3-D animated ‘Coraline’ pushes the right buttons

February 7, 2009 by gbrown

Three and one-half out of four stars (Rated PG for thematic elements, scary images, some language and suggestive humor) Running time: 101 minutes. Reviewed at The Woodlands Tinseltown 17 on February 6.

My five year-old sons would not be candidates to see “Coraline,” the new 3-D stop-motion animated feature that opened the other day. While the PG rating might suggest a level of innocence only slightly above the pristine G, there’s no way I’d recommend the sometimes-dark movie for the young.

Instead I’d rather see the MPAA revise their movie rating system to label such fare as “PG plus” as a more accurate descriptive measurement.

Okay, with that disclaimer out of the way, allow me to rave about the top-notch quality of production that goes into “Coraline.” Based on the 2002 children’s novel by Neil Gaiman, the story has been written for the screen and directed by Henry Selick of “The Nightmare Before Christmas” and “James and the Giant Peach.”

Off I went with my 3-D glasses in tow, kept in the glove box since the last time I used them for this past summer’s “Journey to the Center of the Earth.” When you go into the theater, the usher will furnish you with a pair that you might as well keep in the glove box, too. More 3-D works are on the way.

Set among a green backdrop the movie opens with “Please put your 3-D glasses on now” followed by a short promotion piece for the upcoming 3-D “Ice Age.”

The story begins in Oregon at the gaudy-looking Pink Palace Apartments with three units, the middle one occupied by the family of plucky 11 year-old Coraline Jones. Having just relocated there from Michigan, the over-imaginative Coraline is bored to tears. Her mother (Teri Hatcher) and father (John Hodgman) are too busy writing a garden book than to pay much attention to their daughter.

In the upstairs apartment lives the retired Russian circus performer Mr. Bobinsky (Ian McShane) with pole-length legs. In the basement apartment resides the two British vaudevillians Miss Spink (Jennifer Saunders) and Miss Forcible (Dawn French, better known together as French & Saunders of the BBC comedy series).

Coraline meets one boy named Wybie Lovat (Robert Bailey Jr.) who is more a pain than a friend. There’s also a scrawny black cat named Cat (Keith David) that takes on a bigger role later on.

Awakened at night, Coraline is led by a mouse to a mini-door in the apartment that in the real world is bricked in. This time the door opens up to a tunnel that leads to a brighter and cheerier parallel world where Coraline’s parents become “Other Mom” and “Other Dad.” The food there is much better; the Other Dad has created a brilliantly colored garden and there’s always a wild circus to enjoy with the neighbors as performers.

There’s one problem, however. The denizens have sewn-on buttons for eyes, kind of a creepy effect. To boot Cat talks, becoming Coraline’s faithful companion while Wybie is strangely mute.

Then “Other Mom” turns ghoulish and presents Coraline with a box containing a needle and thread along with two buttons. Coraline gets the picture quickly—the Other World is a lair to trap children and the rest of the movie involves her frantic attempt to return to the real world.

While the 3-D effect is truly spectacular, it’s the story that stokes the imaginations of children—starting around the age of ten.

Take the bypass and steer clear of ‘New in Town’

January 31, 2009 by gbrown

Two out of four stars (Rated PG for brief strong language and some suggestive material) Running time: 96 minutes. Reviewed at The Woodlands Tinseltown 17 on January 30.

Poor Minnesota. They can’t elect a U.S. senator, nor can they catch a break from Hollywood in terms of their image. A dozen years ago Joel and Ethan Coen skewered the Gopher State with their award-winning “Fargo” by accentuating the “ya’s” and “you betcha’s” for comedy effect. Before that, Jack Lemmon and Walter Matthau showed Minnesotans as feuding old codgers playing mean tricks on each other when they weren’t too busy drinking cheap beer pike fishing on frozen ice.

Yet a former colleague bucked a national trend and moved back home to Minnesota this past summer. True, she missed her family but I thought of her the past week sitting snowbound in a frozen apartment, knitting a quilt or scrapbooking.

Now we have the newest botched Minnesota chamber of commerce effort, the generic comedy “New In Town” that arrived on Super Bowl weekend when attention is focused on a football game, not a new movie. Did the distributor have that in mind when setting up the release schedule? You betcha!

I went to the first show with the lowest of expectations, taking a quick peak at the RottenTomatoes.com rating (13%) after reading Joe Morgenstern’s eviscerating review in the Wall Street Journal: “The month of January has come to be known as a graveyard for bad movies, but how bad can it get? This one answers the question.”

