Movie with Abe: Crazy Stupid Love

Crazy Stupid Love
Directed by Glenn Ficarra & John Requa
Released July 29, 2011

In the past few years of his movie career, Steve Carell has played a variation of the same part. In films such as “The 40-Year-Old Virgin,” “Dan in Real Life,” and “Get Smart,” Carell has starred as a sad sack loner unlucky in love and, in some way or another, not fully grown up. The same is true in “Crazy Stupid Love,” as Carell’s Cal is blindsided by a divorce request from his wife Emily (Julianne Moore) and begins taking romantic advice from smooth talker Jacob (Ryan Gosling). The reason Carell continues to play the same part is that he’s really, really good at it, and his latest film is just as great as he is.

In many comedies, especially romantic comedies, there’s at least one weak link, some character or thread that doesn’t quite fit or whose presence is distracting from or entirely irrelevant to the main plotline. In “Crazy Stupid Love,” which should truly be defined as an ensemble movie, there isn’t any part that drags. In addition to spotlighting some great stars, the film allows its less featured actors, including Marisa Tomei and Liza Lapira, to shine in small roles that are given just the right amount of significance, as well as helping to launch the careers of its younger players like Jonah Bobo, who plays Cal’s son, and Analeigh Tipton, who stars as his babysitter.

“Crazy Stupid Love” follows Cal’s story as well as Jacob’s, contrasting their lifestyles as Cal bounces back from his floundering marriage with some decently harsh but ultimately encouraging advice on how to better pick up women. The scenes the film concocts and the lines its characters deliver are clever and to-the-point, and no plot is exhausted beyond its comedic potential. It’s not an entirely novel film, yet everything feels fresh, and each storyline is executed with style and commitment from the cast.

Carell is superb, and there’s plenty of praise owed to the other members of the ensemble. Gosling hasn’t had as much of a chance to show off his comedic talents, earning commendation for dramatic roles in films like “Half Nelson” and “Blue Valentine,” and it turns out that he has quite a knack for humor, excelling especially with his facial expressions. Julianne Moore doesn’t have a major role, but still performs as directed as a straight man. This is a magnificent showcase for the lovely Emma Stone, who knocks her role as Hannah, a lawyer on whom Jacob sets his eyes, out of the park and proves her staying power as a rising star with another stellar performance. The film includes a few fun surprising plot points of its own, and it’s an enjoyable ride from start to finish.

B+

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. Absent a wealth of new film reviews during the weekend, I’d like to start providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing in NYC

The Guard (highly recommended): This very clever and entertaining film comes from John Michael McDonagh, the brother of Martin McDonagh, the man behind “In Bruges.” This similarly unique film with Brendan Gleeson and Don Cheadle is a must-see. Now playing at the AMC Empire, Lincoln Plaza, and the Angelika. Read my review from yesterday.

Crazy Stupid Love (highly recommended): This winning comedy doesn’t have a weak link, featuring great performances from Steve Carell, Ryan Gosling, and Emma Stone. It’s hard not to like, and it’s definitely above-average. Now playing in wide release. My review will be up tomorrow.

The Future (mixed bag): Miranda July’s oddball follow-up to “Me and You and Everyone We Know” is more of a narrative, less of an ensemble, and ultimately an unsatisfying second film from this creative filmmaker. Now playing at the IFC Center. My review will be up on Monday.

Attack the Block (mixed bag): This loud, aggressive action film starts featuring British punks starts out as rather ordinary and unimpressive but picks up enough by its third act that it’s decently watchable. Now playing at the AMC Empire and Regal Union Square. My review will be up on Tuesday.

I’m hoping to see Cowboys & Aliens at some point soon and could probably skip The Smurfs.

New to DVD

Life During Wartime (recommended): This quirky and peculiar film from director Todd Solondz boasts some truly intriguing and mesmerizing dialogue and scenes, and some interesting content related to pedophiles, even if there’s something missing in the unification of the storylines.

Mao’s Last Dancer (recommended): Dancer and first-time actor Chi Cao turns in a strong debut performance in this epic story also featuring Bruce Greenwood and Kyle MacLachlan. It’s a sweeping tale with gorgeous dancing and a compelling heart.

Now on Netflix Instant Streaming

Whatever you do, please don’t watch either Skyline and The Last Airbender. Trust me.

Movie with Abe: The Guard

The Guard
Directed by John Michael McDonagh
Released July 29, 2011

Some movies just can’t be put into a box. The story of a purposefully obnoxious Irish cop (Brendan Gleeson) begrudgingly working with a straight-faced FBI agent (Don Cheadle) to intercept and take down drug smugglers could sound like a comedy or a drama, and it falls somewhere in between. At times, it’s deadly serious, and at other times, it’s laugh-out-loud hilarious. It’s best compared to the terrific “In Bruges,” which is reminiscent for a reason: the directors of the two films are brothers, and they share an important trait in common, a fantastic sense of originality, creativity, and wit.

There’s more than just a family connection with the directors between “In Bruges” and “The Guard.” In both films, Brendan Gleeson stars along with another actor in a furiously funny performance that doubles as a dramatic role. In “The Guard,” Gleeson’s Sergeant Gerry Boyle is the more apparently bafoonish of the two, quickly irking Cheadle’s FBI Agent Wendell Everett immediately upon his arrival with his overtly racist and offensive comments. What sets him apart, according to the actors, is that Boyle is an “equal opportunity offender” who only says things to get a rise out of people. He’s an effective lead who can get away with making such comments expressly because he doesn’t actually believe what he’s saying.

Boyle isn’t the only above-average character in “The Guard.” The villains, quite unusually, are intellectuals that discuss Nietzsche and seem rather bored with their efforts, according to director and writer John Michael McDonagh. Their interactions are entirely amusing, and it’s fun to see actors Liam Cunningham (currently starring on BBC America’s “Outcasts”) and Mark Strong, in a role fitting as a follow-up to his superb comedic villainy in “RocknRolla” and his more serious part in “Body of Lies,” among them.

The ensemble in “The Guard” is top-notch, led by superb performances from Gleeson and Cheadle, who play perfectly off of each other, responding to each other’s tics with just the right amount of aggressive energy. The balance of humor and drama is where the film truly excels, and it’s a delight and a thrill at the same time all the way through its run time. It’s subtly stylized and mesmerizingly entertaining, without a dull moment and with many extraordinarily intriguing and memorable lines and scenes. McDonagh should feel fortunate to be compared to his brother since it’s an entirely favorable and complimentary sentiment.

A-

Movie with Abe: Honest Man: The Life of R. Budd Dwyer (Capsule Review)

Honest Man: The Life of R. Budd Dwyer
Directed by James Dirschberger
On Amazon VOD & Hulu July 29, 2011



This harrowing, informative documentary chronicles the political career of R. Budd Dwyer, the treasurer of Pennsylvania who was indicted and convicted on charges of bribery before calling a press conference and committing suicide while the cameras were rolling. First-time feature-length documentary filmmaker James Dirschberger does a magnificent job of calling character witnesses to the stand to speak to Dwyer’s squeaky-clean reputation as well as a few outspoken testaments to his alleged corruptibility. Knowing Dwyer’s fate and especially seeing it gives the documentary a dark and disturbing edge, but it never loses sight of what it’s supposed to be, which is an investigation into Dwyer’s life and the trajectory which led him to take his life. Though the evidence is stacked in his favor, there’s no assertion that this must be the absolute truth. It presents the facts, and wisely and astutely lets them speak for themselves.

