“Tommy” director Ken Russell dead at 84

Ken Russell, the British filmmaker who successfully brought the Who’s rock opera “Tommy” to the big screen, died yesterday (November 27) in his sleep. At the time of his death he was beginning pre-production on a new film, a musical version of “Alice in Wonderland.”

Seen as both flamboyant and controversial, Russell dreamed as a child of being a ballet dancer. But after a stint in the Royal Air Force and the Merchant Navy, and unsuccessful attempts at dancing and photography, he got a job working in television. After many successful years creating documentaries for the BBC he directed his first feature film, a 1963 comedy called “French Dressing.” The film was a rousing failure and it wasn’t until 1967 that he was allowed a second feature. “Billion Dollar Brain,” featuring Michael Caine, was well received and led to the film that would be considered his breakthrough.

In 1969 Russell released “Women In Love,” an adaptation of the D.H. Lawrence novel. The film starred Glenda Jackson, Oliver Reed and Alan Bates. The film gained notoriety for a nude wrestling scene and was among the first films to show male genitalia on screen. The film was nominated for eleven BAFTA awards as well as four Academy Awards, including a nomination for Russell. This would be his only Oscar nomination for direction. Glenda Jackson won the Best Actress Academy Award for her performance in the film.

As the 1970s began, Russell found himself edited by the studios he worked for. His 1971 release “The Devils” was so upsetting that Warner Brothers refused to release it without some cuts. The film featured Oliver Reed (a Russell regular) as a priest who defies a corrupt church and state. Most of the brouhaha over the film came from the scenes featuring sexuality among nuns. Despite, or in spite of, the outrage the film led the British box office for eight straight weeks. In 1975 he released his vision of the Who’s “Tommy.” Featuring Ann Margaret, Jack Nicholson, Roger Daltrey and Elton John, the film earned Margaret an Academy Award nomination for Best Actress. He teamed up with Daltrey for his next project, “Lisztomania,” He ended the 70’s with the biopic “Valentino.”

In 1980 Russell collaborated with writer Paddy Chayefsky for the film adaptation of Chayefsky’s novel, “Altered States.” Starring William Hurt, the film is better known for the many on-set arguments between director and writer. Blaming his many quarrels with Chayefsky for “blacklisting” him in Hollywood, Russell made one more film in America, the very kinky “Crimes of Passion” with Kathleen Turner and Anthony Perkins. Returning to England he directed such period films as “Gothic,” with Gabrielle Byrne and “The Lair of the White Worm.”

In 1990 Russell took a job in front of the camera, appearing in a pivotal role opposite Sean Connery, Michelle Pfeiffer and Roy Scheider in “The Russia House.” His last significant film as a director was the 1991 film “Whore,” which starred Theresa Russell (no relation). Slapped with an NC 17 rating, the film could not be advertised on television nor could posters be displayed. The studio re-titled the film, “If You Can’t Say It, Just See It.” Russell was vocally upset at the film’s rating, noting that the same year’s “Pretty Woman” was given an “R” rating, noting that his film dealt with the hardships of prostitution while the Julia Roberts film just glamorized the profession.

An accomplished author, Russell wrote six novels along with several books on filmmaking. In 1989 he released his autobiography.

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Media Mikes’ Holiday Movie Preview

Once again it’s time to put the turkey in the oven, loosen our belts and plan our weekly trips to the multiplex. Its holiday time and the studios are pulling out some of the big guns to keep you entertained. Once again, MediaMikes is pleased to preview some of the films you can look forward to seeing in the next two months. As always, opening dates are subject to change at the studio’s whim.

THIS WEEK

A DANGEROUS METHOD
Starring: Michael Fassbender, Viggo Mortensen and Keira Knightley.
Directed by: David Cronenberg

It’s a battle of great minds when Sigmund Freud (Mortensen) and Carl Jung (Fassbender) duel over a disturbed patient (Knightley). Cronenberg and Mortensen have teamed up twice and produced some great films (“A History of Violence” and “Eastern Promises”). I’m expecting a hat trick here.
OSCAR CHANCES: Mortensen earned a Best Actor nod for “Eastern Promises” and Fassbender is coming off a career making performance in “X-men: First Class.”

ARTHUR CHRISTMAS
Starring the voices of: James McAvoy, Jim Broadbent and Bill Nighy
Directed by: Sarah Smith

When Santa Claus accidentally misses one child on his rounds his youngest son, Arthur, attempts to correct the problem.
OSCAR CHANCES: Don’t see it on the short list for Best Animated Feature.

THE ARTIST
Starring: Jean Dujardin, Berenice Bejo and John Goodman
Directed by: Michel Hazanavicius

In the 1920s an actor (Dujardin) falls for an upcoming actress (Bejo). This film is silent and was nominated for the Palme d’Or at this year’s Cannes Film Festival, where Dujardin was named Best Actor.

OSCAR CHANCES: The last silent film to win an Oscar was the first, “Wings.” Look for that to change soon.

HUGO
Starring: Asa Butterfield, Chloe Grace Mortez and Christopher Lee
Directed by: Martin Scorsese

In 1930’s Paris, a young boy who lives in the train station hopes to unravel a secret involving his late father and an automatron. Scorsese plus 3D? Can’t wait.

OSCAR CHANCES: With a director like Scorsese you can’t count this film out.

THE MUPPETS
Starring: Jason Segel, Amy Adams and Chris Cooper
Directed by: James Bobin

A fan of the felt covered group (Segel, who also wrote the screenplay) tries to reunite the Muppets in an attempt to stop a greedy oil tycoon (Cooper) from buying and demolishing their old theatre. Some of the original Muppet performers, including Frank Oz, declined to work on this film. But Segel has been a lifelong fan and I don’t think he’d do anything to harm the franchise. Director Tobin is making his feature film debut after having helmed many episodes of “Da Ali G Show” and “Flight of the Conchords.”

OSCAR CHANCES: To quote Johnny Carson while addressing Miss Piggy, the only Oscar award she’d ever win would be from Oscar Meyer.

MY WEEK WITH MARILYN
Starring: Michelle Williams, Kenneth Branagh and Eddie Redmayne
Directed by: Simon Curtis

A young man working on his first film is assigned to look after Marilyn Monroe.
Williams totally immerses herself in the role as does Branagh, who co-stars as Laurence Olivier.

OSCAR CHANCES: A possible nod to Williams for Best Actress.

DECEMBER 2

CORIOLANUS
Starring: Ralph Fiennes and Gerard Butler
Directed by: Ralph Fiennes

Fiennes makes his directorial debut with a modern-day retelling of the Shakespearean story of a Roman war hero who loses his power and must eam up with his enemy to lead an attack on those who betrayed him.

OSCAR CHANCES: Fiennes could be a double threat.

SHAME
Starring: Michael Fassbender, Carey Mulligan and James Badge Dale
Directed by: Steve McQueen

A sex addicted man (Fassbender) has to come to terms with who he is when his younger sister comes for a visit. The film has been rated NC-17 so you may be hard pressed finding it. Director McQueen is English and no relation to the late actor.

OSCAR CHANCES: NC-17 means not a lot of theatres will be playing it so unless everyone in Hollywood gets a screener it doesn’t appear likely.

