Ranger Marcus Hamilton (Jeff Bridges) hot on their trail.  Features fantastic peformances by the three leads.  Jeff Bridges is amazing as always, and the same can be said of Ben Foster, and it’s also fun to see Chris Pine get to do a whole lot more than when he plays Captain Kirk in the rebooted STAR TREK movies.  Riveting direction by David Mackenzie, and a phenomenal thought-provoking script by one of my favorite screen writers working today, Taylor Sheridan.

 

3. SULLY

Easily the most efficient film of the year, SULLY, starring Tom Hanks, and directed by Clint Eastwood, clocks in at a brisk 96 minutes, and not a minute is wasted.  It tells the emotionally riveting true tale of pilot Chesley Sullenberger, aka “Sully,” and his decision to make an emergency landing on the Hudson River.  It’s an amazing story because all the passengers on the plane survived, and the film makes things even more compelling as it follows the subsequent investigation by officials who questioned Sully’s decision to land in the water in the first place.  SULLY features another remarkable performance by Tom Hanks, and yet another superb directorial effort by Clint Eastwood.  Eastwood is 86 years old, and yet SULLY plays with as much energy, oomph, and emotion as if directed by someone half that age.  I left the theater incredibly impressed.

 

2. MANCHESTER BY THE SEA

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This film could also have been my number one pick of the year.  MANCHESTER BY THE SEA is a finely acted drama, led by two powerhouse performances by Casey Affleck and Michelle Williams, about a man Lee Chandler (Casey Affleck) thrust into a life-changing situation as he finds himself having to care fo for his deceased brother’s sixteen year-old son.  His life in a shambles due to an earlier traumatic event, Lee knows he’s not the man for the job, but since there is no on else, he pushes himself to live up to his brother’s wishes and care for his nephew. Atmospheric direction by writer/director Kenneth Lonergan, with a script that is as honest and believable as they come.

And now, for my pick for the Number 1 movie of 2016:

 

 

  1. LA LA LAND

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My pick for the Best Movie of 2016 also happened to be the last movie I saw in 2016, LA LA LAND.  What a fabulous way to end the calendar year!  LA LA LAND is an absolutely wonderful movie.

I  loved the energy writer/director Damien Chazelle brings to this one.  The opening dance number on a gridlocked L.A. freeway dazzles, and the film never looks back.  Emma Stone gives the best performance of her career to date, imbuing her struggling actress character Mia with so much raw emotion and quirky pizzazz she’s one of the liveliest characters I’ve seen on screen in a long while. Ryan Gosling is just as good as jazz musician Sebastian in this uplifting almost magical musical which follows Mia and Sebastian through a romance in which they help each other achieve their artistic dreams before reality ultimately sets in, forcing them to make decisions which affect their future.  A remarkable movie and genuine crowd pleaser.

Hands down, LA LA LAND is the Best Movie I saw in 2016.

Okay, that about wraps things up for today.  Thanks for joining me in 2016, and here’s to another fine year of movies in 2017!

Thanks for reading!

—Michael

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

 

 

 

DEEPWATER HORIZON (2016) Struggles to Stay Afloat

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deepwater-horizon

There’s a fine line between having a compelling story to tell, and telling a compelling story.

The recent movie SULLY (2016) is a perfect example of the latter.  It had a compelling story to tell, and director Clint Eastwood knew how to tell it.

DEEPWATER HORIZON (2016), on the other hand, tells the story of the 2010 explosion on the offshore drilling rig Deepwater Horizon, an event that led to the worst oil spill in U.S. history.  It’s a memorable story, but the movie struggles to tell it.

The film opens with Mike Williams (Mark Wahlberg) at home with his family, getting ready to say farewell to them for a few weeks while he returns to work on the Deepwater Horizon.  He’s enjoying time with his wife Felicia (Kate Hudson) and their daughter, and if you’ve seen the film’s trailer, you’ve seen the cute conversation they all share over their breakfast table.  It actually made for a very effective trailer, but here in the film it only adds to a rather slow beginning.