B+

Wednesday Oscar Retrospective: Five to Ten for 2005

Welcome back to weekly feature here at Movies with Abe, Wednesday Oscar Retrospective. Five to Ten is the fifth in a series of projects looking back at the past eight years of the Oscars, dating back to the first ceremony I watched and closely followed.

On the heels of the Academy’s announcement that this coming year will feature anywhere from five to ten films in the Best Picture list, I thought to look back at the most recent decade to determine what number of films would have ultimately earned a slot in the top category. Obviously, this is all guesswork and designed, above anything, to be fun. In the new system, films will need to earn at least 5% of the first-place votes. Feel free to post your thoughts in the comments!

Five to Ten for 2005
The actual lineup: Brokeback Mountain, Capote, Crash, Good Night and Good Luck, Munich

The locks: The above five and the Golden Globe winner for Best Motion Picture – Comedy/Musical, Walk the Line.

The benefactors: This is one year where there were definitely a lot of vote-siphoners. Only two of the ten Golden Globe nominees for Best Picture earned corresponding Oscar nods, so there a handful of other films among them that could have been contenders, such as The Constant Gardener, A History of Violence, and Match Point, though I’m not sure any of them would have ultimately made the cut.

The longshots: Peter Jackson’s King Kong had its fans, as did Ron Howard’s Russell Crowe starrer Cinderella Man.

And the nominees could have been… Brokeback Mountain, Capote, Crash, Good Night and Good Luck, Munich, Walk the Line

Does it change the winner? Probably not. If there was any film that could take down “Brokeback Mountain,” it was “Crash.” It’s always possible that “Walk the Line” could have staged an upset, but it’s doubtful.

Which lineup is better? The disconnect between the Golden Globe list and the Oscar lineup indicates that the year might have been broader than just five films, but I would have preferred a much wider film including the likes of “Match Point” and “Cinderella Man.” This six-wide field isn’t much improved.

Movie with Abe: Friends with Benefits

Friends with Benefits
Directed by Will Gluck
Released July 22, 2011

It’s hard to review this movie without comparing it to “No Strings Attached,” the film with a very similar plot starring Natalie Portman and Ashton Kutcher which was released this past January. Both purport to tell the story of what happens when two best friends decide to add sex to the mix without embarking upon a romantic relationship, only to discover, as expected, that such a feat is hard to keep going without feelings getting in the way. To its credit, “Friends with Benefits” does a much better job than its January predecessor, crafting an entertaining if not necessarily memorable romantic comedy.

Unlike the former film, where Portman and Kutcher’s characters simply get together after not having seen each other for a number of years, there’s actually a friendship from which more emerges for Dylan (Justin Timberlake) and Jamie (Mila Kunis). The two meet when head hunter Jamie works overtime to get Dylan to take a new job at GQ, showing the California boy New York over the course of one day to sell him on the city. The two quickly develop a platonic bond that only morphs into more after they both can’t seem to find a suitable partner.

What makes “Friends with Benefits” work are its two stars, who play marvelously off of each other. Timberlake continues to prove that he’s a good fit for the big screen in this highly enjoyable role, while Kunis has found a perfect follow-up to her breakout part in “Black Swan” that allows her enormous potential to create an endearing, sympathetic protagonist. It’s believable that the two could have trouble finding love due to their own personal hang-ups, and it’s fun to see them try their hands at an unsustainable romance complete with plenty of ups and downs.

When it’s not just the two of them, “Friends with Benefits” features an able supporting cast, with varying degrees of relevancy. Patricia Clarkson’s Lorna, mother to Jamie, and Woody Harrelson’s Tommy, Dylan’s very overtly gay co-worker, seem rather randomly inserted into the story at opportune times, while Jenna Elfman, Nolan Gould, and Richard Jenkins serve a clearer purpose as Dylan’s sister, nephew, and father, respectively. Emma Stone and Andy Samberg also appear in amusing cameos at the start of the film as mismatched partners for Dylan and Jamie. Ultimately, it’s a fun ride that doesn’t quite achieve greatness but does provide a good deal of harmless laughs.

B+

Movie with Abe: Captain America: The First Avenger

Captain America: The First Avenger
Directed by Joe Johnston
Released July 22, 2011

For the past few years, Marvel Studios has been releasing films featuring a number of its superheroes, all leading up to the major "Avengers" movie coming up in 2012. Some, like "Iron Man," are more science fiction-oriented, while others, like "Thor," are more fantastical. "Captain America: The First Avenger" strikes a tone somewhere in the middle, creating a fantasy storyline wedged perfectly into American history during World War II. The first "Captain America" movie that actually works is a roaring success that stands extraordinarily well on its own and delivers exactly as it should.

The character of Captain America is heavily symbolic and therefore can easily become comic and even corny. Drawing a fine line isn't easy, yet somehow this film, from Joe Johnston, the director of "Jumanji," "October Sky," and "The Wolfman," does an excellent job of it. The 1940s setting is captured brilliantly, and all of its actors, particularly Chris Evans and Hayley Atwell, fit marvelously into that backdrop. They convey the sensibility of the times with ease, assuming their roles with just the right energy, fervor, and hopefulness. Steve Rogers (Evans) is chosen by Dr. Abraham Erskine (Stanley Tucci) because he is pure of heart and a true blue American, certainly not for any physical prowess or hard-headed confidence.

It’s with that idea of a hero that “Captain America: The First Avenger” succeeds. While he is stronger, faster, and more physically able than most, Captain America is someone with a distinct memory of what it is like to be the underdog. Rarely does he show off his abilities, and when he does so, it’s in an effort to save others. Captain America starts out as a showboat designed to raise money for the war effort, but ultimately evolves into a full-blooded American hero. The transformation is subtle yet stirring, and there’s something about seeing him run into a Hydra camp with an American flag blatantly emblazoned on his shield that’s just hard not to love.

Unlike many of the other Marvel movies of late, this isn’t an overly effects-heavy film, and seeing it in 3-D is hardly unnecessary. The performances from the entire cast are top-notch and far better than they might need to be for a superhero flick. There’s no matching Hugo Weaving in terms of villainy, and Tommy Lee Jones does good grumpy. Atwell is particularly alluring as the determined and resilient Agent Carter, and Evans makes for a great Captain America. The incorporation of such characters as Dominic Cooper’s Howard Stark makes this a fun foray into the Marvel universe, creating proper expectation and excitement for the Avengers film without sacrificing any quality in this installment.

B+

Movie with Abe: A Little Help

A Little Help
Directed by Michael J. Weithorn
Released July 22, 2011

Over the past few years, NBC’s television show “The Office” has helped to launch the film careers of a number of its actors. Understandably, Steve Carell had lead roles from the start of the show and has seen great success. Recently, Ed Helms and John Krasinski have had main parts in hits like “Cedar Rapids” and “Away We Go.” Others, like Rainn Wilson, have produced mixed results. Jenna Fischer, previously relegated to supporting roles in films like “Walk Hard,” “Solitary Man,” and “Hall Pass,” now gets the chance to take on a starring role of her own, and the title couldn’t be any more fitting for describing what the film could really use.