Yet sitting in an almost packed late morning opening show, among people older than me no doubt taking advantage of the senior citizen early movie discount, I heard sustained laughter through the first two-thirds of the movie. Then it crashes and burns because the script, strip-mined from other similar themed efforts, runs out of ideas and jokes.

Renee Zellweger plays Lucy Hill, a sharp dressing corporate vice-president aspirant at Miami-based Munck Foods. Lucy is assigned to streamline a food-processing plant in New Ulm, Minnesota and reduce the workforce by 50 percent—such a cheery theme in this day and age of store closings and announcements of layoffs.

Lucy arrives in town with six suitcases (I sat there trying to calculate the airline fees) but not one winter garment, this coming just before Thanksgiving. It can get pretty cold up there in Minnie-soda. Apparently her MBA program did not include so much as one physical geography course.

Lucy is indoctrinated into the small town ways of New Ulm, chiefly from her assistant Blanche Gunderson (Siobhan Fallon Hogan), a local yokel who quilts, scrapbooks, and has the audacity to ask the new boss, “Have you found Jesus?”

Lucy responds, “Well, I didn’t know he was missing.” That’s a real knee-slapper there.

Lucy compounds her image problem by canning the cantankerous plant manager Stu (J.K. Simmons in a fat suit). But Lucy’s cold heart warms after meeting the hunk local union representative Ted (Harry Connick Jr.). Romantic sparks fly but first Lucy does a Dick Cheney by accidently shooting Ted in the butt with a shotgun while hunting.

Will Lucy stiff the corporate suits in Miami and find a way to keep all the beer- guzzling workers on the payroll? Well, duh.

There’s an underlying Frank Capra theme about the goodness of small town America and the virtue of American free enterprise. Baloney—the end credits reveal the movie was shot in Winnipeg, Manitoba. You betcha!

Gripping ‘Road’ is paved with not-so-good intentions

January 24, 2009 by gbrown

Three and one-half out of four stars (Rated R for language and some sexual content/nudity) Running time: 119 minutes. Reviewed at The Woodlands Tinseltown 17 on January 23.

In earlier reviews I’ve mentioned my growing up in the New York City suburbs of Fairfield County, Connecticut. Several movies have captured what to some was the oft-times suffocating suburban existence of materialism and conspicuous consumption, notably “The Swimmer” featuring Burt Lancaster and Ang Lee’s 1997 masterpiece “The Ice Storm,” both shot on location in my hometown.

Now we have the much-awaited “Revolutionary Road,” based on the 1961 novel written by Richard Yates and brought to the screen by acclaimed director Sam Mendes. You might recall Mendes’ previous emasculation of life in the suburbs, the award-winning “American Beauty.” Though it ended in tragedy, “American Beauty” had a razor sharp satirical element that “Revolutionary Road” comes nowhere close to approaching. Instead the new movie focuses directly on a disintegrating family unit.

The story opens with the post World War II romance of two young bohemians, Frank and April Wheeler. Longshoreman Frank (Leonardo DiCaprio) meets aspiring actress April (Kate Winslet) at a Greenwich Village party. April likes what she sees in the brash, independent Frank and they marry.

Fast-forward to 1955 and the Wheelers have moved from the city out to the Connecticut suburbs. They live with their two small children in a white colonial on Revolutionary Road, with the manicured lawn and mailbox next to the street. They have what looks like a big Buick out in the driveway.

Frank rides the New Haven Railroad commuter train into Grand Central Station every day to his job for a business machine company in midtown Manhattan. He has become “the Man in the Gray Flannel Suit,” with a cubicle office on the fifteenth floor reminding me of Jack Lemmon’s perch in Billy Wilder’s “The Apartment.” Frank hates his job but he has a stay-at-home wife, two kids, and a mortgage. He’s trapped.

April also feels trapped, not just by the suburbs but her increasingly loveless marriage to Frank. The couple spar often, a couple of times to the point of near-violence. April comes up with the wild idea of Frank quitting his job, selling their house, and moving to Paris where she can work and Frank can discover his self-worth. And for a while Frank goes along with the plan, until a big promotion arises.

Then the wheels come off. All the while, the liquor flows freely.

(On a hunch I Googled the number of liquor stores in my hometown and found 79 of them listed online within a 13-mile radius. The town population is barely 20,000. It’s a wonder us kids didn’t all end up in AA.)

DiCaprio and Winslet deliver terrific performances, their first get-together on screen since “Titanic.” Unlike Jack and Rose, this time their characters are hardly likeable. Philanderer Frank has an affair with an office worker, while April has a one-time dalliance with the next-door neighbor (David Harbour)

But the standout performance belongs to Michael Shannon in the just announced Oscar-nominated role of John, a patient at a mental institution and son of the busybody realtor friend of the Wheelers played by a pitch perfect Kathy Bates. John meets the Wheelers and sums up their deteriorating existence in a matter of minutes with much needed comedy relief.

