THE DEAD DON’T DIE (2019) – Understated Satire Just Happens to Have Zombies In It

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THE DEAD DON'T DIE

Some day, perhaps, THE DEAD DON’T DIE (2019) might be remembered as a masterpiece of understated humor and satire.

Alas, today is not that day.

THE DEAD DON’T DIE is a new horror comedy starring Bill Murray and Adam Driver that is being marketed as a zombie comedy, but you know what? It’s not really a zombie movie. Oh, there are zombies in it, but it’s the most non-zombie zombie movie I’ve ever seen, which is not going to make it a hit among horror fans.

In fact I’d wager to guess that most horror fans will not like this movie. Even though it mentions George Romero and throws in a few Easter eggs here and there, it largely ignores the zombie films which have come before it. Sometimes this can be a good thing, but in this case it is not.

Heck, since its comedy really isn’t all that biting— heh, heh!— comedy fans aren’t going to be too keen on this one either. Yup, I’m going to go out on a—limb— and predict that this one will not perform all that well at the box office.

That being said, THE DEAD DON’T DIE is not an awful film. I actually liked it, in a weird offbeat sort of way, and that’s because at the end of the day THE DEAD DON’T DIE is satire, that just happens to have zombies in it. It’s the type of comedy that Bob Newhart would have made in his heyday, with Murray filling in here for the Newhart role. It has a few pointed things to say about our present day society, but the writing is never as sharp, and the direction never as tight as a movie like this needs it to be. Even when the film breaks the fourth wall, the humor still struggles. Yet, there are places where it works and works well.

In THE DEAD DON’T DIE, Police Chief Cliff Robertson (Bill Murray) and his fellow officers Ronnie Peterson (Adam Driver) and Mindy Morrison (Chloe Sevigny) usually have nothing more urgent to do in their small town of Centerville than ask their local Hermit Bob (Tom Waits) whether or not he stole chickens from the annoying farmer Frank Miller (Steve Buscemi). But suddenly things grow strange.

The daylight lasts longer than usual, watches and cell phones stop working, and soon the dead start to rise and begin eating the townspeople. The culprit? The controversial use of global fracking has affected the earth’s rotation, and as a result all these freaky things start happening. Supposedly. The people aren’t sure, because the government cites global fracking as safe and accuses scientists of spreading false information. Sound familiar?

How Robertson and his fellow officers react to these horrific happenings is the story told in THE DEAD DON’T DIE. Trouble is, the biggest way they react is by standing around and doing nothing. So much for compelling storytelling!

THE DEAD DON’T DIE was written and directed by Jim Jarmusch, a director known for his deadpan style. Jarmusch is tenacious here with his slow-moving satire, which might be the film’s greatest asset, that it never deviates from its slow pace, its unassuming humor, and its coy messages on society.

The satire in THE DEAD DON’T DIE is there. It’s just not always all that clear. For instance, Steve Buscemi’s Farmer Frank wears a red cap which reads “Keep America White Again,” a slogan which in itself satirizes the modern-day message of the Trump presidency as well as poking fun at the overall intelligence of his followers with its grammatically incorrect slogan. It appears ever so briefly and is easily missed. Yet it got a good chuckle from the audience.

Speaking of which, I saw THE DEAD DON’T DIE in a full theater in which the majority in the audience were college-aged folks. It was a lively audience that was laughing and having fun even before the movie started. And they were generous with their laughter throughout the movie, laughing much more than I did.

As mentioned, the film breaks the fourth wall on more than one occasion, sequences where Murray and Driver discuss the theme song and even the script. But it’s not the type of lively screenplay that is filled with playful asides a la the works of Woody Allen or Mel Brooks. In fact, there is very little that is lively about the entire movie. There’s about as much energy surrounding this flick as a heavy-duty afternoon nap.

There are also some fun little in-jokes, like Adam Driver carrying a STAR WARS key chain, a direct nod to his role in the new STAR WARS trilogy.

A lot of the humor doesn’t work. The running gag about the theme song wasn’t funny at the beginning and it’s even less funny by the end.

