Feast of Love

© 2007 Ray Wong

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Like its title, Feast of Love is unabashedly frank about what the story is about: Love. Different kinds and shades of love, all through the eyes of a professor who knows a few things about love and loss.

photo1Portland professor Harry Stevenson (Morgan Freeman) is a keen observer of human behaviors and relationships. He's good friends with Bradley Thomas (Greg Kinnear), the owner of a local coffee shop who also is a hopelessly romantic artist. Bradley is oblivious that his wife, Kathryn (Selma Blair), is falling in love with another woman; Harry sees that, but he only observes and not interferes. His thought is that people need to work out their own kinks.

photo2After his divorce, Bradley falls in love again (quickly) with real estate agent Diana (Radha Mitchell), who is having a secret affair with married man David (Billy Burke). Dissatisfied with her affair, Diana agrees to marry Bradley even though she doesn't love him. Unable to see through Diana's veil, Bradley continues to be oblivious to everything that is going on around him.

photo3Meanwhile, Bradley's employees Oscar (Toby Hemingway) and Chloe (Alexa Davalos) fall madly in love with each other. Young and idealistic, they dream of a future despite the fact that they are poor and Oscar is a recovering junkie. Chloe looks to Harry for advice; but instead of telling them what is right or wrong, Harry prefers to let them decide for themselves. Soon, Harry regrets his own action as he realizes his lack of strong opinions and proactive actions may have led to his own son's death a year earlier, leaving a gaping hole in his and his wife's (Jane Alexander) lives.

photo4Morgan Freeman (Evan Almighty) is genuinely likable as Harry Steveson. The problem with the role is that it is rather passive, serving mostly as an observer instead of the protagonist. In fact, there's no clear protagonist in this ensemble drama. Greg Kinnear (Little Miss Sunshine) plays the average Joe to perfection, but I'm not sure if I'm convinced that a guy like him could be so blind as far as relationships are concerned.

photo5Radha Mitchell (Silent Hill) is radiant as Diana, the deceitful adulterer who wins Bradley's heart. Unfortunately, the character is too morally damaged that it's not easy to find sympathy for her. Same with her onscreen lover, David, played effectively by Billy Burke (Fracture). The good thing about the pair is that they have an immense chemistry together, making it more relevant when David says, "We're the same kind of people."

photo6Alexa Davalos (The Chronicles of Riddick) and Toby Hemingway (The Covenant) play the young, star-crossed lovers with heart and soul. Davalos, in particular, shows great emotional range and depth. Their romantic yearnings and devotion to each other earn our devoting in return. Selma Blair (Purple Violets) has a relatively small role as Bradley's lesbian wife, and plays the character who is just coming out of her shell with fine humanity and vulnerability (although a bit heartless and bitter as well). In contrast, Jane Alexander (Fur) is all warmth and sensible as Harry's grieving wife.

photo7Written by Allison Burnett (Resurrecting the Champ) and based on Charles' Baxter's novel, the script has a tender, slice-of-life feel to it. Not overtly quirky or melodramatic, the story touches on many aspects of love: parental, romantic, friendly, even love for our pets. Through a series of intersecting relationships among the main characters, the story explores separate threads, with Harry Stevenson as the hinge. At times, the plot seems rather mundane and slow, without any real drama or high-stake conflicts. There is much philosophizing, and not enough action. Some of the characters are rather unlikable and it's not easy to relate to them.

photo8However, there are many genuine moments that pack strong emotional punches. Under the skillful direction of Robert Benton (The Human Stain), the story slowly reveals information about these character, keeping us guessing. The relationships among these characters feel authentic and real (with the exception of Oscar's father, a caricature played by Fred Ward). The dialogue is insightful and witty. The love scenes are integral parts of the movie, nothing gratuitous.

And like its narrator, the film doesn't want to pass any moral judgment -- there seems to have only one gratuitous villain (Fred Ward). The characters and their story threads serve as an intricate juxtaposition with one another -- here we have an older loving couple who are holding on to their love after a huge loss; a young, inexperienced couple who find their soulmates; a man who is so idealistic that he lets his romantic notions blind him; and finally, a deceitful couple whose only redemption is through revealing their flaws and accepting the consequences of their lies and eventually their true love for each other. Through these relationships, we get a glimpse of what the feast of love is all about.


