I know what you’re thinking… “I thought Jet Li was done with making epic, period martial arts films.” Well, apparently not. Actually, this film debuted in China all the way back in 2007, so maybe he is done. Regardless, THE WARLORDS stars Jet Li, Andy Lau and Takeshi Kaneshiro in an epic tale of three legendary warlords who vie for control of the empire. Below is the poster for THE WARLORDS, courtesy of IGN.com — and, below that is the trailer. It is certainly worth a look!
FOCUSED FAVORITES is an ongoing taste of my personal favorites, narrowed down with a fine-tooth comb, into very specific categories and topics. It’s a way I can share some of my personal choices in film and hopefully introduce others to films they may not have otherwise seen or even heard of. Enjoy!
I love short fiction! Nothing personal against the novel. I’ve read a few myself and have my favorites, but nothing appeals to my personal philosophy of “less is more” than a well-written and concise short story. For anyone who has worked on a production of a 30-second TV commercial, you know that shorter does not necessarily mean easier. 30 seconds may not be much time, but you’ve still got to tell a story and have it make sense. Here lies the challenge. It’s generally more difficult to tell a great story in a very limited amount of words than it is in a novel with virtually no limitations on it’s length.
More to the point, I am especially attracted to science-fiction short stories, and there are an abundance, both good and bad. What there isn’t such an abundance of, and surprisingly so, are movies based on science-fiction short stories. Of the limited selection, many of them have called upon only a few very well-known authors as their source. In an attempt to raise some awareness of the existing films based of short form sci-fi and to possibly encourage a renewed interest, I am offering up my personal list of five favorite science-fiction films based on short stories.
5. TOTAL RECALL (1990) based on “WE CAN REMEMBER IT FOR YOU WHOLESALE” – by Phillip K. Dick
Paul Verhoeven has a perspective on filmmaking that I find most closely matched with William Castle. Some of you may be reading this and think I’m joking around, but the fact is, both filmmakers were able to make terribly entertaining films that are somehow both distinctly cheesy and classically brilliant. Their movies are fun and, despite the appearance of being schlock on the surface, both filmmakers took their craft very seriously.
With that said, TOTAL RECALL is not just one of my favorite Verhoeven films… I would have to go all in and say it IS my favorite. It also happens to be one of my favorite films based on a science-fiction short story. Of course, being adapted from a Phillip K. Dick writing makes for a great starting point. A great story is already there, so it then just comes down to developing a unique vision for the screen and Verhoeven certainly did that. He managed to squeeze literally everything he could out of Schwarzenegger during his prime, utilized the relatively middle-of-the-road state of special effects technology of the time to great effectiveness and created a sci-fi/action classic!
TOTAL RECALL is wild, almost over-the-top. A mutant resistance is struggling against an oppressive human authority om Mars, where a massive greedy corporation is perpetuating the divide between the have and have-nots. The story is dark and satirical in nature, poking sticks at our own contemporary cultural ways. The mutants are grotesque and believable. The effects are a strange combination of horror meets Tim Burton, splicing the morbid and obscene with the twisted and comical elements of design that make us laugh at something otherwise horrifying.
The movie features Sharon Stone, prior to her rise to fame, followed by her nose dive into virtual obscurity. To be honest, the real “quality” performances did not come from the film’s co-stars, but from the varied actors playing the supporting characters and bit-part mutants. TOTAL RECALL will blow you away, if seeing it for the first time, simply because it is so uniquely bizarre and entertaining. Nearing 20 years since it hit theaters, this one totally holds up to the test of time.
4. THE CURIOUS CASE OF BENJAMIN BUTTON (2008) based on “THE CURIOUS CASE OF BENJAMIN BUTTON” by F. Scott Fitzgerald
This is the most recent film on my little list. Based on the short story by F. Scott Fitzgerald… you know, that guy that wrote that book THE GREAT GATSBY that we all reluctantly were forced to read in high school. And, if you aren’t part of this bitter crowd, then screw you! That book was boring! Anyway, I did enjoy this short story by the otherwise talented American writer and I enjoyed the movie even more.
