© 2005 Ray Wong
Stars: Anthony Rapp, Adam Pascal, Rosario Dawson, Jesse L. Martin, Wilson Jermaine Heredia, Idina Menzel, Tracie Thoms, Daye Diggs
Director: Chris Columbus
Writers: Steve Chbosky (based on the musical by Jonathan Larson)
Distributor: Sony Pictures
MPAA Rating: PG-13 for language, drugs and sexuality
Running time: 135 minutes
Script – 6
Performance – 8
Direction – 6
Cinematography – 7
Music/Sound– 8
Editing – 6
Production – 7
Total Score – 6.8 out of 10
Everyone had high hopes for RENT to follow CHICAGO (forget PHANTOM OF THE OPERA) to become the musical event of the year. RENT, the crown prince of Broadway musicals in the 90s, makes a rough translation to the big screen in the hands of veteran director Chris Columbus.
The year is 1989 – at the end of the millennium. Mark (Rapp), a would-be filmmaker, and Roger (Pascal), a would-be songwriter, are roommates living in the slums of Alphabet City (Avenue A, to be exact). Their old roommate, Benjamin (Diggs), married an uptown girl whose father wants to redevelop Alphabet City into posh condos. Benjamin threatens to evict everyone for not paying their “last year’s rent,” unless Roger and Mark could persuade Mark’s ex-girlfriend Maureen (Menzel) to stop her protest against the landlords. Mark doesn’t want to have anything to do with Maureen after she dumped him and hooked up with a lesbian lawyer, Joanne (Thoms). Meanwhile, their gay friend Tom Collins (Martin) meets a drag performer Angel (Heredia) and falls in love. And Roger, hurt and downtrodden, refuses his neighbor Mimi’s affection. Roger has a secret he doesn’t want to share, and he sure doesn’t want to hook up with a drug-addicted stripper like Mimi.
Based on the opera LA BOHEME, RENT follows this group of down-and-out, self-appointed Bohemians through their trials and tribulations during the AIDS era. There are the “positives”: Tom, Angel, Roger, and Mimi. And the “negatives”: Mark, Maureen, Joanne, and Benjamin. “Rent” becomes a symbol of life: to live, or to die living.
Much of the original Broadway cast returns to this production. Rapp (WINTER PASSING) is touching as Mark – the sensitive, slightly-effeminate straight guy. He has some really great moments, including an interesting tango scene. Pascal (TEMPLATION) is also affecting as the withdrawn Roger. His motivation is sometimes confusing, but his voice is strong. Dawson (SIN CITY), one of the biggest names in the production, is excellent as the doomed Mimi. She shows feistiness but also vulnerability, and her drug-induced descent is believable. Martin (LAW & ORDER) and Heredia (FLAWLESS) are great as the gay couple, ironically the most well-adjusted two in the group. Menzel (JUST A KISS) and Thoms (BROTHER TO BROTHER) have a ball playing the lesbians. Menzel particularly has great fun during her protest performance. Diggs (SLOW BURN) is underused, here; thus, his performance really doesn’t make that much of an impression.
Larson’s book and music were the sensation on Broadway back in the mid-90s, propelling the show to becoming one of the most lauded productions in history. In 2005, the story now seems dated. The AIDS era seems so passé, as well as the struggling artists storyline. If only director Columbus (FANTASTIC FOUR) hadn’t apply such a straight-laced, heavy-handed approach in making this film. The script, by relative newbie Chbosky (THE FOUR CORNERS OF NOWHERE) might have worked on stage, but it doesn’t translate well on screen. The talking lyrics simply feel odd. A master such as Rob Marshall would have made that work, as he did with CHICAGO. But here, the way the singing heads sing through their dialogue (then back to normal speech) and break into songs really dates the film.
