The Pursuit of Happyness - 12-06

Will Smith puts forth his best performance since his gut-wrenching portrayal of "Muhammad Ali" in Ali and his son, Jaden Smith gives one of best child performances in the past decade but all those things don't mean this is a great picture. The film tells the story of Chris Gardener, a single dad who has had a few too many bills pile up and decides on a career change. He becomes an unpaid intern at a prestigious stock firm and his only source of income is selling bone density scanners to doctors and hospitals. During this time he has tax problems, home issues, family separations, and many other things that could plow down the spirit of any human being. The story is entirely predictable and it's just the performances that pull you through.

The movie flaws in the fault of the writer, Steve Conrad who has written past misfires The Weather Man and Wrestling Ernest Hemingway. The film is "inspired by a true story" and he made it into this unbelievable, downfall after downfall film that features Will Smith running entirely way too often and luck getting worse for no apparent reason. Logically, life does throw you curveballs and coincidences do happen, but come on, the audience isn't that stupid. We need a bit more substance than that. Been homeless? Parents struggle immensely raising you? Feel like you're doing good in life and then something comes and knocks you down? If you answered yes, to any of those questions, then you should be touched by this picture. The sequences of Will Smith becoming homeless and watching his spirit collapse with his son sleeping in his arms in a bathroom stall is really heartbreaking. Only because of Smith's powerful performance do you feel the fear and anxiety right beside him and that daunting wondering of what to do next.

The true revelation of the picture comes from Smith's young son Jaden Smith. May be more of the "cute kid" factor but I walked out of the theater thinking of him the most. His "knock knock" jokes, crying over his Captain America and general enlightenment of his father are the most poignant piece of the film. When the experience of the movie is over you want to know very badly where his son is and what he is doing. Jaden Smith created that for us; that love for little "Christopher" and wanting to teach him life lessons and make sure he doesn't get plowed by the negativity around him.

Italian Director Gabriele Muccino played the film extremely safe with shot to shot dialogue and leaving no room for artistic imagery. But it is a solid effort and I wouldn't hesitate to see his next American film. All in all, The Pursuit of Happyness is a movie that a family could enjoy together and it will make you grateful for what you have but take it all with a grain of salt. This film stretches the mind and not in a good way.

Grade: **1/2/****

Babel - 10-06

By: Clayton Davis



Walking into a movie theater there are neutral expectations that enters the average viewer, being entertained being the most prevalent, enjoy the moments ahead whether it's in comedy, drama, musical, etc. is important to every movie-goer. No person wants to waste time or money on a film that will be keep them in the realization of being in a movie theater. The next usually depends on what genre you are watching, in this case drama, you searching to be moved, possibly learn something that will open your mind, heart, and soul to a brand new idea. The idea usually pushes the bar to new extremes such as past films as Crash, Forrest Gump, and even though aging poorly American Beauty. Babel, the newest addition to the Alejandro Gonzalez Innaritu film series of unique narratives is an immense film with a beautiful cast ensemble that is dedicated to the cause yet it becomes insanely heavy to the viewer and forces an immediate disengagement from the film if even for minutes at a time to catch a breath.The film is told in four different languages: Arabic, English, Spanish, and Japanese. (I do believe there is some French in there too.) We are thrown into four interwoven, grim tales of racism, discrimination barriers and journey seeking courage.



Brad Pitt and Cate Blanchett play Richard and Susan, a married couple vacationing in Morocco to reignite any flame left of their marriage but a coincidence will leave them stranded in a series of conflict, tragedy, and helpless, thousands of miles from "civilization." Koji Yakusho and Rinko Kikuchi are "Yasujiro" and "Chieko," father and daughter living in Japan trying to rebuild a relationship since the untimely death of Chieko's mother. Two unknown young actors portray Moroccan brothers who instigate the events of the film. Adriana Barraza is Amelia, a Mexican nanny living in the United States taking care of Richard and Susan's children as they deal with their situation. Due to circumstances, she decides to travel to Mexico to attend her son's wedding with the children. Her unconditional care for the children is the emotional center of the picture and is where the film finds prosperity.The film is unusual but accurate, awkward but compelling, and bizarre yet organic. The film's cinematography is gorgeous panning in and out of the stories as if we were living right beside the disposition. Crisp, clear editing add to the depiction but this is where I needed the breather. The viewer never feels jaded by the narrative but as the writing is so thought provoking, the message being whispered, to say the least, feels at times being thrashed over the skull. I learned a lot which might be an understatement but there's a line between being taught and being abused. Several times, I had to close my eyes just to remember that my life isn't as bad as these individuals and that there is some communication between people without bloodshed, insult or tragedy.

The performances are by far one of the finest depictions of contemporary characters in recent memory. They're raw, intense, pure and actual in expressions as the actors deliver them to us. Brad Pitt gives his finest performance to date although not the best of the year by any measurement. Pitt finds the inner most personal parts of Richard and illustrates it to the audience. With his name alone, it should likely carry him to the top five. Baffles me how he is first billed, or any the four actors listed, and this is claimed to be an ensemble piece.(which it clearly is) The great Cate Blanchett whom is reserved to cries, screams and yells shows us she is still "Cate that Great," even in the smallest of roles.

The revelation of the film comes from the elder, Adriana Barraza and the young and fearsome Rinko Kikuchi. As stated earlier, Barraza's devotion to the children are the emotional center of the film but the role didn't become alive until the finale. Also, like Blanchett, she is relegated to simple, repetitive gestures but is given the chance to excel and shine right out the silver screen. Kikuchi, whom is deaf and mute in the film, is utterly heartbreaking. Let's imagine Holly Hunter from The Piano and multiply that by a death of a mother, a yearning to be loved, and a sincere feel of desperation. Kikuchi eyes alone will leave you shambles as the story progresses. It's her story that teaches this viewer the most but makes unfasten himself from the car and open the window for fresh air.Oscar prospects will more than likely see Babel in the Best Picture race with Innaritu locking up a director's spot. Directing in many languages should bring acclaim on its own before viewers even see the film. It was as if he spoke in the many tongues of language and everyone understands him perfectly.