Directed by David Fincher, and let me tell you… I love David Fincher, the movie does an amazing job of recreating the life and experience of the fictional title character, played brilliantly by Brad Pitt. Yes, I did just use “brilliant” and Brad Pitt in the same sentence. So, what? You gotta give credit where credit is due. Many felt Pitt received his praise on the shoulders of the make-up, but I feel this robs him of the truth in his performance. The make-up isn’t a crutch in this case, but instead was a tool he managed to utilize and strengthen his performance. Next time you want to go bad-mouthing someone for a good performance in make-up, try doing it yourself. It’s that much more difficult to convey the subtle nuances of the human experience in one’s face when it’s caked thick with latex.
While Button obviously never existed, his life weaves adventurously through several key moments and events in history that did actually happen. This movie has it all, true love (if that exists), lost love and reunited love… a veritable romantic triple crown, as well as something for the war and history buffs out there. When you think about it, this is TITANIC for the guys but still appeals to the gals. Following Button’s journey of life in reverse, and to some extent learning life’s lessons in reverse as well, is eye-opening and thoughtful. Button’s story is both miraculous and tragic. It feels similar to the idea of a vampire having great power but stricken with everlasting loneliness as a result of his immortality. Button wants to have a meaningful relationship like anyone else, but this is difficult when the girls your age look their age and you look like their grandpa. Truly tragic!
This is an epic story, but doesn’t exactly flow like an epic on screen. I thought the movie was an awe-inspiring masterpiece, and despite a subtle sense of lacking just enough emotional commitment, the film nearly achieves a hole-in-one. This is not a science-fiction story that falls into the popular style of the genre, but the thematic elements are there. It’s a bizarre twist on the age-old time travel theme, but presents itself in a more intimate manner that delves into social commentary. What’s NOT sci-fi about a human being born as a wrinkly, crippled old man who progressively gets younger as he ages? Yeah, wrap your head around that one, will ya? Fincher’s vision tackles the logistical issues of portraying this on screen with great success, developing special effects that are appropriately just enough and blends them in with some utterly amazing cinematography.
3. THE DAY THE EARTH STOOD STILL (1951) based on “FAREWELL TO THE MASTER” by Harry Bates
If you’ve never sat down in front of an old science-fiction film from the 50’s or 60’s and really watched the film with an open mind and a sense of curiosity and wonder that goes hand-in-hand with the genre, then you’ve never really experienced this era of sci-fi filmmaking. It’s all too easy to laugh and point fingers and mock these films, but many of them really aren’t as bad as they have been labeled by the general viewing public. Your average film historian and critic would never go so far as to call THE DAY THE EARTH STOOD STILL a “bad’ movie. Likewise, I believe this could very well be considered one of the most important and socially relevant films of all-time.
While some may feel the original movie is dated, and newer generations may have been introduced to the story through a far inferior remake, THE DAY THE EARTH STOOD STILL remains one of my all-time favorite science-fiction classics. Harry Bates’ short story is probably not a household name to most people, but the relatively obscure piece of writing spawned an adaptation into the 1951 film that brought the writer’s message to masses of moviegoers. That message can be interpreted in various ways, but essentially it’s a cautionary tale of human ingenuity and the consequences of blindly pursuing technology we barely understand.
Indirectly, the THE DAY THE EARTH STOOD STILL is a warning against nuclear weapons, whereas the remake deals more with an environmental approach. More directly, the film paints in broader strokes the idea that the human race is growing to violent and, if we intend to survive, we will need to change our ways. Klaatu, the humanoid alien visitor, has every intention to help the human race, but when the very violent nature of which we are being warned takes hold, triggered by fear and ignorance. Surrounded by the military, Klaatu is shot by a nervous soldier, sending Gort on a protective rampage until Klaatu is able to voice those magically classic words… “Klaatu barada nikto.â€
The indestructible guardian robot Gort from the classic film, in all his complex simplicity, remains a mainstay in the minds of science-film devotees. Sure, some of the dialogue and even the acting can legitimately be labeled as “dated” but, if you allow yourself to look past that, even embrace that (and this goes for many classic films) then, you may just find that the film holds up over time better than you think. If you haven’t seen the original 1951 film, and especially if you’ve only seen the remake, you really should do yourself a favor and give this classic a respectful viewing.
2. ENEMY MINE (1985) based on “ENEMY MINE” by Barry B. Longyear
Circa 1985. One of the lost and often forgotten gems of science-fiction cinema. Directed by Wolfgang Peterson and based on a short story by an even lesser-known writer to the masses, it’s one of the coolest sci-fi stories to be adapted. ENEMY MINE is awesome not because of special effects, which it has but are relatively minimal aside from set and prop design, but it’s because it’s primarily a dialogue-driven story.
