I Am

Posted on March 24, 2011 at 9:52 pm

B-

Lowest Recommended Age:	Middle School
MPAA Rating:	Not Rated
Profanity:	None
Alcohol/ Drugs:	References to substance abuse
Violence/ Scariness:	Some disturbing images of injuries and historical tragedies, consideration of suicide
Diversity Issues:	A theme of the movie
Date Released to Theaters:	March 25, 2011
Date Released to DVD:	January 2, 2012
Amazon.com ASIN:	B005U0ZP46

Tom Shadyac had it all — if “all” means fame, fortune, and professional success. He directed some of the biggest box-office hits of the 1990’s and early 2000’s, including Jim Carrey’s “Ace Ventura,” “Liar, Liar,” and “Bruce Almighty,” and Robin Williams’ “Patch Adams.” Careful viewers might have been able to discern a spiritual theme, or at least a spiritual yearning in some of those films. But what made them successful was wild, outrageous comedy.

Shadyac made a lot of money and bought a lot of things. He realized that contrary to the messages we receive all of the time, the money and the things did not make him any happier. And then a literal hit on the head made him think very hard about what really matters. For probably less than the cost of one craft services table or a star’s limo to the set, Shadyac went on the road with a crew of four in search of some mind-bending conversations about how we can do better.

Shadyac had a serious bicycle accident, followed by months of unremitting, excruciating pain so devastating that he decided to commit suicide. That moment of relinquishing any sense of control was somehow liberating and clarifying. He had to decide what he wanted to say before he died. This film became first that statement and then a reason to stay alive.

It’s less clear, though, that it is a reason to go to the theater. Shadyac, energized by the thrill of engaging on big questions with great minds, has created an earnest if often incoherent patchwork on the subject of life’s purpose and meaning and how we can make things better. There’s a reason we usually address those issues through faith and parable (parables including all forms of story-telling). It is very hard to address them directly without sounding vague, pretentious, or a little weird.

At its best, this is a movie that asks some provocative questions about the assumptions we fail to question and the consequences of our current trajectory and lets us hear from fascinating, passionate people. It is an exploration of what Judaism calls “tikkun olam,” the obligation of each of us to assist in healing the world. At its worst, it feels like a trippy all-night dorm debate, unformed and uninformed, that concludes the Beatles got it right: Love is all you need. Some viewers may conclude that the entire thing is just a function of post-traumatic brain injury.

Shadyac speaks to experts in hard and soft science and specialists in history, religion, and philosophy. While his posture is often grasshopper to their Master Po, he has not quite managed to free himself of worldly pride. He asks them whether they have seen his films. He is both dismayed and energized by all of the “no’s,” almost taking it as reassurance he is on the right path if he has found people who are so unconnected to what sustained him and trapped him before. But he is very happy to find one of them is a fan of “Ace Ventura.”

At times it feels like a 1970’s journey through what we used to call self-actualization or the human potential movement as Shadyac experiments with emotion-detecting yogurt, considers that “reality isn’t an it,” and “science is a story.” He ponders a “participating universe” and learns about generosity in deer. Ha also rhapsodizes about the purity of indigenous people without mentioning that, like economically developed cultures, some of them are very violent. But it is fun to get a glimpse of some cutting edge research that suggests that our hearts may be, after all, wise than our brains, and that anger makes us dumber. And it is thought-provoking to consider the benefits of a less individualistic and competitive society and the concept of “a participatory universe where everything we do is changing it” for better or worse.

I assumed when I first heard about this film that the title was a reference to the name of God. But we find out at the end that it is taken from the answer G.K. Chesterton gave when asked what was wrong with the world. Will this awkward movie inspires anyone to consider that answer and become a little more generous and kind? Or is that more likely to come from another big budget Shadyac comedy? For the answer, see “Sullivan’s Travels.”

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How Do You Know

Posted on March 24, 2011 at 10:00 am

Lisa (Reese Witherspoon) and George Madison (Paul Rudd) are both nice people and team players. And that is why they end up on a horrible date on what is for each of them the worst night of their lives.

It’s the worst night because both of them have been cut from their teams. That’s literally the case for Lisa, a 31-year-old professional women’s softball team. Being the hardest working and most supportive player is not enough when she’s a second slower getting to first base than she used to be. She makes everyone around her better. “The intangibles are everything,” urges the assistant coach. But they don’t score runs. The upbeat little post-it note aphorisms Lisa has covering her bathroom mirror do not provide any guidance. They can remind her to be determined, but she is no longer clear on what she should be determined about. And although she tells her sort of boyfriend, a player for the Washington National baseball team (Owen Wilson) that she doesn’t want to talk about her feelings, she is a little disconcerted when he tells her that is his preference.

George, a top executive at a corporation founded by his father (Jack Nicholson), has been informed by the company lawyer that he is under investigation and on his own in finding and paying a lawyer to defend him from possible fraud charges. And his girlfriend, a physics professor, dumps him with cheery efficiency. It is a lot to process. And he doesn’t want to process it. So, why not call that blind date prospect he had put aside when he thought he had a girlfriend?

