2012 In Memoriam, Part II

In the world of fIlm, Michael Clarke Duncan (54) had a personality as large as his hulking frame.  Since the blockbuster Armageddon, the likable actor appeared in a series of hits, including Planet of the Apes, The Whole Nine Yards, Daredevil, & Sin City.  But he is best remembered for his Oscar-nominated turn as death row inmate John Coffey in The Green Mile.  Nora Ephron (71) made her mark writing several genre-defining romantic comedies, most notably When Harry Met Sally and Sleepless in Seattle.  Oscar winner Frank Pierson (87) wrote two of the most accomplished scripts of the past 50 years, Cool Hand Luke and Dog Day Afternoon.  

Ben Gazzara (81) had a whopping 132 film and television credits, while Mel Stuart (83) directed the beloved original Willy Wonka & the Chocolate Factory.  Sage Stallone (36), the oldest son of Sylvester, won the same role on screen in Rocky V.  Celeste Holm (95) starred in the classic All About Eve and won an Academy Award for her supporting work in Gentleman's Agreement (1947).  And industry veteran Ernest Borgnine (95) won Best Actor in 1955 for his lead performance in Marty.  Other credits included The Wild Bunch, The Dirty Dozen, The Poseidon Adventure, and the popular TV series McHale's Navy.  In 2010 Borgnine was honored with the Life Achievement Award by the Screen Actors Guild.   

The sports world lost significant figures of all ages, colors, and backgrounds.  Fortunately, one of those was not Peyton Manning, who bucked the odds like few athletes before him.  Eagle's coach Andy Reid received a nice New Years present, getting the boot after 14 relatively successful seasons with Philadelphia's most revered franchise.  Junior Seau (43) was one of the finest linebackers in football history and among the most respected athletes of his era.  The San Diego icon spent his final four years with the Patriots.  The mysterious details surrounding his death will likely be studied for years.  Hall of Fame catcher Gary Carter (57) was an 11 time All-Star and a hero for the 1986 New York Mets who rallied from behind against Boston in the World Series.  Legendary boxing trainer Angelo Dundee (90) worked with the best of the best, Muhammad Ali and Sugar Ray Leonard.  Emanuel Steward (68) did the same with champions Thomas Hearns, Lennox Lewis, and Oscar De La Hoya.  Longtime Browns & Ravens owner Art Modell (87), Chicago Bulls star Orlando Woolridge (52), and University of Utah basketball coach Rick Majerus (64) were also among the departed.

On Yawkey Way, the Red Sox experienced more turnover than ever before, an uninspiring start for the next 100 years.  Team pillars Tim Wakefield and Jason Varitek retired, Kevin Youkilis was traded to Chicago, & the irascible Bobby Valentine was fired almost as quickly as he had been hired.  Carl Beane (59), the warm, familiar voice of Fenway Park since 2003, died suddenly last May after a suffering a heart attack while driving.  And Johnny Pesky was as devoted to Boston baseball as anyone.  Over more than 60 years, Pesky was a player (lifetime .307 hitter), manager, and broadcaster for the club, who named the right-field foul pole after him in 2006.  When the Sox celebrated the 100th anniversary of Fenway in April, the final ovations were for Bobby Doerr and Pesky, who had tears in his eyes, understanding better than most what that day had meant.  He was 92.

Finally, happy trails to Bob Ryan.  Following the Summer Olympics in London, he retired from regular duty after 44 years with the Boston Globe.  Undoubtedly the best basketball writer of his era, I always looked forward to his Sunday articles, usually covering the Celtics or each weeks biggest sports story.  He wrote intelligently and with purpose, his engaging personality shining through his words.  Ryan can still be heard occasionally asserting his authority on both Around the Horn and Pardon the Interruption, but it's not quite the same.

And in the end . . .

Tony Scott (68): The term "guilty pleasure" may have been created to describe the films of Ridley Scott's youngest brother.  One of the most consistent commercial directors of his era, Tony Scott stunned Hollywood when he reportedly committed suicide last August.  He left behind a legacy of fast-paced cheese, his filmography more dependent on adrenaline than subtlety.  He always attracted A-list talent though, most notably with True Romance, which featured one of the best casts of the 90s.  His many hits included Top Gun, Beverly Hills Cop II, Days of Thunder, Enemy of the State, Spy Game, & Unstoppable.  He also forged a close relationship with Denzel Washington, who played the lead in five of his films, including their best collaboration Crimson Tide.  

Whitney Houston (48): With the exception of Michael Jackson, Houston's unexpected passing last February was probably the most significant celebrity death of the past decade.  Reluctantly, I must now confess that the first CD I ever bought was the soundtrack to The Bodyguard back in 1993.  I had recently seen the mediocre Kevin Costner thriller and remembered the music being the best thing about the film.  If you respect talent then you had to applaud Houston, whose voice truly was one in a million.  The judges of American Idol routinely warned contestants not to sing her songs, because they would always falter by comparison.  She had a number of hits known to virtually everyone, including "The Greatest Love of All," "I Wanna Dance With Somebody (Who Loves Me)," & her iconic version of "I Will Always Love You."  Her performance of the national anthem before the 1991 Super Bowl in Tampa remains the best on record as far as I'm concerned.  It captured Houston at her absolute peak and is worth seeking out on youtube.  