The purpose of these early family scenes is to personalize the story.  Rather than follow the lives of many people on the rig, the film chooses to follow mostly Mike, and to juxtapose his scenes with those of the panicked Felicia back home.  This really isn’t all that effective, and sadly reduces Kate Hudson to being in a series of reaction shots where she doesn’t do much more than look worried.

So Mike goes off to work and meets up with his boss Jimmy Harrell (Kurt Russell) and co-worker Andrea Fleytas (Gina Rodriguez).  Once on the rig, Jimmy immediately butts heads with members of the company that owns Deepwater Horizon led by a man named Vidrine (John Malkovich) who has been cutting costs by skimping on routine safety checks because he believes the Deepwater Horizon will work fine without them.  Jimmy, of course, is protective of his crew and refuses to proceed without the necessary precautionary tests.

Unfortunately, Jimmy’s tests are too little too late, as the company had let things slide so badly, that in the middle of one of the tests, the equipment is compromised and there is a gush of mud which overheats the engines and leads to a catastrophic explosion.

DEEPWATER HORIZON gets off to a sluggish start, and even though I was interested in this story, because I knew what it was about, the film didn’t grab my attention.  The early scenes with Mike and his family were okay, and the ensuing arguments between Jimmy and the company were certainly interesting, but there’s a whole rig full of people, and we don’t really get to know many of the characters at all.  Before the explosion, most of the exposition was simple and dull.

Once the explosion occurs, things pick up, but that being said, for a disaster movie, none of the scenes really wowed me.  Most of the action occurs at a rapid fire pace, and the camera is in close, making it very difficult to see what’s going on.  It also doesn’t help that the only character we’ve really gotten to know is Mike, so when the camera is on him, things are captivating, but whenever the action follows someone else, it’s like following a random red shirt on an episode of STAR TREK.

Director Peter Berg does an undistinguished job capturing the action.  The film is begging for an establishing shot, seeing the scene unfold from a distance so we can have a sense of the scope of the tragedy.  While there are some shots of Deepwater Horizon burning, for the bulk of the action, the camera is in way too close and it’s difficult to discern just what exactly is happening.  There’s plenty of mud shooting around, plenty of men slipping and sliding, explosions, fire everywhere, people scrambling, but left out of the whole thing were my emotions.  I didn’t know the people in this tragedy, and the movie suffered for it.

The film also does little with the actual Coast Guard rescue of these folks.  We hardly see what happens at all.  In SULLY, the rescue was one of the movie’s high points.  Not so here.

The screenplay by Matthew Michael Carnahan and Matthew Sand was meh.  I didn’t really like the background story of Mike and his family, as it didn’t add anything here.  Again, to compare to SULLY, in that film, Tom Hanks’ character converses with his worried wife over the phone on several occasions, but those conversations moved the plot forward, as they gave Hanks’ character opportunities to question his actions.  The scenes here between Mike and his wife Felicia do not move the plot forward.  They only stall the story.

The dialogue was flat and uninspiring, very generic, except for the one sequence where Mike gets in Andrea’s face and really lays it on her as to why they are going to survive.  It’s also Wahlberg’s best moment in the movie.  The best dialogue belongs to Kurt Russell’s Jimmy, but once the explosion hits, Jimmy takes a back seat to Mike in the story.

Matthew Michael Carnahan was also one of the screenwriters on WORLD WAR Z (2013), a film I liked a bit more than DEEPWATER HORIZON.

Mark Wahlberg is fine here as Mike.  It’s the type of role Wahlberg can play in his sleep, at this point.  His performance is good enough to carry this movie, except that he really doesn’t have a lot of potent scenes in this one.  His best scene comes near the end when he pushes the panicked Andrea to survive.

Actually, my favorite performance in the movie belonged to Kurt Russell as Jimmy.  He really brings Jimmy to life, and you feel from the get-go that Jimmy takes his job seriously and that he will not compromise the lives of his crew.  We’ve been seeing more of Russell in the movies lately, and I hope this trend continues.  The only drawback is that most of Russell’s screen time here occurs before the explosion.

