REVIEWS OF RENTED DVDs I GET IN THE MAIL

Posts Tagged ‘oscar winner’

AVATAR (2009)

In A, Action, Adventure, Epic, Motion Pictures, Romance, Sci-Fi/Fantasy on July 16, 2010 at 3:01 pm

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STUDIO – 20th Century Fox

CASTSam Worthington, Sigourney WeaverZoe Saldana, Stephen Lang, Michelle Rodriguez, Joel David Moore, Wes Studi

DIRECTORJames Cameron

MPAA Rating: PG-13

Following the success of Titanic, James Cameron took some time off from making movies. Oh, he produced an IMAX documentary about the doomed ocean liner, but when it came to his next dramatic film, he had an idea which he claimed would be ground-breaking. It would take place on a mysterious forest planet called Pandora, made with as-yet invented technologies in CGI and motion capture. It promised to be more expensive than Titanic, take years to complete, and it would do it all in 3-D. Finally, in December 2009, Avatar bowed. It was everything Cameron said it would be, and it eventually shattered box office records.

Sam Worthington stars as Jake Sully, a paraplegic Marine veteran recruited to replace his late twin brother Tom, a scientist, on Pandora, a lush moon orbiting a gas giant light-years from Earth. On Pandora, a major corporation has set up a mining operation for a substance called unobtanium. But the indigenous population, a ten-foot tall humanoid species called the Na’vi, are intent on protecting their home, so a paramilitary defense presence, headed by Colonel Quatrich (Stepen Lang) is required. To provide a more diplomatic solution, exobiologist Dr. Grace Augustine (Sigourney Weaver) has developed human-Na’vi hybrid bodies called “avatars”, which are “driven” via mnemonic transfer, in order to interact with the Na’vi more easily. Despite Augustine’s protests (she wanted a PhD and not a grunt), Jake becomes part of the team.

Jake Sully and Norm Spellman (Sam Worthington, Joel David Moore) on their first expedition in their avatar bodies

Now, just in case you are among the dozen or so people left on this planet who have yet to see this movie, I will stop here. Avatar is one of those movies that, no matter what you have heard about it, needs to be seen to believed. James Cameron spent over a decade developing this movie, and it shows. Visually, this is among most striking motion pictures ever released. It was filmed in 3-D from the word “Go”, but even in 2-D, it is a visual feast for the eyes. I had seen this movie in 3-D when it was released in December 2009, and I can tell you that there are few “3-D gimmicks” in the movie. This allows for fairly easy translation into the 2-D world upon which many of us still rely in our home entertainment systems. The CGI and motion-capture effects are so photorealistic, that it’s difficult to tell the difference between a physical set and a virtual one, even when you know which one you’re looking at.

True, James Cameron makes an eye-popping movie nearly every time out of the gate. His philosophy is that visual effects should enhance the story, not drive it. Here, however, the visual effects do both, but in such a way as to not be obvious. Does this mean it’s “the perfect movie”? No. There are flaws, some obvious, some subtle. For example, for a screenwriter, James Cameron is an excellent director. While the screenplay in this movie exceeds that of Titanic by leaps and bounds, it still has a few rough spots to stumble through in the telling of this story. For example, when Neytiri (Zoe Saldana) first encounters Sully’s avatar, her first instinct is to kill him (he is, after all, the enemy), but because of a “sign” from Eywa (the Na’vi deity), she takes him to her peoples’ village, instead. Overall, it was handled all right, but I feel this could’ve been written better.

Another weak point I noticed right away in this movie is its similarities with Dances With Wolves. Both feature a military man learning the culture of the indigenous people. Both have a romantic subplot between the military man and a prominent native woman (in the case of Dances With Wolves, she was a white woman adopted by the Sioux). Both have the military questioning the central character’s loyalties. And both feature Wes Studi (He was the “angry Pawnee” in Dances With Wolves, and in Avatar, he is the Na’vi leader and Neytiri’s father). These similarities were pointed out, by the way, prior to Avatar‘s release in this “South Park” episode (Caution: NSFW).

And what about the mining operation? I’m fairly certain more than a few people let out a snicker or two when they heard that the substance in question was called “unobtanium”. Well, as it turns out, as silly the name of this stuff is, this is not the first movie which uses the term (It was also used in 2003’s The Core). And it is based on the engineering term “unobtainium“, which was first coined in the 1950s. In Avatar, it’s a metallic grey substance that fetches “20 million a kilo”, and the largest deposit of it sits underneath the Na’vi village, known as Home Tree. Again, silly name, but it fits.

There has also been a recent “3-D backlash” of sorts because of this movie. Several movies this year which were released in 3-D, including Clash of the Titans, Alice in Wonderland, and The Last Airbender, suffered from critical and popular derision, because these were originally regular (2-D) movies which were converted to 3-D in post-production. Interestingly enough, the 2-D versions of these movies fared better. These are just a few of the many cases of Hollywood trying to capitalize on a trend based on one very successful movie, and charging a higher admission for people to see it. But if too many of these “bad 3-D” movies come out, people will refuse to see all 3-D movies, even ones intended to be in 3-D, like Avatar. Are you listening, Hollywood? By changing the movie to take advantage of a trend, you are changing the director’s vision. Remember when you converted Gone With the Wind to CinemaScope in the 1960s? Yeah, that went over really well, too…

Avatar is a visual and aural feast, to be digested over and over. Even though it comes thisclose to being “Dances With Wolves in space”, it is still a ground-breaking motion picture, and one of the best science-fiction films to come along in years.

4 (out of 5)

YOU CAN’T TAKE IT WITH YOU (1938)

In Best Picture Winners, Classic, Comedy, Family, Motion Pictures, Romance, Y on July 11, 2010 at 10:53 pm

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STUDIO – Columbia

CASTJean Arthur, Lionel Barrymore, James Stewart, Edward Arnold, Ann Miller, Spring Byington, Eddie “Rochester” Anderson, Samuel S. Hinds

DIRECTORFrank Capra

NOT RATED
(MPAA Equivalent: G)

Many moons ago, I was an eighth-grader going to what would later be my high school to attend a production of “You Can’t Take It With You“, the Pulitzer Prize-winning play by Moss Hart and George S. Kaufman. To be honest, I don’t remember much, except that it was required for my Drama class, and that I did laugh during the show. Then, more than a few moons later, I learned that not only did Frank Capra direct a movie based on the play, but that it also was the Best Picture of 1938. I have now seen it a few times, and I am happy to report that You Can’t Take It With You still makes me laugh!

