Tag Archives: reviews

My reviews of movies/TV/trailers

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Everybody’s Chattin’ – April Reviews Edition

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Happy Friday everyone! It’s gonna be in mid 60s today, so that’s sure gonna add an extra step in my Spring. Finally it actually feels seasonal this weekend :D

Well, it’s time for another Everybody’s Chattin’ post and this time I want to highlight reviews some of you fine bloggers have written recently. I specifically want to focus on films that I haven’t seen yet, either new releases or older ones already out on dvd. Without further ado, here we go!

Mark reviews In the Mouth of Madness, John Carpenter’s psycho thriller starring Sam Neill.

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To The Wonder

Nick from Cinema Romantico gave a beautiful review of Terrence Malick’s To The Wonder… calling it a ‘rapturous testament to the fleeting nature of love and life‘

I had just seen the trailer for this and was very intrigued. Then I head over to Bonjour Tristesse and saw that he has reviewed Wong Kar Wai’s latest, The Grandmaster.

Now, I’m a big fan of Jennifer Lawrence and sometimes I’d make an exception for ‘some’ horror movies if it intrigues me enough, but Keith‘s review of House at the End of the Street convinces me that I shouldn’t bother with this one.

Two of my favorite Chris-es (from FilmHipster and Terry Malloy Pigeon Coop) in the blogosphere recently teamed up to bring us an excellent, succinct review of A Dangerous Method, which despite the two fantastic lead actors, isn’t as compelling as it could’ve been.

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Animal Kingdom

Kevin has been ‘traveling’ to Australia lately for his ‘Wizard of Oz’ series and he sang the praises for what he call ‘a supreme piece of filmmaking’ that is Animal Kingdom.

Now, I’ve only seen one Florian Henckel von Donnersmarck’s film (The Tourist), but unfortunately it was such a departure (NOT in a good way) from his first film. Tyson recently reviewed Donnersmarck’s excellent debut The Lives of Others, which I hope to catch soon!

This is one of the critically-acclaimed indies I have yet to see, but Stephanie’s recent review of Martha Marcy May Marlene makes me extra curious, even if it’s just to see Elizabeth Olsen’s performance.

Now, I know this is one of the indie new releases everyone is excited about, and Roshach has some really positive things to say about The Place Beyond the Pines. I’m not a huge fan of the cast but I’m intrigued enough to rent it.

GoT_Season3Ep4_PicLast but certainly not least, Lady Sati‘s been um, preoccupied with HBO’s massively popular Game of Thrones lately, as you’ve likely have seen from her GoT posts on her blog. Though I don’t watch the show, I still enjoy reading her reviews/commentary with all the gorgeous photos, such as this one on Season 3, Episode 4 And Now His Watch Is Ended.

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Well, my MSPfest viewing mini-marathon continues with In A World and The Hunt this weekend. I saw Mira Nair’s The Reluctant Fundamentalist last night which I was quite impressed with, especially with Riz Ahmed‘s performance. Stay tuned for the review of that next week and my thoughts on I, Anna coming later this weekend.

Well, before you’re off to any of the links above, tell me, what’s your weekend viewing plans?

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New Releases Double Reviews: Jack Reacher & Django Unchained

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Thanks to Ted for these reviews as I was on vacation when the screenings took place.

Jack Reacher

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Tom Cruise continues his “comeback” on the big screen with another action thriller after the success of last year’s Mission: Impossible – Ghost Protocol, this time he’s playing another super-spy type in Jack Reacher. It’s based on one of Lee Child’s popular series of novels, One Shot. The film starts out with a mysterious person who randomly shot and killed five people in a public place with a sniper rifle. With the recent tragedies in real life, this opening sequence was a bit eerie, so just a warning if you’re still too upset about what happened in Connecticut, I don’t recommend you go see this movie. Now the scene was well shot and staged and to me it didn’t glamorize the violence but I can definitely understand if someone can get upset when they see it. Later an ex-marine sniper named Barr (Joseph Sikora) was arrested for the crime and during an interrogation he asked the detective on the case Emerson (David Oyelowo) and district attorney Rodin (Richard Jenkins) to get him Jack Reacher (Tom Cruise).

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Director Werner Herzog as the Russian mobster known as ‘The Zec’

Emerson and Rodin decided to look up Reacher but couldn’t find anything on him. A few moments later Reacher showed up at their office and asked to see Barr. But Barr is in a coma because he got beat up badly by some other inmates while in custody. So Reacher met with Barr’s lawyer Helen (the gorgeous ex-Bond girl Rosamund Pike). Reacher told her that he’s there just to make sure Barr is behind bars because he believed Barr did the shooting, he and Barr had a history together back when they were in the army. But Helen convinced Reacher to help her investigate what really happened and as both of them dig deeper into the case, they got in trouble with some local thugs, Charlie (Jai Courtney aka John McClane Jr.) and his mysterious boss known as The Zec (the great director Werner Herzog).

Performance wise, I thought everyone did a good job. Especially Cruise who was in the command of the role. I’ve never read any of the books but I know some fans weren’t too thrilled that he was cast as Reacher. But I think many of them will find out that Cruise did well here.

The film is a straightforward procedural thriller; there aren’t any major surprises that will wow you. The humors are well-placed and they didn’t feel forced into each scene. The action sequences were pretty great, I’m so glad that the filmmakers decided to shoot action scenes where we can actually see them. Some directors tends to forget that when we go see action films, we want to SEE the action, not trying to figure what’s going on during a scene or get dizzy from it. Christopher McQuarrie who wrote and directed this film, did a tremendous job with his sharp dialogues and action sequences.

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The climatic shoot out was probably one of the most meticulous action scenes I’ve ever seen. The way he laid out each sequence and edited were quite astonishing to me. Then the mano-a-mano showdown between Reacher and Charlie was well staged and looked like a “real” fight between two grown men. Of course this being an action film, it needs a car chase scene and it was well done too. It reminded me of the chase scene from Bullit but I kind of wish it ended similar to that film, if you saw the trailer then you know how the chase ended. I thought it’s too cheesy and didn’t really make sense.

In the end I thought it was a well made action thriller that didn’t take itself too seriously and I like the fact it has that old school 70s thriller feel to it. I would definitely love to see more of Jack Reacher films in the future.

