Every December I contemplate the lengthy process of evaluating all the films I've seen throughout the calendar year. Posting a final top ten list is a common practice for full time critics across the country, who often don't pay for trips to the theater. But there are limitations for the average Joe who gets to the movies whenever possible without the demand for a published report. As such, releasing a complete analysis by year's end is somewhat unrealistic and dishonest for me, as I don't typically see all I need to in said time.
Furthermore, most critics rank films after a single viewing. By the time I see everything I want, some opinions have changed after seeing other titles a second or third time. This leaves me with a dilemma. For 2010, I posted a fairly comprehensive top ten list a few months into the new year, as having free access to all new dvds at the time sped the arduous process. For 2011, I have finally seen enough films to warrant a look back, but it's already July, 2012. And as the saying goes, old news is no news.
So I had a brainstorm to make things easier going forward. With half the year over, I'll briefly discuss the handful of movies I've most enjoyed between January and June, along with a few memorable performances. This serves two purposes. It leaves me a reference when compiling a year-end list, thus shortening the research process later. And it allows me to mention some fun titles with little to no shot of being remembered post holiday season.
Before proceeding, I must briefly acknowledge my favorite films from 2011. The majority of releases fell into the large, gray area of mediocrity, as I saw some 50-60 films in all. Not that there weren't other films worth seeing if you'd be interested in a specific genre or follow a particular actor. Three good examples were J. Edgar, The Help, and Mission Impossible: Ghost Protocol. But due to time constraints I will only mention 15, including the five biggest disappointments of last year. The latter are not necessarily among the year's worst (in two cases not even close), but are the films that left me feeling deflated having expected more.
Note: Among well-regarded major releases, I have yet to see Drive, Tinker Tailor Soldier Spy, or War Horse.
2011 Top Ten
1. Hugo
2. The Descendants
3. Midnight in Paris
4. The Muppets
5. 50/50
6. The Artist
7. Moneyball
8. Harry Potter and the Deathly Hallows: Part 2
9. Margin Call
10. Real Steel
I had trouble choosing my favorite film and could easily make a case for several, unlike many past years when a single title stood apart from the pack. Both The Muppets and Real Steel might be viewed as somewhat guilty pleasures, but I'm learning to reflect my opinion without regard for others, as each ranked among my best theatrical experiences last year. Midnight in Paris and Moneyball are the only two I've seen repeatedly on cable, with both rising considerably higher than I once expected. Each film on my list was nominated for at least one academy award with the exception of 50/50, the year's most underrated film. Five titles listed were up for best picture.
2011 Five Biggest Letdowns (in alphabetical order)
The Girl with the Dragon Tattoo
The Hangover Part II
The Ides of March
Scream 4
The Tree of Life
Sequels to The Hangover and Scream were among the most uninspired movies I've seen in years and would represent the nadir for 2011 if not for The Dilemma, the only comedy I remember that failed to produce a single laugh. The much hyped adaptation of The Girl with the Dragon Tattoo was competently constructed, but at least an hour too long and did little to convince me as to why this relatively simple serial killer story became such a phenomenon. The Ides of March offered nice supporting performances and remained watchable until a ludicrous plot development that undermined every intelligent line of dialogue that preceded it. As for The Tree of Life, there's a reason this interminable snoozefest failed to find an audience, despite topping several critics lists and having Brad Pitt's name above the marquis. Maybe it was the 25 minute art display early in the film or the fact there was no plot. For a number of reasons, I was not swayed.
Stay tuned for an early look at the best offerings from 2012.
Reel Opinions on Movies
Sunday, July 15, 2012
Sunday, February 26, 2012
2011 In Memoriam
Well, I'm posting this about three months after I originally intended, no surprise to anyone familiar with the tardiness associated with the name 'Pava.' Still, it's hard to believe another year has come and gone. Hell, 2011 went by faster than Kim Kardashian's marriage (ba-dum-ch). Time to reflect on those who left us over the past 12 months, from sports retirements, to monumental television exits, and everyone in between.
Note: I'm only focusing on those who died during the 2011 calendar year. Recent news of Whitney Houston's death and Tim Wakefield's retirement for example, will wait till next year.
One of the kindest women I've ever known was Dot, our family babysitter for years and years. Though primarily responsible for my youngest brother, Dot took to all of us and treated us as family. The feeling was mutual. Her contagious laugh always made us smile and she provided warmth and humanity on Saturday nights. She introduced me to the movies Tootsie and Goodfellas (the latter irresponsible in hindsight being I was about 12 at the time). She jumped up and down and hit us in excitement after Joe Carter hit a dramatic walk-off home run to win the 1993 World Series. And my parents even tolerated the infamous meatball incident. After my brother told her he had too many sweet-n-sour meatballs on his dinner plate, she grabbed one with her bare hand and chucked it across the kitchen into the sink. I'm sure Mom enjoyed seeing that. Dot will be missed.
The incomparable Steve Jobs (56) died far too soon and was largely responsible for the iPhone, iPad, iPod, and every other influential product that begins with 'i.' Elizabeth Taylor (79) was one of the biggest icons from cinema's golden age, while Jack Kevorkian (83) helped create a lasting controversy over assisted suicide. Betty Ford (93), the former first lady, founded the appropriately titled Betty Ford Clinic for substance abuse and addiction. We lost significant names across all fields of entertainment, from Raiders owner Al Davis (82) to 60 Minutes commentator Andy Rooney (92), rapper Heavy D (44) to wrestler 'Macho Man' Randy Savage (58). Amy Winehouse (27) and "Big Man" Clarence Clemons (69) left profound legacies on the music industry, while Harmon Killebrew (74) and 'Smokin' Joe Frazier (67) created lasting images in the world of sports. Comic Patrice O'Neal (41) enjoyed the height of his popularity before dying of a diabetes related stroke.
Key contributers to major television shows included M.A.S.H.'s Harry Morgan (96), The Cosby Show's Clarice Taylor (93), and Taxi's Jeff Conaway (60), perhaps best remembered as Kenickie in Grease. Michael Gough (94) played faithful butler Alfred in four Batman films, while Farley Granger (85) played the lead in Alfred Hitchcock most underrated thriller, Strangers on a Train. Cliff Robertson (88) won an Oscar for Charly, but was known to a younger generation as Spiderman's Uncle Ben. You'd recognize Charles Napier (75) from roles in Austin Powers, The Silence of the Lambs, and The Blues Brothers as the leader of the Good Ol' Boys. Fellow cast-mate Alan Rubin (68) played Mr. Fabulous in the film, while veteran actor Roberts Blossom (87) earned unexpected fame as Old Man Marley in the smash Home Alone. Composer John Barry (77) might not be a household name, but imagine watching Midnight Cowboy, Out of Africa, or any of the early Bond films without their musical scores and you'll appreciate his talent. And 6' 7", 280 lb defensive end Bubba Smith (66) parlayed a standout football career (the top NFL draft pick in 1967 out of Michigan State) into unexpected success as Moses Hightower in the Police Academy franchise. Smith offered one of the simplest and best explanations ever to describe one's profession, referring to his job before joining the police force.
Hightower: "I was a florist."
Mahoney: "A florist?
Hightower: "Yeah, you know, flowers and shit."
Some others of note from the world of entertainment . . .
Frances Bay (92) She is the answer to the trivia question, Who played the grandmother of both Arthur Fonzarelli and Happy Gilmore? Who can forget the reaction of a mortified Bay in the Happy Gilmore nursing home when Ben Stiller makes a gun-to-the-head gesture with his finger? Amazingly, Bay didn't start her acting career until she was nearly 60, first appearing in Foul Play ('78), and following with bit parts in The Karate Kid ('84), Blue Velvet ('86), Twins ('88), & Arachnophobia (1990). She also did tons of television, appearing on episodes of The Jeffersons, Family Ties, Cheers, Hill Street Blues, The Golden Girls, Newhart, Alf, Twin Peaks, Matlock, Who's the Boss, The X-Files, The Hughleys, E.R. & most recently The Middle. But despite her aforementioned stint on Happy Days, her most famous TV moment occurred in the Seinfeld episode "The Rye." After beating Jerry for the last marble rye in a bakery, he tries to reason with her to no avail before snatching the rye, causing her to call for help as he yells "Shut up you old bag." But Bay's character had the last laugh, reappearing later that season in "The Cadillac," and deciding to impeach Morty Seinfeld as condo president once she remembered her altercation with Jerry.
Peter Falk (83) Comedian Kevin Pollack does an amazing Falk imitation, not just a perfect voice inflection, but he can make his eyeball circulate as if disconnected from its socket. Anyone that can inspire that type of impersonation is an original. At age 3 Falk's right eye was surgically removed due to cancer, all the way back in 1930! Who knew they could even do that back then? Falk is undoubtedly best known for his iconic work as the title role of Columbo, his detective series which initially ran from 1971-1977 and spawned several TV movies years later. He won 4 Emmys for his famous role, as well as an earlier Emmy for The Price of Tomatoes, a Tony Award in 1972 for The Prisoner of Second Avenue, and two best supporting Oscar nominations for his first two films, Murder, Inc. (1960) & A Pocketful of Miracles (1961). Other notable films included The In-Laws (1979), Big Trouble (1986), both opposite Alan Arkin, and Rob Reiner's fantasy The Princess Bride (1987). He provided a memorable cameo in 2002's Undisputed as aging, jailed mobster Mendy Ripstein.
Len Lesser (88) "Jerry, Helloooooooo." The affable character actor was among the more prolific and versatile television actors of the last fifty years, appearing on Gunsmoke, The Untouchables, My Favorite Martian, Get Smart, All in the Family, Bonanza, The Love Boat, Mad About You, & Everybody Loves Raymond among several others. But he will always be best remembered for his role as Uncle Leo on Seinfeld. Throughout the show's enormously successful run, Leo dug wallets out of trash cans, accused dates of anti-semitism, stole books right off the shelves from Brentanos, put Jerry's Nana in an old folks home to welch on a $50 bet, and got his eyebrows blown off after opening an explosive UPS package, resulting in Elaine drawing him new ones with a Sharpie. Despite the lengthy IMDB page, Lesser was inexplicably omitted from the Memorial segment at this year's Emmy awards for the always pathetic explanation that there isn't enough time to show everybody. Luckily I'm here to remind you, Lesser was one of a kind.
Sidney Lumet (84) Quite possibly the most underrated film director of all time. While his name doesn't jump out like Coppola, Kubrick, Scorsese, or Spielberg, his prolific resume spanned 50 years and over 40 films. Not quite as consistent as some in his lofty peer group (though no less so than Woody Allen or Mike Nichols), Lumet had strong ties to New York City and a reputation for drawing great performances from his stars. His first film, 1957's Twelve Angry Men, was arguably the finest debut in cinema history. The entire film confined to a single jury room on a sweltering Manhattan afternoon, it consisted of nearly two hours of dialogue amongst an outstanding ensemble led by Henry Fonda. Lumet drew two iconic Al Pacino performances in the 1970s, first with Serpico ('73) and most notably Dog Day Afternoon ('75). The star's "Attica, Attica" rant outside the bank with police and media swarming is among the most famous in film. The next year he earned praise for his satire Network, which earned Oscar wins for three cast members (leads Peter Finch & Fay Dunaway, supporting actress Beatrice Straight) and additional nominations for William Holden and Ned Beatty. In 1982 he directed Paul Newman's finest adult performance in the Boston set drama, The Verdict (1982). Another nine films directed by Lumet earned academy award nominations, including The Pawnbroker ('65), Murder on the Orient Express ('74), The Wiz ('78), and Running on Empty ('88). Lumet received a lifetime achievement Oscar in 2005 and two years later released his final film, the well received Before the Devil Knows You're Dead ('07).
Pete Postlethwaite (64) Postlethwaite may have had the hardest last name to pronounce in Hollywood. Thank God I just have to write it. But the talented veteran earned a reputation as one of the most dependable supporting actors in the business. Even in dreck like The Lost World or Clash of the Titans, he made his presence known. He earned a best supporting actor nomination for In the Name of the Father (1993) and appeared in Hamlet, The Last of the Mohicans, Amistad, The Constant Gardner, & Inception. However, I will remember him for mostly for two hall of fame worthy badass performances. In The Usual Suspects (1995), he played Mr. Kobayashi (How cool a name is Mr. Kobayashi?), henchmen for the mysterious Keyser Soze, who always maintained his composure while delivering threats to our title characters. And in The Town (2010), Postlethwaite closed with a bang, playing Fergie, neighborhood boss in Charlestown, who layed the smack down on Ben Affleck in one of the film's best scenes. In two minutes, he threatened to "clip his nuts like he clipped his daddy's," explains that he was responsible for doing his "mother the chemical way," and warns him that he'll kill his girlfriend if he doesn't come along for the Fenway Park heist that closes the film. It's an awesome performance loaded with attitude, which is perhaps the perfect word to describe his impact on the screen.
G.D. Spradlin (90): One could do a lot worse than a supporting role in the greatest film ever made. As Senator Pat Geary in The Godfather, Pt. II (1974), Spradlin oozed corruption, praising Michael Corleone publicly then attempting to extort him in his den on Lake Tahoe. "I don't like your kind of people. I don't like to see you come out to this clean country with your oily hair, dressed up in those silk suits. You try to pass yourselves off as decent Americans." The balls on this guy!!! Only later when a dead hooker mysteriously shows up in his room does he become one of the Corleone families most vocal supporters. Despite appearing in over 70 movies and television shows, Spradlin is best remembered for a handful of scenes that couldn't exceed ten minutes in length. In many ways, a memorable performance in a landmark film is all any actor can hope for.
In 2011 we said adios to Regis Philbin (retired), who called it quits after nearly 28 years on Live with Regis and Kelly. After suffering through a brainless lockout, we enter a new NBA season wondering what might've been for now retired NBA stars Brandon Roy (Portland) and Yao Ming (Houston), the latter of whom left a cultural impact that greatly surpassed his actual playing career. Baseball's Tony La Russa capped an amazing managerial career with a third World Series victory, his second with the Cardinals. And legendary Penn State football coach Joe Paterno provided a tragic ending to one of the strangest stories of all time. He was 85.
The year's most pertinent sports retirement (for a player) was undoubtedly Shaquille O'Neal, though it yielded a much quieter story than was warranted. Sure, he was a disappointment with the Celtics last year, the Cavaliers before that, and even the Suns before that. But a bigger stir should've resulted for one of the ten greatest basketball careers ever. He starred for LSU, changed the fortunes of three NBA franchises (the Magic, Lakers, & Heat), winning four rings total, and infused the league with a personality that was truly larger than life. The Diesel retired second all time in field goal percentage, fifth in total points, twelfth in rebounds, and seventh in blocked shots. I will remember Shaq.
In local news, the Celtics lost one of the league's first stars, Ed Macauley (83), a seven time all-star who was traded in 1956 for the draft rights to a skinny defensive minded center named Bill Russell, altering Boston basketball forever. Dave Gavitt (73) ran basketball operations for the C's from 1990-94 and as president of USA basketball created the original Dream Team. Most notably, he was the major force behind founding the Big East Conference in 1979. And Myra Kraft, beloved wife of Patriot owner Robert Kraft, provided an emotional spark for a season that will eventually be remembered with fondness. The Patriots took the field each week wearing her initials on their jerseys. She was 68.