Note: After purchasing The Bodyguard soundtrack, I quickly recovered with a series of manlier choices, including albums by Spin Doctors, Snow, & Ace of Base.  

Charles Durning (89): When I was ten or eleven, my family went to visit my grandmother in Florida over February vacation.  I was sitting in a Boca Raton frozen yogurt shop with my dad, rambling ad nauseum about Dick Tracy and the abundance of stars in the film, because this is what normal grade school kids do.  I mentioned Durning, who played the police chief, when all of a sudden an attractive teenage girl whipped her head around from the next table.  "Are you talking about Charles Durning?"  When I confirmed, she excitedly announced, "He's my grandfather!"  Unfortunately I was too shy to continue the conversation in a lucid manner, so I smiled and went back to my ice cream.  But I still remember her reaction, so proud that someone knew who her grandfather was.

Anyone who's ever seen a movie probably knew his face.  Durning may have been the preeminent "that guy" in all of cinema, with over 200 credits to his name.  He received nine Emmy nominations over the years and back-to-back Oscar noms in the mid 80s for The Best Little Whorehouse in Texas & To Be or Not to Be.  You may remember him as the corrupt cop from The Sting or a very different cop trying to keep the peace in Dog Day Afternoon.  He played Coach Johnson in North Dallas Forty and the certifiable Pappy O'Daniel in O Brother, Where Art Thou?  Many will associate him with Tootsie as Jessica Lange's father, who unsuccessfully wooed Dustin Hoffman's alter ego Dorothy Michaels.  For me he will always be the immoral Doc Hopper, who wanted to open a French Fried Frog Legs franchise and chased Kermit cross country in The Muppet Movie.  Durning died on Christmas Eve.

Ray Allen: Ok, Allen isn't officially dead, at least to most fans.  One of the most professional athletes in New England became a local pariah following his decision to ditch the Celtics for rival Miami back in July.  He was indispensable to the 2008 championship team and a huge part of Boston's success in the modern era.  In 2009 he was arguably the C's best player, and had a series for the ages against Chicago in the playoffs.  But as he battled age and injury, his role became less crucial.  Once Avery Bradley demonstrated superior athleticism and lockdown defense in Ray's absence, his status as a leader was minimized.  He and Rajon Rondo had issues behind the scenes, and it seemed his name popped up in trade rumors every winter dating back four years.  Eventually, he signed with the Heat for half the money the Celtics could've paid him, knowing full well that he wouldn't be a starter in his new tropical surroundings.  

Truthfully, I feel for Allen now as I did when the news first broke.  Did it suck that of all potential suitors he chose the one team who would surely be the biggest obstacle for our return to the promised land?  Yes, it did.  Was he probably sticking it to Celtic management a little bit?  Yah, I think he was.  But imagine being dangled like bait every February, never feeling your job was secure, despite consistently exceeding expectations and resisting complaint.  I think it's fair to say Danny Ainge and company treated him unfairly in a lot of ways, taking a less tactful manner than was appropriate given the circumstances. 

I won't be able to view Ray Allen quite the same way as I once did going forward, but that doesn't change the fact that my favorite team won a title with Allen drilling corner threes and ripping opposing hearts out.  He goes down as one of the ten best shooting guards in NBA history and one of the clutch performers of his generation.  And although Miami is the fourth and likely final stop for the 17-year vet (following stints in Milwaukee & Seattle), Allen will always be a Celtic to me.  

2012 In Memoriam, Part I

Thirteen years into the 21st century, Back to the Future Part II is looking less prophetic than I once imagined.  Supposedly, we are now only 24 months from hover boards, self-drying jackets, and dehydrated pizzas.  In reality, we have a re-elected African American president, the Cubs have yet to win the World Series, and poor Marty McFly has Parkinson's.  One thing that never changes though, is the inevitable passing of celebrated figures we all know.

Before embarking on my annual tribute to those who said their final goodbyes, I'd like to offer a fond farewell to Shana, our family dog since I was in college.  My parents brought her home in 2002 when our first dog Lucy was 13 and aging fast.  I challenge anyone to produce a sweeter pair.  Quickly realizing that Lucy, a Brittany Spaniel three times her size, took first pick of food bowls every morning, Shana learned to eat quickly.  This is most definitely a Pava trait.  Remarkably Lucy stayed healthy another three years, no doubt due to the exuberance provided by her new best friend.   

Shana eased the eventual transition for my parents, brothers, and I and quickly forged her own quirky personality.  She had a funny habit of spacing out and staring in one direction as she got older, although somehow she always heard the cookie jar.  After long days at the hospital and bumper-to-bumper traffic on I-95 this past year, Tarah often came home exhausted.  But upon arrival, Shana typically sprinted over, jumped up her leg, and stretched her little body as far as it would go.  This wonderful hello only took seconds and forced a smile every time.  

In August, my parents had to put down our beloved Mini Schnauzer, who was suffering from a heart murmur.  Shana spent the day outside in the sun with us.  She enjoyed a virgin McDonalds' grilled chicken (meaning no bun) and trotted around the yard.  I still miss her.  Shana was 15.

