Non-Stop

Posted on February 27, 2014 at 6:00 pm

I’ve got nothing against action movies that are dumb fun (see last week’s review of 3 Days to Kill). My bar is pretty low. I don’t ask them to make sense. But “Non-Stop” sinks to a level of ridiculousness that harshes the buzz from even a top-notch cast and engaging set-up. I never thought I’d say this, but if Liam Neeson wants to appear in an yearly middle-aged action movie to combat the doldrums of winter, maybe he should consider “Taken 3.” Or “Snakes on a Plane 2.”

Neeson plays Bill Marks, an ex-cop-turned air marshall with issues. We meet him in the airport parking lot, taking a drink, arguing with his boss, and looking seedy and shaky. Outside the airport taking a last smoke, he is distracted, not hearing a request for a light, and inside the airport he is curt with other travelers. Once on board the plane to London, he admits to his seatmate, Jen (Julianne Moore), that he is very tense during take-off, but fine once the plane is in the air. Once they air airborne, he goes into the lavatory and puts duct tape on the smoke detector so he can have another cigarette.

Back in his seat, he receives a text on the secure federal network. It says that if $150 million is not transferred to a bank account, every twenty minutes someone on the plane will die. The sender seems to know all about him. Bill has to figure out if the threat is real and who it is coming from.

Thankfully, the movie avoids the obvious “if you don’t know why that well-known actor is in this movie, he’s the bad guy” syndrome. There’s a lot of bench strength in the “that guy looks familiar” non-star supporting cast, with outstanding character performers and up-and-coming actors like Scoot McNairy (“12 Years a Slave,” “Argo”), Corey Stoll (“Midnight in Paris,” “House of Cards”), Nate Parker (“Arbitrage”), Michelle Dockery (“Downton Abbey”), Luptia Nyong’o (“12 Years a Slave”), Linus Roache (“Law and Order: SVU”), and Omar Metwally (“Harry’s Law”). Every one of them takes the unforgiving material of the storyline further than it could possibly be expected to go, most of them giving us reasons to doubt/believe/doubt/believe whatever they are saying so nicely that they almost make it possible for us to ignore the increasingly dumber twists of what I will loosely refer to as the plot. They make the shifting alliances hold our interest even as the storyline veers out of control. The twists and turns of the who-dun-it and what-did-he-or-she-do-and-how are not as dumb as the decision to have Marks, for example, stop in the middle of a dire, every-second-counts moment to tell everyone on the plan a sad story about why he is so tortured. And then there’s the moment when the cabin loses air pressure just in time to float a gun into Marks’ hand.

An airplane movie should take advantage of its locked-room setting and inherent danger. But this one seems to miss the point. Constricted space and the limits on getting dangerous materials through the TSA checkpoint should make the fight scenes more interesting, but they are unimaginatively staged by director Jaume Collet-Serra. Marks’ instability is another limitation should also add an additional layer of uncertainty, but it is handled so inconsistently that it breaks the tension. Finally, so much is piled into the last fifteen minutes that it feels like an unsuccessful attempt to get us to forget how little sense it makes. We don’t ask for much from movies like this but the minimum is that you should get all the way to the car before you start saying, “Wait a minute….” This one depends on such a pile-up of preposterousness that even these actors can’t land it safely.

Parents should know that this movie’s themes concern terrorism and hijacking, fights, guns, bomb, intense peril. Some characters are injured and killed, and the movie includes a sexual situation, brief strong language including gay slur, drugs, and alcohol abuse.

Family discussion: What was the villain’s real motive? If you suspected the wrong person, how did the movie mislead you?

