|
Out Now On Video
Grosse Pointe Blank
Martin Q. Blank (John Cusack) has several problems sitting on his plate: he’s an independent "contractor" (as in, one of the type who fulfill contracts taken out on other people’s lives) with no "fulfillment and truth" in or to his existence. This is only one example of Blank’s inability to link metaphysical cause with effect. His independence is being threatened by his old nemesis, an unsavory character named Grocer (Dan Aykroyd), who wants him to join a union of other "contractors" in one of those old offers you can’t refuse. Dr. Oatman (Alan Arkin), Blank's therapist, is disgusted with his lifestyle, and finds any excuse to avoid speaking with him. Worse yet, Martin’s ten-year high-school reunion is coming up in the tony suburb of Grosse Pointe, MI, where he will be forced to confront Debi (Driver), the girl he left behind on prom night at the beginning of said previous decade, thus providing her with sufficient time to ferment her grievances against him into a marvelously acrid vintage. Against his better judgment, Blank is persuaded by his secretary, Marcella (played with precision and verve by Cusack’s sister, Joan, a most underappreciated actress) and his therapist to return to the scene of his first "crime", as it were, before retiring for good. "Don’t kill anybody for a few days," Dr. Oatman tells him during one of the many occasions when he has been subjected to one of Blank’s over-the-telephone ambushes, "see what it feels like." This is an unlikely prospect, since Blank has to take care of an overly verbose witness while at home. What it "feels like, initially, is a living illustration of Thomas Wolfe’s dictum that you can’t go home again. Blank’s mother suffers from a nervous breakdown and is in a nursing home. The family manse has been turned into an Ultimart convenience store. Debi publicly humiliates him on her radio show, and Grocer sends two shady government agents (Azaria and Freeman) to kill Blank after he has fulfilled his contract, so that his death will look like an accident. Just one of your average weekends back home.
The gloomy synopsis above doesn’t even begin to do justice to the well-honed black comedy that is Grosse Pointe Blank. Part of the credit has to go to director Armitage, who mixes comedy and violence in a skillful fashion, as he did so well in Miami Blues. Not least of all helpful to Armitage is the script which delivers not so much wit (though there’s a considerable degree of that present) as it does a coolly ironic attitude which is as sharply defined as a chalk outline of a body on the floor. The irony is not as searingly brutal as that of Pulp Fiction, however; think of Grosse Pointe Blank as a lighter version of Pulp Fiction, and that is no insult. Both films have a characteristic so rarely witnessed in modern comedy, which tends either to infantile premises and gags suitable to the terminally prepubescent (think of the excessive excrescence of Chris Farley, our man of the eternal booger and flatulence jokes) or humor so corrupted by political correctness that it is emasculated. Instead, these films are unambiguous about their desire to offend, while in the process drawing attention, oh so subtly, to the greater whole in which everyone operates. In Grosse Pointe Blank, the audience is provided with the spectacle of the most extreme capitalist among us as a metaphor for the less open and less extreme, but still murderous, tendencies in modern society; while hardly an original concept (and one that doesn’t necessarily possess universal applicability), its presentation in Grosse Pointe Blank is delightfully off-kilter; the idea of a hit man searching for more humanity in his life in the narrow, status-obsessed milieu of his youth has a viciously delicious (or deliciously vicious, if you like) circular structure, and underscores the Bergsonian theory that comedy arises from drawing attention to the automatic, almost mechanical, responses of human beings to the world around them. In short, Grosse Pointe Blank is highly entertaining satire.
The other part of the credit goes to a immaculately-selected cast, of which the critical center is Cusack. As in some of his earlier comedic roles (such as 1989’s Say Anything), Cusack, defined by his visual contradictions (among them a sloe-eyed facial expression which gives him the appearance of a deer caught in headlights combined with a persona that is wound so tightly you half expect him to start doing a whirling-dervish act at any time), is so good because everything about his interpretation of Blank has the precise amount of ironic detachment, both in facial and physical personae; things happen around him, rather than to him, even if he’s right in the middle of it, and this positioning, along with Cusack’s charm, gives the audience a clear source for identification. Unfortunately, Cusack’s strongly-defined position (one of the advantages, no doubt, of being a co-writer of the script) doesn’t give the supporting characters much to do while they operate under his influence; only sister Joan really gives him a run for his money in their shared scenes, although Aykroyd and Driver do achieve some rare moments of equalization (such as during the Mexican standoff between Grocer and Blank over breakfast in a Grosse Pointe restaurant). Nevertheless, after you’ve had your fill of Star Wars re-releases and/or so-called "indie" films that mistakenly substitute an atmosphere of chronic gloom for trenchant social commentary, Grosse Pointe Blank just might be your best shot at an edgy comedy with a reasonable degree of intelligence.
