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Three Amigos! (1989)
Dir: John Landis
Stars: Chevy Chase, Steve Martin, Martin Short and Alfonso Arau

Caught this one on cable last weekend.  I suppose there are two reasons I like this comedy so much: first of all, it is very, very honest with the viewer right from the get-go that it is striving to be a silly, zany picture.  No more, no less.  It doesn’t try to be more than it is.  The second reason I like Three Amigos so much is it’s worthy of many repeat viewings, which is one sign of a fun film.  I always have to ask myself when buying a DVD, “does this title really deserve membership amongst my library at home?”  Three Amigos would certainly make the cut.

Let me try and preview several of the silly, zany scenes from this title: there is a singing bush that is critical to the Amigos’ journey.  There is a scene in which the three ride around true banditos that they perceive to be part of the act in a case of mistaken identity as old as Bill Shakespeare, complete with a POV (point of view) angle for the banditos that gets me every time.  The bad guy, an evil Mexican bandito leader, receives a sweater for his birthday in another scene.  After my viewing, I had the song “My Little Buttercup” in my head for days.  And there’s another little song the Amigos sing when they’re trying to get to sleep one night in the desert, which ends with a turtle saying, “Good night, Ned.”  So, if you’re in the mood for a truly silly, zany comedy in the spirit of the silent era slapstick humor, look no further than Three Amigos.  And by the way, I credited the bad guy El Guapo, played by Alfonso Arau, because he was a supporting actor in one of my favorites, The Wild Bunch.
 
Under Siege (1992)
Dir: Andrew Davis
Stars: Steven Seagal, Garey Busey, Erika Eleniak, Colm Meaney and Tommy Lee Jones

Oh, my lovely film snob friends… this is one of the titles that lives in my home library that they LOVE to bust my chops about…   They always comment, “Come on, Burke, why is THIS one here?  What is this, Die Hard on a boat?  Starring ‘Fat’ Seagal?  Ah ha ha ha ha…”  First off, chief, it’s called a ship, not a boat.  Second, Seagal wasn’t fat yet when he did this picture (although he might be considered slightly portly these days – all due respect, Mr. Seagal.  Check out A&E’s Steven Seagal: Lawman if you dare).  Finally, I don’t care if you simplify it with terminology like “Die Hard on a boat”, “True Lies at Sea” or “Bond Goes Fishing”, it’s a spectacular action film with only one solitary weakness that I can find: Steven Seagal’s salute at the end.

What are the strengths of the film, you say?  Glad you asked, dear Reader!  They are countless!!!  I mean, where do I begin?  With Tommy Lee Jones’ deliciously awful – and at times, scary – villain?  The scene in which Seagal is in a gun battle, but gets a call from the Admiral trying to quell this situation?  How about when Steven takes out four guys – FOUR – in less than three seconds?  And don’t get me started on the ingenious ways Seagal injures and dispatches the mercenaries who take over his beloved battleship.  If you haven’t seen this one in a while and the mood strikes you for an action pic, give this one a rewatch: and if you haven’t seen Under Siege, what are you waiting for???
 
Wonder Boys (2000)
Dir: Curtis Hanson
Stars: Michael Douglas, Tobey Maguire, Robert Downey Jr., Katie Holmes and Frances MacDormand
 
I don’t know what made me think of this picture recently, but this is a fun – and extremely well written – “dramedy”.  Maybe it was the coverage of Michael Douglas’ recent bout with cancer that got me thinking of his great roles.  Or perhaps it was all of those Robert Downey Jr. Due Date ads I’ve been seeing on teley.  Regardless, Wonder Boys is a fun watch.  

What’s the film about?  Frankly, there’s a lot going on here.  Douglas’ character is a one-hit-wonder writer (no pun intended) who is also a writing professor at a Pennsylvania college.  His agent (Downey Jr.), whose one claim to fame is Douglas’ novel, is coming to town for the weekend because the college is putting on a Writer’s Fair.  Douglas is trying to politely split up with his wife (who is completely absent from the movie) while courting his girlfriend, Frances MacDormand.  Oh, and I nearly forgot, her character is married to the Dean of the college!  As if all of this isn’t enough, one of Douglas’ most depressed yet gifted students James (Tobey Maguire before Spider-man days) shoots his girlfriend’s husband’s dog!  You mix Katie Holmes into the story and you’ve got one hell of a movie.  Like I said, a lot going on here: Curtis Hanson will always get a seal of approval from me based on his direction of L.A. Confidential – but that is for another lengthy entry.
 
Midnight Run (1988)
Dir: Martin Brest
Stars: Robert DeNiro, Charles Grodin, Yaphet Kotto, Joe Pantaliano, Dennis Farina and Jack Kehoe

This picture was one of those I specifically remember asking my Dad about – conversation went something like this:
 
YOUNG BURKE: Hey, Dad, what’d you and Mom watch last night?  (DISCLAIMER – When I said “watch”, I was referring to their catching the film on that mythical device called a VHS player that I’ve mentioned in previous entries – I don’t mean to suggest by any means that my people were in the habit of visiting the physical theater).
 
