Mifune (1999)
"Romeo Obligation Die" will be a hit for its youthful demographic quarry
audience and stock up them a new proceeding acknowledge with Jet Li. More
mature auds will find it a trifling on the light side, story-wise.
And for some, too violent. As single of the old codgers who likes this
well-disposed of flick, I exchange it a B-
When his girlfriend
Laura (Iben Hjejle, "Mifune") tells him she's leaving, Euchre out of Gordon
(John Cusack) be obliged reexamine his life to understand why this keeps
happening to him. Spending his days in his Chicago record store
with his geek music nerd employees Dick (Todd Louiso, "Jerry Maguire")
and Barry (Jack Black, "Cradle Will Rock"), Roll deprive of reflects on his
'top 5' breakups and falls for a state chanteuse all the while tough
to win Laura back in "High Fidelity."
Laura's judge of 'Heinous Fidelity':
Adapted from Brit Nick Hornsby's novel by D.V. Devincentis, Steve
Pink, John Cusack and Scott Rosenberg, who moved the engagement from
London to Chicago, "High Fidelity" reunites lead actor John Cusack
with his "Grifters" director Stephen Frears and once again they
extrude screen sortilege. This is the largest they've both been terminated a few
projects (not to discount the terrific "Being John Malkovich," but
Cusack's performance didn't refer to that film).
No stranger to romantic comedy ("The Sure Thing," "Say Anything,"
"Grosse Pointe Blank"), John Cusack spends a goodly amount of his
screen time in "High Fidelity" directly addressing the camera and
makes the device work - he engages us in his romantic turmoil and
domestic dilemmas completely. As his former punk girlfriend matures
into career ambition, he's forced to reevaluate his decidedly low-key
vocation - he may love music, but he's not exactly knee deep in
customers (in fact, Barry delights in driving them away). In one
of the film's recurring motifs, Laura discovers his 'top five dream
job' list, (she continually returns to the apartment, ostensibly
to move out her belongings) which includes writing for the Rolling
Stone in the 1970s, and wisely helps him conclude that his current
job should probably at least replace the #5 slot of architect. (The manner
in which Laura eventually helps ground Rob while also inspiring
him to new heights in an area he's always clearly loved is delightful.)
Rob first recalls, then attempts to contact, four of his former
flames including his first Junior High sweetie (he only suceeds
in talking to her mom in a hilarious phone conversation), the high
school gf (Joelle Carter, "The Horse Whisperer"), who gave up her
virginity quickly to the guy who succeeded him, his college fantasy
woman (Catherine Zeta-Jones) and the 'convenience' coupling with
Lili Taylor ("The Haunting") born of mutual loneliness. Once again,
he concludes that the fifth listee is incorrect and must be replaced
by Laura, who, while not providing constant rapture, is essentially
perfect for him. Now - how to get her back?
While the film is howlingly funny when addressing its musical elements
('You wouldn't understand our influences - they're mostly German'
dismisses Barry. 'Kraftwerk?, Falco?, Hasselhoff?' retorts Rob,
not missing a beat), it's both hilarious and sweetly amusing when
delving into its romantic heart ('I got tired of trying to touch
her breast and tried to touch between her legs. It was like getting
turned down for $1 and asking for $50,000 instead.' reminisces Rob).
The dialogue is sharp and real.
The large cast is full of surprises from Tim Robbins' outrageous
new age homewrecker to Lisa Bonet's indie artist (and coverer of
Peter Frampton). Cusack is the film's soul while Hjejle is luminous
(and amazes with a completely true American accent). Jack Black,
lead singer of Tenacious D, is the real find here. His combination
of high octane body language and wickedly gleeful line delivery
enable him to steal every scene he's in. Todd Louiso's meek Dick
is also affecting (both these music geeks seem so familiar - Dick's
most animated moment is his impression with Rob's 'biographical'
filing of his home vinyl collection) and his budding romance with
Anaugh (Sara Gilbert, TV's "Roseanne") is sweet. The film also features
Joan Cusack as Rob's sister Liz, Natasha Gregson Wagner as a music
writer and a cameo from Bruce Springsteen.
