Selig Film News

NOWHERE BOY – A Review by Gary Murray

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October 14, 2010

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NOWHERE BOY

By Gary Murray

Starring Aaron Johnson, Kristen Scott Thomas, Thomas Sangsterm Anne-Marie Duff and David Morrisey

Written by Matt Greenhalgh

Directed by Sam Taylor-Wood

MPAA Rating R

Running time 98 min

Selig Film Rating Matinee

John Lennon was one of the most important figures of the 20th century. With the Beatles and as a solo artist, he was the spokesman of a generation. The records still sell in the millions decades after his tragic death. Though much has been written about both the Beatles and John as a man, there has been little focus on the young Lennon and the pre-Beatles history. The new film Nowhere Boy gives the audience a fictional account of those years.

The film opens in 1955 with the It’s a Hard Day’s Night chord and John (Aaron Johnson) running. Living with his Aunt Mimi (Kristen Scott Thomas) and Uncle George (David Threlfall), he is a happy boy who seems to always be getting into trouble. Almost instantly, there is a tragedy. Uncle George has a heart attack. Mimi shows that traditional ‘stiff upper lift’ and keeps her emotions in check. At the graveside service, John notices a flamboyant looking redhead. He thinks that she is his mother Julia (Anne-Marie Duff) a woman he hasn’t seen in a decade.

Then we get the young Lennon. In the snippets of his early childhood, he remembers his parents arguing and Mimi taking him away. He doesn’t know where either parents are and Mimi truly is his mother. He has dreams of a distant past but cannot connect the dots.

Lennon is driven to find out about Julia and through his friend Stan, John finds that she lives just a short walk away from Mimi. The two young men go and visit Julia with John finding out what a different kind of woman is she is as compared to Aunt Mimi. John begins to hang out with his mom and doesn’t let his aunt know.

Julia takes John to the cinema and they see a documentary on Elvis. This lights a flame inside the young boy and almost instantly he gets a guitar. He also gets his first rock record by Screamin’ Jay Hawkins. There is also the making of John’s bitter tongue.

The film is of John being torn between to worlds as he is torn between his two mother figures. It is full of heavy drama as the young future Beatle confronts his bitter past.

Director Matt Greenhalgh takes command in Nowhere Boy. Between the brave close-ups and the stark use of shadow he paints a cinematic feature more along the way of the French Wave than modern filmmaking. He just captures the moving images with the talent of an artist, framing each bit with exact care.

Nowhere Boy is a star making turn for Anne-Marie Duff. As Julia, she is both a precursor to the wild hippie women of the next decade and the Jack Kerouac women of post WWII. She is a confused soul going different directions at the same time. Lennon wrote both the sweet “Julia” and the bitter “Mother” about her. This little role should have Oscar written all over it.

Aaron Johnson has the hardest role of Nowhere Boy. In playing one of the most well-known figures of modern history, everyone has a preconceived notion of the character. He finds that balance between childhood confused boy to raging young man. In one scene where he meets Paul McCartney, we get all the emotions in a few beats. He is proud and arrogant then jealous of someone with such a grasp on music. In just a few beats we get the brotherhood partnership and the brotherhood competition.

What else can be said about Kristen Scott Thomas that hasn’t been said before. She is a veteran of the stage and cinema giving a strong turn in an unsung role. She tries to do everything right but is eventually rejected. Over the years, John made few references to her. John is hurtful to her, almost to a manic degree. She tries to show a happy face but carries a heavy heart

Nowhere Boy has received many awards, both at festivals and the British Oscars. It tells a compelling story about the beginnings of a international figure showing where the teenage years affect ones entire life. Even if you are not a Beatles fan, this is a very interesting slice of life. It would make a great double feature with Back Beat, the story of the Beatles in Germany.

RED – A Review by Gary Murray

Gary Murray

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October 14, 2010

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RED

By Gary Murray

Starring Bruce Willis, Morgan Freeman, John Malkovich, Helen Mirren and Mary-Louise Parker

Written by Jon Hoeber

Directed by Robert Schwentke

Running time 111

MPAA Rating PG-13

Selig Film Rating FULL PRICE

Red stands for Retired Extremely Dangerous. That is exactly how Bruce Willis comes off in the newest action thriller comedy based on a DC comics graphic novel. This little flick is one of the best cinema rides of the year.

Our man Bruce stars as Frank Moses a man in fly-over country, existing in suburban hell. His only contact with the outside world is Sarah (Mary-Louise Parker) a young woman who works at a distant Social Security office. Very early on, it is understood that Frank has feelings for Sarah. He routinely destroys his check just to have a reason to call her.

