Music From The Movies,
Saturday, October 10th at 7pm
 THE CINEMA OF CHUCK...veteran actor Charlton Heston passed away last year at age 84. The deep-voiced, lantern-jawed star left a legacy of playing larger-than-life roles and composers wrote scores to match! We remember him in Midway, Dark City, 55 Days at Peking, The Four Musketeers, and of course Ben-Hur. (That chariot race is still so very exciting!) In new reviews, Jared travels to the South Pacific for a Couples Retreat, and Regina’s in Paris with Audrey Tautou in Coco Before Chanel. Plus DVD reviews of Easy Virtue and the Blu-ray release of A River Runs Through It.****NEW IN THEATERS (by Regina with Jared Counts)****  COUPLES RETREAT. (Universal Pictures. 1 hour, 47 minutes. Rated PG-13 on appeal for sexual content and language. Directed by Peter Billingsley.) Vince Vaughn (Dave), Jason Bateman (Jason), Faizon Love (Shane), Jon Favreau (Joey), Malin Akerman (Ronnie), Kristen Bell (Cynthia), Kristin Davis (Lucy). Music by A.R. Rahman. Anal-retentive couple Jason and Cynthia (Bateman and Bell) goad their friends into a tropical beach vacation. However, once on the island, they're confronted with "Couple Skill Building" and yoga with airy Frenchman Marcel (Jean Reno, a far cry from his role in The Professional) instead of parties and jet skis. A good cast and some funny scenes round out an amusing, if a bit mediocre, comic trifle.It's almost hard to believe that Vaughn and Favreau, the duo the wrote the classic bro-comedy Swingers, helped write this movie, which lacks so much of the wit and verve of the former. The cast does help to alleviate some of this, with Bateman and Love hitting their marks while Favreau and Vaughn exhibit their old chemistry. The ladies, on the other hand, are relegated to the background, with each being given a stereotype to fulfill and little else. Reno is amiable enough as the fabled "couples whisperer," but Peter Serafinowicz and Carlos Ponce (as a mouthy concierge and a swarthy, under-dressed yoga instructor, respectively) run away with their scenes. The pacing hits way too many lulls between the funny scenes, dragging the movie about 15 minutes longer than necessary. Even with that, the ending still feels rushed, predictable and fairly unconvincing. This is the first film directed by Billingsley, best known as Little Ralphie from A Christmas Story, and it shows. At least the scenery is pretty. A decent comedy that hits about as much as it misses. —Jared  COCO AVANT CHANEL (Coco Before Chanel). (Sony Pictures Classics/Warner Bros. In French with English subtitles. 1 hour, 50 minutes. Rated PG-13 for sexual content and smoking. Directed by Anne Fontaine.) Audrey Tautou (Gabrielle "Coco" Chanel), Benoît Poelvoorde (Étienne Balsan), Alessandro Nivola (Arthur "Boy" Capel), Marie Gillain (Adrienne Chanel), Emmanuelle Devos (Emilienne d'Alençon). Music by Alexandre Desplat. Dullish telling of the story of the famous couturier (1883-1971) from her humble beginnings in an orphanage in rural France. She and her sister struggle through an early show-business career, but the boyish Gabrielle is no dance-hall girl (the "Coco" nickname comes from a popular song she sang in those days.) She intrigues a baron with her frank talk and menswear-inspired clothes, and through her relationships with similar rich men, she is able to get her own business started (first as a milliner, then a dressmaker).Tautou's expression (disaffected? Inscrutable?) doesn't seem to change through the first hour of the movie. She can only depend on those big brown eyes for so much. There are some long, slow stretches as Chanel is shown living at the baron's country estate. She is among the rich, but is not of them; OK, we get it. We don't get to Paris until the final minutes of the movie, but by that time one is rather disconnected from the proceedings. Pleasant-enough music by Desplat, but doesn't live up to his recent offerings (The Curious Case of Benjamin Button is still his best score so far). A far more involving movie about another French icon is La vie en rose, the Edith Piaf biography from 2007 starring Marion Cotillard (she won the Oscar, and deservedly so). I've always admired the clothes, and Chanel No.5 is still the best perfume