Review: Tom and Julia Candy-Coat "Charlie Wilson's War"

TRASH IN MY EYE No. 23 (of 2008) by Leroy Douresseaux

Charlie Wilson’s War (2007)
Running time: 102 minutes (1 hour, 42 minutes)
MPAA – R for strong language, nudity/sexual content, and some drug use
DIRECTOR: Mike Nichols
WRITER: Aaron Sorkin (based upon a book, Charlie Wilson’s War: The Extraordinary Story of the Largest Covert Operation in History, by George Crile)
PRODUCERS: Gary Goetzman and Tom Hanks
CINEMATOGRAPHER: Stephen Goldblatt (D.o.P.)
EDITORS: John Bloom and Antonia Van Drimmelen
Academy Award nominee

DRAMA/COMEDY/HISTORY

Starring: Tom Hanks, Julia Roberts, Philip Seymour Hoffman, Amy Adams, Brian Markinson, Emily Blunt, Jud Taylor, Hilary Angelo, Cyia Batten, and Ned Beatty

Director Mike Nichols’ historical drama and political comedy, Charlie Wilson’s War is based on a true story. In real life, Charles “Charlie” Wilson was a 12-term Democratic United States Representative from the 2nd congressional district in Texas. Wilson is best known for convincing the U.S. Congress to support a CIA covert operation in Afghanistan. This largest ever CIA covert operation supplied the Afghan mujahideen in their fight against the Soviet Union which began occupying the country when Soviet forces entered the Asian nation in 1978. Charlie Wilson’s War is a biographical film based upon George Crile’s book about Wilson and his activities entitled, Charlie Wilson’s War: The Extraordinary Story of the Largest Covert Operation in History.

Charlie Wilson (Tom Hanks), an alcoholic womanizer and Texas congressman, conspires with a rogue CIA operative, Gust Avrakotos (Philip Seymour Hoffman, in an Oscar-nominated role), to aid Afghan mujahideen rebels in their fight against the Soviet Red Army. With the help of Joanne Herring (Julia Roberts), a conservative political activist and Houston socialite, Wilson persuades Congressional defense committees to fund the training and arming of resistance fighters in Afghanistan to fend off the Soviet Union. The money, training and a team of military experts may help turn the tide for the ill-equipped Afghan freedom-fighters, but Wilson finds himself in a fight to keep his loosely connected allies in line.

Charlie Wilson’s War is certainly a sly and sophisticated movie, but it is ultimately shallow. Screenwriter Aaron Sorkin weaves a steady stream of clever and witty dialogue, and his ability to make wonkish political and military jargon light and airy enough to fit in with this film’s humorous tone is impressive.

Mike Nichols builds his sharp-edged political comedy around actors who give… well, sharp performances. Tom Hanks plays Charlie Wilson as a down-home smart aleck who can be a regular guy, a savvy politician, or blindingly smart strategist when the occasion calls for it. Philip Seymour Hoffman delivers Gust Avrakotos as a bludgeon and scalpel, but the treat here are the women. Julia Roberts is so fine as the charming, imperial Joanne Herring – a super woman who can match any man. Amy Adams as Wilson’s ever-ready, girl Friday continues to spread her enchantment on movie audiences, while the other actresses who play Wilson’s staff of super honeys also deliver really good performances.

So, Charlie Wilson's War is entertaining, with its good performances and deft comedic handling of real American history, but its entertainment value is about the extent of it. Charlie Wilson’s War is just a candy-coated topping covering up the ugly side of American intervention in international affairs. Nichols, his creative staff, and his cast certainly give us enough sweet sassiness to enjoy, but sooner or later we have to get down to the bad taste of the truth that lies at the heart of this story. In the real world, covert operations are much messier than this clean, slick political film is.

7 of 10
B+

NOTES:
2008 Academy Awards: 1 nomination for “Best Performance by an Actor in a Supporting Role” (Philip Seymour Hoffman)

2008 BAFTA Awards: 1 nomination for “Best Supporting Actor” (Philip Seymour Hoffman)

2008 Golden Globes: 5 nominations: “Best Motion Picture - Comedy or Musical,” “Best Performance by an Actor in a Motion Picture - Comedy or Musical” (Tom Hanks), “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Philip Seymour Hoffman), “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Julia Roberts), and “Best Screenplay - Motion Picture” (Aaron Sorkin)

Tuesday, May 06, 2008

-------------------

It Gets Ugly in Fine "Before the Devil Knows You're Dead"

TRASH IN MY EYE No. 24 (of 2008) by Leroy Douresseaux

Before the Devil Knows You’re Dead (2007)
Running time: 117 minutes (1 hour, 57 minutes)
MPAA – R for a scene of strong graphic sexuality, nudity, violence, drug use, and language
DIRECTOR: Sidney Lumet
WRITER: Kelly Masterson
PRODUCERS: Michael Cerenzie, William S. Gilmore, Brian Linse, and Paul Parmar
CINEMATOGRAPHER: Ron Fortunato
EDITOR: Tom Swartwout