Guillermo Arriaga is also locking up an Original Screenplay nomination and he is long overdue with past snubs with 21 Grams and Amores Perros. I believe it'll be Arriaga, Emilio Estevez for Bobby, and Michael Arndt for Little Miss Sunshine battling it out all season long. Editing and cinematography are also feasible. Babel is a great experience and I'm sure others will probably find out superb and tremendous but this is not Crash by any means rather belongs in a category all its own. Enjoy the experience.

Grade: ***1/2/****

A Guide to Recognizing your Saints - 9-06

By: Clayton Davis

There comes a time when motion pictures take an extraordinary turn, when and where that happens is irrelevant, although recently I've experienced a breathtaking turn in film making. The name of the experience is A Guide to Recognizing your Saints. First time director Dito Montiel created, based on own occurrences and adapted from his book, a personal picture engulfed in beautiful undertones of love, regret and forgiveness. The film is sculpted by a powerful screenplay by Montiel and an incredible cast who captured the best ensemble award from the coveted Sundance Film Festival. The film stars Academy Award nominees Robert Downey, Jr. and Chazz Palminteri, Oscar winner, Dianne Weist and a slew of incredible and upcoming talent coming from Shia LeBeouf, Rosario Dawson, Channing Tatum and Melonie Diaz. The movie parallels us through a downward spiral of daily entities and a burrow of absolution and adversity.

The movie cuts in and out of the years 2005 and 1986 and both center around Dito Montiel, a young Queens-born Italian trying to cope with the everyday hard streets of crime, prejudice and premature passion. In 2005 Dito lives away from his family and is contacted by his mother to return home to care for his ill and medically stubborn father. Robert Downey, Jr. plays the multi-layered character who carries the weight of the world on his heart. Dito's pain is so deep that he can't even believe or conceive a start to come to terms with it. Downey, Jr. has been making a strong comeback for his career and when he pulls in outstanding performances like this it reestablishes his talent. Shia LeBeouf portrays the young "Dito" in 1986 and pulls in one of the most riveting performances ever performed by a younger actor. LeBeouf shows you what it means not only to play a role but to inhabit it. "Dito" may seem flawless at times as he grows up and surrounds himself by his compatriots, but when he falls into temptation and wants the escape into an unrestrained humanity we see a true idol emerge. Dito's humanity is threatened by local thugs such as the Puerto Rican, Reefer and his relationship with his adverse father played by Palminteri. Throughout the film you see Dito trying to self-improve his life by conversations about relocating, expanding his friends with the new foreign student Mike and learning more about himself than he intends at his age. His circle of friends include the three "free-spirited" teenage girls from the neighborhood, his abused and violent friend Antonio, (Channing Tatum) the little man, Nerf, and Antonio's dazed younger brother Giuseppe. Dito searches for it including love with one of the ladies (Melonie Diaz (young) Rosario Dawson (old)) who captures the essence of innocence lost in between adolescence and the alleyway.Dito Montiel's life is the ultimate example of baggage accumulated over decades and inevitable recognition of it and eventual confrontation of it.

The movie is Kids meets The Basketball Diaries told in a Sleepers like narrative. The 21 Grams like cinematography is captivating and crisp editing makes a wonderful, enjoyable and imperative film to a generation lost in its own indulgence. Unfortunately, the film is far too "small" to be recognized by the Academy. If it were up to me this would be a definite contender in the Adapted Screenplay category and LeBeouf would be joining a very crowded Best Actor race. Downey, Jr. would also enhance his chances in the supporting category along with the upcoming project Fur. This personal portrait of culture and life exists primarily in the mind and suffering of Dito Montiel who painted this amazing representation. All who see the film will be yearning to recognize their saints.

Grade: ****/****

Bobby 06-06

By: Clayton Davis

Bobby which tells the story of the assassination of Robert Kennedy, the little brother of the late and also assassinated President John F. Kennedy, and what was going on 16 hours before it happened. We are thrown back and forth between 22 extraordinary characters and stories. Emilio Estevez writes, directs, and co-stars; he has truly elevated his level of direction and writing. This is coming from the same man who brought us hit and miss films like Men at Work and The War at Home. He parallels us through a journey of injustice, racism, prejudice, adultery, and more. This film much like Crash with its unsubtle undertones of encroachment could be the multi-character film that has the Good Night, and Good Luck feel that speaks assertively to America.

This film leads an all-star cast of some A and B-list actors. William H. Macy plays the manager of the famous Ambassador Hotel (which the Oscars were held at a few times) and Sharon Stone plays his wife and hairdresser of the hotel. Heather Graham plays one of switchboard operators whom Macy is having an affair with. Demi Moore plays Virginia Fallon, the alcoholic lounge singer who is set to introduce the doomed candidate of the presidency. Estevez portrays Moore's husband and manager being tormented emotionally by his wife's addiction. Lindsay Lohan, who has a step now to bring herself into more serious roles, depicts Diane, a young bride to be, who is marrying her boyfriend's brother to keep him from going to Vietnam. Elijah Wood plays the future and very grateful husband. Freddy Rodriguez known for his role in "Six Feet Under" and Jacob Vargas known for his supporting roles in Traffic and Jarhead, play Mexican kitchen staff members who are working a double shift and are in search of equality. Laurence Fishburne is Edward Robinson, an older black kitchen staff employee who is teaching his fellow compatriots about offering more to life than anger. Joshua Jackson and Nick Cannon are campaign managers for the infamous Bobby. Real life father of Emilio Estevez, Martin Sheen is Jack, a depressed older man who marries a younger woman portrayed brilliantly by Helen Hunt. Christian Slater is Timmons the very racist kitchen staff manager who is not subtle about his feelings towards minorities. And veterans Sir Anthony Hopkins and Harry Belafonte are John Casey, a veteran worker of the Ambassador and Nelson, an old friend reminiscing of the old days. And at the end we have a little Ashton Kutcher, Shia LaBeouf, and Mary Elizabeth Winstead.


