The Firm

In which we learn that lawyers are sleazy. Sorry, sport—that’s old news. I’ve never read a John Grisham novel; never seemed like my cup of tea. So I had to overcome some preconceptions to appreciate this flick, and I’d have to say the effort mostly succeeded. As always, it helps to have Tom Cruise working towards that goal; he brings his usual solid performance here as young, on the verge of being compromised lawyer Mitchell, though here he plays it without his usual level of hyper-confidence. Even without his normal level of self-assurance, Cruise gives the audience a protagonist to root for. Our lead is ably assisted in this effort by a host of familiar faces in supporting roles, with Jane Tripplehorn not the least among that secondary cast as Mitch’s suffering but ultimately involved and active wife. The plot is intricate, though not so much so that it trips on itself, and there’s just enough action to relieve any slow spots in the proceedings. No doubt the references to various workings of the law are accurate and relevant to the story, though perhaps that’s the least important aspect of the production. I’m going to say that overall, this is a good, entertaining and satisfying flick—I’d just prefer not to have to swear to that under oath. Your witness, counselor.

Mother!

Crazy people--You can't live with them...and that's our show. Thanks for coming! It's generally common courtesy to keep ones nightmares to oneself; in this case, it might have been nice if Aronofsky had done so. No doubt those playing along at home could spend hours trying to assign one referent or another to this film's mega-metaphor, but I feel little compulsion to do so myself. What I do note is the fact that the viewer is really given precious little reason to care about these people, from the get go. Thus, all that happens seems, no matter how consequential from a plot standpoint, distant and unmoving. Of course, given that these characters are less characters and more archetypes, that's to be expected. But from a filmmaking viewpoint--and particularly a film viewing viewpoint--archetypes represent stuff on an intellectual level; they don't particularly engage people at the emotional level required for a full cinematic experience. So we wind up with something closer to an experiment in discourse rather than an actual story. And, alas, people tend to watch movies for the story. That makes this flick, ultimately, a success only within remarkably narrow confines, and otherwise a failure. A noble failure, perhaps, but a misfire nonetheless.

Run All Night

And a grim time was had by all. This is some pretty dark stuff here, which perhaps should be a point in this film's merit. This violence has consequences, and there's a strong message here that says a life of crime comes back to get you, even if you skirt the law in the process--an interesting deviation from most flicks in the genre. On the other hand, there's a certain lack of originality here; the plot, including the "flash ahead" device, is fairly well-worn, and you can tell pretty much what's going to happen all the way through. Overall, it's a tough call; I can see recommending this movie, but I can also see its demerits, too. If you really dig these Liam Neeson shoot 'em ups, the go for it; otherwise, maybe you can find a better film to give your two hours to.

A History of Violence

An interestingly ambiguous movie. It takes a while for you to figure out what this movie is really about, and in this case that's a good thing. There's a couple of misdirections that are not overly complex nor too clever and self-conscious, which may be the best indication that this film has much deeper things on its mind. Once the story actually does shake down and the viewer realizes "This is what it is," you realize that you've been given a good dose of insight into the consequences of the thing, and that makes the ultimate ambiguity that much more effective. Definitely worth your time and consideration.

Buffalo Soldiers

A strange movie. The story flies well below the radar, never hitting anything like a high note. Yet, it still holds the viewer's attention. A large amount of credit must go to Joaquin Phoenix, whose performance mirrors the story: understated but arresting nonetheless. Phoenix's supply room sharpie holds court throughout the film. It's a pleasure to watch him fleecing his way through an uninspiring Army career, and to watch him bounce back against all efforts to rein him in--all the while giving his character an implied depth that by all rights just shouldn't be there. Take a look and you'll see what I mean.

Pollock

I'm not big on drunks. Nor have I found much appeal in Pollock's paintings (or any Abstract Expressionism, for that matter). And I really don't like ponderous, clumsy screenplays. And I especially don't like assholes. In addition to being "Jack the Dripper," Pollock was, apparently, a mean drinker and a world-class orifice. I think you see where I'm going with this. Ed Harris's heart was in the right place here, but the presentation of Pollock's life is too choppy (one minute in the harrowing depths of boozing, the next up and taking the art world by storm), and the man has limited appeal due to his mountain of personal faults. A noble but failed experiment.

The Third Miracle

Somewhat timely, given the recent (2005) events in Rome. This is not about a Pope dying, but it's the story of a doubtful priest--expertly played by Ed Harris--and his investigation into the case for a possible new saint. There's some shaky romance--of all things--between Harris's priest and the daughter of the saint-to-be (Anne Heche), and that part of the story rings false. But, as a sincere and thoughtful exploration of faith, faith lost, faith regained, and just plain living, the movie has depth and real appeal. A word of warning for the denominationally rigid: this one is very Catholic in its outlook.

A Beautiful Mind

I'm nagged by the feeling that they're not being entirely accurate here, but ultimately it matters not--this is an intriguing and well-done story. It's got some suspense, some emotion and--for those with fairly open minds--even some consideration on the question of what is really "real." And, all off-screen personality issues set aside, Russell Crowe is truly a brilliant actor.

Enemy At The Gates

Good cast, pretty good story, and you could hardly find a more dramatic setting than the battle of Stalingrad in 1942. Effective work by Jude Law, Rachel Weisz, the ever-reliable Joseph Finnes, and--with particularly stalwart distinction--Ed Harris. And by the way, if you've got a thing for seeing folks getting shot in the eye, this is your flick.

Glengarry Glen Ross

If you have ever had to work with salespeople, this is an absolute must see. Alec Baldwin shows up early on and delivers a harangue that ranks as one of the best speeches in the history of cinema. A great cast, including Jack Lemmon, Alan Arkin, Al Pacino, Ed Harris and Kevin Spacey, pulls you along through David Mamet's compelling story.