Monday, November 12, 2007

The Hoax, The TV Set, Longford, Reign Over Me: Reviews

Hi everybody, sorry for not keeping up with posting! I've been busy with life recently but haven't stopped watching. In the interest of saving my and your time, I'm going to compile my recently viewed into a quick hit series of reviews. Enjoy!

The Hoax

Clifford Irving's life has been nothing short of amazing and it is with a sense of frustration that audiences are left with The Hoax as the cinematic representation of this existence. The Hoax isn't necessarily bad, just disappointing in its sometimes outrageous alteration of the facts of the case at hand. Despite two wonderful lead performances by Richard Gere (as Irving) and the vastly under appreciated Alfred Molina (as his assistant/steadfast friend) and capable direction from Lasse Hallstrom, the story's flaws end up diminishing what could have been an otherwise exemplary work. While still entertaining, the utter fabrications of some plot points are too difficult to completely shake for someone who has done even the slightest research into the subject at hand. One might be better viewing Orson Welles experimental film essay on forgery F for Fake, which is not only a much better summation of the spirit of Irving but also a mesmerizing, messy yet brilliantly innovative documentary from one of cinema's true masters. It requires a great deal more of the audience but also is infinitely more rewarding.

***

The TV Set


One of 2007's quiet surprises, The TV Set is Jake Kasdan's (Lawrence's son and director of Orange County and the upcoming Walk Hard: The Dewey Cox Story) assault on the television industry's pilot season. Anchored by a wonderful performance from David Duchovny, who has been experiencing a much needed career revival, the film starts brilliantly, slicing through the inner workings of Hollywood. However, as the film rolls on, it becomes less and less interesting, bringing in too many side plots and losing focus. The final scenes are particularly lackluster, an unfortunate end to a promising film. However, Duchovny is a must watch here (as he is in Showtime's Californication) adding an extra kick to a film that runs out of laughs surprisingly quickly given its minimal 88 minute runtime. Still, there is enough here to interest people involved in/fascinated by the Hollywood machine but those who only care about what shows up on the silver screen's smaller cousin, not what happens behind it, will most likely find little to grip onto.

***

Longford

HBO's drama is a stark yet slow examination of Lord Longford, a British politician who fought for prisoner rights, most famously for Myra Hindley, one half of the duo who committed the atrocities that became known as the Moor Murders (http://en.wikipedia.org/wiki/Moors_Murderers). Jim Broadbent masterfully inhabits the lead role, nailing both the physical and emotional tribulations that his character is put through. Equally as impressive is Samantha Morton, who plays Hindley, and in doing so, creates a manipulative character that is equally likable and frightening. While the film poses a series of interesting moral questions and dilemmas, it never quite reaches the emotional heights that seem possible given the involving source materials. Peter Morgan's screenplay is sharp witted and intelligent, equaling his great work from 2006 (The Last King of Scotland, The Queen) and signaling that it wasn't just a great year for the scribe who may be coming into his best years. A intelligent, though not particularly involving, look at an otherwise fascinating subject.

***

Reign Over Me

Mike Binder's ode to those suffering from the loss of loved ones on 9/11 is a sometimes moving, too often not, look at one man's inability to cope with the death of his wife and three daughters. The sole bright spot here is the work of the ever-memorable Don Cheadle, the rest of the film is overly heavy handed and wandering to really work. Adam Sandler, who plays the aforementioned widower, begins the film as a shut in, unable or unwilling to cope with the struggles of everyday life after the death of his family. Sandler is adequate but too often toes the line between a heartfelt performance and overacting, creating a frustrating performance that really hampers the film. Binder's nods to the events of the day are overt despite rarely even mentioning the day by name. Rather, he recognizes that is so deeply engrained in the American psyche that one needs to know the name to know the event. That being said, this strikes me as the worst of the high profile 9/11 films and if it wasn't for Cheadle's moving work, this film would be dead in the water, sunk by a wandering narrative and a general inability to create believable and moving characters.

**

Michael Clayton: Review

Michael Clayton is a slow burning legal thriller, A Civil Action with a pulse that surges throughout the entirety. As the film moves along, it slowly builds in tension and effectiveness until the appropriate finale which solidifies the George Clooney vehicle as one of the better thinking man films of the year. Anchored by an intelligent and efficient script, able direction and some great performances, Michael Clayton is the type of work that will long be remembered as one of the minor memorable films of 2007. Led by Clooney, as the title character, Tom Wilkinson, Tilda Swinton and Syndey Pollack, the film maneuvers along with grace and intelligence, asking interesting and important questions throughout but never disrespecting the audience enough to give clear, sure fire answers. In other words, it requires its audience to meet it halfway, an action that most will gladly undertake.