“A Little Help” is, simply summarized, a story about Laura (Fischer), a screw-up alcoholic wife, who has enormous trouble getting her life in order while simultaneously taking care of her bratty son Dennis (Daniel Yelsky) after the untimely death of her husband Bob (Chris O’Donnell). In one sense, it’s a perfectly generic film, but it’s quickly complicated when Dennis tells his friends at a new school that his father was a fireman killed on September 11th instead of the victim of a heart attack, and a baffled Laura is hopeless to do anything but go along with the deception.

“A Little Help” is a frequently uncomfortable film that doesn’t have enough positive anchors for any viewer to become sympathetic towards Laura or any of the other characters. In fact, there’s only one truly strong character, and performance, in the film, and that’s Paul (Rob Benedict of CBS' short-lived "Threshold"), who is unhappily married to the cruel, controlling Kathy (Brooke Smith) and would much rather be with her sister, Laura. He delivers an honest, heartfelt performance, and the character is the lone sad sack for which empathy is actually possible. Laura hardly seems motivated to do anything to put her life back on track, and her character is inconsistent at best.

There are moments of Fischer’s performance that shine, but overall, it’s an uneven portrayal that detracts from the credibility of the character. Fischer seems to let down her guard and either lose or gain confidence on a whim, which doesn’t track with who Laura seems to be. The most peculiar bit of casting is Kim Coates, best known as criminal biker Tig from “Sons of Anarchy,” as Laura’s lawyer Mel Kaminsky, which also happens to be Mel Brooks’ real name. Unlike Fischer, he’s not uncomfortable in his own skin, but rather far too desperate to be sleazy and memorable. “A Little Help” is just a subpar movie that doesn’t really have anything to get it started, lacking in the areas of both meaning and motivation.

C

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. Absent a wealth of new film reviews during the weekend, I’d like to start providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing in NYC

Captain America: The First Avenger (highly recommended): It seems like there have been so many Marvel movies lately, especially featuring those superheroes that make up the Avengers team. I’m pleased to report that this latest entry is a superb, all-American success, perfectly enthralling and entertaining. It’s open nationwide, and don’t worry if you don’t see it in 3-D. My review will be up soon.

A Little Help (mixed bag): Jenna Fischer of “The Office” takes on her first leading film role in this highly uneven and unsatisfying film. Rob Benedict shines as the lone consistent performer and character, while the rest of the film never quite gets off the ground with an iffy premise. Now playing at AMC Empire, AMC Loews Village 7, and City Cinemas 123. My review will be up soon.

I’m planning to see Friends with Benefits tomorrow and I could probably get around to watching Another Earth when it comes out on DVD.

New to DVD

Peep World (highly recommended): This ensemble dramedy puts together a fine cast, including Michael C. Hall, Rainn Wilson, Sarah Silverman, Ben Schwartz, and Kate Mara, for a family reunion of epic proportions that feels fresh and funny and should have received a warmer reception upon its theatrical release back in March. Definitely worthwhile.

Take Me Home Tonight (recommended): This 80s parody starring an actor formerly grounded in the 70s, Topher Grace, is harmless fun that’s surprisingly better than might be necessitated by this kind of movie. It’s enjoyable to listen to, and its characters are amusing enough that it’s engaging if not memorable.

Now on Netflix Instant Streaming

The Fighter (highly recommended): If you’re still catching up on Oscar movies from last year, you’ll be thrilled to find this terrific film, featuring Oscar-winning performances from Christian Bale and Melissa Leo and an excellent ensemble in a film that takes a tired genre and helps to energize it with heartfelt characters and a winning attitude.

NewFest: Mary Marie

Mary Marie
Directed by Alexandra Roxo
Screening at NewFest July 22 at 8pm

“Mary Marie” is the story of two different girls, both so flirtatious and alternately social and anti-social in their own ways. The blonde, Mary (Alana Kearns-Green) is the more reserved, uncertain one, while the brunette, Marie (Alexandra Roxo), is considerably more self-assured and confident, aware of her attractiveness. The two sisters display a fraternity that suggests they are more comfortable and intimate with each other than sisters might normally be, without divulging in any unnecessary pictorials or images to illustrate their unusual bond. The romance feels real, and the arrival of handyman Peter (Tim Linden) feels like an intrusion, as the sisters begin to fight over him, mainly because he pulls each away from the other. The depiction of love and intimacy in “Mary Marie” is honest and realistic, and there is one particularly gorgeous, breathtaking shot on a Ferris wheel that serves well to sum up the beauty in this film. Other scenes are equally hypnotic, with music playing softly over muted conversations. Kearns-Green and Roxo, who also co-wrote the film, which Roxo directed, both turn in alluring and captivating performances in this small, sweet, enchanting film.

B+

Thursday Token Themes

Welcome a weekly feature here at Movies With Abe. I’m a hugely enthusiastic fan of film scores, and music is far too often an element of cinema that goes unrecognized. Therefore I present a platform for a look – or rather, a listen – to some fantastic film scores. I’ll be selecting a composer and one or more of their film scores for your listening pleasure, embedded from YouTube.

This week’s featured composer is Marco Beltrami. The New York-born musician has earned two Oscar nominations in the past four years, most recently sharing a mention for Best Picture winner “The Hurt Locker” with Buck Sanders. “The Way I Am” is a melancholy meditation that underlines the depth of the characters’ lives, and that intensity is found in “Man of His Word,” a gorgeous track from 2007’s “3:10 to Yuma.” Previously, Beltrami has written the music for some fast-paced thrillers, including “Live Free or Die Hard.” The track “Lucy in the Elevator” is a pensive action score that’s both slow and exciting. His more distinctive score for the 2006 dud “The Three Burials of Melquiades Estrada” is more stylized and specific, mainly because it’s a different kind of movie that most of the films for which he composes the music. Previously, he worked on the subtle, eerie main titles of “I, Robot,” and succeeded in achieving the challenging task of creating a new anthem for the Terminator series that was both familiar enough and still new for “Terminator 3: Rise of the Machines.”

The Hurt Locker (2009)



3:10 to Yuma (2007)



Live Free or Die Hard (2007)



The Three Burials of Melquiades Estrada (2006)



I Robot (2004)



Terminator 3: Rise of the Machines (2003)

Wednesday Oscar Retrospective: Five to Ten for 2006

Welcome back to weekly feature here at Movies with Abe, Wednesday Oscar Retrospective. Five to Ten is the fifth in a series of projects looking back at the past eight years of the Oscars, dating back to the first ceremony I watched and closely followed.

On the heels of the Academy’s announcement that this coming year will feature anywhere from five to ten films in the Best Picture list, I thought to look back at the most recent decade to determine what number of films would have ultimately earned a slot in the top category. Obviously, this is all guesswork and designed, above anything, to be fun. In the new system, films will need to earn at least 5% of the first-place votes. Feel free to post your thoughts in the comments!

Five to Ten for 2006
The actual lineup: Babel, The Departed, Letters from Iwo Jima, Little Miss Sunshine, The Queen

The locks: The above five and, most certainly, Dreamgirls. This is one of those cases where a film was a sure thing up until the nominees were announced, and whatever backlash caused it to be snubbed couldn’t have been vicious enough to bounce it out of a widened field.