The film revels in its Chicago locations and sports an effective
working class look. The soundtrack is wildly varied (the press info
includes over three full pages of song credits) and inventively
chosen. If the film has one fault, it's that it runs a little long
for the genre - maybe we didn't really need to investigate Rob's
past relationships in quite so much detail.
Without a doubt, "High Fidelity" is one of the top five movies
I've seen this year. Give it a spin.
A-
Robin's rethink of 'Cheerful Fidelity':
Rob Gordon is a thirty-something shirker and collector
of generation vinyl records. His huge, offensive store has extended
itself into a dealing - Championship Vinyl - but even that is a
gold brick haven. Rob and his part set employees (and unabridged time hangers
on), Barry (Jack Black) and Dick (Todd Louiso), spend their days hanging
in sight at the usually destitute of shop. To wile away the hours, the triune
listen to an eclectic selection of modern rock music, from Marvin
Gaye and Aretha Franklin to the Vaselines and Smog, and put together
their limitless Top Five lists. Rob's girlfriend, Laura (Iben Hjejle),
has failed to break him of his slacker ways and has left, forcing
Rob to do something in the Stephen Frears film, "High Fidelity."
Adapting and relocating the Nick Hornby novel from its north London
roots to working class Chicago (home to star/co-producer Cusack),
helmer Frears and his script team make the transition seamlessly.
The linchpin of the novel and film, the music that surrounds the
lives of Rob and his cronies, changes locale effortlessly. The fanatical
devotion to all levels of musical trivia defies the geographic boundaries,
making the transition from working class England to blue collar
US easily. Fanaticism, at least as far as modern rock music is concerned,
is the same on both sides of the Pond. Frears and company immerses
us in a sea of rock 'n' roll and R&B music while telling the
tale of Rob's romantic ups and downs.
John Cusack gives his most naturally endearing performance since
Rob Reiner's "The Sure Thing." His Rob Gordon is a grown up version
of Cusack's Gib in the Reiner film. Both characters are not the
smartest travelers on this earth. The two also share an emotional
immaturity when it comes to women. Rob has either screwed up any
good thing he has had with the women in his life or he involved
himself with basket cases whose emotional maturity is as stilted
as his own. When we first meet the angst-ridden Rob, his girlfriend,
Laura - the best thing that ever happened to him, at least according
to his mother - has left him because of his unambitious slacker
ways. His response, though, to his loss is not to pull himself up
by his bootstraps and change himself. Instead, he puts together his
Top 5 break-up songs and decides to catalogue his vast record collection
- autobiographically.
One difficult film device used in "High Fidelity" has Rob speaking
directly to the camera and, by extension, to us, the audience. This
"device" is extremely difficult to pull off. Only a few films, like
"Ferris Bueller's Day Off," have been able to pull this off in the
past. In "High Fidelity," Rob talks at us through nearly half the
film, at various times. The combination of the witty, angst-ridden
writing of Rob's character and the talent and ability of Cusack
pulls this tough trick off and does it with an assured style. Rob's
candid "talks" to the camera help draw us in to his character, making
me like him despite his childish selfishness.
Helping Cusack out is a cast of characters that flesh out the comedy
and sometimes-goofy romances of the story. Stealing the show is
Jack Black as the sarcastic half of Rob's employee team. Barry is,
like his cohorts, a snob when it comes to music, but expresses himself
with an amusing vehemence that make him fun to watch. Quiet Todd
Louiso, as Dick, is a foil for Barry and, despite being a ready
target for Barry's barbs, is still his best friend. Together, the
pair makes fore some funny background antics.
Iben Hjejle, as Rob's main amour, recently appeared in the Danish
film, "Mifune." She's an object of obsession for Rob, especially
after she leaves him. Hjejle does a yeoman's job playing an American,
but the very slight undercurrent of an accent is a little distracting.
Portraying Rob's lovers and girlfriends, past and present, are the
lovely Catherine Zeta-Jones as a beautiful, ambitious free spirited
Charlie; Lili Taylor lends a degree of amusement in her small role
as the psychologically challenged, Sarah, a lady with more hang-ups
than even Rob. Lisa Bonet is vivacious as a club singer who catches
Rob's amorous attentions as he rebounds from his break-up with Laura.