Dennis Quaid plays Willis, a head-strong fighter pilot in deep space, engaged in a long and brutal war with the Dracs. The Dracs are an alien race of vaguely reptilian humanoids. During a cosmic dog fight in which Willis manages to damage a Drac fighter, forcing it to crash land on a desolate nearby planet, he opts to follow the craft to make sure his enemy parishes. Not a smart move, as this results in his craft crashing as well. Now stranded on this rugged and harsh space rock, his anger and hatred manifests itself is a pursuit to locate the downed Drac fighter and finish the job.
Shortly after catching up with the Drac, played by Louis Gossett, Jr., Willis and “Jerry” (a name given him by Willis) comes to terms with the fact they are both stranded on this planet and must work together to survive. Eventually becoming friends through hardship and loneliness, Willis discovers that Jerry is with child. The male of the Drac species bares the children, but pays the ultimate price upon delivery. Now, Willis finds himself raising a Drac child by himself on a distant and dangerous planet. What results is a great story of a man redeeming himself through the child of his former enemy, changing the way Willis looks at the war and the Drac species as a whole.
Given that Peterson is best-known for his big budget, epic cinematic endeavors such as TROY, water-based adventures like THE PERFECT STORM and POSEIDON, and action/thrillers like AIR FORCE ONE and OUTBREAK, he did a wonderful job with this story, translating the experience onto film in a way the audience can share the hypothetical scenario vicariously through Dennis Quaid’s performance. It’s not often a science-fiction story can be called touching and emotional, but this one sort fits that mold. Willis and Jerry share moments, build trust, have fights, depend on each other… all the things we experience with our best of friends in real life. ENEMY MINE is a kind of futuristic reconciliation story, a metaphor for overcoming racial barriers… that takes place in space.
1. A BOY AND HIS DOG (1975) based on “A BOY AND HIS DOG” by Harlan Ellison
If you wanna talk cult classics with me, don’t even bother until you’ve seen A BOY AND HIS DOG. Granted, it can be a little tough to find, but it’s mandatory viewing for anyone interested in the genre of bizarre films. Based on the story by the legendary, multi-award-winning short fiction writer Harlan Ellison, this movie was directed by LQ Jones. Haven’t heard of him? Well, that doesn’t surprise me. This was his second (and last) film as a director, but is an experienced character actor with a LONG list of credits and a personal favorite of Sam Peckinpah’s.
So, what is A BOY AND HIS DOG? On the surface, the title says it all. Here’s a blast from the past… Don Johnson plays Vic, a young man just trying to survive on the dead and barren surface of post-apocalyptic Earth. He roams across the desert surface with his mangy dog named Blood, who communicates telepathically with Vic and has a nose for locating human females… a trait highly sought-after by the male species. Blood finds this work demeaning, but does it for his master and friend Vic.
Blood is significantly smarter than Vic, but Vic provides for Blood. It’s basically a classic man’s best friend relationship. The hitch is that the surface of the planet is a dangerous place. Mad Max style dangerous. One day, Vic and Blood stumble upon an especially attractive female, but this is one dame Vic will ave wished he hadn’t chased. Vic discovers the secret to the underground civilization that exists beneath the free but lawless surface. With the men of their society sterile, the women need strong, healthy men from the surface to “assist” them in preserving the species. Vic finds out the hard way that the concept is far less rewarding than he had originally imagined and must now find a way to escape becoming an enslaved prisoner of sexless procreation.
The surface portions of the story offer enjoyable nomadic adventures of Vic and Blood, always mired in one-sided ethical and moral banter, seeking out food and shelter (and women) while avoiding the ruthless types that pepper the terrain. The underground society however, is far more disturbing. The girls are beautiful but uninterested in sex for fun. The men and women dress like Amish mimes with their faces painted white, completely distorted in their new beliefs. Often called a “kinky tale of survival” the movie is humorous and even so bizarre at points to produce unintended laughter, but is a great flick to enjoy late at night with other fans of cult cinema.
LA NANA, or THE MAID here in the US, is a Chilean film from writer-director Sebastian Silva that tells the story of a maid named Raquel. Long employed by a wealthy family, Raquel has spent nearly half of her 42 years caring for this family’s house and practically raising the three children. On the surface, Raquel seems to be a normal, albeit tired, working class woman who takes her job seriously. What we quickly discover is that Raquel has some underlying emotions that begin to erupt, creating some havoc in the household she keeps.
