Thursday, October 22, 2009

THE BLACK DAHLIA

Director: Brian De Palma
Stars: Josh Hartnett, Scarlett Johansson, Aaron Eckhart, Hilary Swank, Mia Kirshner
Year: 2006
Rating: R

Let me cut to the chase right off by saying this film is a huge mess. Adapted from the novel by James Ellroy (the same writer behind L.A. Confidential), The Black Dahlia is a fictionalized account of the infamous "Black Dahlia" murder case of the 1940's, where Hollywood starlet and actress wannabe Elizabeth Short (played here, in flashback, by Mia Kirshner) was brutally murdered, her body severed in half at the waist and mouth cut open from ear to ear to resemble a ghastly, Joker-like death mask.

The film opens with two L.A. cops who also happen to be good buddies, Bucky Bleichert (Josh Hartnett) and Lee Blanchard (Aaron Eckhart). We're given a fairly detailed history of the two men, as both friends and cops, to the point where its understood that both men are very close friends who definitely have respect for the law; no bad cops on the take, here. Blanchard is married to a very hot blonde named Kay, whom Bleichert is obviously attracted to, but the three are all close and do things together as friends, and you know it would never even be in Bucky to cross that line with his partner's woman.

Then comes the Black Dahlia case, and suddenly each of their lives is thrown into a tailspin. Bucky and Lee, now detectives, both become obsessed with solving the murder and bringing Elizabeth Short's killer - Lee to the extent of it taking over his life, as he becomes addicted to prescription drugs he needs to even have a shot at getting any sleep. But it's Bucky who seems to make some headway, at last, when he meets one of the "Dahlia wannabes" (women who dress up like the Black Dahlia), named Madeleine Linscott (Hilary Swank), who leads Bucky down a path the just might be strewn with landmines, as he tries to solve the most horrific, heinous murder in Los Angeles' history.

I've always been fascinated by the Black Dahlia case - especially the fact that Elizabeth Short's killer was never caught - and did not know, when I sat down to watch this film, that this was a fictionalized account of the murder in which, per Ellroy's storyline, a solution to the case is reached. Problem is, the solution seems a long time in coming ... and meanwhile, the overacting, silly noir-style lighting (or lack of it), and hopeless miscasting of Hartnett (and especially Swank as femme fatale Madeleine) make the film almost unbearable to watch. Everything about this movie is over-the-top, from the performances to the score to the melodramatic story, and if De Palma was going for the look and feel of true 1940's melodrama in Hollywood's hey-day, what he created instead was a cheap imitation bordering on parody. Even flashback scenes of Elizabeth Short and some of the things she had to do to get by in Hollywood come off as nothing more than cheap attempts at titillation more than a revelation of Short's victimization by those out to use her. I had high hopes for this film, wanted so badly to like this film, and in the end simply couldn't wait for it to end ... rolling my eyes most of the way. *1/2 - Get Reel-Reel Mediocre

MONSTERS VS. ALIENS

Director: Rob Letterman & Conrad Vernon
Stars: Reese Witherspoon, Seth Rogen, Hugh Laurie, Will Arnett, Kiefer Sutherland, Rainn Wilson, Stephen Colbert
Year: 2009
Rating: PG

This okay-but-not-great animated comedy begins as Susan Murphy (voiced by Reese Witherspoon) is in the middle of preparing for her wedding day. As with any other day, chaos reigns supreme as Susan - already the nervous type - readies to walk down the aisle. But before any vows can be shared, or any bouquet can be thrown, from out of the sky a meteorite falls to earth ... and close enough to Susan to transform her into a giant maybe fifty high.

Needless to say, the guests and neighbors freak, fleeing from the huge "monster" in their midst. Susan tries setting things right, calming everyone down, but is almost immediately whisked away by the military, renamed Ginormica, and taken to a secret government complex where other monsters found amongst humans over the years are being held.

It's here where Susan meets B.O.B. (Seth Rogen), a gelatinous blue glob of mass with one probing eye and the IQ of a pasta salad; Dr. Cockroach (Hugh Laurie), a highly-intelligent bug with big eyes and a five-star vocabulary; The Missing Link (Will Arnett), a B-movie version of the Creature from the Black Lagoon with more bravado than bravery; and the giant Insectosaurus (my personal favorite), who - for his size - is far more goofy and lovable than he is monstrous. Together, the group makes up a motley crew to say the least - but when an alien attack suddenly manifests itself on earth, General Monger (Kiefer Sutherland), the man in charge of this secretive holding place for monsters, is the very guy who has to rally them all together to fight the alien attack ... which is led by a mean little alien dude named Gallaxhar, determined to suck the earth dry of all its resources for himself.