ever, but I can't quite recommend this Coco. —Regina  THE INVENTION OF LYING. (Warner Bros. 1 hour, 39 minutes. Rated PG-13 for language, including some sexual material and a drug reference. Directed by Ricky Gervais and Matthew Robinson.) Ricky Gervais (Mark Bellison), Jennifer Garner (Anna McDoogles), Rob Lowe (Brad Kessler), Jonah Hill (Frank), Louis C.K. (Greg), Jeffrey Tambor (Anthony), Tina Fey (Shelley). Music by Tim Atack. Narrated by Patrick Stewart. Gervais is an acquired taste; I haven't watched The Office but I liked him in Ghost Town. Here he tries for a Woody-Allen-three-fer (writer, director, actor) and succeeds only to a point. The high-concept story is based on a world where everyone always tells the truth. Gervais is a movie screenwriter (well, when there's no fiction, I guess you just write true stories) with a dying mother. The script wrings some laughs early on when schlub Gervais goes on a date with the stunning Garner (she's on the phone, in front of him, telling her mother he doesn't measure up).As the movie's title indicates, Gervais eventually figures out how to lie and uses it to his own advantage. It's a kind of flip of Jim Carrey's Liar, Liar (a better movie) with some of Bill Murray's Groundhog Day (better still) thrown in. The deck is stacked with a cast of comedians (and some good, unexpected cameos). But things take a turn, and become less funny, when avowed atheist Gervais begins to explore death and religion in the second half. The critics at the Toronto Film Festival screening I went to thought it was OK overall, but would probably work better as a 20-minute skit than a full-length feature. Good idea doesn't make it all the way to "The End." —Regina  WHIP IT. (Fox Searchlight. 1 hour, 51 minutes. Rated PG-13 for sexual content including crude dialogue, language and drug material. Directed by Drew Barrymore.) Ellen Page (Bliss Cavendar), Alia Shawkat (Pash), Marcia Gay Harden (Brooke Cavender), Daniel Stern (Earl Cavender), Kristen Wiig (Maggie Mayhem), Drew Barrymore (Smashley Simpson). Music by The Section Quartet. Bliss (Page), a girl in the small Texas town of Bodeen, finds an escape from her overbearing mother in the form of a roller derby flier. Clad in Barbie roller skates and lying about her age, she tries out for the Hurl Scouts, a team in nearby Austin, and begins her second life as Babe Ruthless.Though it does contain some of the old sports-movie clichés (underdog team rallies around talented rookie, outside problems threaten to sideline said rookie, etc.), Whip It's solid cast, good writing and strong performances buoy the film. Page is quite a talented actress, easily switching gears from her usually timid persona during the day to her "badass in training" nights. Wiig and Barrymore, along with stunt woman Zoe Bell (Death Proof), rapper Eve and Andrew Wilson (older brother to Luke and Owen), form a convincingly scrappy but supportive team. Harden is proud and driven as Bliss's mom, and Stern is great as Bliss's secretly supportive dad. The film deftly balances the two halves of its narrative, paralleling Bliss's maturation with the evolution of the Hurl Scouts as a team. The action in the rink is exhilarating, and makes me want to seek out the local league. It's empowering without being overbearing, funny without being too silly and emotional without being sappy. An invigorating sports film from rookie director Barrymore. —Jared  CAPITALISM: A LOVE STORY. (Overture Films. 2 hours. Rated R for some language. Directed by and starring Michael Moore.) Music by Jeff Gibbs. In his latest film, documentarian and rabble-rouser Michael Moore tackles capitalism with the thesis that it is a corrupt system that benefits the few at the expense of the many. Given the director, it's better to approach this film as a cinematic editorial than unabashed truth. In deference to his previous movies, Capitalism seems very personal as Moore weaves his narrative through his life and the grim fate of his childhood home, Flint, Michigan. Moore's knack for showmanship is present but toned-down, providing some entertaining scenes without disrupting the flow. Whether trying to decipher the enigma of Wall Street's "derivatives," informing us about "dead peasant insurance" or showing some eerily topical found footage of an ailing FDR, Moore deftly mixes gallows humor and genuine outrage. It is by no means a perfect movie, as some of his arguments are a bit specious, some cheap shots are taken (several at former President Reagan) and a few punches are pulled (especially with regards to President Obama), but Moore accomplishes something good: he gets you thinking. Love him or hate him, he's laying the groundwork for a long-overdue discussion we all need to have. —Jared ZOMBIELAND. (Touchstone Pictures. 