It could have been better, but “Revolutionary Road” is a sobering movie-going experience.

Hoffman and Thompson shine in ‘Last Chance Harvey’

January 17, 2009 by gbrown

 Three out of four stars (Rated PG-13 for brief strong language) Running time: 99 minutes. Reviewed at Market Street Cinemark on January 16.

A month ago “CBS Sunday Morning” ran a profile of the actor Dustin Hoffman. For the past 40 years I have been enjoying his work, starting with the classic “The Graduate” which I well remember seeing in my hometown movie theater in the summer of 1968. It was magic watching the unknown Hoffman at work with the incredible Simon and Garfunkel soundtrack chiming away in the background.

As Hoffman disclosed to John Blackstone, he heard constant criticism that director Mike Nichols miscast his lead in the movie—“a funny lookin’ passive goofy guy”—but let’s face it, Dustin Hoffman was made to play Benjamin Braddock.

And think of all the other cinematic contributions Hoffman has made, winning two Oscars along the way. Yet now at age 71 there are few leading roles available for icons like Dustin Hoffman though interesting to me the past two weekends have seen two septuagenarians—Clint Eastwood last week and now Hoffman—blow the socks off movie going audiences with stirring performances. There is hope for us old guys after all.

Hoffman’s newest movie is the romantic half-comedy and half-drama “Last Chance Harvey,” which opened to a nearly packed house this past week. Talk about market segmentation—I’m always elated when I the soon-to-be 57 year-old film critic am but a mere kid among the other audience members.

Hoffman is Harvey Shine, a failed jazz pianist who writes TV commercial jingles. One of his clients is OxiClean, which for the life of me has never run anything more than motor mouth pitchman Billy Mays in their ads. But at least the miracle soap detergent gets a product placement out of the deal.

Harvey’s life is slowly unraveling. He’s about to get the sack from his advertising agency, but in the meantime he must fly to London for estranged daughter Susan’s (Liane Balaban) weekend wedding. To make matters worse, Susan drops a bombshell when she informs Harvey that she wants her stepfather Brian (James Brolin, with hair so white it must have been rinsed with OxiClean) to walk her down the aisle.

Susan’s mother Jean (Kathy Baker) is there of course to remind Harvey what a heel he was. So Harvey’s self-esteem is in the toilet, or forgive me, the loo.

Ah, while embarking off the plane Harvey curtly brushes by a customer service representative holding a clipboard asking annoying questions to jet-lagged passengers. She is Kate Walker (Emma Thompson), lifetime member of the London Lonely Hearts Club. Kate can’t find a man, saddled instead with a charmless mum Maggie (Eileen Atkins) who rings her cell phone endlessly.

Sad sack Harvey meets equally sad sack Kate in a pub. I can relate, having met my beautiful bride at a birthday party in which I was carefully surveying the spread—and there she was, standing behind the Oscar Mayer cold cuts platter and bowl of potato salad.

In just 48 hours Harvey and Kate somehow get together, taking long walks along the Thames River. This is by far the best part of the movie—the romantic chemistry that flows between the two great actors is worth the price of admission.

Unfortunately they are encumbered with an otherwise charmless story from writer/director Joel Hopkins with enough plot manipulations to choke a horse. But bring a hanky or two—Hoffman’s salute to his daughter and son-in-law at the reception might have you blubbering with happy tears. At least he’s not footing the bill.

Combative Clint cruises along in ‘Gran Torino’

January 10, 2009 by gbrown

Three and one-half out of four stars (Rated R for language throughout and some violence) Running time: 117 minutes.  Reviewed at Market Street Cinemark on January 9.

Say it ain’t so!  Clint Eastwood has for all intents and purposes stated that his newest movie “Gran Torino” will be his last in front of the camera.  The tireless Hollywood icon will instead continue on with his masterful work as a director and producer.

And what an entertaining final spin “Gran Torino” proves to be.

In it Eastwood plays Walt Kowalski, a bigoted, retired Ford assembly line worker with traditional conservative values.  Now a widower, his two-story house in Detroit is kept in tiptop shape and the garage houses his prize 1972 Gran Torino automobile, emerald green with gold stripes down the side.  For the uninformed that’s the muscle car that you might have seen in “Starsky and Hutch,” though that vehicle was red with white stripes.  It also got about 8 mpg, a precursor to the energy crisis of the 1970s.