Catalina Saavedra, best known prior to this film for her role as a maid in a Chilean soap opera, delivers a performance that is equally disturbing as it is touching. Raquel is a woman tormented by something, but the film never fully reveals what that “something†is in her life that is making her miserable. In fact, there are several elements in the story that are left somewhat unexplained. The tricky and otherwise ingenious thing about this is that it works in creating a mystery around Raquel that the audience will find themselves thinking about throughout the movie.
Raquel loves the children, so much so that she believes herself to be part of the family. Not unlike many families, she does have a favorite in Lucas, the older of two boys, and finds herself in constant quarrel with the daughter Camila, who doesn’t understand why Raquel has something against her. Consequently, the audience is never given any reason to understand wither, but it’s the fact that Raquel is such an odd duck that allows much of this bewildering confusion of hers make sense.
Sensing that Raquel’s two decades of service to the family is beginning to take a physical toll, the matriarch Pilar suggests hiring another maid to assist her with the heavy load of chores. Raquel politely discourages this notion at first, but when Pilar finally follows through, a series of near-psychotic antics are employed by the territorial Raquel to ensure her family remains hers. She fears losing them to a new maid, a key plot device that opens up a can of worms regarding the completely untouched question of who her real family is and what in the world has happened in her past to make her so neurotic.
THE MAID is not a flashy film. Visually, the movie is something of a cross between reality TV and a soap opera, as is the progression of the story. The writing is low key, realistic and contains frequent scenes that feel almost voyeuristic. Given the lack of an MPAA rating for it’s US release, I expected more controversy from the story, but aside from some mild and casual nudity, this film is barely deserving of an R-rating, even for language. With that said, the very lack of anything intentionally controversial is partially what makes THE MAID believable.
One way to describe THE MAID would be to call it “battle of the maids†except that this would give it a comical implication, which couldn’t be further from the truth. This is a straight-up drama, depicting the manic mood swings and troubled emotions of a woman who has devoted much of her life to another family, while her own seems peculiarly distant and mysterious. Saavedra captures these extreme shifts in Raquel’s personality, from being gentle and caring one moment to being cold, harsh and at times even a little cruel, both the Camila and especially the other maids. That is, until she meets Lucy and everything begins to change.
For a film that has received some relatively positive buzz in the festival circuit, THE MAID isn’t quite what one might expect going into the theater. It is very likely that the film will fail to grab many people at first, but over the 95-minute running time, the film begins to grow on the viewer, gradually planting one little seed after another, forcing the audience to ask questions. THE MAID effectively procures that dangerous curiosity that may figuratively, and literally, kill the cat… but, never truly let’s the cat out of the bag.
It’s early December and folks are beginning to slide into the full holiday spirit. With 21 days until Christmas, we’re not quite ready for the traditional movie fare. Jimmy Stewart, 34th Street and the 24-hour Christmas Story marathon aren’t quite ready to take out of the oven, but EVERYBODY’S FINE arrives just in time, and it’s just the right recipe to ease us into the proper mood. Unlike the comical antics of Chevy Chase’s Christmas Vacation or the sappy old Wonderful Life, EVERYBODY’S FINE isn’t technically a holiday movie at all. The holiday itself has an extremely small, supplementary role in the story, but it’s the events that lead up to the ending that make it a perfect movie to lead us gently into what this time of year is all about.
EVERYBODY’S FINE stars Robert De Niro as Frank, an aging father who looks forward to a family reunion with his four children. He hasn’t seen his kids, now all grown, since his wife’s death eight months prior. As Frank eagerly goes out of his way to prepare a wonderful celebratory shindig at home, he receives word from his kids at the last minute that none of them can attend. Already feeling his life turned upside down, living on his own, he now begins to realize a void in his relationship with his kids. Frank decides to take a trip across the country to surprise his children with visits at their homes. Frank’s children are portrayed by a well-known cast, featuring Kate Beckinsale as Amy (the advertising executive); Sam Rockwell as Robert (the conductor); and Drew Barrymore plays Rosie (the dancer). David (the artist) is mysteriously absent from most of the story, as Frank embarks on his journey to visit all four of his children.
The one thing that makes EVERYBODY’S FINE such a great film, more than anything else, is the writing. From the opening sequence with Frank doing menial household chores and yard work, a delightfully warm and slightly humorous (in a cute way) portrait is painted. This is a side of De Niro the audience isn’t quite used to seeing from the actor best known for TAXI DRIVER and GOODFELLAS, to name a few. Immediately, the audience accepts Frank as a likable guy.