1 hour, 20 minutes. Rated R for horror violence/gore and language. Directed by Ruben Fleischer.) Jesse Eisenberg (Columbus), Woody Harrelson (Tallahassee), Emma Stone (Wichita), Abigail Breslin (Little Rock). Music by David Sardy. Columbus (Eisenberg) is a nerdy, gawky kid living in a zombie-infested wasteland using his wits, a double-barreled shotgun and an ever-expanding book of rules for survival. On his trip, he meets Tallahassee (Harrelson), a no-nonsense zombie killer in search of Twinkies, and the con-artist duo of Wichita and Little Rock (Stone and Breslin, respectively), who successfully bilk the other two out of their guns, car and dignity. What follows is a rip-roaring road trip through Post-Apocalyptia that will leave you in stitches.I'll lay this out now: Zombieland is hilarious. The plot is simple enough: the four aforementioned survivors (each taking the name of their original destination) band together to go to an amusement park in California, both for nostalgia and for the rumor that it's not infested with zombies. The real meat of the movie, however, is the way the different personalities bounce off of one another. Tallahassee is pure, unfettered id, taking a perverse glee in not only killing zombies, but destroying them. Columbus, a former paranoid shut-in and the least likely survivor of the bunch, adheres religiously to his set of rules, which appear onscreen from time to time to illustrate his points (such as "limber up," "always wear a seatbelt," and "two shots to the head makes sure it's dead"). Wichita and Little Rock are just looking out for number one. It's gory, it's fun, it's funny and it contains one of the most startlingly appropriate celebrity cameos ever (I don't want to spoil it, and you should avoid the film's IMDb page too). Pretty good job for your first time, Mr. Fleischer. —Jared  BRIGHT STAR. (Apparition. 1 hour, 59 minutes. Rated PG for thematic elements, some sensuality, brief language and incidental smoking. Directed by Jane Campion.) Abbie Cornish (Fanny Brawne), Ben Whishaw (John Keats), Thomas Sangster (Samuel Brawne), Paul Schneider (Charles Armitage Brown), Kerry Fox (Mrs. Brawne). Music by Marc Bradshaw. Unabashedly romantic, in the best sense. That word is mostly used by filmmakers these days in the phrase "romantic comedy," and those are usually neither romantic nor funny. This is less like Campion's In the Cut (remember that Meg Ryan/Mark Ruffalo fiasco from a few years ago?) and closer in tone to her best-known work, The Piano. Cornish is particularly impressive as the doomed poet John Keats' muse. Not a great deal happens here, but the actors and Campion do a lot with a little. And there's that gorgeous poetry. Listen also for the interesting use of music in the film: well-chosen, yet sparingly used. Stay through the credits to hear Whishaw recite "Ode to a Nightingale." Bright Star is a small, yet shiny gem. —Regina SURROGATES. (Touchstone Pictures. 1 hour, 28 minutes. Rated PG-13 for intense sequences of violence, disturbing images, language, sexuality and a drug-related scene. Directed by Jonathan Mostow.) Bruce Willis (Greer), Radha Mitchell (Peters), Rosamund Pike (Maggie), Boris Kodjoe (Stone), James Francis Ginty (Canter), James Cromwell (Older Canter), Ving Rhames (The Prophet). Music by Richard Marvin. In the near (and possibly prescient) future, mankind has taken to living vicariously through remote-controlled mechanical puppets called surrogates, machines designed by genius scientist Canter (Cromwell). In an unprecedented attack, two surrogates are destroyed, killing their hosts, and FBI agents Greer (Willis) and Peters (Mitchell) have to unravel a conspiracy that will rock the very