One night a group of South African hired gun-men attack the little house, taking the building down to toothpick shards. After disposing of the gun-men, Frank is off to find Sarah. Since he has been talking to her on the phone, the people who have been monitoring him know his affections. Frank basically kidnaps Sarah and heads for New Orleans and the only person he can trust Joe (Morgan Freeman). They worked together many years ago and Joe is just waiting for cancer to take him down.

The plot twists and turns as Frank and Sarah go around the USA to visit the rest of his team. John Malkovich plays Marvin, a man who has taken one too many hits of acid and seems to have a very slippery grip on reality. Helen Mirren is Victoria has settled down to a suburban life but still pines away for both the old way of life and her old but not forgotten love. Basically, Joe sums it up by saying “We’re getting the band back together.”

The crew is followed by a CIA agency that doesn’t know the RED past and the characters he is up against. We have the four heroes trying to find out who has set all of them up as while avoiding both the current agents and the nefarious characters that mean to do them harm

Director Robert Schwentke seamlessly blends action and comedy, giving a solid mix of bullets and giggles while never going overboard on either side. There are some single shots that move with ballet motion and guns blazing. At times we get a Sam Peckinpah style of action shots but without all the blood and carnage. But with a cast as strong as this, he had the best ammo in his direction chambers. To let the audience know the locations, he uses a very snappy group of animated titles.

The film is more sophisticated than it need to be, while never losing the fan boy fun.

Helen Mirren plays a semi-retired CIA agent, only taking the occasional contract to spice up the boredom. She just shines in scene after scene, stealing every beat of screen time. She just adds a degree of class to a typical macho world.

Mary-Louise Parker just oozes charm with her ‘fish out of water’ role of Sarah. We get a great group of reaction shots when she sees the length and breath that Frank goes to protect her. The stunned look of being overwhelmed gives the audience a ‘normal person’ in basically a ‘super hero’ style convention

Both Morgan Freeman and John Malkovich have played these roles before so there is not much stretching of static characters. Though both seem to be having a ball as they outwit the younger and stronger forces they are up against. Particularly John Malkovich just hams up every scene as the whacked out agent, seeing conspiracy in every corner of the world.

Bruce Willis just commands the screen in every scene he’s in. He has done this character many times before but he still has not worn out his welcome as the action hero. The only part of this role is one has to believe that he has a hard time connecting with women. That is just a stretch of the imagination that almost breaks the set-up.

Simply put, Red is just a heck of a great ride, a fun diversion. With all the horror flicks coming out, this is a fresh change of pace for October. This is a film you don’t want to miss.

LIFE AS WE KNOW IT – A Review by Gary Murray

Gary Murray

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October 6, 2010

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LIFE AS WE KNOW IT

By Gary Murray

Starring Katherine Heigl, Josh Duhamel and Josh Lucas

Written by Ian Deitchman and Kristin Rusk Robinson

Directed by Greg Berlanti

MPAA Rating PG-13

Running time 125 min

Selig Film Rating Matinee

This has been a very bad year for the romantic comedy, with film after film flopping at the box office. It seems that the genre of cute star-crossed couples has just about run its course. Though in Hollywood, hope of that big score keeps the flicks coming down the pike. The latest is Life as We Know it, a film with a bitter little pill mixed in the subplot.

The film starts with a date that goes from bad to worse in a few seconds. Holly (Katherine Heigl) is a bakery owner and NBA technical director Messer (Josh Duhamel) are on a date that doesn’t even make it out the driveway. These two have nothing in common except two mutual friends. We get a slow montage of the life where the two friends get married and have a baby Sophie. Tragedy strikes soon and little Sophie, at barely one, is orphaned.

Then we come to the major beat of the film. The couple had decided that in the event of both parents dying, Holly and Messer are to take care of Sophie in their house. This comes as a shock to both of them, neither wanting to give up their lives to co-raise a baby. The first idea is to find someone else in either family to take over this job. When they realize that no body else is suitable, they bite the bullet and agree to move into the house.

Then the nightmare of parenting becomes apparent. We get all the basic Kid Rearing 101 jokes about diapers and fussy eating. There is using Sophie by Messer to pick-up women at the supermarket. As Holly and Messer bond everyone in the audience knows where this is heading, the joy of the film is the ride to the inevitable.

Director Greg Berlanti does a strong job behind the helm of Life as We Know it, especially with the kids. The best acting was done by the triples that played Sophie. He finds all the cute shots for the tyke, giving a strong personality to the infant. It was once said in Hollywood never to work with dogs or children because they steal the spotlight. This film proves the axiom true again.

Katherine Heigl plays yet another variation of the same character she has been putting on the Silver Screen for the last few years. She never takes a chance and this is just another role just like the last ones. Just once, I’d like to see her do something with challenge rather than be another Julia Roberts/Meg Ryan. She does a nice job with the material it is just that we’ve been to this trough one too many times before.