While the production seems lacking, the music and songs are what makes RENT still a musical lover’s darling. Columbus has the good sense of opening the film with the signature piece, having all the leads on stage, dark with only spotlights shining on them, singing the rousing “Seasons of Love.” There are other memorable songs, and these set pieces are generally well done. It’s the in-between scenes that rather drag the film down, and the ending feels cheesy, especially in the film medium. Again, sometimes something that works on stage simply doesn’t work that well on screen. Still, if you’re a fan of the musical, you wouldn’t want to miss this at the theaters. For others, just rent it.
© 2005 Ray Wong
Stars: Joaquin Phoenix, Reese Witherspoon, Ginnifer Goodwin, Robert Patrick, Dallas Roberts
Director: James Mangold
Writers: Gill Dennis, James Mangold (based on Johnny Cash’s biography and book, The Man in Black)
Distributor: 20th Century Fox
MPAA Rating: PG-13 for language, thematic material and drugs
Running time: 136 minutes
Script – 8
Performance – 8
Direction – 7
Cinematography – 8
Music/Sound– 8
Editing – 7
Production – 7
Total Score – 7.6 out of 10
Hollywood loves a good biopic about rock stars. Last year, we had the exceptional RAY. This year, we have WALK THE LINE, a fine story about the original man in black: Johnny Cash.
The film opens at the Folsom prison, where the thumping beats of a band rouse the inmates with roaring anticipation. Then the story flashes back to Johnny Cash’s (Phoenix) childhood. Born to a poor farming family, Johnny and his big brother Jack (Lucas Till) are very close. Then tragedy strikes, and their father, Ray (Patrick), blames Johnny for Jack’s death. When Johnny grows up, he marries his sweetheart Vivian (Goodwin), moves to Memphis, and takes up a job as a salesman. But his heart belongs to music. One day he takes the bull by the horns and auditions at a studio. His unique voice and heart-felt songs impress the owner, Sam Phillips (Roberts), and Johnny is quickly signed with the studio.
While on tour, Johnny develops a crush on fellow singer-songwriter June Carter (Witherspoon). They hold off their mutual attraction toward each other because they’re both married with children. To get himself through the frustration and the crazy lifestyle, Johnny becomes addicted to drugs, and he starts to alienate himself from his friends and family, including June. She finds herself falling in love with him, but she knows she shouldn’t – she’s frightened by his way of life, and how people are going to perceive her, especially among fellow Christians. Johnny’s self destruction takes a toll on both of them. Eventually, they must find a way to right their lives and deal with their love for each other.
Phoenix (LADDER 49) is sensational as the bigger-than-life Johnny Cash. It’s not easy to portray such as public figure. There’s a fine line between impersonation and soulful characterization. Phoenix succeeds in making the role his own. His young face is etched with lines of agony, remorse and confusion. Surely, he must channel his anguish of losing his own brother River years ago, and the deep hurt is apparent. Likewise, Witherspoon (JUST LIKE HEAVEN) gives a wonderful performance as the love of Johnny’s life. She balances her perky cuteness with soulful solemnity and maturity. She’s the moral center of Johnny’s life, and we feel their love and suffering together. Phoenix and Witherspoon make a good pair. Even more impressive, they sing their own songs. Their “Jackson” duet rivals the original with Johnny and June.
The supporting cast is strong. Goodwin (WIN A DATE WITH TAD HAMILTON) is affecting as Johnny’s bored, scared, and betrayed first wife Vivian. Patrick (LADDER 49) gives a solid performance as Johnny’s estranged father, and Roberts (A HOME AT THE END OF THE WORLD) impresses with his minor but pivotal role as the Sam Philips, the man who discovered Johnny Cash. Several actors have interesting cameos as Elvis Presley (Tyler Hilton), Jerry Lee Lewis (Waylon Payne) and Roy Orbison (Jonathan Rice), giving the film an amusing historical perspective.
