Role Call: Aaron Eckhart

Role Call is not a post about a persons strongest work or best work. Just their work that- for whatever reason- is on my mind, and why.

No, not that guy from Deep Blue Sea. Aaron Eckhart strikes me as one of those talented actors that, for whatever reason, everyone knows the face of but people rarely know the name of. Still, whether you know his name or not, his resume is undeniable. He's given us drama with the over-nominated under-awarded Rabbit Hole. He befriended Hero genre fans with his spectacular turn in The Dark Knight. He blew me away (pun intended) with Thank You for Smoking, effectively a one man show with him at the epicenter. And if you have romance on your mind, try Possession on for size. Starting today you can see him fight to save humanity inBattle: Los Angeles, but the title I'm recommending features him in a fight to save the entire planet. That's right ladies and gentlemen, I'm talking about the 2003 disaster film The Core.

It's easy to dismiss as a Roland Emmerich knock off, and it's certainly not based on the strongest science in cinema history. But to all of you willing to completely discount this title, i ask that you take a look at the cast, even beyond the aforementioned Mr.Eckhart: two time Oscar winner Hillary Swank, Oscar nominee Stanely Tucci, Oscar nominee Richard Jenkins, Delroy Lindo, Bruce Greenwood, Tcheky Karyo- the writers may be in doubt but the casting directors were on their game. Academy nobility and hollywood C-listers, you can't lose.

So I suggest you grab some friends, pop in this rental, and watch the world end. Then you can hit the theater and watch it end, again.

Thanks to grannysrcool

The Adjustment Bureau

"I know that's what it looks like, but it's not. I can't explain to you why..."

In my review of Splice I said: "The trailers are telling you that Splice is just waiting to be the next Alien, a horror thriller that will keep you up at night with fear of what's crawling through your air ducts. The trailers are lying to you." It's not all that uncommon, trailers that pitch what they feel is the most widely appealing vision of a film instead of an honest representation. With Splice, it was obvious that they pitched the movie as a horror-thriller for fear that no one would come out to see the intense morality tale that the ended up being. But what about the movies where the trailer isn't meant to mislead. Where the story contained is really just that hard to explain? Enter The Adjustment Bureau.

Based (very loosely) on a short story by Philip K. Dick, The Adjustment Bureau makes up for what it lacks as an adaptation by taking Dick's basic idea and developing it into a full length feature film that tells one of the best romance stories I've watched in a long long time. As I sat in the theater I was reminded of one of my favorite romance films, Eternal Sunshine of the Spotless Mind. Not because the movies are alike or follow the same paths- but because they both use science fiction mechanics to propel an incredibly human and authentic look at how relationships rise and fall, and the way they affect the course of our lives.

At the center of the story are Matt Damon as David Norris, a politician running for state senate, and Emily Blunt as Elise Sellas, a talented ballet dancer; a chance meeting between the two that sets the story rolling. It's simple fact that any story of romance lives and dies by the heat of it's leads, and the onscreen chemistry between Damon and Blunt burns bright enough viewers might leave with the theater with a tan. Rooting for them comes naturally within moments of their first exchange, and that's all you need to be completely committed for the rest of the run time. The film also brings us another great performance from Anthony Mackie, a rising star I've been very vocal about wanting more from.

While the tone and the details of the journey your going to be taken may be hard to nail down in a trailer, once you understand the kind of story being told you will have no doubt how it ends. This is more a simple observation than a complaint. An endings predictability does not automatically disqualify it outright. The Adjustment Bureau's ending works as a conclusion, whether you'll be talking about it three weeks from now or not. if not, the movie will still leave you with more than enough to chew over with a fellow movie goer down the line.

It's very easy for me to add Adjustment Bureau to a list of recommendable films. As well as my list of "romance movies that are still romantic without being formulaic", and "movies that prove science fiction is more than aliens and spaceships". It may not be the taught "Big Brother" thriller the trailers would have believe it is, the film is almost better off for it. What a movie like this needs is word of mouth, though I'm sure a large part of that will be the inevitable (and in my opinion pointless) religious debates that will ensue. So see the movie, and then tell other people to see the movie. The Adjustment Bureau deserves an audience.

The Reel Deal Recommends:

Sunshine Cleaning: Blunt in a sub-plot that outshone the main.