Josh Duhamel is our rogue as Messer. He’s the carefree bachelor who instantly becomes a father. It is not a role he wants nor craves. As he bonds with Sophie, he slowly begins to realize what is actually important and that there is something more important than himself in the world.

Josh Lucas plays the complication in their lives as Dr. Sam, Sophie’s baby doctor. It is not much of a role, just an excuse to place a choice in the picture. Everyone knows who will eventually end up whom.

I was expecting the worst with Life as We Know it and was pleasantly surprised by how heartfelt it was. If you have seen the trailer, you have seen a good portion of the finished flick. Here is the deal with the romantic comedy—it is a journey. One knows the ending destination, it is the joy of the ride that makes the experience. This film is a sweet little distraction, a refreshing bit of fluff in the first wave of Oscar pushing films. This one is never going to win an Academy Award but it will win the hearts of the patrons.

ITS A FUNNY KIND OF STORY – A Review by Gary Murray

Gary Murray

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October 6, 2010

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ITS A FUNNY KIND OF STORY

Starring Keir Gilchrist, Emma Roberts and Zach Galifianakis

Written and directed by Anna Boden and Ryan Fleck

MPAA Rating PG-13

Running time 91 min

Selig Film Rating FULL PRICE

Comedy films that take place in a mental institution almost never work. Where you get one great film like One Flew Over the Cuckoos’ Nest, there are a monumental group of failures. All the ironic touches almost never translate on the big screen. This is another reason to see the refreshing little flick Its a Funny Kind of Story.

The film follows Craig (Keir Gilchrist) a confused young man with thoughts of suicide. After deciding not to throw himself off an overpass and into oncoming traffic, he checks himself into the local mental facility. Due to construction, both the teens and the adults are forced into the same floors.

Very soon Craig discovers that being locked up is a bad idea but the staff wants him to stay for five days for observation. The culture shock of being around the truly crazy people is what drives Its a Funny Kind of Story.

Almost immediately Craig befriends Bobby (Zach Galifianakis) a man who has been having trouble coping with the outside world. He is coming up on the end of his stay and must find a halfway house to accept him. A frail and frazzled soul, he instantly bonds with our young protagonist. Bobby has been in the facility so long that he basically runs the place. He knows which floor has the best coffee and how to get out to get ice cream.

He also meets Noelle (Emma Roberts) a confused young woman with scratches on her face and cuts on her wrists, sporting a ‘I hate boys’ T-shirt. There is something about her smile and attitude that draws Craig to her. The two meet in the hallways and in the crafts classes where Craig shows some serious skills in drawing.

Soon we discover the twin demons of Craig. He has an artistic soul and is being pushed by his father to become a business success. Craig also has a problem with wanting to be with his best friend’s girlfriend. Its a Funny Kind of Story is about how Bobby and Noelle make Craig confront the torments of his life. It is also about how Bobby and Noelle have to confront the forces that drive them.

Zach Galifianakis is slowly becoming the go-to guy for small, funny roles. He follows people like Dana Carvey and Jack Black, thespians who can take a minor role and turn it into major cinema gold. One has no idea if he can carry a major starring role, but he just brings on serious laughs in the second banana roles.

Young Emma Roberts has the same magic her Aunt Julia Roberts brings to the Silver Screen. This is another cliche role, that on the young confused woman, but she gives the reading a freshness. She has that spark that brings one in to the performance, that elusive bit that they call movie magic.

Keir Gilchrist is just weak as Craig, As the lead, he never finds the true beat of his character. He just reacts to every situation and never finds any momentum to drive along. His character is supposed to be a shy and reserved individual but it feels like he is never giving it his all.

Writer/directors Anna Boden and Ryan Fleck have a great feel for the story of Its a Funny Kind of Story. They find the right beats with all the supporting cast members, giving just about every person in the play a moment or two to land a comic line. The laughs are never at the expense of the patients, just of the situation. They do show restraint on the plight of the people trapped in this world.

Its a Funny Kind of Story is a very enjoyable film and a possible nomination for Zach Galifianakis, a guy who just delivers this Supporting Actor caliber performance. In a cinematic world where special effects trump emotions, this is a refreshing breath of air.

Let Me In – A Review by Gary Murray

Gary Murray

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October 1, 2010

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Let Me In

By Gary Murray

Starring Cloe Moretz, Kodi Smit-McPhee, Richard Jenkins and Elias Koteas

Written and Directed by Matt Reeves

Based on the film Let the Right One In

Running time 115 min

MPAA Rating R

Selig Film Rating Matinee

Let the Right One In was my pick of the best foreign film the year it came out. The story of a girl vampire and the budding romance between her and an unsuspecting boy had the right balance of horror and morbid tragic love. Since it was a Swedish film, few outside the art house crowd saw this wonderful little take on the traditional fang story. Let Me In is the re-make.