CRIME/DRAMA

Starring: Philip Seymour Hoffman, Ethan Hawke, Albert Finney, Marisa Tomei, Rosemary Harris, Aleksa Palladino, Amy Ryan, Michael Shannon, and Brian F. O’Byrne

Andrew “Andy” Hanson (Philip Seymour Hoffman) and his brother, Henry “Hank” Hanson (Ethan Hawke), plot to rob their parents’ jewelry store, Hanson Jewelers. Hank is also sleeping with Andy’s wife, Gina (Marisa Tomei). Charles Hanson (Albert Finney) and his wife, Nanette (Rosemary Harris), have no idea what their prodigal sons are plotting. When the job goes horribly wrong, the botched robbery triggers off a series of events that sends the brothers, their associates, and their family towards a shattering climax.

Famed director Sidney Lumet (12 Angry Men, Dog Day Afternoon) was 82-years-old when he directed the riveting crime drama, Before the Devil Knows You’re Dead. [The title comes from the old Irish saying, “May you be in heaven a full half hour before the devil knows you’re dead.”] Yet the five-time Oscar nominee for “Best Director” (and winner of an Honorary Oscar) seems as fresh today as he did half a century ago. Before the Devil Knows You’re Dead is a mesmerizing, raw open wound that examines the murderous extents to which desperate people will go, the complicated dynamics of parent/child relationships, and sibling rivalries.

Much of Lumet’s reputation as a director is built around his ability to get intense, riveting, and memorable performances out of actors. Everyone in Before the Devil Knows You’re Dead is at the top of his game, even the smaller parts. The usually-fine Albert Finney surprises with a compelling performance that delivers a gut punch. The underrated Ethan Hawke subtly and slyly delivers Hank Hanson in a way that is as funny as it is heart-wrenching. It’s Hawke’s way of revealing how pathetic Hank is.

Philip Seymour Hoffman made 2007 a banner year for him by giving three superb performances in a diversity of roles (in such films as Charlie Wilson’s War and The Savages). Here, his Andy Hanson is a tightly-wound thief and addict capable of sincere emotion and unexpected emotional outbursts. Hoffman simply presents that in unique ways that enhance the drama rather than detract from it with a showy performance.

Before the Devil Knows You’re Dead is similar to Fargo, Joel and Ethan Coen’s Oscar-winning 1996 film about a plot to kill family for money. Devil may lack Fargo’s dry wit, black humor, and wacky imagination, but Devil goes deeper into the dark heart of an angry family. Lumet and company really let the ugly be ugly.

7 of 10
B+

Saturday, May 10, 2008

Director and Stars Deliver the Goods in "The Savages"

TRASH IN MY EYE No. 25 (of 2008) by Leroy Douresseaux

The Savages (2007)
Running time: 113 minutes (1 hour, 53 minutes)
MPAA – R for some sexuality and language
WRITER/DIRECTOR: Tamara Jenkins
PRODUCERS: Anne Carey, Ted Hope, and Erica Westheimer
CINEMATOGRAPHER: W. Mott Hupfel, III
EDITOR: Brian A. Kates
Academy Award nominee

DRAMA/COMEDY

Starring: Laura Linney, Philip Seymour Hoffman, Philip Bosco, Peter Friedman, Gbenga Akinnagbe, David Zayas, and Cara Seymour

Writer/director Tamara Jenkins delivered some of the best screenwriting of 2007 with her drama, The Savages. Her stars, Laura Linney and Philip Seymour Hoffman, in turn, delivered some of the best acting on screen all year.

Wendy Savage (Linney) and her brother Jon Savage (Hoffman) carry the emotional scars of an abusive childhood. Living in New York City’s East Village, Wendy is a long aspiring playwright who spends her days temping and spends her nights having an affair with her neighbor, Larry (Peter Friedman). Living in upstate Buffalo, New York, Jon is a professor of drama, struggling to finish his book on Bertolt Brecht. They suddenly get an unexpected call from Arizona informing them that their estranged and abusive father, Lenny Savage (Philip Bosco) is suffering from dementia.

Reunited, the siblings face the challenge of caring for their ailing elderly father in spite of their emotional disconnect from him and each other. They move him into a Buffalo nursing home, and Wendy takes up residence with Jon. Living under the same roof again, Wendy and Jon rediscover each other’s eccentricities, personal failings, and the other things that drove them crazy. However, they may finally have to face adulthood and learn what good there really is in being part of a family.

If a director is to keep a family drama like The Savages from becoming a sappy soap opera, she must draw nuance from both her script and her performers, which Tamara Jenkins does in The Savages, earning herself an Oscar nomination for “Best Original Screenplay.” This smartly written and beautifully played film is for people who love films that allow great actors to do the thing they do so well.

Laura Linney, who also earned an Oscar nod for this picture, wows with her deep and sensitive portrayal of woman adrift in her middle age and trying to get her bearings. Linney really sells the notion that Wendy Savage will, through this tragedy, find the things in her past that she can both cherish and also bring into the future to make her life better. Philip Seymour Hoffman, having a career year in 2007, shows off his diversity by also playing a sensitive creative type. Hoffman also enriches Jon by gradually revealing a strong, steady side to a character that seems unable to take the next big step in anything he does.