4 out of 5 reels

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Django Unchained

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Having read the script last year and loved it, I was very excited to see this film. (Read my script review here.) Surprisingly the film is very close to the script, only a few scenes didn’t make it to the screen. Quentin Tarantino is obsessed with spaghetti westerns and he tends to pay homage to that genre in some of his films, particularly Kill Bill and Inglourious Basterds. Well now he’s finally made a film that truly pays homage the genre but he also mix in another genre, blax-ploitation, mostly the slave related subject that were popular back in the 70s, the most popular film from the genre was called Mandingo. Anyone who likes 70s films as much as I do will probably have seen some of these films; even though they were considered “trashy” by most critics, I somehow enjoyed them. It also burrowed a lot of elements from Sergio Corbucci’s films, especially Django and The Great Silence; if you’ve seen either of those films, you’ll know what I’m talking about.

The film opens with a “dentist” named Dr. King Schultz (Christoph Waltz) looking for a slave who can identify three fugitives for him. We then meet Django (Jamie Foxx) who said he knows these three fugitives, so Schultz decided to buy Django from his owners but they refused. Well, Schultz being an educated man tried to reason with these clowns but they still won’t budge. So he used his skills with a pistol to convince them. Django is freed and both of them set out to find the three fugitives. After they hunt down the fugitives, Schultz was quite impressed with Django skills so he asked if Django would like to be a bounty hunter like him and join him in the hunt. In return Shultz will help Django with anything he wants. Django agreed and said he wants to find his wife who’s been taken away from him. The first half of the films was about Schultz teaching Django how to become a good bounty hunter and sharp with a pistol.

A few months later, Schultz found out where Django’s wife is being kept. She’s at a plantation known as Candieland which owns by Calvin Candie (Leo DiCaprio). So in order to rescue her, Schultz came up with a plan by pretending to be a rich German who’s interested in purchasing a Mandingo fighter and Django is his Mandingo expert. The rest of film took place at Calvin’s Candieland plantation.

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I thought the performances by the lead actors were great, especially Waltz and DiCaprio. Jamie Foxx surprised me, I was skeptical when he was cast in the title role but he did a good job. Apparently QT wrote the part specially for Will Smith but Smith turned him down, I was hoping QT would cast someone like Anthony Mackie or Idris Elba. Also, the cinematography by Robert Richardson was excellent, from the snowy landscape of Montana to the muddy streets of Mississippi, every shots looked spectacular. The action sequences were great, there’s a shootout scene that’s similar to the carnage scene in Kill Bill Vol. 1 where the Bride took down the Crazy 88s.

Now I’m going to talk about why I was very disappointed with this film. As mentioned earlier, I read the script (which I reviewed here) and loved it, but somehow the actual film just didn’t deliver in my opinion. It’s clear that QT really needed his long time editor the late Sally Menke to work on this film with him. I thought the first half of the film was sloppily-edited and just wasn’t coherent. The music selection was kind of odd too. I always love the music QT used in his films but when you hear a Tupac song during a shootout scene in this one, it sort of take you out of the film. Now I understand why QT cast a not so well known actress in the role of Broomhilda, Django’s wife, she hardly spoke in the film. She either screams, cries or look scare in each scene she appeared in.

This was one of the films I most looking forward to see this year and unfortunately it was a major disappointment to me. Now I plan to see it again soon since I saw it almost a month ago, so I might change my mind when I see it again. I’m not saying it’s a bad film, it just didn’t lived up to my expectations. I know that I might be in the minority since after the private screening, many people in the theater thought it was great. If you’re a huge QT fan, you might enjoy it. Just a warning though, the film is violent and very bloody. The N-word were uttered constantly by pretty much everyone in the film, so if you’re easily offended, I don’t recommend you go see this film.

In an interview, QT mentioned that he might release a longer extended cut of the film down the road. At one point his producer Harvey Weinstein tried to convince him to split the film into two parts like they did with Kill Bill but QT vetoed that idea. I assume he shot many scenes that were in the script but decided cut them out. I don’t know if a longer version will improve the movie, I mean most of the scenes left in the cutting room floor were probably just violent and rape scenes. I’m assuming here of course because those sequences were in the script.

2.5 out of 5 reels

– reviews by Ted S.

What are your thoughts on these films? Did they live up to your expectations?

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Guest Reviews from fellow TCFF Bloggers: Frankenweenie and The Master

I was away at an interactive design conference all day today, folks, but I wanted to introduce you to two fellow TCFF bloggers who’ll be covering the film fest with me. June actually covered TCFF last year for her Girl Producer blog, but this will be the first time Emery will be covering the film fest. She’s currently studying film at the U of M Film.

Thanks June and Emery for your reviews!

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FRANKENWEENIE 

Ah a beloved story of a child and his dog mixed with Ghoulish looking people, black and white theatrics, and animal zombies. Wait… what?

Frankenweenie started at a short film that got Director Tim Burton fired from Disney. Yep, fired. So it is only fitting that years later he is hired back and given a chance to revisit his old tale now embraced by Disney.

So what to say about the film? It is definitely true to the Burtonesque nature of things with it’s dark theatrics and beloved stop motion claymation and snappy humor that you have to be quick to catch. And in old Disney fashion there is something for both kids and adults to enjoy. Having seen the short years ago I was excited to see how things played out in the feature version. The thing about Burton is that he always creates fascinating abstract characters and that remains true in this film.

This is a great Halloween film that the whole family can enjoy, just be aware that there are some darker moments in the film that may be unsuitable for those really young.

– review by June Neely

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3 out of 5 reels

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THE MASTER

The Master is a period piece, set directly after WWII, it focuses on a veteran named Freddie Quell (Joaquin Phoenix), who is returning home. Either the war wreaked havoc on his mental state (a victim of PTSD) or he is inherently a troubled person. Whatever the reasoning is for his behavior/personality there isn’t a place for him in this post-war environment. This is the case until he meets Lancaster Dodd (the always lovely Philip Seymour Hoffman) and his wife Peggy (Amy Adams), who are the founders and leaders of The Cause; the Cause is a theologically-based group that exhibits traits of a sophisticated cult.

Lancaster recognizes that Freddie needs help and takes him in, believing that he can fix him. The two men’s personalities are dissimilar to such an extent that all of their interactions put you on pins and needles. Each character brings their own tension, and each interaction creates new discomfort – laughter seems to be the most appropriate reaction. Considering Paul Thomas Anderson’s past work, if it wasn’t unsettling and confusing, many viewers would be disappointed.

Over the course of the film, The Cause becomes more and more questionable. Before the release of this film, there were rumors that this was going to be a Scientology movie– P. T. A. based The Cause and Dodd’s character loosely off of L. Ron Hubbard (founder of Scientology) and his original group of followers. Despite resemblances, any connection with the current religion has been denied.

Paul Thomas Anderson is a highly acclaimed writer-director; he is responsible for a mere six feature films, yet all of them have numerous accolades. The acting is award-worthy, but I doubt that this will rake in the awards like 2007′s There Will Be Blood, but fans of PTA will be far from disappointed.