The story stays the same, just the places and details have changed. We are still in the winter but in Los Alamos, New Mexico, not Sweden. The film starts in Medius Rea with a man (Richard Jenkins) in the hospital after a tragic accident. The investigating officer (Elias Koteas) wants to question the man but his face has been burned beyond recognition. The inspector leaves his investigative notebook in the room to take a call. At the nurses station, the machines start to react. A nurse goes back into the room, then runs out screaming. The officer runs back inside and the burned man has jumped out the tenth story window. He left a note behind that said “I’m sory Abby”.

We go back a few days. Owen (Kodi Smit-McPhee) is a troubled little boy in New Mexico with major bully problems. He is a slight and reserved child with a Rear Window tendency of looking in the windows of his neighbors apartments through a telescope. One night he watches a man and girl move in. All they carry with them is a large trunk, moved in such a way that one knows it is empty.

The next day, there is the bane of Owen’s existence. Three bullies torture him in the middle school locker room. One gets the idea that it has been going on for quite some time. Back in his apartment, the other side of his life is unfolded. Mom and Dad are getting a divorce, complete with all the yelling and back biting. Owen soon meets the new neighbor, Abby (Cloe Moretz). She is on the complex playground, barefoot in the snow. Owen notices that the girl smells ‘funny.’ The next night she is there, but showered and with boots. Abby encourages Owen to be more of a man and stand-up to the bullies. Then she assures him that if things get out of hand, she will handle them because she is a lot stronger than she looks.

As the two youngsters build a relationship, the nature of Abby and the man becomes a bit more apparent. He is old enough to be her father but he is not. He admits to her that he is becoming sloppy and is tired. The man is the caretaker of Abby, the vampire. He goes out into the night and finds victims for her blood lust. The relationship seems to be coming to a bitter end and both know it. We soon find out that Abby is twelve but has been twelve for a very long time. Owen finds a very old picture of her taken years ago but she looks exactly the same

The movie is how two individuals find each other, even though everyone knows it will be more of a caretaker rather than a love relationship. Writer/director Matt Reeves may be a little too close to his subject in the fact that he gives the audience a bit too much. By giving more details, he slows the action down. A tighter edit would have made the film give a greater sense of urgency. The way he frames the action sequences are masterful, it is just too long to get to them.

Cloe Moretz showed her meddle in Kick Ass being the most interesting thing in the flick. Here she gives us more of the same, a little girl with attitude to spare. She is a blood sucker, but there is this sympathy in the nuances. She does what she has to do to survive, no apologies needed. In two roles, she shows some amazing range.

Kodi Smit-McPhee is our purposeful weak link. He is the put upon character, the one that get the reactions of others. He has no

destiny, just a future existence. Since Owen is so young, we can see something he can’t, his painful future with Abby.

Richard Jenkins just shines in an unthankful role. There is such a sadness in the world being the footman of a blood sucker. He does what he does for love, a love that can never be precipitated Through his performance, we see Owen’s future.

This film is produced by the Hammer Films banner, the most successful independent horror franchise company of the 1950’s and 1960’s. This company made about 70 films that scattered all over the drive-in, from The Satanic Rites of Dracula to Frankenstein Unbound. They were the first company to show blood with their creature features. I hope this film is just a precursor of greater things to come from the studio. The brand deserves to be a part of a new generation. Just seeing the banner at the start of the film was such a film geek thrill.

Shrek The Musical – A Stage Review by Gary Murray

Gary Murray

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October 1, 2010

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SHREK THE MUSICAL

BY Gary Murray

Starring Eric Petersen, Haven Burton, Alan Mingo, Jr. and David F.M. Vaughn

Book and lyrics by David Lindsay-Abaire

Music by Jeanine Tesori

Based on the Dreamworks Feature

Shrek, the Dreamworks picture, was both a charming fantasy tale and a not so subtle dig at Disney and Michael E, the CEO at the time. The tale of the ogre called upon to save his swamp from fairy tale creatures by rescuing a princess was the right blend of magic and mayhem Since Disney has been making a ton of money and winning awards by turning their products into plays (Beauty and The Beast, The Little Mermaid and The Lion King) it would make sense that Dreamworks would follow suit. Their first is Shrek: The Musical now playing at the State Fair of Texas in the Fair Park Music Hall.

The play starts in a forest twenty years ago. Young Shrek is thrown out of his home in “Big Bright Beautiful World” a funny yet cruel set-up to the mind set of our Ogre. We are also introduced to a young Princess Fiona, sent to live in the highest room of the tallest tower of a castle waiting for her true love to rescue her. They are cleaver and dark moments.

