Read Our Minds

Couples Retreat Provides Anything but a Treat for Viewers

I always wonder if I should ever opt to rent a movie when nothing comes to mind that I want to see, because it often leaves me wanting my $5 back. And thanks to my viewing experience the other day, I discovered my answer is I shouldn’t.

I grabbed two movies: Couples Retreat and Carriers. Since I grabbed the last copy of Couples Retreat I figured it might be the better of the two so I watched it first- wrong move.

With a big named cast of Vince Vaughn, Jason Bateman, Kristin Davis and Kristen Bell among others, the movie was somewhat interesting to watch, but for a comedy, only made me laugh twice. It also made me realize Vince Vaughn’s production style is much like Adam Sandler’s, but without the funny part. Vaughn’s got the repeating cast of characters.

The movie is about a group of friends (all couples) and the strains on their marriages. When the extremely organized married friends contemplate divorce, they convince the rest of the crew to take a vacation to Eden, a couples retreat mixed with a private party island for singles. Once on Eden, the couples realize that jet skiing and scuba diving is out of the question since they must spend their days according to a counselor’s itinerary. Of course, every couple begins realizing maybe they too don’t have the perfect marriage after strenuous rounds of unwanted counseling and temptation.

As the movie progresses and fights break out, the men and women split up and wander for some fun away from their spouses. Of course, they all wind up at the singles retreat- predictable.

Instead of spoiling the ending, I’ll just note that the two parts of the movie that managed to make me laugh aloud included a kid that was in only in two short scenes. If that doesn’t tell you how much of a treat that movie was (well maybe a dog biscuit), I don’t know what will. I did, however, like how one of the characters was wearing a Buffalo Grove High School shirt in the movie. And all of my colleagues that are Northwestern alums should like that purple shirts had cameos too.

--Reviewed by Christine Rojewski

Whale Rider

Whale Rider (directed by Niki Caro) is a great “small” movie set in New Zealand. The tension and love between Pai, a young girl, and her grandfather Koro, is artfully weaved throughout the story of how the Whangara people are seeking a chief with the mystical powers of Paikea, who is believed to have come to New Zealand on the back of a whale after his canoe capsized near Hawaii.

 

Even though Pai seems to possess many of the qualities that would make her the ideal candidate to be chief, the fact that she is a girl leads Koro to dismiss her out of hand. This is a beautiful, beautiful story, well told and fascinating, about a thousand years of male tradition trumped by one young girl’s unyielding spirit. I will not spoil the twist at the end, but it’s a great twist. This is an inspirational tale for any age, but one I would especially encourage parents to share with their children.

-- Reviewed by Tim Boivin

Invictus tells a fascinating tale

I'd heard good and bad about Invictus when I went to the movie theater and plunked down my $5 to see it. (Have to love Kerasotes' Five Buck Club.) But it seemed like a story I would enjoy, and I think Clint Eastwood is a very good director, so I figured I'd give it a try. 

Well, it was definitely a movie I enjoyed, and between this one and Gran Torino I've come to feel that Clint Eastwood is an excellent director. His use of camera angles, the way he frames shots, and most of all his ability to tell a very human tale create a movie experience that sucks you in and really gets you involved with the story. Even without car chases, explosions, or incredibly imaginative alternate worlds.

The movie tells the story of Nelson Mandela's early years as President of South Africa after the end of the apartheid era. As most of the world knows, Mandela was held as a political prisoner for 27 years by the white ruling party until he was released in 1990. He was elected President in 1994 and became a symbol of the change from the white minority rule to an inclusive, democratic nation.

It also gets into the challenges he faced trying to change hundreds of years of mindset on both sides of the issue. Early-on, it shows him entering his office in the government building where he now works. White staff members are busily packing their belongings in boxes on the assumption Mandela plans to replace them all with black workers. Instead, he calls them together and says they can leave if they want but he's hoping they'll stay and help him build a better nation. He assures them no one is being fired just for the color of their skin. That sets the tone for the man and his view on bringing the country together.

Still, like all great leaders, he recognizes that he needs an event, some sort of symbol, that can rally the entire nation together and break down the old barriers. He sets his sights on winning the Rugby World Cup. From there, the movie shows how he and Francois Pienaar (Matt Damon), captain of the Springboks, South Africa's national team, work toward that goal. It's no small task, by the way, since the only reason South Africa is even participating is that they are the host country and thus must be allowed into the competition. They would not have qualified originally on their own.