There’s a GREAT GATSBY gaffe that I’m still not sure I understand. A character mentions she loves the name Zelda because of Zelda Fitzgerald, who she says was Jay Gatsby’s wife in THE GREAT GATSBY, but Gatsby wasn’t married, and his love interest in the novel was Daisy Buchanan. Zelda Fitzgerald was the wife of Gatsby author F. Scott Fitzgerald. It’s possible I’m missing something here, but since what I’m missing isn’t obvious, such a gaffe just comes off as lazy writing.

Speaking of lazy, there’s a heck of a lot of inaction going on here. Characters stand around and talk, and talk, and talk. There’s one sequence after the first zombie kill in the diner when Chief Robertson discovers the bodies, that features as its gag people saying the same lines when they see the bodies for this first time. Admittedly, this is funny, but it takes place during a sequence where we have to watch each character drive up to the diner, casually take their time entering and exiting before saying the aforementioned line. S-l-o-w.

There are a lot of satirical moments poking fun at today’s society, and most of these work, although they are exceedingly understated.

The horror elements are also downplayed here, and while there are some gory sequences, this one doesn’t really hold its own as a horror movie. There are also scenes of dialogue where the characters in a panic go on about the zombie epidemic, and they go on at lengths which aren’t supported by events in the movie. There’s basically one zombie scene before the film’s third and final act.

There’s also an annoying way the zombie’s die, as when they are killed they give off a puff of smoke. What is this, TWILIGHT?

THE DEAD DON’T DIE does have a terrific cast, which is one of its strengths, and they all play quirky characters.

Bill Murray is fine as Chief Robertson. He certainly has been funnier in his career, but he handles the deadpan humor well, again channeling a Bob Newhart vibe. There’s also an in-joke when his character breaks the fourth wall and asks Adam Driver if they are simply improvising here, since Murray began his career with improv, and is known to have improvised in some of his movies. Then again, maybe it simply means that Murray and Driver weren’t working with a script!

Adam Driver also nails the deadpan humor as Officer Peterson. I increasingly enjoy Driver in the movies, and while his biggest role to date has been the conflicted villain Kylo Ren in the new STAR WARS trilogy, I’ve enjoyed him more in such films as BLACKKKLANSMAN (2018) and LOGAN LUCKY (2017). He was probably my favorite part of THE DEAD DON’T DIE, and he certainly got the most laughs, but he also didn’t have to try very hard. The audience laughed when he showed up at a crime scene driving a miniscule car.

Chloe Sevigny is very good as Officer Morrison, and Tilda Swinton has the most unusual role as local mortician Zelda Winston, who’s an eccentric character whose idiosyncracies sometimes generate laughter and other times misfire. She’s the one character in the film who is a badass zombie killer, which provide Swinton with her best moments in the movie.

Steve Buscemi is on hand as the irritable farmer Frank, and he has a couple of comic moments, but for a guy like Buscemi, that’s less than you expect. The cast also includes Danny Glover, Selena Gomez, Caleb Landry Jones, and Tom Waits as Hermit Bob.

Hermit Bob’s line at the end of the film that we live in a crazy world kinda sums up the point of the film, that this world is a crazy place, and that zombies rising from the dead isn’t any nuttier than things we are already seeing.

As I said, one day this film may be remembered as a classic satire. But today, alas, due to its incredibly slow and lethargic pace and less than sharp writing, it’s going down in my book as a well-intentioned look at the crazy world in which we live that lacked the necessary energy and oomph to successfully make its case.

It also doesn’t help itself in that it’s not much of a zombie movie, a fact that most likely will keep its potential fan base away from the theater.

—END—

 

 

 

 

 

 

 

 

 

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THE JUNGLE BOOK (2016) Remake Is A Rousing Adventure

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the-jungle-book-2016-poster

Look for the bare necessities, the simple bare necessities, forget about your worries and your strife—.

Eh hem.  Excuse me.  I got carried away.