Stars: Morgan Freeman, Greg Kinnear, Radha Mitchell, Billy Burke, Selma Blair, Alexa Davalos, Toby Hemingway, Jane Alexander, Fred Ward
Director: Robert Benton
Writers: Allison Burnett (based on Charles Baxter's novel)
Distributor: MGM
MPAA Rating: R for strong sexual content, nudity and language
Running Time: 102 Minutes

Ratings:

Script – 7
Performance – 7
Direction – 8
Cinematography – 7
Music/Sound– 6
Editing – 7
Production – 7

Total – 7.1 out of 10

In the Valley of Elah

© 2007 Ray Wong

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A mystery at the core and inspired by true events, In the Valley of Elah is actually a complex social drama examining some tough issues that will without doubt generate debates and discussions.

photo1Retired Sgt. Hank Deerfield (Tommy Lee Jones) gets a distress call from his son Mike (Jonathan Tucker) before Mike goes AWOL at the army base. The army jerks him around, and the local authorities won't give him any attention either: they insist on Hank contacting the military police. Then a burned, dismembered body is found near the military base. Mike's identity is confirmed. Suppressing his grief and his wife's (Susan Saradon) blames, Hank is determined to find out what happened and who killed his son.

photo2At first, since the murder appears to have happened within military grounds, the case is out of the police's jurisdiction. They believe it's a drug deal gone bad. A sharp observer, Hank convinces Detective Emily Sanders (Charlize Theron) it's a cover-up. Sanders opens an active investigation against her colleagues' scrutiny. The circumstances lead Hank and Sanders to suspect a few of Mike's bunkmates, but there is not enough evidence to convince Sanders' superiors or the army to do anything. Frustration leads Mike to conduct his own investigations. What he finds shatters his own convictions.

photo3photo4Tommy Lee Jones (A Prairie Home Companion) has given us one of his most disciplined and authentic performances, worthy of an Oscar nomination. A quiet, reserved, and sharp man, Jones's character draws us in and never really lets go. You feel his anguish and agree with his determination, but at the same time you realize his flaws may have something to do with the tragedy. It's a truly sympathetic character, portrayed to perfection by Jones.

photo0Charlize Theron (Aeon Flux) is convincing as the disenchanted detective who has to battle sexism at her job while being a single mother. Hank's case brings her back to the living, so to speak, and Theron's performance is heartfelt and precise. Susan Sarandon (Elizabethtown) doesn't have much to do as the grief-striken mother, but her portrayal is genuine and heart-wrenching. Jason Patric (The Alamo) and Josh Brolin (Grindhouse: Planet Terror) plays a pair of cops (Lt. Kirlander and Chief Buckwald respectively) with enough gruffness and machismo to offset Theron's sensibility. Frances Fisher (The Kingdom) has a minor role that requires an unnecessary nude scene.

photo6Written and directed by Paul Haggis (Crash), In the Valley of Elah evokes the same social consciousness of his Oscar-winning film about racism. This time, it's about war. Haggis doesn't shy away from explaining the symbolism of the film's Biblical title, and at times it feels preachy. As a mystery, the film excels in drawing us in and keeping us guessing. While the resolution is rather predictable, Haggis succeeds in keeping the plot close to the vest. The slow reveal of the truth is breathtaking, especially with the deft use of video footage (taken from a cell phone), bits and pieces of evidence and information gathered from eye witnesses. These plot elements also reveal the characters effectively, making us really root for Hank and Sanders. Their relationship is genuine and the dialogue sharp and believable.

photo7However, Haggis tends to over-dramatize and manipulate. While not as blatant as Crash, the film does, at times, feel like an anti-war propaganda as Haggis continues to hit us with images of war and the repetitive themes, especially how our children can be turned into monsters under the most unforgiving circumstances. Casting ultra-liberal Susan Sarandon in the film as a grieving mother doesn't help either. To his credit, though, Haggis tries to counterbalance that point of view with sympathetic characters, especially through Tommy Lee Jones' character, who is a pro-war veteran. At the end, however, the film still feels one-sided, and one may find it objectionable and resent the fact that Haggis tries to beat us over the head with his "message": wars are bad and people are ruined.

photo8Well made, taut and suspenseful, In the Valley of Elah is definitely a message movie. Depending on your political views, you may either agree or disagree with the film, thus like or dislike it as a result. As a movie, the film boasts some powerful images, serious themes, and exceptional performances. Tommy Lee Jones mesmerizes.