foundations of the new world. Excellent visual effects, a fascinating story and a well-defined atmosphere create an entertaining and thought-provoking film.Anyone familiar with online gaming will find the setup very familiar, as the "surrogate" concept is essentially a physical manifestation of an online avatar. The surrogates, unlike many characters in World of Warcraft, are idealized humans, though the movie and the actors do a good job of subtly playing up the vague creepiness of these machines. They look like moving air-brushed photos and their usually blank faces react just a split-second too slowly, locating them well within the Uncanny Valley. When Willis appears in surrogate form, with his blond hair and heavy makeup, he looks to be about 30; away from his control chair, it's a tremendous relief to see him in the flesh, stubble and all. The anti-surrogate contingency, known as the Dreads and led by The Prophet (Rhames), sticks out mightily if only for their homeliness. The world of the film is well-constructed, but still leaves plenty to the imagination and never gets too wrapped up in the minutiae (as a geek, I was wondering what kind of network could support that much low-latency data, and how the surrogate hosts weren't all 500 pounds). The story is suspenseful, full of double-crosses and red herrings, and it plays a lot with the issues of identity and trust. The action sequences are well-executed and really help drive home the superhuman capabilities of the surrogates. A smart sci-fi thriller that will leave you guessing. —Jared  FAME. (MGM/UA. 1 hour, 47 minutes. Rated PG for thematic material including teen drinking, a sexual situation and language. Directed by Kevin Tancharoen.) Kherington Payne (Alice), Anna Maria Perez de Tagle (Joy), Paul McGill (Kevin), Asher Book (Marco), Kristy Flores (Rosie), Naturi Naughton (Denise), Kay Panabaker (Jenny), Collins Pennie (Malik), Walter Perez (Victor), Megan Mullally (Fran), Kelsey Grammer (Martin), Charles S. Dutton (James), Bebe Neuwirth (Lynn), Debbie Allen (Principal Simms). Music by Mark Isham. Slick, prepackaged remake of the 1980 original. Not from Disney, but might as well have been. The first version (rated R) was grittier and seemed more real. We now get a sanitized PG version with too many characters played by seasoned actors who are supposed to be high school freshmen, but are in their '20s. I can see the pitch meeting now: "We take High School Musical, add whatever elements from American Idol, America's Got Talent, etc. and most important to the teenage girls this is being made for, get a squeaky-clean Zac Efron clone (Asher Book)."Most of the "kids" do have talent: a standout is Naughton as a classical pianist who later transforms herself into a hip-hop singer. But Naughton's no greenhorn: she's a Broadway veteran and performs like one. Pennie's the "angry young black kid" who's 25 in real life. And so on. (Director Tancharoen is a former choreographer for Britney Spears.) Personally I was hoping for more scenes from teachers Kelsey Grammer and Bebe Neuwirth: maybe "Frasier" and "Lilith" could start squabbling and liven up the predictable proceedings, but they fight for screen time with this bloated cast. Sole 2009 release from the once-great MGM Studios, now controlled by creditors: maybe it's time to close the doors, guys, and make a graceful exit. Leo the Lion would thank you. —Regina ***WHAT'S NEW ON DVD!***  EASY VIRTUE. (Sony. 1 hour, 36 minutes. Rated PG-13 for sexual content, brief partial nudity, and smoking throughout. Directed by Stephan Elliott.) Jessica Biel (Larita Whittaker), Colin Firth (Mr. Whittaker), Kristin Scott Thomas (Mrs. Whittaker), Ben Barnes (John Whittaker), Kimberley Nixon (Hilda Whittaker), Katherine Parkinson (Marion Whittaker), Kris Marshall (Furber). Music by Marius de Vries. Sophisticated fun. Australian director Elliott is best known for The Adventures of Priscilla, Queen of the Desert. But that was 15 years ago, and except for a couple of projects that came and went, where has he been? Turns out in 2004 he had a serious skiing accident where he broke his back, pelvis and legs. Now recovered, he's marking his return by taking on that most ironic of British playwrights, Noël Coward, with