The movie races against the clock to bring us into all these characters lives and show us about "Old America" and where we've come from. The film has it all, some comic relief coming from Kutcher, your strong political message, the dramatic elements, and the emotional punch that lays the icing on the already multi-layered cake. This is one of the most important films of the year and if justice is served this will be on many critics' top ten lists of the year. I can't explain too much about the film without giving away vital parts but it speaks to America. It shows a history of grave transgressions and how that may seem all behind us it is lucidly vigorous. The mention of Dr. King and his impact on people fighting for equal rights is mentioned quite of a bit and leaves in discernment. Bobby Kennedy was the light at the end of a lot of citizen's dark tunnel. People believed he was going to do some amazing things for us and we'll never know if he would have lived up to those expectations but I am now very informed of his life, legacy and how much he meant to so many individuals.

Emilio Estevez could very well be the Paul Haggis of the year with his excellent writing and direction of the film. I never would have thought he had it in him to pull off this passionate and affecting drama out of him. The performances are amazing but to be honest, with 22 different characters as oppose to Crash's ten or twelve it's hard to pick a standout. If critics go crazy for the film, I'd place bets for Laurence Fishburne who has already received raves for his Akeelah and the Bee, Helen Hunt's haunting and powerful performance very reminiscent of Julianne Moore's performance in The Hours, and possibly Harry Belafonte as the veteran of the year to make it to the short list for the first time. With these bets my favorites differ; by far Freddy Rodriguez as Jose who brings a sense of humanity to his role which mirrors Michael Pena's Daniel in Crash went home with me post-experience. I wouldn't even be hesitant to say Christian Slater was great as a racist who also mirrors Matt Dillon's Oscar nominated performance. Sharon Stone also left a beautiful impact on me to make long forget about Basic Instinct 2: Risk Addiction.

With all of these key components and sides of The Constant Gardener and JFK, this is the film of the year. Undying gratitude can be expressed to cast and crew involved in such a passionate masterpiece of film-making. The technical aspects of the film are eye-catching. The recreation of the Ambassador Hotel by unknown Colin De Rouin is beautifully constructed and is alone worthy of viewing pleasure. The cinematography always keeps the smooth flow of the film moving along with excellent editing coming from Richard Chew, the Oscar winner of a little bold masterpiece called Star Wars. Even the Mark Isham score definitely sampled from Thomas Newman adds to a melancholy yet invigorating memoir. A review such as this cannot begin to encapsulate the consciousness of Bobby it can only be a fishhook with enough thrust to get a viewer into a chair and enjoy respect, knowledge and background of one of the most notorious and resourceful men in the history of politics.

Grade: ****/****

Breaking and Entering - 11-06

By: Clayton Davis
Anthony Minghella’s latest work is as anomalous as it is rapture. The Academy Award winning director of The English Patient has brought brutal honesty of a different type of culture but I’m afraid the middle acts of the film leave the audience too disenchanted and by the final act when it finally does pick up, we are already lost in the quarrel of deceit and dialogue. Minghella brings us the story of Will, (Jude Law) an architect who has just opened up his own company with his long time business partner Sandy (Martin Freeman). Unfortunately, they open up on a rough side of London and have a few “B & E’s” before taking it upon themselves to sniff out the culprit. The culprit however, is a young fifteen year old boy, Miro (Rafi Gavron) who works for a gang of thugs who consists of his late father’s side of the family. The acrobatic Miro must jump railings, rooftops, etc. in order to shake authorities but somehow finds himself intrigued by Will’s architecture.


When Will is not sniffing, he is distancing himself away from his long time girlfriend Liv (Robin Wright Penn) and her behaviorally challenged daughter Beatrice. The strain on their relationship has been ten years in the making with their unmarried lifestyle and soon to become familiar nature. After many nights of sitting and having conversations with the local and extremely humorous prostitute, (Vera Farmiga) Will discovers his guilty party and pursues Miro all the way to his home. In Miro’s home he lives with his hard-working and loving mother, Amira (Juliette Binoche) and Will’s attraction is sparked immediately before even fathoming a mention of Miro. The two start a very involved and passionate love affair with Amira having no knowledge of Miro’s extracurricular events.

Minghella does a fantastic job of wrapping us in the story from the premise of the film but somewhere in the ladder we are left on the side of the road in an unbalanced rising action. In its 120 minutes of running time, the audience meets and greets the characters; we are brought intimately with each of them and like Minghella’s previous works, he introduces us with much dialogue but in this case it was not enough to suffice. While I admire the honesty, truth and expression of human weakness of the picture, I needed a little more to pull me along the story to keep me progressing. As usual Gabriel Yared’s score is evident and gives great conviction to each scene along with the beautiful camera work and editing and fortunately, the performances were sufficient enough to keep me intrigued in the story.

Jude Law regrettably is “Dan” from Closer for a good duration of the film but rest assure by the final act he gives his best performance to date. Not entirely sure what happened the first 2/3 of the film but Law completely lost himself in “Will” for the resolution and emerged a true leading thespian. It is Law’s final performance that saves the film from being ordinary to something a little more. I’m uncertain of his chances with the “Gold Man” because we’ve seen a Jude Law like this before and he’s had excellent chemistry with Minghella as we saw in his previous nominated works. I suppose there’s too much flaw in his armor to carry it all the way to battle.

Juliette Binoche has proved time and time again that she is a reliable actress to carry a film. As the refugee survivor “Amira,” Binoche stretches out her legs to give us someone utterly heartbreaking and unlike what we’ve seen before. The admiration for “Amira” is in her strong and undying espousal for her son. Amira is determined to set her son straight on a path and you can’t deny the love between them. It is in the intimate moments of laughing and kissing between the mother and son, that we find the emotional center of the tale. Minghella really deserves praise for directing and showing us one of the best mother-son moments of contemporary cinema. Binoche and Gavron are truly that good.