If you like this, try: “Air Force One” and “Red Eye”

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Son of God

Posted on February 27, 2014 at 6:00 pm

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for intense and bloody depiction of The Crucifixion, and for some sequences of violence
Profanity:	None
Alcohol/ Drugs:	Wine
Violence/ Scariness:	Intense and graphic torture and abuse and disturbing images in depiction of crucifixion, swords
Diversity Issues:	Religious diversity issues
Date Released to Theaters:	February 28, 2014
Date Released to DVD:	June 2, 2014
Amazon.com ASIN:	1455585831

“Son of God,” re-cut and expanded from the popular miniseries produced by Roma Downey and Mark Burnett, “The Bible,” tells the story of Jesus from birth to crucifixion and resurrection in a thoughtful, reverent, and dignified manner. This is a movie made by believers for believers. It expects viewers to be familiar enough with the story to fill in some of the gaps and devout enough to assume the significance of each moment. It tells the story in a westernized, conventional manner that can seem superficial at times, more a cinematic Sunday School lesson than a movie. It is unlikely to persuade anyone, but it is undeniably moving and many believers will find it inspiring.

The production values are high, with Morocco providing the Biblical landscapes, elaborate sets and costumes, and a stirring Hans Zimmer score. Portuguese actor Diogo Morgado plays Jesus with dignity. He is very handsome, though his western features seem out of place. The portrayal of the Jews is always a sensitive issue in the depiction of the New Testament story. This version is more sympathetic than some, showing the political pressure that gave the Jewish community in Rome-occupied Jerusalem little choice. But it seems odd that Jesus and his followers, who considered themselves Jews, show no evidence of Jewish practice other than the Hebrew prayer for he dead following the crucifixion. Even the Last Supper, which has no elements of a Passover seder, though the Gospel of Mark says that Jesus prepared for the Last Supper on the “first day of Unleavened Bread, when they sacrificed the Passover lamb.”

The movie also reflects its source with some odd re-cuts and deletions. Those who are not familiar with the details of the Gospels may have trouble understanding who some of the characters are and how they fit in. The death of John the Baptist is mentioned briefly without making it clear what his contribution was and how he died. Roma Downey has explained that they chose to literally cut the devil out of the story, in part as a result of some claims that the actor cast in the role for the television version bore a resemblance to President Obama. But that means eliminating a key element of the story, the Garden of Gethsemane, which is an important part of understanding the way Jesus saw his role and his sacrifice. This is an accessible version of the story, but it is also a simplified one.

Parents should know that the New Testament storyline includes illness, bigotry, and graphic and disturbing images of torture, abuse, and crucifixion.

Family discussion: How does this differ from other versions of the story? What was Jesus’ most important statement and why?

If you like this, try: the rest of “The Bible” miniseries and other depictions of the life of Jesus including “The Gospel of John” and “King of Kings”

Pompeii

Posted on February 20, 2014 at 6:00 pm

In 79 AD Mount Vesuvius erupted, wiping out the city of Pompeii. Director Paul W.S. Anderson, who gave us movie versions of “Resident Evil” and “Mortal Kombat,” presents the story as a video game. If what you are looking for is special effects and well-staged action, or even buff bodies, you’re all set. But those who are looking for history, meaningful drama, character development, or good dialog — well, they weren’t paying attention a moment ago when I mentioned the director of game console-to-movie theater movies and Paul W.S. Anderson. It is basically “The Legend of Hercules” with a volcano.

“Game of Thrones'” Kit Harington plays Milo, who as a child saw his entire community brutally slaughtered by the vicious and corrupt Roman soldier Corvus (an imperious Kiefer Sutherland). Milo escaped by hiding in a pile of dead bodies. He is later captured and sold into slavery, where his outstanding fighting skills bring him to the attention of a purveyor of gladiator battle-to-the-death entertainment. He travels to the big city of Pompeii to compete in the arena there. Along the way, he sees a beautiful young woman named Cassia (Emily Browning) and he impresses her by putting her injured horse out of its misery. Cassia is returning to her parents (Jared Harris and Carrie-Ann Moss) after a visit to Rome, where she attracted the attention of Corvus, now a high-ranking Senator. But Milo has attracted her attention. In an example of dialog that could have come out of a middle school slam book, a character says, “I never saw you look at any man the way you looked at that slave.”