“The Bare Necessities” is one of my favorite songs from the 1967 animated Disney THE JUNGLE BOOK— one of my favorite movies of all time— and I’m happy to say it makes it into the 2016 remake by director Jon Favreau.

Because I’m a huge fan of the 1967 film, I was certainly looking forward to this new version of THE JUNGLE BOOK.  At the same time, I was wary that it wouldn’t be able to live up to the classic animated film.  While I probably still prefer the 1967 movie— it’s been a favorite for so long— this new remake comes pretty darn close to satisfying on all levels. In short, it’s a pretty darn good movie.

Now, there’s also a 1994 live action version of THE JUNGLE BOOK, also produced by Disney, that I have not seen, a version that was not well received upon its initial release, although there are some folks who swear by it.  Not to mention the 1942 version starring Sabu.  But for me, the 1967 animated film has always been the most endearing.  Now comes the 2016 THE JUNGLE BOOK. All of these films are based on the collection of stories by Rudyard Kipling.

THE JUNGLE BOOK (2016) opens with an homage to the 1967 film, using the same music and the very same opening shot.  But this is no shot-by-shot remake, as there are plenty of differences between the two films.

THE JUNGLE BOOK is the story of Mowgli (Neel Sethi) a young boy who had been abandoned in the jungle only to be rescued by the panther Bagheera (Ben Kingsley) who turned him over to a wolf pack, where he was raised as a wolf.  Mowgli enjoyed a happy life with the pack, with his adopted parents Akela (Giancarlo Esposito) and Raksha (Lupita Nyon’go), and wolf cub brothers and sisters.

All is well until the tiger Shere Khan (Idris Elba) who hates and fears humans decides that Mowgli must die.  The pack realizes that even with their combined strength, they are no match for Shere Khan, and so they arrange for Bagheera to bring Mowgli back to the man-village, to live safely with his own kind.

But Shere Khan is wise to their plan and attempts to kill Mowgli while he is still with Bagheera, who fights off the tiger while telling Mowgli to run, which the youth does.  On his own in the jungle, things look bleak for Mowgli until he is rescued by the laid-back Baloo the Bear (Bill Murray).

But the danger is far from over.  Threats lurk behind every tree, as Mowgli and his friends must contend with Kaa the snake (Scarlett Johansson), King Louie (Christopher Walken) and his army of apes, and of course Shere Khan.

There is a lot to like about this new version of THE JUNGLE BOOK.  Probably my favorite part is the serious tone this movie takes. While director Jon Favreau keeps this one family friendly, it is not overly silly or nonstop funny as a lot of the “family” animated films are these days.  While there are certainly humorous moments in the film, for the most part, this JUNGLE BOOK is a serious adventure.  It even contains some rather dark moments.

When Bagheera tangles with Shere Khan to protect Mowgli it’s an exciting and rather vicious sequence.  For those of us who grew up with the 1967 version and wondered what it would be like if Bagheera actually fought Shere Khan, this film provides the answer.

bagheera vs. shere khan

To protect Mowgli, Bagheera the Panther prepares to tangle with Shere Khan the Tiger.

The flashback sequence where we learn what happened to Mowgli’s real father is intense and disturbing.  Likewise, the fate of Mowgli’s wolf father Akela is just as jarring.

Christopher Walken’s King Louie is larger than life and powerfully aggressive.  There’s more King Kong in this interpretation than Louie.  Similarly, Scarlett Johansson’s Kaa the Snake is mesmerizing and frightening.

king louie 2016

Christopher Walken’s King Louie.

The cast is fantastic.  Young Neel Sethi is perfect as Mowgli, and all the voice actors here do a terrific job.

Ben Kingsley makes for a majestic Bagheera, matching Sebastian Cabot’s effort in the original.  Even better is Idris Elba as Shere Khan.  He turns the tiger into an absolute villain in this one, making Shere Khan lethal and scary.  George Sanders voiced the tiger in the 1967 film, and he gave the character an elegant gentlemanly villainy.  Anything remotely sophisticated is gone here.  Elba’s Shere Khan is less a proper Bond villain and more like someone you’d meet on THE WALKING DEAD.  He’s not a nice guy.

shere khan

Shere Khan.