DECEMBER 9

I MELT WITH YOU
Starring: Thomas Jane, Rob Lowe and Jeremy Piven
Directed by: Mark Pellington

When four friends from college have a reunion they are reminded of an old pact they once made with each other.

OSCAR CHANCES: Mmmmmmmmmm NO.

NEW YEAR’S EVE
Starring: Lea Michelle, Jon Bon Jovi and Halle Berry
Directed by: Garry Marshall

From the people that brought you “Valentine’s Day” comes another celebration day. Can “Cinco de Mayo: The Movie” be far behind?

OSCAR CHANCES: Nada.

THE SITTER
Starring: Jonah Hill, Ari Graynor and Sam Rockwell
Directed by: David Gordon Green

Hill stars as a college student on suspension who is coaxed into babysitting the kids next door. Foolishly, he takes the kiddies with him to New York City. For fans of Hill, this is the last “chubby” film you’ll be seeing him in. If you’ve seen his video game commercial or the trailer for “21 Jump Street” you’ll notice he’s dropped some serious poundage.

OSCAR CHANCES: Unless they give them for weight loss, no.

TINKER, TAILOR, SOLDIER, SPY
Starring: Gary Oldman, Tom Hardy and Colin Firth
Directed by: Tomas Alfredson

Retired from Britain’s MI6, George Smiley (Oldman) embarks on a mission to expose a mole in the organization. Oldman takes over the role played by Sir Alec Guinness in the 1979 film.

OSCAR CHANCES: Oldman is always worth watching.

W.E.
Starring: James D’Arcy and Abbie Cornish
Directed by: Madonna

Madonna directs this romantic drama focusing on the affair between King Edward VIII and American divorcée Wallis Simpson as well as a contemporary romance between a married woman and a Russian security guard. Madge also wrote the screenplay with her “Truth or Dare” collaborator Alex Keshishian.

OSCAR CHANCES: Judging from the early reviews I’d have to say no. However, there’s always the Golden Raspberry awards.

WE NEED TO TALK ABOUT KEVIN
Starring: Tilda Swinton, John C. Reilly and Ezra Miller
Directed by: Lynne Ramsay

When her teenage son (Miller) goes on a killing spree at school, his mother (Swinton) must deal with her grief and her feelings of responsibility.

OSCAR CHANCES: Strong subject matter, which the Academy likes.

DECEMBER 14

LOOSIES
Starring: Peter Facinelli, Jaimie Alexander and Michael Madsen
Directed by: Michael Corrente

A New York City pickpocket learns he has a child from a long ago romance. Star Facinelli also wrote the screenplay.

OSCAR CHANCES: None

DECEMBER 16

ALVIN AND THE CHIPMUNKS: CHIPWRECKED
Starring: Alvin, Simon, Theodore
Directed by: Mike Mitchell

On a luxury cruise the boys and their Chipettes find themselves marooned on a not-so deserted island. Director Mitchell helmed the last “Shrek” film.

OSCAR CHANCES: Director Mitchell also helmed “Duece Bigalow: Male Gigolo.”

CARNAGE
Starring: Kate Winslet, Christoph Waltz, Jodie Foster and John C. Reilly
Directed by: Roman Polanski

The parents of two school boys, one family upscale the other middle class, meet to discuss their son’s schoolyard fights.

OSCAR CHANCES: Hell Yes! With the exception of Reilly, who was nominated for “Chicago,” everyone I’ve mentioned above has at least one Oscar on their mantle.

MISSION: IMPOSSIBLE – GHOST PROTOCOL
Starring: Tom Cruise, Jeremy Renner and Paula Patton
Directed by: Brad Bird

After the IMF has been disavowed by the government, Ethan Hunt (Cruise) leads a new group of agents to investigate a bombing of the Kremlin. Director Bird tries his hand with live action after having directed the animated masterpieces “The Iron Giant” and “The Incredibles.”

OSCAR CHANCES: Possibly in the technical areas.

SHERLOCK HOLMES: A GAME OF SHADOWS
Starring: Robert Downey, Jr., Jude Law and Jared Harris
Directed by: Guy Ritchie

Holmes does battle against his greatest nemesis, Professor Moriarty. Also stars the original “Girl in the Dragon Tattoo,” Noomi Rapace.

OSCAR CHANCES: Visual effects.

DECEMBER 21

THE ADVENTURES OF TINTIN
Starring the voices of: Jamie Bell and Daniel Craig.
Directed by: Steven Spielberg

Master Spielberg tries his hand at motion-capture animation, throwing in a little 3D for good measure. There are over 20 “TinTin” classic comics so if this is a hit I’d expect more.

OSCAR CHANCES: Since the Academy ruled recently that motion capture films don’t qualify for the Animated award, unless John Williams’ score gets a nod I’d say no.

ALBERT NOBBS
Starring: Glenn Close, Mia Wasikowska and Aaron Johnson
Directed by: Rodrigo Garcia

In order to make a living in 19th century Ireland, a woman disguises herself as a man. Thirty years later she is still living a lie.

OSCAR CHANCES: Critics who have seen this film call it Close’s greatest performance.

THE GIRL WITH THE DRAGON TATTOO
Starring: Rooney Mara, Daniel Craig and Stellan Skarsgard
Directed by: David Fincher

The director of “The Social Network” and “Fight Club” takes on one of the most popular novel series in history. He’s also taking on the audiences pre-conceived ideas as to how the story will unfold.

OSCAR CHANCES: I haven’t read the books or seen the previous films. The trailer has had me excited for quite awhile. I’m saying at least two nominations. Do I hear three?

DECEMBER 23

IN THE LAND OF BLOOD AND HONEY
Starring: Zana Marjanovic and Goran Kostic
Directed by: Angelina Jolie

Two people fall in love during the 1990s civil war in Bosnia. Not only is Jolie making her directorial debut she also wrote the script.

OSCAR CHANCES: None to speak of.

WE BOUGHT A ZOO
Starring: Matt Damon, Scarlett Johannson and Thomas Haden Church
Directed by: Cameron Crowe

A widower decides to purchase a run-down zoo and move his family to run it. Good news: from the director of “Jerry Maguire” and “Almost Famous.” Bad news: from the director of “Elizabethtown.”

OSCAR CHANCES: Good pedigree but unusual subject.

DECEMBER 25

EXTREMELY LOUD AND INCREDIBLY CLOSE
Starring: Tom Hanks and Thomas Horn
Directed by: Stephen Daldry

After his father is killed on 9/11 a young boy finds a mysterious key and must find out where it goes.

OSCAR CHANCES: NEVER bet against Tom Hanks or Stephen Daldry.

WAR HORSE
Starring: Jeremy Irvine, Emily Watson and David Thewlis
Directed by: Steven Spielberg

An adaptation of the children’s novel and the currently running Broadway show, the story revolves around a farm horse sent into battle during World War I and the young boy who tries to get him back.

OSCAR CHANCES: Across the board.

DECEMBER 28

PARIAH
Starring: Adepero Oduye and Kim Wayans
Directed by: Dee Rees

A Brooklyn teenager must deal with disappointing friends and family when she attempts to embrace her lesbian identity.

