DVD Giveaway: One Hot Summer

Posted on May 27, 2010 at 8:00 am

Get ready to sizzle with “One Hot Summer,” the story of a beautiful Cuban-American lawyer who is torn between her husband and an old boyfriend as she and her two best friends try to follow their hearts to love and happiness. The cast includes Vanessa Marcil, Casper Van Dien, and Jon Seda.

I have copies to give away! Send me an email at moviemom@moviemom.com telling me what you love most about summertime and you may be a winner.

NOTE: DVDs provided by the production company; all opinions are my own.

Movies to Salute Our Armed Forces

Posted on May 26, 2010 at 3:58 pm

Reposting from 2008:
In honor of Memorial Day, take a break from picnics and sales and share one of these great films about American soldiers, sailors, and Marines. And be sure to take time thank the military and veterans in your life for all they have done to keep us safe and free.
1. Sergeant York Gary Cooper won an Oscar for his portrayal of WWI hero Alvin York, the pacifist from the hills of Tennessee who carried out one of the most extraordinary missions in military history using lessons from his life on a farm. He captured 132 men by himself, still a record for a single soldier. In addition to the exciting story of his heroism in war, this is also the thoughtful story of his spiritual journey. He is a pacifist, opposed to fighting of any kind. By thinking of what he is doing as saving lives, he is able to find the inspiration and resolve for this historic achievement.

2. Saving Private Ryan Director Steven Spielberg salutes his father and the greatest generation with this story set in the D-Day invasion of Normandy. It frankly portrays the brutality and carnage of war and its wrenching losses, but it also portrays the honor, sacrifice, heroism, and meaning.
3. Mister Roberts There are battles — and heroes — of all kinds. Henry Fonda plays a Naval lieutenant assigned to a cargo ship during WWII who feels very far from the action. He learns that his defense of the crew against a petty and tyrannical captain (James Cagney), on behalf of “all the guys everywhere who sail from Tedium to Apathy…and back again, with an occasional side trip to Monotony,” is an important and meaningful contribution.
4. M*A*S*H Set during the Korean War but released in and very much a commentary on the Vietnam War, this is the story of surgeons stationed at a Mobile Army Surgical Hospital. The emphasis is on war’s essential absurdity — these are doctors whose job is to heal soldiers to they can be sent back into battle — and on the ways that different people respond to those situations, responses that often escalate the absurdity. See also “Captain Newman, M.D.,” with Gregory Peck as a sympathetic Army psychiatrist during WWII as well as the long-running television series this film inspired.
5. Glory The Civil War 54th Massachusetts Volunteer Regiment, one of the first formal units of the U.S. Army to be made up entirely of African American men, inspired his film. Led by abolitionist Robert Shaw (Matthew Broderick), and based on his letters, this is a story of heart-breaking courage, as the men had to battle not only with the Confederacy but with the bigotry of most of the white officers on their own side.
6. The Longest Day An all-star cast shines in this sincere re-telling of the events of the invasion of Normandy D-Day, one of the transformational moments of WWII. Many of the military consultants and advisors who helped with the film’s production were actual participants (from both sides) in the action on D-Day, and are portrayed in the film.
7. Band of Brothers This 10-part miniseries produced by Tom Hanks and Steven Spielberg is based on the best-seller by Stephen Ambrose about the WWII experiences of E Company (“Easy Company”), the members of the 506th Parachute Infantry Regiment, United States Army 101st Airborne Division and one of its officers, Richard Winters (played by Damian Lewis), from basic training through the American airborne landings in Normandy, Operation Market Garden, the Battle of Bastogne and the end of the war.
8. Patton George C. Scott won an Oscar for his portrayal of WWII General George S. Patton. The film also won six additional Oscars, including Best Picture. Its screenplay, co-written by Francis Ford Coppola, frankly portrays Patton’s mistakes and faults as well as his leadership in turning the tide of the war.
9. The Caine Mutiny/A Few Good Men These two movies, one set in WWII and one contemporary, both center on court martial trials with similar themes — what price do we pay for the luxury of feeling safe?
10. Gardens of Stone This underrated gem from Francis Ford Coppola about the “Old Guard,” the regiment responsible for the funerals at Arlington National Cemetery has beautiful performances from James Caan, James Earl Jones, and D.B. Sweeney and subtly but powerfully explores some of the deepest and most troubling questions about the price we pay — and the price we call on others to pay — for our freedoms.