Lionel Barrymore stars as Martin Vanderhof, patriarch of a household of eccentric people. Please pay attention, for there will be a pop quiz later in the article. Vanderhof’s daughter, Penny Sycamore (Spring Byington), took up writing plays because a typewriter was accidentally delivered to their home. Her husband, Paul (Samuel S. Hinds), makes fireworks in the basement with Mr. DePinna (Halliwell Hobbes), a long-time guest in the house. Paul and Penny have two daughters, Essie Carmichael (Ann Miller), who constantly dances and makes candy which her husband Ed (Dub Taylor) sells on the street, and Alice Sycamore, a stenographer for the vice-president of a major bank. As you can see, Alice seems to be the least eccentric of the bunch! Ah, but there’s more!

A.P. Kirby (Edward Arnold) and Martin Vanderhof (Lionel Barrymore) in jail

In the opposite corner is Anthony P. Kirby (Edward Arnold), banker and Wall Street mogul. His drive and ambition drove him to his position, thanks in part to his high-society wife (Mary Forbes). His latest project the development of 12 blocks currently occupied by homes, apartments, and small businesses into a munitions factory intended to be the dominant contractor of the U.S. War Department. And one of those homes is owned by one Martin Vanderhof, and he refuses to sell. By the way, A.P. Kirby had just promoted his son Tony (James Stewart) to vice-president of the corporation. But, despite his parents’ protests, Tony seems to be more interested in his stenographer than his job. Yes, you read that right: Alice works for (and is in love with) Tony! What a tangled web, indeed!

Considering it took two paragraphs to set up the story, I will not even begin to tell you how it unfolds (or unravels, depending upon your point of view), but I will say that You Can’t Take It With You is a timeless comedy sure to make you stop and ponder your life, and make you smile doing it. Lionel Barrymore is so easygoing as Vanderhof, that, before long, you forget he has crutches (by the time filming started, Lionel Barrymore had severe arthritis and a recent hip injury, so they wrote in an ankle injury for Vanderhof). Edward Arnold’s take on Kirby was somewhat cliché in the Capra style, but his performance proved to be a strong counterpoint to Barrymore’s.

The central core of the story is the star-crossed romance between Alice and Tony. This subplot plays out like a sort of comedic “Romeo and Juliet”: He is the son of a powerful banker, and she comes from a middle-class family who just happens to live in the house the banker is trying to buy. The twist occurs when Alice suggests to Tony that he bring his parents over to meet her family, and he does… one day early! Needless to say, the already awkward situation suddenly becomes downright messy!

Finally, You Can’t Take It With You is the story of A.P. Kirby’s journey to gaining that property, and what he did with it once he had it. Along the way, he learns an important lesson: True happiness isn’t measured in fortune, but in kindness and generosity. People should be entitled to do what they want to do, and not what others expect of them. For example, Tony has no ambitions of working in the family business, but he feels obligated because Kirbys have been bankers for “9000 years”. What he wants to do is figure out how to make the “green in the grass” into an energy source.  You have to admit that this idea was way ahead of its time; biochemical engineering was unheard of in the late-1930s!

On a personal level, this brings back my previous idea to reenter my intended career field, which I first mentioned in my write-up of Up in the Air. For too long, I have been trying to do what others want or expect me to do, and, for whatever reason, I kept running into roadblocks, setbacks, and an overall plain ol’ lack of direction. Again, I am not quite prepared to relay any details, but I have hatched an idea which I’m sure will give me a chance to freshen my skills and put my foot in the door. But enough about me; I promise to tell all when the time comes.

You Can’t Take It With You is nostalgic, irreverent, touching, poignant, and most important, fun. It has a great story, a wonderful cast, and running gags aplenty. The quality of the film itself is not the best (there are occasional black frames, for example), but don’t let that distract you; this is the true definition of a “feel-good” movie, guaranteed to make you cry tears of joy!

THE LIFE OF ÉMILE ZOLA (1937)

In Best Picture Winners, Biography, Classic, Crime, Drama, Epic, History, L, Motion Pictures on July 7, 2010 at 1:31 am

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STUDIO – Warner Bros.

CAST -Paul Muni, Gale Sondergaard, Joseph Schildkraut, Gloria Holden, Donald Crisp

DIRECTOR – William Dieterle

NOT RATED
(MPAA Equivalent: PG)

One of the darkest incidents in military history took place between 1894 and 1906. For over a decade, a man wrongfully convicted of treason languished on Devil’s Island, off the coast of South America, while the French Army knowingly and willfully covered up their mistake by deliberately acquitting the real guilty party at a subsequent court-martial and allowing him to continue to serve his country. For years, a nation was divided, and its most famous author, who had exposed the scandal, was convicted of libel, labeled a pariah, and forced into exile. This incident has since been known as The Dreyfus Affair, and the man who brought it into the open was Émile Zola.

In The Life of Émile Zola, Paul Muni stars as the controversial writer from his early adulthood in 1869, until his death in 1902. In the beginning, we see Zola living in a drafty attic flat with non other than Paul Cézanne (Vladimir Sokoloff) as his roommate. Here, both Zola and Cézanne are depicted as literally “starving artists”. After being dismissed from a job as a literary clerk (for writing “bad” books), Zola and Cézanne chanced upon, and befriended, a prostitute (Erin O’Brien-Moore) who would become the inspiration to Zola’s breakout novel, “Nana”. With “Nana”, Zola became an instant success, spawning many more books exposing the harsh reality that is life in the underbelly of Paris.

Émile Zola (Paul Muni) reads from "J'Accuse..." prior to its publication

Fast-forward to 1894, when a hand-written communiqué intended for the military attaché at the German embassy is intercepted by French military intelligence. Senior officers gather to determine who could be responsible for this treasonous act. At first, the name of Major Walsin-Esterhazy (Robert Barrat), known to be of Hungarian descent and with access to sensitive information, comes up; but the preceding name, Captain Alfred Dreyfus (Best Supporting Actor Joseph Schildkraut), a Jewish officer from the Franco-Prussian border region, is selected instead. The next day, he is arrested for treason and, a few months later, publicly stripped of his rank and sentenced to life imprisonment on Devil’s Island. From the moment of his arrest, Dreyfus repeatedly protests his innocence, but his words fall on deaf ears. For the next three years, his wife Lucie (Gale Sondergaard) does everything she can to absolve her husband’s name. Desperate, she calls on the one remaining man she feels can help her: Émile Zola. At first, he resists, but ultimately takes the challenge head-on by publishing J’Accuse… (“I Accuse…”), an open letter to the President of the French Republic, on the front page of the newspaper L’Aurore.

