The International

Posted on June 9, 2009 at 8:00 am

This thriller about a multi-national bank with innumerable tentacles and immeasurable power has two problems and the worst is bad timing. It’s just a little bit more difficult these days to feel pleasurably shaken up while watching a story about a couple of brave souls from law enforcement fighting a big, bad, bank when recent developments have made it clear that not only are the banks less powerful than we thought, they are not even competent enough to stay in business much less plot total world domination.

If we can put reality aside for a moment, it begins as a fairly serviceable if standard thriller, some tough talk, a murder, a determined if overmatched international investigator (Clive Owen as Louis Salinger), and that all-powerful corporation that thwarts him through a combination of muscle and corruption. There are hints and echoes of a story worth exploring about the ability of large corporations to transcend and evade the rules of any jurisdiction. But it all descends into the same old bang-bang and director, in a couple of awkwardly inserted scenes reportedly added due to lukewarm responses to an earlier version. Director Tom Twyker seems much more interested in the architecture of the various world capitols the characters chase through than he is in having anything of much interest happen there.

There is a lot of urgent rushing around from city to city, always helpfully identified with official-looking titles in the corner of the screen. And there are a lot of meaningful glances with narrowed eyes as people try to convey urgency and threats and counter-threats. And then there is a big out of nowhere shoot-out in the Guggenheim Museum that goes on forever but apparently not long enough for law enforcement to stop the survivors from walking away from it before any police cars arrive.

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Drama Thriller

The Uninvited (1944)

Posted on February 11, 2009 at 7:35 am

The new release called “The Uninvited,” based on a Korean horror film, reminded me of the unrelated (but very spooky) 1944 movie of the same name, starring one of my favorites, Ray Milland.
The original The Uninvited is the story of a brother and sister (Milland and “The Philadelphia Story’s” Ruth Hussey) who move into a mysterious house on the English coast. A series of eerie clues lead them to a story involving a woman who once lived in the house and her young daughter Stella (Gail Russell), now grown up, who still lives nearby.
This is not a horror film but a psychological drama with mystery, romance, and ghosts. When I first saw it as a teenager, I was especially intrigued because it had a rare screen appearance by stage actress Cornelia Otis Skinner, co-author of a book I loved, Our Hearts Were Young And Gay: An Unforgettable Comic Chronicle of Innocents Abroad in the 1920s. It also introduced a song that has become a standard, “Stella by Starlight.”
I watched it again recently and found it still one of my very favorite ghost stories, with appealing characters and very satisfying conclusions to both the romance and the mystery. Fans of “Rebecca” will love this one, so if you’re looking for a good, old-fashioned, non-gory ghost story, this is one of the best.

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Fantasy For Your Netflix Queue Rediscovered Classic

Cloverfield

Posted on April 21, 2008 at 11:00 am

cloverfield-1-18-08-poster.jpg Stories, especially movies, are usually linear and organized in part because stories are how we make sense of the world but mostly because of the limits of time. If we are only going to give two hours of our lives to a movie, we don’t have time for irrelevant details. But real life is messy. Patterns only emerge in retrospect. Part of the appeal of scary movies is that we know that it’s just a movie. Those dinosaurs in Jurassic Park or the great ape in King Kong are contained, not just within the limits of the screen but also within the formal limits of traditional story-telling. The perfect lighting and welling music provoke a response in us that is a kind of comfortable scariness.
This movie goes in another direction. A clever premise keeps the audience literally off-balance in “Cloverfield” from J.J. Abrams, the creator of Lost and Alias. We may be in stadium seating at the mall multiplex, eating popcorn, but what we are watching is not a feature film. It is an artifact, a home video found at a site “formerly known as Central Park” that happened to be running when something terrible happened. It’s as though the only documentation of a massive and devastating attack was a 21st century equivalent of the Zapruder film.

(more…)

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Why (and how) do we like to be scared? What do you think is scary?

Posted on January 5, 2008 at 5:46 pm

Before there were scary movies, there were scary plays. Before there were scary plays, there were scary stories. Scary has been very popular for a very long time. The top twenty box office champs are all scary, from Titanic to the Indiana Jones and of course the first modern blockbuster Jaws, which still has some people afraid to go into the water. Horror and terror have been popular since stories began. Jaws.jpg Did you hear the story about the man who chopped up his enemy’s children into a pie and fed them to him? It was written by the same guy who wrote about suicidal teenagers and murderously ambitious would-be kings — Shakespeare. And then there’s the one about the guy who killed his father and put out his own eyes — written around 429 B.C.