Dear John

Posted on May 25, 2010 at 8:00 am

Nicholas Sparks writes the equivalent of comfort food, high-carb, low-nutrition, but sometimes it hits the spot. His stories usually feature relationships that are not just true and deep and loving but healing. And then, like ripping off a band-aid, he tears it asunder, but in a manner that demonstrates just how true and deep and loving and healing the relationship was but how ennobling as well. And there is usually some object of deep metaphoric and sentimental value.

Ladies, prepare your hankies.

This time, the author of “The Notebook,” “Message in a Bottle,” “Nights in Rodanthe,” “A Walk to Remember” and this spring’s “The Last Song” (starring Miley Cyrus) gives us John (Channing Tatum) and Savannah (Amanda Seyfried of “Mamma Mia!” and “Big Love”). She is a kind-hearted girl and he is a special forces soldier with some anger issues. They have some soft-focus moments on the beach in Charleston while he is on leave and she is on spring vacation. She is considerate to his socially impaired father (Richard Jenkins) and he is understanding with her autistic neighbor. Two weeks later, they are very much in love, and agree to write as he completes his last year of service, as they look forward to being together as soon as it is over. But 9/11 changes everything. As Richard Lovelace wrote almost 400 years ago, “I could not love thee, dear, so much/Loved I not honor more.” As wrenching as it is for both of them, they know his place is with his team, defending freedom.

But then, she writes a “Dear John” letter telling him that she is engaged. He is wounded, recovers, and returns to battle. When he finally sees her again, he learns that her choice was not what he thought.

Director Lasse HallstrÃ¶m (“What’s Eating Gilbert Grape,” “The Cider House Rules,” “My Life as a Dog”) keeps things from getting too syrupy and Tatum and Seyfried have a sweet, easy connection. Henry Thomas (the kid from “E.T”) has warmth and humor as the single father of the autistic boy. Richard Jenkins does what he can in the underwritten role of John’s father, whose reserve and awkwardness may be attributable to an autism spectrum disorder. We’re on the side of these undeniably decent and very pretty people. But there is nothing they can do to make the last third of the film feel emotionally or narratively believable. If at the end of the movie, you ask whether there was any other reason for a character not to provide more information much earlier and the only answer is that they had to find a way to fill the last 40 minutes of screen time, that is not going to work. And the sweetness of the original connection is dissolved in what feels like a trick.

Related Tags:

Based on a book Date movie Romance

The Road

Posted on May 25, 2010 at 8:00 am

The most terrifying moment we ever experience is the realization that we are responsible for the life of the perfect being who has turned us from people into parents. We want more than anything to keep them safe and teach them everything they need to survive, even though we know how impossible it is to do both at once. “The Road,” based on the acclaimed novel by Cormac McCarthy (No Country for Old Men) takes that conflict to the extreme with an archetypal father and son (just known as “Man” and “Boy”) and on a post-apocalyptic journey.

We do not know what the cataclysmic event was. We do not know if it was a natural disaster or the result of some kind of attack. But the world as we know it has ended. Sometimes the Man (Viggo Mortensen) goes back to the before in his dreams, of the night before his son was born, the last night when life still held possibilities. Since that day, everything is wiped out, including plants and animals. It is always cold. There is nothing to eat. Almost everyone has died or committed suicide. Those that are left are either predators or prey.

Stripped down to essentials, the Man has just one occupation — protecting the Boy, physically and psychically. As all parents must, he tries to help his son make sense of the world around him, teaching him enough about treachery and danger to be safe but teaching him enough about hope and honor to be “the good guys.” The Man tells his son that he must always carry the fire and by that he means both the literal fire that keeps them alive in the eternal winter and the spirit of optimism and humanity that is as important to the fate of the world as their ability to find something to eat.