Reluctantly, I must mention the Red Sox who in 2011 made history in defeat. After a season of turmoil ending with the worst collapse in the sports history, ageless Tim Wakefield retired, Jason Varitek will probably do the same, Jonathan Papelbon signed with Philadelphia, Theo Epstein bolted for the Cubs, and Terry Francona joined ESPN as an analyst. The latter deserved a classier exit and likely goes down as the 3rd best coach or manager in this towns history behind Red Auerbach and Bill Belichick. And Carl Crawford passed aw . . . wait, what? Crawford's still alive? Who the hell was playing left field last year? Even former Red Sox were making waves around the league. The mercurial Manny Ramirez retired rather than face a drug suspension, and has since improbably been signed by the Oakland A's. Whatever happens, Manny was a vital contributer to two Red Sox World Champions and goes down as one of the best hitters in history. Finally, a bittersweet farewell to Dick Williams (82), manager behind the 'Impossible Dream' season in 1967. After eight consecutive losing seasons prior to his arrival, the hall of fame manager forever altered the fortunes of Boston's most beloved franchise. He later won two championships with Oakland.
And in the end . . .
Michael Scott, The Office (2005-2011): Upon running over coworker Meredith in their employee parking lot; "Guess what? I have flaws. What are they? Oh, I dunno, I sing in the shower? Sometimes I spend too much time volunteering. Occasionally I'll hit somebody with my car."
Is Scott the funniest television character ever? It may seem like hyperbole, but he's in the discussion. The only one who even compares for me is George Costanza, who never had to carry a show as the lead. From his unhealthy love of Ryan to his blind hatred for Toby, Michael kept audiences in stitches for years. Mystifyingly, Steve Carell never won an Emmy as the bumbling manager of Dunder Mufflin, a small paper supply company in Scranton, PA. He was nominated several times, often losing to the vastly inferior Alec Baldwin. Regardless, Carell's amazing, deadpan responses, illogical strategies, and complete lack of filter made him an original prototype among sitcom actors. And fortunately for viewers, the wheels in his head never stopped turning.
"I don't understand. We have a day honoring Martin Luther King, but he didn't even work here."
Or upon seeing Pam (someone he loves) wearing glasses for the first time, "Oh my God, Pam. Those make you look so ugly. Um, Pam in order to get hotter you take the glasses off. You're moving in the wrong direction." When she responds, he sticks his hand out and cuts her off with, "ah, blah, ga, blah, I can't even, hear you. It's just noise coming out of an ugly scientist."
We should've hated Michael, but we just couldn't. He successfully straddled a line nobody else has attempted to go near. Making the success of The Office even more remarkable was in choosing to film it mockumentary style, they never used canned laughter, a large subconscious influence on audiences for several of TVs most popular sitcoms over the years. The Office helped make this technique popular on major networks over the past decade (see 30 Rock, Modern Family, Parks and Recreation). I don't mean to refer to the show in past tense, as it remains a Thursday night staple and is often amusing in his absence, but Carell was the anchor and it's nowhere near as funny now as during it's peak. He had a remarkable ability to combine incompetence with warmth, and his graceful exit last April was among the better character departures I've seen. Now he can only be seen in reruns, as Michael and company often keep me up until the wee hours of the night.
"That's what she said."
Entourage (2004-2011): At one point I thought this would become my favorite show. Early seasons brimmed with energy and funny dialogue and the initial idea was an appealing one. Four childhood friends from Queens, NY try to make it in Hollywood on the heels of their budding movie star Vincent Chase (Adrien Grenier). Although the primary group was engaging (Kevin Connolly as Eric, Jerry Ferrara as Turtle, & Kevin Dillon as Johnny 'Drama,' older half-brother to Vince), they probably only had the depth as actors and characters to last a few seasons. Contrastingly Jeremy Piven's super agent Ari Gold, who represented Vince, became one of the most entertaining television characters of his generation thanks to profanity-laced tirades thrust upon those both deserving and otherwise. It wasn't a huge surprise to see the shows tone and plot shift toward Ari as the series progressed. Unfortunately, the final two seasons ended in a blaze of uncreative, rushed, non humor, as the writers made the fatal mistake of assuming audiences wanted to become dramatically invested. The best parts of Entourage always involved the comfortable rapport the stars shared with one another, simultaneously making viewers feel like they were one of the boys. The show also provided what appeared to be an accurate interpretation of the world of young, rich stars in Los Angeles. Whether it actually was I don't know, but fringe characters like Billy Walsh (the incomparable Rhys Coiro) enhanced the image.
Maybe Entourage should've quit while it was ahead, but I can't deny the pleasure of those early seasons, particularly the first three. When everything was clicking (the Aquaman saga, Ari vs. Terrance, 'Drama' releasing some of most original insults this side of White Men Can't Jump), the show had momentum, always making me wish there were another five minutes remaining. And no show during the last decade provided so many memorable star cameos. Val Kilmer, Mark Wahlberg, Jessica Alba, Gary Busey, James Woods, Bob Saget, Dr. Joyce Brothers, Larry David, Ralph Macchio, Seth Green, Brooke Shields, James Cameron, David Schwimmer, Ed Burns, Anna Faris, Matt Damon, and a host of athletes wisely took advantage of the opportunity to make fun of their own image, preferable to refusing an appearance thus giving the show the freedom to do as it pleased. The best cameo by far belonged to Martin Landau. As legendary producer Bob Ryan, Landau submitted a fantastic three-episode arc that was both poignant and hilarious. But as became typical of a growing lack of ideas, the producers later brought him back as sporadic comic relief. If I seem hard on a show that occupied hours upon hours of my life, it's only because the potential was there to leave behind a stronger legacy than it did. If nothing else, Entourage introduced us to Emmanuelle Chriqui, whose Sloan McQuewick gets my vote as the hottest character ever to appear in anything.
Friday Night Lights (2006-2011): Start with the perfect intro theme, which somehow captures the soul of the show with no words. In only 43 seconds, the viewer becomes immersed in a town that takes itself very, very seriously. If Entourage peaked early and floundered late, network televisions best drama remained a beacon of consistency, going out on top with arguably the finest series finale of all time. I truthfully can't think of one to match it, especially in recent years. Unfortunately we didn't hear nearly enough about this as the show struggled to accumulate a respectable audience by network standards. The critically beloved drama barely survived a ratings fiasco on Friday nights, was eventually cancelled despite a small, devout core of fans, and finally rescued in a deal by DirecTV and NBC. Nobody would've blamed the shows writers and actors for packing it in amongst all the upheaval, but instead they improved, with the show improbably peaking in seasons one, three, and finally in five. Peter Berg deserves credit for developing the series and finding a cast as likable as they were relatable, two qualities that don't always go together. At its core were Eric and Tami Taylor (brilliantly portrayed by Kyle Chandler & Connie Britton), who grounded every episode and created probably the most believable marriage on television. From an acting standpoint, only Sopranos leads James Gandolfini and Edie Falco occupied a similar plane.
All of the primary younger actors from both main casts did a fantastic job, with special mention going to Zach Gilford (Matt Saracen), Gaius Charles ('Smash' Williams), Michael B. Jordan (Vince Howard), Adrianne Palicki (Tyra Collette), and Jesse Plemons (Landry Clarke). They were surrounded by fantastic smaller characters who lent authenticity to each and every scene. Try to picture Dillon, Texas without Buddy Garrity or Matt's Grandma and you realize their impact. And I would've loved spending my adolescence gawking at Lyla Garrity and Julie Taylor in high school hallways. Of course I would be remiss if I didn't mention Taylor Kitsch who played breakout character Tim Riggins, the coolest teen character since Dylan McKay (come on, you knew it was coming). A pair of the series best moments came courtesy of Kitsch during season three; parting ways with New York bound best friend Jason Street (Scott Porter) and leaving his football cleats on the field after the state championship, his final game.
It's tough to describe just how good Friday Night Lights was, because a general plot synopsis sounds like a parade of cliches. But at the end of the day, FNL wasn't so much about football or college applications or even family. It was about the little moments in life and the decisions we make that impact those around us. Coach Taylor's sacrifice in the finale helped balanced the household dynamic and gave Tami an opportunity to follow her professional dreams for the first time in her life. And it allowed the viewer to say goodbye to Dillon along with the Taylors.
Clear Eyes. Full Hearts. Can't Lose.
Note: I'm only focusing on those who died during the 2011 calendar year. Recent news of Whitney Houston's death and Tim Wakefield's retirement for example, will wait till next year.
One of the kindest women I've ever known was Dot, our family babysitter for years and years. Though primarily responsible for my youngest brother, Dot took to all of us and treated us as family. The feeling was mutual. Her contagious laugh always made us smile and she provided warmth and humanity on Saturday nights. She introduced me to the movies Tootsie and Goodfellas (the latter irresponsible in hindsight being I was about 12 at the time). She jumped up and down and hit us in excitement after Joe Carter hit a dramatic walk-off home run to win the 1993 World Series. And my parents even tolerated the infamous meatball incident. After my brother told her he had too many sweet-n-sour meatballs on his dinner plate, she grabbed one with her bare hand and chucked it across the kitchen into the sink. I'm sure Mom enjoyed seeing that. Dot will be missed.
The incomparable Steve Jobs (56) died far too soon and was largely responsible for the iPhone, iPad, iPod, and every other influential product that begins with 'i.' Elizabeth Taylor (79) was one of the biggest icons from cinema's golden age, while Jack Kevorkian (83) helped create a lasting controversy over assisted suicide. Betty Ford (93), the former first lady, founded the appropriately titled Betty Ford Clinic for substance abuse and addiction. We lost significant names across all fields of entertainment, from Raiders owner Al Davis (82) to 60 Minutes commentator Andy Rooney (92), rapper Heavy D (44) to wrestler 'Macho Man' Randy Savage (58). Amy Winehouse (27) and "Big Man" Clarence Clemons (69) left profound legacies on the music industry, while Harmon Killebrew (74) and 'Smokin' Joe Frazier (67) created lasting images in the world of sports. Comic Patrice O'Neal (41) enjoyed the height of his popularity before dying of a diabetes related stroke.
Key contributers to major television shows included M.A.S.H.'s Harry Morgan (96), The Cosby Show's Clarice Taylor (93), and Taxi's Jeff Conaway (60), perhaps best remembered as Kenickie in Grease. Michael Gough (94) played faithful butler Alfred in four Batman films, while Farley Granger (85) played the lead in Alfred Hitchcock most underrated thriller, Strangers on a Train. Cliff Robertson (88) won an Oscar for Charly, but was known to a younger generation as Spiderman's Uncle Ben. You'd recognize Charles Napier (75) from roles in Austin Powers, The Silence of the Lambs, and The Blues Brothers as the leader of the Good Ol' Boys. Fellow cast-mate Alan Rubin (68) played Mr. Fabulous in the film, while veteran actor Roberts Blossom (87) earned unexpected fame as Old Man Marley in the smash Home Alone. Composer John Barry (77) might not be a household name, but imagine watching Midnight Cowboy, Out of Africa, or any of the early Bond films without their musical scores and you'll appreciate his talent. And 6' 7", 280 lb defensive end Bubba Smith (66) parlayed a standout football career (the top NFL draft pick in 1967 out of Michigan State) into unexpected success as Moses Hightower in the Police Academy franchise. Smith offered one of the simplest and best explanations ever to describe one's profession, referring to his job before joining the police force.
Hightower: "I was a florist."
Mahoney: "A florist?
Hightower: "Yeah, you know, flowers and shit."
Some others of note from the world of entertainment . . .
Frances Bay (92) She is the answer to the trivia question, Who played the grandmother of both Arthur Fonzarelli and Happy Gilmore? Who can forget the reaction of a mortified Bay in the Happy Gilmore nursing home when Ben Stiller makes a gun-to-the-head gesture with his finger? Amazingly, Bay didn't start her acting career until she was nearly 60, first appearing in Foul Play ('78), and following with bit parts in The Karate Kid ('84), Blue Velvet ('86), Twins ('88), & Arachnophobia (1990). She also did tons of television, appearing on episodes of The Jeffersons, Family Ties, Cheers, Hill Street Blues, The Golden Girls, Newhart, Alf, Twin Peaks, Matlock, Who's the Boss, The X-Files, The Hughleys, E.R. & most recently The Middle. But despite her aforementioned stint on Happy Days, her most famous TV moment occurred in the Seinfeld episode "The Rye." After beating Jerry for the last marble rye in a bakery, he tries to reason with her to no avail before snatching the rye, causing her to call for help as he yells "Shut up you old bag." But Bay's character had the last laugh, reappearing later that season in "The Cadillac," and deciding to impeach Morty Seinfeld as condo president once she remembered her altercation with Jerry.
Peter Falk (83) Comedian Kevin Pollack does an amazing Falk imitation, not just a perfect voice inflection, but he can make his eyeball circulate as if disconnected from its socket. Anyone that can inspire that type of impersonation is an original. At age 3 Falk's right eye was surgically removed due to cancer, all the way back in 1930! Who knew they could even do that back then? Falk is undoubtedly best known for his iconic work as the title role of Columbo, his detective series which initially ran from 1971-1977 and spawned several TV movies years later. He won 4 Emmys for his famous role, as well as an earlier Emmy for The Price of Tomatoes, a Tony Award in 1972 for The Prisoner of Second Avenue, and two best supporting Oscar nominations for his first two films, Murder, Inc. (1960) & A Pocketful of Miracles (1961). Other notable films included The In-Laws (1979), Big Trouble (1986), both opposite Alan Arkin, and Rob Reiner's fantasy The Princess Bride (1987). He provided a memorable cameo in 2002's Undisputed as aging, jailed mobster Mendy Ripstein.
Len Lesser (88) "Jerry, Helloooooooo." The affable character actor was among the more prolific and versatile television actors of the last fifty years, appearing on Gunsmoke, The Untouchables, My Favorite Martian, Get Smart, All in the Family, Bonanza, The Love Boat, Mad About You, & Everybody Loves Raymond among several others. But he will always be best remembered for his role as Uncle Leo on Seinfeld. Throughout the show's enormously successful run, Leo dug wallets out of trash cans, accused dates of anti-semitism, stole books right off the shelves from Brentanos, put Jerry's Nana in an old folks home to welch on a $50 bet, and got his eyebrows blown off after opening an explosive UPS package, resulting in Elaine drawing him new ones with a Sharpie. Despite the lengthy IMDB page, Lesser was inexplicably omitted from the Memorial segment at this year's Emmy awards for the always pathetic explanation that there isn't enough time to show everybody. Luckily I'm here to remind you, Lesser was one of a kind.
Sidney Lumet (84) Quite possibly the most underrated film director of all time. While his name doesn't jump out like Coppola, Kubrick, Scorsese, or Spielberg, his prolific resume spanned 50 years and over 40 films. Not quite as consistent as some in his lofty peer group (though no less so than Woody Allen or Mike Nichols), Lumet had strong ties to New York City and a reputation for drawing great performances from his stars. His first film, 1957's Twelve Angry Men, was arguably the finest debut in cinema history. The entire film confined to a single jury room on a sweltering Manhattan afternoon, it consisted of nearly two hours of dialogue amongst an outstanding ensemble led by Henry Fonda. Lumet drew two iconic Al Pacino performances in the 1970s, first with Serpico ('73) and most notably Dog Day Afternoon ('75). The star's "Attica, Attica" rant outside the bank with police and media swarming is among the most famous in film. The next year he earned praise for his satire Network, which earned Oscar wins for three cast members (leads Peter Finch & Fay Dunaway, supporting actress Beatrice Straight) and additional nominations for William Holden and Ned Beatty. In 1982 he directed Paul Newman's finest adult performance in the Boston set drama, The Verdict (1982). Another nine films directed by Lumet earned academy award nominations, including The Pawnbroker ('65), Murder on the Orient Express ('74), The Wiz ('78), and Running on Empty ('88). Lumet received a lifetime achievement Oscar in 2005 and two years later released his final film, the well received Before the Devil Knows You're Dead ('07).