The film was written and directed by Kirk Jones (WAKING NED DEVINE) and is a perfectly sentimental story. In many ways, it’s a story not far removed from the classical Christmas tale of Ebenezer Scrooge. No, Frank isn’t a scrooge, but he is a man who learns a lot about himself through reflections on his life during a journey. Once set out on his trip by train, bus, and even catching a ride with a truck driver at one point, Frank begins to experience little moments of epiphany, one at a time, learning something about himself, his past and even about the world as it is today. Frank is revealed as a man not only secluded from his own children’s lives, but from the real world as a whole. His eyes begin to open slowly to the real effects he has had on his children, but finds the mystery in their behavior around him now disconcerting and uncomfortable.
De Niro gives an understated but effectively authentic comeback performance after a string of films that have been less than stellar. His performance, as well as the film in general, is filled with tiny little moments of reflection and comfortable silence that speak volumes about where Frank is emotionally. His doubts, his fears and his hurt feelings resonate on screen with subtlety. Personally, I equate his performance to what I felt was a similarly fresh performance from Jack Nicholson in ABOUT SCHMIDT, both of whom were satisfyingly out-of-character for the actors and rekindled my appreciation for their talent.
EVERYBODY’S FINE is endearing, occasionally funny and well played by the whole cast. The story hits the heartstrings with a gentle strumming that is neither overpowering nor sappy. The film as a whole is a “feel good†movie, but requires some genuine emotional sacrifice before the payoff comes through.
Be sure to partake in this fascinating opportunity to hear one of the hidden gems of acting speak about his career and his craft…
ENJOY A VISIT WITH ACADEMY AWARD NOMINEE: RICHARD JENKINS
THE STAR OF THE VISITOR
TUESDAY, DEC. 1 1:00 P.M. to 2:00 P.M.
WINIFRED MOORE AUDITORIUM
FREE and open to the publicRichard Jenkins, who earlier this year was nominated for Best Performance by an Actor in a Leading Role for his starring role in the acclaimed movie The Visitor, will participate in an informal Q-&-A session.
Jenkins will take your questions about his entire career, which includes his continuing role on “Six Feet Under” and performances in scores of films, including “Burn After Reading”, “Step Brothers”, “North Country” and “The Man Who Wasn’t There.”
He has been directed by the Coen Brothers three times, Clint Eastwood, Mike Nichols twice, Sydney Pollack, Rob Reiner and David O. Russell twice. He will soon be seen with Johnny Depp in “The Rum Diary.”
Don’t miss this rare opportunity to chat with an Oscar nominee.
Check out this link to the making-of DE REPENTE LA PELICULA featurette from writer/director Luis Armando Roche. The Venezuelan film, starring Carlos Antonio Leon, is set to begin screening by February 2010.
FANTASTIC MR FOX is very mildly fantastic. That’s not a knock. The film is great, but it’s great in a subtle kind of way. It’s an understated comedy that can satisfy audiences both young and old. Adapted for the screen from Roald Dahl’s classic children’s book. He’s also the writer who concocted such great classic tales as CHARLIE AND THE CHOCOLATE FACTORY and JAMES AND THE GIANT PEACH, both of which have had their moments on screen as well.
The film also takes on the uniquely awkward and quirky dimensions that form within the mind of writer-director Wes Anderson. In case you have no idea who that is, Wes Anderson is the marvelous filmmaker who began with BOTTLE ROCKETS (some of you may still have puzzled looks on your faces) but went on to make RUSHMORE. There we go! That’s the big “Aha!” I was hoping for. Anderson went on to make THE ROYAL TENENBAUMS, THE LIFE AQUATIC WITH STEVE ZISSOU and most recently DARJEELING LIMITED.
FANTASTIC MR FOX tells the story of the title character, voiced by George Clooney. Mr. Fox is fantastic, or at least everyone thinks he is and he plays into that role… but, at what cost? Mr. Fox is good at one thing, besides being fantastic, and that one thing is stealing birds from farmers. The problem is, Mr. Fox promised his wife Mrs. Fox (Meryl Streep) he would stop the dangerous vocation of stealing birds and instead becomes a newspaper columnist, a job at which he is less suited and one that he otherwise has no passion for.
