Check out this video of Angela Lansbury receiving her honorary Oscar at the 2013 Governors Awards. She is not only a living legend, entertainment royalty, but a prime example of dedication to one’s craft and finding a place in the heart of millions. From her Academy Award nomination in the film noir “Gas Light” to the voice of Mrs. Potts in “Beauty and the Beast,” not to mention her 12 years as her most iconic character Jessica Fletcher in “Murder, She Wrote,” this award is long-deserved.
(C)2014 Fox Studios
The movie “Monuments Men” chronicles the greatest art heist in history. Taking place at the end of WWII, the film is about a group of men, with assistance from a woman in France, who are tasked with the responsibility of locating, protecting, and recovering Europe’s ancient and Renaissance irreplaceable treasures, including the Bruches Madonna and the Ghent Alter.
Although the movie possessed an impressive pedigree of actors and production value, it was lost between tones and genres. One of the main problems is that fine art and action simply don’t go well together. As a result, Clooney ends up stranded in some no man’s land between joshing Robert Aldrich-style action movie, rousing Second World War epic and essay in sappy art-history nostalgia. The screenplay failed to establish one of the most important elements in a well-written screenplay–having a well-defined and developed central character (or protagonist). It’s a perfect example of why an ensemble cast simply does not work; furthermore, it’s very difficult to do each of the characters justice. There are many moments in the movie in which this ragtag band of men are gazing in awe at a Michelangelo or Picasso one monent, and fighting to the death with Nazis the next.
Even though the audience may be asking Clooney to wake them up when he and his band of merry men find the art they are looking for, that is a harsh assessment of a film whose heart is in the right place–the “story” is fantastic–but, having a good heart alone does not a good film make. Due to the all-star cast, including Hollywood royalty like John Goodman and Bill Murray, the film is a throwback to the post WWII era films that were released about 15-20 years following the close of the war. Such films were aimed at a morally exhausted U.S. audience that wanted to be congratulated for its role in ending tyranny; but also wished to be entertained by a caper, romantic story, or drawing room humor. In order to have accomplished this, the screenplay should have elaborated more on the no-so-romantic relationship between Cate Blanchette and Matt Damon’s characters. As it stands, the time spent on the romance-that-will-never-be between them could have been spent elsewhere.
If you’re looking for beautiful cinematography of fine art, you will find it in the movie. The movie does a great job at bringing the audience as close as many will get to these masterpieces. And, it will feel like an art history class that is actually fun and interesting for the more educated audience who is undoubtedly the ones buying tickets to this movie. Another accomplishment of the movie is that it highlights a story that many did not know existed and shows the world how important art is. In an age in which schools are pushing their STEM (Science, Technology, Engineering, & Mathematics), it is refreshing that a movie advocates the support of the arts.
Looking for the next historic tear-jerking blockbuster, this movie is not it. But, if you are looking to learn more about this special operation during WWII and be mildly entertained amongst the action, then this is a great way to spend a couple hours.
(c)2014 Academy of Motion Picture Arts and Sciences
I don’t know about you, but for those of us who are involved in or passionate about the visual and performing arts, the annual Academy of Motion Picture Arts and Sciences Award Show, or the Oscars, is nearly as important as a New Years celebration. And, many of us treat is as such with parties, food, cocktails, and spending time with equally passionate friends. The Oscars is seen as the most important award show in the film industry; it nearly overshadows the press and attention the Golden Globes, Screen Actors Guild, and People’s Choice award receives, as well as others. If you’re looking for a monday morning quarterback replay of last night–who should and shouldn’t have won–this review is not for you. This review seeks to cover the show itself.
Prior to entering into the grand house at the Dolby (formerly Kodak) Theatre, ABC covers the telecast of the Red Carpet events. Robin Roberts was beautiful as always, and did an excellent job as both a television host and journalist covering the red carpet festivities. We certainly saw some fashion do’s and don’t. But we will save that debate for another time. It was an encouraging step in the direction of attracting younger viewers to the events, which last year had a median age of 51.4, by connecting to viewers by way of the Twittersphere. Over the last few years, the median age of the television audience keeps climbing. Uploading celebrities photos from the red carpet to Twitter engages a younger audience, which the Oscars needs to do to stay viable.