The Life of Émile Zola packs a lot of story within its just-under-two-hours run time, making it one of those movies that requires attention, or you may miss something. The script, though a little choppy in spots, provided a (mostly) accurate portrayal of Zola and the people in his life. Paul Muni’s performance gave Zola a certain degree of humanity (including a humorous gag involving umbrellas) and courage. Joseph Schildkraut’s performance is one of the better examples from the 1930s. Though I was initially put off by Dreyfus screaming “I’m innocent!” over and over, Schildkraut also demonstrated powerful restraint and dignity during key scenes, such as the last time Dreyfus saw his wife before transferring to Devil’s Island. And, speaking of Mme. Dreyfus, Gale Sondergaard’s performance as Lucie Dreyfus is easily the best in the movie.

At every turn, Zola seemed to spend most of his life hitting barrier after barrier in order to get his works published. With the Dreyfus Affair, Zola became an enemy of a people who had been blinded by the very corrupt military he had been trying to expose. In the movie, there was one subtle element which actually bore a stronger punch in the historical record: anti-Semitism. One of the main reasons (if not the sole reason) Dreyfus was railroaded was because he was Jewish. Anti-Semitism was rampant in the French Army at the time, so any opportunity to kick one to the curb was, in the mindset of the time, a “good thing” to do. This aspect was downplayed in the movie, partly because of the Hays Code, and partly because of fear. Remember, this movie came out in 1937, not long after a certain Chancellor of Nazi Germany came to power. At the time, the Unites States was a neutral nation, unconcerned with the affairs of Europe, which would be thrust into war two years later. But that is another story for another time…

The DVD features three shorts from the period. Two of them, “The Littlest Diplomat”, starring a Shirley Temple-like girl named Sybil Jason as the granddaughter of a British garrison commander in India, and “Romance Road”, featuring Walter Cassel as an RCMP officer trying to keep the peace between fur trappers and a railroad gang, are live-action musical pieces in Technicolor. And both of them are a bit on the cheesy side. The third short, a cartoon called “Ain’t We Got Fun”, is a treat for animation fans, because it’s an example of the legendary Tex Avery’s work from his Warner Bros. days. Of course, it doesn’t feature the classic gags for which he is known (Warner Bros. kept him on a short leash), but you can still make out bits and pieces of his trademark animation style, for which he would become famous once he landed at MGM. And, for all you old-time radio fans, there is a Lux Radio Theatre broadcast from 1939, in which Paul Muni reprises his role as Zola.

There were two Best Picture winners in the 1930s which were biographical motion pictures, and The Life of Émile Zola is the better of the two, in terms of brevity and substance. Unlike The Great Ziegfeld (1936), which is a classic in its own right, The Life of Émile Zola did not need to pad its story with unneeded material. The bare-bones approach suits this movie just fine, and in the end, provides us with a look into the life of a man who, in today’s world, may otherwise be forgotten.

4 (out of 5)

THE GREAT ZIEGFELD (1936)

In Best Picture Winners, Biography, Classic, Drama, Epic, G, Motion Pictures on June 29, 2010 at 6:28 pm

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STUDIO – MGM

CAST – William Powell, Myrna Loy, Luise Rainer, Frank Morgan, Virginia Bruce, Ernest Cossart, Fanny Brice, Ray Bolger, Nat Pendleton, Buddy Doyle, A.A. Trimble

DIRECTOR – Robert Z. Leonard

NOT RATED
(MPAA Equivalent: PG)

From the beginning of the 20th Century until the beginning of the Great Depression, the entertainment world was focused not just on New York City, but on one man who can arguably be attributed to giving Broadway its charm, luster, and appeal, Florenz Ziegfeld, Jr. He was a charming man, but at the same time he was very reckless. If he had two nickels to rub together, he’d spend it. His shows (most of them a series of “Ziegfeld Follies“) were renowned the world over, but Ziegfeld himself never kept any money. He spent it on lavish production pieces, the cast and crew, his women, and of course, the many wolves knocking at his door. He died a poor man in 1932, forcing his widow, Billie Burke, to work in motion pictures to pay off his debts. But his influence in show business has since reached out even today, both on Broadway and in Hollywood. Four years after his death, The Great Ziegfeld opened nationwide, and the next year, it became the first biographical motion picture to take home the Oscar for Best Picture.

The story opens during the Chicago World’s Fair in 1893, where a young Ziegfeld (William Powell) and his friend and rival Jack Billings (Frank Morgan) hold court at their respective booths, barking for their shows. At first Billings, with his exotic dancer known as Little Egypt, is drawing the large crowds, while Ziegfeld’s show, featuring muscleman The Great Sandow, has been threatened with eviction from the midway. Then, as if by miracle, a female admirer approached Sandow and asked to feel his muscles; from that moment on, he became a sensation, and Ziegfeld was on his was way to bigger and better things. The movie then traces what would be the final 30 or so years of Ziegfeld’s life, including his relationship with Anna Held (Best Actress Luise Rainer), the creation of the Follies, his marriage to Billie Burke (Myrna Loy), and his fall after the Crash of 1929.

Florenz Ziegfeld (William Powell) recruits Anna Held (Luise Rainer) to perform on Broadway

Let me get this out of the way now: Though full of musical numbers, The Great Ziegfeld is not a musical. It a dramatic motion picture of a man who gave the world groundbreaking entertainment on such a lavish scale, that some examples of his work (and a few tributes as well) were added to the story. For example, the centerpiece of this movie is Irving Berlin’s “A Pretty Girl Is Like a Melody”, an elaborate seven-minute long trek up a spinning spiral staircase featuring additional music by Strauss, Liszt, Dvorák, and Gershwin (among others). It plays out as a staged production, and is not a song Florenz Ziegfeld sings to upstart actress Audrey Dane (Virginia Bruce), who, by the way, was the titular “Pretty Girl” at the top of those stairs.