Tamara Jenkins reveals an uncanny touch in the way she examines how nature and nurture go into making us who we are, and she makes an attractive narrative of this. It is a film that, while compassionate, is unsentimental.

7 of 10
A-

NOTES:
2008 Academy Awards: 2 nominations: “Best Performance by an Actress in a Leading Role” (Laura Linney) and “Best Writing, Screenplay Written Directly for the Screen” (Tamara Jenkins)

2008 Golden Globes: 1 nomination for “Best Performance by an Actor in a Motion Picture – Musical or Comedy (Philip Seymour Hoffman)

Review: Hoffman Gives Memorable Performance in "Capote"

Capote (2005)
COUNTRY OF ORIGIN: Canada/USA
Opening date: September 30, 2005
Running time: 114 minutes; MPAA – R for violent images and brief strong language
DIRECTOR: Bennett Miller
WRITER: Dan Futterman (based upon the book by Gerald Clarke)
PRODUCERS: Caroline Baron, Michael Ohoven, and William Vince
CINEMATOGRAPHER: Adam Kimmel
EDITOR: Christopher Tellefsen

DRAMA/BIOPIC/HISTORICAL

Starring: Philip Seymour Hoffman, Catherine Keener, Clifton Collins, Jr., Chris Cooper, Bruce Greenwood, Bob Balaban, Amy Ryan, and Mark Pellegrino

In November 1959, Truman Capote (Philip Seymour Hoffman) reads an article in The New York Times about the murder of the four members of the Clutters, a well-known farm family in Holcomb, Kansas. Something about the crimes catches Capote’s attention, and the acclaimed author believes that he can use this incident to prove his theory that non-fiction can be as compelling as fiction – in the hands of capable author, which he is. He convinces his editor at The New Yorker magazine to send him to Kansas, accompanied by his childhood friend, Nell Harper Lee (Catherine Keener), who was within a few months to publish the Pulitzer Prize winning novel that would make her famous, To Kill a Mockingbird, as his assistant and researcher. Capote wants to write about how the Clutters’ murders affected Holcomb. With that as his focus, Capote initially doesn’t care if the murderers are ever caught.

However, when the two suspects, Perry Smith (Clifton Collins, Jr.) and Richard Hickock (Mark Pellegrino), are finally arrested, Capote becomes fascinated with Perry, and decides to expand the story to cover who Perry is and from where he came and what actually happened inside the house the night of the murders. Capote walks a thin line between befriending Perry and using him for what would become Capote’s most famous work, the book In Cold Blood. The film focuses on his obsession with finishing the book, which meant that he desperately wanted Perry and his partner to be executed so that the book would have an end, and his compassion for his subjects, especially his deep feelings for Perry.

In Capote, Philip Seymour Hoffman gives the year’s best performance by an actor – male or female – by a mile. In addition, Capote is easily one of the ten best films 2005 that I’ve seen. Hoffman seems to channel the spirit of the late author, Truman Capote (1924-1984), and constructs a beautiful fictional version of the writer. He climbs so deep into the character that even a physical manifestation of the real Hoffman in the film are rare.

Beyond Hoffman’s brilliant and poignant performance, Capote, a fictionalized account of real events occurring from 1959 to 1965, is a superb film, extraordinary really. The team of director Bennett Miller and screenwriter Dan Futterman fashioned a film that allows Hoffman to be the center, but also makes room for a compelling, dramatic thriller that focuses on Capote’s self-interested friendship with two brutal murderers, but also includes Capote’s circle of friends. Catherine Keener makes the most of her part as Harper Lee, although the character exists only as an extension of Capote. If Capote the film has a shortcoming, it is that the script and performances create fully realized characters that are ultimately underutilized in the narrative. That is best exemplified in the film’s closing minutes when Keener’s Harper Lee coolly delivers a harsh judgment on Capote; that scene alone shows the potential of the movie if the it had given a more broad portrayal of the characters.

Still, Hoffman’s landmark performance carries the film past any shortcomings. He gives us a glimpse into the dark heart and cunning mind of an innovative artist who will say anything and use anyone to create his groundbreaking art. Capote is one of the best films in recent memory to deal with what a writer will do to get his story.

9 of 10
A+

NOTES:
2006 Academy Awards: 1 win for Best Actor (Hoffman); 4 nominations: picture, director, supporting actress (Keener), and adapted screenplay

2006 BAFTA Awards: 1 win: actor (Hoffman); 4 nominations: film, supporting actress (Keener), director, and adapted screenplay

2006 Golden Globes: 1 win for actor in a motion picture-drama (Hoffman)

2006 Independent Spirit Awards: 5 nominations: feature, male lead (Hoffman), screenplay, cinematographer, and “Producers Award (Caroline Baron)

Wednesday, February 22, 2006

-----------------------------