YOUNGER DAD: Oh!  It was a terrible movie called Midnight Run.
 
YOUNG BURKE: Really?  What was so bad about it?
 
YOUNGER DAD: Well, it had some decent action… but Charles Grodin is an asshole.  I couldn’t figure out why the hell DeNiro didn’t just punch him in the face!
 
Naturally after such a discussion, I decided I would never see this film.  But then I did see it once the ban on R rated films was lifted.  And I have to say, as buddy pictures mixed in with the element of “The Journey” are concerned, I think this is a hell of a fun movie.  Was my Dad right that it contains a gaping hole in the story?  Absolutely.  I would venture to guess that there are few (if any) bounty hunters that, once their meal-ticket had been captured, would hesitate to smash their captive’s face if they claimed to be “afraid of flying”.  But I think another reason the movie is worth a watch is just to see Robert DeNiro act way outside of his comfort zone of Mob heavies and tragic characters (see Raging Bull if you’re confused by this comment).  

Let’s apply the Litmus test to my Dad’s comment regarding Grodin, shall we?  Is the Grodin character, Jonathan Mardukas an asshole?  Oh, for sure!  Does this character ruin the picture?  Absolutely not.  In fact, it’s an “Odd Couple” pairing that you will either like or you won’t: DeNiro is the emotionally wounded ex-cop who lives on the outskirts of society, still pursuing justice on his own terms.  Grodin also fights for justice, but does so in a manner that DeNiro’s character will never understand – or will he by the end of the film?  Check it out!

Oh, and you may have asked yourself, “Who’s Jack Kehoe?” as you read the credits above: I included Mr. Kehoe because I’m also a big fan of Serpico and The Sting, both of which he was also in.  Kehoe’s character is Robert Redford’s partner in The Sting (the guy who gets his nose broken), just FYI.  Anyhow, I always try to throw a little shout towards the unsung “character actors” out there!

Taken (2009)
Dir: Pierre Morel
Stars: Liam Neeson, Famke Janssen and Maggie Grace

This is apparently my “January of 2009” update for you today – that’s right, I neglected to see these two titles in the theaters last winter, but with the able assistance of Netflix & Cable, I’m catching up, baby!  Let’s start with the better of the two, the action packed thriller, Taken.  This is a fine, fine adventure/suspense picture.  It is a very streamlined story in that it wastes almost no time whatsoever.  That the writer found time in Act I to make a “typical job” part of the story works in the movie’s favor – you’ll see what I mean when you watch it.  The film is just a hair shy of an hour and a half in length.  But, if you’re willing to suspend belief and are ready for a couple of true surprises, look no further than this Liam Neeson starring movie.  I won’t ruin any of the surprises for you, but let’s say I was shocked more than a couple of times at the twists the story provided.  

Can you imagine, you’re on the phone with your daughter – who just arrived in Paris for a couple months vacation with her fellow 19 year old pal – and you hear her being kidnapped while still on the phone with her?  I have to believe that this terribly identifiable nightmare that all parents must envision at one point or another was part of this film’s reason for doing so well – talk about a primal fear that we can all relate to!  The scene itself in which this kidnapping occurs is early in the film, so I’m not ruining anything for ya: the subsequent speech that Liam Neeson’s retired-CIA character makes to the kidnappers helps sell the idea that this guy can actually rescue his daughter based on the limited info he has on this case…  If I haven’t said it already somewhere in these posts, let me advise that I am a huge Liam Neeson fan: like many fine actors, I never really feel as if I’m watching him – I always feel like I’m watching whoever he’s playing (check out Darkman, Kinsey, Batman Begins or Schindler’s List if you haven’t already – and consider the varied list of Neeson films I just gave you, too!).

Taken has its weaknesses, believe me.  For one, do you really think “Le Governement Francais” would let this man – who just tore up their most treasured city over a 90 hour period – just get on a plane and fly home to L.A. with his daughter?  I can just see the drunken French Customs agent, with his cute little De Galle hat on, sipping wine out of a coffee cup on the sly, checking passports as Liam Neeson’s character and his daughter – both still bleeding and Neeson’s arm in a sling – nonchalantly step up to the podium:

Drunken Agent: Let me see here… check your photograph… check today’s “wanted list”… hmmm.  Non, I can’t say for certain zat is you, Monsieur.
Neeson: It’s not, I assure you.  Just vacationing with my daughter, yep.  No menace to society here.
Drunken Agent: Wait one moment… what ‘appened to your arm, Monsieur?
Neeson: Ah, let’s see, hmmmm, let me think, ah… feel off my bike while in wine country?
Drunk Agent (handing back the passport between hiccups): Ah hahn, hahn, hahn – ‘appens all ze time!  Enjoy your flight!  Bon chance, Monsieur!