his adaptation of the 1924 Easy Virtue. (There was a previous silent film adaptation in 1928, directed by a young Alfred Hitchcock.) It's not top-drawer Coward (Blithe Spirit, Design for Living, etc.) but this early effort still has the man's wit and sense of fun. The plot, which is fairly unimportant, involves John, a young man returning to his ancestral home in the English countryside with his new wife Larita, an American (gasp!) race-car driver (shocking!) and divorcée (ooohhhhh). Mother is offended, while Father is, well, intrigued. Adding to the fun are John's two sisters, Hilda and Marion, who have issues of their own.Like all of Coward, the meat is in the witty lines and zingers flung amongst the participants. Here, not too surprisingly, the veterans (Scott Thomas and Firth) have the upper hand. Biel gives a good try but isn't really of-the-period as Larita. (She does a nice job singing Coward's "Mad About the Boy.") Kris Marshall does nicely as Furber the long-suffering butler. The soundtrack is a mixed bag: period songs include a few classics by Coward himself ("Mad Dogs and Englishmen," "I'll See You Again") along with Cole Porter et.al.; original score by de Vries; and some adaptations of more-recent songs which don't really work (the credits have us hearing Billy Ocean's "When the Going Gets Tough"). Still, it's an enjoyable romp for those who appreciate good dialogue, performed by and for grownups. Those requiring CGI, quick cuts, jiggly cameras, or cars blowing up need not apply. The DVD includes deleted scenes, a blooper reel, and commentary with the director and screenwriter Sheridan Jobbins. —Regina  A RIVER RUNS THROUGH IT (BLU-RAY). (Sony. 1992/2009. Rated PG for momentary nudity and some language in a family drama. 2 hours, 3 minutes. Directed and narrated by Robert Redford.) Craig Sheffer (Norman Maclean), Brad Pitt (Paul Maclean), Tom Skerritt (Rev. Maclean), Brenda Blethyn (Mrs. Maclean), Emily Lloyd (Jessie Burns), Edie McClurg (Mrs. Burns), Stephen Shellen (Neal Burns), Joseph Gordon-Levitt (Young Norman), Vann Gravage (Young Paul), Susan Traylor (Rawhide). Music by Mark Isham. Lovely, lyrical film version of the memoir by Norman Maclean, written when he was 70, about his growing-up years with his parents and brother in post-World-War-I Montana. The famous first line of the book is repeated by Redford's narrator: "In our family, there was no clear line between religion and fly fishing." I like this movie more every time I see it. At first glance, one could characterize older son Norman as the "good" one and Paul as the "bad" but that would be too facile. As every young man must do, both have to sort out their place in life, not so easy when your father is a strict Presbyterian Scot and the town's minister. Sheffer (the more experienced actor at this point, who got first billing) and the reliable Skerritt give solid performances. So does Pitt in his first significant early role, although I didn't really see the dark streak his character was supposed to have. But that didn't matter too much: even Skerritt's Reverend would call his younger son "beautiful."British actress Emily Lloyd is charming as Norman's love interest. Jessie too is searching for her place in the first defining period of change for women in the 20th century, the 1920's "flapper" era of bobbed hair, rolled stockings, and women smoking! Comedy is provided by Jessie's spoiled, blustering brother Neal when he makes the acquaintance of the local prostitute "Rawhide." Big themes are touched on here: war, religion, sex, music, race (Paul causes a stir with his Indian lover; even speakeasies have house rules). However, the screenplay, and Redford's direction, don't hit you over the head with anything; the movie allows you to come to it in a measured and thoughtful way. Beautiful Montana scenery by Philippe Rousselot (who won the movie's only Oscar); atmospheric, non-intrusive score by Mark Isham (hired after Redford rejected Elmer Bernstein's first pass at the music). Blu-ray edition includes a 32-page souvenir book, plus featurettes and deleted scenes. Definitely worth taking another trip on this river; don't forget your rod and reel. —Regina > view printer-friendly version > return to previous page |