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Sunday, January 29, 2012

If This Plot Were On A Ledge, I'd Tell It To Jump

The best parts of "Man on a Ledge" play sort of like the best parts of "The Negotiator" or "Phone Booth." However, what all three of the films have in common is that there aren't very many best parts. "Man on a Ledge" works as a fairly entertaining example of strict genre convention on auto pilot and has one of those cockamamie plots that only works off sheer luck and plot devices. As with "The Negotiator," there is a strong cast here trying their darndest to sell a bill of goods in a movie that doesn't quite know what it wants to sell until the last few minutes; but by then it's too late.


Sam Worthington is one of the more sought after young hollywood stars from Australia. Nobody knew his name until "Avatar" and that should tell you all you need to know. I would argue that he hasn't quite yet found his niche in the movies and "Man on a Ledge" won't do him any favors. Here he plays Nick Cassidy, a former police officer who was apparently working a case to uncover some police corruption somehow connected to a rich diamond dealer named David Englander (Ed Harris). Englander and a couple mystery cops frame Cassidy for stealing something called the "Monarch diamond" which for all we care could have been called the MacGuffin diamond. If you don't know what a MacGuffin is, look it up.


The first mistake "Man on a Ledge" makes is trying to make us believe that a well-liked police officer with no prior criminal history would get 25 years in prison for stealing. This Englander guy must know some important people to be sure, but I don't think I can quite believe he is one of those guys who gets to say to people "I own the cops in this town." Anyway, Cassidy knows he is innocent, and so must we if we understand how these cookie cutter plots work. Nick is given news that his father has died and is being escorted to the funeral, where he must remain in his prison oranges to mourn. Here, he gets into a fight with his brother Joey (Jamie Bell) and in the scuffle is able to break free. The way he breaks free is not advisable, least of all for a cop, but like everything else with this movie, the means which he employs were probably chosen based off how cool it would look. Lucky us.


This is where the cockamamie plot takes over because it doesn't take much to understand that in movies like this, the only way to prove your innocence is to concoct some elaborate scheme. Without going into too much detail, I will just say that this elaborate scheme involves Nick checking into a hotel, ordering some expensive room service, and stepping out of his 21st floor window and onto the ledge. Pretty soon, spectators below take notice and this stirs up quite a crowd, as well as a significant amount of what I can only assume is the entire NYPD. Pretty soon, Nick is demanding to Detective Jack Dougherty (Edward Burns) that he will only speak to negotiator Lydia Mercer, played by Elizabeth Banks. If I remember correctly, Cassidy picks her because she negotiated with a fellow officer on the Brooklyn bridge and he ended up jumping. Nick relies on her reputation to convince people that he means business and will jump off any second. No, seriously, he means it.


Meanwhile, Nick's brother Joey and his girlfriend Angie (Genesis Rodriguez), who looks and acts like she's taking time off from 'The Jersey Shore,' are across the street at Englander's high-security diamond exchange. By this point, we understand that Nick's whole purpose for being a man on a ledge is to distract the police and perhaps Mr. Englander from catching onto what Joey is up to. Things get complicated because the top cop on the scene is Dante Marcus (Titus Weliver), whose name alone seems to implcate him in any number of police corruptions. Nick's friend and former partner Mike Ackerman (Anthony Mackie) also figures into the scheme, although their relationship may not be quite the same when all is said and done.


I will say no more of the plot except to give it one bit of praise. The vital pieces of information in the story are revealed at a good pace, not giving away too much too soon, although sometimes too little too late. It's too bad the actors weren't given a better script to work with because some of the twists and plot reveals might work better with more convincing dialogue. Instead, we're treated to Ed Harris throwing temper tantrums, and Elizabeth Banks uttering such eloquence as "this is MY crime scene, get out." The only actor we're not really surprised by is Sam Worthington, because I guess anything is a step up from "Clash of the Titans." Jamie Bell turned in some incredible performances early in his career with "Billy Elliot" and David Gordon Green's "Undertow" but lately has found himself in ho-hum supporting parts.