P.S. – For you action junkies out there… if you haven’t seen this director’s action picture District B13 (not to be confused with the alien picture, District 9), don’t walk, RUN to your Netflix account and move it to the top of the list.  I don’t know if you remember the beginning of Casino Royale with Bond chasing that guy all over creation, but that is actually a martial art called “Parkour” – let’s just say District B13 has a LOT of that stuff…
 
  
Paul Blart: Mall Cop (2009)
Dir: Steve Carr
Stars: Kevin James, Jayma Mays, Bobby Cannavale

Did I run out and see this picture at the theater when it opened in January of 2009?  Absolutely not.  Did I see it listed on cable last month and whimsically decided to see what all the fuss was about?  Yes.  And it’s kind of interesting to me how the economy can even effect movies like Paul Blart.  Allow me to explain.  In an earlier entry, I made some comments regarding the frantic diagnosis of the theatrical market as suffering from “Sequelitis”.  One of the examples I gave was the comparison between the summer of 2008 and this summer, specifically the fact that we had Sex & the City do very well two years ago, only to “under-perform” (by industry standards) this year.  Consider for a moment the economic temperature during both Sex & the City releases.  In May of 2008, the economy was up and everyone was basking in their surplus spending.  So, the ’08 release of Carrie Bradshaw & Co. did well at the box office.  However, now they’re back in May of 2010, and more spoiled than ever, and the economic temperature is much lower and folks are less interested.  At least that’s my interpretation considering the movie hasn’t done all that poorly and they’re even discussing a prequel.  Goes to show you how much a release date can play in a film’s success – or failure.

I digress.  For me, Paul Blart: Mall Cop is the flip side of the economic coin: to put it simply, the economic environment surrounding Blart had to have played a significant part in its success towards a total of more than $146 million dollars in domestic box office.  It is a truth of the theatrical business that in a down economy, movie ticket sales go up.  I find this to be quite confusing, particularly in today’s Home Entertainment market.  In other words, why folks prefer to go to the Cineplex when they can own the title and re-watch as much as they like confuses me, but it’s true.  Paul Blart, along with Taken, Gran Torino and Marley & Me helped contribute box office sales towards January 2009’s record setting billion dollar month.  Was Blart’s success unique to its release date and economic zeitgeist?  Absolutely not!  You have to give credit where it’s due.  Ebert makes a good point that you have to like Kevin James’ Blart: the film had a likable character going for it.  I would even argue that in addition to the physical, slap-stick nature of the comedy, you could credit a portion of its appeal to the fact he’s overweight: I found the film’s funniest moments in his physical comedy, particularly considering his size and weight.

I was not blown away by the story, nor by the extreme coincidences.  And let me say this for the record: I am not tired, I am bloody exhausted of the “corrupt cop” being the (gasp!) bad guy!  Who saw that coming?  Well, let me count the raised hands… eighty-three, eighty-four, OK, is your hand up, sir?  Thanks… let’s see… carry the four – by my count, EVERYONE saw that coming!  Hollywood, if you’re listening, the “corrupt cop” is no longer a twist, unless it’s a Sidney Lumet film – he can do whatever he wants with that storyline since he virtually invented it!  [I’m going to go do some push ups.]

Raiders of the Lost Ark (1981)
Director: Steven Spielberg
Stars: Harrison Ford, Karen Allen, Paul Freeman, Jonathan Rhys-Davies and Denholm Elliott

I could not, would not, in good conscience post an entry like the one below without an equally positive entry on the Indiana Jones series.  I felt I needed a “Ying”, if you will, to fit with the “Yang” below covering Crystal Skull.  In case it was somehow unclear, Crystal Skull was a real frustration for me.
But, it goes without saying that I, like 95% of movie fans, absolutely adore Spielberg’s library of films.  So, let me try and offer some commentary on a classic scene from Raiders of the Lost Ark.

Raiders opens with Indiana Jones showing off his survival skills: I will have to cover this iconic opening scene another time.  Immediately after this first scene, a couple of “government men” come to Jones’ college seeking his advice on an Abner Ravenwood, a person who “Dr. Jones” knows from way back.  It seems Ravenwood has gone in cahoots the Nazis, who are scouring the globe for occult artifacts, including the Ark of the Covenant.  One of the elements mentioned in a Nazi cable from Ravenwood is a “staff of Ra” in connection with the “lost city of Tannis”.  This city, before it was buried in a huge sandstorm, held the Ark and a little map room with a replica of the city, which noted where the Ark was kept.  It seems Ravenwood and the Nazis have discovered both.  Here’s where things get really good, and Dr. Jones draws on a chalkboard to help us all understand.  

Way back, in ancient times, if you wanted to find the Ark of the Covenant’s location in Tannis, you needed a few items.  First, you required a little “headpiece”, which was a golden circle about three inches in diameter with a crystal in it.  Next, you needed a perfectly measured stick – or “staff”.  Finally, you needed to be in the map room at a particular time of day.  If you took this headpiece and put it on top of a perfectly measured staff into the map room at Tannis at a certain time of day, the sun would shine through the headpiece and show you where in the city the Ark was located.  THIS, my friends, is superb storytelling.  You can’t wait to get a real-life demonstration of this process, can you?