As they go toward the coast, for no other reason than that it might be better than where they are and because it gives them a goal, they have encounters that are sad, strange, and scary. They find a somehow-overlooked relic of the past, a can of Coke, as exotic and inexplicable for the Boy as a shard of Sumerian pottery might be to us. When they find the house the Man grew up in, the markings his parents made to measure his growth are still there, a symbol of stability and care. When he tells the Boy that this is the fireplace mantel where they used to hang their stockings, he realizes that memory has any no connection to the Boy’s entire lifetime of scrounging, moving, and staying away from desperate packs of people who might as well be zombies for all of the humanity they have retained.

Wrenching, elegiac, but ultimately inspiring, this is a film that knows how to hold onto its own fire. By stripping away everything but the essentials, it makes us ask ourselves about the compromises we make, the consequences of our choices, and the value of the things that we so often think are worth striving for.

Related Tags:

Based on a book Drama

Valentine’s Day

Posted on May 18, 2010 at 8:00 am

Ladies and gentlemen, let the record show that the Twitter movie has arrived.

“Valentine’s Day” consists of a bunch of incidents and concepts and indications that in our omni-media world are taken for stories, though all of them would fit within Twitter’s 140-character limit. And it would take less time to list the people who are not in this movie than the people who are. The opening credits, with one name at a time, threaten to continue for the first hour of the movie. I’ll save time with this summary: just about anyone in Hollywood who has ever been described as cute or adorable is in the cast, with a full complement of Jennifers plus a Jessica, a Julia, a couple of Taylors, four Oscar winners, and a Queen.

Love, Actually-style — or, actually, Love American Style-style, this is a bouquet of skits that are variations on the themes of love — old, new, familiar, surprising, poignant, frustrating, and joyous. I do not use the terms “deep” or “unpredictable” or “witty.” Like a dime store box of valentine chocolates, it is not fancy, and some of the ingredients may not be ideal, but they are still tasty.

At the heart of the story is Ashton Kutcher as Reed, an idealistic and kind-hearted florist who starts off Valentine’s Day by proposing to his career-focused girlfriend (Jessica Alba) and is overjoyed when she agrees. As he goes on through his busiest day of the year, taking orders and making deliveries, he encounters many of the other characters observing the holiday in their own ways. A young boy needs flowers for the most beautiful girl in school. A doctor needs flowers for both his wife and his girlfriend.

Also — a teacher (Jennifer Garner) decides to surprise her boyfriend by flying out to see him. A young man newly in love and an older man married for decades must cope with disappointing revelations. A football player (Eric Dane) and a sportscaster (Jamie Foxx) think about what they are missing by being alone as a publicist (Jessica Biel) wonders if anyone is coming to her annual “I Hate Valentine’s Day” party with its ceremonial bashing of a heart-shaped pinata. A young couple finds that no matter how carefully they have planned their first sexual encounter, they cannot anticipate every problem. And a US Army captain (Julie Roberts) and a businessman (Bradley Cooper) seated next to each other on a 14-hour flight, talk about life and love and how precious the time we spend with those we love can be.

Some of the segments work better than others and a few sour moments intrude when the movie wants us as well as its characters to shrug off certain choices that to my mind are unsettling. The revenge of a woman who was cheated on is more creepy than vindicating. And I thought I made this clear, people: NO MORE RACING THROUGH AIRPORT SCENES IN ROMANTIC COMEDIES.

Director Garry Marshall keeps things moving so that by the time you realize one story is not working very well we are on to the next. He tosses in many bits of pop songs throughout just to make sure we don’t miss anything (the first-time couple drives off to “Feels Like the First Time,” get it?). There are too many participants for the performances to be anything but competent, though it gets some energy from sheer star power, especially from Julia Roberts, Bradley Cooper, Jennifer Garner, Topher Grace, Anne Hathaway, and Marshall perennial good luck charm Hector Elizondo. Taylor Swift clearly has some fun as half of a high school couple believably described as “full of promise, full of hope, ignorant of reality.” Distracting winks at the audience (Taylor Lautner’s character says he is uncomfortable taking his shirt off in public, we see a poster for Love, Actually, and in the closing credit sequence Roberts reprises some dialogue from the movie she made with Marshall, “Pretty Woman”), however, are just about always an acknowledgment that the movie needs some artificial stimulants to keep the audience feeling entertained. But watching pretty people fall in and out of love is not a bad way to spend a winter evening and there is so much going on that at least one relationship will touch just about anyone.

Related Tags:

Date movie Romance