While there's plenty of rugby action (which can be tough to follow if you don't know anything about rugby), it's really the people who are interesting, from the black and white Presidential bodyguards learning to trust each other to Pienaar's father's way of relating to their black housekeeper to Pienaar's coming to understand of just how extraordinary it is that Mandela is who he is based on what he's gone through.

And that's the key. I came out of the movie thinking "I should pick up a biography of Nelson Mandela and read it," because he looks to be one of those people who seem to rise up just when a larger-than-life character is needed. Although the movie only touches briefly on his life in prison you get a sense of how unique he is. To come out of it with such a positive and forgiving attitude rather than be hostile and bitter, as most of us would, is nothing short of extraordinary.

In my mind it's definitely worth a look. And seeing it on the big screen is the best way to watch a larger-than-life man take on the world.

As many have reported, Nelson Mandela is a role Morgan Freeman was born to play. His quiet dignity captures the essence of the man, at least the man we've seen on news reels.

--Reviewed by Ken Krause

Paranormal Activity, The Blair Witch Project's Sister Film

Whether you’re a movie buff or not, you might recall hearing the line, “In October of 1994 three student filmmakers disappeared in the woods near Burkittsville, Maryland, while shooting a documentary. A year later their footage was found.” Of course that was the tagline from The Blair Witch Project trailer; the horror flick that busted through the genre’s mold. Not necessarily because it was scarier than classis like The Exorcist, rather it was filmed in eight days on virtually no budget and left viewers wondering if the movie was a true life documentary or a hoax.

The same goes for the most recent Blair Witch semi-spoof, Paranormal Activity. When the movie starts, it takes your eyes a few minutes to adjust to the jerkiness of the home movie style of filming. But it isn’t long after that you realize the plot of the movie: a young couple buys a top of the line video camera to begin taping the paranormal activities that occur while they are asleep.

The first few nights while the video camera is recording, minute things happen such as a bedroom door moving. But as can be expected by the audience, the nights’ paranormal events begin to rapidly progress. Why? Because the demons haunting the main character, Katie, are upset that there is a video camera taping them, a psychic visiting the house and two humans trying to communicate with them.

While I won’t spoil the ending in case you decide you want to rent a creepy flick (I wouldn’t call it scary since I don’t believe it is, just creepy), I will tell you that it is pretty abrupt much like in The Blair Witch Project. However, there was an alternative ending that provided a little bit more closing. And because of its homemade movie feel, it might leave several viewers wondering if the movie is indeed real. Sure it’s real in that it was filmed by the writer and director Oren Peli, but the story is far from.

--Reviewed by Christine Rojewski

Double Feature: Crown “Shawshank” and “Mile” the Kings of King’s Flicks

I have professed my devotion to Stephen King on this blog in the past. While King is a renowned author of horror novels, as a writer myself I’ve been more impressed by his mastery of storytelling in general – long and short formats. My 13-year-old daughter, Celine, also is an aspiring writer, so one evening not long ago I treated her to a double feature of movies based on King’s work: The Shawshank Redemption and The Green Mile. The first is based on one of King’s short stories (Rita Hayworth and the Shawshank Redemption.) The other is based on a serial novel more akin to King’s epic tomes, such as The Stand or It. In an age when cinema is so driven by special effects (e.g., Avatar, which I have no desire to see for reasons you will surmise from this post) and formulas (e.g., every cop-buddy movie or updating of a 20-year-old t.v. series) I wanted Celine to see examples of films driven by great stories with great characters. 
 

When it comes to rapid, deep characterization, King is a true artist. And Shawshank and Mile are cast perfectly in the spirit of King’s writing. Tim Robbins as Andy, the main character in Shawkshank, strikes a tone of aloof despair with his very first lines. Morgan Freeman executes a similar feat as Red, Andy’s prison mentor, as soon as he begins his narration. In many films, narration is a crutch. In Shawshank, it’s a magnifying glass. 

  Tom Hanks, one of the most recognizable stars in film, sinks immediately into the persona of Paul, a death-row prison guard and the main character of Mile. So does every actor in turn throughout Mile, whether playing a bit part or a pivotal role. Most impressive perhaps is Michael Clarke Duncan playing the miraculous prisoner, John Coffey. Duncan is a huge man, who too often is given roles tantamount to playing props. (“Hey, we need a gigantic guy. Call that Duncan dude!”) But in Mile, Duncan’s size and subtle delivery strike the perfect paradox.