Pete Postlethwaite (64) Postlethwaite may have had the hardest last name to pronounce in Hollywood. Thank God I just have to write it. But the talented veteran earned a reputation as one of the most dependable supporting actors in the business. Even in dreck like The Lost World or Clash of the Titans, he made his presence known. He earned a best supporting actor nomination for In the Name of the Father (1993) and appeared in Hamlet, The Last of the Mohicans, Amistad, The Constant Gardner, & Inception. However, I will remember him for mostly for two hall of fame worthy badass performances. In The Usual Suspects (1995), he played Mr. Kobayashi (How cool a name is Mr. Kobayashi?), henchmen for the mysterious Keyser Soze, who always maintained his composure while delivering threats to our title characters. And in The Town (2010), Postlethwaite closed with a bang, playing Fergie, neighborhood boss in Charlestown, who layed the smack down on Ben Affleck in one of the film's best scenes. In two minutes, he threatened to "clip his nuts like he clipped his daddy's," explains that he was responsible for doing his "mother the chemical way," and warns him that he'll kill his girlfriend if he doesn't come along for the Fenway Park heist that closes the film. It's an awesome performance loaded with attitude, which is perhaps the perfect word to describe his impact on the screen.
G.D. Spradlin (90): One could do a lot worse than a supporting role in the greatest film ever made. As Senator Pat Geary in The Godfather, Pt. II (1974), Spradlin oozed corruption, praising Michael Corleone publicly then attempting to extort him in his den on Lake Tahoe. "I don't like your kind of people. I don't like to see you come out to this clean country with your oily hair, dressed up in those silk suits. You try to pass yourselves off as decent Americans." The balls on this guy!!! Only later when a dead hooker mysteriously shows up in his room does he become one of the Corleone families most vocal supporters. Despite appearing in over 70 movies and television shows, Spradlin is best remembered for a handful of scenes that couldn't exceed ten minutes in length. In many ways, a memorable performance in a landmark film is all any actor can hope for.
In 2011 we said adios to Regis Philbin (retired), who called it quits after nearly 28 years on Live with Regis and Kelly. After suffering through a brainless lockout, we enter a new NBA season wondering what might've been for now retired NBA stars Brandon Roy (Portland) and Yao Ming (Houston), the latter of whom left a cultural impact that greatly surpassed his actual playing career. Baseball's Tony La Russa capped an amazing managerial career with a third World Series victory, his second with the Cardinals. And legendary Penn State football coach Joe Paterno provided a tragic ending to one of the strangest stories of all time. He was 85.
The year's most pertinent sports retirement (for a player) was undoubtedly Shaquille O'Neal, though it yielded a much quieter story than was warranted. Sure, he was a disappointment with the Celtics last year, the Cavaliers before that, and even the Suns before that. But a bigger stir should've resulted for one of the ten greatest basketball careers ever. He starred for LSU, changed the fortunes of three NBA franchises (the Magic, Lakers, & Heat), winning four rings total, and infused the league with a personality that was truly larger than life. The Diesel retired second all time in field goal percentage, fifth in total points, twelfth in rebounds, and seventh in blocked shots. I will remember Shaq.
In local news, the Celtics lost one of the league's first stars, Ed Macauley (83), a seven time all-star who was traded in 1956 for the draft rights to a skinny defensive minded center named Bill Russell, altering Boston basketball forever. Dave Gavitt (73) ran basketball operations for the C's from 1990-94 and as president of USA basketball created the original Dream Team. Most notably, he was the major force behind founding the Big East Conference in 1979. And Myra Kraft, beloved wife of Patriot owner Robert Kraft, provided an emotional spark for a season that will eventually be remembered with fondness. The Patriots took the field each week wearing her initials on their jerseys. She was 68.
Reluctantly, I must mention the Red Sox who in 2011 made history in defeat. After a season of turmoil ending with the worst collapse in the sports history, ageless Tim Wakefield retired, Jason Varitek will probably do the same, Jonathan Papelbon signed with Philadelphia, Theo Epstein bolted for the Cubs, and Terry Francona joined ESPN as an analyst. The latter deserved a classier exit and likely goes down as the 3rd best coach or manager in this towns history behind Red Auerbach and Bill Belichick. And Carl Crawford passed aw . . . wait, what? Crawford's still alive? Who the hell was playing left field last year? Even former Red Sox were making waves around the league. The mercurial Manny Ramirez retired rather than face a drug suspension, and has since improbably been signed by the Oakland A's. Whatever happens, Manny was a vital contributer to two Red Sox World Champions and goes down as one of the best hitters in history. Finally, a bittersweet farewell to Dick Williams (82), manager behind the 'Impossible Dream' season in 1967. After eight consecutive losing seasons prior to his arrival, the hall of fame manager forever altered the fortunes of Boston's most beloved franchise. He later won two championships with Oakland.
And in the end . . .
Michael Scott, The Office (2005-2011): Upon running over coworker Meredith in their employee parking lot; "Guess what? I have flaws. What are they? Oh, I dunno, I sing in the shower? Sometimes I spend too much time volunteering. Occasionally I'll hit somebody with my car."
Is Scott the funniest television character ever? It may seem like hyperbole, but he's in the discussion. The only one who even compares for me is George Costanza, who never had to carry a show as the lead. From his unhealthy love of Ryan to his blind hatred for Toby, Michael kept audiences in stitches for years. Mystifyingly, Steve Carell never won an Emmy as the bumbling manager of Dunder Mufflin, a small paper supply company in Scranton, PA. He was nominated several times, often losing to the vastly inferior Alec Baldwin. Regardless, Carell's amazing, deadpan responses, illogical strategies, and complete lack of filter made him an original prototype among sitcom actors. And fortunately for viewers, the wheels in his head never stopped turning.
"I don't understand. We have a day honoring Martin Luther King, but he didn't even work here."
Or upon seeing Pam (someone he loves) wearing glasses for the first time, "Oh my God, Pam. Those make you look so ugly. Um, Pam in order to get hotter you take the glasses off. You're moving in the wrong direction." When she responds, he sticks his hand out and cuts her off with, "ah, blah, ga, blah, I can't even, hear you. It's just noise coming out of an ugly scientist."
We should've hated Michael, but we just couldn't. He successfully straddled a line nobody else has attempted to go near. Making the success of The Office even more remarkable was in choosing to film it mockumentary style, they never used canned laughter, a large subconscious influence on audiences for several of TVs most popular sitcoms over the years. The Office helped make this technique popular on major networks over the past decade (see 30 Rock, Modern Family, Parks and Recreation). I don't mean to refer to the show in past tense, as it remains a Thursday night staple and is often amusing in his absence, but Carell was the anchor and it's nowhere near as funny now as during it's peak. He had a remarkable ability to combine incompetence with warmth, and his graceful exit last April was among the better character departures I've seen. Now he can only be seen in reruns, as Michael and company often keep me up until the wee hours of the night.
"That's what she said."
Entourage (2004-2011): At one point I thought this would become my favorite show. Early seasons brimmed with energy and funny dialogue and the initial idea was an appealing one. Four childhood friends from Queens, NY try to make it in Hollywood on the heels of their budding movie star Vincent Chase (Adrien Grenier). Although the primary group was engaging (Kevin Connolly as Eric, Jerry Ferrara as Turtle, & Kevin Dillon as Johnny 'Drama,' older half-brother to Vince), they probably only had the depth as actors and characters to last a few seasons. Contrastingly Jeremy Piven's super agent Ari Gold, who represented Vince, became one of the most entertaining television characters of his generation thanks to profanity-laced tirades thrust upon those both deserving and otherwise. It wasn't a huge surprise to see the shows tone and plot shift toward Ari as the series progressed. Unfortunately, the final two seasons ended in a blaze of uncreative, rushed, non humor, as the writers made the fatal mistake of assuming audiences wanted to become dramatically invested. The best parts of Entourage always involved the comfortable rapport the stars shared with one another, simultaneously making viewers feel like they were one of the boys. The show also provided what appeared to be an accurate interpretation of the world of young, rich stars in Los Angeles. Whether it actually was I don't know, but fringe characters like Billy Walsh (the incomparable Rhys Coiro) enhanced the image.
Maybe Entourage should've quit while it was ahead, but I can't deny the pleasure of those early seasons, particularly the first three. When everything was clicking (the Aquaman saga, Ari vs. Terrance, 'Drama' releasing some of most original insults this side of White Men Can't Jump), the show had momentum, always making me wish there were another five minutes remaining. And no show during the last decade provided so many memorable star cameos. Val Kilmer, Mark Wahlberg, Jessica Alba, Gary Busey, James Woods, Bob Saget, Dr. Joyce Brothers, Larry David, Ralph Macchio, Seth Green, Brooke Shields, James Cameron, David Schwimmer, Ed Burns, Anna Faris, Matt Damon, and a host of athletes wisely took advantage of the opportunity to make fun of their own image, preferable to refusing an appearance thus giving the show the freedom to do as it pleased. The best cameo by far belonged to Martin Landau. As legendary producer Bob Ryan, Landau submitted a fantastic three-episode arc that was both poignant and hilarious. But as became typical of a growing lack of ideas, the producers later brought him back as sporadic comic relief. If I seem hard on a show that occupied hours upon hours of my life, it's only because the potential was there to leave behind a stronger legacy than it did. If nothing else, Entourage introduced us to Emmanuelle Chriqui, whose Sloan McQuewick gets my vote as the hottest character ever to appear in anything.
Friday Night Lights (2006-2011): Start with the perfect intro theme, which somehow captures the soul of the show with no words. In only 43 seconds, the viewer becomes immersed in a town that takes itself very, very seriously. If Entourage peaked early and floundered late, network televisions best drama remained a beacon of consistency, going out on top with arguably the finest series finale of all time. I truthfully can't think of one to match it, especially in recent years. Unfortunately we didn't hear nearly enough about this as the show struggled to accumulate a respectable audience by network standards. The critically beloved drama barely survived a ratings fiasco on Friday nights, was eventually cancelled despite a small, devout core of fans, and finally rescued in a deal by DirecTV and NBC. Nobody would've blamed the shows writers and actors for packing it in amongst all the upheaval, but instead they improved, with the show improbably peaking in seasons one, three, and finally in five. Peter Berg deserves credit for developing the series and finding a cast as likable as they were relatable, two qualities that don't always go together. At its core were Eric and Tami Taylor (brilliantly portrayed by Kyle Chandler & Connie Britton), who grounded every episode and created probably the most believable marriage on television. From an acting standpoint, only Sopranos leads James Gandolfini and Edie Falco occupied a similar plane.
All of the primary younger actors from both main casts did a fantastic job, with special mention going to Zach Gilford (Matt Saracen), Gaius Charles ('Smash' Williams), Michael B. Jordan (Vince Howard), Adrianne Palicki (Tyra Collette), and Jesse Plemons (Landry Clarke). They were surrounded by fantastic smaller characters who lent authenticity to each and every scene. Try to picture Dillon, Texas without Buddy Garrity or Matt's Grandma and you realize their impact. And I would've loved spending my adolescence gawking at Lyla Garrity and Julie Taylor in high school hallways. Of course I would be remiss if I didn't mention Taylor Kitsch who played breakout character Tim Riggins, the coolest teen character since Dylan McKay (come on, you knew it was coming). A pair of the series best moments came courtesy of Kitsch during season three; parting ways with New York bound best friend Jason Street (Scott Porter) and leaving his football cleats on the field after the state championship, his final game.
It's tough to describe just how good Friday Night Lights was, because a general plot synopsis sounds like a parade of cliches. But at the end of the day, FNL wasn't so much about football or college applications or even family. It was about the little moments in life and the decisions we make that impact those around us. Coach Taylor's sacrifice in the finale helped balanced the household dynamic and gave Tami an opportunity to follow her professional dreams for the first time in her life. And it allowed the viewer to say goodbye to Dillon along with the Taylors.
Clear Eyes. Full Hearts. Can't Lose.
Wednesday, December 21, 2011
When Eddie Was King
How does Bill Simmons always beat me to the punch? It's a recurring theme over the last five years. I'll be half done with a new article, surf over to espn.com, and see that Simmons has hijacked my premise. This time around, the subject was the incomparable Eddie Murphy. I'm sure we both got the idea after Murphy's notable turn in last months Tower Heist.
I've read "The Sports Guy" since he became popular when I was in college. One could argue that my writing style has been influenced by Simmons to a degree, but it's honestly more a case of bad timing than anything. I've always written with a comedic angle, with no shortage of sarcasm. A college paper I wrote on the inimitable "Snickers" commercial featuring a football player who gets knocked out and thinks he's Batman drew raves from my professor, who informed me it was the best student paper she'd read all year. I think she maybe have been trying to sleep with me at the time, but more on that at a later date.
Simmons' favorite sport is basketball. So is mine. He loves 80s movies. So do I. Basically, he's Jordan to my Kobe, slightly better with a decade head start. It's tough to be second when high profile competition is so similar. Just ask the makers of Wyatt Earp, Volcano, The Thin Red Line, EdTV, and Infamous to name a few. All opened within months of films covering the same general subject matter (Tombstone, Dante's Peak, Saving Private Ryan, The Truman Show, Capote, respectively) and suffered commercially as a result. Only Armageddon bucked the odds and took down its earlier competition (Deep Impact). And so, if a meteor starts hurtling towards Earth before the new year and you only have time to read one Eddie Murphy career retrospective, read mine. To Simmons, you are but a grain of sand on Pebble Beach, one in a million readers. To me, you are an entire piece of pizza from a regular, eight-slice box. If that strange analogy is right up your alley, stick around. Now, on to the reason you're reading.
Murphy has starred in his share of stinkers over the last two decades, but his resume isn't quite the mess some critics have described. It is fair to say that no comedic actor has a wider disparity between his great movies and his shitty ones, which I'll avoid discussing. After all, when we look back at Robert De Niro's career are we gonna focus on the stuff made post-2000? Of course not. Some actors get a pass for their less than exceptional efforts (Anthony Hopkins, Samuel L. Jackson, Bruce Willis), while others don't (Ben Affleck, Nicolas Cage, Kevin Costner). There's little rhyme or reason, but it's clear that Murphy falls into the second group. That's a shame, because his best material compares favorably with almost anyone of his generation. Here's a look back at some of his best films, counting in reverse order from ten to one.
Note: I discounted Delirious and Raw, two genius Stand-up acts that arguably showcase Murphy at his funniest, although neither is a traditional film.
Sequelitis
10. Beverly Hills Cop 2 (1987): A close call for the cut off spot, narrowly edging the underrated thriller Metro (1997) and Boomerang (1992), one of the most inappropriate, offensive romantic-comedies ever. I've rarely seen a film combine intentional and unintentional comedy to such effect. Anyway, Murphy's first sequel was a hit-and-miss action-comedy that was trashed by critics, but a huge hit with audiences. He reprised his most famous pre-Shrek role as detective Axel Foley, hunting down a team of ruthless thieves called the Alphabet Killers. Cop 2 is a far cry from the original, but still much funnier than 1994's third entry into the franchise. Worth your time if only for Murphy's Johnny Wishbone routine, when he pretends to be a psychic extraordinaire and makes asses of the Beverly Hills police chief.