Several notable writers left us this year, including children's author Maurice Sendak (83), best remembered for the timeless classic Where the Wild Things Are.  Science fiction pioneer Ray Bradbury (91) wrote Fahrenheit 451 and many other popular novels.  Jan Berenstain (88) collaborated with her husband Stan on dozens of Berenstain Bear books, whose covers somehow still remain instantly recognizable decades later.  And the title family continues to provide moral lessons to young children all over the world.    

Henry Hill (69), who relayed his experience in the New York Mafia from the confines of the Witness Protection Program, died in June from decidedly uncinematic causes.  His story of betrayal later made Ray Liotta a star and inspired the best American film of the past 25 years, Martin Scorsese's Goodfellas.  Another individual who made waves was Rodney King (47), whose videotaped beating by the LAPD in 1991 sparked racial tension and deadly riots.

Music took a hit this year with the loss of pop icon Davy Jones (66), lead singer for The Monkees.  The catchy hit "I'm a Believer" was the most popular song of 1967.  Donald 'Duck' Dunn (70), brought his formidable bass talents to multiple soul acts, including Booker T, Sam and Dave, and The Blues Brothers.  Beastie Boys co-founder Adam 'MCA' Yauch (47) died following a three year battle with cancer, which sadly also claimed "At Last" singer Etta James (73), The Bee Gees Robin Gibb (62), and the "Queen of Disco" Donna Summer (63).  Robert Sherman (86) wrote and composed many classic Disney songs, while the esteemed Marvin Hamlisch (68) won a Tony, three Oscars, four Emmys, and the Pulitzer Prize for drama.  His numerous Broadway credits included A Chorus Line, The Goodbye Girl, & They're Playing Our Song.  He also figured prominently in 70s films The Sting & The Way We Were.  

On television Neil Armstrong (82) provided one of the great moments of the 20th century, becoming the first man to set foot on the moon on July 20th, 1969.  Mike Wallace (93) always sought the truth over four decades as a news correspondent on 60 Minutes.  Puppeteer and voice actor Jerry Nelson (78) brought his unique talents to Sesame Street, Fraggle Rock, & The Muppets over the years.  He created dozens of memorable characters, including Statler, The Count, Gobo Fraggle, Crazy Harry, Floyd Pepper, Herry Monster, Camilla, Uncle Gobo, Lew Zealand, & Snuffleupagus.  And Dick Clark (82) was America's host for multiple generations, helping all of us usher in the new year with dignity from his annual booth in Times Square.  Don't get me started on his replacement.

Andy Griffith (86) was on a short list of the most beloved television figures of all time, playing Sheriff Andy Taylor on the appropriately titled The Andy Griffith Show.  But despite his connection to Mayberry and later Matlock, my brother and I are probably the only two on the planet who will remember him best as General Rancor opposite Leslie Nielsen's Dick Steele in Spy Hard.  Jack Klugman (90) was most famous for his role as Oscar Madison, one half of TV's The Odd Couple with Tony Randall.  He later starred on Quincy M.E. and was the last surviving jury member from the classic courtroom drama 12 Angry Men.  

Larry Hagman (81) became an 80s icon playing villainous oil tycoon J.R. Ewing on Dallas.  He was also well known for I Dream of Jeannie and submitted a great latter-day performance as a politician with a hidden past in Mike Nichols' Primary Colors.  Sherman Hemsley (74) will forever be George Jefferson to millions of fans who watched him "movin' on up" to his own spin-off The Jeffersons, following a successful run on All in the Family.  Ian Abercrombie (77) provided laughs as Elaine's lunatic boss Mr. Pitt on Seinfeld.  One of my favorite episodes focused on his obsession to find a spaceship in a 3D painting.  Others of note included trendsetting comedian Phyllis Diller (95), Family Feud host Richard Dawson (79), Don Grady (68) of My Three Sons, and Welcome Back Kotter sweathogs Ron Palillo (63) & Robert Hegyes (60).

Happy New Year!

Part II Coming Soon . . . . .

Spielberg's Lincoln: A Man of One Hat

Around the 75 minute mark of Lincoln, I noticed my wife fidgeting in her seat.  I leaned over to ask if she was ok, since she had been looking forward to this particular movie.  She rolled her eyes, sighed, and declared, "It's Tommy Lee Jones in a funny wig."  I chuckled, careful not to offend a mostly older audience that seemed captivated.  Minutes later, I handed over the car keys so that she could find a more entertaining way to fill her weekend afternoon (i.e. Marshalls).  Now alone with my thoughts and popcorn, I refocused my attention to the screen, hoping the second half would prove more involving than the first.  Although the pace intensified as the film built to a climax, I eventually left the theater thinking her brief summary had somehow been on target.    

Where was the magic?  This years encore presentation of Lincoln, following last summers slight but entertaining Abraham Lincoln: Vampire Hunter, is a two and half hour account of the fight to pass the 13th amendment.  Naturally, a movie poster featuring the scroll for the Bill of Rights wouldn't sell too many tickets, so instead we have the 16th president's distinguished mug taking the form of our generations most intense actor, Daniel Day-Lewis.  To be sure, the two-time Oscar winner looks great in the role and disappears into the title character within minutes of the opening credits.  The film is handsomely designed, intelligent about politics, and contains the years most impressive roll call of actors.  And yet, the most accurate compliment I can pay Steven Spielberg's newest prestige pic is that there is nothing overtly wrong with it.