To say the less-than-horrific monsters are not up to the challenge is a real understatement (though they pull through the first battle), and this is where the film gets most of its humor - from the total ineptness of the "good guys" in battling the bad. The film is beautiful to look at, colorful and masterfully animated in typical Dreamworks style (actually, not typical; this film really is a feast for the eye). The characters are suitably charming and funny, and even Stephen Colbert as the rather stupid President of the United States is a treat.

But somehow, it just doesn't gel - not even as well as B.O.B. does. The film lags in more than a few places where I found myself checking the time and trying to figure out how much longer the movie was), and while the movie is cute enough and harmless enough and easy to like ... there just wasn't a whole lot there to love. No "oomph" factor, or jokes that made you laugh out loud, and even a deep connection with any of the characters just wasn't there for me. A great cast, and charming story idea, for sure -but the film just never takes off enough to make it anything more than just ... "okay." The film has a couple of really good moments, but otherwise - overall - just fails to rouse. **1/2 - Reel Mediocre-Reel Cool

Wednesday, October 14, 2009

ESCAPE

Director: Mervyn LeRoy
Stars: Norma Shearer, Robert Taylor, Conrad Veidt, Nazimova, Philip Dorn
Year: 1940
Rating: N/R

An intriguing melodrama set in Germany during early World War II, Escape stars Robert Taylor as American Mark Preysing, who comes to Germany to search for his mother when a routine trip to sell some land results in her disappearance. The film starts off showing Preysing's mother, actress Emmy Ritter (Nazimova), in a concentration camp where she is being held and tortured for being a traitor to her country. Near death, the actress finally gains the sympathies of Dr. Ditten (Philip Dorn), the man charged with keeping Ritter alive until her execution; as a child he was a huge fan of the actress, and agrees to help her write a letter that he will make sure gets to her son upon her death.

Meanwhile, Mark arrives and immediately learns he is on the Nazi's radar; every question he has about his mother, or about what happened to her, is met with suspicion or downright intolerance. No matter what, he can't get any answers - and in fact is greatly discouraged from even asking questions, to the point of being vaguely threatened and told to leave town. This only spurs Mark on further, and soon he meets The Countess Ruby von Treck (Norma Shearer), an American-born widow who is also a fan of Emmy Ritter, and soon sympathizes with Mark's plight. Complicating matters, though, is the fact that the Countess is being romanced/befriended by a high-ranking Nazi official, General Kurt von Kolb (Conrad Veidt) ... who, the Countess soon learns, is the man behind the order to have Emmy Ritter executed.

Norma Shearer, after years of being the Queen of MGM, here actually plays a supporting role - but, as always, plays it to the hilt. The suspense builds terrifically here, as Mark gets closer and closer to finding out his mother's fate even as the threat of death looms ever closer. It's pure melodrama with a great cast, in a film that - for its time - very much pushed the envelope, as it was made during the war in Europe, and with many European actors (some of whom, supposedly, used stage names instead of their own in the credits). Filmed with two endings, so far I've only been able to see one - but it was, for me, an ending that fitted and worked with the film, making it an enjoyable treat to watch. I was never much of a Robert Taylor fan, but seeing this movie changed my mind a bit ... and Norma Shearer, well I was hooked on her long before the Countess. Escape is (pun intended) pure escapist fare, full of suspense and intrigue. Maybe a bit over the dramatic top, sure - but no less enjoyable for being so. *** - Reel Cool

Thursday, October 8, 2009

Trailer: TOOTH FAIRY

ALL THROUGH THE NIGHT

Director: Vincent Sherman
Stars: Humphrey Bogart, Conrad Veidt, Kaaren Verne, Peter Lorre, Jane Darwell
Year: 1941
Rating: N/A

A wonderful - and wonderfully rousing film set during World War II, All Through the Night is one of my favorite of all of Humphrey Bogart's film; certainly one of the most entertaining films he ever made. With exactly the right amounts of drama, humor, and intrigue, the film also benefits from an amazing supporting cast of some of best character actors working from that era (some of whom would grow into major stars in their own right) - Frank McHugh, William Demarest, Judith Anderson, Phil Silvers, Jackie Gleason, and Barton MacLane all shine in their own right, in this tale of a gang of "fifth columnists" (Nazis) accidentally discovered plotting in the heart of New York City.