Then we forward to today and Shrek (Eric Petersen) sings the “Story of My Life” were we get his world view in song. Soon we meet all the fairy tale creatures who are sent to live in Shrek’s swamp. Since Shrek just wants to be left alone, he takes on the mission of getting Lord Farquaad to get them all of his land. Almost immediately, he gets lost and found by Donkey ( Alan Mingo, Jr) a simple creature who is not afraid of the big green guy. They sing “Don’t Let Me Go” with gusto. On the other side of the plot, three different aged Fionas sing “Forever” which is how long she has been waiting to be rescued. It is the big, charming moment of Act I.

“Welcome to Duloc” comes from the movie, lifted word for word and note for note but with a more Broadway relish to the festivities. On stage comes Lord Farquaad (David F.M. Vaughn), all Prince Valiant with the hair and Prince the singer in stature. His smallness is done with fake legs and the actor on his knees. It must be brutal on the body to do this role but all the laughs must be a consolidation. He is vain and cruel to a comic degree.

All of our actors are in place as the plot goes into motion and the duo of Shrek and Donkey go to the castle and rescue the princess. First, they must get around the dragon. A chorus of knights warn our Donkey about ‘Her’–the dragon. Done with a giant puppet and a backstage voice, we get the biggest number of the work where the dragon laments about life. The voice just fills the rafters as the cloth and fiberglass beast commands the stage.

The Second Act starts with “Morning Person” and Fiona and a company of rats doing their best Bob Fosse. A charming number that shows the dancing ability of almost the entire secondary cast. Then comes “I Think I Got You Beat” a parallel of a classic Broadway conceit were our two leads by showing their differences eventually prove that they are much closer than either one wants to admit. The number is a literal gas.

Eventually we get to all the reveals, where the cast expresses their true feelings and intentions. The idea of what makes us special makes us strong is pushed to the limit with “Freak Flag” a song that can be taken on many different levels. The play eventually turns into high melodrama, with the audience yelling and booing the bad guy. The kids in attendance seems to be having the time of their lives reacting to the antics on stage. By the time we get to the close of the old Monkee’s song “I’m a Believer” the entire audience is on their feet.

The dialogue follows the original movie, at times word for word. We also get little cleaver moments where Donkey and Shrek play “Bunch Buggy” to a silly degree. Book and lyrics creator David Lindsay-Abaire keep all the little elements that made the film a classic while clearing up some of the little inconsistent in the original plot.

The Dragon effect, with masked puppeteers is an amazing feat of skill and art. Our Gingerbread Man is also done as a puppet, first on a wall, then on a pan. Even though we see the manipulations, it still works magic. Pinocchio’s nose does grow with a fun, slight effect. Puss’n Boots does appear but never steals the show like he does in the movies. Here he is just a background puppet.

The cast is just brilliant. David F.M. Vaughn just steals every moment he’s on stage as Lord Farquaad. The costume effect to make him look small is milked over and over but never gets tired. He is a part of two show stopping moments and does his best to get reactions from the crowd. The number “What’s up, Duloc?” showcases everything that is right about the production.

Alan Mingo, Jr is the other scene stealer. As Donkey, he gets the best lines and does the most when them. Finding ways to top the voice performance of Eddie Murphy he still gives the role his own nuances. With hoofs for hands, he is limited to the ways he can express his character but he does give the audience a winning reading.

Haven Burton has a thankless role as Fiona. She has a charming voice and winning personality. Unfortunately the world of Shrek is much more a male dominated experience and the women are secondary in the cast. There needed to be more moments to showcase both her and the role.

Eric Petersen as Shrek is the hardest role. Under all the make-up he has to give a variety of emotions while dancing and singing. He does the role with such and ease and grace that one forgets just how hard his task is on the stage. Even under all the Latex, he still can convey strong emotions.

Perhaps the biggest find is little Madison Mullahey as young Fiona. She gets a few moments here and there to show off some major vocals. This is a voice that should be heard on Broadway stages for years to come.

Shrek is just a fun and magical night at the theater, a delight for children of all ages. It has all the elements to entertain and does so to a degree seldom seen on the Fair Park stage. It is a perfect match for the Midway fun at the State Fair and shouldn’t be missed.