The benefactors: There was enough support behind Guillermo del Toro’s Pan’s Labyrinth that it probably could have managed a Best Picture nod. Also strongly in the running: Children of Men, which may have peaked too late and ended up earning only three nominations, and United 93, which merited Best Director and Best Film Editing mentions and could have been included if enough people weren’t too turned off by the subject matter.

The longshots: A few contenders that probably couldn’t have mustered up enough number one votes, such as Little Children, Notes on a Scandal, The Devil Wears Prada, Borat, and Flags of Our Fathers. Maybe even Golden Globe Best Motion Picture – Drama nominee Bobby.

And the nominees could have been… Babel, The Departed, Dreamgirls, Letters from Iwo Jima, Little Miss Sunshine, The Queen, United 93

Does it change the winner? No. There was clearly enough backlash against “Dreamgirls” for it not to get nominated, so a win would have been unlikely. The same goes for “United 93,” since it would have proved extremely divisive had it been included. More importantly, “The Departed” was the crowd-pleaser of the year, and it was going to win no matter what.

Which lineup is better? I would have traded “Babel” and “The Queen” for “Children of Men” and “United 93” (in shaping a realistic Oscar lineup, of course, rather than strictly my own selections). Regardless, I do think that “Dreamgirls” was one of the most significant and definitive movies of the year, and “United 93” was very important in its own way, so I prefer the wider list.

Tuesday’s Top Trailer: Mission Impossible – Ghost Protocol

Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.

Mission Impossible – Ghost Protocol – Opening December 16, 2011



It can be very exciting to see a trailer for a sequel that you didn’t even know was being made. That’s true only if the series has yet to exhaust itself and the new story looks cool, and fortunately both of those things are doubly correct here. The third film sort of came and went without much fanfare despite being directed by J.J. Abrams, but it was definitely action-packed and fun. Even the second film was highly enjoyable and full of pulse-pounding thrills and explosions, so this series isn’t too capable of outright disappointing. Installment number four, however, looks awesome. Tom Cruise has on more than one occasion proven himself to be a terrifically energetic runner, and he appears to be doing a whole lot of running in this film, which is great. It’s not just about him, but rather about a whole team, to be portrayed by an interesting and eclectic group. Perhaps most notable is Jeremy Renner, who, after “The Hurt Locker,” “The Town,” and his already-begun Avengers role as Hawkeye, has exactly the type of role he should, as a featured player in this sleek thriller with a secret past and some nifty skills with a gun. Also along for the ride are Josh Holloway, best known as Sawyer from “Lost,” Paula Patton, Simon Pegg, Tom Wilkinson, and two foreign imports, Anil Kapoor from “Slumdog Millionaire” and Michael Nyqvist from “The Girl with the Dragon Tattoo.” Most intriguingly, the film will be directed by Brad Bird, who to this point has made three features films: “Ratatouille,” “The Incredibles,” and “The Iron Giant,” which means that this live-action PG-13-rated blockbuster is quite a departure for him. The team being out of the lam and considered terrorists is nothing too unusual, but should definitely serve to amp up the excitement level. Some of the action scenes look to be rather intense and fast-paced, and the rap music pounding in the background of the trailer makes this seem like a very modern thriller. The takeaway: I’m set and ready to see this one.

Monday Movie on the Mind: American History X

Welcome to a weekly feature here at Movies With Abe: Monday Movie on the Mind. I’ll be kicking off each week with a clip or trailer from a film that happens to be on my mind, designed as a retrospective look at some well-known, forgotten, or underappreciated classic from movie history, be it antique or current. Chime in with your thoughts about the film or any other movies that you might be thinking of this week!

American History X
Directed by Tony Kaye
Released October 30, 1998

This iconic film is one of the best of the 1990s, and also one of the most disturbing. Fortunately, the two most horrifying clips were not embeddable, which is probably for the best since they don’t need to be seen here, though they do serve an important purpose in the film. The story of neo-Nazi high schooler Danny Vinyard (Edward Furlong) is told through black and white flashbacks to the influence of his brother Derek (Edward Norton) while Danny is given an assignment to write an essay on tolerance by one of his teachers. After he commits a violent murder, Derek begins to rehabilitate as he sees things differently in prison just as his brother heads down exactly the same path he did. Norton received a well-deserved Oscar nomination for his astonishing performance, and the film barely received any other accolades, save for a standing in the thirties in the top 250 rankings on IMDB. It’s an extraordinarily moving and upsetting story, and there are a few clips embedded below that capture the essence of this film. A simple basketball game becomes an epic racial territorial battle, complete with a sweeping score and overhead cinematography. In a discussion about Rodney King, Derek so freely spews hate as a horrified Murray (Elliott Gould) tries, with no luck, to get him to back down as Danny feeds right into it. In a later flashback, the root of the brothers’ hatred is revealed as their father Dennis (William Russ) teaches them hate with a smile on his face. From towards the end of the film (stop reading if you haven’t seen it), the dismounting of the symbols is a powerful scene, and there’s nothing quite as heartbreaking as the final moments of the film. If you haven’t seen it, watch it soon, but beware of some immensely disturbing content.

Basketball Game



Discussion about Rodney King



Derek and Danny’s Father



Taking Down the Symbols



Ending Scene

Movie with Abe: Salvation Boulevard

Salvation Boulevard
Directed by George Ratliff
Released July 15, 2011

Some movies find themselves at a point of no return shortly into their run times. Once something outlandish has occurred, it can be hard to turn back and recover. “Salvation Boulevard” starts out with an intriguing and somewhat eerie video featuring former Dead Head Carl Vanderveer (Greg Kinnear) explaining how he came to find salvation. Fifteen minutes later, however, a man has been accidentally shot and the road to a cover-up means plenty of over-the-top shenanigans, a complete departure from any form of seriousness, and only occasional interactions with coherence.

Some films that aim to satirize religion seem to feel the need to starkly portray their characters in a certain way and to ensure that the events around them are equally intense and spectacular. Yet trying too hard can produce unfavorable results, as is the case with Pierce Brosnan’s Pastor Dan Day, a caricature of a preacher whose church is filled by legions of fans each week. While many would question Brosnan’s skills as a serious actor, understandably so, that’s not the root of the problems of his character. It’s hard to take him at face value since he seems so excessive in nearly every situation, and the film’s wild storyline doesn’t help matters at all.

“Salvation Boulevard” is trying to do too many things at the same time: to offer a parody of religious zealots and to weave a conspiracy story. It’s far more effective at the former than the latter, but attempting to put the two together detracts greatly from both. It’s hard to care about any of the characters since they’re all so detestable, and even the decently interesting ones, like Marisa Tomei’s security guard and overt Dead Head Honey Foster, are poorly written and relatively inconsequential. There’s no one to root for and plenty of people to dislike, and as a result it’s an entirely off-putting and unengaging story.