Walt has little use for his two adult sons and their families.  One son and his wife suggest that he move into assisted living, which earn them both a early departure from a birthday party.

Ah, but next-door is a Hmong family that is part of an Asian American influx.  Walt, part Archie Bunker and another part Philo Beddoe (from Eastwood’s two orangutan flicks), spits out in disgust and growls often like Lurch of the “Addams Family” in his reaction to the gradual racial and ethnic makeover of the neighborhood.  He is a Korean War veteran who harbors resentment at Asians:  “You’d think the cold would keep the idiots out.”

Through an incredulous series of events, Walt slowly warms up to his next-door neighbors.  The young daughter Sue (Ahney Her) reaches through to him with an invitation to enjoy cheap beer, while her teenage brother Thao (Bee Vang)—at first Walt addresses him as “Zipperhead” and several other choice nouns—develops a mentoring relationship that becomes the crux of the story.

But Walt has an underlying health issue, and the shy, somewhat sullen Thao becomes the target of neighborhood gangbangers who want to bring him into the fold against his will.

As part of the gang initiation, Thao is ordered to steal Walt’s Gran Torino.  Walt hears a noise coming from his garage that prompts him to pull out his M1 rifle in defense of his property.  At this point Walt Kowalski transforms into Dirty Harry Callahan and we’re all just waiting for the fireworks to ensue.  But the movie doesn’t follow the vigilante formula as one might expect.

The real joy comes from watching Eastwood at work with his patented one-liners.  Some are real zingers that had the audience in stitches.

Sample this exchange when Walt is taking Thao for a tour of his garage and extensive tool collection:  “It might come as a surprise to a thief but I bought all this stuff.”

After a violent confrontation (“Get off my lawn!”) with the gang members, the Asian American community brings him food as a thank you.  Walt’s response:  “I kept a bunch of jabbering gooks off my lawn.” 

My goodness, how will Walt react when Ford cancels his retirement health care benefits?

If “Gran Torino” is Clint Eastwood’s last acting gig, he’s gone out in top form.

‘Frost/Nixon’ nothing short of a masterpiece

January 1, 2009 by gbrown

Four out of four stars (Rated R for crude language) Running time: 122 minutes.  Reviewed at Market Street Cinemark on December 31.

The late former President Richard M. Nixon and I go back a long time.  I grew up in a Republican household and so revered was the former president by my parents that my father always called him “Mr. Nixon.”  When the Watergate scandal was overwhelming the Nixon presidency, my mother cancelled her Time Magazine subscription for what she felt was its biased reporting.

I’ve read practically every book written by or about the thirty-seventh president, the nation’s only chief executive to resign from office.  Nixon has also been the subject of several motion pictures, ranging from Oliver Stone’s 1995 “Nixon” to the 1999 comedy parody “Dick“ and the 1989 TV movie “The Final Days.”

Now there is “Frost/Nixon,” the cinematic version of Peter Morgan’s Tony Award-winning stage play.  Directed by Ron Howard, this movie is nothing short of a masterpiece. 

The first principal character is David Frost, the British talk show raconteur who I first saw on the Americanized version of “That Was The Week That Was,” or “TW3.”  Frost had bounced around on the talk show circuit with a program in Sydney and London.  But he was definitely an entertainment backbencher.

The other is Richard Milhous Nixon, the disgraced former president.  Nixon got his pardon and ended up in seclusion at the posh oceanfront presidential compound in San Clemente, California.  We didn’t see or hear much from Nixon in the three years after his resignation.

But Frost took it upon himself to get the scoop on CBS and Mike Wallace to have the first exclusive set of interviews with Nixon.  It was all a question of who needed whom the most—Nixon sought a creditable return to the world stage, while Frost was trying to resuscitate his flagging career.

The result was a series of four 90-minute interviews that drew huge ratings in 1977.

It was a veritable chess match to bring the former president together with the interviewer, who was already being ridiculed for being too lightweight to do verbal battle with the always-tough ex-president.

Howard pulls it all off with plenty to spare.  Michael Sheen, the actor who was Prime Minister Tony Blair in last year’s “The Queen,” plays Frost.  But it is veteran character actor Frank Langella as Richard Nixon who walks off with the movie.  I have dozens of hours of videotapes of Nixon interviews, so I know the man well.  Langella has the Nixonian facial mannerisms—the occasional shifty eyes, the heavy jowls, and the heavily perspiring upper lip—down to a T.

“Frost/Nixon” is compelling viewing and I can’t recommend a movie more highly. 