The standout and M.V.P. of the film is the no-less than perfect Robin Wright-Penn as Oscar’s favorite lady; the suffering wife or in this case girlfriend. Wright has taken large steps in Indie films the past few years but she gives the Swedish and beautiful Liv, a sense of humanity that actresses like Winslet and Weisz can only pull off. “Liv” is an attentive mother, a loving girlfriend, but a woman with a tortured soul that by credits end you bring home with you. Despite some of her accent flaws, which came from time to time, Wright never leaves “Liv” unattended and gives the film the backbone needed to walk a very rough road. If there’s any aspect of the film to nominate it is Robin Wright-Penn for charisma, zeal and dedication to a role that sounds formula-matic on paper but no formula in sight. There’s much fondness in “Liv” and many women can relate to her character which is probably why she’s so great. As this was being touted as Minghella’s best work to date, I might pass on that notion. We could see a worthy screenplay nomination and a much needed Maria Bello-like nomination for Robin Wright-Penn. (I’m telling you, it’s that good) Other than that, nothing spectacular about the movie although it may appeal to crowds of Minghella stalkers and lovers but not to this critic.

Grade: ***/****

United 93 - 4/06

By: Clayton Davis
Honorable, heart-breaking, proud, frustrating, angry, endearing, brave, unbelievable, morose, and about a million other verbs, adverbs, or whatever other superlatives you can think of will cross the mind upon the experience called United 93. This film opens up old wounds and creates new ones. How could this possibly happen? Why didn’t people move faster? Where in God’s name was Bush? Why them? Why us? You are put on the doomed plane with forty extraordinary ladies and gentleman. You are so proud when this film is over and not to be an American but to be a part of the human race. At mankind’s peek of expiration the spirit becomes alive and is evident in actions and words.

I try not to look at this subjectively. Living so close to New York City and witnessing the attacks happen right in front of your eyes does make this experience that much harder. I will agree with a lot of people and say this might have been too soon to start giving the different perspectives on the attacks but it’s been made and we have to deal with it. This is a film that you really don’t want to see that you should see. Paul Greengrass took a huge risk on making this film and he does the passengers, the families, and the rest of mankind justice. The most hurtful thing of this process wasn’t the actual things in the film taking place but the mystery that is left afterwards. We will never know in this world and lifetime what happened on that plane, we will never know what it felt like to be on that plane or to be the loved one of a person being called by someone on that plane, but we do know that if you are reading this review right now than you are alive and that is a blessing in its own.

There are no performances that stick out unless you give it to all the passengers as an ensemble. (hint: Screen Actors Guild) I’m not sure if this could make it to the ceremony. I on one hand loved the film for its brutal honesty and hate it because it’s a constant reminder of evil. I will probably never see this film again, I’ll own it on DVD just because I’m a freak like that but living through that day over and over again is just something I don’t want to do.

Possible nominations for Picture, Director, Screenplay, and the technical categories. If our Academy is touched as I am by this film they will want to reward it with at least a nomination otherwise it will play as another Passion of the Christ. Touches the hearts of people yet will stir up the controversy.

Your eyes will dry out, you’ll feel the sense of redemption, you’ll pray to everything higher than you that Paul Greengrass will make a different ending even though we all know how it ends. You want these people to live, you want peace, you want happiness, you want the love of the father to come down and prevent the tragedy from occurring but that doesn’t happen. What we are left with is a tortured heart and pain stricken soul that will always wonder why the beauty of mankind is shown in the unknown? A round of applause to the cast, crew, Mr. Greengrass, and to the individuals involved in the attacks for showing us that in the darkest hour of man, the brightest light can be shown and love can always breakthrough.

Grade: ****/****

Driving Lessons 11-06

By: Clayton Davis

From the writer of the critically acclaimed films, Mrs. Brown and Charlotte Gray, Jeremy Brock brings a touching heartfelt dramedy starring Academy Award Nominees Julie Walters and Laura Linney and from the Harry Potter series, Rupert Grint. The beautiful portrait tells the story of Ben Marshall, (Rupert Grint) a seventeen-year old boy being held captive in the heart of his religiously neurotic mother Laura (Laura Linney). After his school year ends he decides to take a job with a clever, free-spirited, and “heavy on the bottle” retired actress, Evie Walton (Julie Walters). The pair embarks upon wonderful adventures from camping to walks around the block to the simple conversations about life. Challenging the domineering mother, as well as each other along the way, the two develop a beautiful bond that revolutionizes both their lives.The comedic elements are flawless and precise especially coming from the British veteran, Walters. Brock uses his unique style to create an infamous and loving nature that first time directors could only dream. Directing comes naturally to Brock as he builds up stunning imagery that breaks the surfaces and plunges the viewer down into an overabundance of adoration and creation. Even the subtle score by unknown composers Clive Carroll and John Renbourn accentuate the tone and manner Brock had no trouble in generating.

Laura Linney is always making her mark in films as she does as “Laura.” The bossy and overbearing mother is at times unbearable and with Linney at the helm of it we are engulfed into that persona. The complexity of her character couldn’t have been more flawlessly portrayed by any actress. Rupert Grint breaks away from “Ron Weasley” and tries on someone new. His performance is more responsive than loquacious but Grint gives us someone brand new to child performances and the viewer thoroughly enjoys it.

The standout however, comes from Oscar nominated actress Julie Walters who gives “Evie” a life of her own. Despite the role being clearly a leading one, Walters fairs better in the supporting category where I believe she can simply take the prize. “Evie” is a mix of “Clementine Kruczynski” and “Mrs. Laura Henderson” with her free spirit and loveable persona that makes completely irrestiable. Hopefully her role will not go unnoticed this awards season. Driving Lessons isn’t an “out of this world” experience but a fine, enjoyable one that any viewer could just kick back and learn a little something about life, love, and friendship coming in the forms of the most beautiful colors and sizes.