According to the “Hollywood Reporter,” As a television event, this year’s Oscars was more like an endurance test — turgid, badly directed, poorly produced and featuring an endless string of tired or wince-inducing moments from host Ellen DeGeneres. But, other than being too long, the show was entertaining, lighthearted, and included lots of quirky humor from Ellen DeGeneres, this year’s host. Playing it safe after Seth MacFarlane last year, the Oscars producers Craig Zadan and Neil Meron, went back to using a previous host. Ellen last hosted in 2007. Knowing that Ellen hosting would not pickup the younger audience the Oscars needs to pickup, the show writers desired to bring the show into the 21st century. And, they succeeded in doing this by involving the Twittersphere heavily. Although at times it felt more like a reoccurring Samsung ad, Ellen was able to take these otherwise untouchable people, and bring them closer to the people who make them famous–their fans. The selfies exploded on Twitter and I think that is what the Oscars needs to do to keep up with society. Appearing the audience multiple times, and even jumping up behind Leo, Ellen brought you as close to the celebrities as most people will ever get to be (aside from watching them in a movie). It makes the celebrities seem like real people–and that’s a good thing. The funniest and most bizarre event of the evening was the actual appearance of the pizza, after Ellen joked about pizza earlier in the show. That delivery guy will never forget this the rest of his life. Ellen was successful in bringing a true sense of off-the-cuff humor to the show.
What about those speeches? Now, this blog will not debate who has the best or worst speech, but there were definitely some speeches that were way too long, and others you wanted to hear from but couldn’t get a word in edge wise. The producers of the Oscars need to better define the length of speeches in each category. Other award shows limit the time a recipient has, and the Oscars should follow in suit.
The theme this year was a little incoherent at times, and was definitely something that could’ve been ditched to save time. The theme, of course, was heros. No, not American military, law enforcement, or first responders, but movie heros. Simply stated, there was no need to take up the award show with so many montages of movie heros. Without timing all the hero montages or speeches about heros, it stands that a significant of time could have been saved by just sticking to what the theme should be, which is honoring the best in film. Isn’t the whole reason the show exists reason and theme enough?
Finally, like with any award show, there are several performing artists that take the stage to, if for no other reason, than to break up the monotony of watching presenters and recipients. This year, each song nominated for “Best Original Song” was performed live by the artist who performed the song for the movie. Although “Let it Go” won the award, “Happy” was the better live performance at the Oscars. Pink’s performance during the tribute to the “Wizard of Oz” was outstanding and brought tears to the eyes of Judy Garland’s children. The highlight of the musical performances was Bette Midler’s “The Wind Beneath My Wings.” She did an excellent job! Like Streisand’s “The Way We Were” last year, Midler’s performance added a touch of class to the show during the memorandum segment. Another time saver, for the producers, would have been having Midler sing during the slide show like Pink did during the ‘Oz” segment. If you didn’t catch it, 2nd AC Sarah Jones did receive recognition for dying on set in a lower third following Hofman’s slide. Speaking of the placement of Philip Seymore Hoffman, due to the reason he died of a drug overdose, it would have been classier and more respectful to have ordered him in the middle and Shirley Temple-Black’s slide should have been the final one, since she was the original child star.
Over all, the Oscars was long but very much entertaining and enjoyable. Ellen successfully used her quirky humor and ability to connect with audiences to effectively make the Oscars the most enjoyable it’s been in years. Seeing Hollywood royalty like Kim Novak, Sydney Poitier, and Bette Midler. And, it was wonderful to see that Angela Lansbury was the recipient of one of this year’s honorary Oscars for her lifetime of achievement in entertainment. Congrats to all the nominees and winners!