Written and directed by Tony Gilroy (best known for the Bourne screenplays), Michael Clayton starts with a bang and then slowly retreats to four days earlier where we find our protagonist being forced into an obviously difficult situation. Clayton, who can best be described as a fixer for a major Manhattan law firm, has been called out to Minnesota to bring back one of the firm's partners, Arthur Edens (Wilkinson), who has had a mental breakdown due to his stopping of his self-medication. Edens has been working on a major case for the firm, a class action lawsuit against the created corporation U/North. While it is initially unclear as to the cause for Edens breakdown, Clayton soon finds that there may be more than initially thought. It seems that Edens has had enough of defending corrupt corporations and has decided to sabotage the case, much to the chagrin of U/North's lead counsel, Karen Crowder (Swinton).

As the film progresses and the facts roll out, the case becomes more morally complicated, not only for Clayton and Crowder but the audience as well. Michael Clayton is at its best due to its steadfast refusal to condemn anyone for their actions, passing judgments in only the subtlest means. As with most legal proceedings, there is a fair amount of moral ambiguity and grey areas. Unlike some other legal dramas, which too cleanly and clearly take sides, Michael Clayton stays level headed and thoughtful, never riding one side too heavily. Rather, it asks some fascinating questions that are not easily answered. In doing so, the film is able to create a dramatic tension, not just from the narrative twists and turns but also from its thematic complications. As the film increases in intensity, its thematic concerns become more apparent, providing the audience with the valuable facts and dilemmas but never clear-cut answers.

The film ultimately is as successful as it is largely due to Mr. Clooney's performance, which balances honor and an ambiguous moral code into something painfully human. The narrative here isn't focused exclusively on the legal case at hand, but also on Clayton's personal struggles, particularly those with his son and family. Without Clooney's charismatic yet never flashy performance, many of the films subtleties may have been lost to overacting. However, Clooney's performance is reserved and understated, much like his work in Syriana and Good Night and Good Luck, the other two recent classics he's been involved in. Slowly but surely, Clooney has become one of Hollywood's great actors, not to mention stars. Its always been obvious that the man has been blessed with tremendous looks and personality but with interesting and adventurous project he chooses, his seemingly natural acting ability becomes more readily apparent.

Clooney is matched here by a wonderful supporting cast, particularly those I have mentioned above, all of which who are as reliable as Clooney has become. Wilkinson is one of the great character actors of modern cinema, creating a bold and brave body of work, filled with both memorable performances and films. Here, as a man on the edge of a complete breakdown, Wilkinson gives a brave and edgy performance, creating a character that may be crazy like a fox, a man who knows too much but has had enough of the deception.

Gilroy's script shines, an intelligent examination of the subject at hand. The dialogue is sharp and incisive, cutting lines spewing from each characters mouths with a zestful abandon. Equally as impressive is Gilroy's directorial skills, which despite Michael Clayton being his debut, are refined and steady. Too many debuts are ruined by an overzealous director throwing every trick at the screen hoping something sticks. Michael Clayton does not suffer from that ailment with Gilroy's work providing nuance and depth to his screenplay while remaining largely invisible. He has crafted a steady thriller that will satisfy most everyone who has the pleasure of seeing it. While younger audiences may find the films general lack of action to be dull, those willing to take the film at its own pace will be amply rewarded with a thematically ambitious thriller that will, hopefully, ignite its viewers into a fruitful and worthwhile discussion of the film's topics.

****

Control: Review

Joy Division resides in place somewhere between fan admiration and cultish devotion. For a band that released only two proper albums (and a handful of singles), the Manchester quartet have become known as the purveyors of post punk doom and gloom, a band both before its time yet also oddly, an integral part of it. However, what Control , a biopic of JD lead singer Ian Curtis (Sam Riley) so efficiently and effectively delivers through a stark realism is a potent reminder that while their legend may have grown into something larger than their music, at their core, they were four regular guys just trying to make it through the music business as well as their everyday lives. Curtis may now be looked at as a prophet, of urban alienation and decay, but in reality, he was a greatly conflicted young man who was desperately searching for his place in life and unfortunately, was never able to find it. Based on the memoir Touching from a Distance of Deborah Curtis, Ian's wife, Control is the best biopic to come along in a long while, an invigorating and enlightening look at the struggles of a pioneering band and artist.

Directed by Anton Corbijn, who is better known for his photography and music videos, Control is assured and evocative, mysterious yet humane. It takes place in northern England (Manchester and the like) over the course of ten or so years, a decade of music that would become arguably the most important span of music in British (and world) history. At its heart is Ian Curtis, who begins the film as an everyday teenager who spends his afternoons in his bedroom, smoking and listening to Bowie. Before long, he meets Debbie (Samantha Morton) and as the two quickly embark on a whirlwind romance that ends with their marriage prior to them hitting 20 years of age.

It must be noted that Riley and Morton are nothing short of astounding. For those lucky enough to have seen footage of Curtis will quickly recognize the clarity and precision of Riley's performance. He seemingly mimics Curtis' every step without missing a beat. The nuance and subtlety of Riley's work is tremendous as he captures Curtis' persona perfectly. Considering this is Riley's feature length debut in a starring role, his performance is an announcement of a new talent that electrifies the screen. In fact, Riley's intensity and screen presence reminds me of another export from the British Isles, Cillian Murphy. Like Murphy, who has the star power to match his acting chops, Riley fully embodies his role with a breathtaking effectiveness.