OSCAR CHANCES: This film has been raved about since it premiered at Sundance earlier this year. It could be this year’s “Precious.”

DECEMBER 30

ANGELS CREST
Starring: Thomas Dekker, Mira Sorvino and Lynn Collins
Directed by: Gaby Dellal

A small town father tries to care for his young son and alcoholic wife. Tragedy strikes when the young boy disappears in a snow storm.

OSCAR CHANCES: Maybe

THE IRON LADY
Starring: Meryl Streep, Jim Broadbent and Richard E. Grant
Directed by: Phyllida Lloyd

A look at Margaret Thatcher, the former English prime minister.

OSCAR CHANCES: Streep holds the record with 16 previous acting nominations (two Oscars). Can number 17 be far behind?

 

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Film Review “The Descendants”

Starring: George Clooney, Shailene Woodley and Beau Bridges
Directed by: Alexander Payne
Rated: R
Running time: 1 hour 55 mins
Fox Searchlight

Our Score: 5 out of 5 stars

Officer, I’d like to report a crime. In 2004 Alexander Payne gave us the award winning film “Sideways.” I’d like you to arrest whoever made us wait seven years for his next one.

Matt King (Clooney) is a real estate lawyer in Hawaii. He is also the executor of his family’s estate: 25,000 untouched acres of paradise. While sorting through bids for the property Matt’s wife, Elizabeth, is injured in a boating accident. While she lays in a non-reversible coma Matt learns that his wife has been having an affair. Filled with grief over her inevitable death, he must also face the anger he feels because of her betrayal. And he must do this while caring to the needs of his two daughters: 10 year old Scottie (Amara Miller) and wise beyond her years 17 year old Alexandra (Woodley). It’s not a situation I’d wish on anyone.

Adapted from the book of the same name, this is the first film Payne has directed where he didn’t collaborate on the script with Jim Taylor (the two won an Oscar for “Sideways.” Still, writing has always been Payne’s strong suit and his work here with writers Nat Faxon and Jim Rash (the television film “Adopted”) shines. In voice-over King explains how his ancestors have been quite wealthy but frugal. Quoting his late father he advises that parents should “give their children enough money to do something…but not enough to do nothing.” Still, Matt does well enough to send Alexandra to private school and indulge his wife’s love for racing boats. Learning that Elizabeth was in love with the other man, Matt decides to track him down with the intent of letting him know her condition and allowing him to say his goodbyes. This turn of events could have easily slipped into standard “movie of the week” mode. But thanks to Clooney’s performance, you find yourself agreeing with Matt’s decisions, no matter how awkward they appear. This is one of Clooney’s strongest performances and he may have to clear space on his mantle for Oscar number two. He is at the top of his game in his scenes alone with the comatose Elizabeth. Asking questions that are unable to be answered his pain at his loss and her betrayal is heartbreaking.

As Matt’s young daughters, both Woodley and Miller shine. This is Miller’s first role and she shows that she’s a natural. Supporting work by Nick Krause, Robert Forster and Bridges add to the enjoyment. Throughout the film I kept pointing to a tan, curly haired gentlemen and saying to myself, “that looks like Michael Ontkean.” Guess what? It IS Michael Ontkean. Nice to see him on the big screen again. And yes, he looks good.

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Film Review “The Muppets”

Starring: Jason Segel, Amy Adams and Chris Cooper
Directed by: James Bobin
Rated: PG
Running time: 1 hour 38 mins
Walt Disney Pictures

Our Score: 4 out of 5 stars

As someone born in 1960, I grew up with the Muppets. From “Sesame Street” to their appearances on “Saturday Night Live” to their own television show and films, if the stars of the show were made of felt I made sure I saw it. One of my prize possessions is a photograph of Jim Henson and Kermit that Jim Henson signed for me in 1983. It would be fair to say that I’m a devoted Muppet-arian. In fact, my son and I were once asked to leave the gift shop at the Disney/MGM Studios because we loudly protested that Elmo is not a Muppet. This began a long running feud with Elmo that was patched up last year in New York City. But I digress.

It’s been twelve years since the gang have been on the big screen. An absence noticed by Gary (Segel) and his younger brother, Walter (voiced by Peter Linz). They have loved the Muppets since they were little. But no one loves them more than Walter. He has collected every toy, DVD and knick knack relating to the group and dreams only of one day taking a tour of Muppet Studios. When Gary and his girlfriend of 10 years, Mary (Adams), take a trip to Los Angeles they take Walter along. His wish of seeing Muppet Studios is about to come true. But some wishes may be better off un-granted.

Capturing the flavor of the old television series while featuring guest stars more popular with today’s younger generation, “The Muppets” is a fun ride down the nostalgia highway. When they arrive in California the trio learn that Muppet Studios is about to be purchased by rich oil baron Tex Richman (Cooper), who has promised to use the land to build a Muppet Museum. But there’s oil under them there buildings and Richman’s real plan is to drill for it. When Walter finds this out, and discovers that for $10 million the studio can be saved, he tracks down Kermit the Frog (voiced by Steve Whitmire) in the hopes of convincing him to put on a show to raise the money. Kermit is up for it but has lost contact with the gang. Fozzie Bear (Eric Jacobson) is now performing in a tribute review called “The Moopets.” Gonzo (Dave Goelz) is a plumbing magnate. And Miss Piggy is in Paris overseeing the plus-size edition of Vogue magazine. Eventually everyone agrees to come together for one last gig. But will it be enough?

Finally Friends!

You have to give credit to Disney for attempting any Muppet project. Long time Muppet-eers Frank Oz and Jerry Nelson declined to be a part of the project. But they pushed forward and have done the Muppets, and the memory of Jim Henson, justice. Much of the credit has to go to Segel, a long time Muppet fan who also co-wrote the screenplay. His Gary is so bright and full of light, it’s easy to see how Segel himself can easily get lost in this fantasy world. Adams, whose done her share of singing as the princess in “Enchanted,” is so wide eyed sometimes that you’d think she’d never seen the Muppets before they came on set. And young Walter is a fine edition to the Muppet family. Credit too must go to the Muppet-eers, who eschewed using CGI to give the characters legs, allowing them to walk down the street or participate in a musical number without the help of a computer. Speaking of music, if there’s a drawback to the film it’s the original songs. With the exception of “Life’s a Happy Song” the songs are pretty much undistinguishable. This fact is hammered home when Kermit reprises “The Rainbow Connection” from “The Muppet Movie.” Granted, Paul Williams is one of the great lyricists of the 20th Century but the producers of the new film could have tried harder. Muppet takes on contemporary hits come off better, including a barbershop quartet rendition of Nirvana’s “Smells Like Teen Spirit.” And any film that allows Chris Cooper to rap can’t be all bad.

I would also urge you to get to the theatre early to catch the new PIXAR “Toy Story” short film that precedes the film.

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Film Review “My Week With Marilyn”

Starring: Michelle Williams, Kenneth Branagh and Eddie Redmayne
Directed by: Simon Curtis
Rated: R
Running time: 1 hour 41 mins
The Weinstein Company

Our Score: 4 1/2 out of 5 stars

There are some things that can never be explained. In Hollywood, actors are a dime a dozen. But there are very few STARS. And one of the biggest of them all was Marilyn Monroe.