What I can tell you about this movie is that it’s a costume designer’s dream. Every Ziegfeld number is a veritable orgy of sequins, silk, and silver lamé, each one more extravagant than the last. And another of the musical numbers, entitled “You Never Looked So Beautiful”, features a parade of costumed beauties in the Ziegfeld style, with ornate trains and flamboyant headdresses (some weighing as much as 50 pounds!). Each of the sets for these numbers was equally elaborate, including one which redefined the term “thrust stage” by having five individual sections of the stage come out toward the audience, choreographed and on cue, even while dancers were performing on them. By far, this and the “Pretty Girl” number are among the most ambitious musical set pieces ever performed in motion picture history, and by themselves, just might be worth the price.

But the drawback to these set pieces is they sometime take away from the movie’s intent. William Powell’s performance of Flo Ziegfeld was nearly spot-on; he even bore a slight resemblance to the great showman. Billie Burke made sure that the screenplay didn’t tarnish her late husband’s image, but that didn’t stop Virginia Bruce from chewing the scenery (wine bottle in hand) as a composite of Ziegfeld’s mistresses. And though Ms. Burke did not appear in the movie, she was competently played by Powell’s favorite screen partner, Myrna Loy (They made 14 movies together). This leaves Luise Rainer’s performance of Anna Held. At the time, Ms. Rainer had never heard of the legendary French-Polish actress, so she drew her performance from the script, resulting in an overdramatic characterization that falls nothing short of potential diagnosis of histrionic personality disorder, including the prototypical and now-famous “good luck through the tears” phone call in her last scene.

The Great Ziegfeld also features scenes of famous performers of the early 20th Century. Aside from Eugen Sandow (for whom the Mr. Olympia trophy is named), Anna Held and Billie Burke, singer/dancer Eddie Cantor (Buddy Doyle) and legendary humorist Will Rogers (A.A. Trimble) are placed on exhibit in brief scenes. And, as an added treat, both Fanny Brice and Ray Bolger play themselves as a tribute to Ziegfeld, and both shine in their respective performances.

All in all, The Great Ziegfeld is a prime example of ROI (return on investment) in motion pictures. Opening to critical and popular acclaim, this movie, budgeted at $2 million, made about $40 million in its initial release. Can you think of a movie made by a major studio in the last 30 years that recouped 20 times its budget (or more) on just its first-run domestic theatrical release? With the exceptions of E.T.: The Extraterrestrial (1982), which grossed 33.2 times its $10.5 million dollar budget, and Airplane! (1980), which brought in 23.8 times its $3.5 million budget, you’d be hard pressed to find one.

The Great Ziegfeld is a spectacle which has some substance, though you may need to find it upon occasion. A bit on the long side (just over three hours, including the Overture and Exit Music), it is still a worthy member of the best that Oscar has to offer.

4 (out of 5)

CRAZY HEART (2009)

In C, Drama, Independent, Motion Pictures, Romance on June 23, 2010 at 1:11 pm

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STUDIO
– Fox Searchlight

CAST – Jeff Bridges, Maggie Gyllenhaal, Colin Farrell, Robert Duvall, Jack Nation

DIRECTOR – Scott Cooper

MPAA Rating: R

In the days before this year’s Academy Awards ceremony, I was watching TV at my mother’s house, when the trailer for Crazy Heart came on. After seeing the trailer only once, I said “I have got to see this movie!” I immediately put it into my Queue, and when Jeff Bridges took home the Best Actor Award a few weeks later, I moved it up. Now that I have seen this movie, I can say it is worth the wait.

Jeff Bridges stars as Bad Blake, a once-famous country music star who, because of years of hard living (and hard drinking), has been relegated to playing bars and bowling alleys to make a living. Traveling by himself cross-country, just him, his guitars, and his ’78 Chevy Suburban, a day in Bad’s life constitutes wandering into town, meeting the pick-up band of the night, checking into a motel, procuring his nightly bottle of McClure’s, doing the show (with the occasional emergency trip off-stage to throw up), then finishing off the bottle, quietly leaving the groupie of the night asleep at the motel the next morning. Not exactly what you would call a glamorous life.

Bad Blake (Jeff Bridges) performs in Santa Fe

While in Santa Fe, New Mexico, Bad meets Jean Craddock (Maggie Gyllenhaal), a single mother and reporter from the local newspaper (and niece of the keyboard player in the local band). At first, their relationship is professional (she’s there to interview him), but they quickly form an unlikely bond. Soon, his agent has him diverted to Phoenix, where he is slated to open for Tommy Sweet (Colin Farrell), Bad’s one-time protégé, who is now a major recording star in his own right. Bad resists at first, but the prospect of performing in front of thousands of people again (and getting decent pay doing it) appeals to him, so he agrees. Later, on his way home to Houston, he makes plans to stop over at Jean’s for a few days.

To venture any further into the story would mean spoilers, but I will say that Crazy Heart is a movie about living a hard life and paying dues. I think many of us can relate to that in one way or another; I can say that I’ve been paying my dues for some time. Anyway, Bad likes doing what he does, but sometimes he doesn’t like where he does it (As stated earlier, his first performance in the movie is at a bowling alley), but he keeps plugging away, hoping his next gig is better than his last.

His relationship with Tommy seems to have some drama involved, but I don’t think it had to do with Tommy himself. From the looks of things, the rift between them was actually caused by the record label, but when your blood is 80-Proof, your judgment get clouded and you don’t see the outside influence; you only see what’s in front of you. In Phoenix, Bad and Tommy talk about the old times, and that night’s show went off pretty much without a hitch, so it’s obvious these two really still like each other. But Bad is set in his ways, much to the chagrin of those around him.

I’ve always liked Jeff Bridges. He has an easygoing way about him that makes him look so natural on the screen. Here, his performance is very solid, and his portrayal of Bad (who says his given name will be on his tombstone) is among the best of any movies I’ve seen in the last five years. Those of you who are familiar with country music from the 1970s will recognize the name Kris Kristosfferson, himself a one-time hard-drinking former star who later got a second chance. Bridges channels Kristofferson so well that in some of the performance scenes, he nearly looks like him. By the way, both Jeff Bridges and Colin Farrell did their own singing, and from the looks of it, all the performances were recorded live on location (either that, or the sound editors were vastly underpaid for their services).

Though this may be considered a romance film, I put this in that rare field of “romance films for men”. It’s a movie told from a man’s perspective, it’s not a “five-tissue” movie (though it is still powerfully emotional), and it doesn’t have a typical romantic ending. In fact, I think the ending is about as realistic as can be, given the circumstances surrounding a key incident between Bad and Jean regarding her son, Buddy (Jack Nation). There is also an influence from the movie Tender Mercies, thanks to co-star and producer Robert Duvall (who won his Oscar in that movie). The songs are all very good, too. One of them, “The Weary Kind”, written by T-Bone Burnett and Ryan Bingham, resulted in this movie’s second Oscar. On a side note, it isn’t often that a character and a real person who share the same name are mentioned at the same Academy Awards ceremony (Goerge Clooney’s character in Up in the Air was also named Ryan Bingham).