Stars: Tommy Lee Jones, Charlize Theron, Jason Patric, Susan Sarandon, James Franco, Barry Corbin, Josh Brolin, Frances Fisher
Director: Paul Haggis
Writers: Paul Haggis, Mark Boal
Distributor: Warner Independent
MPAA Rating: R for strong violent and disturbing content, language and some sexuality/nudity
Running Time: 121 Minutes

Ratings:

Script – 8
Performance – 9
Direction – 7
Cinematography – 8
Music/Sound– 7
Editing – 7
Production – 8

Total – 7.7 out of 10

The Brave One

© 2007 Ray Wong

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The Brave One is a unique take on the vigilante/revenge genre. Certainly it touches on the common themes of loss, rage, and taking justice in one's hands--all told from a woman's point of view.

photo1Erica Bain (Jodie Foster) is a radio talk show host in New York City. She seems to have it all together: a loving fiance (Naveen Andrews), a great job, a nice apartment, and a cool dog. But everything comes to a halt as Erica and David suffer a senseless attack in a park, leaving Erica severely injured and David dead.

photo2The aftermath leaves Erica not only physical but also emotional scars. After the initial adjustment to post-traumatic syndromes, she tries to move on. Paranoid and fearing for her safety, she buys a gun for protection. A series of events enable Erica to see herself in a new light, and somehow she's changed. To her, she's become a different person. A detached, vengeful woman who prefers to take matters in her own hands.

photo3Investigating a series of related homicides, Detective Mercer (Terrence Howard) quickly turns his attention on Erica. He's at once in awe with her intelligence, compassion and self-reliance. At the same time, something feels off, and Mercer begins to suspect that Erica might be hiding something--something more sinister than he ever imagined, even as a cop. His investigation leads him to become closer to Erica, before he discovers what really is going on.

photo4Jodie Foster (Flightplan) pretty much has a lock on the tough, determined, conflicted action heroines. Her square jaws and steely eyes do half the work already. She commands the screen from scene one and never really lets the audiences go. It's amazing to see her transformation from a happy-go-lucky, loving person to a detached, cold killer. At the same time, she shows tremendous vulnerability and conflict to make her character real, and not one of those two-dimensional action figures.

photo5Terrence Howard (Pride) also does a fine job bringing the good cop to life. Where he trails Foster in the intensity department, he makes it up with warmth and humor. Although we don't know much about his character, he gives us enough to chew on--a three-dimensional character that has its own demons. Howard succeeds in making us believe in the character, and that is crucial for the improbable ending to work.

photo6Supporting cast includes Nicky Katt (Planet Terror) as Mercer's partner, Detective Vitale; Naveen Andrews (Planet Terror) in a brief by pivotal role as Erica's fiance, David; and Mary Steenburgen (The Dead Girl) as Erica's slightly unsympathetic boss. They all do good, if brief, work. The movie rests squarely on Foster's and Howard's respective shoulders.

photo7Written by a trio of mostly TV writers -- Roderick Taylor (American Outlaws), Bruce A. Taylor (Open Graves) and Cynthia Mort (Will & Grace) -- the screenplay is suspenseful and tense. The plot is rather predictable, especially if you already know about the premise. What excels in the script is the character development, which is rare in an action-thriller. The dialogue is thought-provoking and the situations real enough to give us chills and to make us look behind our backs. The screenwriters also make a good decision to focus the story on the two lead characters. While the pacing might lags at times, the tension never falters.

photo8Director Neil Jordan (Breakfast on Pluto) is a skillful filmmaker, and his talent is evident in every frame. Technically the film is exceptionally crafted -- the camera angles, the close-ups, the colors, the lighting, the sets all work together, giving us a sensorial feast and drawing us into the story. The pacing gets a little slow at places, but Jordan also allows time for the characters to move and interact and surprise. He succeeds in showing us the despair, loneliness, anguish, and frustration through his impeccable vision. The result is a taut introspective thriller with a heart and soul.

photo9The story does hit us rather heavy-handedly with its central themes -- is it ever okay to take justice in our own hands? What does it mean to be right or wrong, good or bad? There's a scene in the film that borders on preachiness as Erica answers calls from listeners. Thankfully, the story doesn't linger in that debate. Instead, it lets the action show us, then leave us to make up our own minds. We may not agree with what the characters do, but we understand them. And we do ask the same questions Erica Bain asks over and over again: What would you do if fear stares you in the face and rips your life away from you? What would you do? Is it worth the cost? It is an interesting, moral question: What does it mean to be the brave one?



