Sunday, October 24, 2010

Robin Hood (2010)

Genre: War/Action/Adventure/Drama/History

Starring: Russell Crowe, Kate Blanchett, Max von Sydow, Mark Strong, Oscar Isaac, William Hurt

The story of Robin Hood, the outlaw who takes from the rich and gives to the poor. Robin Longstride (Crowe) was an ace archer serving King Richard the Lionheart during his crusade to conquer Europe. Robin agreed to help a dying knight, Sir Robert Loxley of Nottingham and agreed to deliver his sword to his father. With the death of King Richard, John (Isaac) his evil brother, became King of England. Robin broke his acquaintance with the King due to his unfair rule and travelled north with a group of like-minded soldiers to Nottingham. Sir Walter Loxley (Sydow) Robert's father, requested Robin to stay back as his son so that his land does not get forfeited by the crown. Much to the disappointment of Marion (Blanchett) Robert's wife, Robin had to be her husband. Coming from the stable of Ridley Scott, the movie had high expectations but sadly failed to replicate the success of Gladiator. Russell Crowe left no stone unturned in delivering an outstanding performance. The only chink in the armour is that Robin Hood is conceived to be much younger than what the movie potrays him to be. The movie focuses on the life of Robin Hood before he actually became popular for 'taking from the rich and giving to the poor'. A great entertainer with some fine moments with a vast scope for improvement.

Thumbs up: Performances
Thumbs down: Needed a strong climax

Rating: 7.9/10
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Black Sheep @ The Box Office

The mad party continues this weekend at Paramount Studios. Not only have they replaced themselves at the top of the Box Office but they now lay claim to both the best and fifth best October openings of all time. Now, I was under the impression that audiences would have found a sequel to PARANORMAL ACTIVITY to be a little too much but audiences have once again proven that I don't know them at all. Instead, the film opened to $41.5 million and an impressive per screen average of more than $12K. JACKASS 3D follows in second with a strong second week take of $21.5 million for an $87 million haul. It has already outgrossed both of the previous JACKASS films.

I saw the first PARANORMAL ACTIVITY. I admired what they were able to accomplish on such a small budget but truly felt the gimmick was pretty thin. Whatever they did to beef up the scares in the sequel must have worked because the $41.5 million take is almost double what the first film did on its biggest weekend. So now that the film has proven its franchise possibilities, the only question remains whether it will repeat its other greatest feat from last year - stealing all the Halloween gore freaks away from SAW, which bows in its supposedly final installment next weekend. Question: If it isn't Halloween if it isn't SAW, and SAW is gone after this year, does that mean this Halloween will be our last?

There is very little activity, paranormal or otherwise, below the Top 10 this weekend but Clint Eastwood's HEREAFTER makes its inevitable leap from 24th place on just 6 screens last week to a modest fourth place finish. Mixed reviews seem to have left audiences almost as cold as the film itself. Still, at $12 million, HEREAFTER is $4 million ahead of what Eastwood's last directorial effort, INVICTUS, did on its opening weekend on a similar amount of screens. (Click the film title for the Black Sheep review.)

NEXT WEEK: Even though the SAW franchise crashed and burned last year, the last installment, SAW 3D, opens unopposed next weekend on 2700+ screens. I'm betting the 3D element and the closing of the series will give the franchise the edge it needs to beat PARANORMAL ACTIVITY this year. And sneaking onto 130 screens is that pesky girl again. You know the one I'm talking about. This time, she's THE GIRL WHO KICKED THE HORNET'S NEST.

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Saturday, October 23, 2010

HEREAFTER


HEREAFTER
Written by Peter Morgan
Directed by Clint Eastwood
Starring Matt Damon, Cecile de France, Bryce Dallas Howard and George McLaren

Billy: A life that is all about death is no life at all.

It’s no secret that Clint Eastwood is getting up there in years. He has been churning out films on an almost yearly basis in the last decade as if he is trying to cram as much work as possible into his legacy before he can no longer do so. It seems then a natural choice for Eastwood to take on the afterlife in his adaptation of Peter Morgan’s screenplay, HEREAFTER. In many ways, it is one of his most organic works but aside from acknowledging that an afterlife exists, Eastwood is nowhere closer to any insight on the subject.