Kate Hudson is largely wasted in a throwaway role as Mike’s wife Felicia.  John Malkovich is okay as one of the cost-cutting meanies from the company, but he’s not really in this one a whole lot.

On the contrary, Gina Rodriguez is very good as Andrea Fleytas, the woman who helms the controls on Deepwater Horizon.  The rest of the cast are little more than interchangeable cardboard cutouts.

The strongest thing DEEPWATER HORIZON has to offer is the true story on which it is based.  This is reiterated during the movie’s end credits, when we see the names and photographs of the men killed during the explosion.

But source material alone isn’t enough to make a powerful movie.  A film needs a strong storytelling component, generated by creative directing and a sharp script. DEEPWATER HORIZON has neither.

As such, in spite of its gripping story, it struggles to stay afloat.

—END—

 

 

 

 

 

THE MAGNIFICENT SEVEN (2016) Not So Magnificent

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magnificent-seven

A bully takes over a town, and the frustrated townspeople hire gunslingers to protect them.  It’s the story told in the classic western THE MAGNIFICENT SEVEN (1960), itself a remake of an even better movie, Akira Kurosawa’s THE SEVEN SAMURAI (1954).

So, you’d hope that the folks behind this latest remake would offer audiences something new.  After all, if you’re going to remake a movie, wouldn’t you want to put your own stamp on it, to make it stand out as your own?  And that’s the biggest problem I had with this new version of THE MAGNIFICENT SEVEN (2016):  it doesn’t give us anything new or stand on its own.

The biggest culprit?  A screenplay that never really gets to the heart of the matter.  In spite of the solid acting and crisp clear directing, the story never really moves beyond the superficial.

THE MAGNIFICENT SEVEN opens with a baddie named Bartholomew Bogue (Peter Sarsgaard) terrorizing a small town in the old west.  He’s buying off the people’s land at ridiculously low prices, and if they won’t sell, well, his army of bandits will simply kill them.  And when some of the townsfolk object, that’s exactly what they do.

One of the men killed is the husband of Emma Cullen (Haley Bennett), a feisty woman who then sets out to hire gunslingers to free their town from Bogue’s clutches.  She meets a hired gun named Chisolm (Denzel Washington) and he turns her down until he hears the name of the man she wants stopped, Bogue, and then he changes his mind.  Chisolm and Bogue obviously share some history, which we learn about later in the story.

Chisolm rounds up a team of men to join him, with the total number eventually reaching seven.  They then spend the rest of the movie preparing to defend the town, setting things up for the obligatory climactic confrontation.

As you can see, THE MAGNIFICENT SEVEN tells a very simple story, and for a movie like this to work, it needs to be carried by strong characters and a lively script, neither of which are in this movie.

The characters are okay and the actors are all solid in their roles,  but they’re all very plain and straightforward.  None of them are particularly memorable. Only Vincent D’Onofrio stands out as the high-pitched soft spoken trapper Jack Horne.  D’Onofrio gives Horne something the other characters all lack:  a personality.  He’s the one memorable character in the whole lot.

I’m a big Denzel Washington fan, going back to his early years with films like CRY FREEDOM (1987) all the way through to today, although some of his recent films have been lukewarm.  Washington is fine here, but there’s just not a lot to Chisolm.  He’s a cool customer, not saying a whole lot, but unlike Clint Eastwood’s Man with No Name, we don’t really see Chisolm back up his persona with action, and what little he has to say is flat out dull.

Chris Pratt plays the lively gambler Josh Faraday, and it looks like Pratt is having a good time, but the problem with Faraday is nearly every line he spews is a cliche.  It’s the type of role James Garner would have played, but Garner would have anchored the charm with some realism, and Pratt doesn’t give Faraday anything that is even resembling real.

Ethan Hawke is Goodnight Robicheaux, and the most memorable thing about him is his name.  Hawke is another actor I usually enjoy, but the role he’s playing here is shallow and underdeveloped.  The same can be said for Robicheaux’s buddy Billy Rocks, played by Byung-hun Lee.