Milo is set to fight the enormous and powerful Atticus (“Thor’s” Adewale Akinnuoye-Agbaje), who can earn not just his life but his freedom with one more win in the arena. They end up forming an alliance like that of Kirk Douglas and Woody Strode in the classic “Spartacus.” Meanwhile Corvus is attempting to extort Cassia’s hand in marriage from her father, who needs the support of Rome for his building project.

And all of this is about to be trumped by a nearby mountain and some seismic movement of the earth. There are huge sinkholes and then there is an ocean of burning lava and chokingly thick ash. Every element of the lives of the Pompeiians is turned upside down as all societal restrictions are removed and all anyone wants to do is stay alive. Well, you’d think that, but unfortunately the storylines that have already more than overstayed their welcome drag on, interfering with what we really want to see — the special effects — and jettisoning any possible remaining legitimacy of the plot.

Harington is very good as Milo and he and the excellent Akinnuoye-Agbaje make the fight scenes exciting and compelling. Sutherland has a nice sneer (I could not help remembering his bully in “Stand By Me.”) The special effects, especially in 3D, are impressive. But the movie is dragged down by its cheesy storyline.

This is not the first movie version of the story of Pompeii and it will not be the last. Pliny the Younger’s eyewitness description of what happened when the volcano erupted excerpted in the opening moments of the film, is still more vivid and powerful than any version yet put on screen.

You might hear the Shrieks of Women, the Cries of Children, the Noise of Men: Some called aloud for their Parents, some for their Husbands, and knew them only by their Voices; some bewailed their own Share in the Calamity; and others that of their Neighbours; some wished for Death from the Fear of Dying; many lifted up their Hands to Heaven; a Multitude disbelieved all the Gods, and looked upon the Time to be the last eternal Night, that has been prophesied. Some improved the real Dangers by feigned and imaginary Fears; others gave it out, that this House at Misenum was fallen, that was burnt; both falsely, but they met with Believers. A Glimpse of Light appeared, that did not show us the Return of Day, but the Approach of the Fire that threatened us: The Fire indeed, stood at a Distance; then the Darkness revived, and after that, a plentiful Shower of Ashes and Cinders: We rose up now and then and shook them off, otherwise we should have been covered and oppressed with the Weight of them. I could boast, that neither a Sigh, nor a complaining Expression dropped from me in the midst of these Alarms; but I was supported by this Consolation, not very Reasonable indeed, but natural enough, to think that all the World perished with me.

Parents should know that this film has extensive sword and sandal-era violence including the slaughter of a village, a child seeing his parents get killed, a horse put down, and many gladiator fighting scenes with many characters injured and killed. Also, natural disaster violence destroys an entire city with some disturbing images and there is a brief sexual situation (slaves as prostitutes) and reference to a brothel.

Family discussion: Why didn’t Milo want to say his name? What kind of culture finds gladiator fighting entertaining?

If you like this, try: read up on the real history of Pompeii and watch classics like “Gladiator,” “Ben Hur” and “Spartacus”

The Monuments Men

Posted on February 6, 2014 at 6:00 pm

B+

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for some images of war violence and historical smoking
Profanity:	Some mild language ("SOB," etc.)
Alcohol/ Drugs:	Drinking, references to drinking problem
Violence/ Scariness:	Wartime violence, peril, guns, explosions, characters injured and killed, some disturbing images
Diversity Issues:	A theme of the movie
Date Released to Theaters:	February 7, 2014
Date Released to DVD:	May 19, 2014
Amazon.com ASIN:	B00DL48CN4

Many years ago, my husband and I attended an art auction at which one item was a pencil drawing of a peaceful river setting, made by an Austrian art student in the early 20th century: Adolf Hitler. The bidding opened at $10. There were no takers. Hitler retained his appreciation for art as he became a dictator and the man responsible for the most devastating war in world history and the Holocaust that killed six million Jews and hundreds of thousands of Slavs, Romany, gays, and disabled people. A part of his plan to take over the world and remake according to his dream of a Thousand Year Reich was to own the greatest art masterworks of all time, many to be displayed in a “Furher Museum” in his own honor. He ordered his army to take art from Jewish collectors, from churches, and from museums, and he hid them until they could be retrieved at the end of the war. When it appeared that he was going to lose the war, he ordered many of them to be destroyed.