 I could rave about a dozen performances in each film, which is why I wanted Celine to see them. To help her hone her craft, I wanted her to understand that the foundation of great performances in film is great writing. Shawshank and Mile draw virtually all their dialog from King’s text. And the actors seem energized by the richness of the language. Duncan is the best example. From the first moment his character clarifies his surname – “John Coffey. Like the drink, only spellt different.” – we receive an addicting sip of the condemned man’s sweetness and pain.


 Why is King especially good at prison tales? Beats me. But one doesn’t need to be a budding author to dig these flicks, which, in my opinion, are the two best films based on King’s work.

--Reviewed by Bob Dirkes

Blind Side

I was pleasantly surprised by this movie. It held the interest of 2 people in their mid-40s, a 10-year-old girl and a 13-year-old boy, who deemed the movie “something to think about” and “inspirational.”  I’d normally write off a movie like this as Hollywood fluff – but it’s based on the real-life story of NFL rookie, Michael Oher. It’s an amazing account of a young man’s transformation all because of a chance encounter with a big-hearted woman and a family with loving, open arms.

A product of the crime-ridden Memphis projects, “Big Mike,” played by Quinton Aaron, is a gentle giant who bounces from one foster home to another. He has no idea who or where his father is and hasn’t seen his drug-addicted mother for years. Mike winds up at a private school on the other side of the tracks and his new life begins when he crosses paths with the Tuohys.  If it wasn’t for them, Mike would be right back where he started, instead of graduating from the University of Mississippi and playing for the Baltimore Ravens.

Sandra Bullock outdoes herself as real-life Memphis mom, Leigh Anne Tuohy - a woman whose family is turned upside down when she spots a boy with no where to go and not much more than the shirt on his back. The family takes Michael into their hearts and home, where his lives and theirs, are changed forever.

Without giving away the details, Bullock’s portrayal of Leigh Anne Tuohy as a kind-hearted, head-strong woman is spot-on. The children, particularly son S.J., enthusiastically welcome Mike into their home. There are funny moments, sad moments, but mostly inspiring ones. It’s a great choice if you want to get in the true spirit of the holidays.

--Reviewed by Donna Gaidamak

The Big Night (Co-Directed by Campbell Scott and Stanley Tucci)

Forget Julie & Julia. The Big Night, released in 1996, is the best food movie ever, and one of the great unsung American movie-making treasures.

Tony Shalhoub (of TV’s Monk) and Stanley Tucci, who also directed, play two Italian immigrant brothers struggling to start a restaurant. Shalhoub, as Primo, is the chef who will not compromise his art. Tucci, as Secondo, is the maitre’d/business mind who is conflicted between supporting his brother’s considerable culinary skills or changing the restaurant’s menu to meet the vanilla tastes of the American public.

While food is the physical (guttural?) focal point of this story, the emotionally fulcrum is the love and frustration of family as Tucci explores ways to keep the business from going into foreclosure. Pascal, in a brilliant performance by Ian Holm, runs the competing successful restaurant down the road. Pascal offers to have Louis Prima’s band eat at Primo and Secondo’s restaurant in an attempt to create buzz in the neighborhood about Primo’s cooking. Seeing this as their last chance, the brothers plan a big feast and invite a wild cast of characters, including The West Wing’s Allison Janney as Primo’s love interest, and Minnie Driver as Tucci’s girlfriend. What unfolds is not what was planned, and reveals how strong familial ties can be even in the worst of times.

Spoil (your appetite) alert: As course after course is presented to the visitors during The Big Night, you will notice your appetite growing tremendously, especially when the Timpano is served. I guarantee that by the time you finish watching this movie, you will be very hungry. So watch it early and then go out to a fine Italian restaurant like Vittorio De Roma in Palatine, Ill. The specials – especially the Prosciutto in melon with melted asiago cheese – are fantastic! 