Grade: ***/****

Running with Scissors 10-06

By: Clayton Davis

I'm afraid that first time director Ryan Murphy has no control of his film, Running with Scissors. Based on the personal memoir of Augusten Burroughs, it tells the outlandish story of young “Augusten” and during his formative years being given up for adoption to his mother’s therapist and all the craziness that followed. The underdevelopment of characters and ill-mannered direction of them is too “cartoonish” and too zany for my taste. The beautiful ensemble is enough to get the viewer into the seat and the comedic elements are excellent but there’s too much gap between premise and resolution to complete an already difficult tale to construct. The performances are what pull us through a rough ride and uncomfortable and annoying anecdote. Joseph Cross plays the young “Augusten” and does so well. Cross who can also be seen in Flags of our Fathers brings forth an admirable young performance. This is a great breakthrough performance by a male actor this year and I’m glad that both Eastwood and Murphy have stumbled upon him because he’ll be one to watch in the coming years. He plays flamboyantly yet controlled and heartbreaking; yet restrained along removing the layers each scene as the story goes to give us a rare and naked individual. I wish this performance was bringing more buzz for him but the film itself holds him back in the prickly nature of it. I foresee a few breakthrough awards for him this awards season.

Brian Cox was the “cartoon” of the film and I’m not sure who to blame that on. His character was like watching Daffy Duck do a Thomas Haden Church from Sideways impersonation. I didn’t like the way “Dr. Finch” flowed with the story; the immaturity undersized the image being brought and then suddenly the viewer is supposed to sympathize with this character out of nowhere which fails on every level. It’s a shame to see Cox’s talent wasted here.

Evan Rachel Wood was a revelation of the picture which smelled a lot like “Tracy” in her previous project, Thirteen but now she’s a year older. The sympathy in the story is flown immediately to her “Natalie Finch” who creates such a potent aura of refuge and concealment you can’t turn away from her. I’m glad she’s stretching out her acting legs and hope she won’t fall into the hole that Scarlett Johansson has fallen into, the “hot girl” who we’re all getting a little sick of. (but don’t get me wrong Johansson and Wood are both insanely hot.)

Joseph Fiennes has created a person I have never seen before and something I’ve never seen on him. He took on a character I couldn’t have imagined him taking on and ran with it. As the psychotic, gay-lover of young Augusten he truly gives more than a few mannerisms. He does the complete opposite of Cross and layers his character as each scene progresses and unleashes it so abruptly in the fury and anger of a character. But I’m afraid all that leaves quite a bad taste in my mouth after it ends. Gwyneth Paltrow and Alec Baldwin are not too much to talk about but their brief, a little humorous and nothing to marvel at.

Jill Clayburgh is the most “human” character of the story and the favorite of the entire team to this critic. As “Agnes Finch” she shows us Oscar’s favorite “suffering wife” believe it or not but quite a lovely take on her. She is a marvel to watch but Murphy and Burroughs bring up too many questions about her and leave them unanswered. Clayburgh enjoys her role but the writing doesn’t allow her to give us or her the necessary equipment to build her properly. She can make it in the supporting actress list with the way that mess of a race is looking.

And…Annette Bening is such a great female thespian and brings such a great presence to the screen. She took her role and ran so far with it that it literally came around the world a few times. I don’t even care about her questions that are left unanswered, she’s just a wonder in her own. Her “Deirdre Burroughs” is so zany and so crazy and Bening does deglamorizes her image into a wonderful surprise. She brought forth the same vulnerability and cattiness that Ellen Burstyn brought in Requiem for a Dream. I enjoyed her thoroughly and her performance will warrant her that nomination that critics are predicting but I’m afraid she will be (in the words of Johnny Alba, our Oscar Igloo editor) destined to lose if she plays out as a lead (which hurts her because she definitely is a lead). It’s such a tough call.

The film however is in no way coming out with a Best Picture nomination nor an unlikely screenplay nomination. A possible SAG Ensemble nomination is in hand if people like it enough but it’s tough to come alive to it when the story is so irritating and unbelievable. Running with Scissors is exactly what “running with scissors” is, STUPID!

Grade: **/****

A Prairie Home Companion - 6-06

By Clayton Davis

It’s another glorious hit for director, Robert Altman. A Prairie Home Companion is a magnificent story intertwined with beautiful symbolism and wonderful comedy. We are thrown into the finale of one of America’s most celebrated radio shows although out-dated seems to bring joy to all who hear and are a part of the show. Everything is great about this film; the beautiful cinematography by Edward Lachman, a previous Oscar nominee who lost big time for Far From Heaven. The costumes are a delight coming from Catherine Marie Thomas known for her Kill Bill costumes and there’s so much more. The shine of the film is in the performances. Altman brings each character to the definition of what screenwriter Garrison Keillor intended them to be.

The great ensemble is pitch perfect starting with the dynamic duo that is Woody Harrelson and John C. Reilly who are a great combination of comedy and music. A lot of the laughs of the film come from this pair. Virginia Madsen brings a strong presence as the "Dangerous Woman" whose sole purpose is to bring mystery and humanity to the doomed radio show. Madsen is working well after her comeback in 2003’s Sideways and looking for roles that suit her rather than easy paycheck roles. Maya Rudolph portrays the pregnant "Molly," one of the stage managers who carries a bit more baggage than she’d like. Mary Louise Burke and L.Q. Jones are wife and husband, one of which is the Lunch Lady of the set and the other is "Chuck Akers" who gives an astounding final performance for his fans. Tommy Lee Jones is "Axeman," who purchases the building where the radio show is held in order to turn it into a parking lot. The standouts are from the veterans and a newcomer. Kevin Kline is "Guy Noir," a private investigator on the set who finds mystery and laughs in every frame that he’s in. Kline has been off the radar for a few years but has found a role that suits him beautifully. He has the best chance out of the male cast to make it to the shortlist. His screen time is used well and is a wonderful addition to the cast and gives it that perfect balance. Lindsay Lohan is "Lola Johnson," the daughter of "Yolanda Johnson" played stellar by the no less than brilliant, Meryl Streep. Lohan is a morose young woman/poet/songwriter trying to find a purpose in a world of fast moving times. Along with her upcoming Bobby, Lohan is really becoming a serious actress who brings a great presence to her roles. She is too new to the movie scene and doesn’t have that one scene that could get her to the Oscars but can find herself along with her other cast mates at a Screen Actors Guild ceremony.