Multiple Roles
9. Bowfinger (1999): By this point, seeing Murphy playing multiple characters was nothing new. He's used the approach several times, both to good effect (the barbershop scene from Coming to America, the dinner table scenes in The Nutty Professor) and bad (Norbit, not that I paid to see that or anything). But Bowfinger was arguably the first time he wasn't merely going for a gimmick. Here he played brothers, each of whom had large roles and wildly opposite personalities (think Cage in Adaptation). The less memorable of the two was Kit Ramsey, an arrogant, paranoid movie star who resembled Murphy in real life. But his real achievement was Jiff, a shy, socially-awkward nobody who's cast as the lead in a movie that's supposed to be starring Kit. Steve Martin, in the title role, is the director who casts Jiff without realizing the two are actually siblings. Murphy went way beyond nerdy glasses and a funny haircut in imbuing the good-natured Jiff with subdued enthusiasm. He's ecstatic just to be getting people coffee on a movie set and the performance felt as real as anything Murphy's done before or since. Ultimately it ranks only nine, because the movie as a whole isn't quite as funny as it probably sounded at pitch meetings.
(Seriously Simmons, how did you beat me to an Eddie Murphy retrospective? How dammit?)
The Comebacks
8. Tower Heist (2011): It's way too early to put Murphy's latest comedy in proper perspective, having only seen it once. A fair decision requires multiple viewings, which won't happen until it reaches HBO or Starz some time next summer. I can say definitely that Tower Heist is Murphy's funniest performance and live-action film in 15 years. Its ranking will be determined by rewatchability, which all the following comedies have for sure. For a complete review of the film, see my previous blog entry.
(Note: I think it probably warranted a grade of "B+" rather than the "A-" I initially awarded it.)
7. The Nutty Professor (1996): A genuinely funny movie in which Murphy played seven different characters, most notably the sensitive, obese scientist Sherman Klump. When humiliated on a date at a comedy club by a then unknown Dave Chappelle, he ingests a potion and turns into a thin, libido-driven, alter ego Buddy Love. That simple premise provided ample opportunity for sight gags and goofy dialogue, with Murphy's engaging performance driving the film. The aforementioned dinner sequence, which featured Murphy in five roles at once, closes with a spectacular barrage of farts that leveled theater audiences across the country. Whether that says more about American humor is a topic for another time, but funny is funny. The films success led to an inferior, sporadically amusing sequel in 2000. Unfortunately, the original loses points for spawning a cringeworthy period for its star, who produced a plethora of junk aimed at 7-year-olds (two Doctor Dolittle's, The Haunted Mansion, Imagine That, and The Adventures of Pluto Nash followed). In the process, Murphy lost sight of his image and fans who had years earlier made him the biggest movie star alive.
"Hello Donkey."
6. Shrek (2001): A sharp and funny fairy tale as enjoyable for adults as their kids, the Shrek franchise may be the gift that keeps on giving for Murphy. Who knows how much money he earns every time it airs on tv or a copy is sold on dvd? His voice work as Donkey is as recognizable as any in animation, with the possible exception of co-star Mike Myers, who voiced the title character. I'd argue the film's impact has faded for reasons that have little to do with the finished product. In 2001, Shrek was all the rage and seeing the movie with my youngest brother Max (only ten at the time) ranks among my more memorable filmgoing experiences. But the in-joke humor that provided so many laughs on first viewing lose their luster over time, especially after Pixar began releasing annual blockbusters that duplicated the formula. And while hard to believe, the internet still wasn't the all-encompassing monster it is ten years later, when virtually anyone can figure out how to post a "YouTube" video highlighting the same self-referential style. Still, the original was ahead of its time and spawned one of the most successful franchises in history.
Getting Serious
5. Dreamgirls (2006): Important disclaimer: I am not a fan of movie musicals in general. I was horrified when Chicago took best picture in 2002, as it didn't rank among my top 20 films that year. I don't count The Producers among Mel Brooks' funniest outings, nor did I take much excitement from Moulin Rouge, Hairspray, or even The Sound of Music. But Dreamgirls was an exception, a rousing, incredibly well acted film that worked because as much effort was put into the story as the musical numbers. Or maybe I'm just a sucker for Beyonce. Murphy drew raves for his work as James "Thunder" Early, a desperate soul singer trying to hold on after his time has passed. He received his only Oscar nomination for the film and was considered the favorite before losing to Alan Arkin for Little Miss Sunshine.
Should Murphy have won? Not necessarily. He was very good, but probably no better than Jaime Foxx or Oscar winner Jennifer Hudson. Dreamgirls ended up being my 2nd favorite film of 2006 (behind The Departed), so how do I make sense of it barely making the top five here? Because it's not how I want to see Murphy. Comedians of a certain age almost always attempt to branch out as their audiences mature. But aside from a select view who transformed into primarily dramatic actors (Tom Hanks & Robin Williams), most comics are better staying in their comfort zone. Take Bill Murray as an example. He drew high praise for his surprisingly subtle work in Lost in Translation, earning a number of awards and a Best Actor nomination in 2003. Looking back, does it rank anywhere near your favorite Murray performances or films? He rode a wave of excitement that had a shelf-life. Give me the Murray who ad-libbed while battling gophers, bad bowling hairdos, and slimy green ghosts. Dreamgirls is excellent, but I'd rather revisit any of the next four movies.
The Landis Connection
4. Coming to America (1988): I went back and forth between the next two films, eventually giving Trading Places the slight nod, because it had a better premise. Director John Landis and Murphy struck box office gold twice in a Five-Year Span, with the latter becoming one of the most quoted comedies in cinema. High five yourself if you just belted out, "Just let your Soul Glo!" Murphy played Prince Akeem, heir to the throne of Zamunda, who travels to Queens, New York with his servant Semmi (Arsenio Hall) in hopes of finding his perfect bride. The central courtship was sweet, the film somewhat charming, but in unparalleled 80s fashion, it contained enough raunchy humor to earn an ironclad "R" rating. The passage of time has done little to hinder the film's effectiveness. At least once a month you're likely to hear me announce one of the following . . . "Wearing clothes must be a new experience for you," "When you think of garbage, think of Akeem," or "I tied my own shoes once. It is an overrated experience." One final thought; Akeem's forceful father was played by James Earl Jones, whose booming voice became a character in and of itself and is responsible for one of the funniest "Youtube" clips in existence for anyone who cherishes movies. I implore you to search "Coming to Alderaan," but would advise against doing so at work, as I nearly threw up laughing the first time I watched it. Thanks AJ.
3. Trading Places (1983): "Merry New Year!" With so many 80s movies being remade in recent years, I'm stunned they haven't tried to duplicate Landis' classic mistaken identity farce. The basic plot is timeless, as are themes of class separation and stereotyping (also prevalent in the director's best film, National Lampoon's Animal House) The film starred Dan Aykroyd as Louis Winthorpe III, an uptight, pampered snob working for millionaire commodities brokers Randolph and Mortimer Duke (the late Ralph Bellamy & Don Ameche) in Philadelphia. Murphy played a street hustler named Billy Ray Valentine with no prospects or connections. After falling on opposite ends of a debate regarding the impact of "nature vs nurture," the Dukes decided to test their theories (for a $1 wager) by stripping Winthorpe's life apart and giving his company position to Valentine. An appealing concept was splendidly executed, as Valentine adapts to a wealthy lifestyle and develops a conscience, while Winthorp becomes a raving lunatic whose only friend in the world is a hooker played by Jaime Lee Curtis. All six primary roles (including Denholm Elliott as the faithful butler Coleman) were perfectly cast, but it's Murphy who walked off with the movie despite receiving second billing. A first-rate screenplay provided some of his best material; upon being placed in a Whirlpool bath, "Hey, hey bubbles man. Say man, when I was growing up, if we wanted a Jacuzzi, we had to fart in the tub." The films satirical edge can be easily observed on "YouTube" by searching "Trading Places - Bacon, lettuce and tomato sandwich." It's a gem.
Inventing a Genre
2. 48 Hrs. (1982): "There's a new sheriff in town. And his name is Reggie Hammond." One could argue no comedian had a better debut performance than Murphy in the much imitated, though seldom surpassed 48 Hrs., which not only invented the modern action-comedy, but is often cited as the first "buddy-cop" movie as well. Many of the cliches that today make critics groan originated here, from an unwilling partnership, initial animosity, hard racism (including liberal use of the "N" word, which has thankfully subsided over time), mentorship, analogous needs for revenge, contrasting styles, and eventual respect, with one possibly saving the other's life by films end. Beverly Hills Cop, Lethal Weapon, Tango & Cash, Bad Boys, and Rush Hour are among those that duplicated the formula with varying success. Nick Nolte, in one his best roles, played Jack Cates, a tough-as-nails cop who enlists the help of convict Hammond (Murphy) after his partner is killed by a sadistic psychopath named Ganz. As played by James Remar (best known as Dexter Morgan's father Harry), Ganz ranks among the most ruthless, detestable movie villains of the 80s. Meanwhile, Nolte and Murphy displayed genuine chemistry as they traded insults and literally beat the shit out of each other in one of the grittier films from that era. It also contained the single best scene of Murphy's career. About 45 minutes in, short on leads and ideas, Hammond borrows Cates' police badge, announces "I don't like white people," and intimidates an entire bar full of rednecks who despise him. A classic screen moment in every sense of the word.
1. Beverly Hills Cop (1984): Finally, the film that cemented his movie stardom forever. Murphy's first turn as Axel Foley holds a permanent spot on my top ten favorite comedies list, even though it was truly an action-comedy (the best of the sub-genre). But where 48 Hrs. favored action, Cop found a better balance, allowing Murphy's comedic style to set the tone for the entire film. Few sounds in cinema are as recognizable or infectious as Eddie's boisterous laugh, heard in abundance here. In his third major feature, Murphy played a promising Detroit detective (Foley) who after his best friend is murdered leaves for Beverly Hills, CA to track his killers. It was the ultimate fish out of water tale, with street-wise Foley shaking up his posh new surroundings, and toughening a pair of local cops Rosewood (Judge Reinhold) and Taggart (John Ashton) in the process. Other cast members included Steven Berkoff as Victor Maitland, Lisa Eilbacher as Jenny Summers, and Ronny Cox as Lt. Bogomil, as well as funny cameos by then unknowns Paul Reiser, Damon Wayans, and most memorably Bronson Pinchot as Serge. The film represented a career high for most of the well chosen ensemble, as well as screenwriter Daniel Petrie Jr. (story credit also went to Danilo Bach), who received Oscar nominations for their work here. Cop also marked the biggest financial success for director Martin Brest, who'd go on to make the underrated Midnight Run and the Oscar winning Scent of a Woman.
For reasons I can't quite figure, the film doesn't share the enduring popularity of many 80s contemporaries, even though it holds up better than most. It spent a ridiculous 14 weeks atop the box-office chart and edged Ghostbusters as the most popular movie of 1984. In fact, Beverly Hills Cop ended up making more money domestically than every 80s blockbuster with the exception of E.T., a pair of Star Wars sequels, Batman, & Raiders of the Lost Ark. It was beloved by critics and audiences alike, and also spawned a kick-ass soundtrack including hits "The Heat is On," "Stir It Up," and its iconic theme song, "Axel F." The soundtrack eventually reached number one on the BillBoard top 200 chart in 1985.
Murphy has always been one of the great talkers in the movies. His dialogue here afforded him the opportunity to unleash several loquacious tirades. They were not only hilarious because they were observant, but because we couldn't picture anyone else pulling them off. Like his other best films, Cop earned an "R" rating for unmistakable violence and a multitude of appropriate cursing. It was not for the preteen crowd, despite dozens of memorable gags (the banana in the tail pipe) and conversations (Rosewood & Taggart on eating too much red meat, Foley delivering a phony message about acquiring herpes to a revolted country club host). Make no mistake, the film was not shy about representing a racist, elitist, and blatantly homophobic era, which come to think of it may be the primary reason it hasn't endured like so many of the decades more innocent entertainments. Could Beverly Hills Cop even be made today as presently constructed? Probably not, but no matter. It was the pinnacle of the fastest start by a comedian in history. Will Ferrell releasing Old School, Elf, & Anchorman in a 17-month period is the only notable comparison. In only four years, Murphy became the biggest star on Saturday Night Live, released three classic movies (each more successful than the previous), and gained an obscene number of fans in the process, at least one of whom felt compelled to defend his talent to this day.
I've read "The Sports Guy" since he became popular when I was in college. One could argue that my writing style has been influenced by Simmons to a degree, but it's honestly more a case of bad timing than anything. I've always written with a comedic angle, with no shortage of sarcasm. A college paper I wrote on the inimitable "Snickers" commercial featuring a football player who gets knocked out and thinks he's Batman drew raves from my professor, who informed me it was the best student paper she'd read all year. I think she maybe have been trying to sleep with me at the time, but more on that at a later date.
Simmons' favorite sport is basketball. So is mine. He loves 80s movies. So do I. Basically, he's Jordan to my Kobe, slightly better with a decade head start. It's tough to be second when high profile competition is so similar. Just ask the makers of Wyatt Earp, Volcano, The Thin Red Line, EdTV, and Infamous to name a few. All opened within months of films covering the same general subject matter (Tombstone, Dante's Peak, Saving Private Ryan, The Truman Show, Capote, respectively) and suffered commercially as a result. Only Armageddon bucked the odds and took down its earlier competition (Deep Impact). And so, if a meteor starts hurtling towards Earth before the new year and you only have time to read one Eddie Murphy career retrospective, read mine. To Simmons, you are but a grain of sand on Pebble Beach, one in a million readers. To me, you are an entire piece of pizza from a regular, eight-slice box. If that strange analogy is right up your alley, stick around. Now, on to the reason you're reading.
Murphy has starred in his share of stinkers over the last two decades, but his resume isn't quite the mess some critics have described. It is fair to say that no comedic actor has a wider disparity between his great movies and his shitty ones, which I'll avoid discussing. After all, when we look back at Robert De Niro's career are we gonna focus on the stuff made post-2000? Of course not. Some actors get a pass for their less than exceptional efforts (Anthony Hopkins, Samuel L. Jackson, Bruce Willis), while others don't (Ben Affleck, Nicolas Cage, Kevin Costner). There's little rhyme or reason, but it's clear that Murphy falls into the second group. That's a shame, because his best material compares favorably with almost anyone of his generation. Here's a look back at some of his best films, counting in reverse order from ten to one.
Note: I discounted Delirious and Raw, two genius Stand-up acts that arguably showcase Murphy at his funniest, although neither is a traditional film.
Sequelitis
10. Beverly Hills Cop 2 (1987): A close call for the cut off spot, narrowly edging the underrated thriller Metro (1997) and Boomerang (1992), one of the most inappropriate, offensive romantic-comedies ever. I've rarely seen a film combine intentional and unintentional comedy to such effect. Anyway, Murphy's first sequel was a hit-and-miss action-comedy that was trashed by critics, but a huge hit with audiences. He reprised his most famous pre-Shrek role as detective Axel Foley, hunting down a team of ruthless thieves called the Alphabet Killers. Cop 2 is a far cry from the original, but still much funnier than 1994's third entry into the franchise. Worth your time if only for Murphy's Johnny Wishbone routine, when he pretends to be a psychic extraordinaire and makes asses of the Beverly Hills police chief.
