Showing posts with label Stanley Tucci. Show all posts
Showing posts with label Stanley Tucci. Show all posts

11.23.2015

SPOTLIGHT

It wasn't that long ago when  newspapers were people's main source for information, and they focused on news rather than entertainment or ratings.  Spotlight is a drama (disturbingly based on a true story) that shows that period in journalism -- and one of America's biggest scandals.

In early 2000, the Boston Globe newspaper is facing declining subscribers, increased pressure from the Internet, and a new owner: Marty Baron (Liev Schreiber), who's seen as an outsider because he's coming from Miami and has never lived in Boston -- plus he's Jewish in a largely Roman Catholic town.

The newspaper's "spotlight" team -- reporters and editors who focus solely and covertly on one story to uncover everything they can -- is made up of Mike Rezendes (Mark Ruffalo), "Robby" Robertson (Michael Keaton), Sacha Pfeiffer (Rachel McAdams), and Matt Carol (Brian D'arcy James).  They had been working on crime rates in Boston, when Marty gives them a new assignment: look into the story of a priest convicted of molesting children.
 This assignment quickly balloons, as the reporters find evidence of priests being transferred around rather than removed or arrested, the possibility that Cardinal Law (Len Cariou) knew and covered up the crimes, and that the number of priests who molested children grows from four to thirteen to dozens.  Victims of abuse share their stories, and attorney Mitchell Garabedian (Stanley Tucci) represents victims while aware of the uphill battle he faces.  There's also immense pressure to sweep the scandal under the rug, as politicians, priests, and the religious public try to shift attention and evidence away from the scandal.  But the reporters keep digging...
Spotlight is a very effective movie, in the style of All the President's Men.  Instead of explosions and chases, we see reporters chasing down leads and persuading people to talk about what they'd rather keep hidden or to themselves.  The cast is excellent, the story goes at a smooth and direct pace, and the movie makes you believe in the power and dedication of the press.

The scariest part of the movie comes at the end, when we see how widespread the Roman Catholic church's pedophilia scandal was.  Spotlight shows how some dedicated people worked and fought to reveal the scandal -- and it makes for a powerful movie.

Overall grade: A-
Reviewed by James Lynch

4.01.2012

The Hunger Games (2012)


Lionsgate // PG-13

142 mins

Jennifer Lawrence, Josh Hutcherson, Stanley Tucci, Elizabeth Banks, Donald Sutherland, Lenny Kravitz, Woody Harrelson, and dozens of young actors who get killed midway through the movie


Unappetizing Fare

The Hunger Games is a dystopian film in which young Katniss Everdeen (Jennifer Lawrence) volunteers to take part in the dystopian Hunger Games, wherein twenty-four dystopian youngsters compete to the death for the right, I suppose, to say that he or she won the Hunger Games. It isn't made clear what the great prize is at the end of the homicidal rainbow, or why the oppressed, dystopian people of the dystopian districts of dystopian nation of Panem (of which there are twelve - Katniss hails from the twelfth) should submit to this squalid, dystopian gladiatorial contest for the amusement of the dystopian, decadent Capitol.

All of this is occurring in what is apparently a dystopian future America, in which the outlying districts send resources to Capitol, which is something of a dystopian D.C. crossed with Thunderdome. The dystopian "citizens" of Capitol, if they can be graced with the dignity of such a term, are a wretched bunch (and look as if they have are refugees from pre-revolutionary France dressed in an unholy combination of Hot Topic and 1980's Benetton clothing) cheering and squealing in delight at the dystopian murder games played out for their dystopian entertainment.

That a lot of dystopianism to ingest. Wow, this film is bleak. What am I to make of it? Is it an anti-capitalist critique of modern capitalism for the 99%? A parable for the age of reality television? A love story? It is a mixture of all of those things.

