Movie of the Week! (4/21/13-4/27/13)

Rango (2011)

While watching last week’s Movie of the Week selection, Once Upon a Time in Mexico, I couldn’t help but be amused while equally impressed by Johnny Depp. Sands is such a fun character and Depp is solid in the role. So while selecting the most recent Movie of the Week, Rango, I went for the Depp repeat as he provides his voice to the titular character. If another helping of Depp does not interest you, allow me to ‘sweeten the deal’ as they say. As this week’s MotW, Rango becomes the first animated film to receive the honor, which gives us a different type of film making to unpack. If that is still not enough, let me inform you that in 2012 Rango won an Academy Award for best animated feature. After all this said though, I have a confession. I have not seen Rango. Marketing for Rango, has always had me intrigued due to its quirky style but I have never got around to giving it a watch but this week that changes. So I think now is a good time to stop going on about all the potential Rango has to be a great Movie of the Week and get to work.  

Review: '42'

Warner Bros.

Every year on April 15 (the date in which Jackie Robinson made his Major League debut in 1947) every single Major League Baseball player wears number 42. Due to Robinson’s breaking of the color barrier, a major step forward for race relations in the United States, the only number that is retired by every single Major League franchise is 42. So it is only appropriate that a film focusing on the origins of Robinson’s impact is titled 42. Even though it may go back and forth at times between cheesy and gritty, 42 never loses focus of the man it is honoring and the continues uphill battle he faced.    

42 begins in 1945 as Jackie Robinson (Chadwick Boseman) is playing for the Negro league’s Kansas City Monarch’s. Both Robinson’s on and off the field strengths are seen early in the film with him stealing bases in a game and fighting against discrimination when he needs to use a restroom at a gas station. This type of character along with the remarkable baseball skills Robinson possess stands out when Brooklyn Dodger’s General Manager Branch Rickey (Harrison Ford) has the idea to sign an African American player. Robinson becomes a part of the Dodger’s organization but must begin his career by playing for their farm team, the Montreal Royals. With his wife Rachel (Nicole Beharie) and sports writer Wendell Smith (Andre Holland) by his side, Robinson quickly makes an impact for the Royals while also facing constant discrimination. With 42 focusing on Robinson all the way to the end of his rookie year with the Dodgers in 1947, discrimination and racism only gets worse as he gets closer to the Major Leagues.   

Working in the films advantage and staying true to real events, 42 presents scene after scene of Robinson facing and eventually overcoming an uphill battle. This acts as a constant reminder of how difficult everyday life was for a black man, let alone the first ever to play Major League Baseball. Through this type of construction, Writer and Director Brian Helgeland never allows the audience to only see baseball. He rightfully overshadows the sport by bringing the crippling impact of discrimination to the fore front. Yes, it rarely goes beyond anyone else being affected other than Robinson but due to the way that each scene is constructed and pieced together, 42 still manages to present the issue on a much wider scale

With these scenes of overcoming obstacles and working towards something greater comes the slight drawback of heavy corny and sentimental moments. 42 is a film that leaves nothing left unsaid. Instead of letting tension develop naturally it is often explained verbally. Like I said though, this is only a slight hiccup in the films effectiveness because there are a few scenes where tension is allowed to build and have an impact. Animosity towards Robinson is made so clear in scenes where Philadelphia Phillies’ manager Ben Chapman (Alan Tudyk) is brutally heckling Robinson or when a young boy is influenced by the hate of his father and other fans at a Dodgers game. The affects that racism can have on everyone involved is not just seen but felt in these moments.

It is these scenes, Robinson experiencing the burden of the role he is in, is where Chadwick Boseman is at his best. Boseman seamlessly switches from confident to shaken throughout the entire film but it is in these moments of terrifying verbal abuse towards Robinson that he handles emotion well. Boseman makes it clear that Robinson is strongly affected by racism by letting fear build in a gradual, subtle matter and releasing full emotional breakdown that comes off as authentic rather than over the top.

Andre Holland as African American sports reporter Wendell Smith, who like Jackie is a part of career that includes plenty of discrimination, also is solid in his projection of the fear that comes with being in such a situation. It would have been interesting to see more of his experience and struggles as he chronicled Robison. Also playing a major role in Robison breaking baseball’s color barrier is Branch Rickey which like Smith’s involvement is only briefly explored. I couldn’t help but think that getting into why Rickey is unlike anybody else in his openness to blacks playing in the major leagues would have been an extra angle of inspiration. With that said though, there is reason that the film is called 42. It’s a film that tells Jackie Robison’s story and if these other characters were given more focus it would be something else.