Bogart - terrifically relaxed and so much fun to watch here - stars as Gloves Donahue, a big-shot in Manhattan's theater district whose actual occupation is a bit shady; he is affiliated with the horse racing industry, but also seems to be the kind of guy who has his hands in several pots (not all of them strictly on the up-and-up), always has money ... and is loved by his buddies and community not only because he gives back to them - but the guy also even has a loving mother (Jane Darwell) he dotes on. The cops constantly seem to be keeping an eye on Gloves (whose nickname comes from the fact he is always wearing gloves on his hands) - but it's not even clear if they know why. Gloves is a bit shady, in other words, but overall a good guy.

It's Mrs. Donahue (Gloves' mother), in fact, who draws Gloves into the case of a murdered bakery owner - Gloves' favorite maker of cheesecake in the entire city of New York. When Gloves finds the body of Mr. Miller in the basement of the bakery, soon after a mysterious woman with an accent (Kaaren Verne) comes asking for the baker - and scrams fast when she learns from gloves that the guy has been murdered. Gloves leaves everything to the police, but Mrs. Donahue has "a feeling" - and when she has a feeling, it won't go away; she follows the mystery woman to a nightclub the girl sings at ... then goes to Gloves and asks him to please follow up, by questioning why the girl wanted to talk with Mr. Miller in the first place.

Gloves agrees, and soon after entering the club finds out that something is, indeed, screwy. His probing leads to the girl being whisked out of the club against her will by a pair of bad guys - and another dead body that the police end up blaming Gloves for, after he accidentally leaves one of his telltale gloves behind near the corpse.

Now wanted for murder, Gloves has no choice but to follow the clues and clear his name - and in doing so, along with a couple of buddies, stumbles across the hiding place for a gang of Nazis plotting some very nasty local sabotage. The trouble is in getting the police to believe him ... while not getting himself arrested for murder ... while finding out what the girl's involvement is in the whole thing, as she seems to be the key to his troubles.

This is such a great film, pure propaganda with a capital "P" - but so much fun, so pro-American/anti-Nazi, you can't help but stay hooked until the end. There's a lighthearted, even sarcastic and funny edge to the film that, despite the serious subject matter, is why it works so well - thanks, again, to the terrific supporting cast of character actors, most of whom play Gloves' buddies that band together like a bunch of over-anxious Teamsters to rescue him in the end. Fun, exciting, exhilarating and suspenseful in all the right places, this is one of Bogie's best roles - and a film deserving of more attention, in relationship to Bogart, than it usually gets. **** - Reel Awesome

Tuesday, October 6, 2009

Thursday, October 1, 2009

Tuesday, September 29, 2009

Wednesday, September 23, 2009

When East Meets Eastwood: How BEE VANG became an actor, and came to co-star in one of the best films of 2008

At the age of seventeen (as of this writing), Bee Vang has already put behind him the kind of break that many actors spend the majority of their careers trying to land - a co-starring role in a prestigious Hollywood film, directed by and starring an icon of American cinema.

Such was Gran Torino, a 2008 release starring and directed by Clint Eastwood that proved to be one of the most critically-praised films of Eastwood's career. And Bee Vang, who played Thao Vang Lor in the film - the next-door-neighbor who would turn out to be the biggest pain in Clint Eastwood's character's behind ... and, ultimately, his best friend. Vang's performance was praised by critics and fans alike, as well, and has already earned the teen from Minnesota a core group of fans.

Not bad for a guy who had no previous acting experience (or, for that matter, ambitions) going into it all.

Born in Fresno, California, Bee Vang grew up in a big, quite extended family; his Hmong (an ethnic group originating in the mountainous regions of southeast Asia forced, years ago, to flee their homeland in search of political asylum) parents had emigrated to the United States just a few years before his birth, and Bee remembers his childhood as being constantly surrounded by family - literally, with sometimes as many as fifteen people sharing the same home. "It was always cramped, and sometimes tough," Bee says, "but I was so young, it was okay."

When Vang and his immediate family - which includes four brothers and one sister - relocated to Minnesota, it was there that Bee met "Miss D," a teacher who would nurture his artistic side. "I fell in love with the piano and viola," he remembers, "and Miss D always encouraged me; she found me a piano to play on, and bought me a viola." When Miss D passed a few years ago, Vang even played one of her favorite songs at the funeral - and in fact, in an otherwise completely professional yet personable demeanor, it's in talking about Miss D that Bee Vang's voice hints at the emotional bond he still has with his inspirational teacher: "Remember the part in Gran Torino, when I go to help that lady across the street with her groceries?" he asks. "Well, if you listen close, you can hear me call her 'Miss D' in the movie."