Lincoln is a curiously lifeless epic, despite some of the most talented behind-the-scenes people in the film industry.  Spielberg chose several frequent collaborators for this project, including cinematographer Janusz Kaminski and maestro John Williams.  Make no mistake, this will be an awards contender.  Except for the upcoming Les Miserables, I suspect Lincoln will be flush with more nominations than any other 2012 release.  These will probably include best picture, director, lead actor, supporting actress (Sally Field as Mary Todd), supporting actor (Jones as Thaddeus Stevens), adapted screenplay (Tony Kushner), original score, cinematography, film editing, costume & production design, makeup, and possibly sound editing & mixing.

Lincoln is undoubtedly the years most loquacious movie with numerous monologues and anecdotes, as well as debates both within the White House and between political parties.  Much opposition to the proposed amendment that would eventually end slavery involves the ongoing Civil War, which we are told might've ended faster had Lincoln dropped his more pressing agenda.  Though no student of history or politics, I was able to follow most of the dialogue once I got passed certain language that didn't seem all that far removed from Shakespeare.  But I would argue "most dialogue" doesn't necessarily equate with most successful script.  Reportedly Kushner's first screenplay stretched some 700 pages, an unfilmable amount.  He and Spielberg wisely opted to focus on a shorter, paramount period in Lincoln's life.  However, I'm not convinced they made sufficient character cuts to accommodate this reduction.

This is a giant cast, but other than Day-Lewis and maybe David Strathairn, who plays right-hand man and Secretary of State William Seward, no actor has more than a handful of scenes.  That we come to recognize these characters at all has more to do with audience familiarity with their faces than writing depth.  I'm sure this project generated huge interest throughout Hollywood.  How else to explain brief appearances by Hal Holbrook, Bruce McGill, Gloria Reuben, Michael Stuhlbarg, and Jackie Earle Haley?  John Hawkes, Tim Blake Nelson, and James Spader turn up as an amusing 19th century version of Three Stooges lobbyists trying to secure votes needed to pass the 13th amendment.  Even Joseph Gordon-Levitt, who became a bona fide movie star in 2012, has only a few scenes as Lincoln's son Robert.  None of the them are bad or even miscast, so much as superfluous as presented in the final cut.

Spielberg's film feels trapped on the surface, lacking the emotional resonance that helped define his best dramatic works.  His unmistakable visual flair, a trademark in everything from Close Encounters to Minority Report, is largely muted in Lincoln, almost as if he didn't want to upstage the material.  There are a few shots depicting the aftermath of battle, but nothing to pack the punch of Saving Private Ryan.  Kushner's background as a playwright is apparent throughout: large individual sets, heavy chatter, little action.  What's surprising is that he also wrote Munich, a more demanding examination of political themes that simultaneously managed to raise the viewers pulse.  In that film, audiences were allowed inside the head of Eric Bana's character, whereas Lincoln continually seems just outside our reach.  Schindler's List, which remains the directors crowning achievement, contained three exceptionally well-developed leading roles.  Spielberg correctly realized this structure would be far more effective than presenting a dozen one-dimensional characters.  I wish he had remembered that here.      

I never felt completely engaged by Lincoln, and repeatedly got the impression that Spielberg wasn't as connected to this material as with his previously mentioned efforts.  Amistad, which depicted a mutiny aboard a slave ship heading to America, was another historical drama from Spielberg that fell somewhat short of expectations.  I suppose this isn't entirely shocking given his background.  The most famous Jewish filmmaker of all time, he has spoken at length in the past about deep feelings toward the Holocaust and the 1972 Olympic Games massacre.  His father served as a Communications Chief in a B-25 Squadron during World War II.  Even Indiana Jones' most formidable adversaries were the Nazis.  Maybe personal passion needs to fuel the engine to be at your best.

Lincoln is a professional, workmanlike production.  If the subject interests you, it's certainly worth seeing.  But it falls considerably short of greatness, despite what academy lobbyists will tell you.  In an election year featuring a double dose of Lincoln, I knew I would favor whichever film took more chances.  I never dreamed it would be the one with vampires.

The Sky Refuses to Fall on James Bond

As many have undoubtedly heard, 2012 marks the 50th anniversary of James Bond, the most durable of modern movie characters.  Agent 007 has disappeared and returned with various styles and new faces over the decades.  Finally, after a lengthy four year hiatus caused mostly by bankruptcy issues for its studio MGM, Bond has exploded back into multiplexes in time to grab its share of the winter box office.

In short, Skyfall is the year's best blockbuster, easily surpassing anything Hollywood offered audiences last summer.  Perhaps more impressive, it's also the most thrilling Bond adventure since Sean Connery donned the suit some forty-eight years ago in Goldfinger.  The film successfully looks to the future while reintroducing the past, no small feat.  The transition is seamless and will bring smiles to many viewers whose memories will be stirred and shaken.  And yet, Skyfall is not merely a trip down memory lane.  If judged only as a solo action vehicle, it is relentless and features one of the most memorable movie villains in some time.