This is not a movie – as in something you would want to see in your leisure for quick (mindless) entertainment – this is a film. The cinematography is breathtaking (I saw it in 70mm – every shot looks like a photograph); this film is driven by its characters, which are genuine and memorable, and though the narrative takes a back seat, it is far from dull.

One of the quirks of Freddie Quell’s PTSD is that he’s a raving alcoholic, and there are a few points during the film where Freddie is shown making his own product. I have found an interview from the Vulture website that discusses the plausibility of distilling and getting intoxicated with household chemicals (worth a read after you go see The Master).

The R rating is deserved; Freddie has bad habits and the audience is given a full serving of his mature lifestyle. I walked out of the theater with my faith in today’s film industry totally restored. I am trying to give away as few plot spoilers as possible, while whole-heatedly advocating everyone to go see this. Waiting for it to come out on DVD is fine and dandy, but missing an opportunity to see this on the silver screen would be foolish.

Fun fact about the film: The Master grossed an average of $146,000 per theater during its limited release (sep. 15 and 16)– the second-highest total for a limited-release live-action film.

– review by Emery Thoresen

4 out of 5 reels

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Thoughts about either one of these films? Let’s hear it in the comments!

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Counting down to TCFF: ‘Ruby Sparks’ Review and Q&A

In about three months time, one of the most exciting event in my neck of the woods is touching down. YES, the Twin Cities Film Fest starts on FRIDAY, October 12 through Saturday, Oct. 20!

For more info, click on the banner to go to the official site and also LIKE TCFF on Facebook!
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I’ve always loved a movie about writers. And the premise of Ruby Sparks no doubt intrigues me:

A novelist struggling with writer’s block finds romance in a most unusual way: by creating a female character he thinks will love him, then willing her into existence.

Now, what writer hasn’t dreamed of having this happens to them? Especially when one of your characters has all the criteria of the man/woman of your dreams ;) But as Calvin Weir-Fields finds out, it’s a lot trickier than you think. At first glance, this movie shares some similarities with Stranger than Fiction, but with a few twists on its own. Whilst the Will Ferrell movie focuses on the character who finds himself the subject of narration only he can hear, this one focuses more on the writer.

Paul Dano stars as Calvin, a young writer who’s under pressure to relive his shining moment of having a New York Times best seller before he turns 20, but now suffers from a massive writer’s block. The way he portrays that agony is spot on and I immediately empathize with his character. One day Calvin sort of got his mojo back after having a vivid dream about a girl. Ruby Sparks is the name of that ‘dream’ girl, the protagonist of Calvin’s narration – a vivacious, bubbly red head, played with an infectious zest for life by Zoe Kazan. Then suddenly, out of nowhere, there she is! A living, breathing person who looks and sounds just like how he’s imagined her.

The moment Ruby enters Calvin’s life, hilarity ensues. Calvin is downright flabbergasted but Ruby is baffled by his reaction and acts as if she has always been living in his house the whole time. It’s a hilarious and endearing, funny and touching at the same time. Both Dano and Kazan played their part convincingly.

Some of the funniest moments also comes from Calvin’s married brother, Harry (Chris Messina), a stereotypical guy’s guy who thinks Calvin ought to get out more. He’s the only one who’s read Calvin’s unpublished draft about Ruby, so the moment they all meet over dinner is a hoot! They find out that Calvin can make Ruby do ANYTHING he wants, just as soon as he types it into the story. She can speak French, be a gourmet chef, etc. and of course the first thing Harry thinks of is all the um, physical alterations Calvin can do on Ruby, and basically whatever a man would want their dream girl to be and do for them.

Whilst it has plenty of amusing moments, things aren’t always so rosy. In fact, there’s a lot of dark moments here that merits its R rating. In many ways, the tone and themes are similar to Jonathan Dayton and Valerie Faris’ 2006 debut, Little Miss Sunshine where thigh-slapping humor are seamlessly mixed with intense pathos and emotional anguish. In fact, there is a fight scene towards the end of the film that is so raw, intense and utterly gut-wrenching.

The acting is top notch here. The two young cast, Dano and Kazan, definitely carry the film with aplomb. They have amazing chemistry together, Ruby’s spunky-ness perfectly balances Calvin’s awkward, somewhat socially-inept self. The supporting cast add richness to the story: Annette Bening plays Calvin’s sympathetic, free-spirited mom, Antonio Banderas as her warm, carpenter boyfriend and Elliot Gould as his therapist. Steve Coogan and True Blood‘s Deborah Ann-Woll had bit parts but are memorable despite their brief screen time.

My only issue with the film is the predictable and rather saccharine-sweet ending. I feel like if it had ended just a few minutes before the final scene, it would’ve been perfect for me. I kind of like a little bit of uncertainty at the end, where things are not always neatly tied with a big, red bow. Still, Ruby Sparks is a well-written, engaging love story.

Final Thoughts: I highly recommend this one, you’ll laugh, you’ll cry and definitely enjoy the performances. As Dayton and Farris used to be music video directors, the use of music is also compelling here, I’m sure the soundtrack is equally charming. Props for Zoe Kazan for writing an offbeat love story that feels refreshingly authentic, which is rare to see. It reminds me a bit of (500) Days of Summer, but to me, Zoe Kazan is far more endearing than Zooey Deschanel.

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4.5 out of 5 reels

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Summary of the TCFF Q&A with the filmmakers and leading cast:

I saw this last Monday July 16, and what a pleasant surprise to see both filmmakers and the two leading cast, Zoe and Paul were in town to promote the movie! I knew TCFF had announced there’ll be a Q&A afterwards but I didn’t think the cast would be there. TCFF executive director Jatin Setia moderated the event.

One question from the audience was about the believable chemistry between the two leading cast. Well, straight from Paul himself, apparently he and Zoe are dating. Zoe is just as bubbly in person as she is in the film, which is cute to see. I realized shortly afterwards that she is the grand-daughter of Elia Kazan! Obviously she shared his talent and I do think she has a bright future in Hollywood.

Paul seems more introverted and shy, and this is the second time he collaborates with the husband-and-wife directing duo as he previously starred as the reclusive, Nietzsche-obsessed teen in Little Miss Sunshine.

I asked Paul how he portrayed the novelist persona so convincingly, especially in conveying the writer’s block with such agony. I told him that though I knew he was an amazing actor, I wonder if he did any extensive research on that, y’know, like following a real novelist for a week or something like that.

Well, apparently he didn’t. Paul explained in his modest manner that he as an actor, he could easily empathize with a writer’s plight as he put it, ‘we’re artists who live and die by their work.’ He said that it can be extremely agonizing for an artist to be required to produce something creative, whether it’s a narration or performance, in a given allotted time in order to meet deadline. I thought that was a cool answer!