Tim Robbins gives a clever little cameo as the other man in Laura's
life. Bruce Springsteen makes an appearance as a figment of Rob's
imagination, advises him to "leave the top five lists behind" and
get on with his life.
The script, a group effort by Cusack, his buddies D.V. DeVincentis
and Steve Pink, and Scott Rosenberg, is a witty collaboration that
puts Cusack's inherent charm to excellent use. The ongoing top five
lists, from death songs to first album/first cuts, are sprinkled
throughout the film and pop up in amusing ways. The understanding
of the music, by the makers, that is the real center of the film
is obvious with musical references that even I understand - sometimes.
(Truthfully, though, the music is a real draw for a younger audience
who will get some chuckles from the constant references and comparisons.)
Frears and his behind-the-camera team utilize the Chicago locale
to skilled effect, making the city an integral character in the film.
The music that permeates the entire flick covers a broad spectrum,
with a concentration on the modern rock incident that will appeal to
younger auds.
With the hip musical background and slacker romance, "High Fidelity"
is geared for 30-somethings and younger, who will especially appreciate
the music refs. It's such a clever and entertaining little flick
that it will amuse the oldsters like me, too. I give it a B+
Ghost Dog is a reclusive man who lives in a ramshackle hut atop
a roof in a tenement building. He raises pigeons and, daily, performs
the disciplines of a samurai warrior. He is also an assassin who
can move through the night unseen, like his name. Forest Whitacker
stars as the title character in director Jim Jarmusch's latest opus,
a tale of honor and loyalty, "Ghost Dog: The Way of the Samurai"
Tech credits are solid and geared to suit Jarmusch's story and
characters. Cinematographer Robby Muller, a long time alumnus of
the helmer, helps to give the bulky Whitacker a fluidity and grace.
His nighttime photography also helps put the ghost in Ghost Dog.
Costume design by John Dunn also gives Whitacker the look of the
samurai warrior, but with a hip Gotham style to Ghost Dog's rags.
Rap score by The RZA is probably entertaining for the fans of the
music, but it left me cold.
"Ghost Dog" is a different type of movie. It also happens to be
a tonic for lovers of film who are tired of the steady diet of conventional
Hollywood movie fare. Jarmusch flicks are always interesting and
his latest is no exception. That it is a quirky, action-filled,
philosophical entertainment is a plus, too. I give it a B+.
Support is also solid. Marg Helgenberger ("Species") is Donna Jensen,
the first eventual plaintiff visited by Roberts. She's losing her
womanhood to cancer yet still must be convinced that PG&E would
knowingly cause harm. Cherry Jones ("Cradle Will Rock") is Pamela
Duncan, the most mistrusting Hinkley resident and the toughest nut
Erin has to crack. Veanne Cox offers contrast to Erin as a buttoned
up lawyer. Jamie Harrold makes an impression as Scott, the gatekeeper
to town water records who's overcome by Erin's charms, then cowed
by her confidence. Watch for the real Erin Brokovich (who resembles
a young Sally Kirkland) early on as a diner waitress who takes Erin's
order. The film also features Peter Coyote, Tracey Walter and Conchata
Ferrell.
Soderbergh keeps his focus character oriented. He reuses his timeshift
style from "Out of Sight's" love scene a couple of times (editting
by Anne Coates, "Lawrence of Arabia"), but this is essentially straightforward
story telling of the highest caliber. Cinematographer Ed Lachman
("The Limey") captures the omnipresence of PG&E on location
and Phil Messina's production design surrounds the film's characters
realistically. Costume design by Jeffrey Kurland ("My Best Friend's
Wedding") also has a strong impact establishing character. Thomas
Newman's score complements the action rather than distracting from
it.
"Erin Brokovich" is not only a terrific story about a unique woman,
it's a great David and Goliath story. Roberts would KO Travolta
if this went against "A Civil Action" in a celebrity deathmatch.
A-
I have never been a Julia Roberts fan, but I have to admit I enjoyed
myself at "Erin Brockovich." There is a lot of humor and wit blended
in with the drama of the David versus Goliath tale, making this
more than a chick flick. The positive messages given throughout
the film - the importance of family values, love, honor and justice
- also make this quite decent food for thought. I give it a B+.