It's this kind of honor and respect that led Bee to originally pursue classical music; he was playing by 7th grade, and listening to classical music to sleep. "I found out, though, that I wasn't disciplined enough to be that good," he adds. "That, and I was never really encouraged much by my parents, who wanted me to pursue a more stable career. So after Miss D died (from brain cancer), I was inspired to go into neuroscience and medicine. I volunteered at local hospitals, and even got my CNA (Certified Nursing Assistant certification) through an internship."

But Bee's love for the arts - and, in particular, for film - was rekindled via an apprenticeship with a local Hmong filmmaker. Soon Bee learned, however, that his own ideas and work were a bit too controversial for that market, and by 9th grade he'd left the apprenticeship when there were too many compromises and changes requested of him. Even by this time, Bee had never had any desire or interest in acting ... but then received an email that changed his life.

An ad in the Hmong Times newspaper stated that a film company was seeking local Hmong actors for a feature film. Not expecting anything, Bee sent in his information and a photo - and, to his surprise, was called about an audition. "They called me, and sent me a side (a portion of a film script containing only the lines the actor is to read for his/her audition) to read," Bee recalls. "I prepared and went to the audition, while still juggling school and everything, and six weeks later got the callback. Several more weeks, and they told me I had the role."

And when asked his reaction to landing a major role in a film co-starring and directed by the one and only Clint Eastwood? Bee stifles a chuckle before replying. "I know girls are supposedly more emotional, but I realize maybe guys can be; looking back, I felt like this would give my artistic side a chance again; the opportunity for me to really push myself. I jumped up, screamed - even cried a bit. It was a real life-changing moment. Being Hmong, my parents have always pushed me into a stable career - professor, teacher, doctor - so this was an emotional experience for me." Vang mentions a lack of Eastwood star power at the auditions, "but for me that was good; less intimidating. I was less nervous because of it, and didn't meet Mr. Eastwood until my first day of shooting, three months later."

And for sure, meeting Clint Eastwood that day was something Bee Vang will never forget. "I was scared, but kept looking for him that day. I really wanted to make a good impression, didn't want to go overboard, but just shake his hand - and when I did, I think I said something like 'Nice to meet you, Mr. Callahan'. So much for a good impression!

"Until then I'd seen him as the intimidating, scary guy from the Dirty Harry movies. But he's just a regular person; another human being. He's not a 'star,' he's just ... Clint Eastwood - and I realized he's a very down-to-earth, serious guy."

Vang expands on his impressions of Eastwood further, when asked what working with him was like. "We never really talked on-set, other than our scenes together. He has his own style, and when you're on set he lets you know you're fine and will be taken care of. He's very quiet; I tried to ask him about his career and the industry, ask his advice, but only usually got, like, five minutes with him on set at a time, so it was hard to talk with him - but he told me that he kept that distance on purpose, to keep the same feel of the relationship that Thao and Walt had going on on-screen . So I learned all I could, for as long as I was with him, and also applaud Mr. Eastwood for giving Hmong people a chance to be seen and heard. He (Mr. Eastwood) works way too much, though - acting, directing, post-production; I heard that Gran Torino was going to be his last job as an actor, and I'm proud to have been a part of that."

Because of his outstanding, very realistic performance as Thao, it was natural to ask Bee about similarities he and his character have (warning: a few Gran Torino spoilers here!). "I think I'm smarter than Thao. Smarter, and maybe more aggressive. Thao is passive-aggressive, not as professional in his conversation. But there are similarities. Thao got the car - I got the piano from Miss D. My sister is a wonderful influence in my life, like Thao's. I've been greatly influenced by the women in my life, supported by women - there are many similarities to me and Thao, only if you gave Thao more of a chance to come out of his shell." Bee even remembers a time, like Thao helping his neighbors with the groceries in the film, when Bee himself spotted a blind man once, during the winter, whose path was blocked where he was about to walk. Like Thao, Bee jumped out of the car to help the man.