Lupita Nyong’o is phenomenal as Mowgli’s wolf mother Raksha, while Giancarlo Esposito made me forget his icy portrayal of drug kingpin Gus Fring on TV’s BREAKING BAD and provides a dignified voice for Mowgli’s wolf father Akela.  Scarlett Johansson is spot-on as the menacing and mesmerizing snake Kaa, and Christopher Walken, in what is probably my favorite performance in the movie, makes King Louie a scene-stealing simian who seems like he walked off the set of the recent PLANET OF THE APES reboots with Andy Serkis.  Walken’s Louie is much more monstrous than the Louie from the animated version.

Emjay Anthony, who played Jon Favreau’s son in Favreau’s CHEF (2014),  and who I also enjoyed in the surprisingly good horror movie KRAMPUS (2015), is very effective as one of Mowgli’s wolf cub brothers.  And Garry Shandling, who passed away last month, provides the voice for Ikki the porcupine.

Of course, Bill Murray probably has the biggest shoes to fill, playing the most iconic character from the animated movie, Baloo the Bear, voiced with impeccable perfection by country singer Phil Harris back in 1967.  While Murray certainly didn’t make me forget Harris, he more than holds his own and all in all does a decent job with the character. It helps that Baloo seems to be a natural fit for Murray.  He even gets to sing “The Bare Necessities.”

baloo

Baloo the Bear

This being a more serious rendition of the story, most of the memorable songs from the animated version by Richard M. Sherman and Robert B. Sherman do not make it into this film, but a few do.

As I said, Bill Murray’s Baloo does perform “The Bare Necessities,” and some of the other familiar themes do make it into the film as background music, as in the Kaa the snake sequence.  Christopher Walken’s rendition of “I Wanna Be Like You” is the only song that is somewhat awkward.  Walken’s King Louie is just a bit too frightening to accept his breaking into song, and yet there is just something creepy enough about his Kong-like character singing that makes the scene work.

The CGI animation here is top-notch.  The animals all look amazing, especially Shere Khan, who is absolutely frightening.  While the film is available in 3D, I saw it in 2D and it looked just fine.

Jon Favreau does a terrific job here all around, from creating exciting suspenseful scenes to the superb CGI animation.  He also crafts some poignant moments as well, like the tender scenes between Mowgli and Raksha, and the sequence involving Mowgli and the elephants.

Rounding out this solid production is the screenplay by Justin Marks.  It keeps things serious throughout without sacrificing the “family” feel of the tale. So many of today’s CGI animated children’s movies are steeped in adult humor, and while this can be a lot of fun, the adventurous tone in THE JUNGLE BOOK is satisfying and refreshing.

If you’re in the mood for a rousing adventure, a film fit for the entire family, then look no further than Jon Favreau’s exceptional remake of THE JUNGLE BOOK.

The bare necessities of life will come to you
They’ll come to you!

—END—

 

 

 

 

Bill Murray Lifts Predictable ST. VINCENT

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St. Vincent posterMovie Review:  ST. VINCENT (2014)

By

Michael Arruda

 ST. VINCENT just might be the most enjoyable trite, cliché-ridden, and predictable movie I’ve seen in a while.

It’s all three of these things, which usually spells doom for a movie, but in this case, excellent performances by Bill Murray and newcomer Jaeden Lieberher, who’s just eleven years old, and fine support by a subdued Melissa McCarthy, make this one much better than it should be.

Bill Murray plays Vincent, a cranky cantankerous old man who is having a rough go at life and is fine letting everybody know that he is.  He also hits the bottle regularly, often drinking far more than he should, and he bets on the horses, and loses, so much so that he owes some dangerous men a decent chunk of money.

When the movers moving in his new neighbors, a single mom Maggie (Melissa McCarthy) who’s smack dab in the middle of a divorce and a child custody battle, and her young son Oliver (Jaeden Lieberher), accidentally smash into the tree next to his house, severing a branch which crushes the top of his car, Vincent is quick to demand payment from Maggie for damages, something she promises to take care of soon.