Footnote:  In the movie, Nixon accepts a $600,000 payment for the taping sessions. In Nixon’s 1990 memoir  “In the Arena,” he gives a half page mention of the Frost interviews.  But Nixon states that he agreed to the interviews only for the money ($540,000)—“The entire amount I received from the broadcasts went to my lawyers.”

The movie gives the viewer a different impression that Nixon was a greedy old man out for the buck.  After watching former President Bill Clinton amass millions of dollars of legal expenses for his impeachment defense and other legal foibles, on this one I side with Nixon.  And I’ll remind both Morgan and Howard that there were five presidents at his funeral in 1994 and a 30-day national period of mourning.  I well remember CBS veteran Bob Schieffer’s parting words:  “Richard Nixon may have left the White House in disgrace but he left this Earth with his dignity intact.”

In spring 1972 my father took 20 year-old me to vote for the first time after ratification of the 26th Amendment the previous year.  The event was the North Carolina Republican Primary and I must have been home for spring break.  My father and I walked into the nearby precinct, which in Charlotte was the Rama Road Elementary School.  It should be noted that only weeks before I had gotten my military draft notice to be inducted into the U.S. Army, so I wasn’t exactly enthralled with Tricky Dick Nixon.

It was classic–my father literally stood there, I could see his feet underneath the curtain in the voting booth, and beforehand he said to me, “Son, you’re going to vote for Mr. Nixon, aren’t you?”  ”Yeah Dad, absolutely,” was my response.  

Instead of voting for Nixon I pulled the lever for antiwar challenger Congressman Pete McCloskey of California, who was the only other name on the presidential ballot beside Nixon.  When I pulled the lever that opened up the curtain and officially cast my vote, my Dad said again, “You voted for Mr. Nixon, right?”  I mean, what could I say?  I needed the ride back home.

The next night my father was looking at the primary results in the Charlotte Observer.  He saw that at the Rama Road Elementary School precinct there was one vote for Congressman McCloskey.  I was sitting nearby, probably watching TV, and my father’s head shifted back and forth a couple of times looking at me and then looking at the election results a second and third time to check to see that his eyes weren’t deceiving him.  ”Gar, you voted for Mr. Nixon, right?”  ”Oh yeah, Dad,” as I could see that answering to the contrary might have meant me sleeping in the garage for the rest of spring break.  You never could put anything past my old man–he knew I was lying, but not another word on the matter was ever spoken.

As I noted in the first paragraph of the “Frost/Nixon” review, Tricky Dick and I go back a long way.  As an eight year-old I got immersed in the JFK/Nixon campaign, an early trigger of my lifelong interest in politics and the study of government.  In 1968, I went AWOL from New Canaan High School to run home across the street because the results of the Nixon/Humphrey/Wallace presidential election was not really determined until the early afternoon the day after.  I went home to watch the results on TV and returned to school later only with the comfort of knowing that Nixon had won.  No one at the high school noted that I was missing, which showed what a real popular guy I was in school.

But I’ve always been amused to read other journalists’ impressions of Nixon during his years before and during the White House.  The veteran columnist Jack Germond noted in his autobiography that “the poor bastard wanted to be one of the boys, but he didn’t know how. That didn’t make him a bad president or, for that matter, a good one.  But it does explain why people like me never liked him.  It had nothing to do with ideology or a press conspiracy.  It was entirely personal.”

In fall 2004 I spent the day with Pulitzer Prize-winning Associated Press political reporter Walter Mears, one of the nicest guys I’ve ever met.  We had breakfast at The Woodlands Marriott before his Lyceum presentation at then-Montgomery College.  We talked at length about his years covering Nixon.  Walter never made the Nixon “enemies list.”  Instead, he was “FON,” or Friend of Nixon, which always earned him friendly brickbats from the boys on the bus who covered presidential campaigns.  But Mears was quite candid when he described Nixon as “the schoolmate who always lugged around his overstuffed book bag.”  ”Nixon,” he said, “would get on an airplane during the campaign stops and sit alone away from the reporters.  He wanted a zone of isolation that no reporter was ever to violate.”  That assessment speaks volumes about Richard Nixon that comes forward in Frank Langella’s portrayal in the brilliant “Frost/Nixon.”

Not to be outdone, my personal favorite the late, great David Brinkley–I’ll never forget him chatting to me at a book signing in Houston with hundreds of other people waiting in line, looking to me for answers to questions that several people were asking him–referred to Nixon as having a “stunted personality, ill-suited to be the nation’s leader.”  Brinkley made the Nixon enemies list and listed it as one of his proudest achievements in broadcast journalism.  The late actor Paul Newman likewise considered his inclusion as a proud event.