Scary movies are especially popular with teenagers. They serve as a sort of training wheels for social interaction and a way of letting off steam. Teens watch them in groups, grabbing each other and screaming, then talking afterward about the experience.

The two best pieces I have read recently on the subject of scary movies are Desson Thomson’s article in the Washington Post about the difference between what is scary and what is gory and a piece by Grady Hendrix in Slate about the grisly and very popular “Saw” movies.

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Commentary

Changing Lanes

Posted on December 13, 2002 at 5:17 am

Most thrillers have audiences asking themselves what the characters will do next. This one will have them asking themselves what they might do in this situation, because it is a movie about how close all of us are to abandoning the thin veneer of civilization and breaking all the rules to lash out at each other. This is a harsh thriller about two men whose moral bearings are dislodged by a cataclysmic accident.

Ben Affleck plays Gavin Banek, a successful Manhattan attorney involved in a bitter contest over the control of a charitable foundation. On his way to court, he literally runs into Doyle Gipson, (Samuel L. Jackson), an insurance agent with a desperate plan to keep his estranged wife from leaving town with his children. Gavin, in a hurry, tries to pay the damages up front with a blank check. Doyle, wanting to straighten out his life, wants to swap insurance numbers. Haste and anxiety boil over into anger, and the confrontation leaves Doyle stranded without a ride.

The chance meeting has serious consequences for both characters. Doyle was on his way to family court. He is a recovering alcoholic, who is trying to start a new life. He is on his way to court to show his ex- wife and sons that he is buying a house, so that they will not move to Oregon. The plan is a surprise, to be delivered at the custody hearing he was en route to, when he collided with Gavin.

Gavin reaches court in time but without a crucial document, left at the scene of the accident with Doyle. Events quickly escalate out of control. Without the document, Gavin and his legal partners (one his father-in-law), are vulnerable to charges of fraud; Doyle, because of the accident, arrives late to family court and loses visitation rights with his children.

They confront each other again, but Doyle is too angry about losing his case to give Gavin the file. Gavin lies to the partners about the file to buy time, while Doyle goes into a bar to have a drink. Each blames the other for his troubles and wants revenge. What follows is a battle of wits, with each character striking at the other with all of his available resources, culminating in a second highway crash.

“Changing Lanes” is an explicit allegory about how the flaws of good people can bring them to the brink of murder. Both Gavin and Doyle are appealing, seemingly decent characters. But Gavin lacks the maturity to take full responsibility for his actions, while Doyle’s rage — an even more profound addiction than his alcoholism — overwhelms his good sense.

They both hover at the point of forgiveness, but neither is willing to let go of their self-righteous indignation and make mature choices. The characters along the way each present them with choices, each representing a world view that Gavin and Doyle must adopt or reject. Sidney Pollack (best known as a director) is outstanding as Gavin’s corrupt boss and there are other strong supporting performances by Toni Collette, William Hurt, and Amanda Peet.

Parents should know that this film involves a lot of realistic emotional violence which can be upsetting. A family is separated by the alcoholism of a parent, and there is an extremely harrowing scene of a father being forcibly removed from his son’s school. There is also a later confrontation between the father and mother where the father is told he’ll never see the children again. The physical violence in the film is brief and mild by modern standards, but realistic. There are religious references (the movie takes place on Good Friday) that some families will find awkward or heavy-handed.

Families who see this movie should talk about the characters’ conflicting impulses to forgive and to get revenge. What finally convinces Doyle to give the file back? What did his friend mean when he told Doyle “Alcohol was never really your drug of choice?” Why was Gavin unwilling to go to Texas to do his pro-bono work, and what do you make of his final speech to his father-in law? In a way, this is a movie about the way people do and don’t listen to each other and how that makes us feel. Where do we see that theme most clearly? Why was Gavin able to ignore the reality of his situation? Was the end of the film realistic? Parents will want to discuss safe driving habits with their teens after seeing this film as well.

Families who enjoyed this movie might also want to look at “Panic Room,” which also deals with divorced families and with emotions running out of control.

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