One insight I got from the filmmakers on the music was the fact that their experience as music video directors comes in handy in that they’ve become quite efficient in their film productions. They also understand the importance of music in film, so even on a paltry budget of $8 million, they had a 60-piece orchestra for the soundtrack!

Paul Dano complimented the filmmakers in that on top of being musically and visually gifted directors, Dayton and Farris also have a keen talent for story and character, which definitely shows in Ruby Sparks!

What’s next for Paul Dano and Zoe Kazan?

Paul’s been steadily turning up great work in a relatively short career. He’s worked with renowned directors like Paul Thomas Anderson (There Will Be Blood) and Spike Jonze (Where the Wild Things Are). At the Q&A he said that from Minneapolis he’d be off to Louisiana to film Twelve Years A Slave with Michael Fassbender, Brad Pitt and Benedict Cumberbatch (wow!) for British director ‘du jour’ Steve McQueen. He’ll also be seen in Looper with equally gifted young actor Joseph Gordon-Levitt.

This is the first time I saw Zoe Kazan on film, but she’s got almost two dozen TV/movie work under her belt. She’ll be starring with Harry Potter star Daniel Radcliffe in an upcoming romantic comedy The F-Word.

Ruby Sparks filmmaker/cast with TCFF staff

Thanks to TCFF and Allied Integrated Marketing for bringing such a special screening to Minneapolis!

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Thoughts on the movie and/or the talents involved? Let’s hear it in the comments.

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Monthly Roundup: March Movie-Watching Recap

Though I’ve been blogging for over 2 years now, I’ve never actually done a monthly movie-watching recap before. But I’ve been inspired by Eric, Andy, Diana and Andina so from now on, I’m going to do this on the first or second day of the month.

Like Diana said on her post, I too feel so diminutive seeing how many more films my fellow bloggers see in a given month! I count myself lucky if I got to see four movies in a week, and this weekend I was hoping to see Carnage or Whistleblower but ended with a big fat zero as I was busy all day Friday and went to an Indonesian Festival at the University of Minnesota on Saturday.

Anyway here are the movies I saw in March:

  1. My Week with Marilyn
  2. Hunger Games
  3. Casablanca
  4. Three Musketeers
  5. Lambent Fuse
  6. Salmon Fishing in the Yemen
  7. Senna
  8. Breaking Dawn
  9. Puss in Boots
  10. Contagion

Re-watch:

Favorite March Movie:

I’d say it’s a tie between Casablanca and Senna, they’re two very different films but both made a tremendous impression on me. I still plan on doing an appreciation post for Casablanca sometime this month.

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So this month I only saw a total of ten new films [gasp!] with about three that I re-watched, bringing the total to a whopping… thirteen! [wince] Yes I know, it’s VERY low for even a common moviegoer, let alone a movie blogger!! I am hoping to see more movies each month and maybe even add one or two movies on week nights. Well the nice thing is, I was actually able to review most of the films I saw, whilst I still haven’t got around to reviewing a few of the movies I saw around the holidays (December/January), such as Tinker Tailor Soldier Spy, The Adventures of Tintin and War Horse. I’ll do mini reviews of those films I mentioned in the near future.

Well, my goal is to watch 100 new films by the end of the year (by *new* I mean films I had not seen before, so it doesn’t necessarily have to be a contemporary film released in 2021). So far I’ve seen 19 of those this year, which means I have to see an average of 10 films every month if I were to hit my goal :D

Well, surely the lot of you saw way more films than I did. So what’s your favorite film(s) you saw in March?

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Double Screening Reviews: Jeff Who Lives At Home & Salmon Fishing in The Yemen

Happy Thursday all! Today I bring you two mini reviews that my friend Haley and I saw at an advanced screening this week.

Jeff, Who Lives At Home

Directors: Jay Duplass, Mark Duplass
Stars: Jason Segel, Ed Helms and Judy Greer

Let me preface by saying I’m no writer, in fact a sheer sense of panic set in when Ruth asked me to write a review for her blog. I’m also no film connoisseur, but I am a visual person and movies are stories in pictures, I love that. Also, someone once told me that life begins when you step outside your comfort zone, so here goes…

So last night, I went with a group of 5 to a screening of Jeff, Who Lives at Home at the Lagoon Cinema in Uptown, Minneapolis. I must say, it was a far cry from Steve McQueen’s Shame I saw a couple of weeks prior that left me feeling uncomfortable, dirty and a overwhelmingly unsettled. But this isn’t about Shame…I still don’t know how I feel about that one.

The consensus for Jeff, Who Lives at Home was determined unanimously over post-movie drinks to be “Almost great”. Although it all left us with warm fuzzies and wondering what signs in our lives we may have been ignoring, it certainly wasn’t what we had expected. So many movies these days market themselves as comedies, cause everyone likes to laugh and feel good, but this was a different approach and may very well have been the best way to get people into the theater with a cast of comedians. It was funny, don’t get me wrong, and there was probably even one too many jokes about the unusually large size of Jason Segel, but definitely more of a drama than a comedy.

One of my friends proclaimed “Well, I liked it and I usually hate most movies”, so even with the toughest critics it seemed to hit some sort of chord. Despite not being great and not quite what we were expecting it was good. And as much as the yogi in me wants to trust in everything and have faith in the universe that eventually our destiny will be revealed I also sympathize with the skeptics and realists in the world that have been burned too many times by trusting in their optimism.

So if you are looking to be uplifted, laugh a little and almost shed a tear at the end, then this movie is for you. If you ever find yourself wondering if that little seemingly insignificant thing that happened to you today meant something more, than this movie is for you. If you have ever found yourself searching for meaning in life and know you were meant for great things that just haven’t revealed themselves yet, then this is for you. If you are looking for a naked Jason Segel and toothless Ed Helms then you may be somewhat disappointed. But for all the dreamers and optimists (or wannabes) in search of inspiration and happiness we so desperately need in our lives, this is a flick that shouldn’t be missed. Not to mention, I’ve always secretly wished Susan Sarandon was my Mom.

3 out of 5 reels

Review by Haley K.

Salmon Fishing in the Yemen

Director: Lasse Hallström
Stars: Ewan McGregor, Emily Blunt, Amr Waked, Kristin Scott Thomas

This is the UK poster, in USA this movie is currently available on limited release

This movie is one of my most anticipated films I listed on this post, so when I got advanced screening tickets from my pal Ted, I was very excited. Thankfully it did not disappoint!