Writer-Director Mangold (IDENTITY) has crafted a heart-felt, solid biopic. However, one can’t help but compare WALK THE LINE with last year’s RAY. Similar time periods, comparable stars, and parallel life stories that include childhood loss, infidelity, drug abuse, and family. It’s not fair to compare both films, but the similarities and differences are there. WALK THE LINE is a solid, entertaining film. The music is catchy and enjoyable, even if you’re not a Johnny Cash fan. Mangold makes an interesting choice of not aging the actors with makeup – even though the story covers only 15 years, the result is still somewhat weird. Also, the central conflicts in this film seem trivial and self-inflicting. It’s not to say Johnny Cash’s trials and tribulations are not valid; I just can’t shake the feeling that Cash really did lead a charmed life – he just chose to throw it away because he couldn’t live with himself. It’s not easy to sympathize with a central character like that.
Fortunately, there’s the character of June Carter. She’s the light and rock in the film. Witherspoon lights up the screen whenever she’s on, and she’s playing one of the best loved figures in music history. With that, we’re willing to go on the journey with them, just to see how she and Johnny can work it all out. Thus, the ending is both satisfying and appropriate. WALK THE LINE might not be a masterpiece, but between being a good biopic and a great love story, this film walks that line just beautifully.
© 2005 Ray Wong
Stars: Steve Martin, Claire Danes, Jason Schwartzman, Bridgette Wilson, Sam Bottoms, Frances Conroy
Director: Anand Tucker
Writer: Steve Martin (based on his novel)
Distributor: Buena Vista
Rating: R for language, nudity and sexual situations
Script – 6 Performance – 8 Direction – 6Cinematography – 7Music/Sound– 5Editing – 7 Production – 7Total – 6.5 out of 10
Steve Martin once said that if Claire Danes didn’t get an Oscar nomination this year, he would kill himself. Well, soon the Academy Awards will be upon us, and we’ll see if Martin would have to eat his words.
Mirabelle Butterfield (Danes) is a disillusioned girl from Vermont, who arrived in Los Angeles in hopes of becoming an artist. Stuck at a boring job selling gloves at Saks in Beverly Hills, Mirabelle watches apparently-happy couples come and go, and dreams of a romance of her own. She meets Jeremy (Schwartzman), a would-be rocker living in a crappy apartment, a boy trapped in a grown man’s body. Mirabelle and Jeremy don’t really hit it off from the start, but they share a cautious but mutual attraction.
Then a wealthy divorcee, Ray Porter (Martin), starts to court Mirabelle. Ray is a complete opposite to Jeremy: wealthy, attentive and gentlemanly. Lured by Ray’s mature charm, Mirabelle carries on a sexual relationship with him and ditches Jeremy, who in turn joins a rock band and goes on the road for months. Despite the fact that Ray has warned Mirabelle he would never be close to her and love her back, she falls in love with him anyway.
Regardless of Martin’s arrogant claim, Danes (STAGE BEAUTY) is rather exceptional in this offbeat tale of love and discovery. Her character is very hard to play, because so much of it is internalized and her actions only speak part of the truth about her. Danes handles the role very well and we believe her. She’s also beautiful and funny and introspective, reminding me of Audrey Tautou in AMIELIE. Martin (CHEAPER BY THE DOZEN) plays against type as the reserved, remote and restrained Porter. His role is probably the hardest to play, since the audience is not allowed to get inside his head or heart (except for one scene in which he talks to, supposedly, his psychiatrist). Surprisingly, Martin and Danes have great chemistry together, despite their age difference. Schwartzman (BEWITCHED) probably has the most fun playing the goofball boy-man Jeremy. In a way, it’s also the most superficial role of the three leads, but a very good comic relief. His performance makes us laugh.
The supporting cast is fine. Wilson (EXTREME OPS) has the thankless job playing the only villain/vixen. But her scenes with Schwartzman are hilarious. Bottoms (SEABISCUITS) and Conroy (BROKEN FLOWERS) play the almost-silent parts of Mirabelle’s depressing parents to perfection.