Stars: Jodie Foster, Terrence Howard, Nicky Katt, Naveen Andrews, Mary Steenburgen
Director: Neil Jordan
Writers: Roderick Taylor, Bruce A. Taylor, Cynthia Mort
Distributor: Warner Bros.
MPAA Rating: R for strong violence, language, nudity and sexuality
Running Time: 119 Minutes

Ratings:

Script – 7
Performance – 8
Direction – 8
Cinematography – 8
Music/Sound– 7
Editing – 7
Production – 8

Total – 7.8 out of 10

Shoot 'em Up

© 2007 Ray Wong

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The most ironic thing about Michael Davis's "gun porn," Shoot 'em Up, is the central plot element on gun control. In a way, it's like watching an adult movie in which the characters are rallying against pornography.

photo1Smith (Clive Owen) happens to be waiting at a bus stop when a pregnant woman runs past him. She's being chased by a gunman. Reluctantly, Smith interferes and during an extended shootout, he delivers the baby. Unfortunately, the mother gets killed in the gunfire, and Smith is left with the baby to protect from the bad guys, headed the an ex-FBI agent, Hertz (Paul Giamatti).

photo2Smith pays a visit to prostitute Donna (Monica Bellucci) specializing in "lactation" to help feed the baby (Um, aren't there any baby formulas in town?). But Hertz and his men seem to be always only one step behind Smith and Donna. While on the run, Smith discovers that Hertz works for firearms tycoon Hammerson (Stephen McHattie), and their goal is to kill all the surrogate mothers and babies, who carry a possible bone marrow match for the sperm donor: Senator Rutledge (Daniel Pilon). It seems like the only way out of this jam is for Smith to find the Senator.

photo3Clive Owen (Children of Men) is in his Sin City-esque superhero form. Chomping on carrots like Bugs Bunny, Owen shoots his way through almost everything, even during a hot scene with Monica Bellucci. Throw subtlety out the door; this role is all about machismo. Paul Giamatti (The Nanny Diary), on the other hand, does a deadly Elmer Fudd impersonation with 120% nastiness. That's probably the most ruthless, blood-thirsty character with no redeeming value whatsoever that Mr. Giamatti has done.

photo4Monica Bellucci (The Brothers Grimm) is all sex and motherhood here, an odd combination that works rather well for the sultry actress. One can't watch Bellucci anymore without thinking of the "Got Milk" commercials. Stephen McHattie (300) and Daniel Pilon (Deception) have relatively minor roles playing Hammerson and the Senator respectively. In addition, there are hundreds of interchangeable actors and stuntmen who play various body parts.

photo5Written and directed by Michael Davis (Monster Man), the film is preposterous. The sole purpose of the script to get these characters into unlikely situations so they can perform one of the 64,000 shootouts in the entire film. There's no logic involved, and the stunts are over the top and implausible. There are so much blood and body parts flying around it's kind of difficult to keep track.

photo6The characters are extremely cartoonish, from Mr. Bugs Bunny (Owen) to Elmer Fudd (Giamatti) to Jessica Rabbit (Bellucci), not to mention the faceless villains and army of men in black. There are really no twists, only graphic violence after violence until the very end in an orgasmic explosion of gunpowder and guts.

photo7And yet, the film is oddly satisfying in an obscene way. I understand what Michael Davis tries to accomplish here -- and he admitted that he was trying to make a violent, live action version of the Looney Toons. By that standard, I think Davis has succeeded in bringing us one of the most gratuitous, gory, mindless video game-like gun porn in history. The stunts are rather beautifully executed and the action sequences are slick and fast. Everything is in your face, including the sexual overtone: the entire film is one grand sexual fantasy culminating to a super climax. It's porn for teenage boys and guys who haven't subscribed to the Playboy channel. As one character said to another, "That's what it means by shooting your load."

photo8Absolutely no character development (unless you consider flimsy background information and character archetypes character development), subtlety or depth, it's exactly what Mr. Davis wants; and I suspect that's exactly what his target audiences expect as well. If that's your thing, come on over and shoot 'em up -- you'll have a good time.