Barry W. Blaustein is
a trainee to the documentary field. He's a screenwriter, by trade,
and is credited over the extent of such scripts as "The Nutty Professor" and the
upcoming "Nutty 2: The Klumps." Blaustein, for his first non-fiction
film, departs from the world of comedy and grapples the world of
professional wrestling in an insightful look into this violent and
prevailing "sport" in "Beyond the Mat."
Robin's review of 'Beyond The Mat':
Blaustein's film focuses on the professional and personal lives
of several members of the pro wresting fraternity. WWF wonder Terry
Funk is put under the documentary microscope to examine what the
game does to one of its player after 30 years. Jake "The Snake"
Roberts lends his colorful cross guy identity to the camera's probing.
Mick "Mankind" Foley represents the younger members of the pro community,
allowing his young family to recover consciousness beneath the waves the camera's gaze and advertise
what worth the fun extracts from its players and their families.
Unknowns, taxing to weary into the wrestling occupation, are also
presupposed tell-beat to show the lengths a newcomers necessity go to induce a
shot at enter the pro wrestling ring.
The whole tone of "Beyond the Mat" strips away the facade of the
spectacle of pro wrestling - just watch Monday Night Nitro for a
look at the hype and glitz the sport now exudes - and gives a deeper,
more melancholy look into the game and its players. The result is
a thoughtful look into the violence and glitter of what has become
a billion dollar American industry.
Anchoring on the three principles, Blaustein gives an up close
and personal look at each. He begins with Terry Funk, an old man
in the profession who, at 53, is near the end of his career, but
is not ready to give it up. (Terry, we are told, retired from the
sport at the end of the film, but a little on-screen coda before
the credits tells us that he is back again and still doing the wrestling
rounds). Funk tells about his years on the road, the daily pain
he suffers and the depravity of the wrestler's life style. His is
a sad commentary of a sport that simply uses its players, then spits
them out when done.
Jake Roberts' story takes a different edge as he tells about the
booze and the drugs that are a day-to-day way of life for the brethren
of the ring, mainly to dull the pain of the physically punishing
daily grind. He also talks about the impact on the family of a pro
wrestler, with husband/dad away on the road all the time. For Jake,
this meant the alienation of his daughter, a separation that has
never healed for either.
Mick Foley is young guy with a pretty wife and two cute little
kids, but the daily abuse he goes through in the ring are too harsh
for his young family to see. In one striking scene, Mick's wife,
Collette, and their two kids attend his debut in the ECW (Extreme
Championship Wrestling) league - a competitor of the WWF. During
the bout, to his family's horror, Mick is attacked by his opponent
with a metal chair and struck on the head repeatedly. The mayhem
is too much for his kids as they wail over daddy's big boo-boo.
Mick staggers back to the dressing room to have the two-inch long
gash sewn up as his fretful wife and kids watch on. At one point,
Collette states that she doesn't know "how long I can take this."
The segment reps a poignant view into a tough way to make a living.
A short amount of time is spent on some of the newcomers trying
to break into the pro wrestling game. One muscle-bound young man
admits to WWF owner Vince McMahon that he has a unique talent -
he can vomit at will. McMahon immediately sees a way to capitalize
on this "talent" and dubs the youngster with the delightful moniker,
"Puke." (Note that Puke's pro career, under his new name, never
took off. He's still in the pros, but not as a star.)
McMahon, himself, has made a second career as a WWF bad guy who,
using his own name in the ring, is a man the fans can love to hate.
The WWF is now a public company and McMahon is a man who shows he
can capitalize on a good idea. As he puts it, "It's not about the
sport, it's about the spectacle."
The fans are given little attention in "Beyond the Mat." A short
interview with a young man from England who has traveled thousands
of miles to watch his idols is used to show the dedication of the
fans for their beloved sport. Other than this, the fans are shown
as the screaming mob we've seen on Wrestlemania.
Barry Blaustein takes a long, hard look at pro wrestling and, while
not making me a newborn fan of the sport, he taught me the intensity
and sacrifice of those who enter the ring to be a "pro." "Beyond
the Mat" will not, I think, be used as a recruiting film for the
WWF. (It is reported that McMahon and the WWF publicly withdrew
after-market support of the film.) I can see why, boo-boos notwithstanding.
I give it a B.