Shrek The Musical plays at the Music Hall at Fair Park as part of the State Fair of Texas Sept. 28 to Oct. 17

www.DallasSummerMusicals.org

www.ShrekTheMusical.com

www.shrekster.com/dallas

WAITING FOR SUPERMAN – A Review by Gary Murray

Gary Murray

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October 1, 2010

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WAITING FOR SUPERMAN

By Gary Murray

Starring a bunch of kids and educators

Directed by Davis Guggenheim

Running time 105 min

MPAA Rating G

Selig Film Rating Full Price

I truly don’t remember much of my childhood education. Just about everything before 5th grade is gone in the backwash of my mind. I know that I went the first two years of school in Houston before moving to Baytown. The major reason we moved was that my parents didn’t want my older brother to go to the Houston middle school which was, because of forced bussing, in the bad part of town. Parents do everything they can for the betterment of their children. That is one of the major lessons learned in the education documentary Waiting for Superman.

The title refers to a story told by Geoffrey Canada, an educator. When he was a child, he was crushed to find out that there was no Superman. Being little, he believed that Superman would come to his ghetto and save all the boys and girls from the horrible education system he was a part of. Later, after graduating from the Ivy League, he dedicated his life to education, figuring that he could change the system in a scant few years. Then he ran into the two behemoths of education, the administration and the unions. He soon found that fixing the problem is much more complex than first thought.

Then comes all the statistics. America, once the shining light of education has become dulled We are ranked toward the bottom in just about every category of measure. We are failing the children in understanding basic reading, math and science. The kids are just pushed along, grade by grade until they eventually just drop out of the system. Money is thrown at the system and the more we spend, the worst it gets.

There is also the ‘Lemon Dance; where principals send their worst teachers to another school while taking on the lemon teachers from that school system, but never firing any teacher due to tenure rules. In NYC, the school district pays over $100 million to detained teachers who are accused of crimes and cannot be left in the classroom. The teachers cannot be fired due to union contracts and tenure rules.

One solution that seems to be working is charter schools, oasis of academic freedom where teachers teach and students learn without interference from the outside. The problem is that there are few too many schools and far too many students. So the parents have a choice of sending the kids to expensive private schools or to go in a lottery where kids have to draw the right number to get into good charter schools. The stories of Waiting for Superman focus on the parents and the children.

We meet the kids. There is Daisy, a Hispanic girl who dreams of being a doctor, with either people or animals. She is a star pupil in her school but wants to get into the ten spots of the charter school. Francisco is a kid who is a bit behind and needs some special help but is just pushed through the system. Anthony is an orphaned child living with his grandmother and hoping to get into Seeds, a special college styled boarding school. The school is his best chance to break from the cycle of death and poverty that run his little life.

Michele Rhee is another educator with grand visions. As a supertendent, she takes over the DC school district, a district that gets some of the most money and has some of the poorest results. She takes on all the waste and corruption, wanting to make a clean sweep of the system. Then the finger pointing begins. Every group blames everyone else and circle the wagons around their group. The amount of money wasted is staggering. Since every special interest is lawyered up she finds that her job is a lot harder than imagined.

The ending where the kids are waiting, seeing if they make the lottery cut which is a heartbreaking experience. The kids are faced with the reality of the future as they just learning the basic skills of life. The wanting and hope on the faces of the parents and kids just tears at the heartstrings. By the end, the audience is rooting that everyone will get into these schools, but we know that the odds are very much against them. This film is made as a wake-up call for America, a call to action to save the next generation.

This is one of the most powerful documentaries of the year and a definite Academy nomination for Davis Guggenheim. I was not a fan of his Oscar winner An Inconvenient Truth because of the flawed science and guess work that portends to be science. Al Gore has no advanced degrees in anything and uses his celebrity status to push a viewpoint where the his hopeful outcome will net him millions of dollars. It is like a ‘tiger rock’, a magical rock that keeps away tigers. Hold the rock and do you see any tigers? No, then it works. The British government makes any teacher who shows An Inconvenient Truth present evidence that disproves major points. Here Davis does some of the same manipulations, forcing stats into his narrative and ignoring anything that doesn’t fit his preconceived notions. It is the human stories that make Waiting for Superman a film one needs to see.

Superman/Batman Apocalypse (Bluray) – A Review by Michael Edwards

Michael Edwards

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September 29, 2010

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DC Comics as finally hit its stride in terms of animated films based on their superheroes. Marvel tried to do it a few years back, but the results were generally a little less than stellar. But DC started raising the bar when they released “Superman: Doomsday” in 2007. The idea was to begin to create PG-13 animated films based on some of the better graphic novels and it has really paid off. DC is now reaching a wider audience and sales of these films have been outstanding.

There are now nine of these films, and each one just gets better than the last. I was actually quite shocked to see the recent release of “Batman: Under the Hood”, which was based on one of the more violent graphic novels I’ve seen. It was edited quite a bit from the original materials, but it was still masterfully interpreted.