Robison’s story stands for much than one man becoming the first black Major League Baseball player. It’s a story of risky everything to not only make difference in one’s own life but for mankind. It’s a story of needed change. This is a theme seen over and over again in film but when it takes place in reality it is far more impactful. Of course, 42 can’t match the magnitude of Robinson’s actual impact but it takes an honest and inspirational approach to telling his story. For that it is well worth a watch.  

Grade: B

Review: 'The Incredible Burt Wonderstone'

Warner Bros.

I have only been to a few professional magic shows in in my lifetime but one thing they all had in common was that the messages they presented, while fun, felt somewhat dated  and extremely sappy. So with The Incredible Burt Wonderstone focusing on professional magicians and illusionist, it is only fitting that, as a film, it plays similar to an actual show. The Incredible Burt Wonderstone is nowhere near groundbreaking as it feels dated in respects to comedy but at the same time it offers a satisfying message, making it easy to find a little magic.

The Incredible Burt Wonderstone begins by explaining how Burt Wonderstone (Steve Carell) became interested in performing magic and friends with Anton Marvelton (Steve Buscemi). This opening montage ends in present day with the two performing at their Las Vegas show called The Incredible Burt and Anton: A Magical Friendship. This outdated show is more of a Branson worthy attraction rather than Vegas which is proven by its low attendance. Due to this loss of an audience, Doug Munny (the perfectly casted James Gandolfini), owner of the hotel and casino where Burt and Anton perform, is hesitate to automatically give the duo the honor of performing at his new egotistically named casino and hotel: Doug. Instead he decides to have a competition to find the best act. The front runner is new comer, Steve Gray (Jim Carrey), a David Blaine/Chris Angel like Illusionist. Whether it is sleeping on hot coals or not using the restroom for several days, Steve’s crazy antics have made him the hottest thing on the Vegas strip. Burt and Anton must not only overcome Steve’s popularity but also a rocky friendship and Burt’s pride in order to earn the new venue.

There is nothing incredible about Burt Wonderstone when looking at the character through Steve Carell’s performance. Carell’s delivery and dialect of the arrogant, off stage Wonderstone is so unnatural and inconsistent that it becomes hard not to be annoyed. This is in large part due to the poor casting of this role. Carell is a talented comedic actor but his best work comes when he takes on a ‘fish out of water’ type of character, a character that is not completely sure of himself or what he is doing such as his performances in Dan in Real Life and Crazy, Stupid Love. For the first half of the film, Burt Wonderstone is far from this type of character which negatively affects Carell’s performance. Fortunately though, as Burt changes for the better so does the performance. A lot more credit can be given to Carrell as on stage Burt Wonderstone. Both Carrell and Steve Buschemi successfully capture the scripted, corny messages and actions of a performing magician, making for one of the most entertaining elements that the film has to offer.

Jim Carrey on the other hand, the more crazy and confident the character the better and Steve Gray is exactly that. Steve Gray is a character used for full on comedic purposes. Burt and Anton may be satirical characters but nowhere near the level that Steve Gray is. His antics constantly make light of today’s illusionist which makes for an over the top but entertaining character. Carrey’s physical and verbal approach only adds to an already fun character. It is important to note that unlike what marketing for the film may suggest, Steve Gray is a supporting character at best and by no means a lead character so if you are looking for a movie with Carrey as its star, you will not find it with The Incrediable Burt Wonderstone.

Like Carrey, the rest of the cast also plays small roles that, at times, are completely disposable. Buscemi as Anton Marvolton gives the best performance he can in a role that gives him little to work with. Anton is only a component of the message being given rather than an impactful part of the story. Like Buscemi, Olivia Wilde as Jane, a backstage assistant turned magician’s assistant, is given very little chance to stand out. Jane’s dream of becoming a magician would have been a fresh and heartfelt direction for the story to take but instead it is only briefly mentioned, never going deeper than surface level. Then there is Alan Arkin as legendary Magician Rance Holloway. Holloway is given dialogue from time to time that holds some real weight and meaning but may be the biggest victim when it comes to out of place appearances. How does him having a heart attack have anything to do with the plot?

Fortunately, when the poor transitions from each encounter Burt has with another character are looked past and the supporting cast is properly used, The Incrediable Burt Wonderstone offers something of value. The morals of the story, all though sappy and as old as time, easily bring satisfaction to the table or in this case to the stage. Yes, there is the obvious lesson about the importance of friendship but the more subtle lesson, having passion for what you do, is where the film is at its best.