Daniel Craig, now firmly established as Bond for the 21st century, does a lot of running and hanging in Skyfall.  Despite being a required staple of the franchise, the opening pre-credits chase through Istanbul is not superfluous, ending with a dramatic decision by M (Judi Dench) that will stun some viewers.  The main story picks up months later, as M sends Bond on a mission to locate a stolen hard drive containing decrypted names of British MI6 field agents.  If the primary objective sounds like it was lifted straight from Mission Impossible, the ramifications are considerably higher here.  Credit must go to writers Neal Purvis, Robert Wade, and John Logan, who've used a simple starting point to contrast todays technological threats with the comparatively primitive megalomaniacal evildoers of decades past. The depth of this script reveals both Bond and M to be dinosaurs in an age when power can be transferred with one click on a laptop.

As momentum flags slightly around the one hour mark, Bond is taken by boat to a deserted island ruled by Silva.  Sporting bleached-blonde hair and Miami nightclub attire, Silva is played with flamboyance by Javier Bardem.  Had the Spanish actor not won an Oscar playing an equally disturbed psychopath five years ago in No Country For Old Men, I suspect he'd be in line for a nomination here.  Silva's goals are far more intimate than the average Bond adversary, his methods inspired by intellect.  The middle act of Skyfall, beginning with Silva's introduction and closing with a getaway in Bond's famed Aston Martin DB5, represents the films highpoint.

With Skyfall, director Sam Mendes has cemented his status as one of the most versatile directors at work today.  After captivating audiences with his Oscar-winning dysfunctional dramedy American Beauty (1999), Mendes tackled other genres: the star heavy mob tale Road to Perdition, the introspective war drama Jarhead, the 50s era marriage tragedy Revolutionary Road, and the delightful road trip romcom Away We Go.  Yet, he's remained consistent across productions of varying sizes.  His films always look the part, both in design and execution.  When I think back to Road to Perdition, neither the gunplay nor Paul Newman's forceful final performance stand out oddly enough.  Rather, I remember the towering structures of downtown Chicago and the climactic dialogue-free massacre in the rain. In Skyfall there's a brilliantly constructed sequence when Bond shadows his prey up a Shanghai skyscraper, the city skyline in the background.  Heavy shadows and eye-popping colors permeate the atmosphere, making the resulting fight scene unlike any I've seen in years.

The other calling card so prevalent in Mendes' work is the theme of family.  Throughout his filmography, personal relationships have dictated character motivations regardless of scope.  Audiences may be surprised by the final act of Skyfall, a title that ultimately refers to something far more personal than any other in the series.  Connery would be pleased with the location. As M becomes the focal point of a battle between two "sons," we learn the hows and whys of Bond's upbringing and are introduced to Kincade, played by Albert Finney in an wonderful extended cameo.

By films end familiar characters are firmly reestablished, including Q and Moneypenny.  Ralph Fiennes will be on hand for future installments as an MI6 higher-up.  Bond has his Walther PPK, and is equally comfortable with a knife.  And the rousing original theme marks a triumphant return, reminding viewers that the more things change, the more they stay the same.

Flight: When Good Films Are Ruined By Deceptive Trailers

Imagine if after the sensational train wreck in The Fugitive, Harrison Ford had slowed down, skipped the chase, and spent the next two hours agonizing over regret and drinking himself into a stupor at his grandfather's farm house.  Sounds pretty depressing right?  Of course you won't see a quote like this in any newspaper or commercial, but it represents a fairly accurate description of what audiences can expect from Denzel Washington's latest effort.

Don't see Flight.  That's what my gut tells me.  At least not if you're looking for escapism after a long, grinding week at the office.  It won't make you feel better.  Your popcorn will taste a little more bitter, your beverage a little less sweet.  And if you're like me, you'll walk out of the theater wondering if you bought the correct ticket.

You're scratching your head aren't you?  That new Denzel Washington movie about the pilot who lands the plane upside down and saves almost everyone on board?  Don't worry, I haven't spoiled anything.  This was all in the misleading trailer (more on that later).  Most critics are praising the drama, while singling out the astonishing plane crash that set the story in motion.  No argument there.  The crash and turbulent decent leading to it represented the films high point.  Those scenes were in fact so effective in creating tension that I wish the whole film had taken place inside the cockpit.  Director Robert Zemeckis has long offered spectacular onscreen images (the Delorean taking flight in Back to the Future, the equally horrific plane crash in Cast Away).  He also knows how to blend drama with visual effects better than anyone.  His other credits have included Who Framed Roger Rabbit & Forrest Gump.  But this was the first time after viewing any of his films that I wished I'd done something else with my time.

Am I being unfair?  I spoke to my parents, who also took this Flight last weekend.  My mom liked it and claimed it to be pretty much what she expected going in, which surprised me.  I'm rarely caught this off guard, at least when it comes to movies.  So I watched the original trailer on youtube, then watched it again.  I stand by my criticism and argue that the trailer carefully tiptoed around the focal point of the story.