As I said, Vincent D’Onofrio is the one guy who stands out from the rest here, as the burly trapper Jack Horne.  He also gives Chris Pratt’s Faraday one of the better lines in the movie when he says of Jack, “I do believe that bear was wearing people clothes.”

And the seven are rounded out by a Mexican gunman named Vasquez (Manuel Garcia-Rulfo) and a Native American named Red Harvest (Martin Sensmeier).  Both of these characters are like the other five:  solid but unremarkable.

I also wasn’t overly impressed by Haley Bennett as Emma Cullen.  She sure looks feisty with her heated stares at the camera, but again I’ll blame the script.  We know very little about Emma, and she remains largely in the background while the seven do their thing, rather than being in the middle of the action.

The one other actor who does make an impression is Peter Sarsgaard as the dastardly villain Bartholomew Bogue, but that all happens in the opening sequence of the movie. Sarsgaard struts his stuff in the opening scene, making for a very dark character, giving the film a rather chilling start.  But then he disappears for the remainder of the movie, and when he returns for the climactic battle, he remains in the background,reduced to reaction shots as his army goes toe to toe with the seven.  So, unfortunately, Sarsgaard is hardly a major factor in this movie, since his best scene is the first one.

Director Antoine Fuqua , who also directed Denzel Washington in THE EQUALIZER (2014) and the film which won Washington as Oscar, TRAINING DAY (2001), does a serviceable job here.  I mean, the action scenes are clear and crisp, but they don’t wow.  The cinematography is adequate, but it didn’t blow me away.  This wild west is nowhere near as grand or picturesque as the west captured by the likes of John Ford and Howard Hawks.

Fuqua also glosses over one of the more interesting parts of the story:  the training of the townspeople to defend themselves.  There are a few fleeting scenes of our magnificent seven teaching these folks the art of self-defense, but there was so much more that could have been done.  It’s a missed opportunity in a movie that was begging for some captivating sequences.

And while the shoot-outs and fights are professionally shot— heh heh— they are way too sanitizied and neat.  First off, the film is rated PG-13, and so for the countless unfortunates who are shot, stabbed, blown up, what have you, there’s not a drop of blood anywhere.  Not that I want to see a gory bloodbath, but when things are as neat and tidy as they are in this movie, it takes away from the strength of the story.

The bigger drawback with the action scenes is that they are all so orderly.  There’s no sense of panic or pandemonium.  Take the climactic battle between the seven and the townsfolk and the army of villains.  There are people running everywhere, and yet everyone knows exactly who to shoot, without question.  It’s so precise you’d think they were wearing sports jerseys with their names on them, like having “Team Bogue” printed on their backs.  This is an all out war, people are being shot and blown up, and yet there’s no horror whatsoever associated with it, which really limits the story.

The best action sequence is when Chisolm and company first arrive in the town and put a big hurt on the thugs stationed there.  This dramatic sequence works well.  By contrast, the movie’s ending is nowhere near as riveting.

Again, the biggest culprit to this one being mediocre is its screenplay by Richard Wenk and Nic Pizzolatto, which surprised me because Wenk has written screenplays for films I’ve really enjoyed, movies like the remake of THE MECHANIC (2011) with Jason Statham, and the Sylvester Stallone all-star actioner THE EXPENDABLES 2 (2012), which I thought was the best of that series.

The screenplay to THE MAGNIFICENT SEVEN tells a straightforward story without many surprises.  There are the occasional witty lines, but I’d hardly call it a lively script.  Plus it’s all so predictable, with the ending to this one never being in doubt.

THE MAGNIFICENT SEVEN is a by the numbers western that never rises above its material or puts a distinctive stamp on the genre.

It’s not bad, but for a movie called THE MAGNIFICENT SEVEN, there’s nothing all that magnficent about it. Perhaps it should have been called THE STRAIGHTFORWARD SEVEN.

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SULLY (2016) – Remarkable Story, Exceptional Movie

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sully

SULLY (2016) has a remarkable story to tell, so even if it were just a mediocre movie, it would still be worth seeing due to the strength of its story.  The good news is SULLY is more than just a mediocre movie:  it’s an impeccably made film by director Clint Eastwood, and it features yet another superb performance by Tom Hanks, which means that simply put, SULLY is  an exceptional movie, one that you should definitely see at the theater.