Crazy Heart isn’t for everyone, but this is one of the better films of 2009 that I have seen so far. Anyone who has an appreciation for country and/or blues should see it. I may not be a country fan, but I do like the blues, and this movie is definitely about having the blues!

3-1/2 (out of 5)

MUTINY ON THE BOUNTY (1935)

In Action, Adventure, Best Picture Winners, Classic, Drama, Epic, History, M, Motion Pictures on June 21, 2010 at 1:51 am

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STUDIO – MGM

CASTCharles Laughton, Clark Gable, Franchot Tone, Herbert Mundin, Eddie Quillan, Bill Bambridge, Movita

DIRECTOR – Frank Lloyd

NOT RATED (MPAA Equivalent: PG)

In April 1789, the HMS Bounty set sail from Tahiti to the West Indies to transport hundreds of breadfruit tree saplings, in order to provide a cheap and readily available food supply for slave laborers there. She never arrived. The next year, the Bounty‘s commanding officer, Lt. William Bligh, returned to England to report that he had been set adrift in a mutiny led by his sailing master, Fletcher Christian. This wasn’t the first mutiny in the British Royal Navy, nor was it the last, but it is the most infamous, inspiring poems, novels, songs, and of course, movies. With that, I wish to introduce to you the Best Picture of 1935, Mutiny On the Bounty.

Based on the novel of the same name by Charles Nordhoff and James Norman Hall, Mutiny On the Bounty is a fictionalized account of the events that took place on the ship’s fateful voyage from England to Tahiti. Captain Bligh (Charles Laughton) is tasked with procuring the breadfruit trees because of his familiarity with the people and customs of Tahiti (It should be noted that, regardless of rank, all ship commanders are called “captain”). His sailing master, Fletcher Christian (Clark Gable, sans his trademark mustache), was in charge of carrying out the captain’s orders, morale, and the occasional midshipman training. One of those midshipmen was Roger Byam (Franchot Tone), whose assignment was to prepare a dictionary of the Polynesian language. It is through his eyes this story unfolds.

Fletcher Christian (Clark Gable) reacts to being called a "mutinous dog" by Captain Bligh (Charles Laughton)

Right away, Byam notices that Bligh is strict disciplinarian, even to the point of carrying out his portion of a punishment known as “flogging through the fleet” upon a dead prisoner. Once at sea, the Bounty tries for Tahiti by way of South America, but turns eastward through the Indian Ocean instead. Meanwhile, Bligh oppresses the crew further by inflicting punishment at whim, including one sailor getting keel-hauled (He dies). Meanwhile, Christian tries to provide a more lenient approach toward the crew, only to have Bligh bear down even more. Finally, their conflict becomes personal, when Bligh forces Christian to sign a falsified log book in front of the crew. Once at Tahiti, things seem to relax momentarily, until Bligh bears down even more harshly, and… well, you only need to look at the title to know what happened next.

Mutiny On the Bounty is an excellent example of Hollywood starting to come of age. From the moment the movie fades in, a sweeping dramatic score sets you up for a tale of truly epic proportions: You, the viewer, are about to bear witness to one of most notorious events in maritime history. From a technical standpoint, nearly everything stands out in this movie. The settings, the cinematography, even the sound quality all hold up very well. From a performance standpoint, Charles Laughton, Clark Gable, and Franchot Tone were quite memorable. In fact, all three were nominated for Best Actor (At the time, there were no Supporting categories. If they had existed, Franchot Tone would likely have received a nomination).

Oh, there are some inaccuracies, as happens with many historical dramas. For example, the actual mutiny was really relatively uneventful in comparison with the movie, keel-hauling was nearly non-existent in the 1780s, and Bligh did not attend any of the mutineers’ courts-martial (He was at sea). But the most telling inaccuracy is Gable’s voice. I say this in mild jest, as Gable seemed incapable of producing an English accent, while Tone fared somewhat better, and Shakespearean-trained Laughton was from Yorkshire, England. I seem to recall another more recent movie, in which an American actor played a legendary English character without an English accent. Fortunately, Gable’s performance was strong enough that we can forgive this transgression.

There are a couple of special features on the DVD. First is a brief clip from the Academy Awards ceremony in 1936, in which legendary producer Irving G. Thalberg accepted the Best Picture Oscar and gave his thanks to the cast and crew of the movie. And there is also a short about Pitcairn Island, the Bounty mutineers’ final destination, which shows how their descendants live in the film’s present day of 1935.

Nominated for eight Academy Awards, Mutiny On the Bounty is the last movie to win only the Best Picture Award. It is also the third (and last) Best Picture winner produced or co-produced by Thalberg (Grand Hotel and The Broadway Melody were the others). Though not the first movie to test the waters (pun not intended) of historical dramas, Mutiny On the Bounty stands out as a defining moment when the Hollywood Dream Factory finally figured out a way to hone their product and sell it to the masses. With performances nearly as strong as the film itself, it set a new standard in motion pictures (to be eclipsed a few years later by a little-known movie called Gone with the Wind). I recommend this movie as a good place to start for those interested in pre-1940s motion pictures.

4 (out of 5)

8½ (1963)

In #, Classic, Comedy, Foreign, Independent, Motion Pictures, Sci-Fi/Fantasy on June 9, 2010 at 1:15 am

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STUDIO – Embassy Pictures

CASTMarcello Mastroianni, Claudia Cardinale, Anouk Aimée, Sandra Milo, Rosella Falk, Barbara Steele, Madeleine Lebeau, Caterina Boratto, Eddra Gale, Guido Alberti, Mario Conocchia

DIRECTORFederico Fellini

NOT RATED (MPAA Equivalent: PG-13)

For many years, I have heard about , the acclaimed film by Italian director Federico Fellini. But because I generally have an aversion to non-English-speaking movies (I confess, a rather unhealthy centrist conceit), I avoided this movie for fear that I would not understand it. I had seen only a couple of European movies before (specifically, Fritz Lang’s Metropolis and the 1949 French movie Gigi, which would later be remade into the Best Picture of 1958). It takes a certain kind of talent to read subtitles and still be able to follow the movie; recall that I had a little difficulty with Inglourious Basterds a few months ago. So, sitting through a film like would appear to pose a unique challenge, and rather than stay safely in my American hole, I took a chance and expanded my horizons.