After having a deplorable day at school, where he’s bullied cruelly, to the point where his clothes are stolen, including his house keys, Oliver returns home wearing only his gym clothes. Locked out of his house, he asks Vincent if he can use his phone to call his mom.  Vincent is none too happy about letting Oliver into his house, but he does, and he’s even more put out when Maggie asks if Oliver can stay there until she comes home from work.

The afternoon goes well, and Vincent finds himself enjoying Oliver’s company, even though he won’t admit it.  He also sees an opportunity, and he offers to watch Oliver every day after school while Maggie is at work, because he is in desperate need of the money.  Maggie agrees— which I found nearly impossible to believe since they had just moved there and she doesn’t know Vincent from a hole in the wall, and yet she trusts this man with her son?— and so just like that Vincent and Oliver are suddenly spending every afternoon together.

There’s little need to describe the rest of the plot because you can see it all coming a mile away.  In fact, by far, the worst part of ST. VINCENT is its predictable plot.  I so much wished this one had had a completely different story.  However, amazingly so, due to the strong performances, this movie works, and I can’t deny that I really enjoyed it from beginning to end.

As Oliver and Vincent get to know each other, Vincent helps Oliver with his bully problem, teaching him how to defend himself, and Oliver learns that Vincent’s wife is sick with Alzheimer’s in a nursing home, and that Vincent visits her nearly every day and does her laundry for her, even though she doesn’t remember who he is.  Of course, Vincent also takes Oliver with him to the horse races and also to his favorite bar where he drinks freely in front of the boy.

When Vincent suffers a stroke, Oliver and Maggie are quick to visit him and help him get back on his feet. And when it’s time for Oliver to write a presentation at his Catholic school about “saints among us” guess who he chooses to write about?  I told you this one was predictable.

And it is, terribly so.  But somehow it didn’t seem to matter.

First off, Bill Murray is terrific in this film, and he’s the number one reason this movie works so well.  I could pretty much watch Murray in anything, and he’d make it good, which is exactly what he does here.  Heck, in the opening montage of this movie, he enjoys more fine moments in the first five minutes than a lot of other actors do in an entire movie.  He brings Vincent to life immediately, and sets the tone for the rest of the movie.

While Murray is always funny, and he’s certainly is here in ST. VINCENT, his finest moments are actually of the dramatic variety.  In scenes where he learns that his bank account is empty, and when he receives awful news about his wife, the expression on his face resonates deep hurt and disappointment.  Murray comes off as weathered, seasoned, and frustrated by life.  I saw NIGHTCRAWLER the same weekend I saw ST. VINCENT, and I applauded Jake Gyllenhaal for his terrific performance in that film and said it was Oscar-worthy, and it was.  Likewise, Bill Murray might be receiving some Oscar consideration for his role here in ST. VINCENT.  He’s that good.

And just as good as Murray is young Jaeden Lieberher as Oliver.  Lieberher plays such a likeable little kid, it’s easy to see why Vincent enjoys spending time with him.  Oliver is wise beyond his years, and as cliché-ridden as his saint project is, it still is a moving moment in the movie, because Lieberher laces it with an incredible amount of sincerity.  In spite of the predictability of their relationship, I completely bought the friendship between Vincent and Oliver.

Melissa McCarthy has only a small role here as Oliver’s mom Maggie, and compared to her usual performances, she’s very subdued.  Yet, she still remains relevant.  Like Murray, her best moments in this film are the dramatic ones.  Sure, when she goes on about how hard her life is as a single mom, and that she has to work extra hours to make ends meet, and how she’s in a vicious custody battle with her ex-husband over their son, I could hear the violins playing and I wanted to gag.  It was a little bit much for my liking.  I half-expected to see a man in black knocking at her door demanding rent money.

But again, McCarthy, like Murray, rises above the material and makes it work.  She also gets to fire some zingers at Murray, putting him in his place for taking her son to a bar, for instance. McCarthy cuts Murray down to size and is believable doing it, which is no easy task.