This month, we see the release of “Superman/Batman Apocalypse”, which introduces viewers to Kara… otherwise known as Supergirl. But Earth is not the only planet that wants to welcome her; it seems that the evil Darkseid has set his sights on adding the girl of steel to his mighty army. And it’s up to Superman, Batman and Wonder Woman to keep her safe.

“Superman/Batman Apocalypse” is epic to say the least. The storyline and ensuing battles, along with the superlative animation provide an incredibly entertaining, if not dark superhero tale. From the simplicity of Kara’s learning to be an Earth girl, to the final showdown with Darkseid every moment of the film’s 78 minute run kept my rapt attention. Even at the brisk pace, it almost seemed like it were longer (and I wish it was…)

As par the course, the voice actors were terrific. Over the course of the films, there have been different Batmans and Supermans, and all have brought something new to the table, but I was thrilled to see that they brought back fan favorites Kevin Conroy (Batman) and Tim Daly (Superman). Theirs are the voices I feel the most at home with and they were perfect for this particular story. Andre Braugher was brought on board to voice Darkseid and I loved the subtle strength he was able to deliver. Summer Glau (“Firefly”) stepped in as Kara and she did an awesome job as well.

Watching these animated films on Bluray has been a treat. The transfers have been, and continue to be, exceptional. Colors and images are sharp and crystal clear, while the sound mix is perfect.

Warner’s Bluray edition includes the third edition of DC Showcase, which features different DC characters in short animated films. In the past we’ve had The Spectre and Jonah Hex, while this time around we have Green Lantern (a personal favorite character). The story is short, poignant and worth its own release.

Extra features include a featurette on Darkseid, as well as profiles on ‘New Gods’ Orion and Mr. Miracle. There is also a sneak peak of the next animated feature “All-Star Superman”, which shows promise of being as equally good as what has come before. Additionally, there is a feature on Supergirl and 4 bonus cartoons that featured Darkseid.

Finally, there is a Digital Download of the film and finally… it is compatible with iTunes. None of the previous downloads have been compatible with the exception of Wonder Woman. I’m an iPod and iPhone guy and it has driven me crazy that I couldn’t put them on either to watch. And to make matters worse, the Digital Downloads that were available (but still not for iTunes) always gave me issues when I tried to download. So kudos to Warner for finally getting in the game as far as downloads go. Let’s keep it that way.

The DC Universe Animated Movies has added another gem to its collection. Make sure you add it to yours.

Directed by: Lauren Montgomery
Starring (the voices of:) Tim Daly, Kevin Conroy, Andre Braugher, Summer Glau
Extras: DC Showcase: Green Arrow; The Fourth World – New Gods; The New Gods; Sneak Peek – All Star Superman; Supergirl: Last Daughter of Krypton; 4 Bonus Cartoons featuring Darkseid
Specification: Widescreen 1080p (1.78:1); Dolby Digital 5.1
Studio: Warner Brothers
Release Date: 9/28/2010
MPAA Rating: PG-13
http://www.warnerblu.com

YOU AGAIN – A Review by Gary Murray

Gary Murray

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September 23, 2010

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YOU AGAIN

By Gary Murray

Starring Kristen Bell, Jamie Lee Curtis, Sigourney Weaver, Odette Yustman and Betty White

Written by Moe Jelline

Directed by Andy Fickman

Running time 103 min

MPAA Rating PG

Selig Film Rating Cable

Some movies are formula films, a flick that is set up so broadly and simply that just about anyone can piece together the plot. Such is a film like You Again, a simple little tale of revenge that doesn’t have any true surprises.

Kristen Bell plays Marni a go-getter of a young woman who blossomed after high school. She has recently been named VP of a PR firm and is going from California to NYC. Even though her life is great now, she had a miserable high school experience. The popular girl Joanna tormented her relentlessly, being a bully to a serious degree. Now, Marni gets to go back to her small California town to be a part of the wedding of her brother Mark (Victor Garber). She has never met the bride in the whirlwind of a romance.

Getting to her home town, she finds out that Mark is to marry Joanna, the mean girl from high school. She doesn’t even know Marni. The fact that the tormentor doesn’t even remember the victim enrages Marni. This supposedly sweet young girl is much more a minion of Satan than a frail little flower and must not become a part of the family. Marni makes it her goal to expose this woman’s true colors. All Marni wants is a true apology from Joanna.

Joanna’s aunt Ramona (Sigourney Weaver) is her only living relative and is planning to come to the wedding. When she shows up, the second plot point is revealed. It seems that Marni’s mom Gail (Jamie Lee Curtis) and Ramona have a past. In a quick flashback, we find that Ramona and Gail had their own high school problems back in the 1970’s, something neither has gotten over. Where Gail is a wife and mother, Ramona is a titan of the hotel industry with posh rooms all over the planet.