1956. In a film studio in England, two of the film world’s greatest attractions have contracted to star in a film together. Representing England, Sir Laurence Olivier (Branagh), still considered to this day one of the greatest actors EVER. From the United States, newly married to husband number three, Ms. Marilyn Monroe (Williams). And her entourage of publicity men, handlers and acting coach. Olivier wants to be a movie star. Monroe wants to be a great actress. And when the cameras began to roll on what would become “The Prince and the Showgirl,” young Colin Clark (Redmayne) was there to watch it all.

Full of outstanding performances, “My Week With Marilyn” gives viewers a small look inside the life and very fragile psyche’ of an actress who, with just a glance or a whisper, could turn strong men into jelly. But in spite of her worldwide fame, Monroe was a sad, damaged woman who used her beauty as a way to attract men that she hoped would protect her. Her third husband, the playwright Arthur Miller (Dougray Scott) stayed in the marriage for five years, but like husband number two, Joe Dimaggio, could not handle the constant spotlight his wife was under. A spotlight that reached across the pond to England and, really, the entire world. Williams is excellent as Monroe. Though she is made up some to resemble her, Williams eschews doing a strict impersonation, instead letting us see inside the real Marilyn. While visiting Buckingham Palace she is immediately surrounded by fans. “Shall I be her,” she asks her companion. In a split second gone is Norma Jean Mortensen, replaced by MARILYN MONROE. It’s a rare ability to completely switch gears that quickly and successfully but Williams pulls it off.

Equally good is Branagh who, thanks to his fame on the London stage, is his generations’ Olivier. The torch continues to be passed with Dame Judi Dench playing Dame Sybil Thorndike, an actress whose distinguished career on stage ran for more then six decades. Other famous names are brought to life, including Vivien Leigh (Julia Ormond), Olivier’s wife and promotions genius Arthur P. Jacobs (Toby Jones), who would go on to produce the “Planet of the Apes” films. And it’s a pleasure to see Emma Watson in a film that doesn’t have “Harry Potter” in the title. As movie loving Colin, who is made 3rd Assistant Director (mostly because they “didn’t have one yet”) Redmayne is as wide eyed and innocent as a child being set loose in a candy story. He wants to be strong but, like countless men before and after, he allows himself to fall in love. The actors are led through their paces by veteran television director Curtis, making his feature film debut. Curtis has wisely studied many of the most iconic photos of Monroe and then incorporated those images in the film. As the film unfolds you suddenly find yourself remembering an image you’d seen from your past, realizing only after you’ve moved on that your memory is as crystal clear as a fine set of china. The pacing is leisurely, allowing you to get lost in the past, which the period detail truly allow you to do.

 

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Filed Under: Film Reviews Tagged With: film, marilyn, review, week

Behind The Screen: Everyone’s a Critic!

This past week brought a little notoriety both to MediaMikes and to me personally. With a click of the mouse I entered a favorable review of the new Adam Sandler film “Jack and Jill” and apparently, when I did this, I caused the end of the movie going world.

I’ve been writing film reviews since high school. And I’m sure since then people have disagreed with my opinions. But I was unprepared for the backlash I took from “Jack and Jill.” And it wasn’t the people that actually took the time to see the film and then comment. It was the people that not only HADN’T seen the film but had no intention of seeing it. The first three comments left for me on RottenTomatoes were simply, “F*** You!” In fact, out of the 169 comments left, the majority of them were critical. A lot of “How much money did Adam Sandler pay you” comments. Not a dime. We also received over 40 comments on MediaMikes. Thankfully only one dropped the “F” bomb. I made an attempt to explain myself but later on started getting as snarky as those commenting. For that I apologize. Mike G. and I appreciate the fact that you took the time to visit the site, even if it was for a couple of minutes. By far the nastiest comment I received was emailed to me. The entire comment consisted of: “YOU ARE A WORTHLESS F**!!!! WORSE THEN A N***ER. At first I thought to myself, “wow, Mel Gibson read my review.” But then I saw the return email address identified the writer as “tallmaninla.” Since Mel and I are the same height I wouldn’t consider him tall.

I won’t say I’m sorry that my review brought some attention to MediaMikes. That certainly wasn’t my intention, but we were featured on Sirius Satellite Radio, HLN television, MovieFone, The Huffington Post and I even had someone write an article trying to dissect my movie preferences. I would also like to point out that two other critics eventually liked “Jack and Jill.” And that out of almost 11,000 reviews from moviegoers who had seen the film, the average rating was 3 out of 5. My rating: 3 out of 5. Thank you average movie fan. I don’t write reviews for attention. I write them because I enjoy sharing my opinion of them. I’ve been a self-proclaimed movie nerd since 1975 (thank you Steven Spielberg) and will hopefully continue to be one until the day I die. If I ever lose my passion for everything cinema I’ll unplug my keyboard and go away.

I want to say a few things about what we do here at MediaMikes. First and foremost, we are two guys who like movies. That’s the job requirement. Same for our staff. We did not go to college to become writers nor do we think we’re writing the cure for cancer. OUR reviews are just that. We try to write for others who like movies. A lot of the negative comments I received also blasted me for not liking the film “Drive.” You know who also didn’t like “Drive?” The film critics for the Chicago Tribune, New York Times, Los Angeles Times and Leonard Maltin. And while I would NEVER presume to put my writing on the same level as theirs, I don’t think they received any comments telling them they had no business watching movies. One of my fellow critics here in Kansas City gushed all over “Drive” after the screening, comparing the director to Stanley Kubrick. He actually used the term “Kubrickian.” Really? After eight movies the guy’s Stanley Kubrick??? Kubrick’s eighth film was “2001: A Space Odyssey.” He’d already made “Lolita,” “Spartacus,” “Dr. Strangelove” and “Path’s of Glory.” And he still had “A Clockwork Orange,” “Barry Lyndon,” “The Shining” and “Full Metal Jacket” ahead of him. He WAS Stanley Kubrick.

I write reviews for people like me. People that want to be entertained for two hours. And if I’m blown away afterwards then that’s a bonus. I do have a pretty good knowledge of film history. If I were reviewing films in 1987 and had screened “The Untouchables” I could have told you that the scenes on the stairs of the train station were a homage to the Odessa Steps sequence in Sergei Eisenstein’s 1925 film “Battleship Potemkin.” But would that make you want to see the film more? Besides, Brian DePalma is so often accused of ripping of Alfred Hitchcock that I wouldn’t want him to be known for stealing from a dead Russian as well. Kevin Smith included a scene in “Chasing Amy” that had his stars comparing body scars against a nautical backdrop. Do I mention that he’s “Spielbergian” in his work or do I just know that Kevin Smith loves the film “Jaws?” I’ve made a total of three films in my life. Even won a couple of awards. But I don’t portend to know everything about movies. I know what I like. And what I don’t. And so does anyone that goes to the movies. Believe me when I say it: EVERYONE’S a critic.