Katniss and her fellow male district "tribute," Peeta Mellark, are sent from their drab, 1930's Depression-style community in District 12 to the bright and shining Capitol to train (in a mere four days) to fight the twenty-two other selectees, as well as, ultimately, each other, in a high-tech outdoor stadium, watched all along by the millions of denizens of this bizarre nation. A nice touch is that real color invades the screen only when Katniss departs her gray district town for Capitol, a nod to Dorothy's wondrous entrance to the Land of Oz, but in this case, something far more sinister.

The youngsters are trained by Haymitch (Woody Harrelson) and their look spruced up by Cinna (Lenny Kravitz), who despite being relatively sympathetic characters, nevertheless do not challenge the basic premise of the Hunger Games, which is that they are revoltingly immoral contests. Perhaps they feel that they can't, that they are powerless to alter the Hunger Games, a blood sport whose only purpose, it seems, is to remind the people of future America not to get uppity and rebel.

I have not read the books. Now, after watching this movie, I don't want to. I can't say that the books are bad, but The Hunger Games did not resonate with me. I found the premise of two dozen kids killing each other for the amusement of the crowd to be disturbing, and I am not squeamish. I could stomach Gladiator very well, but that was a far different film. Also, it is not that The Hunger Games was especially bloody. That element was rather limited. No, the premise of the film is not something that I care for - at all.

There were several times during the course of The Hunger Games that I just wished it would end. It is a very good film, just not one that I enjoyed. That may seem contradictory, but it isn't. I can recognize the quality of the moviemaking. Director Gary Ross has done a fine job and Jennifer Lawrence is a splendid actress. Dystopianism is not for me. I think that in order to really like a science fiction movie or novel, I have to want to "visit" the imaginary world in which it is set. I would like to visit Middle-earth, Narnia, the Federation from Star Trek, or even the Galactic Empire from Star Wars (just for a short spell) but I don't have any desire to visit the depressing, frightful Panem with its sordid Hunger Games.

Marc

Marc blogs on popular culture and whatever else he pleases at Consolidated Pop.

12.11.2010

BURLESQUE

Here's a wildly unoriginal idea for a movie: A small-town girl moves to the big city, struggles at first, and becomes wildly successful, famous, beloved by everyone, and adored by a cute guy. Toss in some risque dance numbers and you have the movie Burlesque.
Ali (Christina Aguilera) is the young woman leaving Iowa for a better life in California. After a very brief job-hunting montage she winds up at the Burlesque Lounge (a pretty unoriginal name for a, er, burlesque lounge) and is enthralled by the sexy dancing. Quickly chatting up cute bartender Jack (Cam Gigandet), she gets a job as a waitress. But wouldn't you know it, she wants to dance! On stage! And she wants them to sing instead of just lip-syncing!
The club has its own problems. Owner/performer/surrogate mother to the dancers Tess (Cher) is drowning in debt and resisting offers to sell the place to real-estate developer Marcus (Eric Dane). Lead performer Nikki (Kristen Bell) shows up late, drinks too much, sabotages anyone she sees as a threat, and apparently has no redeeming qualities.
What else? Let's toss in a funny gay friend, Sean (Stanley Tucci, who steals every scene he's in), who's Tess's friend and works at the club. Let's make Jack more than a bartender, but a sensitive hunk who writes songs. Let's have Ali move in with Jack, but nothing happen because he has a demanding fiancee who's in New York. Let's have baddie Marcus romancing Ali. And, of course, let's have Ali go from a nobody to famous and the savior of the club.

Burlesque was painful, but not entirely so. The music was quite good, Stanley Tucci is hilarious, and the musical numbers are like a well-performed music video. (Burlesque is PG-13, so if you're hoping to see a lot of skin you'll get tease instead of totality.) Unfortunately Christina Aguilera is very dull when she's not singing, and Cher's role has her doing little more than being a den mother. Some of the dialogue is laughably bad, and the villains are so one-dimensional they should be wearing black hats.

According to the IMDB, writer-director Steve Antin got the idea for Burlesque after watching Aguilera performing with the Pussycat Dolls. If only he'd known that sexy dancing alone can't sustain a full-length movie...