This movie opens at a health spa at a remote location somewhere in Italy, where film director Guido Anselmi (Marcello Mastroianni) is trying to escape the rigors of his everyday life and prepare for his next movie at the same time. Reporters, gossip columnists, producers, diva actresses, his wife, his mistress, and even a Cardinal all play their parts in both running interference and contributing to the movie’s creation. At the same time, Guido’s dreams of escapism and sexually-charged recalled memories from childhood step in to influence his decision-making process. To make things even more twisted, Guido starts incorporating these dreams and fantasies into his movie, causing everyone to wonder just what Guido’s movie is all about.

Guido and his wife Luisa (Marcello Mastroianni, Anouk Aimée) at the café

Confused yet? To blur the lines between art and reality even further, is a movie about the making of… . Now, you’re all mixed up, aren’t you? Well, considering that the working title of this movie was La Bella Confusione (“The Beautiful Confusion”), it is easy to spot that Fellini himself wasn’t sure which direction this movie was going, either. Officially, this is Fellini’s ninth movie, but because it’s a left-turn from his usual fare, and because it is somewhat autobiographical, the title is based on his notion that it’s “movie 8½” to him, nestled between La Dolce Vita (1960) and Giulietta Degli Spiriti (1965). As a result, is about as “meta” a movie can become, with disjointed imagery that actually forms a cohesive whole. For example, early in the movie, Guido and his mistress, Carla (Sandra Milo), are engaging in a little sexual role play. At one point, he takes her eyeliner and draws garish eyebrows onto her forehead. This is a deliberate reference to a beach-dwelling prostitute he’d known when he was a child; she was called “La Saraghina” (Eddra Gale), who is later introduced during a flashback.

Fellini’s use of imagery, from the claustrophobic dream of the traffic jam at the beginning of the movie, to the Dante’s Inferno-esque descent into the spa’s steam room all carry significance; of course, some are more obvious than others. In a fantasy, we first see the lovely Claudia (Claudia Cardinale) as wholesome and pure, dressed in white; when we finally meet her in person, she is glamorous and sexy, dressed flamboyantly in black. It is also no coincidence that Fellini peppered with quick glimpses of a mysterious woman, one of which bearing her likeness on a Virgin Mary. This woman was Caterina Boratto, a renowned Italian actress and Fellini’s “dream girl” from his own childhood.

Now, I’m not about to try to examine this movie. There are college courses in Italian cinema because of , and numerous students have dissected this movie in their Masters theses for over 40 years. But watching this movie was indeed an eye-opening experience, filled to the brim with unconventional cuts, shots, dialogue, and editing, all of which seem to give a life of its own. I screened it twice, first by watching the movie itself, then by listening to the essay commentary which provided some of the tidbits of information I have learned. The commentary examines the reasons why old women were cast as Catholic priests in one scene, and in another the Cardinal (Tito Masini) is shown as nothing more than a naked old man. And then there’s the elephant in the room: the giant scaffolding which is to become a launchpad for a rocket in Guido’s movie. I hope I’m not giving too much away when I say that I knew something was up when a producer shows a two-foot tall matte painting of a rocket to be superimposed onto the full-scale launchpad shown under construction. According to the commentary, Fellini had ordered the scaffolding to be built as high as the workers could get it, but even he had no idea what he was going to do with it.

The two-disk set comes packed with features, including interviews with co-star Sandra Milo, who recounts her 17-year love affair with Fellini (even after she had married someone else), assistant director Lina Wertmüller, who went on to have a distinguished career of her own, and three-time Academy Award-winning cinematographer Vittorio Storaro, who shared his thoughts on how Fellini achieved his vision on-screen. There is also a 1969 pseudo-documentary by Fellini which aired on NBC; in it, he traces the creative process in the casting of his next project. It plays off as a mini-, complete with reporters, actors, and producers all vying for an audience with Fellini.

But what fascinated me was a German documentary about composer Nino Rota, a reclusive musical savant best known for two things. First was his famous collaboration with Fellini, which rivals that of Spielberg and Williams, or Burton and Elfman. A typical meeting between Fellini and Rota would have the two at a piano, trying to hammer out a composition for a given movie, only to give up hours later, exasperated. Then, as Fellini would leave the room, Rota would improvise a piece (probably just to relax after a hard day), and Fellini would exclaim “That’s it! That’s the music I want!” But Nino Rota was also notorious for recycling his music. Did you know that his Oscar nomination for Best Musical Score for The Godfather was withdrawn because it was based on his score for Fortunella (1958)? Listen for yourself, and you will recognize it!

So, I have long last come to the conclusion of another long review. But, as is often the case, there was plenty of ground to cover. Fellini’s is a movie different from any other. Elements and inspirations from Citizen Kane, “Pinocchio”, Dante’s Inferno and even the Keystone Cops, as well as Fellini’s unique ability to draw from memory to feed his imagination, make a standout among classic cinema. You may need to watch it more than once to get it, but this one is worth the effort.

MISTER ROBERTS (1955)

In Classic, Comedy, Drama, M, Motion Pictures, War on June 4, 2010 at 12:44 pm

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STUDIO – Warner Bros.

CASTHenry Fonda, Jack Lemmon, William Powell, James Cagney, Betsy Palmer, Ward Bond

DIRECTORSJohn Ford, Mervyn LeRoy

NOT RATED (MPAA Equivalent: PG)

In 1948, Henry Fonda left Hollywood for Broadway to star in a play about Navy lieutenant on a cargo ship who wanted nothing more than get in some combat duty in the final days of World War II. Six years, four Tony Awards, and over 1,100 performances later, Fonda returned to Hollywood to bring this acclaimed play to the big screen, in 1955’s Mister Roberts.

In Mister Roberts, Lt. (JG) Doug Roberts (Fonda) is executive officer and cargo officer on the USS Reluctant. It is April 1945, and he can sense that the war will be ending soon. For over two years, he had been stuck on “The Bucket”, serving under his tyrannical commanding officer, Capt. Morton (James Cagney). His roommate is a lazy, yet resourceful Lothario, Ensign Frank Pulver (Best Supporting Actor Jack Lemmon), and his confidant is the ship’s doctor, known simply as “Doc” (William Powell, in his last film appearance). He’s a favorite among the crew, who regard Roberts as one of the guys, and they’re willing to back him up over the skipper any day. The centerpiece – and bane of existence – of the Reluctant is a palm tree, a “symbol of our cargo record” awarded by Admiral Finchley to the crew, and the only thing on the ship to which the captain gives any affection.