Due to these heartfelt moments and an entertaining finale, it is difficult not to find joy in The Incredible Burt Wonderstone. Yes, rarely do the jokes pack a punch and it is too often a one man show but even with that said The Incredible Burt Wonderstone still manages to pull off a little magic. You will never be in full amazement as if you just witness someone disappear right before your eyes but you will never feel like you want to be the person disappearing, something rare for a majority of  today’s all out comedies.        

Grade: B-    

Movie of the Week! (4/14/13 - 4/20/13)

Once Upon a Time in Mexico (2003)

Sometimes movies are full of actors we've never heard of and directed by people who wouldn't even register to the biggest of movie buffs. Once Upon a Time in Mexico (OUTM) is not one of these types of films. OUTM is the exact opposite. The third movie in Robert Rodriguez' oft overlooked Mariachi trilogy has more stars than the Milky Way. Banderas, Depp, Hayek, Dafoe, Rourke, Trejo, Mendes, and even a pop star (Enrique Iglesias) come out for this solid action flick. Told in a way that doesn't require viewing either The Mariachi (1992) or Desperado (1995) is some of Rodriquez' best work. With that in mind, come for action, great filmmaking, and amazing cast, stay for the Latin beauties (Hayek and Mendes) because their presence alone makes the film a must see.

Movie of the Week! (4/7/13-4/13/13)

The Good Doctor (2011)

I have always found ethics in the medical field interesting. What is right and wrong for a doctor to do when it comes to treating a patient? The impact of the decisions made by a doctor is literally life and death. For this reason alone, how can the medical field and what is considered right and wrong in this field not be fascinating when the human condition plays such a major role.  A doctor and his feelings are put on display in The Good Doctor, this week’s Movie of the Week. When Dr. Martin Blake (Orlando Bloom) takes a liking to one of his patients his decisions regarding treatment becomes extremely questionable. As you’re watching The Good Doctor, keep a close eye on the behavior, background and encounters of Dr. Blake. How do these aspects of the character make him come across? Is there anything right about what he is doing? After this analysis of Dr. Blake, take film making into account. Does the craftsmanship of the film get in the way of the character and situation being convincing and compelling?              

The Loss of a Legend: Roger Ebert dead at age 70

It was the end of an era in film criticism Thursday when Roger Ebert died at age 70 after years of fighting a brutal battle with cancer. For over forty five years, Roger Ebert was the face of film criticism as he became a beloved film critic through his writing featured in the Chicago Sun-Times and his television program titled At The Movies.

Chaz Ebert, in a statement addressing the death of her husband, said that their life together was “more beautiful and epic than a movie”.  I think this same statement can be applied to Ebert’s Career as a film critic. Whether it me a positive or negative review of a film, Ebert always managed to brilliantly blend his larger than life personality and critical eye, making it clear that he was, above all else, a fan of movies.  

Personally, Roger Ebert is the reason that I view film criticism and reviews as a form of art. He knew exactly how to turn his thoughts into perfectly selected and pieced together words. Even though I need a dictionary at times when reading a review of his, Ebert makes it look easy. I have always had a deep affection for film but Ebert’s television program with Gene Siskel and Richard Roeper was really the first time I was introduced to healthy discussions concerning film. So whether it is this introduction to film criticism or his fantastic writing, Roger Ebert will always hold a special place in my experience as a fan of film. Thank You Roger for the four star career and extraordinary life.           

Movie of the Week! (3/31 - 4/6)

The Comedy (2012)

The documentaries over the last couple of weeks brought a welcome change to the usual MotW drill we had become accustomed to since early 2013. We had been touching on some heavy topics moral topics and seeing some of those topics displayed in real life was a great experience. Since today is Easter Sunday, I thought about throwing something easily digestible at you guys. In the end, I settled on something that I think will be something of a head scratcher. I chose the 2012 dramedy, The Comedy, starring Tim Heidecker. It doesn't have well-formed narrative or any driving force, but it examines some real philosophical issues. It's a movie that forced me to examine the deepest questions in life.

Tim Heidecker gives an incredible performance, one I really didn't think he had in him, as the lead character Swanson. Swanson is not a relatable or likable guy, but Heidecker makes you crave more. Swanson has no sense of what manners or responsibility are and it's unclear as to whether he can even feel. So, give The Comedy a chance and let's study this interesting and entertaining character.