Stars: Clive Owen, Paul Giamatti, Monica Bellucci, Stephen McHattie, Greg Bryk, Daniel Pilon
Director: Michael Davis
Writer: Michael Davis
Distributor: New Line
MPAA Rating: R for extreme violence, language, nudity and sexuality
Running Time: 93 Minutes

Ratings:

Script – 5
Performance – 6
Direction – 8
Cinematography – 7
Music/Sound– 7
Editing – 8
Production – 8

Total – 6.8 out of 10

Resurrecting the Champ

© 2007 Ray Wong

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With its impressive cast and a sports-related story, I'm surprised by the lack of publicity and distribution for this film about truth, fame, integrity and love.

photo1Erik (Josh Hartnett) is a sports reporter at the Denver Times. Separated from his wife Joyce (Kathryn Morris), also a journalist at the Times, he feels unappreciated by his boss, sports editor Metz (Alan Alda). One day, Erik encounters a homeless in alley who calls himself Champ (Samuel L. Jackson). At first Erik thinks Champ is just another crazy bum on the street, but soon he realizes that Champ might be his ticket to be taken seriously.

photo2It turns out Champ's really Bob Satterfield, a heavy-weight boxing champion in the 50s. Many people think Champ is dead, here he is, speaking to Erik in person. Champ's story fascinates Erik, as well as the paper's magazine editor Whitley (David Paymer), who promises to make Champ their title story. Driven by ambition and grudge, Erik goes behind Metz's back and interviews Champ. When the story comes out, it is a sensation and Erik becomes an instant star. Erik feels vindicated while Metz feels betrayed by Erik's dishonesty. Soon, however, Erik discovers the truth behind Champ's story, and the revelation forces him to reexamine his life, his relationships, especially with his wife and son Teddy (Dakota Goyo), and his truth.

photo3As Champ, Samuel L. Jackson (1408) plays against type in a role that calls for a gentle, withdrawn and sad performance. Jackson nails the role by disappearing in it, giving us a nuanced, understated but unique portrayal of a man beaten by life and false hopes. Jackson could have easily overplayed the role for dramatics. Instead, he has given one of his most heartfelt performances. Josh Hartnett (The Black Dahlia) proves that he can be a worthy leading man and proudly stand next to Mr. Jackson. Not just a pretty boy anymore, Hartnett has matured immensely and given one of his best performances as a man corrupted by his own ambitions and fear of failure. He carries the film (he is in almost every scene) and never falters.

photo4Kathryn Morris (Paycheck) is fantastic as Erik's sympathetic wife. You can feel the tension between her and Hartnett, but also the love between them. Dakota Goyo (Ultra) impresses as their son, Teddy, with his cute but natural acting. Alan Alda (The Aviator) is such a good veteran actor, and he delivers as expected. Rachel Nichols (Shopgirl) is effective as Erik's coworker who helps him with his investigation, and Teri Hatcher (Desperate Housewives) has a good time playing a showbiz vixen. The rest of the cast is rock solid as well.

photo5The screenplay by Michael Bortman (Chain Reaction) and Allison Burnett (Autumn in New York) has a good literary feel to it -- it is, after all, a story about a writer. There are plot points that stretch credibility (would a reporter really take a homeless man's story at face value without verifying it?) and border on schmaltz, but the writers deftly avoid the common pitfalls and give us a solid script with thought-provoking dialogue and universal themes. Who hasn't tried to do anything they can to impress others? Who hasn't let their own ambitions or fears cloud their judgement? The story examines common themes such as truth, fame, integrity, responsibilities, and being who we are. The writers also coat the soft center with a harder shell: the world of boxing and male competitiveness, giving the film a more masculine edge.

photo6Director Rod Lurie (The Contender) infuses the film with a relaxed pace, unfolding the story close to the vest. Sure, we anticipate there's more to Champ's story, and we're aghast to see how careless and gullible Erik is, blinded by his desire for success. Lurie has an sophisticated style that doesn't feel forced or manipulative, even when the story pushes it. He also lets his actors do their job, and often the audiences are so in the moment that the scenes don't need any embellishment. In a way, the director disappears and lets Jackson and Hartnett captivate the audiences with their heartfelt portrayals.

photo7The result is what I'd call a guy's chick flick, much like Field of Dreams. The theme of father-son relationship is potent throughout the film, and any man can relate to that. So take your husbands, boyfriends, fathers or sons to see this movie -- it's quite a champ.

Stars: Samuel L. Jackson, Josh Hartnett, Kathryn Morris, Dakota Goyo, Alan Alda, Rachel Nichols, Teri Hatcher, Kristen Shaw, David Paymer, Harry J. Lennix, Peter Coyote
Director: Rod Lurie
Writers: Michael Bortman, Allison Burnett
Distributor: Yari Film Group
MPAA Rating: PG-13 for some violence and brief language
Running Time: 111 Minutes

Ratings:

Script – 8
Performance – 8
Direction – 7
Cinematography – 7
Music/Sound– 7
Editing – 7
Production – 8

Total – 7.4 out of 10