Aside from Brosnan, the cast is in theory fairly good, though few of them make much of an impression. Kinnear is doe-eyed and easily distracted, but hardly makes for a formidable lead. Ed Harris has an intriguing role, as an atheist author, but there isn’t much for him to do. Jennifer Connelly, whose career following her Oscar-winning turn in “A Beautiful Mind” has been puzzling and disappointing at best, tries hard as Carl’s excitable and devout wife Gwen, and she does a good job with meager material. Isabelle Fuhrman, who plays Gwen’s young daughter Angie, is the film’s standout, crafting a compelling character out of very little, imbuing at least one person in the film with some energy. There isn’t much to be found in this film save for hyperbole and an illustration of just what happens when parody goes too far.

F

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. Absent a wealth of new film reviews during the weekend, I’d like to start providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing in NYC

Winnie the Pooh (recommended): It’s always a pleasure to see Christopher Robin and all his imagined friends back for another classic tale. This isn’t a remake or a reboot, just another fun and wonderful story involving the honey-obsessed Pooh for audiences of all ages. Read my capsule review from yesterday.

Salvation Boulevard (anti-recommended): This zany religious comedy goes downhill incredibly fast moments into its run, and doesn’t recover at any point after that. Jennifer Connelly and her onscreen daughter Isabelle Fuhrman are trying hard, but no one else gives much effort, which, coupled with a poor script, doesn’t offer a particularly meaningful experience. My review will be up tomorrow.

Of course, all the buzz this weekend is about Harry Potter and the Deathly Hallows – Part 2. I missed the press screening earlier this week and will probably see at some point when all the fuss has died down and it won’t be crazy crowded.

New to DVD

Brother’s Justice (anti-recommended): This Tribeca entry starring Dax Shepard as himself is like an overtly scripted “I’m Still Here” which doesn’t pretend to be anything but that and fails to do anything but annoy, infuriate, and bore to no end, even after only eighty minutes.

Miral (anti-recommended): This film from director Julian Schnabel (“The Diving Bell and the Butterfly”) caused a stir for its political content and its highly publicized premiere at the UN. Related criticisms are valid, but this film is plagued by plenty of other problems, including a dull story and poor characters.

White Irish Drinkers (anti-recommended): This two-brothers-in-Brooklyn story is about as familiar and tried-and-true as they come, not offering too much in the way of new or innovative contributions to cinema. Unless it’s a particularly interesting subject to you, don’t bother.

I imagine I’ll get around to watching Rango and maybe the Russell Brand remake of Arthur at some point soon.

Now on Netflix Instant Streaming

Before the Devil Knows You’re Dead (recommended): The late Sidney Lumet, who passed away three months ago, made his final film at the age of 82. It’s a smart, sleek, and unnerving thriller with captivating performances from Philip Seymour Hoffman, Ethan Hawke, and Marisa Tomei.

Movie with Abe: Winnie the Pooh (Capsule Review)

Winnie the Pooh
Directed by Stephen J. Anderson & Don Hall
Released July 15, 2011

There’s not too much to say about the new “Winnie the Pooh” movie other than to affirm that it’s a wonderful return to a terrific group of characters. Unlike many remakes, this isn’t a re-envisioning or a reboot. There’s plenty of cleverness in terms of how the story is told with the narrator often directly addressing characters as they encounter letters, sentences, and paragraphs from the story, but beyond that, this is classic Pooh. It’s an extraordinarily simplistic story, but a heartwarming and funny one that should please both kids and adults alike. It’s hard to find fault with anything since it does a stellar job of staying true to these classic figments of Christopher Robin’s imagination. Clocking in at under seventy minutes, it’s over almost as soon as it started, yet there’s a sense of satisfaction and joy that only a fulfilling tale can produce.

B+

Thursday Token Themes

Welcome a weekly feature here at Movies With Abe. I’m a hugely enthusiastic fan of film scores, and music is far too often an element of cinema that goes unrecognized. Therefore I present a platform for a look – or rather, a listen – to some fantastic film scores. I’ll be selecting a composer and one or more of their film scores for your listening pleasure, embedded from YouTube.

This week’s featured composer is Mark Isham. The New York City native has created some sweeping, melancholy scores as well as some more action-oriented pieces, all equally impressive. One of his most recent works is the soundtrack for the Robert Redford film, “The Conspirator,” and his track “A Genuine War Hero” is a fitting tribute to the film’s characters. “Give Me Two Minutes” from the horrific flop “Next” is considerably more fast-paced and invigorating, even if the film was horrendous. “Eva’s Theme” from “Freedom Writers” is an appropriately inspiring anthem for that film, and “Nothing Stays Buried Forever” from “The Black Dahlia” is a proper schizophrenic composition for a film that just didn’t work at all. The track that initially attracted me to Isham is “Negligence” from “Crash,” which helped to make that movie so powerful. The end credits suite from “Spartan” is dark, moody, and decently thrilling. His theme from “October Sky” is wonderfully hopeful and endearing, as it should be.

The Conspirator (2011)



Next (2007)



Freedom Writers (2007)



The Black Dahlia (2006)



Crash (2005)



Spartan (2004)



October Sky (1999)

Wednesday Oscar Retrospective: Five to Ten for 2007

Welcome back to weekly feature here at Movies with Abe, Wednesday Oscar Retrospective. Five to Ten is the fifth in a series of projects looking back at the past eight years of the Oscars, dating back to the first ceremony I watched and closely followed.

On the heels of the Academy’s announcement that this coming year will feature anywhere from five to ten films in the Best Picture list, I thought to look back at the most recent decade to determine what number of films would have ultimately earned a slot in the top category. Obviously, this is all guesswork and designed, above anything, to be fun. In the new system, films will need to earn at least 5% of the first-place votes. Feel free to post your thoughts in the comments!

Five to Ten for 2007
The actual lineup: Atonement, Juno, Michael Clayton, No Country for Old Men, There Will Be Blood

The locks: Just the five films listed above.

The benefactors: This is one year where there were nine films certifiably in the running for Best Picture. Three of those would have had their chances amplified here. French film The Diving Bell and the Butterfly earned PGA and DGA nods before managing a place in the directing category and three others, and probably earned enough number one votes to manage a place under this new system. Into the Wild petered out just before the Oscars, resulting in just two nominations, and might have gotten many number one votes. Sweeney Todd beat “Juno” for the Golden Globe for Best Motion Picture – Comedy/Musical and, individualistic as it was, definitely had its fans.

The longshots: I suspect that American Gangster didn’t come too close to a Best Picture nod, but it did have a strong showing at the Golden Globes. The fun choice here would have been Once, though I doubt it would have incurred enough number one votes.

And the nominees could have been… Atonement, The Diving Bell and the Butterfly, Into the Wild, Juno, Michael Clayton, No Country for Old Men, Sweeney Todd, There Will Be Blood

Does it change the winner? Nope. While “The Diving Bell and the Butterfly” definitely had its fans, I don’t think a foreign film could have won this.

Which lineup is better? This is one year where none of the Best Picture nominees match up with mine, and all three of the films that might have been included were terrific. Therefore, I’d say that the eight-wide list is stronger, and I think that recognizing a foreign film, a road movie, and a musical would be considerably fairer to the year in cinema.

Tuesday’s Top Trailer: Tinker, Tailor, Soldier, Spy

Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.