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Interview with Peter Facinelli

Born in Queens, New York, Peter Facinelli made his television debut at the age of 22 in an episode of “Law and Order.” Three years later he played big man on campus Mike Dexter in the iconic high school comedy “Can’t Hardly Wait.” He spent the next decade working steadily on both television (“Fastlane,” “Six Feet Under”) and film (“The Scorpion King,” “The Big Kahuna,” “Riding in Cars With Boys”). Convinced by his agent to read the script of an upcoming “vampire” movie, he embraced the role of Dr. Carlisle Cullen. He returns to that role for a fourth time this week with the release of the film “Twilight: Breaking Dawn – Part 1.” He will also be seen on screen next month in the film “Loosies,” which he wrote and produced. When he’s not working Mr. Facinelli spends time with his family: wife Jennie Garth and daughters Luca, Lola and Fiona.

Mr. Facinelli was in Kansas City recently and took time out to sit down with MediaMikes.

Mike Smith: How was your visit to Kansas City?
Peter Facinelli: Best barbecue I ever had!

MS: It seemed for months that the only “Law and Order” episode that was on TNT was the one that featured you and the “Mack Rangers!” Even though it was one of your first acting jobs did you have a sense that you were working on a quality show?
PF: Wow. I forgot the name of the club…the “Mack Rangers.” (laughs) At the time “Law and Order” was pretty popular so I was happy to be a part of it. I was just excited to be working with Chris Noth and Jerry Orbach. It was one of my favorite shows so it was surreal that I was on it.

MS: What inspired you to become an actor?
PF: A movie called “Butch Cassidy and the Sundance Kid.” I watched that movie when I was in the 3rd grade and I said, “those guys are having fun…that’s what I want to do.”

MS: Maybe it was just me but I thought early in your career you bore a striking resemblance to Tom Cruise. Did you hear that from casting agents and do you think that may have hurt you job wise?
PF: Yeah, I definitely heard that early in my career. I don’t get that much anymore. I did definitely hear that. I don’t think it helped any (laughs). Nobody wants ANOTHER Tom Cruise. And of course you want to have your own identity. Your own career. You don’t want to be the kid that looks like Tom Cruise. I didn’t think about it much. I took it as a compliment…he’s a good looking man (laughs). I just did the work and tried to forge out a career for myself.

MS: “Can’t Hardly Wait” is still regarded as one of the best films about high school life. How much of yourself is in the character of Mike Dexter?
PF: Not that much, actually. I based that character on three people I went to high school with. It’s fun for me that the film has stood the test of time. I’ll have people see me from across the street and shout out lines from the movie. “Mike Dexter is a god!” It’s fun for me that this movie has such a shelf life. It’s affected a couple of generations now. People my age…people a little older than me…people younger. A lot of “Twilight” fans…thirteen year old girls that have seen the film. They all like it. At the time we didn’t know we were making a teen classic. We were all young and upcoming. It was a fun movie.

MS: When you were first approached for the first “Twilight” film were you aware of the books’ popularity? And did you expect the film to be as successful as it was?
PF: When my agent originally asked me if I wanted to be in a vampire movie I said “no.” I thought it was going to be a “D” movie…lots of bats. But he told me to read the book…that it had a large underground following. At that time the books weren’t as big as they are now. I read it and I fell in love with it. It reminded me of the old Bela Lugosi movies. And it looked at vampires in different ways. It was kind of exciting. Again, the books weren’t as popular…this was just right before they exploded.

MS: Has the success of the “Twilight” films given you more freedom as an actor?
PF: It’s given me more time. Now I don’t have to try and work on everything. I can just work on what I want. It’s allowed me to get some of the stuff that I’ve written out there. I recently formed a production company called Fancinelli Films. So we’re making movies now. I’ve written three scripts. I’ve produced two of them. Two of them have been made. We’ve also acquired a bunch of material. It’s allowed me to be in a place where I can generate my own work. It lets me do the things I want to do while looking for other projects.

MS: You’ve had recurring roles in several television series, including “Fastlane,” “Six Feet Under” and, currently, “Nurse Jackie.” Do you have a preference between film and television?
PF: I like both for different reasons. I try to go where the good writing is. “Fastlane” was fun because I grew up on “Starsky and Hutch.” There was really nothing like it on television. Same with “Damages,” “Six Feet Under” and “Nurse Jackie.” It’s just good writing. I gravitate towards that. The medium was different then it was in the past. There is some really great T.V. out there. Wherever that property is…that has good writing…that’s where I go to. What I love about film is that…with a film there’s the premiere…it’s up on the big screen and it’s kind of an event. With television there’s an immediacy there. You’re shooting quicker. During the day there’s more pages that you’re doing. And a couple months after you shoot it’s on television.

MS: You recently wrote and starred in the film “Loosies.” What inspired you to try your hand at writing?
PF: I think I started writing because I was constantly reading scripts that I didn’t like. It’s like you’re sitting there as an actor waiting for someone to give you something and being disappointed. It’s kind of like looking for a needle in a hay stack. And the things I did like the competition is really high for because they’re really few and far between…scripts that are really powerful. And I started thinking, “what kind of stories do I want to tell?” If this stuff that I don’t like over here is getting made then maybe I can make something better. So I started writing. Telling stories that I thought were interesting and that people would like.

MS: Twenty-five roles in the film and you couldn’t find a part for Jennie?
PF: (laughs) Jen and I have always tried to keep our stuff separate. We met on a T.V. movie set. We’ve pretty much kept our careers separate. She does her thing and I do my thing. But the briefcase get’s dropped at the door and we have our life together.

MS: Now that you’ve had three screenplays produced do you see yourself in the director’s chair anytime soon?
PF: Yes. I would love to. That’s the progression…where I’d like to be. Film is a director’s medium. It’s frustrating for me as an actor sometimes. I go in. I play my role. And I go away. Whether the movies turns out good or not is out of my control. Sometimes my performance is out of my control. Being able to produce and write gives me some of that control. I can see the movie all the way through…from beginning to end. The next step for me would be to direct. To be able to create the whole world. That’s exciting to me. That’s something that I definitely want to do and look forward to doing.

MS: Besides the upcoming “Twilight” films what else are you working on?
PF: “Loosies” is in the can and in post production. I have another film I wrote called “El Chico Blanco” that I wanted to squeeze into this past summer but since I had to be on “Nurse Jackie” in September I just wasn’t able to do it. So I’ll hopefully do that early next year. And then I’m going to take the next summer off. I’ve been working since last June (2009) almost non-stop. The kids miss me. So I think we’re going to travel in the summer and then I’ll go back to “Nurse Jackie.” I definitely have “El Chico Blanco” on my mind. There are also a couple of properties I’ve acquired that I’m trying to get financing for as a producer. And as far as acting, I’ll keep on looking. And if I don’t find it I’ll write it.

 

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Filed Under: Film Interviews Tagged With: facinelli, interview, peter

Film Review “The Twilight Saga: Breaking Dawn- Part 1”

Starring:  Robert Pattinson, Kristen Stewart and Taylor Lautner
Directed by:  Bill Condon
Rated:  PG 13
Running time:  1 hour 57 mins
Summit Entertainment

Our Score: 3.5 out of 5 stars

It would be easy to dismiss the “Twilight” film series as nothing more than a series of chick-flicks with a few monsters thrown in for the guys.  But that would do the films a great injustice.  Yes, they ARE a series of chick-flicks with a few monsters thrown in, but when you get past the romance you have a pretty interesting story.