Given its many weaknesses, "Man on a Ledge" isn't a complete failure. I've never heard of director Asger Leth before, but he gives the proceedings a shot or two of suspense and energy. The climax is surprisingly brisk and exciting. Usually in pictures like this the pay-off isn't worth the build-up but here we have a pay-off that deserves to be in a better movie. Considering how much we have to suspend our disbelief to enjoy "Man on a Ledge" I was willing to recommend it for anyone willing to shut of their brain for an hour and half. Yet, I knew early in the film when I saw a familiar character actor as a bellhop that the movie had something up its sleeve. Then, after all the silliness of the plot and the all the nonsense we're expected to buy, it reveals one last surprise and I felt like I had been jerked around. I don't mind cleverness in movies this absurd but it comes off as sheer cheek and that's where I draw the line. Or where I come down off the ledge.

Tuesday, January 24, 2012

My Top Ten Films Of 2011

With the Academy Awards right around the corner and the announcement of the Nominees this morning, I feel compelled to give you my list for the Best Films of 2011.  These are in no particular order per se, just the order that I prefered them in, I guess.

1. "Warrior"- While it is not nominated for it, in my review, I lauded "Warrior" as the best picture of the year and I cannot sway from my opinion.  This is a harrowing film from beginning to end with three of the finest performances of the year.  Nick Nolte has rightly been nominated for best supporting actor for his turn here as a recovering alcoholic trying to atone for a lifetime of ill-treating his sons.  It is a brave performance worthy of its nomination and deserves to be won.  "Warrior" is not a conventional fight movie, but a sweeping drama about wounded relationships and the strength of family.  It was the best time I had in a theatre all year.

2. "Midnight In Paris" - Too bad I saw Woody Allen's "Midnight in Paris" after I saw "Warrior" because it certainly gives my opinion on best picture a run for its money.  However, since this is actually nominated for best picture, it would be my pick to win even though I doubt it will.  That's too bad, because Woody Allen has crafted not only one of the finest films of the year, but one of his finest films to date.  Good old fashioned filmmaking at its best, "Midnight in Paris" has a witty screenplay, elegant performances and is filled with a romanticism that transcends its time.  This is a new age classic and deserves multiple viewings to appreciate its layers of complexity.

3. "The Help" - It isn't hard to see why "The Help" has been nominated for best picture, and has three actresses nominated for their performances here.  This is one of the boldest, fiercest screenplays of the year by writer-director Tate Taylor.  A young, white man has crafted a marvelous adaptation of the best selling novel about race relations in the south during the tumultuous Civil Rights movement of the 60s.  Easily a front-runner for the best actress win, Viola Davis is nominated for her performance as Aibileen Clark, a wounded but dutiful woman consigned to work for an obnoxious family.  Jessica Chastain and Octavia Spencer are nominated for the best supporting actress statue for their performances as Celia Foote and Minny Jackson, respectively.  Both women deserve the award, so this will be a tough call come awards time.

4. "Rise of the Planet of the Apes" - What it lacks in good writing and dimensional performances, it makes up for in sheer spectacle.  Rupert Wyatt has delivered an astonishing blockbuster that was the surprise hit of summer.  Expert pacing, eye-popping digital effects and a revolutionary performance by Andy Serkis as the central protagonist Caesar elevate "Rise of the Planet of the Apes" to something much greater than the sum of its parts.  Somewhat hampered by a less-than stellar screenplay and a few cookie-cutter performances, the rest of what is offered here provides for an excellent time at the movies.  The lack of nomination for Andy Serkis as best actor is regrettable but this was a satisfying end to a summer full of impressive blockbusters.

5. "Moneyball" - Another film worthy of its best picture nomination, "Moneyball" is so much more than a 'baseball' movie.  The sport and occupation of baseball are just the setting of a smartly crafted story about taking risks, living with regrets and overcoming the odds.  Brad Pitt and Jonah Hill both turn in masterful performances, relying on a brilliant script by Aaron Sorkin and Steven Zaillian.  Directed with precision by Bennett Miller, a relative rookie, "Moneyball" is a thinking person's underdog story with subtle pacing and thematic resonance.

6. "The Conspirator" - A prime example of the quintessential courtroom drama and of expert filmmaking by veteran actor-director Robert Redford, "The Conspirator" chronicles the events following the assassination of Abraham Lincoln and does so with fervant accuracy.  Robin Wright is gripping as Mary Surratt, the conspirator of the title.  The story follows her trial and the complicated relationship with conflicted attorney Frederick Aiken, played by James McAvoy.  The wisest decision of "The Conspirator" is that it leaves any assumptions and conclusions up to the audience.  It is a gripping chronicle of one of the most controversial cases in American history.