The one thing that grabbed me right away is the bizarre story, based on a novel of the same name by Paul Torday. I mean Salmon fishing in Yemen?? I mean how could the species that thrive in cold water survive in the hot climate of the Middle East??

Well, the protagonist Fred Jones (McGregor), a fisheries expert for the British government, ponders the exact same thing when he receives this peculiar request. His first meeting with a rep for a wealthy sheik (Blunt) at her office is quite a hoot to watch, especially the scene of him illustrating the impossibility of this project and making up some incredibly high amount of money (50 million Pounds!) in attempt to dissuade the sheik. But obviously money is no object and the sheik is willing to do whatever it takes to make this happen.

The sheik (Waked) mentions the notion of faith frequently to the atheistic Jones, challenging him that there’s more to life than ‘facts and figures.’ It’s not so much faith in religious terms so much as a conviction and believing that something could happen against all odds. The Egyptian-born Waked is so darn charismatic and charming, perfectly cast as a kind and wise Arab royalty who actually has a purpose for this seemingly preposterous project and not simply to indulge on his salmon fishing hobby.

This film is quite tricky to categorize, I mean it’s sold as a rom-com but there are elements of environmentalism, foreign relations and even terrorism, though not in a way you’d expect. In fact, it’s a rare film where a wealthy Arab is portrayed in a positive light and breaks the stereotype that not all of them want to blow up the West.

The casting is definitely a strong point here. McGregor and Blunt have a sweet chemistry together, and their slow-burn romance is wonderful to watch. Blunt has a more emotional performance here, which works pretty well against the more deadpan McGregor. I definitely enjoy seeing Scott Thomas in a comedic role as an over-zealous Britain Press Secretary. She’s so sarcastic it’s downright cruel, bossing everyone around including her own boss the Prime Minister. The iPhone chat between the two is pretty funny, but her reaction seeing the Arab guards dressed in Scottish kilts at the sheik’s castle prompted the most laughter, ‘Oooh, happy birthday Patricia!’

Aside from the few surprising twists and the quirky premise, this movie doesn’t really break new grounds. A lot of the scenes are quite predictable, but Swedish director Lasse Hallström’s direction made for an enjoyable and heart-warming movie. There are also gorgeous scenery of the Scottish highlands (and the sheik’s sprawling estate) and also Morocco which subs for Yemen.

So yeah, Salmon Fishing in Yemen is a fun catch (pardon the pun). It probably won’t be as fondly remembered as Chocolat, but I don’t even mind renting this again one day on DVD.

4 out of 5 reels

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Have you seen any of these? If not, do either of them appeal to you?

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Rental Pick: Bride & Prejudice (2004)

This review is part of Impassioned Cinema‘s Romance February Event. Check out this hub page for more romance films’ reviews from other bloggers.

As a fan of the Austen’s most celebrated novel, naturally my interest is piqued when I first heard about this project. I’m actually not a big fan of Bollywood musicals, even though it’s massively popular in my home country, but as Roger Ebert put it, this is not a Bollywood movie, but a Hollywood musical comedy incorporating Bollywood elements. It’s an amusing review as Mr. Ebert seemed to be distracted by miss Aishwarya Rai’s beauty as he’s writing it, but really, who can blame him??

Former miss Word 1994 Rai lights up the screen as the Indian Lizzy Bennet, she gained 20 pounds to play this role in order to look more ‘plain,’ though like the Keira Knightly in the Joe Wright version of Pride & Prejudice, she is a far cry from being a plain jane. Despite that, I think Rai is able to capture the strong-willed as well as vulnerability of Lizzy Bennet and there’s certain warmth about her in the scenes with her sisters.

I like Gurinder Chadha’s previous work, a soccer rom-com Bend It Like Beckham, which also deals about bending the rules of society. This time Chadha takes on Austen’s classic tale, in which the protagonist’s mother is eager to find suitable husbands for her four unmarried daughters. Chadha stayed pretty closely to the original story, even the Indian names for the characters are somewhat similar – the Bennets are now the Bhakshis, Mr. Collins is Mr. Kholi, and Bingley is Balraj, etc., only Darcy and Wickham are the only names kept for the original.

This is the first time I saw miss Rai on film as it’s her first movie done entirely in English and found her to be very charming and stunning beyond belief. I think Julia Roberts once called her the most beautiful woman in the world and it’s a fitting title. New Zealand actor Martin Henderson with dimples to die for is convincing enough as Mr. Darcy though he doesn’t have the charisma of Colin Firth or even Matthew MacFadyen. Still I think the two protagonists have a sweet chemistry.

Another thing I love about this movie is the hilarious supporting cast, especially actors playing Mrs. Bakshi and the Bakshi’s distant relative who’s matched up with Lalita, Mr. Kholi (Nitin Ganatra). Ganatra is especially hilarious as the Westernized businessman who prides himself in his success as a hotelier in L.A. The way he’s trying to woo Lalita will have you in stitches! Fans of the TV series LOST and ROME will recognize Naveen Andrews and Indira Varma playing brother and sister. Naveen is such a charismatic actor and a pretty awesome dancer as well!

One thing that wasn’t done as well is the relationship between the devious Mr. Wickham (Daniel Gillies, you might recognize him as Kirsten Dunst’s fiancee in Spider-man 2) and Lalita. Chadha took much more liberty on that storyline what with the chase that involve the London Eye and scuffle between Darcy & Wickham, but still the essence of the story about him running off with Lalita’s younger sis was there.

The filmmaker doesn’t take things too seriously, silly moments of grandios proportion are done in tongue-in-cheek fashion, such as the scene on the beach when Darcy and Lalita took a stroll, suddenly a ridiculously large gospel choir serenading them, joined by a group of California surfers swaying their surfboards! The hilarious cultural comedy when Lalita’s youngest sister performed the cobra dance that almost gave Darcy a heart attack is a hoot, too!

Any fans of Austen should be entertained by this movie. It’s a classic comedy of manners done in the most jubilant way. The script is skillfully written to account for not only the class systems. If you think the poster looks vibrant and festive, the movie lives up to it. There are quite a few song and dance sequences and characters do burst into song and dances in the middle of the scenes, but they’re balanced by a witty script and a dynamic pace. Incredibly colorful and unabashedly effervescent, no matter what mood you’re in, it’s tough not to be buoyed by the feverish energy of this movie. I like this movie so much that it’s one of the 8 movies I’d bring if I were stranded on a desert island.

Check out the trailer below:

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Have you seen this movie? Well, what did you think?