As the opening credits end, we are met by Jacob (Lautner), angrily running off.  Seems the mailman has brought him an invite to the wedding of the season in rustic Forks, Washington.  Jacob’s best friend, Bella (Stewart) is to be wed to tan-deprived Edward (Pattinson) and he’s not very happy with the news.  Edward himself is reluctant.  Not that he doesn’t love Bella.  It’s just that, for them to have children, it would help if she, too, became a vampire.  Despite several bad omens telling her “no,” Bella and Edward walk down the aisle, then head off on the honeymoon of a lifetime.  (I guess you could say an “after” life time).  But love is not a guarantee of happiness.

The fourth film in the popular series (with a final film coming next year), “TBD-1” is smartly directed by Bill Condon (“Gods and Monsters,” “Dreamgirls”) in a straight forward manner that keeps the film from bogging down in its last act.  Helping keep the film moving is the outstanding camera work of cinematographer Guillermo Navarro, who has shot some of Guillermo del Toro’s best work.  The story should be familiar to “Twilight” fans.  Not having read the books I don’t know if this last chapter could have been told in one film.  The final 30 mins are padded with constant shots of a weakened Bella, her swollen belly and intermittent glances from Edward and Jacob.

The cast have obviously become comfortable in their roles, yet are strong enough to not appear lazy.  With not a lot to do towards the end of the film but look worried, Pattinson and Lautner could have easily dialed their performances in.  That they didn’t is a testament to Condon’s direction.  Stewart gets the lion’s share of the dramatics here.  Carrying a demon child can’t be healthy for anyone, but it really takes its toll on Bella.  Highest marks to the make up people who turned the vibrant Stewart into a sickly, emaciated martyr-to-be.  Both male leads are also comfortable in their skins, though it would be nice if Lautner didn’t squint so much.  Speaking of skins, I’m not sure what the over/under was in Vegas but it takes approximately eight seconds into the film before Lautner takes his shirt off.  The supporting cast earns their pay.  It is their story that is the most interesting, especially the blood-sucking Cullen Family.  Perhaps after the next film the producers can focus attention on them and give them their own movie.  Peter Facinelli is strong as the patriarch of the family.  In a recent interview I did with him I commented on how much I always thought he resembled Tom Cruise.  Here, with his coloring and hair, he had me thinking of another vampire: Lestat from “Interview With the Vampire.” And I mean that comparison in a positive way.

The biggest disappointment to me were the visual effects used to create Jacob and his pack when they roam the woods as wolves.  They move very herky/jerky, not gracefully as they should.  It’s like the producers hired the guys that did the dogs on the top of the building in “Ghostbusters” to create the beasts.  If the comments from the fans around me are to be believed, the screenplay is very true to the book.  If you’ve read the books you are aware of the problems Bella deals with while with child.  Parents may want to think twice about bringing their younger Twi-hards or at least anticipate covering their eyes.  And please hang around during the end credits for a quick hint of “Breaking Dawn – Part 2.”

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Film Review “Happy Feet Two”

Starring the voices of: Elijah Wood, Hank Azaria and Robin Williams
Directed by: George Miller
Rated: PG 13
Running time: 1 hour 40 mins
Warner Brothers

Our Score: 3 out of 5 stars

Penguins are so darn cuddly. So much so that films like “March of the Penguins” and the first “Happy Feet” waddled home with Academy Awards. And lots of money. Add those two facts up and you get “Happy Feet Two.”

With the thumping beat of “Sexyback” on the soundtrack, we return once again to the waddle of penguins (that’s right, kids, a group of penguins is called a waddle) that enchanted us in “Happy Feet.” Mumble (Wood) is grown up and married to Gloria (Pink, taking over from the late Brittany Murphy). They have a young boy named Erik (Ava Acres) who is, shall we say, choreographically challenged. Mumble couldn’t carry a tune in a bucket but he could sure trip the light fantastic. Sadly it appears that, when it comes to dancing, Erik has two left flippers. Meanwhile, out to sea, we come across two daring krill named Will (Brad Pitt) and Bill (Matt Damon). Will wants to see the world, leave the large school of fellow krill they swim with and snack on something other then plants. “I want to eat something with a face,” he declares to Bill. Old penguin pal Ramon (Williams) can’t seem to buy a date, so he decides to head out in the world to find the future Mrs. Ramon. Dejected by his lack of rhythm, Erik follows Ramon. When the two come across a flying penguin named Sven (Azaria) the adventure begins.

Beautiful to look at and featuring strong voice work, “Happy Feet Two” is a musical that suffers musically. While the first film relied on such classic songs as “Somebody to Love,” “Boogie Wonderland” and “Tell Me Something Good,” many of the songs in the sequel are original. And bland. Though I admit I have no idea how you would go about rhyming the word “penguin.” It’s not that songs like L.L. Cool J’s “Mama Said Knock You Out” or the Rivingtons’ oldie “Papa-Oom-Mow-Mow” are better known. It’s just that they’re better written.

The voice cast does very well adding their personalities, as well as their voices, to the characters. Pitt and Damon get the lion’s share of the good lines and they’re comic typing is impeccable. Azaria has fun with Sven while Robin Williams does double duty as both Ramon and Lovelace. Pink is strong as Gloria while other voices (Sofia Vergara, Common, Anthony LaPaglia) keep the story moving. The film slows down some when Mumble tries to group the various wintry wildlife together but is still visually lovely to look at. Again, the original songs make it not that lovely to listen to.

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Film Review “Like Crazy”

Starring: Anton Yelchin, Felicity Jones and Jennifer Lawrence
Directed by: Drake Doremus
Rated: PG 13
Running time: 1 hour 30 mins
Paramount Vantage

Our Score: 3 out of 5 stars

There have been countless movies about young love. From “Romeo and Juliet” (the one from 1968) to “The Notebook,” the notion of two people at the beginning of what they hope will last forever has been a popular topic. Built on two very strong performances, “Like Crazy” joins the list.

Jacob (Yelchin) and Anna (Jones) are Los Angeles based students that share a college class. Jacob, who is hoping to be a furniture designer, has exchanged glances with aspiring writer Anna, but hasn’t been able to work up the courage to ask her out. One day after class he finds a note from Anna on his windshield. “PS,” she adds, “I’m not a nutcase.” After an evening out where they discover a taste for whiskey and a love for Paul Simon, the two become inseparable. Their romance has one drawback. Anna is English and soon her student visa will run out. She promises to return in the fall on a work visa but, in a spontaneous decision (and what is young love if not spontaneous) she decides to just stay in the US. The things some will do for love.

