Archive for April, 2009

Ghost Town

April 28, 2009

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As a result of a near-death experience while undergoing a routine colonoscopy, misanthropic New York City dentist Bertram Pincus gains the ability to see and communicate with the dead. Soon, he’s hounded by anxious ghosts in need of his help to put to rest matters that haunt their still-living families and friends. It’s the set-up to Ghost Town, an entertaining vehicle for comic actor Ricky Gervais whose performance is equal parts Ebeneezer Scrooge and Andy Millman, the sad-sack actor he played in the excellent BBC/HBO series Extras. Gervais makes for a wholly likable and unlikely hero in this romantic comedy with paranormal overtones, because he knows how to make an appealing hero out of the curmudgeonly Bertram. Gervais’ rapport with his equally enjoyable co-stars Greg Kinnear and Tea Leoni also keeps Ghost Town on solidly funny ground.

Kinnear plays Frank Herilhy, a philanderer who meets a swift death-by-bus in Ghost Town’s opening moments. Now a ghost, formerly lousy husband Frank wants to redeem himself vis-a-vis his now-former wife Gwen, an Egyptologist specializing in mummies, and played with frazzled comic grace by Leoni. So Frank chases down the lonely Bertram and convinces him to woo Gwen away from potential suitor Richard (Bill Campbell), a goody-goody social crusader who’s also strikingly handsome and, well, perfect. Bertram’s odds are slim but, slowly, his wry personality and slow-burn sarcasm win the sharp-witted Gwen’s attentions. His budding romance hits a road block, though, after Frank’s ulterior motive for wanting to drive a wedge between Gwen and Richard is revealed. Meanwhile, ghosts desperate for Bertram’s help continue to clamor for his attention, setting up several funny scenarios.

Writer-director David Koepp and co-writer John Kamps rightly develop their material along the lines of classic romantic screwball comedies. This is goofy, off-kilter fun, for the most part, but there’s a sentimental heart to it too as the closed-off Bertram opens up to the grief and pain that afflicts the ghosts around him, and prevents them from finding peace in the afterlife. Where Koepp and Kamps fumble are in the areas of tone and pacing: Given the spirited nature of this material, Ghost Town lacks the zip and energy of true romantic screwball — the kind of comedies that Cary Grant, Carole Lombard and Katherine Hepburn helped define. It’s a bit too somber for its own good, and further dampened by its flat, dour visual palette. What Ghost Town needed was the potential for irreverence and fun behind the camera so clearly evident in the talent in front of the camera. Still, this is warmhearted, wonderfully acted, cleverly written stuff — several degrees smarter and more appealing than most of the junk being peddled as comedy these days — and a great step forward in the career of Gervais, one of today’s comedic bright lights.
Grade: B

Directed by: David Koepp
Written by: David Koepp, John Kamps
Cast: Ricky Gervais, Greg Kinnear, Tea Leoni, Aasif Mandvi, Kristen Wiig, Dana Ivey, Jeff Hiller, Bill Campbell

Tyson

April 22, 2009

As James Toback’s Tyson opens, what hits you first is the technique. The idea behind the project is pretty simple — essentially, this is an extended interview with infamous boxer Mike Tyson as he reminiscences about his roots, and on the highs and lows of his career and private life. But in crafting what is otherwise a straightforward personal testimony by the former (and disgraced) heavyweight, Toback opts for a dynamic, eye-filling presentation: He employs split-screens that balance the interview with archival photos and video footage that together form a mosaic of one man’s recollections. Sometimes the audio behind those recollections is layered together, one track echoing away, then replaced by another that offers a revised version in its place.
Read it here…

Gran Torino

April 22, 2009

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I’m a Clint Eastwood fan. As a director, Eastwood has made some lovely films (Unforgiven, Letters from Iwo Jima) and he’s made some turkeys (True Crime, Midnight in the Garden of Good and Evil, etc.). Often, though, his direction has lacked subtlety, making points and conveying information so broadly and obviously as to be cringe-inducing. Gran Torino falls in that unfortunate category, but it saves itself thanks to Eastwood’s own presence in the lead, and winning performances from two of his young co-stars.