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Classic Flix Review: Bonnie & Clyde

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Greetings all and sundry! I am pleased to have the opportunity to approach and dissect in my own unique fashion one of  those films that arrives with not a lot of noise and hoopla. Takes the movie going audience by storm and creates a solid touchstone for actors and actresses no one has ever heard of before and plants them solidly in the cinematic firmament.
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Bonnie and Clyde (1967)

Directed masterfully with gusto and elan by Arthur Penn, wrapped tightly around the comely Faye Dunaway and roguishly handsome Warren Beatty. The film is an admirable blend of Depression era period piece. Clever doses of French New Wave Cinema. Grainy, washed out backdrops. Sweaty, humid bedroom scenes and good old fashioned Shoot ‘em Ups.
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The film begins with Faye Dunaway’s Bonnie Parker waking from an afternoon nap due to noises outside her upstairs bedroom window. Only to spy a very nattily dressed Clyde Barrow trying to hot wire the car belonging to Bonnie mother. Bonnie confronts Clyde, who is a sly smooth talker of the highest order. And cajoles Bonnie into the idea that spending time with him beats the heck out of showing up for her shift as a waitress at a local restaurant.
The two head off for a future unknown as Clyde hints at his past and reveals a the butt of a pistol above his belt line. A scheme is hatched as the two roll into a close by town and Clyde enters the bank. Bonnie waits behind the wheel. Clyde returns in much more of a hurry than when he sauntered into the bank. Bonnie drives and the two are richer by just under one hundred dollars.
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Bonnie teases and taunts Clyde, The two wind up in bed littered with bills of small denomination and Bonnie decides that she wants to get in on the fun too! A wheel man and mechanic is happened upon. C.W. Moss, by name.Well and dullardly played by Michael J. Pollard, of the perpetual baby face. C.W. may not know how to make or count change, but he does know engines and becomes the third member of the ‘Barrow Gang’. Quickly augmented by Clyde’s older brother, Buck and his wife, Blanche. Well and memorably played by Gene Hackman and Estelle Parsons.
Clyde, Buck and Bonnie get along well enough. Though Blanche grates on the nerves. Not wanting to get in on the fun of being modern Robin Hoods. Then taking out her aggression on Bonnie and C.W. Buck has his work cut out for himself trying to keep Blanche in line as bigger banks are robbed. One ending with a pursuing bank manager jumping on the running board of the escaping getaway car and being shot in the face for his efforts.
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The game has been changed and the ire of the law. Local, state and fledgling federal, has been stirred as the gang moves from Oklahoma to Texas between robberies and getaways to banjo picking Bluegrass. One step ahead of the law that relies upon telephone and telegraph lines to maintain pursuit. Bigger and better weapons are sought and acquired after a tete a tete with a Texas Ranger they’d gotten the drop on. Humiliated and photographed. And an impromptu, humorous taking of a car owned by Gene Wilder as a mortician.
Enter a dark, humid and quiet night. When every local lawman in the vicinity and beyond unloads on Bonnie, Clyde, Buck, Blanche and C.W. in their wooded cabin west of nowhere. Windows shatter and holes appear in walls. Fire is returned by Thompson Sub Machine Guns, shotguns, pistols and Browning Automatic Rifles. Bonnie reloads and Blanche panics and screams like a Banshee as she is shot. Buck is shot badly and dies shortly thereafter. Clyde is wounded, Blanche is blinded and captured as Bonnie, Clyde and C.W. get away.
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Bonnie tends to Clyde’s through-and-through wound with a willow branch wrapped in gauze. C.W. steals a car and the three make off to the Oklahoma dust bowl. While the Texas Ranger who had been humiliated. Well played by Denver Pyle for his brief time on screen; is brought in to interrogate Blanche. Things head south as Clyde recuperates in a shanty town and the three head off to C.W.’s distant uncle somewhere in Louisiana. C.W is taken into custody without incident by local lawmen, who at first mistake C.W. for Pretty Boy Floyd. With the covert help of his uncle Ivan in a cameo by Dub Taylor.
Bonnie feels the walls starting to close in and pens a prophetic poem while laying low. The two decide to see what the town has to offer and roll up on a car with a flat tire being tended to. Clyde slows and stops. Gets out and notices a preponderance of rifle and shotgun muzzles peeking through a line of vines and shrubbery. Then becomes the recipient of many, many bullets and pieces of buck shot while Bonnie is trapped in the car doing an odd variation of the Funky Chicken in a prolonged, slow motion dance of death.

What Makes This Film Good?

Arthur Penn at the helm. Telling a decent, though highly romanticized story that did not fare well as B Movie with Dorothy Provine a decade earlier. Penn reaches deep into his bag of tricks and amps up the chemistry between Warren Beatty and Faye Dunaway. Who, one moment is a coquette and the next displays a sensual assertiveness that would come to fruition later in The Thomas Crown Affair, Chinatown and Network.
Many early interior scenes are back lit with diffused shadows. Several exterior scenes range from lush to stark and barren with shadows supplied by clouds. In ways reminiscent of John Ford and French New Wave as Clyde chases Bonnie through a fallow corn field.
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Set direction and cinematography are far above average. Adding washed out blues, grays and greens to heighten the effects of a well researched and executed period piece. The banjo heavy Bluegrass tracts during assorted chase scenes works very well and started a minor resurgence for a few months afterward. Making the soundtrack something of an anomaly during the second term of LBJ. Which may have created the impetus to double bill Bonnie and Clyde with Bullitt during the summers of 1968 and 69.

What Makes This Film Great?

Watching a young and confident Warren Beatty transition from his television role as spoiled rich kid, Milton Armitage in The Many Loves of Dobie Gillis to play a sly and conniving leading ladies’ man. Opposite another rising talent graduating from doing yeoman work in small television roles and Hurry Sundown and The Happening earlier that year. Backed up by a soon-to-be-noticed Gene Hackman and Estelle Parsons, and veteran character actors Denver Pyle and Dub Taylor. In a film that jump started several careers, ala The Magnificent Seven.
Offered a plum opportunity for Beatty to produce and Penn to direct a character driven film very much of its time. That probably could not be made today without many more chase scenes and explosions!

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Check out Jack’s profile page and links to his other reviews

Thoughts on this film? Do share ‘em in the comments.

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Weekend Viewing Roundup: Margin Call and Another Earth

It’s been almost a month since I’ve last been to the cinema, but it’s customary for January as the new releases don’t interest me. I’m quite surprised to see the raves for The Grey however, Dan over @ FogsMovieReviews gave it a solid A, though Terrence @ The Focus Filmographer wasn’t as enthused about it. In any case, it proves to be quite popular this weekend as it took the number 1 spot with $20 million!

Well, for me it’s a weekend to catch up on recent DVD releases that I’ve been curious about. One of them actually nabbed an Oscar nomination for Best Original Screenplay. So let’s start with that one, shall we?