--Reviewed by Tim Boivin

Away We Go is a trip worth taking

Away We Go, the movie directed by Sam Mendes and starring John Kracinski of The Office, is a great little movie. In the movie, Kracinski and Maya Rudolph play an unmarried couple who travel from Colorado to Arizona to Madison, WI, to Montreal, and eventually to Florida -- all in an effort to learn what "home" means to them.  This is an understated movie with few belly laughs, but enjoyable all the same. Allison Janney (formerly of West Wing) is a hoot as Rudolph's uninhibited ex-boss living in Phoenix with a family that has pretty much tuned her out.  Maggie Gyllenhaal plays a spaced out mother professor flower child living in Madison, WI, with her slacker husband, both of whom share their interesting ideas on child-raising. Funniest scenes are the mother who pushes her young son to tell Kracinski and Rudoph what he knows about a baby (not what you may think, and who hasn't had a pushy parent shove their baby Einstein in your face?); Jim Gaffigan, as Janney's husband, going on a rant about how every living being in the desert is going to die from a lack of water, and he then proceeds to prioritize the decline of each species; and Kracinski taking the flower couple's kid on an unauthorized stroller ride around their living room.  This movie didn't get a lot of buzz, probably because it was more of a thinking picture than an in-your-face comedy.   But it is well worth the 95 minutes and DVD rental.

Directed by Sam Mendes

Reviewed by Tim Boivin

The Informant a good, but not great, movie

Over the weekend I had a chance to catch the matinee showing of The Informant, Steven Soderbergh's film about a food company employee (Matt Damon) who begins feeding information to an FBI agent (Scott Bakula) about illegal activities at his company, but turns out to not quite be Karen Silkwood.

First of all, let me say it's my last matinee. As I looked around at the rest of the people heading in, I imagined them all going to dinner at 4:30 to catch the AARP specials. I'm not quite ready to be associated with that just yet.

As for the movie itself, it was entertaining, and had some good moments. Still, nothing that made it worth paying full price for in a theater. You could easily watch this movie again and again on cable or dish and not lose a thing.

It definitely carried Soderbergh's personal stamp. The titles to transition between time and place and color saturation had a feel to them like the movie was made in the late '60s, even though it is new this year and is set in the early '90s. The soundtrack was excellent, written by Marvin Hamlisch but with a jazzier, more stylized feel than some of his other work. It definitely works here.

As for Damon's performance, he does a good job of playing a man who believes himself to be a good guy, yet is deluding himself as well. From what we can see, he's a guy who sees his company doing something illegal and feels it's important to do the right thing. We are brought along with it, sympathizing with his worries, and feeling bad for him as the company tries to weasel out of the trouble it gets into. It's all very Hollywood formula about a whistle-blower. But then his personal story begins to unravel, and we find that what we were led to believe about him isn't quite the truth.

Sorry to be so vague, but to say more would ruin some of the twists the plot takes. Suffice it to say it doesn't end the way you think it will.

Kudos to Soderbergh for incorporating not one but two Smothers Brothers in separate roles. That is part of the fun with this movie -- seeing who all is in it. It's not quite as good as the "Ocean's" franchise, but it has its moments.

-- Reviewed by Ken Krause

Inglourious Basterds

When you’ve made Pulp Fiction, everything else is inevitably going to be compared to that movie making triumph.   It must be a curse and a blessing to Quentin Tarantino.  In this case, it’s a blessing for him because a lot of us are going to plop down the cash just to see his latest work, Inglourious Basterds.   

 

Yes, there are similarities between Basterds and the 1967 classic Dirty Dozen, and Quentin is both celebrating and mocking that genre of Nazi killin’ movies.  There are two parallel plots that meet at the end and that was well sequenced and fun to follow, and the character development was also very well done.  I can tell Quentin really wants his characters to come to life.  The film also develops tension and suspense nicely. 

 

There is some gruesome violence that was a little hard on the eyes, and it didn’t seem as funny to me as the violence in Pulp.  Maybe Pulp was all about awkward life and death moments, which made them funnier.  And the violence in Kill Bill was heavily stylized in an over the top homage to martial arts classic gore, and I get that. But I was unconvinced of the effect Quentin was trying to achieve with violence this time around.  For that reason, I’d knock Basterds down a peg.  The editor also could have lopped off ten minutes. 

 

It wasn’t a completely satisfying film, but it was fairly fun.  Quentin did a good job of walking the line between the predictable plot elements we want to enjoy in this genre, while adding a lot of unexpected twists that kept it entertaining.  I'll give it 3 ¾  stars.

Reviewed by Lawren Markle  Tech Image