Eastwood plays Walt Kowalski, a retired Detroit auto worker and a Korean War vet whose wartime experiences have hardened him into an inveterate racist, particularly towards Asians. He’s an angry loner (an out-to-pasture Dirty Harry, if you will) and, to drive home the point, Eastwood makes the choice of having Walt growl audibly when he’s angered. It’s funny, but not entirely in the way intended; Walt’s growling gives the rest of the movie a cloddish, awkward vibe, and we know we’re not exactly on sophisticated ground here.

Gran Torino picks up following the death of Walt’s wife. His relationships with his two grown sons is, put kindly, distant and disdainful. Alone, save for the company of his dog Daisy, Walt retires into a lonely life, nursing his bitterness with beer and cigarettes. When he isn’t railing against the young Catholic priest, Father Janovich (Christopher Carley), who dutifully looks in on him, Walt is bemoaning the influx of Hmong immigrants into his neighborhood. Occasionally, he coughs up bloody sputum, alarming him with signals of mortality.

One night, Walt catches Thao (Bee Vang), the Hmong teenager from the family next door, trying to steal his car — a mint condition Gran Torino. As payback for the attempted theft, Thao’s family insists that the boy help Walt with household chores and upkeep. Each morning, Thao dutifully shows up — contrite but simmering with adolescent resentment — for painting or yard work while Walt sits on his stoop, nursing beer after beer. Meanwhile, Thao’s sister Sue (Ahney Her), sweet and self-assured, befriends Walt and draws him into her family circle. Lacking any home life of his own, Walt obliges, though his old racial hatreds keep gnawing at him. Slowly, though predictably, the walls of alienation that Walt that has thrown up begin to fall away, and he develops a genuine closeness to Thao and Sue, and concern for their welfare, prompted especially because a local Asian gang has begun terrorizing them.

Walt tries to “man up” the shy and unassertive Thao, but his attempts consist of coaching him on how to talk trash. The scene involves Walt trading vulgar jibes with his barber (John Carroll Lynch) — it’s funny in a naive, sophomoric sort of way and doesn’t accomplish much except cheap laughs. It’s every bit as heavy-handed as Walt’s face-offs with Janovich, larded with talk of sex, love, death, and loneliness. Every time, you come away feeling sorry for Carley who, as the young priest, has nothing to work with. He’s all but a doormat for Eastwood’s Walt to wipe his feet on, making for shallow scenes of false spiritual heft and clunky, uneven performances as Carley is sadly outmatched by Eastwood.

What comes off best are Walt’s interactions with Thao and Sue. Vang and Her may be inexperienced actors but they bring genuine charm and sweetness to their roles. This is where the heart of Gran Torino resides — in that dynamic between the wounded older Walt and the innocent, vulnerable teenagers who befriend him. The dying Walt’s thawing-out and moral humbling in the company of these two and their traditional family is painted in broad strokes, but it’s heart is in the right place. When the gang’s overtures of menace towards Thao, Sue, and their family boil over at last into a horrible episode of violence, Walt takes it upon himself to mete out vengeance.

The final reckoning isn’t so much between Walt and a bunch of punks (a la Dirty Harry), but between Walt’s competing halves: The embittered shell of a man, full of age-old grievances, quick to violence versus the redeemed human being, chastened by a newfound sense of purpose and responsibility. Meanwhile, we find Eastwood the director struggling with his competing instincts: Will we get the darkly elegant soul-searching of Unforgiven or the clumsy, over-the-top histrionics of Mystic River? The answer is both. Indeed, Gran Torino is a smorgasbord of Eastwood’s skills as filmmaker — the good, the bad, and the ugly — and how well you digest it will depend on your appetite.
Grade: C+

Directed by: Clint Eastwood
Written by: Nick Schenk
Cast: Clint Eastwood, Christopher Carley, Bee Vang, Ahney Her, Brian Haley, Geraldine Hughes, Dreama Walker, Brian Howe, John Carroll Lynch, William Hill


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