The scene in which Indy recovers the true headpiece is phenomenal, but again, for another entry.  Indiana Jones entering this map room is no less exciting.  Sallah, Indy’s faithful friend, helps lower Indy by rope down into the little chamber.  It’s just moments before the sun will be in the right place – oh, the tension!  Indy has measured the staff out perfectly, so check that off the list.  Now, he impresses us even more with his skills than he already has: he takes out a little book with a rubber band around it (great little details like that exist in this picture).  Using the notes in this little book, he finds the hole in the floor where the staff belongs. Come on, Indy, put the staff of Ra in the hole already!

He does.  And the sun keeps pouring in the little hole in the room where he came in.  And he waits.  And John Williams’ score is building.  And he waits some more.   And the slight reflection from the crystal is starting to show on the floor… is the Ark in that temple?  How about that one?  The crystal’s light is getting stronger – as is Williams’ music – and FINALLY, the sun hits the crystal full on and shows Indy exactly where the Ark is.  It’s a huge scene!!

Indiana Jones and the Kingdom of the Crystal Skull (2008)
Director: Steven Spielberg
Stars: Harrison Ford, Shia LaBeouf, Karen Allen, Ray Winstone and Cate Blanchett

I’m going to go over my notes, which I started taking about three minutes into this film as I watched it on DVD last night: these notes are entitled, “Let Me Get This Straight”.
 
·         A bunch of Russians infiltrate a U.S. Air Force Base in 1957 Nevada right before a test of a nuclear bomb is set to take place.  They do this by killing two guards in front of the facility.
·         Indiana Jones (Ford) is taken out of the trunk of one of these Russian’s cars: their leader, this Betty Page wig-wearing woman named Irina (Blanchett) tries to read Indy’s mind (see Note 1).  You see, Indiana Jones has been betrayed and handed over to these Russians by his friend Mac (Winstone).  Apparently, Mac and Indy went on thirty OSS missions together during WWII. 
·         After Indiana Jones escapes the Russians on the U.S. Air Force Base, he walks to a nearby town. There, he hears a countdown begin from somewhere, shuts himself into a lead refrigerator – and survives a nuclear bomb blast/test, despite the fact the refrigerator is thrown several miles by said blast.  Mr. Jones has no broken bones.  Still with me?
·         Shia LaBeouf is introduced to us exactly as Marlon Brando in The Wild One.  On a motorcycle.  With a goofy hat on his head.  Donning a leather jacket.  His name is Mutt (see Note 2).
·         After getting acquainted at a 1950s soda shop, Indy and Mutt (Shia) notice that they are being trailed by KGB agents: they lose the agents by driving through Indy’s college campus library on Mutt’s motorcycle.  Should I repeat that for you?
·         Then, Mutt & Indy go to Indy’s house because It’s impossible the KGB would think of looking for them there.
·         Indiana Jones and Mutt (see Note 3) – along with Mutt’s motorcycle – take the long plane ride to Peru, where Mutt’s Mom has been kidnapped along with one of Indy’s old professor-type friends regarding an ancient civilization.  Oh! And Mac has somehow followed them there.
·         When Indy and Mutt go to this ancient civilization’s untouched tomb, they get attacked by mini-Capoiera fighters with poison darts.  Indy kills one of these mini-fighters, and I guess the others picked up their poison dart guns and went home.
·         Shia gets stung by a big ol’ scorpion: nothing happens.
·         Indiana Jones takes a huge alien crystal skull out of a grave and whispers, “Unbelievable.”  You got that right, brother.
·         The Russians are waiting with Mac right outside the grave.  They take the crystal skull and Mutt & Indy to a remote camp site in the forest – where several of the Russian soldiers dance like Russians around the campfire.  You know, with the folded arms in front and the squatting legs kicking out from time to time?
·         Mutt’s Mom is Marian, from Raiders of the Lost Ark: Indiana Jones is the only one surprised by this revelation.
·         Mutt shoves a couple of Russians into a table and lights a tent on fire, allowing Indy, Marian, the old professor Oz and Mutt to escape the other hundreds of Russians in the camp.
·         Ten feet away from camp, Marian and Indy fall into something like quicksand, but not really quicksand.  While the old professor named “Oz” and Mutt go “look for help”, Marian has a chance to tell Indy that Mutt is actually his son.  Indy is the only one surprised by this revelation.
·         They pull Indy out of the not-quicksand using a live, huge snake.
·         The foursome (Mutt, Indy, Marian & Oz) are put in the back of a truck with the proverbial Austin Powers sponsored “One Russian Guard”.  They overpower him.
·         Let me skip over some of the following action with several key words: Rocket Launcher, Fencing, Tarzan-esque swinging upon the vines (amongst monkeys), Giant Ants, all topped off with 50+ year old Indiana Jones fighting very well against a much younger and bigger Russian thug.
·         And the big reveal – Mac has been playing the Russians all along.  This was a relief to me, that he’s actually still on Indy’s side.  Thank heavens, I knew I liked Mac! 
·         The foursome drives an amphibious vehicle off of a cliff and onto a tree – which gently bends to drop them into a river where they fall over not one, not two, but three giant waterfalls. 
·         See Note 4
·         I just can’t describe this next scene other than to say a bunch of Brazilian kids jump out of a wall and start chasing the foursome.  The crystal skull somehow saves them.
·         Betty Page – excuse me, Irina (Blanchett) – starts following the foursome again because they had a – wait for it – homing device on them the whole time!  Oh, those tricky, devious KGB!
·         Indiana Jones, always the archaeologist, has found the place they’re supposed to go into to return the crystal skull.  OK, so how does he decide to get into the room?  BY BASHING THE PRICELESS DOOR DOWN WITH A ROCK – and encouraging the rest of the now five-some to do so!  Like I said, always the archaeologist.
·         Indy and Marian suddenly have the urge to kiss.  Mutt interrupts them.
·         Betty Page (screw it) and the four Russian Army guys who have survived all of this somehow, they kill all those Brazilian kids I told you about.  Then, Betty and the Russians find yet another homing device!  Wait a minute… what’s going on here?
·         Dammit, Mac is ACTUALLY still with Betty Page and the Russians!  I was really disappointed in his character at this point.
·         They all put the crystal skull back on the alien in a really private room with 13 other alien bodies all sitting in a circle – and it comes alive, one of the aliens I mean. 
·         Mac runs into the other room and puts a bunch of jewelry around his neck (See Note 5).
·         Oz, who has only uttered gibberish so far, can suddenly speak very well indeed.
·         The remaining Russian Army guys get sucked into an alien portal.  As in, to another dimension.  Betty Page inexplicably does not.  The alien that came alive is now looking at her.
·         Indy, Marian, Oz and Mutt decide it’s time to go, so they run into the other room where Mac is still putting jewelry on himself.  Indy, always the good pal, tries to save Mac!  Truly!  But Mac decides to throw himself into the portal I told you about instead. 
·         The remaining foursome get back to the surface somehow (I was putting the dishes in the sink, sorry): the alien ship flies away and the waterfall that I told you about earlier, it spills over and covers the alien ship’s tracks – so no one’s the wiser.  Those are some pretty crafty aliens.
·         Marian and Indiana Jones get married in a really bright church – and here’s the worst part in the movie – Mutt ALMOST PUTS INDIANA JONES’ HAT ON!  Who does he think he is?
 