MARGIN CALL

Now, this film can be fittingly called ’24′ as the plot takes place over a 24-hour period during the early stages of financial meltdown a few years ago. The story can’t be more timely with the ongoing Occupy Wall Street movement that continue to spread all over the country.

The key players work at a nameless investment bank in New York City. It begins with the lay-off of a veteran risk management executive named Eric Dale (the always excellent Stanley Tucci). As he’s escorted out of the building, he hands over a flash drive to his subordinate Peter Sullivan (Zachary Quinto) with a word of caution, ‘be careful.’

If I were Peter, I’d do exactly what he did, which is find out just what the heck is on that drive. The severe reaction written on Peter’s face after he’s done processing the data that Dale started clues us in to just how significant his boss’ warning really is. What this data tells us is that the firm has been sitting on a large pile of liquid assets that are worth less than they ought to, which means the firm will owe far more than what they own, what they’ll do with that predicament not only threatens the markets stability but also triggers financial meltdown.

I’m glad I rented this movie as I don’t think I’d be able to get all the trading jargons here without using subtitles, though I think the filmmaker did a decent job in presenting them in layman’s terms. At the heart of this film isn’t the financial crisis itself, but how each player in question reacts to this given situation. I think writer/director J.C. Chandor is able to capture the moral compass if you will, of the main characters, which is the main strength of this film.

I’m truly impressed by Chandor’s direction and primarily the shrewd script, considering this is his first feature film. He’s also assembled a top notch cast: Oscar winners Jeremy Irons and Kevin Spacey and nominee Stanley Tucci are all superb in their roles. Spacey is a perfect fit in displaying a range of emotions his character goes through. Irons and Tucci’s screen time is considerably less than Spacey’s but both turn in memorable performance. Irons’ line that’s used as the tagline for this film, “Be first. Be smarter. Or cheat.” is such a chilling reminder just how ruthless and heartless these Wall Street folks are.

The younger cast are equally compelling. Most notably Zachary Quinto (in his signature stolid but sympathetic demeanor) as the rocket scientist (literally) who becomes a trader as the money is too good to pass up, and Paul Bettany as the senior trader who gives us a glimpse of the kind of life these yuppy bankers lead. He tells his colleague on the building rooftops as they’re waiting for the big honcho to arrive just what he spend his $2.5 millions he made in a given year. It’s disheartening to see just how removed these kids are from the real world — they’re so occupied with numbers that sincere connection with fellow human beings has no place in their lives. In fact, money is nothing more than means of pleasure or a measure of worth — Penn Badgley’s character’s obsession with how much people make is an obvious sign of that.

Margin Call a solid thriller that relies on a clever script and nuanced performances in place of special effects. The fact that this film had a paltry $3 million budget and was shot within 17 days is all the more impressive. I do think it merits the Best Original Screenplay nod, I’m curious to see how it’d fare come Oscar time.

4 out of 5 reels

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ANOTHER EARTH

This is another small-budget film that delivers a sizable impact. What draws me in about this film isn’t the cast but the unique, implausible-yet-thought-provoking plot.

In a single day, the life of the protagonist Rhoda Williams, a bright high school graduate on her way to MIT,  is turned upside down by a tragic accident that kills a woman and child, and leaves the husband/father in a coma.

Though alcohol is certainly a factor as Rhoda just came home from a party, she’s actually distracted by the appearance of a new planet resembling earth that has moved into our solar system. Earth 2 as it’s called, supposedly contain a duplicate version of ourselves and its inhabitants mirror our earthly existence.

The film then jumps to the time when Rhoda leaves prison after serving her four-year sentence. Before long her path crosses to that of the Yale music professor John Burroughs who lost his family that very night. He’s recovered from his coma but understandably his life is never the same again. Clearly having lost his zest for life, his existence now consists of slouching in his sofa watching TV or playing video games. It’s inevitable that these two broken people end up being involved despite the unorthodox circumstances of their connection.

This is a sci-fi film done as a meditative human drama… there’s no CGI or technical mumbo jumbo, so don’t expect to see an extra-terrestrial creature of any kind, it’s just not that kind of sci-fi movie. The central themes are those of atonement and second chances. Reminiscent to the theme of Joe Wright Atonement, guilt-ridden and suicidal Rhoda has been hoping for a way to atone for her sins. By pretending to be a cleaning lady for John, she hopes that one day, that opportunity will finally come. The fact that she likes to clean is also a metaphor for her attempt to ‘clean up her mess’ if you will.

The film not-so-subtly asks the beguiling question of ‘if you get the chance to see yourself as a third person, how would you feel or expect to see?’  It may not offer a satisfactory answer and the ‘whoa’ conclusion is more of a head-scratcher than anything else, but it certainly is an intriguing concept worth exploring.

Like Margin Call, this film also marks the directorial debut of its director Mike Cahill. It’s certainly a worthy first-time effort though his rather barren style is perhaps an acquired taste. The visuals does have a low-budget quality to it but it’s not exactly a detriment, in fact, the simplicity and starkness adds to its indie charm.

Relative newcomer Brit Marling who also co-wrote the script with Cahill, turns in a pretty affecting performance as Rhoda. She is beautiful in an earthly kind of way, her naturally tousled hair almost becomes a character in itself here along with her melancholy gaze. Character actor William Mapother (Tom Cruise’s cousin) is pretty effective in displaying believable transformation from being morose to one who’s full of hope once again. The scene of him playing the solo musical saw to an audience of one is deeply moving. Thanks to SawLady who plays the saw in the soundtrack for sending me a link to this page, it’s definitely a soulful piece of music with a haunting quality about it.

I highly recommend this if you’re looking for an off-the-beaten path feature film. It’s a slow-burn story done in a mind-numbingly quiet way that makes even The Artist seems deafening. But if you can get past its stillness and allegorical quirks, it certainly is worth a watch.

4 out of 5 reels

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So what did you see this weekend, my friends? Any thought on either one of these films, do share them in the comments.

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Classic Flix Review: Twelve O’Clock High (1949)

Greetings and welcome to all and sundry. It’s my great pleasure to offer a Guest Review of a film I grew up with and have seen many, many times on television. With and without commercials. Though only a few times on the big screen. One of the great World War II films.

Winner of two Academy Awards. From 1949. Directed by Henry King. With Gregory Peck, Dean Jagger and stalwart of many 1950s Science Fiction films, Hugh Marlowe the focus of a large cast of seasoned, well versed character actors depicting life in a B-17 heavy bomber squadron attached to the Eight Air Force in the thick of Daylight Bombing Missions in 1942.