Multiple Roles
9. Bowfinger (1999): By this point, seeing Murphy playing multiple characters was nothing new. He's used the approach several times, both to good effect (the barbershop scene from Coming to America, the dinner table scenes in The Nutty Professor) and bad (Norbit, not that I paid to see that or anything). But Bowfinger was arguably the first time he wasn't merely going for a gimmick. Here he played brothers, each of whom had large roles and wildly opposite personalities (think Cage in Adaptation). The less memorable of the two was Kit Ramsey, an arrogant, paranoid movie star who resembled Murphy in real life. But his real achievement was Jiff, a shy, socially-awkward nobody who's cast as the lead in a movie that's supposed to be starring Kit. Steve Martin, in the title role, is the director who casts Jiff without realizing the two are actually siblings. Murphy went way beyond nerdy glasses and a funny haircut in imbuing the good-natured Jiff with subdued enthusiasm. He's ecstatic just to be getting people coffee on a movie set and the performance felt as real as anything Murphy's done before or since. Ultimately it ranks only nine, because the movie as a whole isn't quite as funny as it probably sounded at pitch meetings.
(Seriously Simmons, how did you beat me to an Eddie Murphy retrospective? How dammit?)
The Comebacks
8. Tower Heist (2011): It's way too early to put Murphy's latest comedy in proper perspective, having only seen it once. A fair decision requires multiple viewings, which won't happen until it reaches HBO or Starz some time next summer. I can say definitely that Tower Heist is Murphy's funniest performance and live-action film in 15 years. Its ranking will be determined by rewatchability, which all the following comedies have for sure. For a complete review of the film, see my previous blog entry.
(Note: I think it probably warranted a grade of "B+" rather than the "A-" I initially awarded it.)
7. The Nutty Professor (1996): A genuinely funny movie in which Murphy played seven different characters, most notably the sensitive, obese scientist Sherman Klump. When humiliated on a date at a comedy club by a then unknown Dave Chappelle, he ingests a potion and turns into a thin, libido-driven, alter ego Buddy Love. That simple premise provided ample opportunity for sight gags and goofy dialogue, with Murphy's engaging performance driving the film. The aforementioned dinner sequence, which featured Murphy in five roles at once, closes with a spectacular barrage of farts that leveled theater audiences across the country. Whether that says more about American humor is a topic for another time, but funny is funny. The films success led to an inferior, sporadically amusing sequel in 2000. Unfortunately, the original loses points for spawning a cringeworthy period for its star, who produced a plethora of junk aimed at 7-year-olds (two Doctor Dolittle's, The Haunted Mansion, Imagine That, and The Adventures of Pluto Nash followed). In the process, Murphy lost sight of his image and fans who had years earlier made him the biggest movie star alive.
"Hello Donkey."
6. Shrek (2001): A sharp and funny fairy tale as enjoyable for adults as their kids, the Shrek franchise may be the gift that keeps on giving for Murphy. Who knows how much money he earns every time it airs on tv or a copy is sold on dvd? His voice work as Donkey is as recognizable as any in animation, with the possible exception of co-star Mike Myers, who voiced the title character. I'd argue the film's impact has faded for reasons that have little to do with the finished product. In 2001, Shrek was all the rage and seeing the movie with my youngest brother Max (only ten at the time) ranks among my more memorable filmgoing experiences. But the in-joke humor that provided so many laughs on first viewing lose their luster over time, especially after Pixar began releasing annual blockbusters that duplicated the formula. And while hard to believe, the internet still wasn't the all-encompassing monster it is ten years later, when virtually anyone can figure out how to post a "YouTube" video highlighting the same self-referential style. Still, the original was ahead of its time and spawned one of the most successful franchises in history.
Getting Serious
5. Dreamgirls (2006): Important disclaimer: I am not a fan of movie musicals in general. I was horrified when Chicago took best picture in 2002, as it didn't rank among my top 20 films that year. I don't count The Producers among Mel Brooks' funniest outings, nor did I take much excitement from Moulin Rouge, Hairspray, or even The Sound of Music. But Dreamgirls was an exception, a rousing, incredibly well acted film that worked because as much effort was put into the story as the musical numbers. Or maybe I'm just a sucker for Beyonce. Murphy drew raves for his work as James "Thunder" Early, a desperate soul singer trying to hold on after his time has passed. He received his only Oscar nomination for the film and was considered the favorite before losing to Alan Arkin for Little Miss Sunshine.
Should Murphy have won? Not necessarily. He was very good, but probably no better than Jaime Foxx or Oscar winner Jennifer Hudson. Dreamgirls ended up being my 2nd favorite film of 2006 (behind The Departed), so how do I make sense of it barely making the top five here? Because it's not how I want to see Murphy. Comedians of a certain age almost always attempt to branch out as their audiences mature. But aside from a select view who transformed into primarily dramatic actors (Tom Hanks & Robin Williams), most comics are better staying in their comfort zone. Take Bill Murray as an example. He drew high praise for his surprisingly subtle work in Lost in Translation, earning a number of awards and a Best Actor nomination in 2003. Looking back, does it rank anywhere near your favorite Murray performances or films? He rode a wave of excitement that had a shelf-life. Give me the Murray who ad-libbed while battling gophers, bad bowling hairdos, and slimy green ghosts. Dreamgirls is excellent, but I'd rather revisit any of the next four movies.
The Landis Connection
4. Coming to America (1988): I went back and forth between the next two films, eventually giving Trading Places the slight nod, because it had a better premise. Director John Landis and Murphy struck box office gold twice in a Five-Year Span, with the latter becoming one of the most quoted comedies in cinema. High five yourself if you just belted out, "Just let your Soul Glo!" Murphy played Prince Akeem, heir to the throne of Zamunda, who travels to Queens, New York with his servant Semmi (Arsenio Hall) in hopes of finding his perfect bride. The central courtship was sweet, the film somewhat charming, but in unparalleled 80s fashion, it contained enough raunchy humor to earn an ironclad "R" rating. The passage of time has done little to hinder the film's effectiveness. At least once a month you're likely to hear me announce one of the following . . . "Wearing clothes must be a new experience for you," "When you think of garbage, think of Akeem," or "I tied my own shoes once. It is an overrated experience." One final thought; Akeem's forceful father was played by James Earl Jones, whose booming voice became a character in and of itself and is responsible for one of the funniest "Youtube" clips in existence for anyone who cherishes movies. I implore you to search "Coming to Alderaan," but would advise against doing so at work, as I nearly threw up laughing the first time I watched it. Thanks AJ.
3. Trading Places (1983): "Merry New Year!" With so many 80s movies being remade in recent years, I'm stunned they haven't tried to duplicate Landis' classic mistaken identity farce. The basic plot is timeless, as are themes of class separation and stereotyping (also prevalent in the director's best film, National Lampoon's Animal House) The film starred Dan Aykroyd as Louis Winthorpe III, an uptight, pampered snob working for millionaire commodities brokers Randolph and Mortimer Duke (the late Ralph Bellamy & Don Ameche) in Philadelphia. Murphy played a street hustler named Billy Ray Valentine with no prospects or connections. After falling on opposite ends of a debate regarding the impact of "nature vs nurture," the Dukes decided to test their theories (for a $1 wager) by stripping Winthorpe's life apart and giving his company position to Valentine. An appealing concept was splendidly executed, as Valentine adapts to a wealthy lifestyle and develops a conscience, while Winthorp becomes a raving lunatic whose only friend in the world is a hooker played by Jaime Lee Curtis. All six primary roles (including Denholm Elliott as the faithful butler Coleman) were perfectly cast, but it's Murphy who walked off with the movie despite receiving second billing. A first-rate screenplay provided some of his best material; upon being placed in a Whirlpool bath, "Hey, hey bubbles man. Say man, when I was growing up, if we wanted a Jacuzzi, we had to fart in the tub." The films satirical edge can be easily observed on "YouTube" by searching "Trading Places - Bacon, lettuce and tomato sandwich." It's a gem.
Inventing a Genre
2. 48 Hrs. (1982): "There's a new sheriff in town. And his name is Reggie Hammond." One could argue no comedian had a better debut performance than Murphy in the much imitated, though seldom surpassed 48 Hrs., which not only invented the modern action-comedy, but is often cited as the first "buddy-cop" movie as well. Many of the cliches that today make critics groan originated here, from an unwilling partnership, initial animosity, hard racism (including liberal use of the "N" word, which has thankfully subsided over time), mentorship, analogous needs for revenge, contrasting styles, and eventual respect, with one possibly saving the other's life by films end. Beverly Hills Cop, Lethal Weapon, Tango & Cash, Bad Boys, and Rush Hour are among those that duplicated the formula with varying success. Nick Nolte, in one his best roles, played Jack Cates, a tough-as-nails cop who enlists the help of convict Hammond (Murphy) after his partner is killed by a sadistic psychopath named Ganz. As played by James Remar (best known as Dexter Morgan's father Harry), Ganz ranks among the most ruthless, detestable movie villains of the 80s. Meanwhile, Nolte and Murphy displayed genuine chemistry as they traded insults and literally beat the shit out of each other in one of the grittier films from that era. It also contained the single best scene of Murphy's career. About 45 minutes in, short on leads and ideas, Hammond borrows Cates' police badge, announces "I don't like white people," and intimidates an entire bar full of rednecks who despise him. A classic screen moment in every sense of the word.
1. Beverly Hills Cop (1984): Finally, the film that cemented his movie stardom forever. Murphy's first turn as Axel Foley holds a permanent spot on my top ten favorite comedies list, even though it was truly an action-comedy (the best of the sub-genre). But where 48 Hrs. favored action, Cop found a better balance, allowing Murphy's comedic style to set the tone for the entire film. Few sounds in cinema are as recognizable or infectious as Eddie's boisterous laugh, heard in abundance here. In his third major feature, Murphy played a promising Detroit detective (Foley) who after his best friend is murdered leaves for Beverly Hills, CA to track his killers. It was the ultimate fish out of water tale, with street-wise Foley shaking up his posh new surroundings, and toughening a pair of local cops Rosewood (Judge Reinhold) and Taggart (John Ashton) in the process. Other cast members included Steven Berkoff as Victor Maitland, Lisa Eilbacher as Jenny Summers, and Ronny Cox as Lt. Bogomil, as well as funny cameos by then unknowns Paul Reiser, Damon Wayans, and most memorably Bronson Pinchot as Serge. The film represented a career high for most of the well chosen ensemble, as well as screenwriter Daniel Petrie Jr. (story credit also went to Danilo Bach), who received Oscar nominations for their work here. Cop also marked the biggest financial success for director Martin Brest, who'd go on to make the underrated Midnight Run and the Oscar winning Scent of a Woman.
For reasons I can't quite figure, the film doesn't share the enduring popularity of many 80s contemporaries, even though it holds up better than most. It spent a ridiculous 14 weeks atop the box-office chart and edged Ghostbusters as the most popular movie of 1984. In fact, Beverly Hills Cop ended up making more money domestically than every 80s blockbuster with the exception of E.T., a pair of Star Wars sequels, Batman, & Raiders of the Lost Ark. It was beloved by critics and audiences alike, and also spawned a kick-ass soundtrack including hits "The Heat is On," "Stir It Up," and its iconic theme song, "Axel F." The soundtrack eventually reached number one on the BillBoard top 200 chart in 1985.
Murphy has always been one of the great talkers in the movies. His dialogue here afforded him the opportunity to unleash several loquacious tirades. They were not only hilarious because they were observant, but because we couldn't picture anyone else pulling them off. Like his other best films, Cop earned an "R" rating for unmistakable violence and a multitude of appropriate cursing. It was not for the preteen crowd, despite dozens of memorable gags (the banana in the tail pipe) and conversations (Rosewood & Taggart on eating too much red meat, Foley delivering a phony message about acquiring herpes to a revolted country club host). Make no mistake, the film was not shy about representing a racist, elitist, and blatantly homophobic era, which come to think of it may be the primary reason it hasn't endured like so many of the decades more innocent entertainments. Could Beverly Hills Cop even be made today as presently constructed? Probably not, but no matter. It was the pinnacle of the fastest start by a comedian in history. Will Ferrell releasing Old School, Elf, & Anchorman in a 17-month period is the only notable comparison. In only four years, Murphy became the biggest star on Saturday Night Live, released three classic movies (each more successful than the previous), and gained an obscene number of fans in the process, at least one of whom felt compelled to defend his talent to this day.
Tuesday, November 1, 2011
Tower Heist: A Comedy That Clicks
No studio head would say the casting director is the most important person on a movie set. But a surprisingly large number of films fail to reach their potential as a result of miscasting. Fortunately, this is not the case with Tower Heist, the year’s most energetic comedy. Credit must be given to Kathleen Chopin, whose previous casting credits include Affliction, The Manchurian Candidate, and Hitch. Here she’s assembled an enthusiastic, high profile ensemble lead by Ben Stiller and most importantly Eddie Murphy, who delivers his funniest performance since the 1980s.
For pure laughs, Tower Heist matches this summer's Horrible Bosses. It's a genuine crowd-pleaser that demands audience participation, in part due to a timely premise. Alan Alda, oozing smug charm, plays Arthur Shaw, billionaire penthouse resident of a luxury Central Park condominium. At the misguided request of building manager Josh Kovaks (Stiller), Shaw was put in charge of staff pensions, a scary development echoing a certain highly publicized New York City scandal. When Shaw is placed under house arrest for defrauding his investors, Kovaks and other employees begin plotting to steal Shaw's $20 million safety net with the help of Slide (Murphy), a low-level neighborhood thief.
I'm sure some will object to director Brett Ratner (X-Men: The Last Stand, Rush Hour) hijacking his basic premise from the Madoff Ponzi scheme, which ruined countless lives. A dramatic retelling of real life events could have come across as dishonest and manipulative, but working with a genuinely funny script from writers Ted Griffin and Jeff Nathanson, Ratner manages to avoid such criticism. The smartest decision was putting audiences in the position to cheer a team of underdog schemers seeking retribution. The entire revenge robbery, which builds momentum throughout the film's second half, is played for laughs. Meanwhile, a lively cast distracts us from thinking too hard about the implausibility of certain key events down the stretch.
The strength of this cast cannot be overstated. I can imagine several of the films most facetious exchanges floundering, with say, the Happy Madison team in place. Casting Murphy (who Ratner also handpicked to host the 2012 Oscars) was the film's ace in the hole. To call his resume uneven over the past two decades is a generous assessment. Even on occasions when he has proven funny, such as The Nutty Professor and Shrek, they've come courtesy of safer material meant for the broadest possible audience. But here he has wisely abandoned the family-friendly persona that often handicapped his natural charisma. Murphy's performance feels fresh, that of a mature performer rediscovering why audiences embraced him in the first place. His character is street smart, brash, and fast-talking, calling to mind his work on Saturday Night Live and early iconic roles in 48 Hrs. and Beverly Hills Cop.
With much of the funniest material relegated to Murphy, Stiller plays it straight and keeps the film grounded, except for one scene when he goes berserk on a priceless automobile. The two stars share an easygoing chemistry, with Stiller’s sincerity meshing well with Murphy’s exuberance. The rest of the large ensemble fills their roles admirably, save Casey Affleck, who apparently was never told this was a comedy. Matthew Broderick, who has perfected his middle-age dweeb act, elicits several laughs, while Tea Leoni surprises with one of the funnier inebriated scenes in a long time. Character actor Michael Pena (Crash) and Gabourey Sidibe (Precious) both show deft comedic timing, while the invaluable Judd Hirsch makes the most of a throw away part.