SULLY tells the incredible true story of the “Miracle on the Hudson,” which occurred on January 15, 2009 when airline Captain Chesley Sullenberger guided his disabled plane onto the frigid waters of the Hudson River, a forced landing in which all 155 people on board, passengers and crew, survived.

Sully (Tom Hanks) becomes an instant hero.  Yet, the airline and its insurance company are none too happy that one of their planes ended up in the Hudson River.  In fact, their computer simulations show that the plane could have made it to two airports.  They believe Sully erred in his decision to land the plane on the water.  Of course, Sully disagrees, saying it’s his belief that there was no way they would have made it to an airport.  He did the only thing he could do.

Suddenly Sully and co-pilot Jeff Skiles (Aaron Eckhart) are the subjects of a massive investigation into the forced landing, putting their reputations on the line, and in Sully’s case, making him second guess himself, fearing that perhaps he made a mistake and put the lives of the 155 people on board in jeopardy.

There are many fine things about SULLY.

To begin with, it has an excellent script by Todd Komarnicki, based on the book  “Highest Duty” by Chesley Sullenberger and Jeffrey Zaslow.  It makes the wise choice of not telling its tale in chronological order.  Had it done so, the movie would have featured the exciting forced landing first, leaving the anti-climactic and dialogue-driven investigation to follow.  When SULLY opens, the forced landing has already happened, and the movie dives right into the investigation.  The landing is shown via flashbacks.

The dialogue is first-rate, and there are plenty of memorable lines, like when an official congratulates Sully and tells him that New York hasn’t had much good news lately, especially with stories involving airplanes.

What can you say about director Clint Eastwood at this point?  Eastwood is 86 years old, and the fact that at his age he’s still directing and sometimes acting in movies is incredible.  And he’s not only making movies, but he’s making quality movies!  Before SULLY, he directed AMERICAN SNIPER (2014), one of the best movies of that year.  SULLY is one of the best movies of this year.

For years, starting in the 1960s, Eastwood was the best action star on the planet.  In 1992, he won an Oscar for Best Director for UNFORGIVEN (1992), a film that also won Best Picture that year, in what many at the time considered to be Eastwood’s swan song.  Eastwood was 62.  Since then, Eastwood has gone on to direct one quality movie after another.  Sure, he’s had some misfires along the way— HEREAFTER  (2010), for example— but for the most part his films have been phenomenal.  His last two movies AMERICAN SNIPER and JERSEY BOYS (2014) were both among my favorite films of 2014.  And I can’t stress this enough:  Eastwood is 86 years old.  It’s quite possible that when his career is over, he might be remembered more for being one of Hollywood’s greatest directors than one of its greatest action stars.

Eastwood does a phenomenal job here with SULLY.  The high energy behind this movie is not what you expect from a director pushing 90.  AMERICAN SNIPER may be the more impressive of the two films, because it had a more complicated story to tell, whereas SULLY just on the strength of its story alone promises to be a crowd pleaser.

But Eastwood uses his talents behind the camera to make this movie even better.  The investigation scenes have Eastwood’s stamp all over them.  Indeed, you can trace the theme here all the way back to Eastwood’s iconic actioner DIRTY HARRY (1971), which of course he only starred in, but Eastwood embraced Harry Callahan’s law-in-your-own-hands anti-burearacy philosophy as his own, and it would show up in future Dirty Harry films and other Eastwood projects.

You can see it here in SULLY.  Aaron Eckhart’s Jeff Skiles tells his best friend Sully that the airline should be praising Sully— everyone survived!— not investigating him.  But that’s not enough for the airline.  Their plane ended up in the river, and in their eyes, that’s something that should not have happened.  Sure, no one died, but everyone’s life was put in jeopardy.  In Eastwood’s vision, this way of thinking is insanely ridiculous.