My feelings toward Richard Nixon are mixed.  Yup, he had his shortcomings, but seeing the “Frost/Nixon” movie reminded me of how there was so much of my father in Nixon and vice versa.  Every day going off to work as an executive at Exxon, my Dad would pass a sign he taped on the door saying, “Old age and treachery shall overcome youth and skill.”  Nixon, I think, had the same outlook on life, and it was quite characteristic of many of the “Greatest Generation” as they were labeled by Tom Brokaw, products of the Great Depression and World War II military service.  Long time Nixon antagonist Tom Wicker wrote a somewhat glowing tribute to Nixon titled “One of Us” in which he characterized the late president as one of those guys who overcame many obstacles to become a leader like so many of his other WWII counterparts.  The country owes a great debt to these men, so that’s why I’ll never join the line shaking my fist in derision at Richard Nixon.  I’ve got few if any complaints.

Gripping ‘Valkyrie’ accelerates on Cruise control

December 27, 2008 by gbrown

Three and one-half out of four stars (Rated PG-13 for violence and brief strong language) Running time: 120 minutes.  Reviewed at The Woodlands Tinseltown 17 on December 26.

Before going to see “Valkyrie” on Friday I pulled out a copy of “The Rise and Fall of the Third Reich” by William L. Shirer.  About 35 pages of this masterful work is devoted to the ill-fated coup against Adolph Hitler in 1944 led by disenchanted German Army generals and their civilian friends.

They were all concerned that the German military was in a no-win situation.  With the Soviet army coming in from the east and the Americans and British moving across France from the west, Germany faced eventual annihilation.  Their hopes for survival rested on an agreement for Germany to withdraw back to within their pre-war boundaries.  The only possible way for that to occur would be to eliminate Adolph Hitler.

An insider would be needed to get close enough to perform the task.  The generals found their man in Colonel Klaus von Stauffenberg (Tom Cruise), severely wounded in the North Africa campaign.  Stauffenberg lost his left eye, the fourth and fifth fingers on his left hand, and his right hand was amputated.  In spite of the injuries, he returned to Germany to become chief of staff of Operation Valkyrie, Hitler’s self-designed “Home Army” that would defend the Fuehrer in case there was a rebellion among the foreign laborers in Berlin and other cities.

The movie documents other known attempts to kill Hitler, including one failed attempt by General Tresckow (Kenneth Branagh) in which a bomb was placed in a parcel containing two bottles of brandy set to detonate in a plane carrying Hitler. 

Stauffenberg, too, fails in his first attempt to assassinate Hitler using the same British-made bombing device.  But on July 20, 1944, he unleashed his plan during a morning briefing at the “Wolf’s Lair,” Hitler’s military headquarters in Eastern Prussia.  Stauffenberg’s briefcase containing a bomb was placed under the oak conference table close enough to Hitler to blow him to kingdom come.  An officer moved the briefcase further away, an act that saved Hitler.  But the bomb detonated and Stauffenberg, convinced he had killed Hitler, unleashed his plan to take over the German government away from the Nazi fanatics and seek a truce with the Allies.

As history shows, the plan didn’t work.  Shirer’s written account of the failed coup is mesmerizing.  Under the direction of Bryan Singer (best known for the “X-Men” series and “The Usual Suspects”), “Valkyrie” remains true to the story with a few adjustments made in the interest of time.  Most everyone going into the theater knows what transpired, but the movie remains totally absorbing from first frame to last.  It intelligently examines the underpinnings of the German bureaucracy, not exactly exciting material to some, but done just right for the cinema.

The performances truly stand out, led by Cruise and several members of the supporting cast.  Interesting that the movie uses mostly British actors, led by Tom Wilkinson, Branagh, Bill Nighy, and Terence Stamp, all bypassing feigned attempts at speaking German and sticking with their own language.  I didn’t find this to be a distraction at all.

Earlier in the week an Associated Press review of “Valkyrie” praised the movie while at the same time condemning Tom Cruise’s acting.  Several other reviews in national newspapers labeled Cruise as “disturbingly American” and “too modern.”  That’s hogwash. 

For war buffs and film fans alike, “Valkyrie” is a superb production.

Mighty mouse tale ‘Despereaux’ wins in a squeaker

December 20, 2008 by gbrown

Three out of four stars (Rated G) Running time: 94 minutes.  Reviewed at The Woodlands Tinseltown 17 on December 19.

“The Tale of Despereaux” is an animated feature of Kate DiCamillo’s 2004 Newberry Medal-winning children’s book, under the full title “The Tale of Despereaux: Being the Story of a Mouse, a Princess, Some Soup, and a Spool of Thread.”