Told in close-ups and slow fades, “Like Crazy” is a film that begins strong and kind of limps to an ending that mystified me. Like the recent “Martha Marcy May Marlene” the film moves along on the back of a strong performance (two here) then just stops dead. Which is disappointing because, when it’s on track, the film shamelessly captures and revels in the marvels of young love. Nervous laughter that turns into giggles. Casual glances and stuttering during small talk. Those are sure signs that you’re falling in love. The film takes a harsh turn when, because she overstayed her student visa, Anna is barred from returning to the United States, even as a tourist. She and Jacob pledge to be true but soon their phone calls are ending in a quick “Bye” instead of a breathless “I love you.” Both find others to spend time with but on the rare occasions they’re together (Jacob visits England) they begin to rekindle the old spark. But though absence makes the heart grow fonder sometimes it makes it forgetful.

Director Doremus, who co-wrote the film with Ben York Jones, shows a fine hand with character development. His camera lingers almost as if spying on Jacob and Anna as their relationship grows. During an early date at an outside café, rather than show them in a standard two-shot, or just cut back and forth in the same scene, he frames both of them separately. Even though you know they are sitting across the table from each other, they could be in separate rooms. Both stars give well crafted performances. Yelchin, probably more known for the recent “Star Trek” reboot and the recent “Fright Night” remake, hits the right notes as a young man whose life is turned upside down thanks to that funny thing called love. Felicity Jones is equally strong. Almost docile at first she rides an emotional rollercoaster as the relationships in her life move along. Solid supporting work is also turned in by “Winter’s Bone” star Lawrence and “Twilight” saga’s Charlie Bewley as other players in the game.

 

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Film Review “Jack and Jill”

Starring: Adam Sandler, Katie Holmes and Al Pacino
Directed by: Dennis Dugan
Rated: PG
Running time: 1 hour 31 mins
Columbia

Our Score: 3 out of 5 stars

As the holiday season approaches, it’s time to make way for a new comedy starring the hilariously funny…Al Pacino? That’s right. Pacino has a small but pivotal role in “Jack and Jill” and, in a film full of people known for being funny, pretty much stands alone.

Jack (Sandler) is a successful creator of television commercials. One of his clients, the folks over at Dunkin’ Donuts, wants him to secure the talents of one Al Pacino to promote their new product, Dunk-A-Chino. But Jack has other things on his mind, mainly the upcoming yearly Thanksgiving visit of his twin sister, Jill (also Sandler). Where Jack has always been the popular twin, Jill has taken a back seat. Now, with their mother recently passed, the two must find a way to tolerate each other during the sure to be festive holiday season.

A one note joke that runs an hour and a half, “Jack and Jill” gives Sandler the chance to use the same “funny lady” voice that he used on his early comedy CDs. With his high pitched whine you almost expect to hear Jill proclaim, “they’re all gonna laugh at you,” or perhaps implore you to “play with your cock and balls for mama.” Along the way we meet many of the Sandler comedy troupe, including Allen Covert, who appears to be channeling the homeless man turned caddie he played in “Happy Gilmore.” Along with the regulars are some fun bits from such well known people as Jared from Subway and Vince, the Shamwow! Guy. We are also joined by his two young children: a young boy adopted from India when less than two weeks old and a little girl who is always curiously dressed exactly as her doll. The boy has discovered scotch tape and it’s fun to see what household item he’ll apply to his body next.

The premise gets annoying after awhile, but that is when Pacino shows up to make things interesting. He gets great laughs spoofing his serious side while on stage and, when his Oscar is accidentally damaged, zings the Academy Awards. He even manages to belt out “The Impossible Dream” from “The Man of La Mancha.” Pacino is truly, as they say in show business, a triple threat! And to see him play off his very stern on-screen reputation is a welcome treat. Hoo-ah!

The script loses steam shortly after it begins to boil, with the only new “idea” being to put Jack and Jill in another unusual situation. Look…they can jump rope! If anyone but Sandler had been playing Jill the film may have worked better. But his constant whining makes Jill more sympathetic, to the point where you can forgive her the occasional break of wind. Heck, when Pacino is on screen you can almost forgive anything.

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Film Review “Martha Marcy May Marlene”

Starring: Elizabeth Olsen, John Hawkes and Sarah Paulson
Directed by: Sean Durkin
Rated: R
Running time: 1 hour 42 mins
Fox Searchlight

Our Score: 2.5 out of 5 stars

A powerful father-figure runs a small “family.” His specialty is taking in young women who have had bad home lives. He talks to them, sings them songs and then eventually “cleanses” them (wink). If you’re thinking Charles Manson you’re not far off. Only this time the “M” in question is Martha. Or Marcy May. Or Marlene.

A mediocre film at best, the film is being heralded for what is truly its best feature: the breakout performance by newcomer Elizabeth Olsen (gratuitous mention that she is the younger sister of the famed Olsen twins). When we first meet Olsen, she is part of the working commune. One morning she wakes up in her communal bed and heads into the woods. “Marcy May,” someone yells after her, “where are you going?” Soon she finds herself in town where she goes to the nearest pay phone and dials. After ignoring the continuous “hellos” coming from the other end of the phone she mumbles into the mouthpiece. “Martha” comes the questioning reply. Confused yet?

The feature writing/directing debut of Durkin, the film has many freshman mistakes that, while they don’t bury the film, help slow it down. The movie is told in both present time and flashback. When Martha meets Patrick (Hawkes, an Oscar nominee for “Winter’s Bone), the head of the “family,” he tells her she looks like a Marcy May. When we join her in the present, reunited after two years with her sister (Paulson) and her new husband (Hugh Dancy) she is clearly oblivious on how to act. When she goes swimming she thinks nothing of diving in naked. And she has no idea what shes done wrong after she climbs into bed with sis and her hubby in the middle of their lovemaking. Both notice that Martha is acting strange but it isn’t until an hour and a half into the film that the magic question is asked: What happened to you? A rather choppy ending doesn’t do the film any favors either.

On the plus side, the performances are pretty solid across the board. Hawkes has a quiet peacefulness in his performance, yet still manages to project true menace. We can’t quite see through him, and that is what allows him to convince his followers to submit to him freely. But the star here is Olsen. If Hawkes is Manson then Olsen is Linda Kasabian. She has seen the little man behind the curtain and wants to run while she still can. Her performance puts this film on the “I like it” side of two and a half stars.

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Film Review “J. Edgar”

Starring: Leonardo DiCaprio, Armie Hammer and Judi Dench
Directed by: Clint Eastwood
Rated: R
Running time: 1 hour 50 mins
Warner Brothers

Our Score: 4 out of 5 stars

For the past two decades, Hollywood has been on the Clint Eastwood bandwagon. After he won an Oscar for directing “Unforgiven,” (the film also won Best Picture), Eastwood was finally accepted as a filmmaker of the highest order. Never mind that Warner Brothers dumped “Unforgiven” in theatres in the first week of August. To the studio it was just another one of “Clint’s projects”…in exchange for Eastwood doing an action film or a variation on Dirty Harry, the studio would finance a more personal film. Films like “Honkytonk Man,” “Bronco Billy” and “White Hunter, Black Heart” emerged from that deal. Well made films that showed a side of Eastwood that surprised many. Since “Unforgiven,” Eastwood has directed some of the best films of the past 20 years, among them “Mystic River,” “Million Dollar Baby” (Oscars for directing and picture), “Flags of our Fathers” and “Gran Torino.” Now, as he approaches his 82nd birthday, Eastwood gives us “J. Edgar.”