Eastwood also makes wise creative choices.  The forced landing is shown twice.  The first time we see it from different perspectives, including from the air traffic controllers who are desperately trying to convince Sully to head to an airport.  But the second time it’s shown in real time and never leaves the cockpit and so we see Sully and co-pilot Skiles deal with the situation as it happens.

Both sequences are incredibly intense, and they provide some of the best cinematic moments of the year.

And both Eastwood and the script take full advantage of our emotions.  We follow a few of the passengers specifically, including a man flying with his two adult sons, and after the landing, they are separated.  Later, once they find each other, one of the sons exclaims, “Can you believe this?  We crashed!  And we all survived!”  It’s the perfect sentiment as it is what everyone in the audience is thinking.

The sequence after the crash, when everyone is in the water, waiting to be rescued by the oncoming ferryboats and New York rescue crews is also intense because the water is icy cold and the rescuers only have minutes to work with.  Later, Aaron Eckhart’s Skiles declares, “I’ve never been happier to be in New York!”

Tom Hanks is superb as Sully.  The best part of his performance is the self-doubt he puts himself through, wondering if perhaps his instincts were wrong.  Hanks also shows how important duty is to Sully.  Once they land in the water, he makes sure he’s the last one off the plane, that everyone has gotten off, and he doesn’t relax until he knows for sure that no one has died.  The moment the news is relayed to him that all 155 people on board have been accounted for is one of the more emotional moments in the movie.

Like Eastwood and his previous film, AMERICAN SNIPER, Hanks in his previous movie BRIDGE OF SPIES (2015) may have had a more challenging assignment in that he played a more complicated character.  But as Sully, Hanks is excellent.  It’s another terrific peformance by the very talented actor.

Aaron Eckhart is also memorable as co-pilot Jeff Skiles.  And the rest of the cast, in smaller roles, are all solid.

The past few weeks have seen the release of some outstanding movies, like the critically acclaimed HELL OR HIGH WATER (2016), and the under-the-radar HANDS OF STONE (2016).  SULLY is right up there with these gems, perhaps even the best of the bunch.

It’s certainly the most inspiring and emotionally satisfying.

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Best Movies of 2014

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GUARDIANS OF THE GALAXY poster- my pick for the second best movie of the year.

GUARDIANS OF THE GALAXY poster- my pick for the second best movie of the year.

BEST MOVIES OF 2014

By

Michael Arruda

 

Here’s my list for the Top 10 Best Films that I saw in 2014.

 

10 – JERSEY BOYS – Clint Eastwood’s film version of the popular musical about the life of singer Frankie Valli.

9 – CAPTAIN AMERICA:  THE WINTER SOLDIER – I love the Marvel superhero movies, and I enjoyed this Captain America sequel more than the original.

8 – EDGE OF TOMORROW – I really enjoyed this science fiction tale starring Tom Cruise and Emily Blunt.  Clever, creative, and so much more than just a science fiction variation of the GROUNDHOG DAY gimmick.

7 – THE BABADOOK – creepy horror film most notable for me for its lack of false scares.  Nearly every fright in this one is genuine.

6 – THE QUIET ONES– this horror film by Hammer Films about a college professor trying to disprove a demonic possession case didn’t do well at the box office but it really is an intelligently made horror movie that is as eerie as it is thought-provoking.

5 – NIGHTCRAWLER –slick thriller starring Jake Gyllenhaal as a sociopath named Louis Bloom who spends his evenings stealing scrap metal and other items in order to sell them and make some cash, before deciding to become a photographer for the nightly news.  This high-energy thriller came out of nowhere this year, as I had heard very little about it, and then suddenly there it was.

Jake Gyllenhaal delivers a phenomenal performance, as he gives the main character Louis such tremendous energy and vitality that everything he does, no matter how outlandish, you believe it.  He also makes Louis likable, which is no easy task.  NIGHTCRAWLER also has a lot to say about today’s media, as the television news station continues to buy Louis’s videos, even when they know he’s manipulating events to get the footage.  It’s all about ratings!

NIGHTCRAWLER is a high octane thriller that features an outstanding performance by Jake Gyllenhaal.  It’s not to be missed.