Final Thoughts
The whipped cream on this sundae is that this film made $317 Million dollars in this country, making it the 27th highest grossing film in the U.S. ever.  It made over $469 Million dollars worldwide.  It is only a matter of time before Mutt takes over the franchise.  I’m sure I’ll watch this upcoming film as long as I’m assured that Mutt will keep his mitts off of Indy’s fedora!  Stick to Brando’s biker cap, kid.  And now, dear Reader, if you’ll allow me to put the proverbial cherry on this sundae for you: my sources tell me that this latest installment in the Indiana Jones franchise took years and years to produce because of Harrison Ford’s apprehension towards the script.  Just didn’t feel right to Mr. Ford.  What was the storyline to version number twenty?  Indy goes on an Apollo mission with the whole family?
 
Note 1: I am not making any of this up.  Seriously, each of these bullets is as I observed it last night.
Note 2: Just to reiterate, I am not making this up.
Note 3: that was honestly Shia’s character’s name, Mutt.  Truly!
Note 4: I really don’t want to continue but I’ve already gone this far, so I’m going to finish this.
Note 5: I am still not making this up.

Forgetting Sarah Marshall (2009)
Director: Nicholas Stoller
Stars: Jason Segal, Kristen Bell, Paul Rudd, Bill Hader and Mila Kunis

Hello, friends.  Have you ever found yourself inexplicably craving a romantic comedy with a nice long shot of male genitalia?  To 95% of my readers, I say this: neither have I.  To the other 5%, I advise you to look no further than Forgetting Sarah Marshall to find exactly what you’re craving!  Aren’t you glad you read this blog?  I mean, where else might you be given this kind of helpful information?