The film begins with mild mannered Dean Jagger’s Harvey Stovall stepping out of a post war London Haberdashery after spending ‘A splendid hour and a half.’ selecting and purchasing a Bowler Derby. Satisfied, Harvey passes by an Antiques Shop and notices something in the front display window. A keepsake from a bygone era. Another purchase is made and Harvey rides his bicycle out along far off paths and roads. To what once was USAAF Archbury, home of the 918th Heavy Bomber Squadron.

The scene dissolves into the return of a group of B-17s. Fewer than had gone out. Some flying well. Others damaged and straining to keep in the air. Crash crews and ambulances are scrambled as one bomber bellies in. Slides and grinds and comes to a stop. Hatches open and the crew escapes. One seriously wounded airman is stretchered out and a medic enters the stricken hulk and brings out something wrapped in a blanket. Another bad day after another tough miserable mission for the 918th. One of the 8th Air Force’s ‘Hard Luck Outfits’.

Arguments ensue during a somber debriefing. While just outside London a newly promoted Brigadier General Frank Savage is in discussions with Generals of even higher rank. It seems that the 918th and other squadrons have hit the point of diminishing returns. Losses on bombing missions are bad to staggering. Unit cohesion is suffering. Savage’s new orders are to relieve the 918th of its Commanding Officer, Colonel Keith Davenport and do whatever is necessary to get the 918th back in the plus column.

Savage arrives with little aplomb to see just how bad things are. Lax security at the front gate. The squadron’s Executive and Air Operations Officer, Lt. Colonel Ben Gately, is Absent Without Leave (AWOL) after Davenport has been relieved. Savage orders Gately be put under arrest and goes over the assigned staff records until Gately arrives and reports  for a private dressing down.

Savage demotes Gately from Air Exec to Aircraft Commander and orders him to paint ‘Leper Colony’ on the nose of his assigned bomber. To be crewed by Gately and any complainers, malingerers and those whose work is far below par. Because Gately rates them. The only way off ‘Leper Colony’ is improvement!

There’s a new sheriff in town and the officers and crew discover the next morning as Savage lays down the law. Leaves are canceled. No more combat missions until things improve. So, it’s back to fundamentals. Formation flying. Very tight. Very close. And lots of it! The crews gripe and groan as they are dismissed.

The crews revolt of course, and the Orderly Room is flooded with Transfer Requests. Enter Major Harvey Stovall. A lawyer in civilian life. Magnificently underplayed by Dean Jagger, who’s been sitting on the sidelines and slowly sizing up his new C.O. after having been earlier read the Riot Act. What he has seen, he likes so far. And an important alliance is formed as the bomber crews continue their griping and training.

Improvement occurs slowly but surely. Combat missions are scheduled. The officers’ Club is reopened and the keepsake from the Antique Shop takes its place on the O Club’s mantle. Facing those inside when there would be mission the next day. The missions go out and the crews practice what they’ve learned about tight box formations of eight planes and utilizing each plane’s ten machine guns to keep German fighters away. Military Air Doctrine at work when long range escorting allied fighters were still months away.

The missions go deeper and deeper into France and finally, Germany! By now the crews feel as though they are part of something bigger than themselves. Morale has improved and the squadron can hold its own with the enemy and takes bigger and bigger chances. Peck’s General Savage may still not be loved, but he is respected in spades! Men in unpressurized steel and aluminum  bombers will tempt death for him. Which was the overall objective of Savage’s assignment in the first place.

Which sets the table for a strategically important mission to bomb a ball bearing factory in Germany. All parts of the squadron are functioning as a well-oiled machine. The planes are scarred, but are ready to go. The crews board their B-17s and…. I won’t go further than that. Lest we get into Spoiler Territory.

Now. What Makes This Film Good?

Ramrod straight, spit & polish Gregory Peck playing a by-the-book officer, much to the alarm and dismay of his newly-assigned squadron. Who believe they have it rough until Peck’s General Savage shows them what rough really is! Peck’s Savage knows he’s not been given the 918th to be loved. He’s been given it to punch holes in the sky until its B-17s stand a better than decent chance of  survival against the Luftwaffe. Then punch more holes in the sky to bomb Fortress Europe. If that means closing the Officers’ Club until further notice. And telling your men to forget about going home or someplace better and consider yourself already dead.

Savage is more than willing to do that. Since Savage understands that he is but one large sprocket in a much larger machine. With even larger sprockets above and smaller ones below which all need to mesh for the machine to operate.

The film’s beautifully lit, B&W photography fuses subtly with the sunlight lit, spartan offices and adds to the overall power of the film. That meshes smoothly with the stock gun camera Dogfight footage of German Messerschmitts and Focke Wolf fighters for the brief times the 918th’s B-17s are airborne and over enemy territory. Some of the best aerial photography in film.

A large and impressive cast of secondary characters and their actors. Specifically, Gary Merrill’s Colonel Keith Davenport, Hugh Marlowe’s Lt. Col. Ben Gately and Paul Stewart’s ‘Doc’ Kaiser. Merrill’s Davenport is near to being burned out as the film begins. Only to return on a later visit to see that Savage starts showing small signs of being where he was before being relieved.

Marlowe’s Lt. Col. Gately is a spoiled, privileged son and grandson of Army generals as the film begins. Though through many weeks of the Savage Method, becomes his most ardent disciple. Even flying multiple combat missions with a chipped vertabra that later results in bed rest and Traction. His transformation is subtle, but intriguing to behold.

Paul Stewart’s ‘Doc’ Kaiser is the quiet one in the group, Watching and discreetly reporting to Savage and later, Air Exec, Major Stovall on the overall fitness of the crews and probably to the Big Brass in London on Savage’s fitness as well. Stewart is a past master of under statement and doesn’t disappoint.

What Makes This Film Great?

Everything that makes it good. Plus Gregory Peck firmly wrapping himself around a figure of authority that will be visited time and again in future films. Particularly Captain Horatio Hornblower and Captain Newman, MD. Though much more rigidly as General Frank Savage. The scenes Peck shares with Dean Jagger are sometimes humorous, though completely believable and a treat to watch. As is the dialogue and Technical Direction. Kudos to the film’s director, Henry King for making parts of Eglin Air Force base in Florida and its Auxilliary, #3, Duke Field, which is in the middle of nowhere, for filling in for USAAF Archbury.

On an historic note, Twelve O’ Clock High has been used for decades after its release as a case study and training aid  in countless military and private sector leadership seminars throughout the United States and the world. Specifically used to stimulate discussions regarding authority and respect for the chain of command. The film was nominated for the National Film Registry in 1949 and was selected for the Registry in 1998.
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Check out Jack’s profile page and links to his other reviews

Have you seen this film? Thoughts are welcome in the comments.