Doc (William Powell) and Lt. Roberts (Henry Fonda) make a bottle of "Red Label" for Ensign Pulver

Legendary director John Ford worked his magic to bring as much authenticity to this production by filming exteriors on board an actual World War II-era cargo ship in Hawaii and Midway Island (Being a Navy veteran himself didn’t hurt). But, as the story goes, shortly after returning to Hollywood for the interiors, Ford was forced to step down for health reasons, and Mervyn LeRoy took the reins to finish out the movie. Some sources say there was fighting on the set (An IMDb blurb even states that Ford once sucker-punched Henry Fonda), while others say the health issues were real (emergency gall bladder surgery). Still, the end result is one of the greatest World War II movies ever made, and in this one, no guns are fired, there aren’t any battles, and no one is seriously injured. John Ford had a tendency to stick with the same people in his movies. He frequently worked with John Wayne, and there is a connection to The Duke in this movie. Bookser, the young, innocent, wide-eyed sailor who nearly missed the boat after shore leave, was played John Wayne’s son, Patrick.

My father was in the Navy in the late-1950s, so he had a soft spot for this movie. During my formative years, this was one of those movies that, if it was on TV, I would run out to the garage and tell him. He would then immediately drop what he was doing, clean up (if necessary), crack open a beer and spend the rest of that Sunday afternoon on the couch. And I would sit there with him and watch the TV, amazed at how even humdrum life on a cargo ship could be interesting!

A few years later, I discovered that my mother had a book with scripts from great American plays, and “Mister Roberts” was among them. I read it over and over. I reenacted scenes and monologues from it in my Drama class (looking back, maybe not such a great idea to concentrate on one play, huh?). I compared the dialogue between the play and the movie (Some changes had to be made because of The Code). I absorbed as much as I could from it.

It was also during this time, I became a fan of the Hollywood Everyman, beginning with Jack Lemmon and Henry Fonda. These weren’t dashing, sexy stars, like Gable, Flynn, or Connery. These were regular guys who looked and acted like regular guys. They came from regular places (Fonda was from Grand Island, Nebraska, Lemmon from outside Boston). And their roles were by and large unglamorous (Both played the pivotal Juror #8 in their respective productions of 12 Angry Men). I was able to easily relate to their characters almost every time, and even today they still resonate within me.

The DVD has a couple of cool features, including clips from Ed Sullivan’s “Toast of the Town”, featuring Fonda, Lemmon and Cagney recreating scenes from the movie on live television. There is also a commentary track from Jack Lemmon, in which he recounts some stories about working with Ford, Fonda, Powell, and Cagney, and how much he’d learned on the set from these men (One caveat about the commentary: Lemmon himself says that if you get tired of his stories, just go ahead and turn it off!). There is also a clip from a video from Jane Fonda, in which she recalls her father’s Kennedy Center Honors induction.

Mister Roberts is funny, dramatic, moving, and classic. Those of you who know Jack Lemmon from movies like Grumpy Old Men, The China Syndrome, or Glengarry Glen Ross should see the raw talent that broke loose in this movie. Cagney, an expert at chewing scenery, leaves plenty of teeth marks here. Powell, who came out of retirement to play Doc, is ever the bearer of wit and sagacity (“What’ll it be, alcohol and orange juice, or orange juice and alcohol?”). And Henry Fonda, for whom Doug Roberts was created, is forever immortalized as the poor lieutenant desperate to get off “The Bucket”.

“Good night, Mr. Roberts.”

IT HAPPENED ONE NIGHT (1934)

In Best Picture Winners, Classic, Comedy, I, Motion Pictures, Romance on June 1, 2010 at 12:49 am

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STUDIO – Columbia

CAST – Clark Gable, Claudette Colbert, Walter Connolly, Roscoe Karns, Jameson Thomas, Alan Hale

DIRECTORFrank Capra

NOT RATED (MPAA Equivalent: PG)

When you hear the name “Clark Gable”, you most likely would recall the dashing and cocky Rhett Butler, from Gone With the Wind. The name “Frank Capra” tends to conjure memories of Jimmy Stewart, thanks to movies like Mr. Smith Goes to Washington, It’s a Wonderful Life, and You Can’t Take It With You. And the mention of Claudette Colbert’s name may recall the original Imitation of Life, or perhaps Cleopatra, both from 1934. But this was the movie that made them all famous.

It Happened One Night is the story of an impetuous heiress named Ellen Andrews (Colbert) who’d eloped with a smooth operator named King Westley (Jameson Thomas). Her Wall Street tycoon father (Walter Connolly) opposed the marriage and Westley, so he took her to Miami to get her to clear her head. Seizing an oppourtinity, she (literally) jumps ship and takes a bus back to New York to reunite with her husband. On the bus, she meets Peter Warne (Gable), a hard-nosed, hard-drinking newspaper reporter who’s down on his luck. Right away, they don’t get along. At a stopover in Jacksonville, he learns who she really is and, seizing an opportunity of his own, offers to help her to New York in exchange for an exclusive story.

Ellie Andrews (Claudette Colbert) employs her special hitchhiking method as Peter Warne (Clark Gable) looks on

Every romantic comedy made since 1934, from Sleepless In Seattle to The Seven-Year Itch, owes its existence to this movie. It Happened One Night may not be the first-ever romantic comedy, but it was the first to perfect the formula: Two strong-willed leads wind up in a situation where they can’t get away from each other, only to fall in love with each other in the end. It sounds simple enough, but without good chemistry between the leads or a good script, it’s just two people bickering for an hour-and-a-half. And there may be plenty of bickering here, but there are also plenty of laughs!

This movie, made on a tight budget ($350,000, or around $5.5 million in today’s money) and an even tighter schedule (multiple location shoots in four weeks), spans from Miami to New York, as Gable and Colbert’s characters try to assert their respective ways on the other. Even today, with transportation and logistics down to a science, it would still be a major accomplishment to shoot a movie like this. And when you consider that Claudette Colbert, whose salary consisted of about 15% of the movie’s total shooting budget, hated working on this movie (she even told her friends and colleagues as much when she finished), the story becomes that much more astounding. At the time, Frank Capra was a “B-movie” director and Columbia was a “B-movie” studio, so you can imagine all the fervor when It Happened One Night became the first movie to receive Academy Award nominations for Best Actor, Actress, Director, Picture, and Screenplay. Suddenly, this little movie from a little studio became a true “dark horse” at the Oscars.