The true revelation of this picture comes from Meryl Streep and Lily Tomlin who have one of the best chemistry of two actors I’ve seen on film in a long time. The two play "Yolanda" and "Rhonda Adams," sisters who have performed together since their childhood and find themselves reminiscing about the good old days and special times with their mother. The shine is in their singing and fantastic dialogue. Streep has the best character depth of the pair and we find ourselves feeling the most for "Yolanda." Yolanda has ghosts in her closet ranging from her previous husband, the father of Lohan, to a past flame with "G.K.," the radio show host portrayed exquisitely by Garrison Keillor. Lily Tomlin plays the great counterpart to Streep as the threshold of the Adams family. It’s in her strength that she shines and becomes the heart and soul of the film. Her singing with Streep is one of the best moments of the picture and we cannot have found a better pair to make this film what it was born to be; a marvelous revelation of film making.

Oscar prospects are in the Best Picture category of course with a possible directing nomination for Robert Altman. The thing that hurts Altman the most is that he just got an Honorary Oscar last year but that same thing happened with Paul Newman. Supporting nominations for Kevin Kline, Meryl Streep, and Lily Tomlin may be in order. Streep and Tomlin could both make it in unless there is a huge boost a women performance’s this year. Tomlin has never won which gives her the edge and Streep hasn’t been nominated in three years and that helps in Streep-language. A very likely nomination for Garrison Keillor in the adapted screenplay category will be in hand. Sound, sound editing, editing, score, and so forth can follow but with this early release date it will be a hard hurdle to jump. Crash pulled it off with an April release but Prairie doesn’t have the social significance or emotional impact to stay for a long time like Haggis' film did. Although, it does identify with older, veteran voters of the Academy which is a huge plus. This is now the frontrunner for Musical/Comedy slot at the Globes but we’ll see where it goes for the rest of the year with precursors and so.

Congratulations Altman on another wonderful experience that we all enjoyed despite age and generation.
Grade: ***1/2/****

Ask the Dust - 11-06

By Clayton Davis

The film starts off with a very melancholy flavor and a unique opening sequence reminiscent of Far from Heaven but the entire beginning of the film along with the narration feels like a radio cop show that should have been kept on the radio. Robert Towne, the acclaimed writer of the classic, Chinatown brings us into the story of Arturo Bandini, an American writer who moves to write a beloved tale of love. The film has a lot of trouble picking up and keeping the story moving. The pace is utterly off and ill-mannered in giving us a tale of what? I have no idea, but there’s some people talking and some entrances and exits unknown to the viewer.

The story itself while sounds like a little rip off Moulin Rouge is its own strange tale that fails to engulf the characters with modesty and honesty. The director also forgets to invite the audience into the story and illustrate a picture that we can admire. We’re lost somewhere between the land of reality and the beautiful world of motion pictures. Colin Farrell plays the strange Arturo, the Italian-American writer who has a gift of language but is unintelligent in choice and callous in words. Arturo becomes smitten by the beautiful but uncanny Camilla played somewhat skillfully by Salma Hayek. Camilla is a Mexican-immigrant who waitresses at a local restaurant and is in plans to become a citizen. The depth of these two characters is underdeveloped and coy, coy in the manner of allowing these two intimates to give some naked truth to their own lives and underdeveloped in letting them become the person rather than the outline. Farrell has been showing some promise the past few years and we’ve been waiting to see something special from him but the poor storyline doesn’t allow him to stretch his legs and walk. He stands inside his Arturo and is insipid, bland and bored. Actors often enjoy their characters but Farrell takes it on as a gig rather than an adventure. His body language and delivery of lines is quite cumbersome and awkward to say the least.

Hayek on the other hand does breathe some life into her Camilla but the direction of the film is astray and bewildered. Towne didn’t know if he wanted to create a love story or insult the notion of it. Camilla’s outbursts at Arturo gives us the necessary emotions needed to be acquainted with her but no real representation of her internal persona or sincere passion. Hayek is extremely sexy and beautiful but in that lies the performance, nothing “meaty” or spectacular just Frida minus unibrow, lesbians and paintings. Idina Menzel receives best in show honors for her stunning and haunting portrayal of Vera, the drunken mystery woman who finds her woes and sorrows in the eyes of Arturo. She inhabits Vera and gains the sympathy considered necessary for us to care and mourn for Vera. Despite her peculiar entrance, she does keep herself locked into the focal point of Vera and stays. Menzel alone is the redeeming quality of the film and keeps it from outright failing. In recent memory I cannot remember a love story that I just did not care about. Arturo and Camilla are just sketches, a muse of human beings in the world of fiction that never needed to be shared. The ending result is satisfying but plain resolution and unwanted reminiscing of parts of the film they should of cut. Consideration should focus on the beautiful cinematography but in terms of a Hayek nomination we can just wait for other contenders to roll down and take up the spaces. Ask the Dust is worth a watch and some people can find their love in it but I had no desire to ask anybody about the film, not even the dust.

Grade: **1/2/****

Flannel Pajamas - 10-06

By Clayton Davis

Flannel Pajamas is the new independent film about the relationship of two individuals who go through the step-by-step analysis from first-time meetings, to eventual physical affection and then emotional exchanges. Unknown writer/director Jeff Lipsky deconstructs the abnormal psyche of two people, Stuart (Justin Kirk) and Nicole (Julianne Nicholson) and shows the viewer intangible sphere of their association. Admiring the courage of two leading performances would be an understatement. Kirk and Nicholson completely engage themselves in their respective roles.

The story begins with Stuart and Nicole meeting on a double date. Flirting, paranoia, dilemma, and heated discussion both fuel each other to more intrigue in the other. After their meeting we begin on their relationship road, and a very bumpy road at that. At first, the two seem like such a perfect match despite their differences. Stuart is a confident, money making man, who gives off the sense of inner-conflict but exceptional at hiding it from the viewer as well as Nicole. Nicole on the other hand, has a cute as a button persona who just happens to be living in an apartment with a communal bathroom. Her yearn for a man with financial and emotional stability is evident and Stuart seems to be the answer for her. Unfortunately the film’s emotional centers aren’t really there. Even though you can find a bit of every love/relationship film ever made in this film, some real life issues need not to be shared. Lipsky’s heart was in the right place when writing the film but his choices of leading the viewer through the tale were falsified by the fact that this is a love/relationship film.