It is also no secret that I am not a big fan of Eastwood’s work as a director. I find he often oversimplifies the problem and renders complicated scenarios into clichéd lessons about what it means to him to be a good human being. The idea of him tackling something as complicated as the passage between life and death was frightening at first, even if the writing was in Morgan's hands, THE QUEEN and FROST/NIXON scribe (click the titles for full reviews). In HEREAFTER, Morgan tells three separate stories about three different people around the world who are dealing with death in different ways. A French reporter (Cecile de France) is recovering from her brush with death; a young twin boy in England (George McLaren) has just lost his brother; and Matt Damon plays a genuine psychic in San Francisco who has retired in hopes of finding a normal life. While all reasonably compelling separately, their plights never come together, which leaves the film feeling cold and detached.

There are moments in HEREAFTER that are genuinely engrossing and memorable, including an opening so intense, I felt I might soon know my own afterlife. Eastwood lets go of his ordinarily tight grasp on the picture to allow its characters to speak for themselves and its often-haunting imagery to be just that. At first, I was pleasantly surprised but then I realized that without Eastwood playing God that there was really no direction in HEREAFTER at all. Subsequently, I wasn’t able to connect with a film about an experience that connects us all.

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Thursday, October 21, 2010

SCORE: A HOCKEY MUSICAL

Written and Directed by Michael McGowan
Starring Noah Reid, Allie McDoanald and Olivia Newton-John


Canada is a different country after this year’s Olympic games in Vancouver. Its sense of pride was rediscovered through a collective rallying behind its many talented athletes. And one sport brought the country together like no other – hockey. In 2008, director Michael McGowan did something similar to enhance Canadian pride, albeit on a much smaller level, when he released his last film, ONE WEEK, a cross country road trip that showed how majestic Canada’s countryside truly is. And so it would stand to reason that combining McGowan’s filmmaking efforts with hockey itself should amount to a film that would resonate in the hearts of Canadians. Instead, SCORE: A HOCKEY MUSICAL reminds everyone why Canada isn’t famous for its movies.


Noah Reid, a homegrown Canadian from Toronto, where the film takes place, plays Farley Gordon, a 17-year-old with enormous hockey potential that has yet to be tapped. Personally, I never saw any of this supposed prowess on screen but his buddies sure think he’s got the goods. He is such an amazing force on the ice that he inspires his teammates to burst into song in celebration. You might think that hockey and musicals don’t really go together but after seeing SCORE, you will actually know for a fact that they don’t. That isn’t fair though. Perhaps if McGowan had bothered really pushing the skills on either the musical or the hockey front, it would have worked. Instead though, he treats us to some barely passable hockey playing, some fairly grating singing and some just plain pathetic attempts at dancing. If a director isn’t going to bother pushing anyone to excel, why should anyone bother showing up for his amateur effort?


Being home-schooled by pacifists (Olivia Newton-John and Marc Jordan, looking more annoyed to be there than I was), Farley has limited experience with team sports and somehow managed to miss that fighting is almost an integral part of playing hockey with a team. Farley must figure out who he is in a world that is pulling him in so many indiscernible directions at once. Unfortunately for him, he has to warble his way through some pretty nauseating lyricism to get there. Fortunately for us, it only takes him ninety minutes to get there. Damn overtime.


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Wednesday, October 20, 2010

The Men Who Stare At Goats (2009)


Genre: Fantasy/Science-fiction/War/Comedy/Drama

Starring: George Clooney, Ewan McGregor, Jeff Bridges, Kevin Spacey

During the Vietnam War, a United States Army soldier, Bill Django (Bridges) gained enlightenment on how to make war more peaceful. His teachings and trainings taught soldiers how to use their minds more effectively, which in turn led to the foundation of The New World Army. The army developed psychic soldiers aka super soldiers aka Jedi warriors who could use their minds to higher degree than normal humans. Lyn Cassidy (Clooney) went on to become one of the most powerful of these Jedi Warriors, much to the envy of co-soldier Larry Hooper (Spacey). Years later, a failed journalist, Bob Wilton (McGregor) decides to go and cover the Iraq war in a hope to redeem his life and prove to the world that he is not a failure. He stumbles across Cassidy and accompanies him on a secret mission of whose objective and location is not known to Cassidy. The movie has a very typical George Clooney humour and is the only reason one must watch it. There is no real end objective to the movie. It feels empty and you really don't know what point it is driving at. Performances are probably the only highlight, especially George Clooney's and apart from that, there isn't anything else in the movie. Only for Clooney fans.