Overall grade: D
Reviewed by James Lynch

4.23.2008

Lucky Number Slevin

A smart movie is a good thing, but a movie that works too hard at being clever can collapse under its own pretension. This is the fate of Lucky Number Slevin, a crime drama that reminds us constantly how witty it is from the title to the ending.

The movie opens with the killer Mr. Goodkat (Bruce Willis) telling someone at an airport a story of a family wiped out by mobsters and the unpredictable "Kansas City shuffle" where the unexpected happens -- then Goodkat kills his listener.

From there we meet Slevin (Josh Hartness), who's having the day from hell. Slevin lost his job and his apartment and found his girlfriend cheating on him in one afternoon. He's invited to stay at the apartment of his friend Nick Fisher (Sam Jaeger), and on the way Slevin is mugged and loses his wallet. Nick's not at home, and things look like they're improving when Slevin has a "meet cute" with neighbor Lindsey (Lucy Liu) stopping by when Slevin's wearing nothing but a towel. Then the other visitors come.

Two mobsters think Slevin is Nick (remember, Slevin's wallet was stolen) and bring him (still in towel) to the Boss (Morgan Freeman), who thinks Slevin is Nick and wants Slevin to repay "his" debt to the Boss by killing the son of a rival mob boss called the Rabbi. After Slevin is brought back to the apartment, he's picked up by two more mobsters, who bring him to the Rabbi (Ben Kingsley). The Rabbi wants the thousands of dollars Nick owes him in two days, or Slevin will be killed.

From there, things get complicated. Lindsey decided to play amateur sleuth and find out where Nick is. Slevin is caught between the two investigators, plus watched by Detective Brikowski (Stanley Tucci) who's invesstigating the Boss and the Rabbi. The Boss and the Rabbi live in massive apartment buildings across the street from each other, and Mr. Goodkat shows up apparently working for both of them. And Slevin has "ataraxia," a condition that leaves him free from anxiety or worry and lets him drift back and forth as everyone seems to be after him.

The complexity of Lucky Number Slevin could have been forgiven with a dash of realism somewhere. Alas, that isn't to be found here. Virtually every bit of dialogue is so clever it's artificial, and the potentially great cast sounds like it's reading an amateur play. None of the characters are particularly interesting, and considering the immense acting talent here it's a crime for it to go to waste. By the time the movie's convolutions are resolved, you won't care one way or another.

I was unlucky enough to see Lucky Number Slevin. Hopefully you won't be.

Overall grade: D

Reviewed by James Lynch

11.17.2006

3 Lbs.

Among ER, House M.D. and Grey's Anatomy, is there really room for another medical program? After previewing the season premiere of 3Lbs. online, I think the answer is a "yes." (FYI: three pounds refers to the weight of an adult human brain).

This medical show focuses on a Manhattan hospital, and its patients with neurological problems. The premiere had patients with the diagnoses of astrocytoma and AVM (arteriovenous malformation). Neurological diseases, at least to me, are always interesting in terms of the presenting symptoms (at least until the CAT scan is completed...). The medical issues are made alive through the use CSI style animations.


The real stars of the show are the doctors. The principals appear to be the senior neurosurgeon, played by the able Stanley Tucci, who has a brillant mind and excellent hands, but can't relate on a personal level to anyone, not even himself (I happen to know a few people like this...). Complementing his abilities is his "fellow " (a doctor who is subspecializing and receiving advanced training). The fellow has excellent interpersonal skills, and ends up translating the "medicalese" with the patients. Rounding out the mix is an attractive and single neurologist, and an antisurgery radiation oncologist.

The interplay of the characters is excellent, and some of the hospital politics is shown. I enjoyed the pilot, but my only concern is if the range of neurosurgical diagnoses can sustain an audience's interest for more than a season or two. In the meantime, enjoy!

Overall Grade: B+

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