And that same guy still seems to reside in Bee Vang, even with all the attention the film has brought him. "I'm still very self-conscious. I'd never even given speeches in school. And when the premiere was coming, suddenly I had to give school speeches, interviews, speak in front of forums; I hadn't even prepared what to wear to the premiere! It still seems like a dream, that someone like me could even step up to such heights to work with Clint Eastwood in a film like this - and I remember I even screamed in the car on the way to the premiere. I'm trying, though, to be a better public speaker, and am proud to be a representative of the Hmong people. I like to feel like I helped pave the way in Hollywood a like - like maybe what happened to me was a stepping stone for other Asian and minority actors."

And while he's currently back in school in Minnesota, don't think for a moment that Bee Vang is a one-shot wonder - or going back to medicine. "I'm learning - reading - trying to become better with theater and acting in film. I've starred in a local Hmong filmmaker's film, Fallen City, that's due out in December, and had a small role in another independent film, Anatomically Incorrect. Right now, I'm just trying to study and learn, before eventually leaving for California or New York City." And Vang has good influences for his career goals, as well - favorite actors include Peter O'Toole, Daniel Day-Lewis, Tony Leung, and Leslie Cheung, and Bee cites directors like Chan-wook Park, Wong Kar-wai, Korean arthouse director Kim Ki-duk, Sean Penn, and of course Eastwood himself as his inspirations.

"I'd like to get a degree in acting and filmmaking - to become more known internationally, and work everywhere with directors all over the world. I need to finish college first, then get into film - more movie and acting opportunities. Maybe even directing," he adds with a small sigh.

And with a film Gran Torino as his debut, it seems like Bee Vang may already be well on his way.

ONE MISSED CALL

Director: Takashi Miike
Stars: Kou Shibasaki, Shin'ichi Tsutsumi, Kazue Fukiishi, Anna Nagata
Year: 2003
Rating: R

You can read the review for the 2008 American remake of this J-horror (Japanese horror) film in the archives of this very blog, here; I gave that disaster of a film one star, and in fact thought the experience of watching it so bad, I just knew the original Japanese version would have to be better. Happily, it even exceeded my most humble of expectations.

The plot is the same here - just told so much better, and with a heck of a lot more suspense and tension. Kou Shibasaki plays Yumi, a popular and pretty student about to be thrown into some very weird circumstances ... when her close friend Yoko (Anna Nagata), one night when the two girls are together, receives a call on her cell phone that comes with a strange ringtone she doesn't recognize. Checking the called ID after missing the call, Yoko sees the caller is ... herself. Not only that, but the time and date of the call are a day-and-a-half away. Confused, Yoko checks the voicemail left on her missed call - and the two girls here not only Yoko's voice saying "Oh, it's raining" - but this innocent sentence is soon followed by Yoko's screaming, and then the message cuts off.

The girls are (understandably) freaked out by the message, but soon blow it off as some kind of trick played on Yoko by one of their friends. That is, until 11:04pm the next evening - the exact time and date displayed on the missed call on Yoko's phone - when Yoko is walking home and talking to Yumi on her phone, notices the rain just starting to come down ... and seconds after saying "Oh, it's raining" to Yumi, is killed when she's thrown off a bridge, screaming, onto a moving train.

Yoko's death is declared a suicide, but Yumi knows better. And when the guy Yoko liked - who was in Yoko's address book on her cell - gets a similar missed call, then dies right in front of Yumi's eyes, the pattern of the eerie ringtone that signals you calling yourself from the future, foretelling your own death, begins. It doesn't take long before Yumi finds herself on the receiving end of such a call, and finds herself teaming up with a mysterious man named Yamashita (Shin'ichi Tsutsumi) - whose sister is somehow involved in all of this - with only fourteen hours to find out what's going on ... and stop her own death.

Seemingly borrowing a bit from Ringu, or even Ju-on: The Grudge, in places, One Missed Call still manages to maintain a freshness and suspense that keeps the film well-paced throughout. Like most J-horror, the film relies much more on creating an effective and creepy mood through the building up of tension and dread than outright gore, and here it works very well. There is also, in J-horror style, a hint of sadness to the ghostly tale, once you know what's going on, the story told through symbolism as well as a direct narrative style. While not outright "scary" in the way most Westerners would view horror films, there is a downright creepiness here that will get a bit under your skin, with a few jolts to make you jump in your seat along the way. Even the ending, with its nice twist, is something you don't see coming.

MUCH better than its remake (but isn't that usually the way?), the original Japanese version of One Missed Call (which has two sequels I'd now like to see) is pretty much a must-see if you like J-horror - but remains a suspenseful, chilling ride worth taking even if you don't. ***1/2 - Reel Cool-Reel Awesome