The Full Monty
Director: Peter Cattaneo. Stars: Robert Carlyle, Tom Wilkinson,
Mark Addy, Paul Barber, Hugo Speer
Seems like everyones going the full monty and if youre been wondering what all the fuss is about, nows a good time to find out. The Full Monty provides a pleasant change of role for Robert Carlyle, formerly the psychopathic Begbie in Trainspotting. This time round he is a the free-wheeling, irresponsible Gaz, a divorced father who hatches an hilarious plan to make some money. He figures in the bargain hell also gain the respect of his young son, who is the pawn at the center of a custody dispute.
Gaz decides to gather his mates who were also laid off at their local steelworks, and suggest they launch a one-off striptease act, based on the Chippendales famous performances. They decide they have little alternative but to strip for money; theyre at their lowest ebb spiritually and financially. What Gaz lacks in technique he quickly compensates in enthusiasm and drive. Of course, a bunch of Englishmen approaching middle-age girth doesnt make for studly viewing, and a hilarious film results. At the same time, the script is deeply sensitive to the plight of male vanity.
Gazs best friend David is overweight and depressed about his psychologically-induced impotency; Gerald,the former foreman hasnt told his spendthrift wife he was sacked six months ago; Horse is an old geezer who does a mean gyration despite the hips not being what they used to be; and Lomper is pigeon-chested and lives with Ma. Guy couldnt dance his way out of a paper bag but is admitted to the team because he is erm, well-endowed.
The soundtrack reveals some classic favourites as the motley
crew practice their revealing act: Hot Chocolate, Sister Sledge, Tom Jones and Donna
Summer all feature throughout the film. The opening scenes are fabulously kitschy,
featuring retro propaganda footage of Sheffield. We see the halcyon days long past, when
the steelworks formed the heart of a town booming economically. 20 years later, the town
is depressed, has a serious male unemployment problem and crime is rampant.
The practice scenes are lively, ironic, idiotic and most viewers will have tears in their eyes, unable to stop laughing for several minutes during the films funnier scenes. Despite the central plot, the film is actually clean and relies more on the strength of the script and acting than nudity, which is used to minimalist effect until the finale. This is a film that demands group laughter and enjoyment. Grab your mates, a few beanbags, some lagers and salt-and-vinegar chips, and go the fully monty. "Satisfaction guaranteed!"
Contact
Stars: Jodie Foster, Matthew McConaughey, Tom Skerritt
Based on the late, great astronomer Carl Sagans short story,
"Contact" is an interesting answer to the question of God vs Little Green Men.
Jodie Foster is little orphan Ellie, a brilliant astronomer who dreams of making contact.
After all, the film constantly reminds us: "if there isnt anyone else out there, it
seems like an awful waste of space."
Watch Contact on a big-screen tv for maximum enjoyment, and dont miss the opening scenes. This is almost the best part of the film; the viewer is taken through a journey of time and space, a silent wonder created as realistically as modern technology and imagination allow. The amazed wonder continues later as Ellie takes her long-awaited journey to meet the aliens who have made contact with Earth.
The film begins with Ellie's battle with the cynical bureaucracy that is the Department of Defence, and her alignment with a mysterious benefactor who, through phenomenal power and backing, enables the astronomer to set out and prove Science or God right, either way. Tom Skerritt is commendable as the slippery yet popular manipulator who initially steals Ellie's prize.
The actual trip to deep space is a fantastic visual treat. The coldness of the Japanese-designed stainless steel definitely evokes a feeling of solitude in the viewer, enhanced by Fosters depiction of the cautious excited Ellie, adorned in suitably applied makeup and perfect costuming.The special effects utilised in this key scene are nothing short of amazing; morphing used to illustrate Ellie's little-girl wonder at the beauty of deep space; lighting effectively used to depict the tremendous poser of kinetic and magnetic energy; sotto voce scripting effectively demonstrating the thoughts of the travellers frightened mind. Sound is also creatively used to take the viewer through the time warp with Ellie. The entire scene is sheer and miraculous brilliance.
Matthew McConaughey plays the love interest; a man of God to Ellie's woman of Science, initially opposed in spiritual beliefs to Ellies atheism. All of the supporting cast are well chosen, resulting in a film that demonstrates competent acting and effects create an intriguing film that questions the notion that theology and science are separate philosophical realities. There will be interesting conversations between viewers long after the credits have faded to black. Available now, and dont forget the big-screen TV.
Gattica
Stars: Ethan Hawke, Uma Thurman
Most futuristic films go beyond the realm of extreme possibility, as old Mouldy would say. Gattica is a delight to the intellect and imagination, with an ending that gives hope to the viewer; that the common man can triumph, in an age of technology gone bureaucratic.
Eugene (Hawke) is destined from birth to become little more than a janitor, with his gene test seconds afterward revealing he has a possible heart defect and probability of a short lifespan. The odds are 99% that he will bite dust before 30. Tougher than nails Eugene decides to believe in himself and not the test.