Thumbs up: Mr. Clooney
Thumbs down: Plot

Rating: 6.9/10
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Sunday, October 17, 2010

Black Sheep @ The Box Office

Really? A $50 million opening weekend for a third JACKASS installment. I will admit to watching and laughing whole heartedly at the first JACKASS but that was after a drink or five and I was in the privacy of my own living room. It was also eight years ago. How are we not over this by now? Not only are we not over this but $50 million is more than double what the first installment pulled in on opening weekend and $20 million more than JACKASS: NUMBER TWO pulled in its opening weekend in 2006. Thank God for 3D, right? This revolution in cinema has allowed for great film franchises like JACKASS to flourish! Is this what you had in mind, Mr. Cameron?

I wasn't able to catch RED this weekend but I hear great things and $22 million is a strong second place showing for this adult action-comedy. Together, RED and JACKASS 3D took THE SOCIAL NETWORK down to the third spot. Still, with less than a 30% drop for the second week in a row, this David Fincher film is clearly striking a chord that will help its chances come awards season. I mean, it isn't JACKASS 3D big but we can't expect intelligent film to do the same kind of business as films where people tie remote control helicopters to the ends of their penises with strings, now can we?

IT'S KIND OF A FUNNY STORY is apparently not so funny to anyone else either. The Zach Galifianakis dramedy has stalled in 12th place in its second week with a 37% drop. Documentary, WAITING FOR SUPERMAN and Edward Norton/Robert Deniro thriller, STONE, continue to expand strongly. Hilary Swank vehicle, CONVICTION, opens to a less than convincing $10K per screen average on 11 screens. Meanwhile, John Lennon film, NOWHERE BOY, sees its grosses blow up by 570% after adding 200+ screens. Still, the biggest art house success of the week is not surprisingly, Clint Eastwood's latest, HEREAFTER. The Black Sheep review will be coming next week but this weekend, on just 6 screens, the Matt Damon led film pulled in over $230K for an average of $38,500 per screen. Word is still out on the film's afterlife.

NEXT WEEK: HEREAFTER goes ultra wide on 2200 screens and takes on another spookfest, PARANORMAL ACTIVITY 2 opening on 2900 screens. Two films dealing with what happens to us after we're dead, two very different films I'm sure. Who knows though? Eastwood could easily be the ghost in PA2 for all we know.

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Saturday, October 16, 2010

Black Sheep interviews Ryan Reynolds

Good and Buried
An interview with Ryan Reynolds
(with Rodrigo Cortes)

If you want to get to know who Ryan Reynolds is as an actor, you will have to dig a little deeper past his title role in VAN WILDER, even though it made him an underground goofball god. And you will have to go deeper still past his turn opposite Sandra Bullock in THE PROPOSAL, a role that catapulted him to international stardom and the top of every housewife’s “Celebrities they can cheat with” list. You have to dig deep but you needn’t look any further because Reynolds career-changing performance in Rodrigo Cortes’s BURIED, will show everyone what was behind that killer guy-next-door smile the entire time.

In BURIED, Reynolds plays Paul Conroy. The only thing we know about Paul when we meet him is that he is trapped in a wooden box, buried alive somewhere in Iraq. For the next ninety-five minutes or so, we learn that he is an American contractor working in Iraq, that he loves his wife deeply and that it is just as infuriating to navigate through automated voice systems when you’re buried alive as when you’re standing in your kitchen. And while that might be a slight exaggeration, Paul’s situation is not. He is being held hostage by a terrorist group looking for money that Paul just doesn’t have. He is running out of air and the only tools he has at his disposal are a cell phone and a Zippo lighter. If it sounds terrifying, it’s because it is.