The Good Shepherd: One of Damon's most complicated performances.

The Hurt Locker: Mackie boils in a film that won Best Picture for a reason.

I Am Number Four

"But it's an easy fix. One line of dialogue. 'Thank God we invented the'- you know- 'whatever device."

I'm not going to pretend I don't know how the world works. I understand that most people go to the movies to watch beautiful people do extraordinary things. It's the same reason why even characters labeled as "ugly" by the totality of a films population are still played by the gorgeous and fit. So it doesn't bother me seeing yet another Abercrombie and Fitch model play a lonely outcast. Nor does it bother me to see another gorgeous twenty-something play a high school student. What bothers me is that I Am Number Four stars both Alex Pettyfer and Timothy Olyphant as two of the last remaining members of an alien species hiding out on earth, and apparently we're just supposed to take their word for it.

It's a long standing pet peeve of mine- call it creative laziness: movies that silently assert the ridiculous idea that a species of being that develops in a complete different atmosphere with completely different environmental and zoological stimuli would end up looking physically identical to humans. Most creative teams have the decency to take the two minutes it requires to insert some sort of explanation; advanced camouflage technology or abilities, some sort of DNA splicing- these are the most popular. A bit lazy themselves maybe, but better than nothing.

By comparison, Roddenberry, while the better part of his aliens tend to walk upright with two arms and two legs, took the time to at least do some make-up work. Changes in skin color, prosthetic bone formations on the face and body, even fake antennae on the tops of heads. To ice the cake they inserted a storyline that explained all the similarities as part of the cannon. Lucas (grumble grumble) may not have ever explained why humans a long time ago in a galaxy far, far away were exactly the same as humans here and now, but he certainly made sure they looked different than the rest of the races there.

You may be reading this thinking: 'Okay we're three paragraphs into this review and we're still talking about what isn't in the movie as opposed to what is.' And your thinking right. Normally, this "detail" would be something I would simply notice or call attention to briefly, but then I would move on to the rest of the movie. Unfortunately, whether or not you've seen I Am Number Four, you already know everything else about it.

Typical high school hero fare, complete with quarter backs telling gorgeous loners to stay away from their girl, powers being discovered for the first time on campus, and a character whose last words are encouragement to go face one's destiny. Hero stepping in to protect the "nerd" from football playing antagonists? Check. Scene where students eat lunch on the grassy expanse of the high school's grounds? Aye-Aye. Awkward attempt to make the hero showing his powers to the love interest romantic? Done and done. I can't imagine any of this would come as an insult to the three writers billed for this screen play, since it seems rather obvious that originality was never their goal. "Let's get this thing banged out by noon, I have a lunch meeting with Kristen Stewart's agent about the next Nicholas Sparks movie" I can hear one of them saying.

I Am Number Four is a paint by numbers venture built atop an interesting but poorly executed back story. Though admittedly fun, the movie is just as forgettable. I've never read the the book (of the same name) that it's based on, but I can only hope for the authors' sake that this movie is a poor representation. Given that I Am Number Four is already generating profit though it hasn't even been in theaters a full month, the open ending of the movie, and the existence of additional books in the series to milk adapt, I would say this humdrum title won't be the last we here of John Doe... yes they really did name him that. If a sequel does come, one thing is for sure, it certainly won't have been awarded on merit.

The Reel Deal Recommends:

Dreamcatcher: Olyphant in a great cast; based on a novel by Stephen King.

Unknown

"But what I do have are a very particular set of skills..."

Liam Neeson is one of the actors on my A-list. Unlike the mainstream A-list, mine has little to do with how famous you are, or how much money you make. Mine is reserved for actors, actresses, directors, etc. who- despite how good or bad the movie as a whole may be- never (or extremely rarely) fail to deliver. Anyone can end up in a bad production, but if you bring your A game no matter what, than that's the list you'll be on.

Let me be clear- Unknown, is not a bad production. All in all it's a very entertaining film, but it falls short of the next level where movies go from watchable to recommendable. The reason it falls short is it's lack of clear direction. The story of Unknown is a thriller; unfortunately Unknown doesn't seem to know that (that joke is just to obvious so I'm going hold my tongue). And so, identity thrown to the wind, Unknown starts to grope blindly through a treasure trove of intrigue movies, trying desperately to find a mantle that fits. A dark psychological mystery? A gritty who-done-it? A race against time, assassin romp? Unknown tries, but can't seem to make any one fit with or over the others.