As the now not-quite-so-fantastic Mr. Fox seeks a new tree home for his family in an effort to feel more fantastic again, he discovers the perfect home… which just so happens to be conveniently located nearby the three farms, owned by three of the meanest farmers in the land. Thus begins Mr. Fox’s secret pursuit of his glory days reborn, but not without the help of his opossum friend Kylie, voiced by Wally Wolodarsky.
Initially, life is grand once again for Mr. Fox, living the high life of foul larceny, but in time allows his passion to take control of his life leading to unintended circumstances. His actions have cumulative consequences that boil to a head, putting his and other fellow wildlife families lives in danger. Will Mr. Fox be the cause of misery and destruction, or will his true fantastic nature emerge when it’s needed most?
FANTASTIC MR FOX is an altogether new kind of film for Wes Anderson, in that it is filmed using stop-motion animation. That is to say, intricately animated clay characters constructed on jointed metal armatures, a la A NIGHTMARE BEFORE CHRISTMAS, WALLACE & GROMIT, et al. However, this is not your typical Tim Burton-esque animated fantasy extravaganza. The animation in this film is splendidly old school. The style and technique used in this film is purposely rough around the edges, giving the film a familiar but fresh nostalgic charm.
On the surface, the animation in FANTASTIC MR FOX may appear a bit too simple, but what becomes immediately apparent is the attention to detail Anderson underwent in conveying facial expressions and gestures that speak volumes. The hurky-jerky motion fits in well with the dialogue, written to feel exactly like a Wes Anderson film. In fact, much of this film feels similar to elements from THE ROYAL TENENBAUMS. Both are stories about dysfunctional families, a common theme in Anderson’s films.
Some may feel like Clooney’s voice as Mr. Fox stands out a bit more than the rest of the cast, but that’s fine because it is Mr. Fox’s story after all. However, the interesting thing I noticed about this is that I did notice his voice distinctly as a recognizable voice more readily than the others… and it didn’t bother me. My theory is that Mr. Fox is very much a character similar to many that Clooney has portrayed, and has done so with great success. Clooney’s recognizable cadence and vocal tendencies served Mr. Fox extremely well.
Mr. Fox’s son Ash, voiced by Jason Schwartzman, is an awkward and different young fox, sharing many similarities in character to Richie (Luke Wilson) in TENENBAUM, who feels unloved and replaced by the arrival of Eli Cash (Owen Wilson). Eric Anderson (brother of Wes Anderson) voices cousin Kristofferson, who arrives to stay with the Fox’s and proves to be good at everything he does, causing Ash to feel overshadowed. Schwartzman’s performance as Ash is perhaps the best part of FANTASTIC MR FOX. He is funny, but is a sort of way that we can relate to and also feel a bit sorry for. Anderson does a wonderful job at bringing that certain quality about Schwartzman’s voice and delivery to life in the animation of Ash’s expressions and body language.
The cast of FANTASTIC MR FOX rounds out well, featuring Bill Murray as Badger, Owen Wilson as Coach Skip, Michael Gambon as farmer Franklin Bean and a very entertaining performance from a certain brilliant actor as Rat, who serves as Mr. Fox’s non-human nemesis. The film is filled with great dialogue, witty and smart. The humor is a type that has the audience undergo frequent but comfortable chuckles and giggles, with a wink-wink sensibility.
FANTASTIC MR FOX delivers a distinctly story book style and feeling, one of which I haven’t seen an equivalent since JAMES AND THE GIANT PEACH. The screen is filled with warm, Earthy colors and tiny, well-placed details in the set design add depth and curiosity to the experience of watching the film. Whereas Wes Anderson’s previous films are strictly intended for adult audiences, FANTASTIC MR FOX is accessible to children as well as adults. Kids will get the general idea of the story and much of the humor while also being fascinated by the animated animal characters, while adults will enjoy the life humor and human intricacies that can be read between the lines.
Roughly one out of every ninety children are born with autism. Approximately one percent of children in the United States, between the ages of 3 and 17, have an autism spectrum disorder. Between 1-1.5 million Americans live with an autism spectrum disorder. These are staggering statistics, especially considering such a prevalent disorder receives less that 5% of private research funding of other less common disorders and diseases.
My intention for sharing these statistics is not to condemn anyone, but merely to point out the vastness of the population living with some form of autism. This is a disorder that is still relatively unknown to us in terms of it’s cause and ultimately it’s place within our society and humanity. Many cling to the idea that autism is strictly a bad thing, a disease, but many others remain open to the possibility that autism isn’t a disease so much as a different way of seeing the world that neuro-typical people do not yet fully understand.