The preview was breezy and seemingly uplifting, featuring charismatic personalities like Washington and John Goodman strolling through corridors in sunglasses without a care in the world.  The opening tune was Joe Cocker's unmistakably upbeat "Feelin' Alright."  The only other song, The Rolling Stones classic "Gimme Shelter," appeared to transition towards slightly more adult material while maintaining a similar tone.  Don Cheadle briefly mentioned that alcohol was found in the pilot's system when the plane crashed.  There was no mention of cocaine use of course.  One character referenced the pilot possibly going to jail.  They emphasized that nobody else on earth could've landed the plane the way Denzel's character did.  They showed him being swarmed by media.  They posed the question of whether this pilot was a hero, although the actual film disposed this notion emphatically.  They suggested a climactic trial eclipsing anything that made the final cut.  Finally, the pilot's heroin addicted girlfriend was nowhere to be seen, despite having significantly more screen time than anybody besides Washington himself.      

In fairness, these were marketing decisions that probably had little to do with the creative team behind Flight.  After all, how many of us would run out to see a 138 minute film that was 80% about alcoholism?  But it must be mentioned that this was the third consecutive trailer for a live action Zemeckis film that caused controversy.  Back in 2000 both of his major releases, What Lies Beneath & Cast Away, were attacked by moviegoers complaining that their trailers blatantly ruined the key surprises for those films (Ford was a bad guy in the former, Tom Hanks escaped the island in the latter).  In spite of this, both films ended up being huge successes at the box office.  Similarly, Flight now seems destined for a prolonged run through the holidays after opening to a stronger than expected 25 million this weekend.  But did audiences get what they wanted?  It'll be interesting to see if the film continues to thrive once word spreads.

I'd happily take blame for my own faulty assumptions given the director's track record had the trailer not convinced me otherwise.  I was reminded of Steven Spielberg's Catch Me If You Can, a presumably more jovial effort from a hugely popular filmmaker whose blockbusters at their core often featured more serious themes.  Instead Flight went the other way and is by far the darkest film on Zemeckis' resume.  The subject matter appears to stem from personal experience, though I'm only speculating.  Much of the behavior exhibited by Washington's character seemed carefully modulated, probably the result of tragedy seen firsthand by the film's star, director, and writer (John Gatins).    

Flight was a good film, in some ways very good.  Washington seems a lock to receive his sixth academy award nomination for his leading work here.  I wouldn't even be shocked if the film finds itself in the 2012 best picture race, though it wouldn't get my vote.  It's an R-rated adult drama filled with sadness and moral ambiguity.  But it wasn't much fun and may leave you exiting the theater feeling worse than when you went in.  If that's not your idea of a satisfying weekend afternoon, I suggest you save your money for this Fridays newest James Bond outing.  If nothing else, you'll know what to expect.

Nothing Expendable about Stallone's Newest Franchise

About a third of way into The Expendables (2010), Jason Statham took revenge upon a half-dozen punks on a suburban basketball court because one of them beat up the woman he sleeps with three times a year.  I pictured an enthusiastic Sylvester Stallone behind the camera during that scene . . .

Stallone: "Now Jason, stab the basketball as hard as you can. Deflate it!"

Statham: "Why???  What good will that do?"

Stallone: "Trust me, it's so cool . . . . .  Now tell that punk next time you will deflate his balls!"

Statham: "Mate, this is preposterous.  That's such a nonsense threat."

Stallone: "Just do it!"

Statham muttering under his breath: "He's lost his fucking mind," before reluctantly granting the director's wishes.

Stallone: "And CUT! PERFECT!!!"  

Sly high fived himself, flexed his biceps for the dumbfounded crew, and broke into a unique grin that has always made him look slightly retarded.  He grabbed the camera and sprinted to his next location.

The Expendables was a ridiculous throwback to 80s excess and I mean that as a compliment.  Stallone, at one point the biggest movie star in the world, crafted an over the top homage to an era when his name above the title virtually guaranteed $100 million at the box office. Those days long gone, Sly mostly remembered what worked in the past, including giant explosions, corny one-liners, and running times under two hours. As director, co-writer, and star, the former Rambo bared all responsibility for the success or failure of his action comeback.

I'm not sure if The Expendables worked in spite of its shortcomings or because of them.  Boasting one of the dumber scripts of the past decade, not a single character was developed beyond a basic stereotype.  The main objective of the film's heavy (a never sillier Eric Roberts) was never really spelled out, but had something to do with drug fields and a power struggle in South America.  Fighting alongside Roberts was the noted thespian Stone Cold Steve Austin.  Their chief opponent was Angel Batista from Dexter, a sketchy general with a mammoth army of anonymous henchmen as Nigel Powers would say.  He lived in an isolated fortress not unlike Bowser's in Super Mario Brothers, encouraged his troops to paint their faces like football fans, and graciously approved the torture of his daughter Sandra, who's brief encounter with Stallone's Barney Ross (never would've pegged Sly as a Barney) set the plot in motion.  I use the term plot loosely.