Based on Martin’s novel, the film has an artsy fartsy feel to it. From the opening scenes to the lingering close-ups to the deliberate medium shots, the film is an exercise of mixing the profound with the profane. At times, it feels tired though. Martin’s voice over is specially cheesy and unnecessary. It takes us out of the story. Besides, having Martin playing a main character and serving as the narrator confuses the audience. The film also has a grating loop of background music. Cut that out!
In director Tucker’s (HILARY & JACKIE) inexperienced hands, the film actually feels solid, but uneven. At times it is hilarious, with its quirky characters and funny dialogue. At times, especially when the film focuses on the relationship between Mirabelle and Ray, it feels heavy-handed. A few scenes also feel melodramatic, and lack certain sincerity that is otherwise prevalent in the rest of the film. The characters’ transformations at the end feel inevitable. Still, it’s a nice little film with interesting characters. Look for it at the shops if you want something a little different.
© 2005 Ray Wong
Stars: Robert Downey Jr., Val Kilmer, Michelle Monaghan, Corbin Bernsen, Dash Mihok
Director: Shane Black
Writer: Shane Black (based in part on Brett Halliday’s novel, Bodies Are Where You Find Them)
Distributor: Warner Bros.
MPAA Rating: R for language, violence, sexuality and nudity
Running time: 103 minutes
Script – 8
Performance – 8
Direction – 8
Cinematography – 7
Music/Sound– 8
Editing – 8
Production – 8
Total Score – 7.8 out of 10
KISS KISS BANG BANG is not your normal Hollywood fare. At times it reminds me of GET SHORTY, but smarter and funnier.
Harry Lockhart (Downey) is a down-and-out petty thief who, through some cosmic joke, ends up in Hollywood as the action star of a new movie. While at a posh party thrown by the studio execs, Harry meets his childhood crush, Harmony (Monaghan) after more than 15 years. She’s an aspiring actress, but her real reason in Los Angeles is to find her runaway sister. Meanwhile, Harry teams up with a private detective Gay Perry (Kilmer), who serves as a consultant for the movie, to learn about his role as a PI. Gay Perry takes him on a stint, and they witness the murder of the daughter of a prominent actor, Harlan Dexter (Bernsen). Between running from the killers and trying to figure out what is going on, Harry, Harmony and Perry race against time to figure out “whodunit.” The chase is on.
It would be difficult to summarize the plot as this film takes the audience on a wild goose chase. Much of the fun of watching this movie is the fact that we don’t know where it’s taking us.
Downey Jr. (GOOD NIGHT, GOOD LUCK) is in top form here. It’s fun to see him playing a neurotic bumbling fool again. And it seems like he had a lot of fun doing it as well. While I don’t see him getting up to the podium at the Oscars soon, he truly has Harry’s character nailed. Kilmer (ALEXANDER) is also fun to watch as the gay PI. His deadpan humor and coolness are great juxtaposition to Downey’s twitchy neurosis. Together, they’ve become one of the best buddies this year, and I think we’re going to see them together again some time in the future. Monaghan (CONSTANTINE) completes the trio with her sassy, slightly ditsy turn as Harmony. She plays well opposite her two male costars, and she and Downey are steamy together.
Writer and first-time director Black (LEATHAL WEAPON series) has crafted a unique and fun ride. It’s great to see a film noir executed so well. Black employs some unconventional and interesting techniques – for example, he stops the narrative sometimes and has Downey explain what is going on. Voice-over narrative is not new in film noir, but the way Black does it is extra cool. He also interweaves the story with flashbacks and cinematic “footnotes.” Interesting. In a way, it’s somehow foretelling since we know Downey’s character is going to survive, at least long enough to tell the story. On the other hand, Black succeeds in tightening the suspense and mystery by giving us crumbs here and there, then telling us by using flashbacks or on-screen narration. It’s a unique approach and it works.
The film is highly original, funny, wacky, and very entertaining. There’s not a dull moment, and some of the plot twists are so bizarre that we can’t help but say, “Wait a minute…” It doesn’t really matter. It’s a bang-bang joy ride.