7. "X-Men: First Class" - A somewhat surprising film, "X-Men: First Class" takes a slight edge over "Captain America" as the best comic book movie of the year.  Matthew Vaughn took risks reinvigorating a stale franchise,  partly casting aside what didn't work earlier in the series and embracing most of what Bryan Singer brought to the table.  What we're left with is a confident blockbuster filled with impressive visuals, precise staging and strong performances by James McAvoy, Michael Fassbender and Jennifer Lawrence.  Kevin Bacon even makes for a convincing and sinister villain.  "X-Men: First Class" didn't perform well at the box office, but those of us who saw it were treated to a grand spectacle of the highest order.  This was a great way to start the summer.

8. "Harry Potter and the Deathly Hallows-Part 2" - This was the most anticipated blockbuster event of the last few summers.  A grand finale to the 12-year franchise adaptation of J.K Rowling's beloved novels, this was an excellent way to send off the series.  What is so impressive about "Harry Potter and the Deathly Hallows-Part 2" is the way it balances all of the visual effects and unavoidable action while still respecting the character and story arcs.  This is the end of an era for a much-loved literary legend, and David Yates has provided an end that wonderfully and respectfully captures the magic and excitement of the books.

9. "Contagion" - A startling multiple-narrative motion picture about a virus posing a global threat, this is one of Steven Soderbergh's most deliberately paced thrillers.  While not every member of the ensemble cast is given an equal amount of screen time, each is talented enough to make their respective appearances effective.  Worth mention are Matt Damon in yet another role highlighting his considerable range, and an expertly cast Laurence Fishburne as a CDC official.  "Contagion" may not balance the cast perfectly, but it succeeds in frightening the audiences who have seen it.

10. "Kung Fu Panda 2" - My pick for best animated feature of the year, "Kung Fu Panda 2" builds and improves upon the success of its predecessor.  Whereas "Cars 2" felt like a greedy Disney cash grab, this animated sequel has a  story to tell.  With incredible voice work by Gary Oldman and a tolerable Jack Black reprising his role as Po, this is a sure-fire family entertainment with something to please everyone.  Dreamworks Studios is on course to match and sometimes exceed what Pixar has to offer, and with vibrant animation and exceptional choreography, 'Kung Fu Panda 2" is definitely the stand-out animated sequel of 2011.

Wednesday, January 18, 2012

Just What Did They Feed This Horse?

Several times throughout Steven Spielberg's "War Horse," Brittish and German soldiers alike refer to Joey, the horse of the title, as remarkable.  Yes, but perhaps a bit too remarkable.  Oh, I have seen some remarkable horses do some remarkable things, and nobody who has spent time training them would doubt their intelligence and stalwart independence.  But when a horse can pummel through almost unthinkably violent events and take them all in stride with no more than a scratch on the leg, my plausability meter tips just this side of raising my eyebrow and saying "mmmhmm." 

"War Horse" starts as a marvelous frontier epic that brings to mind the vast landscapes of "Legends of the Fall" or the scope and feel of "Far and Away."  There is even a noble Irish family trying to make their way with humble crops and hard work.  Albert Narracott (Jeremy Irvine) seems to have an unusual fascination with horses for a boy of his age.  He gazes longingly at a neighbor's beautiful mare producing an even more majestic colt and while this is all well and good, I couldn't help but compare him to myself at age 17, gazing longingly at a lot of beautiful things, none of which were horses.  Meanwhile, Albert's father Ted (Peter Mullan) has concerns of his own.  He and his wife, Rose (Emily Watson), are under the watchful eye of an uncompassionate landlord named Lyons (David Thewlis) who wants his rent and wants it now.  Problem is, Ted needs to plough a field full of rocks in order to produce enough crop to sell at market.  He visits the local auction and low and behold, there is the very colt his son has been so fond of.  Certainly not a working horse, Ted chooses this magnificant animal over a strapping Clydesdale.  This decision may be more informed by alcohol than by fascination, however.  In any case, it pleases Albert, and it is left to the boy to train his new horse "Joey" for the ploughing of the field.

The passages on the farm are the film's shining moments.  I was swept along with the family's plight as they overcome various odds to remain on their land in spite of the landlord's sniveling.  There is even an angry goose to chase off troublemakers and honk boisterously to state his opinion on matters.  Watching Albert attempt a relationship with the horse has a certain charm and mystery to it.  I have long wondered how horses regard the beings that mount them, whip them and order them along; considering their intelligence, I feel they must instinctively know the order of things.  Albert loves this horse, but by golly, he just is not a plough horse, and Ted in another drunken stooper tries to rectify his mistake at the auction with a 12 gauge.  Albert convinces him to give Joey a chance and sure enough, in the film's most empowering scene, the  horse is able to struggle through and prepare that field for harvest.