Ratner has been an easy target for film snobs over the last decade. The word “hack” has been known to surface when his name is discussed. But for all of his shortcomings, he avoids the much-copied “Apatow syndrome,” which dictates that a comedy must stretch thirty minutes beyond an appropriate end point. Working with top talent, Ratner has delivered a mainstream comedy that is not only well paced and executed, but also a lot of fun. Now if Murphy can just stay away from those G ratings.
(B+)
For pure laughs, Tower Heist matches this summer's Horrible Bosses. It's a genuine crowd-pleaser that demands audience participation, in part due to a timely premise. Alan Alda, oozing smug charm, plays Arthur Shaw, billionaire penthouse resident of a luxury Central Park condominium. At the misguided request of building manager Josh Kovaks (Stiller), Shaw was put in charge of staff pensions, a scary development echoing a certain highly publicized New York City scandal. When Shaw is placed under house arrest for defrauding his investors, Kovaks and other employees begin plotting to steal Shaw's $20 million safety net with the help of Slide (Murphy), a low-level neighborhood thief.
I'm sure some will object to director Brett Ratner (X-Men: The Last Stand, Rush Hour) hijacking his basic premise from the Madoff Ponzi scheme, which ruined countless lives. A dramatic retelling of real life events could have come across as dishonest and manipulative, but working with a genuinely funny script from writers Ted Griffin and Jeff Nathanson, Ratner manages to avoid such criticism. The smartest decision was putting audiences in the position to cheer a team of underdog schemers seeking retribution. The entire revenge robbery, which builds momentum throughout the film's second half, is played for laughs. Meanwhile, a lively cast distracts us from thinking too hard about the implausibility of certain key events down the stretch.
The strength of this cast cannot be overstated. I can imagine several of the films most facetious exchanges floundering, with say, the Happy Madison team in place. Casting Murphy (who Ratner also handpicked to host the 2012 Oscars) was the film's ace in the hole. To call his resume uneven over the past two decades is a generous assessment. Even on occasions when he has proven funny, such as The Nutty Professor and Shrek, they've come courtesy of safer material meant for the broadest possible audience. But here he has wisely abandoned the family-friendly persona that often handicapped his natural charisma. Murphy's performance feels fresh, that of a mature performer rediscovering why audiences embraced him in the first place. His character is street smart, brash, and fast-talking, calling to mind his work on Saturday Night Live and early iconic roles in 48 Hrs. and Beverly Hills Cop.
With much of the funniest material relegated to Murphy, Stiller plays it straight and keeps the film grounded, except for one scene when he goes berserk on a priceless automobile. The two stars share an easygoing chemistry, with Stiller’s sincerity meshing well with Murphy’s exuberance. The rest of the large ensemble fills their roles admirably, save Casey Affleck, who apparently was never told this was a comedy. Matthew Broderick, who has perfected his middle-age dweeb act, elicits several laughs, while Tea Leoni surprises with one of the funnier inebriated scenes in a long time. Character actor Michael Pena (Crash) and Gabourey Sidibe (Precious) both show deft comedic timing, while the invaluable Judd Hirsch makes the most of a throw away part.
Ratner has been an easy target for film snobs over the last decade. The word “hack” has been known to surface when his name is discussed. But for all of his shortcomings, he avoids the much-copied “Apatow syndrome,” which dictates that a comedy must stretch thirty minutes beyond an appropriate end point. Working with top talent, Ratner has delivered a mainstream comedy that is not only well paced and executed, but also a lot of fun. Now if Murphy can just stay away from those G ratings.
(B+)
Movies, Movies, & Movies
At the recommendation of my most valued consiglieres, I am turning the primary focus of future blogs to film reviews, commentaries, tributes, and categorical rankings. Looking for the finest Al Pacino performances? How about the best twenty action films you've never seen? Or the most rewatchable comedies starring Saturday Night Live alumni? You'll find them all right here. It's been correctly suggested that for my blog to catch on, I need to stick to a general focal point and there is no subject I'm better equipped to handle than the movies. I still go any chance I get, pay the incomprehensible $12.00 for popcorn and peanut M&Ms, and enjoy my two hours in the dark. At least AMC Stubs and Regal Rewards provide a little more bang for your buck these days.
Don't worry though. I still plan on covering life changing family moments, historic sporting events, and memorable television shows. I will also continue my annual memorial tribute in December and Oscar predictions in February. So sit back in your recliner, grab a coffee, and absorb the valuable opinions of a man who still has slightly too much on time on his hands.
Don't worry though. I still plan on covering life changing family moments, historic sporting events, and memorable television shows. I will also continue my annual memorial tribute in December and Oscar predictions in February. So sit back in your recliner, grab a coffee, and absorb the valuable opinions of a man who still has slightly too much on time on his hands.
Welcome Back Mr. & Mrs. Pava!
What a summer! Nearly eight years after first meeting in Casco, Maine, T and I finally tied the knot in New Orleans over Memorial Day Weekend. This means that my blog title, which originally referred to 'my girlfriend,' then 'my fiance,' will have to be changed for a third and presumably final time, to 'my wife.' I spent the majority of my 30th birthday in a terminal at the Akron Canton Airport as our flight was delayed due to extreme winds and sure enough, once we were on the runway a tornado surfaced just yards away! It turned out to a combination of fog and chemicals being sprayed on the plane before takeoff, though it felt real enough. I can say with confidence that if you're going to be stuck in an airport all afternoon, traveling for your wedding is the way to go. A situation that typically would've resulted in hurling my cell phone at the nearest wall was reduced to a minor irritation in an otherwise perfect week. It's a little hard processing that I now have a wife, because it means that I am a husband. This is definitely the most grownup I have ever sounded. I still remember my anticipation walking to apply for marriage certificates in New Orleans. When a person gets excited about filling out paperwork, something great is happening.
Following a phenomenal weekend in "The Big Easy," we unfortunately had to go back to work and school for a few weeks, before the frenetic move back to Newton, MA in late June. Funny how one's perspective changes. When we originally left for Northeast Ohio or what I once considered The Midwest, I was a 27-year-old spring chicken (the only phrase I use specifically to appease my Senior demographic). I am now older, slightly wiser, and walk around every day sporting some serious bling on my finger. Don't worry about my being a left-handed though. I take it off at the appropriate times. :)
I wavered repeatedly over whether to write about our wedding weekend in great detail, ultimately deciding against it. Some things are better left unsaid, as I have private thoughts and feelings about the wedding that are just for me. But I offer my most sincere thanks to everyone who came down to New Orleans to celebrate with us. It was undoubtedly the most amazing weekend of my life, in no small part because I left married to my favorite person in the entire world. I will cherish these memories forever.
Following a phenomenal weekend in "The Big Easy," we unfortunately had to go back to work and school for a few weeks, before the frenetic move back to Newton, MA in late June. Funny how one's perspective changes. When we originally left for Northeast Ohio or what I once considered The Midwest, I was a 27-year-old spring chicken (the only phrase I use specifically to appease my Senior demographic). I am now older, slightly wiser, and walk around every day sporting some serious bling on my finger. Don't worry about my being a left-handed though. I take it off at the appropriate times. :)
I wavered repeatedly over whether to write about our wedding weekend in great detail, ultimately deciding against it. Some things are better left unsaid, as I have private thoughts and feelings about the wedding that are just for me. But I offer my most sincere thanks to everyone who came down to New Orleans to celebrate with us. It was undoubtedly the most amazing weekend of my life, in no small part because I left married to my favorite person in the entire world. I will cherish these memories forever.
Sunday, February 27, 2011
The Best & Worst Movies of 2010
Well, the Oscars came and went. Not much to report actually with few surprises other than David Fincher losing best director and Jennifer Lawrence turning out to be the curviest woman in the room. Anyone who's seen her work in Winter's Bone will be stunned by her real appearance. The ceremony moved a little faster than usual, but was pretty lifeless. Hathaway gave it her all, although the big question today remains whether or not Franco was stoned through the telecast. Based on his robotic performance, it's a fair question. The King's Speech was the evening's big winner, a worthy choice in a year without an overwhelming favorite. But it's not the year's best film, as you're about to see (in reverse order).
Note: I saw virtually every notable film released this year excluding documentaries and foreign films (movies are supposed to be fun people), with the exception of Black Swan and Hereafter, which I'll get to eventually. The most amazing thing about the top ten . . . Half the list takes places in or around Boston! Hey, I can't help it if Hollywood finally realized we're the greatest city in the world.
10. True Grit - I considered a half-dozen films for the final spot, including Buried, The Green Zone, The Next Three Days, 127 Hours, Toy Story 3, & Winter's Bone, before settling reluctantly on the latest effort from the Coen Brothers (I would've felt better cutting the list at #7, but 10 is the unofficial required mark for lists like this). While not quite among their finest films, the year's most notable remake slowly drew me in and weeks later I find myself still thinking about it. If the plot was minimal, the visuals were anything but as the Coens produced images that will last long after they've gone. It's a western for sure, but like most of their work, it finds time to be moving, suspenseful, and funny. Newcomer Hailee Steinfeld (only 14!) stole most scenes from veterans Jeff Bridges & Matt Damon, who slid effortlessly into their respective roles. Though imperfect, any film with a major character named LaBoeuf (pronounced "La Beef") has to make my top 10, barely.
9. City Island - The closest thing to a comedy on the list, this little seen gem was a late addition to the top 10. Made for only 6 million dollars, it was one of the year's great surprises, as a small town family from the Bronx tries to conceal personal secrets from one another in hopes of maintaining their 'normal' lifestyle. The writing was delightfully quirky, the characters true individuals. But holding both the family and film together was Andy Garcia playing a corrections officer with closet acting aspirations and a convict son nobody knows about. For my money, it's the best performance in a vastly underrated career.
8. Shutter Island - Despite being one of the biggest movie stars in the world, Leonardo DiCaprio may actually be underrated. HIs haunting, paranoid work in Martin Scorsese's latest may be the most mature performance in a career destined for some type of lifetime achievement award years down the road. The movie opened last February to big business and mixed reviews, but on rewatch the film's debated ending adds resonance to every scene that came before. It's not the easiest film to watch (Scorsese's films are often visually uncompromising), but several individual scenes are among the most compelling of the year. The score and cinematography deserved oscar consideration, as did DiCaprio. Even if history regards this as another 'Cape Fear' from Scorsese, there are worse things to be. And kudos to Marty for choosing MA over NYC again!
7. Harry Potter and the Deathly Hallows, Pt. I - I'd liked all the previous Harry Potter films to varying degrees. This is the first one I've loved. Potential handicaps regarding the split of the lengthy final Potter novel were unfounded as Pt.I concluded dramatically, despite the fact that nearly all of the stories action is on hold for this summer's Pt. 2. Though 150 minutes, the film had me hooked from the opening snake scene (arguably the year's scariest). All three principal actors did their best work in by far the most adult film in the hugely successful series. I saw Pt. I alone in a completely empty movie theater long after it had opened and as I sat in my private auditorium on a Monday afternoon, I repeatedly felt I was watching an epic along the lines of Lord of the Rings. Something tells me they've saved the best for last.
6. Inception - Narrowly edges Potter as 2010's best blockbuster. Christopher Nolan continues to challenge his audiences with his latest mind-bender, focusing on a group of characters attempting to extract information from a target's dreams. A description of the plot doesn't do this film justice. Visually it's the most memorable film experience of the year, even if I'm not completely sold that every aspect of the story comes together. It demands careful audience attention and Nolan deserves credit for not lowering his standards. It boasts the year's best score, while DiCaprio proves the ideal anchor for the 2nd time in 2010, though he's supported by a strong ensemble including Joseph Gordon-Levitt, Marion Cotillard, & Ellen Page. The script was often ingenious, while those rotating city blocks may be the year's single greatest image. I hope that Nolan's second directing snub in three years (he also deserved one for The Dark Knight in '08) isn't the beginning of a trend. I trust the academy will eventually get it right.
5. The Ghost Writer - Sometimes all the elements fall into place and the result is a perfectly crafted motion picture. Roman Polanski's latest thriller is one such film, a mystery that keeps the audience off-balance and guessing until the very last frame. Of any 2010 release completely ignored by the academy, The Ghost Writer has the biggest beef. Few films this year evoked a stronger sense of time and place, or boasted a more intelligent script. The film was also perfectly cast, with Ewan McGregor, Pierce Brosnan, Olivia Williams, and especially Tom Wilkinson turning in fine performances. Every last detail seemed a deliberate choice, including a memorable musical score that matched the considerable atmosphere. Polanski, like Scorsese, is among a handful of directors who have a style that is unique to them and them alone. There's even a brief shot of that most familiar green Mass Pike sign reading Exit 17 Newton-Watertown. How good is that? But for some reason I don't have a strong desire to see it again. I appreciated knowing virtually nothing about the story going in, but because of this certain films are most effective with one viewing. Rewatchability is a major factor in establishing which movies stand the test of time and it's the reason that the #4 spot goes to another thriller, barely.
4. The Town - I have a hunch this one will rise in the rankings every 6 months or so. On my initial viewing of Ben Affleck's 2nd directorial feature (following 2007's near perfect Gone Baby Gone), I enjoyed it immensely while dismissing it as a fun heist movie. Another look revealed a deeper story and an establishment of location as character that surpassed The Departed in many ways. This is the 'most' Boston I've experienced at the movies in some time and while I don't claim to have grown up in Charlestown, everything just felt right. On the surface it's about the leader of a team of successful bank robbers who falls for the wrong woman. Underneath it's about survival and how there's really no right side of the law. Affleck is a good actor who for a time got stuck with lame star vehicles, but here he wisely surrounded himself with top talent, most notably Jeremy Renner whose performance as the volatile Jem was one of my 3 favorites from 2010. Strong turns were also given by Rebecca Hall, John Hamm, Chris Cooper, and the late Pete Postlethwaite. The Town will undoubtedly find it's way into my dvd collection if only for the action scenes, but it's better than that. As Fergie the Florist put it in that great, thick accent, "Taking down the cathedral of Boston? Priceless."
3. The King's Speech - I didn't want to see this movie. It looked like another stuffy, British period-piece with funny accents and few American actors. But overwhelmingly positive reviews and word of mouth forced my hand and I'm glad it did. While it'd be worth seeing if only for it's attention to setting detail, this film arguably had more heart than any other major release in 2010. Oscar winning director Tom Hooper turned a relatively simple story (a dehabilitating stammer forces King George VI to seek a speech therapist) into something truly compelling that builds momentum from a slightly slow start to it's perfectly handled climax. Interestingly enough, my top 3 movies are all based in large part on true stories. While not a reflection on the quality of these particular films, it certainly supports the notion that Hollywood no longer takes chances with original material. What distinguishes The King's Speech from the field are it's headlining performances. Colin Firth was sensational in his oscar winning title role, while Geoffrey Rush was every bit his equal as Lionel Logue. The two had remarkable chemistry in a film that was sad yet funny, tragic yet uplifting. Amongst recent best picture winners, it falls short of The Departed & No Country For Old Men, but easily surpasses Crash, Slumdog Millionaire, & The Hurt Locker. But it wouldn't have been my choice for the best of 2010.