As terrible as the date is — they ultimately decide that it is better they don’t speak at all — they sort of enjoy it. And we do, too, because writer/director James L. Brooks (“Broadcast News,” “Terms of Endearment,” “As Good as It Gets”) is very good at exactly that: showing us a world of flawed people dealing with messy, complicated, and painful challenges in a manner that draws us in and keeps us on their side.

There is a lot that does not work. It completely fails in portraying with two subjects I know very well: securities law (note, Mr. Brooks, that’s “securities” plural — “security law” is more like TSA pat-down challenges) and Washington D.C. (no place in Washington is an hour and ten minutes from any other place, even on the bus). George’s father is a character even Jack Nicholson can’t make anything more than a highly artificial narrative inconvenience. The magnificently talented Kathryn Hahn (please, someone give her a worthy role) does her best in a part that is both over- and under-written as George’s very pregnant and very loyal secretary. One of the big turning-point speeches doesn’t deliver the punch it sets us up to expect.

A lot of people are not going to like this movie. But I did because for me he got a lot right. Audiences expecting a conventional structure and tone will be disappointed. I like a movie that is, like its leads, endearingly messy and subverts our genre expectations. Brooks colors outside the lines. There is more happening around the edges of this movie than happens in the middle of the screen of most — George’s problem is more than just a topical reference. And the difference between a male and female professional athlete is not addressed; it’s just there.

Brooks’ dialogue is always a great pleasure. Rudd, one of the most engaging of actors, has never been better. Watch his face carefully in the elevator scene, when he thinks his world has collapsed and then looks up to see that the girl from the awful silent date is there. The mixture of emotions is superbly handled. Witherspoon is revelatory as a woman who relied on an all-encompassing structure with answers for everything and now realizes there were questions she did not even know she had. And if that makes us question our own conventional notion of what we know, well, it just shows you that the intangibles really are everything.

Related Tags:

Drama Romance

‘Memphis’ Comes to Movie Theaters — Special Event

Posted on March 22, 2011 at 9:43 pm

The Broadway smash hit, “Memphis,” Tony Award-winner for best musical, is coming to a movie theater near you. NCM Fathom and Broadway Worldwide are presenting an exclusive Broadway musical event in more than than 530 movie theaters for four nights only: Thursday, April 28; Saturday, April 30; and Tuesday, May 3 at 7:30 p.m., with a special matinee on Sunday, May 1 at 12:30 p.m. (all times are local). This is the first time a current Tony Award-winning Best Musical will be presented in movie theaters while concurrently running on Broadway. In addition to the electrifying musical, audiences will be treated to an exclusive behind-the-scenes look at the musical that won four 2010 Tony Awards and continues to play to sold out houses on Broadway. “Memphis” was captured live in performance with the original Broadway cast for this special Fathom event presentation.

Tickets are available at participating theater box offices and online. For a complete list of theater locations, prices and additional information — including cast photos and other details —visit the NCM Fathom website (theaters and participants are subject to change).

“Memphis” takes place in the smoky halls and underground clubs of the segregated 50’s, where a young white DJ named Huey Calhoun (Chad Kimball) fell in love with everything he shouldn’t: rock and roll and an electrifying black singer (Montego Glover). It is an original story about the cultural revolution that erupted when his vision met her voice, and the music changed forever. Bursting off the stage with explosive dancing, irresistible songs and a thrilling tale of fame and forbidden love, this incredible journey is filled with laughter, soaring emotion and roof-raising rock ‘n’ roll.

This is the first time that audiences across the country will have the chance to see the Broadway cast of an award-winning musical while the show is still playing in New York. “Memphis’ will launch a U. S. national tour in Memphis, Tenn., in October 2011 at the Orpheum Theatre.

Related Tags:

Based on a play Musical

Yogi Bear

Posted on March 22, 2011 at 7:38 pm

Yogi Bear (voice of Dan Aykroyd) is genuinely perplexed by the suggestion that he might want to forage for food and catch fish with his paws. “Isn’t that kind of unsanitary?”

He may live in the woods, but for Yogi, star of the 1960’s series of cartoons from Hanna-Barbera, that does not mean his life has to be bereft of civilization. He has a best friend named Boo Boo with a natty bow tie (voice of Justin Timberlake!). His cave is equipped with a soda machine. He is never seen without his hat, collar, and tie. And he is a well-known aficionado of fine dining. His preferred cuisine is the contents of picnic baskets brought by visitors to Jellystone Park, the campground and nature preserve that is his home. He loves picnic baskets so much, he’s given them an extra syllable, to hold onto the word just a little longer. He calls them “pick-a-nic baskets,” and they are to him what the grail was to Galahad, the whale was to Ahab, and the Road Runner is to Wile E. Coyote.