Ross was flanked by Jason Statham's Lee Christmas, who I kept confusing with Jim Carrey's Dumb and Dumber character.  On the orders of the mysterious Mr. Church (Bruce Willis), Ross' team of mercenaries was called into action.  However, Ross' primary objective seemed to be rescuing Sandra, whom he respected enough after a single meeting to willingly risk the lives of his entire unit, which included Jet Li, Dolph Lundgren, Randy Couture, and Terry Crews.  Now maybe I'm not giving Ross' logic it's due. After all, Sandra also painted cute pictures and gave him one to keep.  I'm still not quite certain whether Stallone's character wanted to bang the 20-something-year-old or adopt her as his daughter, but that indefinable quality was part of the charm in this glorified mess of a movie.

Some other highlights from the original:

- Ross claimed never to sleep and received constant visits from Mickey Rourke's Tool, a tattoo artist
who delivered a priceless crying scene deserving of a Razzie Award.

 - On a tour in New Orleans I saw exteriors of Sly's bar from the film, although it didn't look nearly big enough to house the knife throwing contests he frequently hosted.

-  In a cast loaded with professional wrestlers, Lundgren was by far the worst actor.  He was left behind, switched sides, and even treated howling viewers to a fake out death scene.  Not to mention the onslaught of short jokes he hurled at Jet Li's character.

-  Former Planet Hollywood titans Stallone, Willis, and Arnold Schwarzenegger shared their first movie scene together.  Arnold rubbed his knowledge of foreign countries in Sly's face, while Sly cracked how his rival wanted to be president.  Then Bruce told them to stop measuring their dicks.  Ok, so this wasn't exactly the long-awaited Pacino/De Niro coffee shop scene from Heat.  But for those priceless few seconds, theater audiences erupted.
    
So what can we expect for this weeks aptly titled The Expendables 2?  Testosterone levels have been increased with the additions of heroic has beens Chuck Norris and Jean-Claude Van Damme.  Returnees Schwarzenegger and Willis will see increased screen time.  Stallone has relegated directing duties to action veteran Simon West (Con Air, The Mechanic).  As with any sequel to an 80s inspired slugfest, expect more mayhem and a higher body count.  Fortunately, less logic wouldn't appear to be an option this time around.

And yes, I'll be in line tomorrow night.

Halfway to 2013

I'm slacking.  Through the midway point of 2012 I've only seen 16 movies, by far my lowest total in years.  The funny thing is I don't feel like I've missed anything, with the possible exception of Moonrise Kingdom.  More than ever I am only seeing movies that genuinely interest me and ignoring the rest, save for the first quarter of the year, a dead zone for movie releases.  It's pretty cruel that Hollywood releases their least inspiring offerings between January 1st and March 31st, a time when half the country is freezing with little motivation for leaving home on the weekends.  After a few weeks of winter withdrawal, I trekked out for Contraband and The Lorax among others, decent entertainments I probably wouldn't have considered among stiffer competition.  Amazingly, except for a pack of vicious Alaskan wolves and a foulmouthed, pot smoking teddy bear,  nearly every memorable 2012 release has been based on previous material.  The strongest writers seem to have fully migrated to television and who can blame them?  As a result, the best film to arrive in theaters thus far was a 15-year-old blockbuster.

Titanic 3D ****
Some movies are better sampled than sat through.  When flipping channels it's easy to get lost for 20 minutes during AMC's umpteenth repeat of A Few Good Men or The Shawshank Redemption.  Titanic is not one of those movies. The impact of James Cameron's three-hour juggernaut can only be fully experienced uninterrupted, on a big screen in a darkened theater.  It's the single girliest movie I will confess is a masterpiece without reservation.  The word overrated too often becomes attached to any movie that wins best picture or rakes in hundreds of millions at the box office.  But Titanic feels timeless and would remain so even without the accolades it initially received in 1997.  Some of the corny dialogue (the film's only blemish) was appropriate for the era and led to my telling T, "I know you've been melancholy lately," at least a dozen times in recent months.  The cast was perfect, led by a pair of young actors in Leonardo DiCaprio and Kate Winslet who would go on to become arguably the best of their generation.  James Horner's score is so evocative that I wonder if a silent version of the film could've been effective.  And the 75 minute sinking that closes the film remains the most impressively executed stretch of organized chaos that Cameron has ever delivered.  For the man who also directed Aliens, Terminator 2, and Avatar, that's saying something.
Note: While Cameron and co. took substantial time and effort in recreating the film in 3D, that aspect did little to aid the overall impact.  I remain skeptical about the 3D format, especially when studios add a post production conversion to enhance their bottom line.  

The Avengers  ***1/2
If nothing else, Marvel's megahit was the fastest moving two and a half hour movie in recent memory.  Though it took several introductory chapters of varying quality to unite the characters who made up our title superheroes, The Avengers proved worth the wait.  In fact, I doubt very much whether future solo outings will prove satisfying now that we've seen Iron Man, Captain America, Thor, et al. functioning as a team.  Newcomer Mark Ruffalo benefited most from the shared screen time, revealing the Hulk's tortured existence more fully than previous actors Eric Bana and Edward Norton did carrying their own films.  A sharp, funny script yielded several scenes that gained instant audience approval, including Hulk tossing villainous Loki around like a rag doll following a pompous rant by the latter.  The film's setup-heavy first half was a little talky, but briskly paced with ego contests among the new comrades.  If there's a minor complaint, it's that the two lesser members of the unit (Scarlett Johanssons Black Widow, Jeremy Renners Hawkeye) seem arbitrary, like tagalong afterthoughts in the most popular high school clique.  But no matter.  This was the most involving comic book movie since The Dark Knight and was in many ways it's antithesis.  If Christopher Nolan's film mastered mood and despair while introducing the genre's most menacing villain, The Avengers took a less dire approach, filling a comparable running time with quips and energy in spades, all the while building momentum to a thrilling end battle that barely left New York standing.

