Archive for November, 2009

Behind The Lines (1997)

Sunday, November 29th, 2009

Near the end of WWI, the poet Siegfried Sassoon (Wilby) arrives at Craiglockhart Castle, Edinburgh, a military hospital where pioneering psychiatrist William Rivers (Pryce) tends frame-shocked victims of the trenches. Not that Sassoon needs treatment: having published a hand-out opposing the strife, he’s been diplomatically dispatched to facility rather than clink. His ‘convalescence’ brings him into phone with another gossip columnist, Wilfred Owen (Bunce), whose verse Sassoon encourages. Rivers, in the meantime, is heading as a remedy for a breakdown of his own, brought on less by oppress than his empathy with traumatised patients similar to Billy Prior (Miller), a working class apparatchik rendered dumb by his battlefield experiences. Adapted by Allan Scott from Pat Barker’s acclaimed novel, MacKinnon’s film is sophistical, tasteful and sharply intelligent. Aided by mind-boggling performances all encircle complete, MacKinnon has fashioned a profoundly affecting film that never resorts to manipulative cliché. The trenches are impressively recreated in flashback, but even more affecting are those intimate scenes which suggest that such horrors will not under any condition run out of their comprehension on those who have survived them.

In The Mix review

Saturday, November 28th, 2009

After hard-living Eminem and 50 Cent struggled to show more sympathetic sides
in “8 Mile” and “Get Rich or Die Tryin’,” well-mannered boy-next-door singer
Usher is trying his hand at hooking up with trashy women, hanging out with
mobsters and getting shot a couple of times.

The result, “In the Mix,” may be a good tactical move for the artist’s
career, but it’s a bad movie — which explains why there was no advance
screening for critics. Usher’s fans will enjoy his frequent wardrobe changes
and a couple of scenes where he takes off his shirt, but it’s hard to imagine
how anyone who doesn’t kiss his poster goodnight could get his or her money’s
worth from this film.

The wannabe “Sopranos” story line stars Chazz Palminteri (who else) as a
mob boss who once employed the father of Darrell (Usher). Through a series of
improbable events, Darrell, a popular DJ, ends up working as a bodyguard for
the mobster’s attractive daughter Dolly (Emmanuelle Chriqui).

Before anyone can sing “I Will Always Love You,” they fall for each other,
causing father-daughter-Usher turmoil, which happens to come in the middle of a
major Mafia power struggle.

If “In the Mix” does one thing, it explains Usher’s popularity to those
who haven’t been paying attention to the pop phenomenon. Darrell is really
good-looking, opens doors for the ladies and emits such a powerful sensitivity
pheromone that it’s easy to forgive him for being a player who prefers
one-night stands. Since Dolly is surrounded by a bunch of Italian stereotypes
with poor manners — there’s actually a character called Fat Tony — it’s
easy to see why she would throw herself into Darrell’s arms.

The plot problems start with the writers trying to balance the real-life
singer’s clean-living image with the Mafia world that Darrell joins. While
Usher gets shot twice (seven to go before he catches up with 50 Cent!), he goes
through the entire movie without carrying a gun, and the movie asks his fans to
ignore the ethical ramifications of taking employment with ruthless killers.

The dialogue is mostly terrible and too often seems inserted just to fill
in plot holes and backstory. (”Junior tells me you’re going to be a real
hotshot lawyer!”) No amount of talking can explain the train wreck of an
ending, which looks as if everyone improvised poorly as the cameras rolled.

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While there’s a litter of bad acting performances to choose from in this
film, special attention must be paid to Anthony Fazio as the clownish,
brother-loving mobster’s son who overacts in such spectacular fashion that you
have to wonder if he thought he was filming a McDonald’s commercial.

Come to think of it, the only actors who aren’t distractingly horrible are
Usher, Palminteri and Kevin Hart, who elicits a few laughs as Darrell’s
street-wise sidekick, Busta. The guy who plays Fat Tony isn’t bad either, but
he’s only in the movie for a few minutes.

– Advisory: This film contains adult language, sexual situations and mild
violence. Girlfriends and wives may attempt to get men to see this film by
calling it a gangster movie — but it’s a trap! “In the Mix” is really a
chick flick where only a few people get shot, and even then, they usually get
hit in the shoulder.

E-mail Peter Hartlaub at phartlaub@sfchronicle.com.

Apollo 13 (1995)

Thursday, November 26th, 2009

Two hundred thousand miles from home, the Apollo 13 astronauts, Jim Lovell (Hanks, highly effective), Fred Haise (Paxton) and Jack Swigert (Bacon, serious fun), find that a leaking fuel tank has made a moon landing unattainable. Worse, the power drops so low, and the toxic gas levels rise so high, that the purpose controllers in Houston fear they may lose their first astronauts in space. Not with Harris’s Gene Krantz in charge, they won’t! That the rest of the version is a matter of record (they lived) is part of the problem and the infect of the film. Ron Howard’s spectacular (arguably reactionary) mega-pummel about the 1970 moon-by no means sticks so faithfully to the adaptation of events coordinated in Lovell’s log Lost Moon, that this may temper as the most priceless drama-doc ever made. Certainly, the insecurity is missing. As a result, Howard has to rig it: the tension comes from communication breakdown, the falling-out total the crew, and the engagement on the ground between the boffins and the armed services. Satisfied, there are thrills and spills: the adrenaline scramble of the well-mounted Saturn launch; the too-unheard-of-not-to-be-true track realignment as Bacon goes to guide; the rally to construct a new clean from relinquish parts. Nevertheless, the film’s indecent on dramatic scenes; furthermore, for a ’space movie’, both the dear effects and photography are surprisingly pedestrian. Where it scores is in subtly restating traditional notions of spear heroism.