 

4 – GONE GIRL – superior thriller in which nearly everything works, thanks to director David Fincher. It features a terrific performance by Ben Affleck, and an even better one by Rosamund Pike.  The story of a husband blamed for his wife’s disappearance starts out as a straightforward thriller but there’s oh-so-much-more going on here, with twists and turns you’ll no doubt won’t see coming.  The other thing I really liked about this movie was that three of the main characters were women, and that’s not something you see every day, unfortunately.  There was Rosamund Pike as the missing wife Amy Dunne, Carrie Coon as Ben Affleck’s sister, Margo, and Kim Dickens as the hard-nosed Detective Rhonda Boney, and all three of these performers are excellent.

3 – THE HUNDRED-FOOT JOURNEY – a deliciously smart and enjoyable feel-good movie starring Helen Mirren, THE HUNDRED FOOT JOURNEY tells the story of an Indian family led by its patriarch, Papa (Om Puri), that relocates to France where they open an Indian restaurant 100 feet across the street from the most popular eatery in the area, a fine French restaurant owned by Madame Mallory (Helen Mirren).  The comedy stems from Mallory’s and Papa’s efforts to continually try to one-up the other, and things grow more complicated when Papa’s son Hassan (Manish Dayal), who he promotes as the finest Indian chef in the land, turns to Madame Mallory for training so he can become an even better chef.  Everything works in this movie, as it has terrific acting, a top-notch directorial effort by director Lasse Hallstrom, and an excellent script by Steven Knight.  Just don’t see it on an empty stomach.  The dishes in this flick are absolutely delectable.

My favorite feel-good movie of the year, featuring some of the most mouth-watering dishes you’ll see in a movie.

 

2 – GUARDIANS OF THE GALAXY – the most fun at the movies I had this year, this is one of the best superhero movies ever made, and it’s hilarious to boot.

I loved this movie! The humor was spot-on, thanks to a hilarious script by Nicole Perlman and director James Gunn, and the performances were all top-notch, from Chris Pratt in the lead role of Peter Quill, “Star Lord,” Zoe Saldana as Gamora, Dave Bautista as Drax, and the voice talents of Bradley Cooper as Rocket and Vin Diesel as Groot.  There hasn’t been a superhero group like this since The Avengers, and these guys are more fun!  If there were an Island for Misfit Superheroes, these guys would be on it.

There was pretty much nothing I didn’t like about this film, and in terms of all-time great superhero movies, it’s up there with THE AVENGERS (2012), IRON MAN (2008), and THE DARK KNIGHT (2008), but what I think makes this one so special is just how light and funny it is without sacrificing the integrity of the superhero story.  It’s not mindlessly stupid.  On the contrary, it’s intelligently funny.

 

It also has an amazing soundtrack.

 

1 -INTERSTELLAR – My pick for the Number 1 film of 2014 is INTERSTELLAR, Christopher Nolan‘s ambitious big budget science fiction thriller which one day may rank as one of the all-time great science fiction films.  It stars Matthew McConaughey as an astronaut who leaves his family and travels to the far reaches of space in a desperation mission to find a habitable planet on which to relocate the human race because Earth is dying due to a lack of food.

For me, INTERSTELLAR was a near perfect film.  It had everything:  acting, direction, script, pacing, twists and turns, but by far the best part for me was that it tackled some truly big ideas:  it dealt with worm holes, the theory of relativity, time travel, black holes, and what happens when someone enters a black hole.  It remained intelligent enough throughout to keep its science fiction believable.  It also scored high with its human element, as the tale of McConaughey’s character Hooper’s plight to return home to his family no matter what was a winner and grabbed me from the get-go.  It also had an excellent cast led by McConaughey that also featured Jessica Chastain, Anne Hathaway, Casey Affleck, Michael Caine, and John Lithgow.

Of all the films I saw in 2014, INTERSTELLAR was the most satisfying.

 

So, there you have it, my picks for the best films that I saw in 2014.

Next time I’ll share my list for the worst films that I saw in 2014.

Until then, thanks for reading!

—Michael