Tinker, Tailor, Soldier, Spy – Opening November 18, 2011



Sometimes, you really luck out with a cast. This subtle and dark trailer doesn’t give much away about its content or its characters aside from the one obvious charge: there is a mole, and it’s one of these five men. The story sounds fascinating, and the trailer looks absolutely terrific. Now to the men involved: Gary Oldman, Colin Firth, John Hurt, Mark Strong, Tom Hardy, Benedict Cumberbatch, and Toby Jones, and that’s not even including the cast members not specifically credited, such as Ciaran Hinds, Christian McKay, and Simon McBurney. It’s hard to imagine that a film with a cast this insanely strong, mixing those more venerable and established actors, such as Hurt and Firth, with those up-and-comers like Hardy and Cumberbatch, could be full of anything but terrific performances. It’s sure to draw some attention for its inclusion of Firth alone following his Oscar win last year. This story was already made into a TV movie starring Alec Guinness back in 1979, and that was a hit. The British often know how to make good thrillers, and this looks plenty stylized (for a good TV example, watch the miniseries “The State Within” starring Jason Isaacs). I can’t wait for this one, and I hope it’s as bleak and good as it looks.

Monday Movie on the Mind: The French Connection

Welcome to a weekly feature here at Movies With Abe: Monday Movie on the Mind. I’ll be kicking off each week with a clip or trailer from a film that happens to be on my mind, designed as a retrospective look at some well-known, forgotten, or underappreciated classic from movie history, be it antique or current. Chime in with your thoughts about the film or any other movies that you might be thinking of this week!

The French Connection
Directed by William Friedkin
Released October 9, 1971

Just over a year ago, I saw this film as part of the annual outdoor HBO Bryant Park Summer Film Festival. While it’s a fun classic, it’s not the greatest film to watch outside in the city since it’s often hard to hear, but fortunately there’s plenty of action and excitement to be had that make it a more than enjoyable experience. This film defeated “A Clockwork Orange” and “Fiddler on the Roof” for Best Picture back in 1971, and also took home Oscars for directing, writing, editing, and lead actor Gene Hackman. Roy Scheider and Hackman make an entertaining disgruntled team of narcotics cops looking into a “French connection” in a smuggling job. The film is full of terrific scenes, beginning with the opening sequence, where Hackman’s Popeye Doyle is dressed as Santa and chases down a fleeing suspect. His treatment of an informant in the subsequent clip also leaves much to be desired. Two of the film’s cleverest scenes are also embedded below. The first involves an intriguing discovery of the contents hidden behind panels in a seized car, and the second is an amusing cat-and-mouse game played by Doyle and Devereaux (Frédéric de Pasquale) as they both try to catch a subway. Finish off by watching the iconic car chase scene here.

Trailer



Opening

Informant



Panels



Losing the Tail

Movie with Abe: The Ledge

The Ledge
Directed by Matthew Chapman
Released July 8, 2011

Hunnam and Tyler star in the film
Some movies are meant to be metaphors, and even if they’re effective, they may not also work literally. “The Ledge” is the story of a hotelier named Gavin (Charlie Hunnam) who finds himself forced to stand on top of a building and prepare to jump as mandated penance for his affair with a married woman, his neighbor Shana (Liv Tyler), by her religious husband Joe (Patrick Wilson). The construction that goes into such a story is highly complex, yet the outcome is doomed to be inferior to the premise, as characters and dialogue come second to a compelling concept.

Chapman at a press day for the film
There’s a great deal of background that went into the production of “The Ledge” that doesn’t show through in the final product. The film was written and directed by Matthew Chapman, the great-great-grandson of Charles Darwin. While Chapman does not let his lineage define him, he does write much, both in screenplay and book form, about evolutionism and particularly atheism. Discussing the film, he notes that atheists today are treated much like the LGBT community was half a century ago, and he would like to see more tolerance towards atheists, whom, he expresses, simply take any religion one step further, not believing in anyone’s god.

Tyler at a press day for the film
As a result of his strong beliefs, Chapman based the character of Gavin on himself. When proselytized to rather directly by Joe, Gavin reacts negatively, exerting just as much right to try to convert Joe to his own set of beliefs as Joe has to preach to him. When Shana comes to work for him at his hotel, Gavin bonds with her over the life she had before she found religion – and her husband – and that sense of freedom is what serves as the basis of their relationship. Their affair does seem to progress awfully quickly, which casts suspicion on its validity, especially for the carefully-watched wife.

Wilson at a press day for the film
Chapman contends that it was natural for this story to play itself out in a thriller format, but it doesn’t work nearly as well as he thinks it does. A side plotline involving Hollis (Terrence Howard), the cop assigned to talk Gavin off the ledge, is intriguing but also somewhat distracting. While the themes of the film may be engaging, the dialogue is much less impressive. Hunnam is much better in his element on “Sons of Anarchy,” and, for all their efforts, Wilson and Howard deserve much better roles like the ones they had in “Little Children” and “Crash,” respectively. Tyler’s performance is particularly inconsistent, decreasing even more from the credibility of the character as she alternately keeps herself isolated from human interaction and lets her guard down entirely without much reason or explanation for the switch. This could have been a contemplative, thought-provoking drama, but instead it’s a faulty execution of a creative concept.

C

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. Absent a wealth of new film reviews during the weekend, I’d like to start providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing in NYC

Horrible Bosses (recommended): This comedy is even more hilarious than it looks in the trailers, thanks to spot-on performances from all of the cast members, both the protagonists and the bosses. Most impressively, it knows when not to go over the top and manages to stay consistent and funny the entire time. Read my enthusiastic review from yesterday.

The Ledge (mixed bag): This film, now playing at the IFC Center, involves an intriguing premise and a rather interesting back story, but the way the plot is executed just doesn’t work. The debate between religion and atheism is compelling, but not effective in this thriller setting. Read my review and feature tomorrow.

New to DVD

Of Gods and Men (highly recommended): This New York Film Festival entry was shut out of the Best Foreign Film race, but was easily one of the strongest and most moving films of this or last year, depending on when you saw it. A thought-provoking, extraordinarily well-acted and powerful film.

Now on Netflix Instant Streaming

Secretariat (recommended): This horse movie offers about what you’d expect from a film of its kind, a sense of adventure, pride, and excitement mixed in with more than a bit of periodic melodrama. It’s easily better than it could have been, but hardly essential viewing.

Movie with Abe: Horrible Bosses

Horrible Bosses
Directed by Seth Gordon
Released July 8, 2011

When an impressive cast with a number of notable actors and actresses is assembled for a film, it’s easy to think that things are too good to be true. Take the 2006 remake of “All the King’s Men,” for example, which starred Sean Penn, Jude Law, Anthony Hopkins, Kate Winslet, Mark Ruffalo, and James Gandolfini, and still managed to bomb terribly and contribute nothing positive to the cinematic landscape aside from its original score. In “Horrible Bosses,” the ensemble includes multiple actors who have won Golden Globes and Oscars, all coming together to do their part and make this highly entertaining and hilarious comedy work.

It’s rare to find an R-rated comedy where all of the characters are consistent and relevant to the plot. Often, there are loose ends and unconnected personalities that appear specifically to create humorous situations not germane to the main story. That’s not the case in “Horrible Bosses,” which features six main characters: three disgruntled employees and their unbearable supervisors. Each hellish boss has his or her own particular despicable traits, all involving direct harassment and evil manipulation. The awfulness of each situation is greatly amplified by the reactions from the respective employees.