The Newberry Medal is the Pulitzer Prize equivalent awarded by the Association for Library Service for Children.  Past winners that were made into memorable movies include “Holes,” “Sounder,” “Shiloh,” and one that truly stands out of recent note, “Bridge to Terabithia.”

That’s an impressive pedigree.

The story involves a smaller than normal mouse with gargantuan ears and a red cap named Despereaux, voiced by Matthew Broderick.  He lives in a medieval seacoast kingdom called Dor, where everyone’s life revolves around soup—yes, soup.  One day of the year is designated Royal Soup Day and the entire kingdom is shut down so that the king and queen can sample a new variety of soup prepared by the royal kitchen staff headed up by Chef Andre (Kevin Kline).

Through an unfortunate series of events, a seafaring rat named Roscuro (Dustin Hoffman) with a love of soup falls into the queen’s bowl after she had taken the first sip.  The horrified queen drops dead, face first into the soup.

The outraged king shuts down the kingdom.  Soup shops are closed, the sky remains cloudy all day so no sunlight ever reaches Dor, and the denizens remain unhappy.  Roscuro flees for his life and winds up in the dismal underworld appropriately named Ratworld, occupied by you guessed it, filthy rats.

Meanwhile Despereaux lives in the much more upbeat Mouseworld.  But this is not your ordinary rodent.  When Despereaux goes to the library, he reads books, not eat the pages like his peers.  He imagines a brave knight fighting dragons and coming to the rescue of a beautiful princess.  Resisting calls to cower like his fellow species and be afraid, Despereaux instead seeks courage, honor, and decency. 

It is a chance taboo meeting with the human Princess Pea (Emma Watson) that really puts Despereaux in the soup.  The outraged mice expel him from Mouseworld and he ends up down in Ratworld, where he meets Roscuro.

Both characters ultimately overcome the odds and work together to rescue the kidnapped Princess Pea—end of story.

There are a couple of things to note about the movie.  First, the animation quality is first rate, with a softness and texture that reminds me of older Disney productions.

But I have an issue with the G rating, especially for younger children.  There are several scenes of violence and peril that some parents might find inappropriate.  One that stands out finds Princess Pea tied up on the floor in an arena, with hundreds of hungry rats moving in for the kill.  I had visions of Ernest Borgnine awaiting a similar fate in “Willard,” which was hardly a G-rated film.

In terms of appeal to children, “The Tale of Despereaux” didn’t work for mine.  We took our five-year-old twins to see an afternoon show and neither boy settled in to watch it from start to finish, while during “Ratatouille” they barely moved a muscle.  The heady material flew over their heads, and without the cutesy-poo characters and songs that highlight other animated fare such as “Cars” and “Finding Nemo,” sad to say it was pretty much a lost afternoon for the family.  Bummer.

‘The Day the Earth Stood Still’ is space junk

December 13, 2008 by gbrown

Two out of four stars (Rated PG-13 for some sci-fi disaster images and violence) Running time: 104 minutes.  Reviewed at The Woodlands Tinseltown 17 on December 12.

There are two types of audiences for “The Day the Earth Stood Still,” the remake of the 1951 science fiction classic that opened this past Friday: those that will like it for all the CGI special effects and those that don’t because there was nothing wrong with the original version that warranted a re-do—other than pursuit of legal tender.

I fall in the latter group, though I was never that crazy about the 1951 version.  In fact, a cable movie channel ran the Robert Wise directed original after I had seen the remake.  I was struck by the use (for the times) of special effects, led by a flying saucer that slowly sets itself down in the middle of a park in Washington, D.C., casting an ominous shadow in doing so.  And there was extensive use of the theremin, the electronic sound effect that helped define the 50s sci-fi genre.

 In the original, the saucer is surrounded by hundreds of curious onlookers and military troops pointing their guns at the spacecraft.  The trap door opens, and out comes a human-like extraterrestrial named Klaatu, played by British actor Michael Rennie.  A trigger-happy soldier plugs him (it) in the shoulder.  Big mistake, there—Klaatu’s bodyguard, a giant robot in a silvery suit named Gort slowly ambles down and fires a laser beam through a slit in its head, vaporizing the soldiers’ guns, a tank, and some artillery.

And to think Klaatu came to warn Earth of pending doom due to the Cold War proliferation of nuclear weapons!  Next time send the Welcome Wagon.

Scott Derrickson directs the new version, with the underlying theme of the original Edmund H. North screenplay given a new twist by David Scarpa. This time the extraterrestrial spacecraft looks like a glowing bowling ball that settles into the middle of Central Park at night.