But on the screen, there was magic, and plenty of it! Gable and Colbert worked off each other brilliantly. The highlight of the movie is the scene that need only be described in two words, as quoted by Mr. Gable: “Quit bawlin’!” The hitchhiking scene, which features Alan Hale, who would later be best known as Friar Tuck to Errol Flynn’s Robin Hood (and whose son was the Skipper on that infamously fateful “three-hour tour” known as “Gilligan’s Island”), is also fun to watch, especially when Claudette Colbert shows Clark Gable the best way to stop a car is by showing off a little leg.

Upon its release, It Happened One Night became an instant sensation. Here are some cool facts about this movie. Following the movie’s initial release, T-shirt sales plummeted, thanks to Mr. Gable’s choice not to wear a T-shirt for brevity’s sake during Peter’s undressing scene. It is also widely reported that elements from this movie formed the genesis of one of the most famous cartoon characters in history, Bugs Bunny; A gentleman named Shapeley (Roscoe Karns) spoke in a nasally voice and called everyone “Doc”, Peter dropped the name “Bugs” when he confronted Shapeley, and in one scene, Peter is eating carrots.

Without a doubt, It Happened One Night is funny, romantic, and a timeless classic. Okay, maybe riding the bus isn’t as fun as it used to be, and maybe today’s motels are far less prying when it comes to the affairs of their guests. But even now, few movies in this genre have dared to come close to this. Remember those Oscar nominations? Well, in the history of the Academy, only three movies won Oscars for Best Picture, Best Director, Best Actor, Best Actress, and one for the screenplay. It Happened One Night was the first (One Flew Over the Cuckoo’s Nest and The Silence of the Lambs were the others). Not bad for a quickly slapped-together B-movie, huh?

THE BLIND SIDE (2009)

In B, Biography, Drama, Motion Pictures, Sports on May 11, 2010 at 10:43 pm

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STUDIO — Warner Bros.

CAST — Sandra Bullock, Tim McGraw, Quinton Aaron, Ray McKinnon, Jae Head, Lily Collins, Kathy Bates

DIRECTOR — John Lee Hancock

MPAA Rating: PG-13

In many parts of the United States, football is more than a sport; it’s practically a religion. This is especially evident through the South and Midwest, where college football reigns supreme. I can testify to this fact, as I have seen Bulldog-themed restaurants in Georgia, Longhorn-themed stores in Texas, and Cornhusker-themed everything in Nebraska. In fact, I can personally support the theory that life all but shuts down on Saturday afternoons in the fall in the state of Nebraska. After spending 16 years of my life there, I have brought back this observation: Go shopping in a department store during a Husker game, and life stands still while a play is in progress. When the ball is snapped, everyone stops in their tracks and listens intently to the radio broadcast (guaranteed to be on in at least 95% of the businesses in the state); if there’s a touchdown, they celebrate like they’re all guests of honor in a massive bachelor(ette) party. Then when the game goes to commercial, as if by magic, they go back to whatever they’re doing. It almost looks like a scene from the classic Star Trek episode “The Return of the Archons” (Just watch through the first sct, and you’ll see what I mean). I do, of course, say this in jest, but it is still fascinating to witness.

There is no mistake in identifying passionate football fans. They support their favorite teams until the ends of the earth, even if they have been “rebuilding” for 15 years. They wear their hearts on their sleeve, their wardrobe is adorned with the team colors of their choice, their cars are littered with flags, decals, and other paraphernalia, and they even plan social events around the games! This is true of nearly all passionate sports fans, but college football fans really love their sport, and they really love their school, no matter where they live. Such is the case of Leigh Anne Tuohy, an Ole Miss graduate living in Memphis, Tennessee.

Michael Oher (Quiton Aaron, right) at Thanksgiving dinner with the Tuohys (from left, Lily Collins, Sandra Bullock, Tim McGraw, Jae Head)

By now, I am sure that you have heard of Mrs. Tuohy, and the remarkable story of how she took in a kid from the wrong side of town because he had nowhere to go. That kid grew up to become Michael Oher of the Baltimore Ravens. They could not have been more different. She was an affluent, pretty, outspoken white woman with a family; he was a very large, very shy, very homeless black teenager with no ambition or direction in life. Yet, she took him into her home, fed him, clothed him, and guided him into becoming a young man who had found his destiny.

Okay, I’m not sure what has already been said about this movie, but I will say that, as sports movies go, this is one of the best I have seen in the last 20 years. One remarkable fact about The Blind Side is that it is the first motion picture with one actress billed above the title (by herself) to gross over $100 million. Now, I have had a soft spot for Sandra Bullock ever since she burst on the scene as the off-beat cop of the future in Demolition Man (1993). She is a quirky, slightly-left-of-normal girl next door, and I knew there was nothing but a bright career ahead for her. But never in a million years did I expect her to achieve serious critical acclaim, and I don’t think she did, either. When she co-starred in Crash (2004), things began to change. I noticed that Sandra Bullock was evolving from a movie star to an actress (there is a difference), and when you are an actor or actress who is also a movie star, really good things begin to happen.

The Blind Side contains fine performances from much of the cast, beginning with Bullock, who won Best Actress as Leigh Anne Tuohy. TIm McGraw was an agreeable Sean, and Quinton Aaron did very well, too. I did have one concern: Did Michael Oher, during the lost days of his youth, really lack intelligence, or did he just not care? Signs seem to point to the latter, and Aaron played from that angle fairly well (Although I did notice a few overly-vacuous spots in his performance). The breakout performance in this movie (to me, anyway) goes to Jae Head, who played Leigh Anne and Sean Tuohy’s son, S.J. First of all, he had all the best lines (“Enough with the rugby shirts! You look like a giant bumble bee!”), and it was very easy to see he and Quinton Aaron bonded well. Also, watching S.J. coach Michael through drills is a sight to behold! Oh, one more cool fact about this movie: The college football coaches in the film are the real deal. Some had retired and others moved on to other positions, but yes, Virginia, that really was Lou Holtz you saw on the screen.

The Blind Side is a wonderful and inspirational story of generosity, love, and good ol’ Christian beliefs. And football. Lots of football. If you haven’t seen this movie yet, then get thee to your Queue and line it up!

4 out of 5