I begin this entry with a completely sideways thought regarding watching movies on Television.  To give you some background, I watched this Jason Segal starring comedy on FX.  I don’t know if you watch films on cable, but I’m to the point I don’t think I can do it anymore.  I think I’ll have to go on a strict diet of films from the theater, Netflix or on TCM.  I had no clue there was a junk (male privates) shot until I read up on Forgetting Sarah Marshall from online sources.  Last week, I was watching a few scenes from The Road Warrior (look for this title in an upcoming “Burke Favorite” entry) on AMC: they had the gall to cut one of the best scenes in the film surrounding dog food!  There is another infamous example with Snakes on a Plane as it aired on cable recently: Samuel L. Jackson’s character is quoted in the cable version as saying “I’ve had it with these monkey fighting snakes on this Monday to Friday plane!”  Can you guess what he actually said in the theater version?  Sigh.  My point is this, if you want to watch a film, watch the unedited version, please?  You wouldn’t read an abridged version of Hamlet or War and Peace, would you?  Perhaps I’m too traditional, but to me, such a suggestion would be ludicrous!

Is Forgetting Sarah Marshall worth a watch?  That is the question…  And yes, it absolutely is.  I just feel that it has a lot in common with other “rom-coms” from today in that it tries much too hard in certain scenes.  Perhaps the awkward scenes I’m thinking of were truer than I might know: I’ve heard rumblings that the film is kind of about Segal’s real-life break up with Freaks and Geeks co-star Linda Cardellini.  I suppose there’s some resemblance between Miss Cardellini and Kristen Bell.  Actually, none at all – scratch that!  I was more interested in Mila Kunis’ character anyway.  The scenes surrounding Paul Rudd’s surfer dude and Bill Hader’s brother-in-law diminished from the film rather than improved upon the storyline or the comedy – that’s just my opinion as it relates to Sarah Marshall.  I find both of those actors to be thoroughly entertaining usually.

I don’t know – this isn’t much of an entry, I’m afraid.  Was I entertained by Forgetting Sarah Marshall?  Yep!  Sure was.  Did I fold laundry while I watched?  Yep!  Sure did.  Was I disappointed I missed Segal’s thing flapping around on my screen?  Nope!  Sure wasn’t!  I promise a more quality entry next time, dear Reader.

Good afternoon, Friends – welcome to my first BREAKING NEWS update:
 
This entry, brief though it may be, is dedicated to Drew, Jeremy, Mark and all my other pals so very fascinated with the 1990 classic Scorsese picture, Goodfellas.  Gentlemen, please have a look at the link below –
 
http://www.deadline.com/2010/09/goodfellas-series-has-studios-jumping-but-will-majors-align-to-john-gotti-jr-pic/
 
Thanks for reading!

Shutter Island (2010)
Director: Martin Scorsese
Stars: Leonardo DiCaprio, Mark Ruffalo, Ben Kingsley and Max Von Sydow

If you’ve watched Scorsese’s library of films, you know that he applies a certain signature to his films using different techniques.  Quick and numerous edits (see Note 1) are common.  He uses extreme close ups and matching sound, such as a key going into a prison lock with the sound of the prison cell opening (to keep the action moving).  Mr. Scorsese loves composing montages loaded with music, almost like a music video.  Another one of his moves is using voice over dialogue to assist the viewers understanding (used exhaustively in Casino, which will be an exhausting entry for me).  Extremely “hot” lighting from directly above his characters is yet another technique the veteran director uses.  But in Shutter Island, these “signatures” are not overwhelmingly used, but are inserted maturely and effectively for the benefit of the story.  If I hadn’t known Scorsese directed this picture, I would have been both shocked and not surprised to find his credit at the end – I know, that’s an odd comment.

The story consists of a 1956 investigation by two U.S. Marshall’s (DiCaprio & Ruffalo – sounds like an Italian shoemaker) into a missing “patient” at a maximum security mental hospital on the remote Shutter Island in Boston Harbor.  Even from the primary shot of DiCaprio’s Teddy Daniels on the ferry boat, we know there is something amiss.  The fact that this feeling of uneasiness is effectively communicated through the film up until the Act 3 finale is a tribute to the film makers.  

Hitchcock always explained “action” as a four fellows sitting around playing cards at a table – and a bomb goes off!  He described “suspense” as one of the fellows coming in early, putting a bomb under the table, then welcoming his friends to play the game – and the game goes on, and on, and on…  It’s like Shutter Island is a demonstration of this description of suspense.  From Teddy and Chuck’s initial investigation into the hospital staff to Teddy’s World War II flashbacks to Ben Kingsley & Max Von Sydow’s creepy performances as the superintendents of the facility, this film keeps you guessing and captivated until the end.  Shutter Island gives us a great roller coaster ride of suspense reminiscent of Psycho (see Note 2), Rear Window and Rope (not Vertigo – repeat, NOT Vertigo).

Let me expand on how excellent this film is from a technical perspective: it has great sets and spaces for investigation like winding staircases, remote lighthouses, the creepy “Cell Block C” and mausoleums in the forest.  I’ve alluded to the lighting and cinematography, and there’s one scene in particular when Teddy has a flashback about his deceased wife, which is just expert!  There’s white lighting coming from overhead Teddy and his wife while fire blazes in and around their apartment living room – and ash falls like snow from the ceiling.  Even the sound effects such as fog horns, harbor bells, rain falling on the windows and the sinister music contribute to the overall feeling of suspense.  Talk about re-creating the feeling of a dream…  In short, this film was firing on all cylinders: Scorsese used all of the film tools in his work bench to produce a real treat.