A naturally-conceived rarity in a world of genetically-engineered perfect babies, the young Eugene is raised his entire life to demur to his physically and intellectually superior brother, who treats his sibling with little respect and total disdain. No-one has counted on Eugenes determination to fulfill his dream of becoming an astronaut, despite the fact that only the best and most perfect of human bodies are considered for the space missions.
Through some illicit contacts, creative manipulation and drastic surgery, Eugene is able to take on the identity of a former Olympic swimmer, Jerome, who is now a paraplegic recluse, who remains officially of perfect health. Despite the considerable financial costs and great personal sacrifice, Eugene is fully prepared and determined to undertake the identity switch.
The viewer joins Eugenes journey, experiences his narrow escapes of detection and can sympathise with the patheticness that is surrounding world. One of the most interesting aspects of this futuristic film is the compassion brought to the script in a highly subtle style, and enhanced by the 30s style costuming and set design. Sharp suits and hats abound, art deco reigns supreme and cars are Capone-cool.
Ethan Hawke has struck gold again in his sensitive and perceptive portrayal of his humble Joe beating incredible odds. Uma Thuman gives an incisive performance also, particularly with body and eye language. Together they make an interesting combination of personalities, but watch also the vital scene where Umas character makes contact with the real Jerome, and Eugenes intricate plan almost comes undone. It makes for a perfect and rarely seen example seen example of a tense scene enhanced by minimal script, more acting and crucial eye contact.
Broken English
Director: Gregor Nicholas
Croatian-born Nina (Rade Serbedzija) escapes with her family from their war ravaged homeland to the culturally mixed suburbs of Auckland, New Zealand. Smothered by the controlling love of her volatile father Ivan, Nina finds tender love in the arms of Eddie, a native New Zealander (Julian Arahanga). But in Ivans eyes, Eddie is a threat to the stability of the staunchly Croatian fold. And equipped with all the hatred and nationalist prejudice that is tearing his homeland apart, Ivan sets out to deal with Eddie as only he knows how.
From the producer of "Once Were Warriors", this is a story of fear, love, fragility and freedom set against an intense backdrop of cultural tradition and new world opportunities. Available now.
For Rosanna / Rosanna's Grave
Director: Paul Welland (Mr Bean, City Slickers 2)
(English with Italian accents and actors)
Marcello (Jean Reno The Professional) is a restauranteur in a small Italian village where he lives with his dying wife Rosanna (Mercedes Ruehl The Fisher King). Her final wish is to be buried in one of the three remaining plots in the local churchyard and Marcello is desperate to see her last request fulfilled. Unfortunately, no plots can be reserved its a case of first come first served, in a manner of speaking.
So Marcello sets out to do the only thing possible keep the local villagers who are dying safely alive, and protect all the living at the same time! With Marcello spending his days visiting the sick, donating blood and directing traffic in the name of survival, its a wonder he doesnt put himself in an early grave or at least, that of his wifes! This comedy is hilarious; watch for a very amusing scene involving an unexpectedly departed villager and a freezer full of frozen vegetables. I thoroughly enjoyed it.
A Gun, A Car and A Blonde
Director: Stefani Ames
Stars: Billy Bob Thornton (Sling Blade), John Ritter (Problem Child), Jim Metzler, Kay Lenz
Richard Spraggins is a wealthy businessman whose illness has left him in pain and wheelchair-bound. Adding to his affliction is the presence of his loathesome sister, who hopes to find a place in his affections and his will.
A friend advises him to fight his pain with objectification therapy a form of self-hypnosis where you become someone else in a pain-free environment. Richard then retreats into an imaginary world, where he becomes a private eye on a case to die for. But as new world becomes more real to him, it merges dangerously with the one he so desperately wants to escape. A fascinating film starring two of the most popular actors of the moment, Thornton and Ritter. Available now.
Rasputin
Stars: Alan Rickman, Greta Scacchi, Ian McKellen
In turn-of-the-century Russia, a 300 year old ruling dynasty collided head on with new political ideals. As the country teetered on the brink of revolution, a man named Rasputin becomes a lightning rod for the Tsars critics. A Siberian peasant and monk believed to hold special powers, Rasputin was welcomed into the Royal Familys elite circles after he healed the young heir, Prince Alexei.
However his debauched, decadent and unconventional ways brought the Tsar and his family under intense criticism from the Russian people. When his influence on theRoyals and their political policies was seen as a threat to the countrys stability, a chain of sinister and bizarre events was triggered, ultimately leading to the downfall of one of the worlds great dynasties.
Based on the dramatic true story about the former ruling family of Russia, and the one man who set out to destroy it: Rasputin. Two of Englands greatest modern actors enhance this film to make it compelling viewing.