The casting and characterization of the three protagonists are among the film’s greatest assets. Jason Bateman, Charlie Day, and Jason Sudeikis all bring something different to the table. Bateman’s Nick Hendricks is a hopeless rule-follower, Day’s Dale Arbus is a loose cannon prone to high-pitched outbursts, and Sudeikis’ Kurt Buckman is an unserious philanderer easily led astray by the allure of any woman who flirts with him. They make a fun and hapless team, and their bosses are perfectly suited for them. Kevin Spacey’s Dave Harken is a highly motivated and power-hungry jerk, Jennifer Aniston’s Dr. Julia Harris is a completely devious sexual predator, and Colin Farrell’s Bobby Pellitt is a drug-addicted slacker unconcerned with anything but being rich. Even though they can be considered caricatures, they’re still believable as people.

“Horrible Bosses” impresses by stopping short of getting preposterous, and fortunately doesn’t include a ridiculous twist in the third act that often seems almost required in films like this. Never does this movie lose sight of its characters’ poorly conceived endgame, and all six personalities remain true to themselves throughout the entirety of the film, which is no small feat for an unhinged comedy such as this. Even the gross-out humor, which is wonderfully sparse, is well-incorporated. Most importantly, the film is laugh-out-loud funny for a good portion of its run time, and more than enjoyable enough for the rest. Its ending might come sooner than expected, but this is one film that knows to quit when it’s marvelously ahead.

B+

Movie with Abe: Beginners

Beginners
Directed by Mike Mills
Released June 3, 2011

There are many films about two people meeting and falling in love. Yet somehow amidst all the onscreen romances that exist, it’s rare to find one union that’s truly compelling and believable from its very inception, and continually real throughout its cinematic duration. Recently, “Blue Valentine” did a magnificent job of capturing one couple’s honeymoon bliss at the very start of the relationship. “Beginners” does the same thing, yet manages to hold on to the magic without fabricating anything for its entire run, creating a beautiful and magnetic portrait of two loners brought together and helpless not to give romance a try.

“Beginners” is in many ways two films bundled into one. In the present, Oliver (Ewan McGregor) meets the lovely Anna (Mélanie Laurent) at a party, and the two instantly click. As his relationship progresses, Oliver is constantly reminded of his late father Hal (Christopher Plummer), recalling the months leading up to his death when the widowed Hal lived out his life-long homosexuality and hid his progressively worsening cancer from all those closest to him save for his son. Pairing the two stories together, interwoven almost without any signification of change between time periods, is an extraordinarily effective way of getting at the root of just who Oliver is. The character analysis is extremely subtle, explaining Oliver’s motivations for an action or a decision with Anna through a flashback to his childhood or to his time with his father without feeling disruptive or preachy in the slightest sense.

The film’s strongest scene, to rival the song and dance routine from “Blue Valentine,” comes when a Freud-costumed Oliver first meets a laryngitis-stricken Anna at a costume party and cultivates a bond with her before she even utters a single word. It’s that nonverbal communication that makes McGregor and Laurent such a marvelous pair. McGregor is a melancholy hero and a venerable narrator for the film, creating humor out of self-reflection and portraying depression and lack of direction with honesty. Laurent says so much before she even speaks that when she first opens her mouth she already feels like a developed character, even though her background and personal life remain a mystery for most of the film. Plummer is charming and endearing as Hal, brilliantly inhabiting a doomed role with gusto and energy. “Beginners” is full of sweet, tender moments and exceptional dialogue, alternating between heartwarming and heartbreaking with ease and grace. It’s a wonderful love story and an equally poetic alternative father-son drama, and a lovely film all-around.

A-

Wednesday Oscar Retrospective: Five to Ten for 2008

Welcome back to weekly feature here at Movies with Abe, Wednesday Oscar Retrospective. Five to Ten is the fifth in a series of projects looking back at the past eight years of the Oscars, dating back to the first ceremony I watched and closely followed.

On the heels of the Academy’s announcement that this coming year will feature anywhere from five to ten films in the Best Picture list, I thought to look back at the most recent decade to determine what number of films would have ultimately earned a slot in the top category. Obviously, this is all guesswork and designed, above anything, to be fun. In the new system, films will need to earn at least 5% of the first-place votes. Feel free to post your thoughts in the comments!

Five to Ten for 2008
The actual lineup: The Curious Case of Benjamin Button, Frost/Nixon, Milk, The Reader, Slumdog Millionaire

The locks: The above five.

The benefactors: This year is probably the main reason that the ten-wide system was instituted. This could have been avoided if two highly acclaimed films had been recognized: The Dark Knight and Wall-E, which managed eight and six nominations, respectively, even without making the top category.

The longshots: Three films might have come close to being included in the top category, though they would presumably have all missed the boat for different reasons. Revolutionary Road was the less popular Kate Winslet film of the year, and may have depressed too many voters. The Wrestler won acclaim for star Mickey Rourke but didn’t even manage a writing nomination, so it clearly didn’t have universal support. Golden Globe Comedy/Musical winner Vicky Cristina Barcelona certainly garnered some votes, but probably not enough over the other candidates.

And the nominees could have been… The Curious Case of Benjamin Button, The Dark Knight, Frost/Nixon, Milk, The Reader, Slumdog Millionaire, Wall-E

Does it change the winner? Maybe. “Slumdog Millionaire” sure was all the rage in 2008, but so was “The Dark Knight.” They didn’t have all that many chances to compete together in the same race, and while “Slumdog” probably still would have prevailed, Batman would have given it quite a run for its money.

Which lineup is better? I know that most filmgoers would have been relieved to see the two previously mentioned films nominated alongside with the puzzling inclusion of “The Reader,” and I think it would have been a much more accurate reflection of the year in popular cinema.

Movie with Abe: The Perfect Host (Capsule Review)

The Perfect Host
Directed by Nick Tomnay
Released July 1, 2011

This is one film where discussing its merits and demerits without giving away any of the plot details is extremely difficult. What can be said is that its first half hour is absolutely fascinating, as John (Clayne Crawford) limps away with a bleeding foot from a bank robbery and talks his way into the home of the welcoming Warwick (David Hyde Pierce), who is in the midst of preparing for a dinner party. As the night goes on, much surprising information is revealed about both men. In trying to one-up itself, “The Perfect Host” incorporates too many twists that detract from the film’s credibility and enjoyment. The effort put into each new turn in the story feels forced and too incredible. It’s reminiscent of 2007’s messy “Sleuth” starring Michael Caine and Jude Law, starting off from a higher point but becoming so frustratingly inconsistent by its midpoint. Commendation is certainly due to star David Hyde Pierce, who puts an extraordinary amount of care and delicacy into crafting his character. It’s not his fault that his character becomes so unbelievable that it’s impossible to take him seriously by film’s end.

C+

Movie with Abe: Larry Crowne

Larry Crowne
Directed by Tom Hanks
Released July 1, 2011

Certain films are made particularly for a certain crowd. Tom Hanks and Julia Roberts were big, bankable stars in the late 1980s and throughout the 1990s. They both typically played strong, likeable heroes in a range of films, from the purely fun – like “Big” and “My Best Friend’s Wedding” – to more challenging and award-winning – like “Cast Away” and “Erin Brockovich.” Neither has experienced nearly as much success in the twenty-first century, and their previous collaboration, Mike Nichols’ “Charlie Wilson’s War,” wasn’t all that superb. Now they’re back in a film tailor-made for their fans that is sure to please some and do nothing for others.