Meanwhile, Morton, who has been consistently excellent in her roles, is every bit his match as his wife, Debbie. As the film continues on and their marriage begins to disintegrate, both performers bring a depth of emotional pain and suffering that jumps off the screen, enriching the overall film in ways that cannot be quantified. If these performances had been any less than spectacular, the film would have had trouble escaping a cult audience. However, with Riley and Morton providing wonderful leads, there is potential for this to reach a wider group of people. You can't take your eyes off their riveting and explosive performances, no matter how pained they might be.

The rest of the cast is wonderful as well. Alexandra Maria Lara and Toby Kebbell particularly stand out as Belgian journalist Annik Honore, with whom Ian embarks on an affair with and Joy Division manager, Rob Gretton, respectively. Kebbell often acts as the film's comedic relief, a necessary addition given the darker nature of the material. His performance is a combination of business smarts and real concern for the band members. Never once does it dip into parody, instead relying on a quick wit and biting sarcasm to provide some laughs while the world seems to be crumbling around. Lara, who can also be seen in Francis Ford Coppola's upcoming Youth Without Youth) is perfect as Curtis' foil and outlet. She allows him entrance into a world that Debbie doesn't and his inability to choose between the two quickly becomes one of the film's main conflicts. Lara brilliantly portrays the pain and concern of Honore, who must deal with a man who she loves, crumbling before her eyes.

Curtis' life takes a dramatic turn (for the better or worse is entirely up to the audience's own perceptions) when he joins the small band Warsaw, which would quickly become known as Joy Division. As the band experiences a quick rise from obscurity to cult following, Curtis is thrown through a variety of emotions. As his marriage crumbles, he embarks on an affair with a Belgian journalist (Alexandra Maria Lara) and battles an epileptic condition that continues to worsen with the increasing stress of his life. The film never once passes judgment on Curtis, allowing its audiences to make their own decisions on his struggles. Without this, the film would feel manipulative. However, Corbijn keeps his subjects at arm's length, allowing the story to play out to its inevitable end (which is fairly common knowledge to those who are familiar with JD, for those who aren't I won't spoil it). Even the final act of the film is left unresolved and unexplained, leaving the audience with the same questions as the characters. What happens is often inexplicable; a painful conclusion that leaves issues open.

Corbijn's direction in his feature film debut is incredible. The black and white cinematography by Martin Ruhe gives the film a realistic look, a natural feel that allows the characters and settings to feel lived in. Corbijn obviously has considerable experience in framing pictures and shots but as a culmination of all his skills, Control is a massive success. The clarity of his vision is striking in its assured completeness. Never once does the film feel like work of someone trying to piece together their first feature. Admittedly, I was worried that a first time director would mishandle a story that needs a delicate touch but Corbijn proves all my doubts wrong. He was completely up to the task, creating a biopic that is enthralling and emotionally devastating. From the opening shots to the heartbreaking conclusion, Corbijn is in complete control (no pun intended) of what is on the screen.

A biopic revolving around a musical figure plain doesn't work without good music, which completely unsurprisingly, Control has in droves. Joy Division was unequivocally one of the most innovative and important bands of the 20th century, taking the raw energy of punk and harnessing it into a carefully measured emotional shell. Joy Division was a band that pushed the envelope constantly, through Curtis' lyrics and the bands pulsing, hypnotic yet abrasive grooves. At the time, no one else quite sounded like them and the film captures that initial excitement, both of the band and audience, perfectly. The soundtrack features many of the band's best songs, perfectly utilized throughout the narrative. Rounding off the music of the film are JD's key contemporaries and influences: Bowie, Iggy Pop, the Sex Pistols and the Buzzcocks. This all adds up to a perfect way to enter the decidedly difficult sounds of post-punk's origins. For those interested in bands such as The Killers, Bloc Party and the like, this music will sound fresh and otherworldly, tunes crafted by men that were working on a different plane than those around them. Now, my opinion may be slightly skewed, due to my familiarity with the bands work but I have no qualms in saying that this film is a complete triumph, regardless of your views on the band. As a cinematic work, it is nearly flawless in its depiction of Curtis and his struggles. As a supplement to the band's work, it exists as a document for all of us who were never lucky enough to see this tremendous band in person. It doesn't offer answers, only questions. It doesn't offer Curtis salvation or martyrdom. It doesn't even offer him forgiveness. What it does offer is a chance for his story to be told, no matter how otherworldly it might be. Thankfully for Anton Corbijn and the rest of his collaborators, Curtis' otherworldly story and work get an otherworldly film to match, a moving portrait of a man who could not escape his demons, which took him before he could fully show the world what he was capable of.

*****