Many of my friends – particularly my “film snob” pals – said “don’t get your expectations too high” regarding this film.  Perhaps that’s the right direction?  All I know is that I really enjoyed “the ride” this flim gave me.  I didn’t feel cheated by the end, either, which was perhaps what my “film snob” pals were referring to.

Note 1: I just want to give a special appreciate note to Thelma Schoonmaker, who has been Scorsese’s editor on many of his films – Raging Bull, Goodfellas and The Departed to name a few.  I think the editing of a film is as essential as the acting or the sound or the image itself – you cannot do without it!  And it’s one of the many elements of “film art” that is easy to take for granted.  I was really relieved to see Ms. Schoonmaker grab an Oscar for The Departed, because I think she’s one of the best in the business and an important part of what makes the end credit legitimately say “A Martin Scorsese Picture”.

Note 2: Here’s a little bar/tavern trivia for you – did you know that Hitchcock never got himself a driver’s license?  Why, you ask?  Glad you did!  Because he was terrified of being stopped by a policeman!  This intel might come in handy next tmie you watch Psycho, too.

Body of Lies (2009)
Director: Ridley Scott
Stars: Leonardo DiCaprio, Russell Crowe and Mark Strong

There was an article from last year, I think in the Hollywood Reporter, about the excellent quality of recent Iraq war movies.  The article covered how these movies possessed both compelling stories and star power – but no one was going to see them.  You take Body of Lies, Stop-Loss and even the multiple Oscar winning film The Hurt Locker and none of them “made money” (by Hollywood standards).  I saw Body of Lies over the weekend, and in a way, I can see why these films aren’t rolling in dough from the box office: they are awfully hard to swallow!

In Body of Lies, we have a likable character in Leonardo DiCaprio’s Roger Ferris.  He is a smart, athletic, chameleon of a field agent that frankly, I’m glad to have on our side.  He speaks Arabic, he can blend in as a local whether he’s in Iraq, Jordan or Turkey, and he can conversely pass for a powerful banking executive.  I liked his character a lot, particularly his pursuit of a Palestinian nurse, which was a pretty interesting plot choice regarding his love interest. 

We have a very different character in Russell Crowe’s Ed Hoffman, who is Ferris’ handler (See Note 1).  On the opposite side of the world in Washington D.C., Hoffman directs Ferris in the Middle East on how to proceed with intelligence he’s obtained and who to partner with – and who not to trust, regardless of Ferris’ more romantic feelings.  Hoffman is square to Ferris’ circle.  He is a razor sharp intelligence officer who is only concerned with the bigger picture as it relates to America’s defense.  He is less likable than Ferris, however , because of his insistence on telling Ferris only what he needs to know – and often contradicting his promises to Ferris with his actions.  In short, Ed Hoffman has a very ugly attitude that’s required for his job.

Regardless of your feelings on Hoffman, perhaps the most interesting character is the Jordanian intelligence chief, Hani Salaam played by Mark Strong (where’d this guy come from? He’s spectacular in everything I’ve seen him in!).  Hani has a very simple work mantra, which I’ll paraphrase as follows – “I will help you (in this case, Ferris) because we are allies.  But woe be to you if you ever lie to me!  Woe be to you, I say…”  I have always adored characters like Hani that say what they mean and do what they say (my little Dr. Seuss tribute of the day).  Hani’s involvement in the story is one of its highlights, along with Ferris’ love interest.

So, why didn’t Body of Lies perform well at the U.S. box office, pulling in less than $40 million (while collecting approximately $60mm in international dollars – see Note 2)?  I have several ideas as to why.  First, as I stated earlier, this is a tough watch in some scenes, particularly the graphic violence that is unfortunately tightly wound into this story as a necessity.  There is a computer expert who works off the grid for the C.I.A. that is frankly a little creepy, but again, important to the plot.  The story is difficult to follow: i.e., this is not a mindlessly entertaining film.  And finally, I think it’s entirely possible that today’s audience receives enough messaging and footage of war over the course of a week.  Therefore, Body of Lies legitimately wouldn’t fall within their first choice at the theater on opening weekend, regardless of this film’s star power.