But to the frustrated Ranger Smith (the always-likable Tom Cavanagh), Yogi’s antics make it impossible for him to have the nice, peaceful, orderly park he dreams of. “There’s no better place on earth,” he sighs, “except without him.” And Smith can’t figure out how to talk to the pretty nature nerd who has arrived to make a documentary about the talking bear in Jellystone Park (the always-adorable Anna Faris as Rachel).

Soon, though, Smith has a bigger problem. The Mayor (slimy Andrew Daly) and his aide (elfin Nathan Corddry) want rescue the city’s budget by privatizing the park and selling off the logging rights. Ranger Smith has just one week to get enough money from increased admissions to the park to save the day.

Yogi Bear began as one segment of the 1958 animated series “Huckleberry Hound.” He quickly eclipsed the other characters, who are all but forgotten (I don’t see “Pixie, Trixie, and Mr. Jinks: The Movie” coming to a multiplex any time soon), and soon became a headliner with his own series. Yogi’s adventures were filled with the same silly slapstick, but he had a special quality that endeared him to kids. They identified with his place midway between the animal world of the forest and Smith’s ultra-civilized world of a uniformed, rule-enforcing (but always-forgiving) grown-up.

Yogi often brags that he is “smarter than the average bear,” but he often outsmarts himself, allowing kids to feel that they are a step ahead of him. As often in comedy, especially for kids, a lot of the humor in cartoons comes from ineptitude and foolishness. Children, who are constantly surrounded by things they do not understand love to see characters who are even more confounded by the world around them. In this film, Yogi may be smart enough to design a flying contraption. But his efforts to persuade Ranger Smith that it is not intended for stealing picnic baskets fails when the Ranger points out that printed across its stern is “Baskitnabber 2000.”

Moments like these are classic Yogi, but it is still an uneven transition to a live-action feature film from the very simplified story-line and animation of a seven-minute hand-drawn cartoon. The running time, computer graphics, and 3D effects overwhelm the slightness of the material, especially when it departs from the core relationship of Yogi and Ranger Smith. The story drags in the middle, when the junior ranger (T.J. Miller), chafing because Ranger Smith won’t let him do anything but sort maps, agrees to sabotage the efforts to keep the park going in exchange for a promotion. Smith’s inept efforts to romance the pretty film-maker are weak and it hardly helps when Yogi offers his advice to Smith about, ahem, marking his territory.

These are what I call “lunchbox movies.” We’ve had a string of big-budget multiplex fodder featuring whatever character was on some studio executive’s second grade lunchbox (Garfield, Alvin and the Chipmunks, Inspector Gadget). They toss in some potty humor for the little kids and some boombox oldies to amuse the parents (Sir Mix-a-Lot will be cashing yet another royalty check). But Yogi and his pic-a-nic basket — and the kids and parents looking for a holiday treat — deserve better.

The Tourist

Posted on March 22, 2011 at 3:05 pm

Behind this forgettable trifle are some very talented people, all punching below their weight when they’re not just calling it in. The screenplay is by Julian Fellowes (“Gosford Park”), Christopher McQuarrie (“The Usual Suspects”), and director Florian Henckel von Donnersmarck (“The Lives of Others”), based on the 2005 French film, “Anthony Zimmer.” Two of the biggest stars on the planet, Angelina Jolie and Johnny Depp do their best to put some sizzle in this would-be romantic thriller, but they are both poorly used and have no chemistry whatsoever. Venice is pretty, though.

Jolie is the veddy proper Elise Clifton-Ward, whose role in this film is somewhere between femme fatale (drawing the poor schlub who happens across her path into a world of intrigue and peril) and Girl from Ipanema — she spends a lot of time walking slowly while those she passes say, “Ahhhhhhh.”

Elise receives a note from Alexander Pearce, the man she loves and has not seen for two years, asking her to find a man on the train who resembles him to use as a decoy and distract the various Interpol teams that are trying to track him down. Enter the shlub, a math teacher from Wisconsin so (apparently) incapable of dishonesty that his very name is Frank. And yet, we see him tell a lie very early on. It’s a small one, perhaps understandable, but still….

Elise invites him to spend the night in her lavish hotel suite (on the sofa) and kisses him on the balcony, thus drawing the fire, and the attention, of Interpol and of someone even more bent on tracking Pearce down, the man he stole from. It’s a nice set-up, but the execution depends on three things that never happen: a witty script, a spark between the leading characters, and an understanding of tone. The script sags. Jolie and Depp are both poorly cast (she may be more of a serene and elegant mother earth in her real life these days but on screen she only comes alive when she is aggressive and a little wicked and Depp can do just about anything but act like an ordinary guy). And von Donnersmarck has no sense of humor or lightness to make the sillier aspects of the story endearing instead of annoying. This is yet another example of an American remake of a French film that just misses the fun, the romance, and the point.

Related Tags:

Action/Adventure Romance Thriller