Farmers often find great success mixed with unforseen failure.  A good horse can plough the field, but it can't stop it being destroyed by the weather.  With all other options exhausted, Ted takes the only course of action he can and sells the horse to the British Army.  In his eyes, his family must come before a boy's relationship with his horse, but the way he makes this decision is cruel.  The Officer who purchases Joey is Captain Nicholls (Tom Hiddleston in an unfortunately brief role).  He is not dismissive of the boy's protestations, but he needs a horse for war and assures Albert that Joey will be under his personal care and returned should the horse survive.  Captain Nicholls is honorable and even sends Albert drawings of his pal Joey crafted by his own hand.  Indeed, when the good Captain rides valiantly toward his final battle, I believe his look of concern is for the boy and his horse rather than for himself; you don't become a Captain with the allusion that you will always make it out of battle alive.

One of the things I admire most about "War Horse" is how it portrays death, always obscured or off-camera. Rather than show graphic depictions of violent death, Spielberg gives us images to cue us that it has occured.  A twirling windmill, or a horse galloping without its rider.  It is a stark contrast to his "Saving Private Ryan" and is a wise choice for this type of feature.  However, the scenes of battle are also where the movie strains credibility; not in its portrayal of World War I, but in the way that the soldiers behave in relation to this horse.  Joey begins changing sides as German soldiers collect him after a great battle.  Attached to Joey throughout the film is a regimental penant owned by Albert's father.  This penant must surely mean something to Albert, but how and why would it ever mean anything to two young German soldiers?  Each character that encounters Joey ascribes great meaning and regard to, not only Joey, but to the penant as well.  Its payoff at the end is obvious and contrived because it is an unnecessary emotional through line that is already served by the horse himself.

Another issue is the way that the British and German soliders risk their lives for Joey, but only when the plot requires it.  We see horses being shot for not being able to drag artillery up a hill and we see them shot for being in surplus after a great battle.  Yet, when Joey becomes hopelessly entangled in barbed wire between the trenches, a British and German soldier lay aside their qualms and work together to try and save him.  As Joey races tragically into this predicament, I raised my hand to my mouth and cringed, mostly because of what I know must certainly happen after a horse becomes entangled this badly.  When horses are shot earlier in the film for far less, why would anyone go out of their way to attempt to save a horse that is not likely to live?  They wouldn't.  The scene struck me as manipulative because it is staged purposely for an emotional reaction rather than being played out honestly.  What if, for instance, the horse struggled and died and we were shown images of both the British and German soldiers reacting the same way?  It would be more effective because it is exactly what the audience would feel and we'd be right there with them.

There is a nice middle-act sub plot where Joey finds refuge on a French farm with an old man and his granddaughter, Emilie (Celine Buckens).  This mirrors the life Joey had back home but also provides a grim look at the way war can shatter a peaceful existence quite suddenly.  So touched by this horse are the old man and his granddaughter that he comes back late in the film to provide a last ditch attempt at a moral conflict for Albert and Joey.  This also doesn't work because there is no conflict, the horse belongs to Albert; we know it and so does the old man.  The forced sentimentality is overkill at a point when some movie goers will already be exhausted emotionally.  I suppose part of the issue is that the vast majority of the conflict and its consequences rest on our ability to comprehend the way Joey might feel about all this.  But since Joey is a horse, where does that leave us?

'War Horse" is a fine film but it is not a great one.  Steven Spielberg has long been a wonderful director and he provides elements here that really work.  The cinematography by Janusz Kaminski is gorgeous, depicting the beauty of Europe's landscapes and the alternate destruction of it by war.  The camera work is nearly flawless, providing sybolism that fits the sentimental nature of the film.  Sentiment can work, to be sure, but it is in recent years that Steven Spielberg has seemed overly sentimental and heavy handed in his approach.  That seems to be the case here as well.  "War Horse" stretches for greatness and does so valiantly; alas, it stretches itself too far.  Horses are indeed remarkable creatures and I believe this story respects that, but it does so to unrealistic levels.  It might have been neat to see that goose go off to war with Joey and see which of them fared better.  At least you can't accuse Joey of not being willing to die for his country.  My money is on the goose.