Now we have a cross generational, Hatfiend and McCoy, battle royal with each woman trying to get the better of their rival. You Again proposed to be a black comedy and wimps out when in should go to the jugular. Writer Moe Jelline wants everyone in the end to turn nice in a romantic comedy style when he sets up a different kind of film. This would have worked much better if he would have just let the venom flow across the printed page, letting each group of women truly destroy each other.

Kristen Bell is taking over that ‘girl next door’ charmer that Meg Ryan had a few years back. She is all sugar and charm even when being mean. She delivers her share of laughs while giving us growing up pathos. You Again is another small step in establishing her on the A-list of actors.

Odette Yustman has the hardest role, being the character with the most arc. She has to play the hard mean high school cheerleader, the tormentor, and the pleasant fiancee. Eventually, we learn all her motivations, a turn that comes across more believable than one would expect.

Both Jamie Lee Curtis and Sigourney Weaver give strong readings as the older generation rivals. They both pull off the bitterness of long held grudges. Each just works off the other, giving laugh after laugh.

Two of the secondary performance are just gold. Betty White plays Grandma Bunny and just steals every moment she is on screen. Her comic timing is still pristine, taking simple lines and turning them into roaring laughs. Every glance just eggs-on snickers. Kristen Chenoweth as Georgia, the wedding planner/dance instructor is another sparkling performance. Her bits of bubble and pop just endears while still getting a solid reaction with the audience. She just commands the dance lesson scene with a Las Vegas style.

In a refreshing and unexpected turn, the men of You Again are almost an afterthought. Each is just here, not taking more that a slight notice in the story line. This is a rare woman’s picture where the men are background items.

You Again is just fluff, more like a bon-bon than a meaty film. The idea that nobody gets through high school without being scathed is as true today as it was decades ago. Here’s the problem–the forgive and forget part. The people who tormented me in high school are still jerks and even at this late stage in life and I still will never forgive them. Call me a bitter old man but I totally agree with everything Marni does in the film but without the Hollywood remorse. You Again is a tale of revenge that doesn’t deliver the revenge part.

BURIED – A Review by Gary Murray

Gary Murray

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September 23, 2010

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BURIED

Starring Ryan Reynolds

Written by Chris Sparling

Directed by Rodrigo Cortes

MPAA Rating R

Running time 95 min

Selig Film Scale Matinee

The thriller is one of the longest running genres of film. A slick little entertainment that chills and thrills as it spills on the audience are one of the bedrock ways of the Silver Screen. When done effectively, these flicks can still keep the audience glued in their seats, not wanting to miss a moment of the story. Adding to this rich heritage is Buried, the most claustrophobic flicks that has ever been put on the big screen.

The film starts in total darkness. Soon we find out why. Paul (Ryan Reynolds) is in a simple wooden coffin, buried under the sands of Iraq. He is a truck driver, a part of a military convoy. The group was hit and he was captured. Now, the bad guys want cash to let him go. All of this is discovered by Paul as he talks on a cell phone. The entire film takes place in the coffin, with only a lighter and a cell to give any light. The film never leaves this set, we never get any scenes of back story, all 90 minutes occur within the confines of the coffin.

Paul goes through all the stages of grief as he figures out his plight. He pleads and threatens on the phone, realizing that he must get into contact with US forces before his air and cell phone battery run out. He calls his US family, pleading with them to get help. He reflects on his situation as he does everything he can to get out. The unseen voices of his tormentors is used in a vicious fashion, just a bunch of guys who want cash.

Since Ryan Reynolds in the only actor in the piece, he has a Herculean task, to keep the audience interested in his plight. He delivers an Oscar worthy performance here, having to do all his acting with little movement and basically no one to play against. I know that some will think that he does nothing other than be trapped. That is the brilliance of the performance. He must use his voice to get across all the fear and anger. The role of Paul is the textbook definition of a ‘hands down’ performance. While I doubt that most of the Academy will see how difficult this role is to pull off, it is definitely deserving of an Oscar nod.

Director Rodrigo Cortes works within the greatest confines ever self-imposed on screen. By giving us nothing, he delivers everything. The suspense of the situation becomes a claustrophobic melee of emotions, never giving the audience a single beat of letting up. He just pushes every button with a madman’s glee. The script by Chris Sparling becomes a masterpiece of despair, wishing the best for our character and expecting the worst

Alfred Hitchcock was one quoted as saying (and I paraphrase) that is you let off a bomb, you scare the audience for a minute but if the audience knows that the bomb is there, about to be blown, you can build suspense much longer. That is the basic premise of Buried. This is a solid suspense laden thriller where we are given all the elements to frighten and let them spill across the screen. Buried is a unique film that proves that one doesn’t need a lot to make a great movie.

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