There are rather blatant attempts to force Bourne-style action, but they must indeed be forced because on their own they just don't fit. This is an unfortunate truth about Unknown; that it will inevitably be compared to The Bourne series. That the movies have certain themes in common there is no doubt, that should have been all the more reason to take Unknown deeper into the thriller/intrigue realm, instead of trying to emulate the "trade mark" action of a movie that's just barely it's narrative peer. Especially when, in the course of attempting said emulation, one is forced to sacrifice screen time for the more interesting parts of the story you have.

Without question, the brightest sub-plot to suffer for these extended action sequences is that of Bruno Ganz as ex-Stasi agent Ernst Jurgen. Through his cool and calm portrayal of the retired spy, Ganz steals each and every scene he appears in. While the mystique surrounding his character is a large part of the appeal, it seems an extraordinary waste that he comes and goes as fast as he does. In a screenplay that seems to lurch and jerk as it tries to fit into so many different skins, Jurgen is smooth and confident, with a yoda-like slow gate that oozes wisdom and power. Despite all the big reveals and action set pieces, it's this character's final scene that stands out as the must see moment of this film.

Beside Bourne, the other inevitable, and unfortunate, comparison that will be made with Unknown is Taken. Unfortunate because what made Taken such a succulent, enjoyable movie was it's purity. It knew exactly what it was, and so wasted little time on filler or side dishes. Because of this, the little time it does waste is forgivable. This is a trait Unknown could never match. It doesn't know what it is- and so it tries to be too many things. I wouldn't call it a waste of ticket money (If you appreciate Mr. Neeson like I do, you won't be disappointed), but I'd have a hard time pointing to it over some other titles above the box office. Unknown is a perfect example of the old figure of speech: Jack of all trades, master of none.

Reel Deal Recommends:

Taken: Neeson commands the screen; the action is apt and delicious.

Downfall: Ganz' spectacular turn as the most infamous man in history.

Theme Song Thursday

I've always been oddly talented when it comes to remembering theme songs, and my mother always told me to share my talents. Thus Theme Song Thursday is born. No these jingles may not have much to do with cinema, but each one will speak to formation of the brain that brings you all of The Reel Deal reviews and posts.

One random day last month this theme song jumped into my head, and I've been singing it ever since. Now it's your turn! Many an elementary school weekend afternoon was spent sing along to this music. As an interesting note, years later I would realize that my strange and rarely admitted to love of Christine Taylor was born on this very dude ranch.

Enjoy!

Thanks to cool245flashmail for the post.

I bought that for a dollar!

If you haven't heard about the statue of Robocop that has been proposed (and denied) in the city of Detroit then I honestly have know idea how you can be reading this without your airways closing since you're obviously allergic to the Internet. Nonetheless, I'm glad you chose to stop by my humble blog- though you were probably trying to get somewhere else but were to woozy to type straight with all that Benadryl in your system.

Here's a quick recap: Dave Bing, Mayor of Detroit, asked an open ended question to the Internet and is now paying the price. Upon asking for ideas on how he could clean up the city, one twitter user suggested that they erect of statue of the Silver Servant himself- Robocop. Bing, being of sound mind and body, declined the idea. Unfortunately nobody could hear him over the sound of wildfire. Now the entire thing has progressed so far as to see the birth of a fund raising website (via Kickstart) devoted to corralling the needed funds to commission an artist to build said statue, which would then be erected in a public art space. Now normally I silently bare witness to an event like this- mentioning my more entertaining thoughts to those I choose to confide in; i.e. Watcher X and Kello. However, this story has two things that most Internet spread, movie related stories do not: Detroit, and Robocop.

Growing up my entire family lived in Detroit, and most still live in the surrounding area. This could well have something to do with why I took to Robocop so quickly as a child. Every other rated R movie I was exposed to reduced me to such a state of shivering terror that I could barely walk straight, let alone sleep at night. But I've been an adoring fan of Bob Morton, Clarence Boddicker and the gang since before I can remember- literally- despite mutant road kill and shotgun amputated arms. Which is why I went on down to the official website and made my donation as soon as I could (while still verifying that the site was legit). The minimum is $1, so even the young and monetarily challenged can rally around the Metal Marshal.