The time is the 1960s. FBI director J. Edgar Hoover (DiCaprio) has decided to recount his story and that of the bureau. It begins in 1919, where we find J. Edgar still living at home with his mother and sister and traveling via bicycle. He is gung ho about his career in the justice department. So much so, that his idea of a date includes taking his girl to the crime library to show off the card-catalog system he designed. In 1924 the 29-year old Hoover is named acting director of the Bureau of Investigation (renamed in 1935 as the Federal Bureau of Investigation). At the time of his appointment, Hoover’s agents had no police powers. They could not arrest, nor were they issued firearms. When a group of agents gathers for a raid, Hoover produces a suitcase full of pistols, telling the men they are a gift from him. After the kidnapping of Charles Lindbergh’s (Josh Lucas) son, the bureau gets noticed because of the various ideas (finger printing, studying varying woods) Hoover promotes that helps solve the case (another story altogether). As the years progress, Hoover orders his personal secretary Helen Gandy (Naomi Watts), the former library date, to begin storing his “confidential” files. These contain the dirt he has dug up on various politicians and businessmen. “Information is power,” he tells her. He also interviews and hires a young man named Clyde Tolson (Hammer). Hoover is piqued by the note in Tolson’s background report that states he’s never seen in the company of women. Hmmmmm.

Directed with a steady hand, “J. Edgar” is a film with much more flash then substance. A straight-forward biography, the film moves along evenly. But with no emotional high or low point, there is nothing that makes you sit up and take notice. The fault lies in the script by “Milk” Oscar winner Dustin Lance Black. The story is compelling, but with little color to draw you into it. The cast, however, is first rate. DiCaprio, his blue-green eyes hidden behind brown contacts, immerses himself in the role of Hoover, giving one of the best performances of his career. Hammer, so good as the Winklevoss twins in “Social Network,” gives Tolson a quietness that lets the audience into his thoughts. Dench is strong as Ma Hoover. She’s all too aware of Edgar’s peccadilloes, and none too happy. “I’d rather have a son be dead instead of a daffodil,” she tells Edgar one night, using the slang of the period. But daffodil or not, the film belongs to DiCaprio, who even in makeup commands the screen.

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Film Review “A Very Harold and Kumar 3D Christmas”

Starring: John Cho, Kal Penn and Neil Patrick Harris
Directed by: Todd Strauss-Schulson
Rated: R
Running time: 1 hour 30 mins
Warner Brothers

Our Score: 4 out 5 stars

I’ve found out over the years that the best of the adult-humored raunchy comedies have one thing in common. The unquestionable bond of friendship. Dante’ and Randall in “Clerks.” Seth and Evan in “Superbad.” Now add to that list Harold and Kumar.

It’s been two years since we last saw the title characters. We find Harold (Cho) working on Wall Street, married and anticipating spending the holidays hosting his wives’ family. Kumar (Penn) has grown a beard, lost Vanessa and spends his time sampling the finest holiday themed marijuana his Santa Claus-playing dealer (Patton Oswald) can provide. When a package meant for Harold arrives at Kumar’s apartment, he decides to personally deliver it. And so begins the season of giving.

Funny to its core and filmed in gloriously rendered, over the top 3D, “A Very Harold and Kumar 3D Christmas” is full of the humor fans of the previous films have come to expect. And like the previous films, the story’s success revolves around it’s supporting cast. Danny Trejo plays Harold’s father-in-law, a rough and tough character who has a soft place in his heart for Christmas. He has brought along his own tree, which he has spent the last eight years growing just for the big holiday. Throw in a waffle-cooking robot, a crazed Russian gangster and the always funny Neil Patrick Harris and you’ve got a film that keeps you laughing from start to finish.

Unlike so many other films advertised in 3D, this one not only utilizes the process but takes it to its intended level. Eggs, traffic barrels, shattered glass…even a clay-mated rendering of an important body part hurl towards the audience with seemingly nothing to contain them. The jokes come fast and are definitely of the adult variety. And another extended musical cameo by “NPH” is a true highlight. The two leads have developed a genuine bond between them, one the audience can feel. For Harold and Kumar, Christmas without each other is…well, definitely not Christmas!

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Film Review “Tower Heist”

Starring: Ben Stiller, Eddie Murphy and Alan Alda
Directed by: Brett Ratner
Rated: PG 13
Running time: 1 hour 44 mins
Universal

Our Score: 4 out of 5 stars

To the current generation of filmgoers, Eddie Murphy is best known as the voice of Donkey in the “Shrek” films.

To another, he’s known for some horrible films, including “Imagine That,” “The Adventures of Pluto Nash,” “Norbit,” “Meet Dave”…the list goes on. With the exception of his Oscar nominated performance in “Dreamgirls” (and as much as I love Alan Arkin, I’ve got to say that Eddie was robbed on Oscar night), he hasn’t made a good live-action film in almost a decade.

To my generation, he is remembered as one of the brightest comedy stars to ever hit Hollywood. Beginning with “48 Hours” and then following up with such popular films as “Trading Places,” “Beverly Hills Cop” and “Coming to America,” Murphy was the standard that all other comedians were compared to. As he celebrates his 50th birthday it gives me great pleasure to say, “Welcome back, Eddie!”

Josh Kovacs (Stiller) is a busy man. As building manager of The Tower, a pricey condo building in New York City, he is constantly making sure his overly pampered tenants stay happy. Especially Arthur Shaw (Alda), who occupies the penthouse and spends his mornings in the rooftop pool. When Shaw is arrested by the FBI for fraud (think Bernie Madoff), Kovacs reveals to his staff that he had entrusted Shaw with their pension fund which, if the FBI is right, is now worthless. Angered and outraged, Josh hatches a plan with some of his co-workers to rob Shaw of the money he’s stolen and, presumably, hidden in a secret safe in his penthouse. Now he just has to find himself “someone who steals.”

Part heist film, part comedy, “Tower Heist” is an enjoyable ride that boasts no less than five Oscar nominees among the cast. Written by Ted Griffin (“Ocean’s Eleven”) and Jeff Nathanson (“Catch Me If You Can”), “Tower Heist” is a film that rides on the shoulders of its talented cast. Stiller is his usual solid self, while Casey Affleck plays a variation of his “Ocean’s Eleven” character. Alda chews the scenery as the architect of the Ponzi scheme that destroys not only a pension fund but the lives it was supposed to fuel. In his second humorous performance this year, following “30 Minutes or Less,” Michael Pena’ continues to surprise on screen. Matthew Broderick, Judd Hirsch and Tea Leoni fill out the main cast, all of them delivering solid work. But it is Murphy, seemingly channeling himself playing Billy Ray Valentine in “Trading Places,” that steals the show here. It’s so nice to see a funny Eddie Murphy on the big screen again. I welcome him back and hope he’s back to stay.

With the current Occupy Wall Street” movement happening in this country, “Tower Heist” is a very relevant film for these times. The script is full of sharp observances and some hilarious scenes, including one where a discussion of the movie “The Doberman Gang” evolves into “The Boys from Brazil” which in turn evolves into “Boys Don’t Cry.”

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