2. The Fighter - The most entertaining film of 2010 also challenged The King's Speech for the year's best ensemble. The latest from quirky director David O. Russell stars Mark Wahlberg as Mickey Ward, a welterweight from Lowell (give it up for another film set in Massachusetts!) who struggles to become anything other than a stepping-stone for other boxers due to his dysfunctional family managed team. At the film's center is Mickey's relationship with older half-brother Dicky, his drug addicted trainer who simultaneously represents his greatest inspiration and obstacle. It's hard to make an original boxing movie, because the general plot-line has become such a cliche: An individual fights either underdog status (Rocky), personal demons (Raging Bull), or other various obstacles (Cinderella Man, The Hurricane, Million Dollar Baby) on his way to love & respect, if not a championship of some sort. But there's something inherently compelling about this structure that not only attracts audiences, but top talent due to the high-profile nature of these roles. Wahlberg is the film's rock in a strong performance, but it's Christian Bale (this year's best supporting actor) who walked off with the movie. It's the most convincing performance yet in a career filled with impressive transformations. I couldn't turn away any time Bale was onscreen. It was as if the filmmakers wandered into Lowell and cast a drifting crackhead! Also terrific were Amy Adams as Mickey's tough girlfriend (nominated) & another oscar winner, Melissa Leo as Mickey's mother and manager. The fighting scenes were believable and filmed with flair, but these relationships outside the ring were what made this more than just another boxing movie.
1. The Social Network - A close call for the top spot, but David Fincher's latest gets the nod (sorry T) for it's undeniable bond to the 21st century. No film in recent years felt as much a product of it's time as this one. I'd imagine it's how audiences connected with The Graduate & Easy Rider in the late 60s, or The Breakfast Club & Wall Street in the mid-80s. It tapped into something very real and very modern about the way we interact and a society that lives online (even grandparents use facebook). Of course all of this would be irrelevant if the film weren't so well made. The script sparkles with creative dialogue (from oscar winner Aaron Sorkin) as it chronicles the invention of facebook by Mark Zuckerberg and subsequent lawsuits over ownership rights to what has since become the world's most popular website. Early scenes at Harvard provide a perfect snapshot of college life (for many I'm sure) in the last decade, while introducing vividly realized characters. As Zuckerberg, Jesse Eisenberg cements his status as one of the best young actors working. His rapid fire delivery and lack of understanding in human relationships makes him an easy target for others contempt once he hits the jackpot. Nearly his equal was Andrew Garfield as facebook cofounder and Zuckerberg's former best friend Eduardo Saverin, who (according to the movie) was more-or-less tricked out of his company shares. Justin Timberlake was also noteworthy as Napster creator Sean Parker, who's role in the rise of facebook was news to many viewers (myself included). Fincher made the movie fascinating from one end to the other. It's a two hour movie that feels about 1/2 that length. I liked it even more on 2nd viewing and suspect it's the film that will stand the test of time.
Before mentioning the year's worst films, it's worth mentioning a few of 2010's GUILTY PLEASURES, defined as "Something that brings pleasure but is considered taboo, unadvisable or lowbrow." The definition isn't full proof (a few of these are pretty decent movies) but for the most part, these are movies I greatly enjoyed despite being unable to defend on any sort of intellectual level. Perhaps unsurprisingly given the category title, a distinct 80s feel permeates the group.
The A-Team - My favorite of the big, loud, dumb, summer offerings (besting The Expendables in the battle of testosterone-fueled 80s mayhem), the umpteenth remake of a famous TV show was pure adrenaline. They cast all 4 leads exceptionally well (Liam Neeson, Bradley Cooper, 'Rampage' Jackson, & Sharlto Copley) and kept the Lethal Weaponish banter rolling throughout. The action was suitably over-the-top, although it lost a little momentum by the end. Copley's failed attempt to jump start an ambulance with a defribillator was a highlight.
Diary of a Wimpy Kid - No 2010 release brought so many unexpected smiles to my face. Junior High is an often neglected era in people's lives (there have been 100s of High School movies) and the film version of the children's book got much of it just right. I remembered all the silly insults, the awkwardness of puberty, our views on adults & siblings, and those last years of male bonding before girls became something more than that other weird species in class. This one struck a chord.
The Karate Kid - Although A.J. will consider this blasphemy, I wandered into the remake of one of my favorite 80s movies about a month after it opened and found myself enjoying it almost as much as the original. The main cast was younger, but they made it work. Jackie Chan replaced Pat Morita, but he made it work (he may have actually been better). It was at least 20 minutes too long, but it was sweet, funny, & well acted with a satisfying ending, though the climax fell FAR short of the original.
Predators - Who would've thought Adrien Brody could so capably replace Arnold Schwarzenegger? He held the movie together with tough-talking charisma, as those around him were gruesomely picked off one-by-one. Although Lawrence Fishburne turned up briefly (in a segment that made little sense), the remake did a reasonably faithful job replicating the somehow claustrophobic jungle-like-setting of the original. The headlining villain remains one of the last truly inspired visual creations in the movies.
She's Out of My League - That romantic-comedy with the nasal voiced Jay Baruchel? Really? Baruchel often inspires eye-rolling when I see his name, but he has a strange charm that manages to win over the viewer by the end. The movie was less raunchy than one might expect from the ads, but it suckered me in with our hero constantly at odds with his own self-esteem as he struggled to date the stunning Alice Eve (only in a movie could this happen). Put it this way . . . It wouldn't have been worth paying to see, but it's a nice little comedy on a rainy night on DVD.
A few more movies I can recommend without reservation, depending on your mood:
For the action/thriller crowd:
From Paris with Love (Travolta's best role in years)
Frozen (several genuinely frightening moments)
Iron Man 2 (a worthy sequel that plays better at home)
Kick-Ass (Cage's best paycheck role in a decade)
Unstoppable (a genuine adrenaline-rush, could've been the sequel to Speed)
For the adults in the room:
Conviction (another Mass-based story w/ a great performance by Sam Rockwell)
The Kids Are All Right (well-acted & written, but wildly overpraised)
Love and Other Drugs (successfully took a young adult relationship seriously)
Morning Glory (slight, but fun look at a TV newsroom w/ a strong cast)
Solitary Man (an inspired Michael Douglas performance, far better than his mediocre Wall Street sequel)
For the kids in the room:
Alice in Wonderland (Tim Burton's most entertaining, creative film in years)
How to Train Your Dragon (a lot of fun for all ages)
Shrek Forever After (better than the previous two sequels)
Sadly, I couldn't put together a legitimate comedy list. An abundance of high-profile studio comedies came out in 2010, but it seemed the bigger the stars, the greater reliance on their appeal for laughs. There was nothing to approach the laugh ratio of movies like Superbad ('07) or even The Hangover ('09). Instead we got new entries from Sandler (Grown Ups), Ferrell (The Other Guys), Carell (Dinner for Schmucks/Date Night), Cusack (another 80s throwback Hot Tub Time Machine), Stiller (Little Fockers), Rock (Death at a Funeral), & Downey Jr. (Due Date). All were sort of amusing in spurts, but ultimately forgettable. Of all this year's major comedy releases, the most consistently funny was probably Get Him to the Greek. Too bad.
And finally we've arrived at the year's worst. I had to choose only 5 from the remaining 25 or so films I haven't mentioned, no easy task. Many were merely mediocre and will escape my wrath. But there's no excusing the next group, all of which I genuinely hated (thankfully I didn't pay to see any of them) . . .
5. Cop Out - Narrowly edged The Bounty Hunter (which I turned off before finishing) & Prince of Persia (which I should've) for the final spot. I've always liked Bruce Willis in spite of his inconsistent (to be kind) career choices and this lame action/comedy was one of the worst. Tracy Morgan, who can be funny in small doses, is annoying to a fault here in a movie that has no identity. Is it a standard order police thriller or is it trying to lampoon the genre? Most disheartening is that it's terribly directed by Kevin Smith, who no doubt could've mustered a few laughs had he written it himself. This is the worst kind of mainstream entertainment, a movie that attempts little and can't even succeed at that. A complete bore.
4. Valentine's Day - Makes the previous year's He's Just Not That Into You look like an oscar contender. For a while Valentine's Day got by on the sheer volume of popular actors they'd assembled. But it quickly became clear that the studio behind this disaster had no intention beyond drawing a holiday crowd opening weekend, which they sadly achieved. There is no real story at all, just a collection of uninspired vignettes highlighting the small problems that arise every February 14th. And in an attempt to accommodate so many stars, this lifeless mess of a romantic-comedy clocks in at more than 2 hours! Forget Valentine's Day: this should be played at every Passover Seder so we never forget the pain of our ancestors.
3. Robin Hood - The worst film ever directed by Ridley Scott, and it's not even close. I wanted to see the latest version of Robin Hood in theaters but stayed away on the advice of most critics and I'm glad I did. Sitting through this nonsensical, ugly 150 minute movie was a monumental waste of time. There wasn't a single exciting scene, it was poorly paced, with no character development. The latter was unacceptable given they cast two of the finest actors in the business (Russell Crowe & Cate Blanchett) in the leads. Neither brought anything special to their roles and I'm starting to think Gladiator (2000) is the worst thing that could've happened to Scott's career. It seems ever since he's been trying replicate the success of the blockbuster best picture winner (the similarly themed Kingdom of Heaven was also a dud) when his greatest strength has always been quieter films based on atmosphere and character. You'd be better off revisiting the Costner version, which is saying something.
2. Eat Pray Love - I'm not sure I've ever hated a lead character in any movie more than Liz Gilbert, the subject of 2010's most insufferable chick flick. Reportedly people either love or hate the book upon which it's based, detailing Gilbert's year long personal exploration in Rome, India, & Bali. Not only was the story among the most self-indulgent I've ever witnessed onscreen, but I found Gilbert herself completely unredeeming. She came off as selfish and boring and nothing about this woman warranted a big screen treatment. It's worth noting there's nothing wrong with the performances. Julia Roberts was actually quite good in the lead and was given strong support by the likes of Richard Jenkins and Javier Bardem, the latter one of many men she couldn't muster up the nerve to give anything that didn't first benefit herself. It's hard to like a film in which you want to choke the main character every time she appears onscreen, which was pretty much every scene. Not only that, but this slight tale dragged on FOREVER! Even T left the room with about 30 minutes remaining. Take this review with a grain of salt. Obviously I was not the target audience for this trash heap, but I'd like to believe I could identify a thoughtful take on an adult woman having a midlife crisis. This wasn't it.
1. The Last Airbender - A close call over Eat Pray Love, but at least one could argue that film was assembled with at a vague degree of competence. The latest from M. Night Shyamalan is the worst film yet on a resume that now includes The Village, Lady in the Water, and The Happening. No small feat there! What's most disheartening is it was only a decade ago many thought Shyamalan was the most talented writer/director to emerge in years, a fearless cross between Spielberg and Hitchcock. Some have claimed the mega-success of The Sixth Sense ('99), with it's shocking twist ending ruined the director with audience expectations that couldn't possibly be met. But that's bullshit. Even if the endings to follow ups like Unbreakable and Signs fell short of his signature, they were none-the-less well told stories with attention to craft and detail. 2010 Shyamalan is much closer to Michael Bay than the aforementioned directors. Airbender is so stupid, so dull, so completely devoid of any thought, it's as if someone bet Shyamalan that he couldn't ruin his career in a 5 year span. The story is not for anyone above the age of 10. The special f/x are hokey. The only notable name in the cast is Dev Patel, a far cry from the days when Willis & Crazy Mel were headlining his pictures. The rest is comprised of no names acting like they are in a bad 3rd grade stage play. I considered turning this movie off a half-dozen times, but I stubbornly have a rule that I need to finish movies I've started. I wish I didn't. If I followed my gut and stopped watching fifteen minutes in, I could've spent that afternoon doing laundry, cutting my toe nails, emptying the dishwasher, shaving, and job hunting. For the record those are 5 of my least favorite activities on Earth. And all would've been preferable to experiencing The Last Airbender.
EDIT: 11/02/11
How Do You Know, featuring Reese Witherspoon, Paul Rudd, Owen Wilson, & Jack Nicholson is one of the worst romantic comedies in a decade. Unoriginal, unfunny, and completely boring. It would probably take the #3 spot on my worst list if I'd seen it earlier.
Thanks for reading
Note: I saw virtually every notable film released this year excluding documentaries and foreign films (movies are supposed to be fun people), with the exception of Black Swan and Hereafter, which I'll get to eventually. The most amazing thing about the top ten . . . Half the list takes places in or around Boston! Hey, I can't help it if Hollywood finally realized we're the greatest city in the world.
10. True Grit - I considered a half-dozen films for the final spot, including Buried, The Green Zone, The Next Three Days, 127 Hours, Toy Story 3, & Winter's Bone, before settling reluctantly on the latest effort from the Coen Brothers (I would've felt better cutting the list at #7, but 10 is the unofficial required mark for lists like this). While not quite among their finest films, the year's most notable remake slowly drew me in and weeks later I find myself still thinking about it. If the plot was minimal, the visuals were anything but as the Coens produced images that will last long after they've gone. It's a western for sure, but like most of their work, it finds time to be moving, suspenseful, and funny. Newcomer Hailee Steinfeld (only 14!) stole most scenes from veterans Jeff Bridges & Matt Damon, who slid effortlessly into their respective roles. Though imperfect, any film with a major character named LaBoeuf (pronounced "La Beef") has to make my top 10, barely.
9. City Island - The closest thing to a comedy on the list, this little seen gem was a late addition to the top 10. Made for only 6 million dollars, it was one of the year's great surprises, as a small town family from the Bronx tries to conceal personal secrets from one another in hopes of maintaining their 'normal' lifestyle. The writing was delightfully quirky, the characters true individuals. But holding both the family and film together was Andy Garcia playing a corrections officer with closet acting aspirations and a convict son nobody knows about. For my money, it's the best performance in a vastly underrated career.
8. Shutter Island - Despite being one of the biggest movie stars in the world, Leonardo DiCaprio may actually be underrated. HIs haunting, paranoid work in Martin Scorsese's latest may be the most mature performance in a career destined for some type of lifetime achievement award years down the road. The movie opened last February to big business and mixed reviews, but on rewatch the film's debated ending adds resonance to every scene that came before. It's not the easiest film to watch (Scorsese's films are often visually uncompromising), but several individual scenes are among the most compelling of the year. The score and cinematography deserved oscar consideration, as did DiCaprio. Even if history regards this as another 'Cape Fear' from Scorsese, there are worse things to be. And kudos to Marty for choosing MA over NYC again!
7. Harry Potter and the Deathly Hallows, Pt. I - I'd liked all the previous Harry Potter films to varying degrees. This is the first one I've loved. Potential handicaps regarding the split of the lengthy final Potter novel were unfounded as Pt.I concluded dramatically, despite the fact that nearly all of the stories action is on hold for this summer's Pt. 2. Though 150 minutes, the film had me hooked from the opening snake scene (arguably the year's scariest). All three principal actors did their best work in by far the most adult film in the hugely successful series. I saw Pt. I alone in a completely empty movie theater long after it had opened and as I sat in my private auditorium on a Monday afternoon, I repeatedly felt I was watching an epic along the lines of Lord of the Rings. Something tells me they've saved the best for last.
6. Inception - Narrowly edges Potter as 2010's best blockbuster. Christopher Nolan continues to challenge his audiences with his latest mind-bender, focusing on a group of characters attempting to extract information from a target's dreams. A description of the plot doesn't do this film justice. Visually it's the most memorable film experience of the year, even if I'm not completely sold that every aspect of the story comes together. It demands careful audience attention and Nolan deserves credit for not lowering his standards. It boasts the year's best score, while DiCaprio proves the ideal anchor for the 2nd time in 2010, though he's supported by a strong ensemble including Joseph Gordon-Levitt, Marion Cotillard, & Ellen Page. The script was often ingenious, while those rotating city blocks may be the year's single greatest image. I hope that Nolan's second directing snub in three years (he also deserved one for The Dark Knight in '08) isn't the beginning of a trend. I trust the academy will eventually get it right.