If you'd like serve the public trust, protect the innocent and uphold the law yourself, head over to Detroitneedsrobocop.com. There you can read the whole story, revel in the fact that the site exists, and make your own donation.

Company Men

"You know what the real tragedy here is Bob? We could have been friends."

The first poster I ever saw for Company Men had a tag line on it that read: "In America, we give our lives to our jobs. It's time to take them back." I have no idea what this statement has to do with the movie Company Men. This is not a movie about realizing your worth outside of work. If anything, it's study on how low losing your job can bring you when you define yourself by what you do. This is a perfect example of the kind of decisions writer and first time feature film Director John Wells makes all over Company Men. When he's faced with a decision between what would make for an honest story and what he thinks will generate mass audience appeal, he consistently goes for mass appeal- to his projects detriment.

Ben Affleck plays Bobby Walker. Bobby is high level executive who has the rug pulled out from under him when he is caught up in his corporations first round of unapologetic downsizing. Affleck does well in the role of the well off executive turned job seeker, as does Rosemarie DeWitt as his stay at home wife. Together their relationship serves as an expository tool for all the many paradigm shifts and uncomfortable adjustments that come with the sole bread winner losing their job. Their situation is also used to show the all to common condition of many American households; The Walker's may drive their Porsche from their huge house to their Country Club, but even the slightest hiccup in income exposes the fact that none of their possessions are owned outright. We watch them struggle not only to make ends meet but to keep their relationship healthy as egos are bruised again and again. Despite the at times ham-fisted direction, Affleck and DeWitt's chemistry can burn quite hot, more so when their forced to antagonize each other than during their conspicuous scenes of tender exchange.

If this story was the only one this movie followed, many of my complaints would be left on the cutting room floor among the pruned scenes. However, Bobby Walker's story line is only one of three that receive the most (read:only) screen time. This set off a red flag as I watched the other two stories that make up Company Men, each also being about high level executives being laid off from the same company. If this was a movie about Bobby Walker and his families struggle than I wouldn't question, but with these other two stories on board I'm forced to wonder why at least one can't take us through the struggles of an employee of this company who doesn't own a car that's worth as much as the average starter house. But this minor complaint is nothing next to the stories themselves. The first gives us Tommy Lee Jones as Gene, who serves as little more than a slow draw deus ex machina, while Chris Cooper gives a great but wasted performance as Phil Woodward- an on rails character for whom story resolution is bombastically telegraphed long before it ever comes to fruition.

Sprinkled throughout the film and used to no effectiveness are done-to-death cinema tropes hand picked to coax smiles and tears from the audience in equal measure. The most frustrating of these is the money grubbing, soulless CEO and the little independent business owner with a heart of gold. It seems that this whole movie is divided along the insinuation that all big business is the Evil Empire, while independent and small business is the Rebel Alliance. Anyone who wears a suit to work is evil and underhanded, while hard working blue collar Americans will never leave a man behind. Watching Company Men it soon becomes clear that everyone who's not a Walker is a static character with little to no use (or depth) outside of the Walker's. And just when you can't take anymore the entire thing ends with a resolution that flies in the face of reality but feels like warm blankets, and a shot of a well chosen but glaring metaphor for a struggling America.

This is a movie that I am very sad to have to say I didn't like. It feels more like a missed opportunity than anything else. Boiled down it struck (and strikes) me as a chance to tell a very poignant story at a time when people are most willing to hear it. But writing and direction that tries far to hard to stir emotions gets in the way. I expected much more from a script penned by a man with The West Wing on his writing resume but Aaron Sorkin, Wells is not. The questionable script is unable to overcome it's blemishes in the hands of an inexperienced Director. At it's heart is a strong and emotional impinging story that ends up drowning in a thousand bad calls. It's truly a shame; I was so ready to love Company Men.

Reel Deal Recommends:

Boiler Room: Ben briefly but bringing his best.

Rachel Getting Married: A good movie, a great performance from DeWitt.

Married Life: A smart film with Cooper shining out of his element.