Only Naomi Watts seems out of place as Vincent’s Russian stripper girlfriend Daka, who is crass and blunt and speaks her mind with regularity, and because of her difficulty with the English language, often says things that come out wrong, and this is supposed to be funny.  In fact, her character is pretty much completely played for laughs.  It was an odd role for Watts, and unfortunately I never really bought her Russian accent, or her character.

ST. VINCENT was written and directed by Theodore Melfi. I have mixed feelings about the script. On the surface, the story is pretty bad.  Crabby old man befriends a likeable young boy, does nothing for me as a story idea, and some of the story elements don’t work either.  I thought the majority of the scenes at Oliver’s Catholic school were unrealistic in terms of how schools and classrooms are run, and the dialogue in these scenes was trite and oftentimes ridiculous.  The subplot with Vincent and his Russian girlfriend Daka was weird and hard to fathom, especially when we see Vincent still so in love with his ailing wife.

And yet, most if not all of Vincent’s dialogue is spot-on.  When life throws him daggers, Vincent lashes out and the things he says are both funny and sad, but more importantly, make sense.  The scenes with Vincent and his wife are wonderfully done, as are the later scenes when Vincent has to deal with the effects of his stroke.

I have to give credit to Melfi as a director because he certainly gets the most out of Bill Murray, Jaeden Lieberher, and Melissa McCarthy.  I don’t think that all three of these actors delivered topnotch performances by accident.

The main reason though to see ST. VINCENT and ultimately why it’s so enjoyable is because of Bill Murray.  In ST. VINCENT, Murray gets to be hilariously funny, touchingly dramatic, especially in those scenes with his wife, and finally he gets to play a stroke victim, and you know what?  He’s fantastic in all three of these elements.

Bill Murray was one of the highlights in the George Clooney World War II drama THE MONUMENTS MEN (2014) which came out earlier this year, and he’s the main attraction here in ST. VINCENT.  We haven’t seen a lot of Bill Murray in the movies in recent years, but hopefully his appearance in these two movies in 2014 means he’ll be showing up more often.

Not everybody can take a mediocre story and turn it into an enjoyable experience.  In ST. VINCENT, Murray does just that, and he does it with ease.

—END—

THE MONUMENTS MEN Entertains in Spite of Muddled Message

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The-Monuments-Men- posterMovie Review:  THE MONUMENTS MEN (2014)

By

Michael Arruda

 

 

Was it worth risking the lives of men just for the sake of saving art?

 

That’s the question asked throughout THE MONUMENTS MEN (2014) the new World War II adventure written and directed by George Clooney, based on a true story, about a group of mostly middle-aged men enlisted by the army to reclaim the works of art stolen by Hitler and the Nazis, works of art that Hitler originally intended to place in a museum, until the waning days of the war when he ordered his men to destroy it all.  It’s up to the Monuments Men to save these works of art, but first, they have to find them.

 

Frank Stokes (George Clooney) seeks and receives permission from President Roosevelt to assemble a group of art experts to go into France and then Germany to recover the huge amounts of art stolen by the Nazis.  Since all the young art experts are already enlisted in the armed forces, Stokes is forced to assemble his team of art specialists, architects, and museum curators, from a pool of men beyond their fighting years.

 

The movie gets these introductions out of the way early, as we quickly meet James Granger (Matt Damon) who wasn’t able to enlist because of poor vision, Richard Campbell (Bill Murray), Walter Garfield (John Goodman), Jean Claude Clermont (Jean Dujardin), Donald Jeffries (Hugh Bonneville), and Preston Savitz (Bob Balaban), as well as their young translator, Sam Epstein (Dimitri Leonidas).

 

Once in Europe, Stokes pairs the men and gives each duo a specific task, the goal being to locate the various places in which the Nazis hid the stolen art.  Campbell pairs with Savitz, an interesting twosome since they hate each other, and Garfield pairs with Jean Claude, while Granger is assigned the difficult task of getting to know a French woman Claire Simone (Cate Blanchett) who worked for the resistance and who they believe has valuable information as to where the Nazis hid all the stolen art.  The trouble is, Claire trusts no one, and she suspects the Americans only want the art for themselves, and she tells Granger as much.