THE HORSE BOY is an amazing documentary about that very differentiation. The film follows 4-year old Rowan Isaacson and his parents as they travel from the United States to Mongolia, seeking a cure for Rowan’s autism. Rowan’s father Rupert, a horse trainer by trade, realized one day that Rowan has an uncanny connection and way with animals, especially with horses. Rupert decides he wants to use this connection and take his family to the one place that horse-riding was born, which also happens to be the home of what are considered to be the most powerful Shamans in the world.
The Isaacson’s experience of raising a child with autism, with symptoms varying from tantrums to a complete resistance to potty train, has taken an emotional toll on their lives. Rupert feels that this adventure to Mongolia, undertaken in part by way of lengthy horse-back riding, will reveal some form of healing for Rowan and themselves. Rupert’s wife Kristin is a bit more skeptical of the outcome, but remains open to the possibilities and they both ultimately find themselves amazed at the results.
Without venturing into excessive detail of Rowan’s condition, the simple truth is that at his his rate of development, he would have difficulty living a “normal” life on his own in society. This, above all else, is what frightens Rowan’s parents and pushes them to follow this path of horses and Shamanic healing. The journey has it’s ups and downs. The film, directed, photographed and edited by first-timer Michel O. Scott, vividly captures both the intense joy and exhausting pain that they endure along the way.
THE HORSE BOY harnesses moments of intimacy with Rowan, both with his father and moments by himself that reveal a unique and fascinating human being in the process of discovering himself and the world around him. Rowan overcomes nearly all of the negative, debilitating effects of autism but also maintains and thrives on the positive aspects of seeing the world from a different perspective through autism. Whether this is the direct result of the Shamanic healing, Rupert and Kristin differ slightly in their opinions, but what they agree on is that the experience as a whole has been a blessing and they are grateful, regardless of the causation of his progress.
The film takes this very engaging and emotional story of human triumph and peppers it lightly with interview clips from various experts, including Dr. Simon Baron-Cohen, anthropologist and researcher Roy Richard Gringer and Dr. Temple Grandin, who herself lives with autism. These scenes are minimal, but offer an enlightening educational support to the story as it unfolds. Footage shot by Michel Scott depicts Rowan’s unbelievable connection to animals as well as the immense beauty of the remote regions of Mongolia, which give an epic cinematic feel to the Isaacson’s jounrey.
Original music in THE HORSE BOY was composed by Lili Haydyn and Kim Carroll and, while pleasant enough, felt a tad too New Age. This was a concern because, while the subject matter may seem “New Age” on the surface, is really more about a father’s determined journey to make a better life for his son than it was a testament to any specific form of alternative or spiritual method of healing. Here is a man, a father so in love with his child that, no matter what the cost or outcome, was willing to leave no stone unturned in seeking the best life possible for his son and this in turn is what makes THE HORSE BOY a fantastic must-see documentary!
This is either good news or bad news for the most devoted of comic book fans. A spin-off film about Silver Surfer has been in gestation ever since the FANTASTIC FOUR sequel, which I personally felt was better than the first. In fact, despite it’s their many flaws, I actually enjoyed both Fantastic Four movies on a purely child-like level. Heck… I even own a copy of Roger Corman’s original cinematic rendition of the super hero team.
J. Michael Straczynski (NINJA ASSASSIN), the co-writer tapped to pen the film said in an interview with Collider.com that the underwhelming box office performance of FANTASTIC FOUR 2: RISE OF THE SILVER SURFER is what caused the pull back from the SILVER SURFER project, which at one time had Alex Proyas’ (I ROBOT, KNOWING) interest in directing.
Straczynski states that his script had the spin-off picking up where FF2 left off, so in my own opinion… this may be a blessing. Many fans feel the story is “unfilmable” and are not fans of the cosmic surfer dude’s involvement in the second FF movie. However, and this is a BIG “if”… but, “if” done right, I think a stand alone film, or even limited franchise about the Silver Surfer could be really cool. It would have to begin with an origin story, as this is just as crucial to understanding the character as the origin story of Superman was to his movies.
I am most likely one of a very small minority that actually wants to see this project come to fruition, but there’s such a rich and fascinating story line with plenty of back story and creative sub-plots to explore, beginning with his origin which is directly connected to Galactus. This, I believe, is what had Proyas interested in the first place.