Klaatu is played by Keanu Reeves, channeling Al Gore on sedatives.  In the age of steroids, Gort has bulked up to about 35 feet tall.  Keeping with the times, global warming has become the big concern.

The always trigger-happy Earthlings, led by Secretary of Defense Jackson (Kathy Bates), have the wounded Klaatu under house arrest but that won’t last long.  The strange visitor escapes and forms an unlikely alliance with a Princeton biologist named Dr. Helen Benson (Jennifer Connelly) and her bratty stepson Jacob (Jaden Smith, Will’s kid).  Together they elude both the military and police in Helen’s car.

“I need to know what is happening,” Helen asks Klaatu.  ”This planet is dying.  The human race is killing it,” Klaatu slowly responds.  This guy, uh thing, means business.  ”We can change—we can turn things around,” Helen pleads.  Klaatu responds, “The decision has been made.  The process will continue.”  Helen, cancel your spring break trip to Cancun and get a refund.

Any cerebral seriousness up to this point goes out the window when the CGI kicks in for the video game crowd.  Gort turns into gazillions of little flying metal bugs that vaporize Giants Stadium in the Meadowlands—next time go for the Astrodome, please—and the obligatory chase scene takes place in the race against time.

If there is another remake, let’s just forget about the pretensions of intellectual discourse and start right in with the fireworks—land the saucer in the middle of East Texas.

Bluesy ‘Cadillac Records’ in a realm all its own

December 6, 2008 by gbrown

Three out of four stars (Rated R for pervasive language, violence, drug use, and some sexuality) Running time: 109 minutes.  Reviewed at The Woodlands Tinseltown 17 on December 5.

During their less than successful first tour of America in June 1964, the Rolling Stones spent two days recording fourteen songs at Chess Records in Chicago.  Included in the mix were “It’s All Over Now” and “Time Is On My Side,” a hit record which they played to a national TV audience several months later on Ed Sullivan.

One song captured the characteristic “sound” of the famed recording studio: “2120 South Michigan Avenue,” which happened to be the South Chicago address.  An instrumental piece, it opens with a pulsating bass riff by Bill Wyman and concludes with Brian Jones blowing away on the harmonica in a stirring solo performance. (Note:  You can hear the tune on the Stones’ “12 X 5”)

For less than a minute the Rolling Stones—portrayed by actors, of course—turn up in the new movie “Cadillac Records,” a rambling, running history of Chess Records from its origins in the 1940s until the late 1960s.  Five young men with mop haircuts appear outside and tell famed bluesman Muddy Waters that they named their band after the lyrics of one of his tunes.  And then they disappear, showcasing a weakness of the script—there is so much to cover and so little time to do so.

Ah, but “Cadillac Records” has music and lots of it, all rhythm and blues from a glorious time in post war America that was eventually assimilated into rock and roll.  “The following is based on a true story” opens the movie but screenwriter Darnell Martin, who also directs, has taken some liberty with the facts. 

When in reality two Polish-born brothers, Leonard and Philip Chess, created Chess Records in 1947, only Leonard (Adrien Brody) surfaces in the movie.  One of his first big acts is to record Muddy Waters, a Mississippi sharecropper who came to Chicago to play a mean slide guitar on the streets waiting to be discovered.  Waters is played by a terrific Jeffrey Wright, who in the matter of a month has gone from being a CIA agent in “Quantum of Solace” to Secretary of State Colin Powell in “W.”  And now he plays a blues legend.  That is the mark of a very talented actor.

Chess believes there is a huge potential nationwide audience waiting to hear “race music” so both he and Waters take to the road to bribe Southern radio station DJs to play “I Can’t Be Satisfied,” the slide guitarist’ first big record.  And the tradition begins in which the recording studio owner hands Waters the keys to a new Cadillac, a gesture repeated often.

Other acts come and go.  Harmonica player Little Walter (Columbus Short) has a low flash point; mean looking Howlin’ Wolf (Eamonn Walker) maintains a long running feud with Waters; and songwriter Willie Dixon (Cedric the Entertainer) serves as the narrator throughout.

But two acts endure:  the first, Chuck Berry (a superb Mos Def), breaks the color barrier by transforming R&B into rock and roll for white audiences, followed by Etta James, played to the hilt by Beyonce Knowles, who can’t seem to shake her troubled past for a drug addiction.  But man can she sing, and one of her tunes “At Last” is worth the price of admission.

As played by Brody, Chess comes across as part-genius and part-in-house psychotherapist for keeping the centrifugal forces that threaten his musical empire at bay.  While the storyline is somewhat disjointed, the music really shines.