The Hunger Games ***1/2
Much to my surprise, the film adaptation of Suzanne Collins' phenomenon The Hunger Games proved more exciting than almost any summer offering thus far.  It helped that the source material seemed tailor made for the big screen, as 16-year-old Katniss Everdeen became one of 24 randomly selected teenagers from 12 districts forced into a televised battle to the death until only one remained.  It's a great premise that seemed to please fans of the books as well as moviegoers new to the nation of Panem.    Casting young Jennifer Lawrence as the film's heroine was a home run, though she was aided by an enthusiastic supporting cast, particularly Stanley Tucci, Elizabeth Banks, and Woody Harrelson as Haymitch.  I'm starting to think the former Cheers bartender should have a role in every movie.  Though saddled with a PG-13 rating to maximize the potential audience, The Hunger Games wisely didn't shy away from violence, which helped emphasize what was continually at stake.  And in a nice change of pace for Hollywood, the year's two most popular films (along with The Avengers) have also been among the best.  At least for the time being, moviegoers seem to be wising up to which spectacles are worth their hard-earned money.  After a thrilling and inventive opening chapter, I'll happily volunteer for this sequel.

The Grey ***1/2
The grittiest cinematic outing from the first six months, director Joe Carnahan's tale of redemption followed a small group of plane crash survivors into the harsh Alaskan wilderness.  Low on food and supplies, hope slowly dwindled amidst brutal snowstorms, freezing temperatures, and bloodthirsty wolves who's territory has been breached.  Considering the premise, I was shocked at how involved I became in the fates of several characters and their struggle to stay alive.  Though inevitably picked off one by one in some truly frightening sequences, I wasn't prepared for a thoughtful script that provided moments of clarity and introspection.  How long would you fight in a virtually unwinnable situation?   Best of all was Liam Neeson, whose ability to stay grounded in the thick of chaotic surroundings made him the ideal actor to carry this material.  His conviction sells the audience whether he's playing Oskar Schindler or running around Europe with "a particular set of skills," killing every scumbag in sight.  There's something to be said for that.

Ted ***
The best of an uninspired lot of comedies, Seth Macfarlane's Ted nonetheless provided numerous belly laughs and at least some imagination.  The film opened in mid 80s suburban Boston as an unpopular boy named John, excluded even from beating up other kids, receives a new teddy bear for Christmas.  The next morning it has magically sprung to life and becomes the best friend he never had, a development that fails to curry favor with John's adult girlfriend 27 years later.  Though both Mark Wahlberg and Mila Kunis were somewhat appealing, the real star was the title character, who became the most credible CGI creation since Caesar in last summers Rise of the Planet of the Apes.  As voiced by Macfarlane himself, he got all the best lines, including an unexpectedly hilarious response upon hearing he's having turkey burgers for dinner.  I actually wasn't planning on seeing this movie until I discovered several positive reviews from reputable critics.  Humor is completely subjective of course, but I challenge anyone not to laugh when Ted explores new uses for hand lotion at the supermarket.  It's all pretty juvenile and chalk full of pop culture references as one might expect from the creator of Family Guy.  Still, individual scenes represent the pinnacle of American comedy in 2012.  Make of that what you will.
Note: I knocked Ted down half a star for a dumb subplot involving Giovanni Ribisi as a freaky kidnapper that served only to pad the running time by 30 minutes.  Too bad.

That pretty much brings us up to speed.  Both American Reunion and 21 Jump Street had their moments, while the appropriately titled Abraham Lincoln: Vampire Hunter is destined to become the guilty pleasure of 2012.  Prometheus and The Amazing Spiderman fell below my expectations despite strong efforts from Michael Fassbender & Noomi Rapace in the former, Andrew Garfield & Emma Stone in the latter.  Michael Stuhlbarg (A Serious Man, HBOs Boardwalk Empire) brought extraordinary wit and charm to his small role in the affable, though inconsequential Men in Black 3.

Then there was Tom Cruise as larger than life superstar Stacee Jaxx in the otherwise forgettable Rock of Ages.  Had the film been held until November and not underperformed badly at the box office, I suspect Cruise might've been in line for his fourth Oscar nomination.  The film came alive every time he authoritatively commanded the screen, so it's a shame his character wasn't the primary focus.  Cruise acted circles around his costars and continues to prove that his talent matches his fame.

Next week brings Nolan's trilogy capper The Dark Knight Rises, while most of the years other highly anticipated films, including Jackson's The Hobbit, Spielberg's Lincoln, and Tarantino's Django Unchained won't be out until winter.

See you in December.