“This is one of those movies where that’s a good thing,” Reynolds quips about BURIED’s distinct resemblance to a horrible nightmare, when we meet at the 2010 Toronto International Film Festival. BURIED director, Cortes joins him for the interview and joins in with, “There was no room in there for Sandra Bullock.” Without missing a beat, Reynolds adds, “Yeah, I was trying to make room.”

If you want to get to know Reynolds as a person though, you don’t actually have to dig very deep at all. He is about as genuine as they come, or at least that’s how he came off to me. When he entered the hotel room where our roundtable interview was to be held, he was introduced, one by one, to the handful of other journalists. I stood and admired his unassuming stance, his dressed down look and what seemed like actual interest in meeting the people he was shaking hands with. When he was introduced to me last, he took my hand, shook it firmly and said, “Hi Joseph. I’m Ryan,” while looking me directly in the eye, as if I wouldn’t know the name of the man who adorns the majority of the magazines on my coffee table. Fortunately, I did not swoon and pass out on the spot.

BURIED marks a drastic departure for Reynolds. Not only is it a far cry from his more accessible fare, but he also has to carry the entire project on his own shoulders as the camera never leaves him. Reynolds has headlined before but never to this extent, so how did he know he could do it? A vote of confidence from the man behind the lens certainly helped.

“Who else could I think of?” Cortes says of his star. “He never acts; he always sees. And when you’re doing a movie that has just three elements, you have to be very aware of pace, of rhythm and of music.”

It may sound poetic but Reynolds was not convinced at first. “I did say no at first but only because it was impossible.” He says this as if he has forgotten that he and Cortes found a way to make the impossible very possible. “The movie had an incredible narrative challenge with the one actor and then an incredible technical challenge.” Cortes had some tricks up his sleeve though and after forty minutes of chatting up his inventive shooting plans for the film, Reynolds was in.

Before long Reynolds was in Barcelona for a 17-day shoot that would prove to be much more difficult than he ever expected. “I lost a lot of weight,” Reynolds jokes. “It’s a great diet, coffins.” He had trouble sleeping; he had trouble eating. He even developed a bit of a bald spot on the back his head by the time it was all done. “Wood and sand are tremendous exfoliants.” Fortunately, the box didn’t kill his sense of humour.

Reynolds insisted on not having any rehearsal time before the shoot. “I wanted to have all those moments that you see on film be firsts – the first moments he wakes up in there, the first sounds that come out of him.” The approach paid off. The first moments of BURIED are extremely jarring, not only because they are horrifying but because we are not used to seeing such a likable face in such a dire and confined situation. The tight framing and Reynolds’s very real reactions make you feel like you’re right there, trapped in the box with him. That said, I can think of worse people to be buried alive with.

Still, there is a big difference between preparing yourself mentally to get into that box and actually getting in the damn box. “I’m not a huge fan of actors overly romanticizing their process. It is usually self-aggrandizement masquerading as story telling,” Reynolds says, as if excusing himself for answering the question asked. “But I had a tough time on this movie. I will definitely say that.” Tough is perhaps too easy a word to describe a set where paramedics were present for the last days of shooting. They didn’t have to do anything but the fact that they were there nonetheless says plenty about what was at risk. “I was a little out of control when I was in there and it was nice to be done.”

Reynolds swears he will never complain about his job again after BURIED. And while it may have been rough, he could not be happier with the way it turned out.

“I love that the beginning of this film is in total darkness, that we don’t know who this person is but, by the end of the movie, there is a whole universe in that coffin. That is what Rodrigo saw from the very beginning and that is what I fell in love with.” His pride in both the director and the picture is clear. “Rodrigo made it a big movie not in spite of its limitations but because of them.”

One other thing is clear too. When Reynolds emerges from BURIED’s coffin, he too will be bigger because of it.

For the BURIED Black Sheep review, click the title of the film anywhere in this interview. BURIED is playing nationwide right now.
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