Justin Kirk, best known for his bravura performance in Angels in America, completely wears his role with such confidence and inevitable downfall of Stuart is shown remarkably by Kirk. The meeting with Nicole’s Anti-Semitic mother gives Stuart the freedom to stretch out his legs and walk through a film which many will/have not enjoyed and give it a more even potent center. Julianne Nicholson gives that brave and tortured performance that every actor dreams of. Despite spending half the film in the nude that is not the reason why it is “brave” as some critics like to throw in when someone does spend screen time like that. It’s what she does when she’s clothed and unclothed and her expression of words, her facial transformations in an instance, and even more, giving Nicole a sensitivity and humanity of sheer velocity. In the coming years, I have a feeling we could be hearing Nicholson’s name at some award ceremonies. Although I’m afraid the performances aren’t enough to carry a film like this through to the end. Hallow centers and underdeveloped characters are just too much of an imperfection in portrait already pre-painted a little fuzzy. Engagement is vague but emotion is manifested wonderfully.

Grade: **1/2/****

Aurora Borealis - 9-06

By Clayton Davis

The Indie film, Aurora Borealis directed by James C.E. Burke has created a fair and moving picture with sensitive undertones and subtle cultivation. The film tells the story of "Duncan Shorter," a young twenty-something with poor work ethic, an underlying affliction, and an ill-conceived perception of life. Joshua Jackson or better known as "Pacey" portrays the young passive "Duncan." Since the untimely death of his beloved father, Duncan has been quite engulfed and comfortable in his small town in Minnesota. A town where all your friends have been around since elementary school and everyone wallows in their entity and sheer irksome lifestyle with Duncan being no different. From his adulterous brother that uses his apartment for acts of infidelity to his unsupportive circle of friends, Duncan is in no way progressing or moving forward to a dissimilar lifestyle that is destined to take over. The only sanctity of his life is his grandparents, Ronald and Ruth played exquisitely by Donald Sutherland and Oscar winner, Louise Fletcher.

Ronald has grown ill over the years with his battle with Parkinson's disease and his steady decline of fragility. Ruth has been the sole caretaker of Ronald but as Ronald becomes more ailing and developing thoughts of suicide, the family must face the choice of a home for him or the inevitability of Ronald attempt at ending his existence. Duncan must now face not only the choice of losing another family member but past demons that surface throughout the film. The sheer tenacity that director Burke has to tackle such a sensitive subject as euthanasia and elderly anguish is electrifying and at times heartbreaking. The volume of humanity expressed throughout the film alone is worthy of viewing consideration. When Duncan meets the nurse of his grandfather, Kate (Juliette Lewis) we see Duncan's world start to be challenged for the first time. Only in the subtlety of sacrifice that the film shows could the film illuminate fully. Joshua Jackson breaks away from his television-type personality and gives a befitting performance. This is the first time he has taken am admirable first step into a leading character. His "Duncan" is tortured and multi-layered but during the approximate two hours of film length it's not always clarified. With perhaps a bit more research and shedding some insecurity, Jackson may have nailed the pivotal role. Louise Fletcher returns to glorious form as Duncan's grandmother, Ruth. Since her Oscar Win for 1975's "One Flew over the Cuckoo's Nest" she's been missed from the silver screen with exceptions of cameos in Cruel Intentions and A Map of the World. Ruth is the champion of the family with her constant understanding of Duncan's insecurities, pain and misguided life to loyalty, passion and care for her feeble husband. There is excellent movie magic being made indeed for the veteran actress.

The standout of the cast is coming from the too often ignored and phenomenal veteran actor, Donald Sutherland; who is just waiting for that little bit of buzz to hurtle him into serious contention for a supporting bid from critics. The film has been flying under the radar with the low budget and lack of advertisement but rest assure if enough people see the film Sutherland could be a threat to many men seeking Oscar gold this season. Sutherland's "Ronald" is hilarious, completely likable and a beautifully written character. The courage that Sutherland shows in his character is just cutthroat fire of the film. Leave no mistake, "Ronald" fragility may seem like his weakness but the vulnerability he leaves you after a riveting speech or antithesis will leave you absolutely enthralled.

All technical aspects of the film are your average "Plain Jane" kind of independent film but Burke does capture the essence of the culture that we are thrown into. A beautiful musical score coming from Mychael Danna and a crisp clear cut editing style coming from Richard Nord known for his Oscar nominated editing in The Fugitive. Burke gladly invites the audience into the screen along with a family of heartache and sorrow. I felt compelled and satisfied with the outcome when the credits started rolling. The "northern lights" are evident in Aurora Borealis and are gladly incontestable. Post-experience will leave you in disposition and in wonderful serenity.

Grade: ***/****

The Devil Wears Prada 7-2006

By: Clayton Davis

How important is money and success? The Devil Wears Prada examines that question at full force with some comedic angles and struggles to engulf the viewer in the tale but comes up short like a blurb of research from a magazine column. Prada tells the story of Andrea, a naïve young woman wanting to be a journalist but ends up in the premier of the fashion world. Anne Hathaway portrays the ever-loving and innocent "Andy" who walks into the high-maintenance, sky rise building of the famous "Runway" magazine and lands the second-assistant position to the Editor-in-chief and starts her downward spiral into high heels, Gucci sweaters, and Coach Bags. It's there that she is tormented and verbally abused by many of her fellow co-workers and most of all by the editor of the illustrious publication, Miranda Priestly depicted by the great Meryl Streep. Andy finds herself being rudely ignored and spoken to from minute one. Through simple tasks to her "Plain Jane" attire she is pitiful to all around her. As a solution to her constant anguish she decides to give into the world of trend, shape and style and finds herself moving closer to Miranda and farther from friends, family, and long time boyfriend. This is where the film flaws; it's too much like a recipe and less like an original blueprint to present with admiration. It's a Cinderella story with the same exact formula we've all seen before. The three standout performances are what keeps the story moving and provides us with care and pleasure.