5. The Ghost Writer - Sometimes all the elements fall into place and the result is a perfectly crafted motion picture. Roman Polanski's latest thriller is one such film, a mystery that keeps the audience off-balance and guessing until the very last frame. Of any 2010 release completely ignored by the academy, The Ghost Writer has the biggest beef. Few films this year evoked a stronger sense of time and place, or boasted a more intelligent script. The film was also perfectly cast, with Ewan McGregor, Pierce Brosnan, Olivia Williams, and especially Tom Wilkinson turning in fine performances. Every last detail seemed a deliberate choice, including a memorable musical score that matched the considerable atmosphere. Polanski, like Scorsese, is among a handful of directors who have a style that is unique to them and them alone. There's even a brief shot of that most familiar green Mass Pike sign reading Exit 17 Newton-Watertown. How good is that? But for some reason I don't have a strong desire to see it again. I appreciated knowing virtually nothing about the story going in, but because of this certain films are most effective with one viewing. Rewatchability is a major factor in establishing which movies stand the test of time and it's the reason that the #4 spot goes to another thriller, barely.
4. The Town - I have a hunch this one will rise in the rankings every 6 months or so. On my initial viewing of Ben Affleck's 2nd directorial feature (following 2007's near perfect Gone Baby Gone), I enjoyed it immensely while dismissing it as a fun heist movie. Another look revealed a deeper story and an establishment of location as character that surpassed The Departed in many ways. This is the 'most' Boston I've experienced at the movies in some time and while I don't claim to have grown up in Charlestown, everything just felt right. On the surface it's about the leader of a team of successful bank robbers who falls for the wrong woman. Underneath it's about survival and how there's really no right side of the law. Affleck is a good actor who for a time got stuck with lame star vehicles, but here he wisely surrounded himself with top talent, most notably Jeremy Renner whose performance as the volatile Jem was one of my 3 favorites from 2010. Strong turns were also given by Rebecca Hall, John Hamm, Chris Cooper, and the late Pete Postlethwaite. The Town will undoubtedly find it's way into my dvd collection if only for the action scenes, but it's better than that. As Fergie the Florist put it in that great, thick accent, "Taking down the cathedral of Boston? Priceless."
3. The King's Speech - I didn't want to see this movie. It looked like another stuffy, British period-piece with funny accents and few American actors. But overwhelmingly positive reviews and word of mouth forced my hand and I'm glad it did. While it'd be worth seeing if only for it's attention to setting detail, this film arguably had more heart than any other major release in 2010. Oscar winning director Tom Hooper turned a relatively simple story (a dehabilitating stammer forces King George VI to seek a speech therapist) into something truly compelling that builds momentum from a slightly slow start to it's perfectly handled climax. Interestingly enough, my top 3 movies are all based in large part on true stories. While not a reflection on the quality of these particular films, it certainly supports the notion that Hollywood no longer takes chances with original material. What distinguishes The King's Speech from the field are it's headlining performances. Colin Firth was sensational in his oscar winning title role, while Geoffrey Rush was every bit his equal as Lionel Logue. The two had remarkable chemistry in a film that was sad yet funny, tragic yet uplifting. Amongst recent best picture winners, it falls short of The Departed & No Country For Old Men, but easily surpasses Crash, Slumdog Millionaire, & The Hurt Locker. But it wouldn't have been my choice for the best of 2010.
2. The Fighter - The most entertaining film of 2010 also challenged The King's Speech for the year's best ensemble. The latest from quirky director David O. Russell stars Mark Wahlberg as Mickey Ward, a welterweight from Lowell (give it up for another film set in Massachusetts!) who struggles to become anything other than a stepping-stone for other boxers due to his dysfunctional family managed team. At the film's center is Mickey's relationship with older half-brother Dicky, his drug addicted trainer who simultaneously represents his greatest inspiration and obstacle. It's hard to make an original boxing movie, because the general plot-line has become such a cliche: An individual fights either underdog status (Rocky), personal demons (Raging Bull), or other various obstacles (Cinderella Man, The Hurricane, Million Dollar Baby) on his way to love & respect, if not a championship of some sort. But there's something inherently compelling about this structure that not only attracts audiences, but top talent due to the high-profile nature of these roles. Wahlberg is the film's rock in a strong performance, but it's Christian Bale (this year's best supporting actor) who walked off with the movie. It's the most convincing performance yet in a career filled with impressive transformations. I couldn't turn away any time Bale was onscreen. It was as if the filmmakers wandered into Lowell and cast a drifting crackhead! Also terrific were Amy Adams as Mickey's tough girlfriend (nominated) & another oscar winner, Melissa Leo as Mickey's mother and manager. The fighting scenes were believable and filmed with flair, but these relationships outside the ring were what made this more than just another boxing movie.
1. The Social Network - A close call for the top spot, but David Fincher's latest gets the nod (sorry T) for it's undeniable bond to the 21st century. No film in recent years felt as much a product of it's time as this one. I'd imagine it's how audiences connected with The Graduate & Easy Rider in the late 60s, or The Breakfast Club & Wall Street in the mid-80s. It tapped into something very real and very modern about the way we interact and a society that lives online (even grandparents use facebook). Of course all of this would be irrelevant if the film weren't so well made. The script sparkles with creative dialogue (from oscar winner Aaron Sorkin) as it chronicles the invention of facebook by Mark Zuckerberg and subsequent lawsuits over ownership rights to what has since become the world's most popular website. Early scenes at Harvard provide a perfect snapshot of college life (for many I'm sure) in the last decade, while introducing vividly realized characters. As Zuckerberg, Jesse Eisenberg cements his status as one of the best young actors working. His rapid fire delivery and lack of understanding in human relationships makes him an easy target for others contempt once he hits the jackpot. Nearly his equal was Andrew Garfield as facebook cofounder and Zuckerberg's former best friend Eduardo Saverin, who (according to the movie) was more-or-less tricked out of his company shares. Justin Timberlake was also noteworthy as Napster creator Sean Parker, who's role in the rise of facebook was news to many viewers (myself included). Fincher made the movie fascinating from one end to the other. It's a two hour movie that feels about 1/2 that length. I liked it even more on 2nd viewing and suspect it's the film that will stand the test of time.
Before mentioning the year's worst films, it's worth mentioning a few of 2010's GUILTY PLEASURES, defined as "Something that brings pleasure but is considered taboo, unadvisable or lowbrow." The definition isn't full proof (a few of these are pretty decent movies) but for the most part, these are movies I greatly enjoyed despite being unable to defend on any sort of intellectual level. Perhaps unsurprisingly given the category title, a distinct 80s feel permeates the group.
The A-Team - My favorite of the big, loud, dumb, summer offerings (besting The Expendables in the battle of testosterone-fueled 80s mayhem), the umpteenth remake of a famous TV show was pure adrenaline. They cast all 4 leads exceptionally well (Liam Neeson, Bradley Cooper, 'Rampage' Jackson, & Sharlto Copley) and kept the Lethal Weaponish banter rolling throughout. The action was suitably over-the-top, although it lost a little momentum by the end. Copley's failed attempt to jump start an ambulance with a defribillator was a highlight.
Diary of a Wimpy Kid - No 2010 release brought so many unexpected smiles to my face. Junior High is an often neglected era in people's lives (there have been 100s of High School movies) and the film version of the children's book got much of it just right. I remembered all the silly insults, the awkwardness of puberty, our views on adults & siblings, and those last years of male bonding before girls became something more than that other weird species in class. This one struck a chord.
The Karate Kid - Although A.J. will consider this blasphemy, I wandered into the remake of one of my favorite 80s movies about a month after it opened and found myself enjoying it almost as much as the original. The main cast was younger, but they made it work. Jackie Chan replaced Pat Morita, but he made it work (he may have actually been better). It was at least 20 minutes too long, but it was sweet, funny, & well acted with a satisfying ending, though the climax fell FAR short of the original.
Predators - Who would've thought Adrien Brody could so capably replace Arnold Schwarzenegger? He held the movie together with tough-talking charisma, as those around him were gruesomely picked off one-by-one. Although Lawrence Fishburne turned up briefly (in a segment that made little sense), the remake did a reasonably faithful job replicating the somehow claustrophobic jungle-like-setting of the original. The headlining villain remains one of the last truly inspired visual creations in the movies.
She's Out of My League - That romantic-comedy with the nasal voiced Jay Baruchel? Really? Baruchel often inspires eye-rolling when I see his name, but he has a strange charm that manages to win over the viewer by the end. The movie was less raunchy than one might expect from the ads, but it suckered me in with our hero constantly at odds with his own self-esteem as he struggled to date the stunning Alice Eve (only in a movie could this happen). Put it this way . . . It wouldn't have been worth paying to see, but it's a nice little comedy on a rainy night on DVD.
A few more movies I can recommend without reservation, depending on your mood:
For the action/thriller crowd:
From Paris with Love (Travolta's best role in years)
Frozen (several genuinely frightening moments)
Iron Man 2 (a worthy sequel that plays better at home)
Kick-Ass (Cage's best paycheck role in a decade)
Unstoppable (a genuine adrenaline-rush, could've been the sequel to Speed)
For the adults in the room:
Conviction (another Mass-based story w/ a great performance by Sam Rockwell)
The Kids Are All Right (well-acted & written, but wildly overpraised)
Love and Other Drugs (successfully took a young adult relationship seriously)
Morning Glory (slight, but fun look at a TV newsroom w/ a strong cast)
Solitary Man (an inspired Michael Douglas performance, far better than his mediocre Wall Street sequel)
For the kids in the room:
Alice in Wonderland (Tim Burton's most entertaining, creative film in years)
How to Train Your Dragon (a lot of fun for all ages)
Shrek Forever After (better than the previous two sequels)
Sadly, I couldn't put together a legitimate comedy list. An abundance of high-profile studio comedies came out in 2010, but it seemed the bigger the stars, the greater reliance on their appeal for laughs. There was nothing to approach the laugh ratio of movies like Superbad ('07) or even The Hangover ('09). Instead we got new entries from Sandler (Grown Ups), Ferrell (The Other Guys), Carell (Dinner for Schmucks/Date Night), Cusack (another 80s throwback Hot Tub Time Machine), Stiller (Little Fockers), Rock (Death at a Funeral), & Downey Jr. (Due Date). All were sort of amusing in spurts, but ultimately forgettable. Of all this year's major comedy releases, the most consistently funny was probably Get Him to the Greek. Too bad.
And finally we've arrived at the year's worst. I had to choose only 5 from the remaining 25 or so films I haven't mentioned, no easy task. Many were merely mediocre and will escape my wrath. But there's no excusing the next group, all of which I genuinely hated (thankfully I didn't pay to see any of them) . . .
5. Cop Out - Narrowly edged The Bounty Hunter (which I turned off before finishing) & Prince of Persia (which I should've) for the final spot. I've always liked Bruce Willis in spite of his inconsistent (to be kind) career choices and this lame action/comedy was one of the worst. Tracy Morgan, who can be funny in small doses, is annoying to a fault here in a movie that has no identity. Is it a standard order police thriller or is it trying to lampoon the genre? Most disheartening is that it's terribly directed by Kevin Smith, who no doubt could've mustered a few laughs had he written it himself. This is the worst kind of mainstream entertainment, a movie that attempts little and can't even succeed at that. A complete bore.
4. Valentine's Day - Makes the previous year's He's Just Not That Into You look like an oscar contender. For a while Valentine's Day got by on the sheer volume of popular actors they'd assembled. But it quickly became clear that the studio behind this disaster had no intention beyond drawing a holiday crowd opening weekend, which they sadly achieved. There is no real story at all, just a collection of uninspired vignettes highlighting the small problems that arise every February 14th. And in an attempt to accommodate so many stars, this lifeless mess of a romantic-comedy clocks in at more than 2 hours! Forget Valentine's Day: this should be played at every Passover Seder so we never forget the pain of our ancestors.
3. Robin Hood - The worst film ever directed by Ridley Scott, and it's not even close. I wanted to see the latest version of Robin Hood in theaters but stayed away on the advice of most critics and I'm glad I did. Sitting through this nonsensical, ugly 150 minute movie was a monumental waste of time. There wasn't a single exciting scene, it was poorly paced, with no character development. The latter was unacceptable given they cast two of the finest actors in the business (Russell Crowe & Cate Blanchett) in the leads. Neither brought anything special to their roles and I'm starting to think Gladiator (2000) is the worst thing that could've happened to Scott's career. It seems ever since he's been trying replicate the success of the blockbuster best picture winner (the similarly themed Kingdom of Heaven was also a dud) when his greatest strength has always been quieter films based on atmosphere and character. You'd be better off revisiting the Costner version, which is saying something.
2. Eat Pray Love - I'm not sure I've ever hated a lead character in any movie more than Liz Gilbert, the subject of 2010's most insufferable chick flick. Reportedly people either love or hate the book upon which it's based, detailing Gilbert's year long personal exploration in Rome, India, & Bali. Not only was the story among the most self-indulgent I've ever witnessed onscreen, but I found Gilbert herself completely unredeeming. She came off as selfish and boring and nothing about this woman warranted a big screen treatment. It's worth noting there's nothing wrong with the performances. Julia Roberts was actually quite good in the lead and was given strong support by the likes of Richard Jenkins and Javier Bardem, the latter one of many men she couldn't muster up the nerve to give anything that didn't first benefit herself. It's hard to like a film in which you want to choke the main character every time she appears onscreen, which was pretty much every scene. Not only that, but this slight tale dragged on FOREVER! Even T left the room with about 30 minutes remaining. Take this review with a grain of salt. Obviously I was not the target audience for this trash heap, but I'd like to believe I could identify a thoughtful take on an adult woman having a midlife crisis. This wasn't it.
1. The Last Airbender - A close call over Eat Pray Love, but at least one could argue that film was assembled with at a vague degree of competence. The latest from M. Night Shyamalan is the worst film yet on a resume that now includes The Village, Lady in the Water, and The Happening. No small feat there! What's most disheartening is it was only a decade ago many thought Shyamalan was the most talented writer/director to emerge in years, a fearless cross between Spielberg and Hitchcock. Some have claimed the mega-success of The Sixth Sense ('99), with it's shocking twist ending ruined the director with audience expectations that couldn't possibly be met. But that's bullshit. Even if the endings to follow ups like Unbreakable and Signs fell short of his signature, they were none-the-less well told stories with attention to craft and detail. 2010 Shyamalan is much closer to Michael Bay than the aforementioned directors. Airbender is so stupid, so dull, so completely devoid of any thought, it's as if someone bet Shyamalan that he couldn't ruin his career in a 5 year span. The story is not for anyone above the age of 10. The special f/x are hokey. The only notable name in the cast is Dev Patel, a far cry from the days when Willis & Crazy Mel were headlining his pictures. The rest is comprised of no names acting like they are in a bad 3rd grade stage play. I considered turning this movie off a half-dozen times, but I stubbornly have a rule that I need to finish movies I've started. I wish I didn't. If I followed my gut and stopped watching fifteen minutes in, I could've spent that afternoon doing laundry, cutting my toe nails, emptying the dishwasher, shaving, and job hunting. For the record those are 5 of my least favorite activities on Earth. And all would've been preferable to experiencing The Last Airbender.
EDIT: 11/02/11
How Do You Know, featuring Reese Witherspoon, Paul Rudd, Owen Wilson, & Jack Nicholson is one of the worst romantic comedies in a decade. Unoriginal, unfunny, and completely boring. It would probably take the #3 spot on my worst list if I'd seen it earlier.
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