This is a film written and directed by Hanks, only his second time in either of those roles, following his 1996 debut, “That Thing You Do!” Hanks teams up on the script this time with Nia Vardalos, the architect behind the 2002 independent smash “My Big Fat Greek Wedding. A familiarity with Hanks’ typical lighter work and Vardalos’ signature film paints an accurate portrait of what “Larry Crowne” is, a comedy assembled just for audiences who love the usual roles held by Hanks, as a happy-go-lucky everyman, and Roberts, as a moody, sarcastic, independent woman.

What that means for moviegoers in general is a broad, predictable film that follows Larry Crowne (Hanks) as he bounces back from being laid off from his job and reinvents himself by enrolling in community college. Hanks plays doofy and doe-eyed well, and Roberts goes head-to-head with him as his eyeroll-prone public speaking professor Mercedes Tainot. Both play their roles well, but it’s not much of a stretch for either of them. The true entertainment comes from the supporting cast that embodies Crowne’s classmates, led by promising actress Gugu Mbatha-Raw of the recently cancelled “Undercovers” and also including Malcolm Barrett, Rami Malek, Grace Gummer, and Wilder Valderrama.

The construction of “Larry Crowne” is not highly original, and it’s hardly a classic in the making. A number of Ms. Tainot’s thoughts are allowed to be expressed out loud to no one in particular, lending an air of inconsistency to the film as her spoken stream of consciousness breaks the narrative. The presence of a scooter gang that employs snapping and reorganizing as methods of initiation demonstrates how scattered and random this film often feels. It should definitely appeal to those seeking a bit of light fun with these two beloved actors, but anyone looking for an actual great film should look elsewhere.

B-

Movie with Abe: Love Etc. (Capsule Review)

Love Etc.
Directed by Jill Andresevic
Released July 1, 2010



This documentary could well be described as a real-life version of “New York, I Love You,” an ode to love set against the backdrop of New York City. This whimsical film follows five different subjects, terming each by a different name – Lasting Love, Starting Over, Getting Married, Single, and First Love. Among them are an adorable pair that have been married happily for forty-eight years, two impending newlyweds, two high schoolers, a divorcé, and a gay man planning to adopt via a surrogate. There is such diversity among the stories told that it really does paint a true picture of the complexities and different possibilities of love without holding anything back and presuming that each couple or individual will end up happy simply because that’s the way their tale is supposed to end. “Love Etc.” is a sweet, funny, charming, honest, wholesome, and ultimately affecting drama that deserves to be seen by any and every audience.

B+

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. Absent a wealth of new film reviews during the weekend, I’d like to start providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing in NYC

Terri (highly recommended): This “teacher movie” about a vice principal that takes an active interest in one of his students avoids being forgettable and instead, thanks mostly to a great performance by John C. Reilly, to be heartfelt and highly enjoyable. Catch it at the Angelika and Lincoln Plaza, and read my review from yesterday.

Love Etc. (highly recommended): This documentary follows five different types of couples in New York City and might well be described as a real-life version of “New York, I Love You,” albeit considerably more believable, genuine, and heartwarming. Now playing at the Landmark Sunshine Cinema, and it’s worth the trip. My capsule review will be up tomorrow.

Larry Crowne (mixed bag): This film is exactly what the trailer indicates: a perfect movie for those who love stars Tom Hanks and Julia Roberts and have always wanted to see them together in a movie that wasn’t “Charlie Wilson’s War.” Unfortunately, it’s nothing more, so it’s highly forgettable but not a terrible way to spend 100 minutes. It’s in wide release, and my review will be up on Monday.

The Perfect Host (mixed bag): This little indie is all about David Hyde Pierce, best known as Niles from “Frasier,” who delivers a commanding performance in a film that starts out incredibly strong but quickly gets derailed due to too many unlikely twists. It’s showing at the Quad Cinema, and you can read my capsule review on Tuesday.

New to DVD

Barney’s Version (mixed bag): This Golden Globe winner for star Paul Giamatti presents a complex portrait of a man thrice married, and it’s definitely full of entertainment and wit, as well as some decent performances, particularly from the likes of Minnie Driver. Overall, it’s an uneven film, but still one worth a look, especially at home.

Now on Netflix Instant Streaming

Iron Man 2 (recommended): This sequel, while not quite as invigoratingly awesome as the first film, is perfectly competent and plenty of fun, featuring some super cool effects and a great villain in Mickey Rourke’s Whiplash. It’s more than just a stepping stone for the Avengers movie, and definitely worthy of another sequel, which is already in development.

Movie with Abe: Terri

Terri
Directed by Azazel Jacobs
Released July 1, 2011

Teacher movies are very common. In fact, “Bad Teacher,” starring Cameron Diaz, was released just last week. To term “Terri” a teacher movie isn’t quite accurate since John C. Reilly’s Mr. Fitzgerald isn’t actually a teacher, but instead a vice principal. Yet the story is the generally the same: Mr. Fitzgerald spots Terri, an overweight teen who has begun wearing pajamas to school, and decides to take an active interest in him. Despite the familiar themes, “Terri” manages to present a fresh and funny take on the educational professional-student relationship that results in a warm and endearing film.

John C. Reilly had a great year back in 2002. He starred in four films, three of which – “The Hours,” “Gangs of New York,” and “Chicago” – were nominated for the Oscar for Best Picture. He also netted himself an Oscar nod for his supporting role as Mr. Cellophane in “Chicago.” In the years since, Reilly has taken on some interesting roles, some intriguing (“Criminal”) and others lamentable (“Walk Hard: The Dewey Cox Story”). Last year, Reilly charmed as an unlikely hero in “Cyrus,” and surprised in “Cedar Rapids” earlier this year by turning what could have been a despicable character into a loveable louse.

Now Reilly has found another terrific role in Mr. Fitzgerald, an enthusiastic, fake-tantrum-prone vice principal who takes a good deal of time out of his day to meet with the misfits at his school, which include Terri and a hair-plucking, off-balance child named Chad. Fitzgerald doesn’t just reach out to the troubled teens, but he devotes his entire self to whipping them into shape, even going off-book and outside regulations on occasion to ensure that his message is clear. Reilly embodies the character with sincerity and honesty, making him both the dramatic and comedic core of the film.

Reilly is at the center of the film as the known quantity, but he’s ably supported by young actors playing just the roles they’re supposed to play. Jacob Wysocki, an alumnus of the ABC Family series “Huge,” emits a considerable lack of enthusiasm as Terri, therefore prompting Mr. Fitzgerald to begin helping him. Bridger Zadina, whose credits prior to this include only TV guest spots, is a bundle of nutty energy as Chad, believably portraying a teenager with a few social issues. Olivia Crocicchia, previously known only as youngest daughter Katy Gavin on “Rescue Me,” balances out the budding testosterone with a bright performance as Heather, a popular girl whose circumstances thrust her into an unlikely friendship with Terri. This decent ensemble and a smart script from Patrick Dewitt and director Azazel Jacobs elevate this film from what could have been a forgettable replica to a worthwhile dramedy.

B+