Stanley Tucci is truly an always dependable and reliable supporting player of film making. He is "Nigel," Miranda's right hand man and Andy's gateway into fashion expertise. "Nigel" is funny, witty and hugely charismatic. Tucci is definitely the character you could care the most about and gives the most natural performance of the cast but doesn't have that Oscar scene. Tucci's character is a bit flat in some areas and underdeveloped. Nonetheless, gives great mannerisms, fantastic quotes and exquisite chemistry with any of his co-stars. A scene about the character's background or sexuality could have sealed the deal for a nomination and unless the academy is feeling compelled to reward, which I think they aren't just yet, he'll be sitting out of the ceremony. He has one more film this year, "Four Last Songs" which could revive and increase his buzz by year's end so we'll have just wait.

Anne Hathaway is having a hell of time riding off some Brokeback Mountain love to land her some solid leading female roles. She is the true lead of the film but there's nothing that screams Oscar about the role, it's just a solid effort to show us that she can act and is ready to leave her cutesy Princess Diaries girl behind. Andy is a highly enjoyable character to inhabit and completely likable. How can you not? She's completely vulnerable and completely lovable. Hathaway will probably be going for a Knightley-Portman kind of year and if Becoming Jane is something great than she could find herself as the breakout star of the year like Terrence Howard last year. Andy's flaws and chink in her armor is where Hathaway truly shines. From putting on her first fashionable outfit to finding herself being relentlessly pursued by a business acquaintance, Andy is defenseless to the active world of media and glamour which leads to her character's downfall and inevitable rise up.

And of course, who could forget the wonderful Meryl Streep. She is brilliant, bitchy, cruel, unkind and malicious. That's a lot for a character to expose and then suddenly surges into a character to mourn for, to feel for and feel completely sorry for. Streep is having a hell of year thus far and along with her A Prairie Home Companion buzz she will undoubtedly land in the top 5 of the supporting category. Her Miranda is clearly a supporting role and it boggles my mind how people thought otherwise. This will hopefully be the year that Ms. Meryl will land her 14th and record breaking nomination but will most likely be for Prairie and not Prada. Her Yolanda is more Oscar bait and up Oscar's alley. Miranda has a lot to offer to cinema but not enough to go down in the books.The film has the a+b part of the equation but I was expecting a more capitalized "C" and got the anticipated "c." The film starts to build the gigantic climax and just leaves us somewhere between premise and resolution. Even though disappointing in some aspects, the film is quite enjoyable and you could get a few laughs but don't expect miracles to happen and new ideas to be made. The rest of the supporting cast is good with some showing some range and some just showing. Emily Blunt is a great character to look and watch as the first assistant to Miranda. Enjoy the film and expect some Globe consideration and nominations but don't hold your breath to her a "Prada" name or nom be called out on Oscar morning. It's all too cliché.

Grade: **1/2/****

Running Scared 3-06

By Clayton Davis

Well, now that the 2005 year is over, we are in the undeniable horrific part called the first quarter of the year. It’s this time of the year where movies don’t shine but you may get the occasional Eternal Sunshine of the Spotless Mind or a Joan Allen somewhere in the mix. Running Scared written and directed by Wayne Kramer, who is responsible for penciling The Cooler which gained a nomination for Alec Baldwin, brings this twisted and sometimes unsettling film to the screen. The cinematography is unique but at times feels like a home movie wannabe Matrix with bullets and cameras panning in and out and going into reverse. It gets quite confusing but it works and makes the movie that much more interesting.

The plot is everywhere and is by far one of the most tangent driven stories I’ve seen since Vanilla Sky. You think the movie is going one way but then Kramer brings in the most random “coincidences.” I say “coincidence” very sarcastically. The film keeps you intrigued and wanting more of the story but I’m afraid it ends not wrapped up like a Christmas present and rather like a gift bag put together at your local drugstore. Loose ends and complicated story plots make Scared a fun time at the movies but no where on its way to a classic. The performances are something to be desired.

Leading the pack is Paul Walker with his on and off New York/New Jersey accent. Walker is pretty much just a pretty face and doesn’t really show any potential for Oscar in the coming years. Cameron Bright gives an endearing child performance but trust me; he is not Haley Joel Osment. His frightening “Oleg” is troubled and pained and Bright does a superb job of illustrating it in his face. His dialogue is often at times flat and misleading. If you were to give a standout in this film it would hands down be Vera Farmiga. Farmiga, who surprised critics around by winning the Los Angeles Best Actress award for Down to the Bone, can see at herself in a ceremony one day given the right role. The performance is similar and mirrors Maria Bello’s performance in A History of Violence but of course, doesn’t measure. She is sexy especially in her sex scene with Walker and is a ballsy wife which gives the qualities of Bello. The writing was just too corny and too cheesy for her to bring any depth to the character. The supporting cast is your typical Italian and Russian mafia and mob bosses but no Pesci’s, Hurt’s, or Brando’s here. Just stereotypical characters with bad acting attached.If you want to kill sometime this first quarter, catch Running Scared but don’t expect that last until next January. Oscar chances lie in cinematography and maybe some sound but don’t hold your breathe. Enjoy the film for what it is, an action flick with interesting “coincidences” (there goes sarcasm again) and funny plot twists.

Grade: **/****

2006 Film Reviews

Coming ahead I will include all film reviews of 2006 along with Top 10 and Awards...Hope you enjoy!

WELCOME

My name is Clayton Davis and I am a staff writer for The Oscar Igloo. I've also written publications for Oscarwatch, Zoo Magazine, The Cinema Source and other local community papers. This will be a site dedicated to awards from various sources but will likely focus on the coveted Academy Awards. Feel free to post comments and fill me in on any news. I will give credit where credit is due. Thank you in advance for staying with me.

Clayton