In a little-known part of the Allied war effort, an international group of 345 art historians, scholars, curators, and architects served in the Monuments, Fine Arts, and Archives section, to seek out the missing art treasures and, where possible, to prevent the battles going on in Europe from collateral damage of historic buildings and artworks. Writer-director-star George Clooney has turned this story into an exciting and entertaining film, but by no means a great one. At times it feels like “Oceans 11 Goes to War.” In fact, Clooney not only gave himself the same line he has in “Oceans 11,” he gives it the same line reading. It is one thing to make a heist film set in Las Vegas cuddly, with a bunch of pretend adorable crooks. It is another to try to make that work in the midst of a devastating real war, especially when every one of the clearly fictionalized and composite characters is always the essence of dignity, courage, honor, dedication, and dashing gallantry, quips included.

In this Hollywood-ized version, there are six primary operatives: Clooney plays the leader, Frank Stokes, who rounds up his non-dirty half-dozen, including recovering alcoholic Brit Donald Jeffries (“Downton Abbey’s” Hugh Bonneville), dashing Frenchman Jean Claude Clement (“The Artist’s” Jean Dujardin), MMoA curator James Granger (Damon), sculptor Walter Garfield (John Goodman), architect Richard Campbell (Bill Murray), and Preston Savitz (Christopher Guest regular Bob Balaban). Cate Blanchett is sincere but misused as a French woman working for the Germans who are taking paintings from Paris so she can give information to the Resistance.

Clooney can do better (“Goodnight and Good Luck”) than this script, which feels like a Robert McKee formula special, all the beats and plot points laid out according to the formula. As a result, it works. The sad casualties are balanced with the sentimental pauses (a nice moment when a character gets a recorded message from home is clumsily juxtaposed with a soldier dying on a table in the medical tent) and the bro-banter. But the breadth and brutality of the crimes and the humility and devotion of the heroes cannot help but move us and, I hope, inspire us to treasure the masterworks they saved and the heroes who saved them.

Parents should know that this film includes wartime peril and violence, with characters injured and killed, some graphic and disturbing images, sad deaths, explosions, shooting, land mine, constant smoking, some drinking and references to a drinking problem, and mild references to adultery.

Family discussion: Should people risk their lives to save art? Who should decide?

If you like this, try: “Is Paris Burning?” and The Train and the documentary about Nazi art theft, The Rape of Europa — and look into the history of some of your favorite artworks

Two Film Noir Classics Now Free Streaming

Posted on January 31, 2014 at 11:59 am

“Film Noir” (“black films”) usually refers to the stylized dark crime films of the 1940’s, usually made by German directors who came to the United States to escape the Nazis. Their cynicism, sense of dread and loss, and themes of betrayal, obsession, and sin gave their stories of crime and mystery an archetypal feeling. Two of the best can now be seen for free.

A neglected gem from Orson Welles, “The Stranger” is the story of an investigator (Edward G. Robinson) who is tracking down a Nazi war criminal (Welles), now living a quiet life as a professor and married to a woman (Loretta Young) who knows nothing of his past. The climax in a church belfry tower is brilliantly staged.

Edward G. Robinson also appears in the less characteristic role of a mild-mannered professor who gets caught up in a web of deception and betrayal in “The Woman in the Window.” The ending is a disappointment, but the direction by Fritz Lang is a masterpiece of noir mood.

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Classic Drama Mystery Thriller