My final word on this picture is that if you’re in the mood for a violent, suspenseful espionage picture, Body of Lies will suit you just fine: however, “woe be to you” if you don’t rent Airplane! or The Naked Gun for watching after…

Note 1: If the film had a weakness, it was the scenes involving Ed Hoffman on the phone with Ferris -while Hoffman watched his kids play soccer!  Or Ed helping his son learn to use the restroom – while talking to an agent in the field!!!  Come on, Mr. Scott: I can’t imagine any C.I.A. handler who would “play Dad” while receiving vital information from the field from his top agent.  You’re better than that, sir.  If the intent was to show that Ed gets the benefit of living comfortably in the States while Ferris suffers in Middle Eastern trenches, I think there’s still probably a better way to do it… 

Note 2: Part of a film studio’s decision to “green light” a film relates to estimates on how much a film would probably make internationally.  I read an article recently in the L.A. Times that a potential Anchorman 2 will probably never be produced because of A) the salary demands of the now major stars involved in the first film and B) the original made only $5.2MM overseas.  Ruh roh.  I mean, never mind the fact that Anchorman made $89 Million here in the States (that figure is outside of DVD sales, FYI).  It’s just not enough, is it!  As this comment relates to Ridley Scott’s Body of Lies, I think he’s perhaps a more global director: this espionage film and this summer’s Robin Hood collected most of their gross from overseas.

Convoy (1978)
Director: Sam Peckinpah
Stars: Kris Kristofferson, Ali MacGraw, Burt Young, Ernest Borgnine and Seymour Cassel

You may have read some of my other entries and realized by now that I am a total sucker for a film with a great cast.  However, I’m afraid no cast could help save a film like this.  I think it’s unfortunate that Convoy is my first commentary on a Sam Peckinpah film, and it breaks my heart to do it, but this film is an absolute SKIP.  A loud and clear SKIP in case you were confused.

You got a hero that’s not a hero.  There is nothing likeable about Kirstofferson’s hero named – and I kid you not – “Rubber Duck”.  The only thing I liked about the guy was his late 70s beard.  And why is he the hero?  Because he and his trucker pals beat the snot out of Ernest Borgnine’s highway cop character.  Wait, that doesn’t sound like a hero!  But you don’t understand, Borgnine gave him a ticket.  For a violation that he deserved!  Oh, so now you understand, right?  No?  Neither do I!

You have a gorgeous, underused co-star in Ali MacGraw that has no business being with the jerk-face “Rubber Duck” hero.  Even with her awful hairdo she’s too beautiful for him.  You have a “convoy” of 18-wheeler trucks that drives from New Mexico to Texas.  Do they run out of gas?  Of course not!  Don’t worry about it, Sam, that’s a small detail there.  You have maniacal truckers running over small towns – I mean LITERALLY running over the buildings in small towns – and these truckers are portrayed as the heros! By the end of the film, I wanted the national guard to level these bastards…

Please, do me and yourself a favor: get Mr. Peckinpah’s masterful Pat Garret & Billy the Kid, The Getaway and/or The Wild Bunch instead of ever seeing Convoy.  Please!  On a positive note, you can watch the trailer I’ve attached and know absolutely everything that this picture has to offer, which is very little.
 
Convoy Trailer

Get Carter (1971)
Director: Mike Hodges
Stars: Michael Caine, Ian Hendry, John Osborne and Britt Ekland

I’m not going to spend too much time on this title, but let me just say, this is my kind of movie.  In the tradition of revenge stories and even the Greek tragedy (whose name escapes me right now) in which the travelling bad-ass comes to town and pits the town’s two gangs against each other until the gangs are destroyed, (as remade with Kurosawa’s Yojimbo and Bruce Willis’ starring Last Man Standing) Get Carter stands out as a chilly and remorseless portrayal of a gangster out for revenge.  The tone of this film certainly fits the old saying, “Revenge is a dish best served cold.”

Jack Carter is portrayed by Michael Caine, as I’m sure you’ve never seen him.  The always informative Robert Osbourne on TCM explained that Caine hadn’t had a hit in a while when he chose Get Carter as his next project.  It certainly is a deviation from Battle of Britain, Alfie and other such fare he’d done in the past.  Let me explain that Carter is a terrible human being: but he’s worth watching throughout the film because he is at least committed to something – getting the bastards that got his brother. 

I am impressed how the director, Mike Hodges, challenges us with the awful violence in the film.  To provide just one example, Carter beats one of the responsible parties senseless on the steps of a ten-story parking garage: then, without warning or a cute little one-liner, Carter throws him over the side!  It’s as if Hodges is saying to us, “This is about a London gangster taking the train up to Newcastle to annihilate his brother’s killers… What did you think you were going to see, Carter tickle the bad guys to death?”  Mr. Hodges also challenges our expectations of revenge oriented stories with this film’s finale – sorry, you’ll have to see the movie to follow my meaning.

I guess I’m always a little impressed when I’ve gotten used to seeing an actor portray the good guys, but then pull a total reversal and play the hard boiled tough guy: examples include Tom Cruise in Collateral, Mel Gibson in Payback and Tom Hanks in Road to Perdition, all of which are well worth your time.  As long as I’m using this entry to suggest other titles, don’t miss another of Mike Hodges films, Croupier (starring a young Clive Owen), which is a real philosophical picture if you’re in the mood for a brain tease.

Final Note: I know I put Britt Ekland, gorgeous Swedish actress and ex-wife to Peter Sellers, as a co-star of this film but please don’t view the film for her involvement alone because she’s only in two scenes!  Very, very unfair, I know.