 

When the Nazis realize there is little hope of winning the war, Hitler orders his troops to destroy all the artwork as they pull out in retreat, which adds more pressure on the Monuments Men to locate the art as soon as possible.  It also places them in harm’s way as they need to be close to the action in order to get to the art before the Nazis soldiers destroy it.

 

Further complicating matters is that the Russians are also confiscating the art as they move in, only they’re taking it back to Russia, not returning it to its original owners.  It’s up to the Monuments Men to find these stolen treasures first so that they’re not lost to the western world.

 

THE MONUMENTS MEN is a very enjoyable movie filled with colorful characters and plenty of entertaining and humorous moments intertwined with some poignant ones, and even some suspense, but the trouble is its message that recovering the stolen art was worth risking the lives of these men doesn’t always ring true.

 

Clearly, writer/director George Clooney believes the sacrifice was worth it, but the movie doesn’t succeed in making this point.  For one thing, it tries too hard.  It asks the question “is it worth it?” so much it hammers you over the head with it. 

 

We see the Monuments Men engaged in various little adventures, which for the most part are all very entertaining, but compared to other soldiers— the soldiers at Normandy, for example— their sacrifice doesn’t feel the same.  The script by Clooney and Grant Heslov probably needed more time in the shop to get the message right. 

 

Don’t get me wrong.  The amount of art the Nazis stole was incredible, and had this been lost or destroyed, it would have been heartbreaking.  What the Monuments Men did was remarkable, but hitting the audience over the head with the notion that their mission was an amazing sacrifice somehow sounds hollow compared to what the rest of the soldiers were fighting for.

 

Another problem is Clooney’s Frank Stokes is a rather cold fish.  He’s not the best point man for selling an argument to an audience.  I almost wish the story had been told from the perspective of Cate Blanchett’s Claire Simone character, who was a much more interesting and intriguing character than Clooney’s Frank Stokes.  Seen through her eyes, the Monuments Men would have been perceived as what they were, men doing the world a service, recovering people’s history and culture, but hearing Blanchett’s Simone say this, a woman whose brother was murdered by the Nazis, and who didn’t trust the Americans, it would have held more relevance than hearing it from Clooney’s stoic Stokes.

 

By far, the best part of THE MONUMENTS MEN is its talented cast, who really bring these guys to life.

 

George Clooney is just okay as Frank Stokes, but this is fine since he’s the level-headed one leading the team.  Matt Damon fares about the same as James Granger and is rather low-key throughout.  It’s the rest of the team that really shines.

 

It was great to see Bill Murray in this role as Richard Campbell, and he and Bob Balaban enjoy some fine moments together, some of the best in the film.  The scene where they’re surprised by a young Nazi soldier in the woods, and they end up sharing a cigarette is one of the best in the movie.  As is the scene when Murray hears a record sent to him by his family.  It’s a nice reminder that Bill Murray is much more than just a comic actor.

 

I also really enjoyed John Goodman and Jean Dujardin.  The scene where they’re fending off a sniper is a keeper.

 

But even better than all the Monuments Men is Cate Blanchett as Claire Simone.  She delivers the best performance in the film.  She also has one of the more emotional scenes in the film, when she’s told by her Nazi employer that her brother has been shot dead.  It’s a disturbing moment in a film that is strangely devoid of disturbing moments, a curious thing in a movie about Nazis.

 

The film would have benefitted from a visible Nazi villain.  Other than Simone’s boss who’s really not in the film all that much, there’s no one who makes your blood boil.  The villains are random soldiers with rifles.

 

In terms of entertainment, THE MONUMENTS MEN scores high.  I really enjoyed watching these guys and their efforts to recover the multitude of stolen art items.  Where it struggles is in its message that these men were putting their lives on the line for a cause equally as noble as the soldiers fighting to defeat genocide and world domination. 

 

That’s a difficult point to make.  Perhaps the movie didn’t need to try.

 

—END—