(c)2014 Universal Studios
“Non-Stop” is the perfect title for this film, which is essentially non-stop action the entire movie. Liam Neeson plays a US Air Marshall with a troubled past who is charged with the responsibility of in-flight safety of passengers and crew. It’s quite apparent he is alcoholic who doesn’t know when enough is enough. He even smokes in the plane’s lavatories by covering the smoke detector with duct tape. But, he shows he has a heart when he helps a little girl overcome her fear and board the aircraft. It is a crisp, efficient thriller that benefits greatly from the intangibles Neeson can be counted on to supply. This film combines the best of an action movie with a who-dun-it. It’s like “Die Hard” meets “Murder, She Wrote.”
Neeson successfully shows that he is able to take his success from “Taken” (2008) and the “Batman” reboot and transfer it to other movies. After the previously mentioned blockbusters, Neeson’s gift for big-screen heroism is no more a secret than Rachel McAdams’ ability to charm an audience. Jen Summers, played by Julianne Moore effectively demonstrates her constant ability to play a variety of supporting roles. Never quite the leading lady, she is superb at selling her character to the audience. Often, I will see a movie just because she is in it.
Part of this film’s success is due to the fact that the writers combine two movie devices in one plot. One is a take on the the locked room paradox: How is it possible to kill people on an airplane without giving away who you are? The second device was popularized by Angela Lansbury’s Jessica Fletcher in several episodes of the long-running murder-mystery series “Murder, She Wrote,” and novelist Agatha Christie’s “Murder on the Orient Express.” Obviously, those seeking iron-clad plausibility should look elsewhere, but “Non-Stop” does have its share of unanticipated sequences as well as Neeson’s forcefulness.
The cinematographer, editor, and composer were all successful in making the audience feel trapped on the plane. Between the camera never leaving the confines of the fuselage while the game is afoot, and the editing and music adding to the pressure, the audience is able to feel as though they are being held hostage along with other the passengers and crew.
If you’re looking for something to do this weekend, this is one movie you may want to check out!
(c)2014 EuropaCorp
A well-rounded action movie with heart and a little humor. “3 Days to Kill” is an action movie about terminally ill CIA secret service agent Ethan Renner (Kevin Costner) who is persuaded out of retirement for one last job in exchange for an experimental drug that could save his life. Shortly after receiving an acute terminal medical diagnosis, Ethan decides to retire from his dangerous career for one last shot at being a husband and father. Meanwhile, Ethan is tasked with watching his daughter while his wife goes to London for a few days. But when a mysterious female CIA operative offers Ethan a life-saving cure in exchange for capturing a notorious terrorist, he reluctantly accepts. Now, with his daughter’s safety in his hands for the first time in a decade and the powerful drug’s debilitating side effects taking hold, the hunt begins.
Has director McG gone soft? Is it possible that the director of the “Charlie Angels” reboot and “Terminator: Salvation” has a family-friendly side? Isn’t he the same director known for over-the-top action flicks? McG is a filmmaker in transition, mixing metaphors, genres and feelings in this action-thriller, espionage-comedy, family-drama jumble.
Two elements that often appear in action movies are sexual content and profanity. Surprisingly, this movie contains neither, so it is a great movie for the entire family. The cinematography was executed well and the writing was quite good. Very few action movie cliches in this film; and the plot, although a little unrealistic, follows a mostly logical and believable course of events. The action sequences are underlined by the father-daughter and husband-wife reconciliation relationships in the film, which gives it a heartwarming feel. Definitely enjoyed this film better than “Jack Ryan: Shadow Recruit.”
The film is helped by Costner’s self-deprecating, aw-shucks charm. From his Oscar wins for “Dances With Wolves” to his sweetheart turn in “The Bodyguard,” Costner understands his strengths and plays to all of them at times here. Kostner is a convincing older Bond type, and is a pleasure to watch in this role. Even though I do not typically look to action movies for excellent performances, he demonstrates that even action movie heros can deliver excellent commitment to character.
R.L. Terry ReelView 