Granted, they’d have to make a far better attempt at doing Galactus justice than they did in FF2 (although some would say the “angry cloud” take was a prelude into the true character, whom they didn’t want to reveal just yet). In all honesty, SILVER SURFER would be a difficult, costly and risky project… but then again, people said LORD OF THE RINGS and WATCHMEN were unfilmable and look what happened.
Source: IGN
THE BLIND SIDE is not a football movie. THE BLIND SIDE is a movie about what it means to be a family. It’s a about how families don’t always fit into nice, neat little molds and that a family can consist of any number of arrangements. It just so happens those arrangements can include a football team as well as an unlikely family that takes another human being into their care, regardless of social taboo. This is the story of Michael Oher.
Michael Oher, played by Quinton Aaron (BE KIND REWIND), is a man of few words, so I will begin by using a single word to describe THE BLIND SIDE… inspiring. THE BLIND SIDE is based on a true story, directed by John Lee Hancock (THE ROOKIE, THE ALAMO) who also adapted the story for the screen from Michael Lewis’ book “The Blind Side: Evolution of a Game.” Michael is a large young man, earning him the nick name Big Mike. Michael grew up in an extremely under-privileged and dangerous part of Memphis known as Hurt Village. He was removed from his drug-addicted mother at an early age and spent most of his childhood in and out of foster homes.
As compelling and heart-wrenching as Michael’s past sounds, this is all back story. After barely getting accepted into a fancy private Christian school with the help of a friends’ father, Michael finds that he is ill-equipped for learning in the traditional sense. As he struggles to adapt, he is noticed at first by a school teacher who pushes the staff to adapt to his needs. In the process, Michael meets the Touhy family through SJ Touhy (Jae Head), a tiny boy who quickly befriends Michael.
Leigh Anne (Sandra Bullock) and her husband Sean (Tim McGraw) put Michael up for the night after finding him out in the cold rain with nowhere to go. What the Touhy’s never expected was that this one night of spontaneous compassion would ultimately result in a lasting relationship that would change both Michael’s and the Touhy family’s lives forever. From day one, Leigh Anne is drawn to Michael in a motherly way. Michael is a soft-spoken young man with a good heart and athletic potential, fitting right in with a family of football fans. One thing leads to another and before long Michael is playing football on the school team.
Of all the things THE BLIND SIDE may or may not be, it is a satisfying film that lends itself to a greater purpose, but does so without much preaching. Perhaps the only real criticism I can offer is that, while Michael did clearly come from a bad place, I was slightly turned off by the film’s almost entirely negative portrayal of Michael’s roots in Memphis. The one exception is a fairly sincere and well-played, although brief, performance from Adriane Lenox (MY BLUEBERRY NIGHTS) as Michael birth mother.
For what it’s worth, THE BLIND SIDE features what I consider Sandra Bullock’s best performance since her role in CRASH. For what it’s worth, that says a lot coming from me. Bullock’s performance is heart-felt and a bit thicker than normal, showing that she continues to take steps in the right direction toward broadening her range as an actress. On the flip side, the audience will find the same thing they always find from Kathy Bates, who appears in a very small role as Michael’s tutor… excellence!
For the football fans, several high-profile college coaches appear as themselves after Michael becomes a hot commodity within the frenzy that is attracting the best of the best into college football. While their are scenes of Michael learning to play football and eventually excelling at it, THE BLIND SIDE appropriately does not focus on this. Instead, the movie spends time illustrating the effect that the Touhy family has on Michael’s life and in turn, the effect Michael has on them, especially on Leigh Anne.
The most powerful moment of THE BLIND SIDE is at the end as the credits begin to roll. No. Not because the movie is over, but because of the photo montage of the real-life Michael Oher, which sets in concrete the notion that THE BLIND SIDE is based on a true story about a real person and a real family. THE BLIND SIDE is funny, endearing and even a little sad at times, but more importantly is a wonderful reminder that there are still people in the world that do good for goodness’ sake.
THE BLIND SIDE will entertain audiences, but hopefully the movie will also inspire audiences. In the current economic climate and state of global affairs, it’s a perfect time of year for an inspirational film. And, it’s not even a “holiday” movie. No. THE BLIND SIDE is not the little film that could change the world, but it could be the little film that inspires someone in the audience to go out and make an effort to change someone else’s life for the better… and that’s enough for me.
