Blog Archives
Thank You for Smoking (2006)
As soon as I saw a trailer for Thank You for Smoking I was in love. I found the book for cheap and read it with months to spare before the film reached my local theater. Admittedly, my expectations were high because the book was wonderful, and Thank You for Smoking as a movie is equally wonderful and a very good film adaptation.
This is a wickedly funny satire that skewers all sides in the political debate about Big Tobacco, and the film doesn’t take a stand, which is refreshing. It has a firm grip on its humor and gleefully gives its finger to political correctness. There?s a lunch group called the M.O.D. (Merchants of Death) squad where reps for Alcohol, Firearms, and Tobacco, of course, argue over whose product is harder to spin. It’s likely the snort-because-you-can’t-believe-they-said-that movie of the year. The tar-black humor in Thank You for Smoking rolls off so casually. This is a comedy that respects the intelligence of its audience and doesn’t dumb down its barbs or its satire. Aaron Eckhart was born to play the role of Nick Naylor, tobacco’s master spin artist and public charlatan. Naylor is conniving, slippery, and yet immensely likable not in spite of these traits but because of them. Eckhart is downright charming and you can see how he could dupe a nation, even if he’s only doing it for the challenge. Thank You for Smoking has one of the finest assembled casts in a long time, and every member fires on all cylinders. This is a film brimming with confidence and it’s evident with every frame. You almost might feel guilty for wanting to capture a contact buzz from how polished, assured and witty the flick is.
I never thought I’d say so but it sure looks like adapter/director Jason Reitman has a far more promising future right now than his dad, Ivan. Jason, the son, keeps the movie brisk, packed with characters, subplots, jokes, and a visual whimsy. This is a terrific adaptation of a terrific book, and Reitman really hones in on the mechanics of debate and lobbyist practices with aplomb. A scene where Nick teaches his adoring son the tricks of debate with ice cream is outstanding. Thank You for Smoking crackles with dialogue to die for, like Nick’s boss BR (J.K. Simmons) saying, “We sell cigarettes. They’re cool, and addictive, and available — the job is practically done for us.” My only complaints with the film, besides that it’s too short at just 90 minutes, is the manufactured danger seems a bit too slight and too easily overcome. Nick quite simply vanquishes whatever threat his reporter sex buddy Heather (Katie Holmes) posed. Otherwise, Thank You for Smoking is a superb movie all around and there’s no reason you shouldn’t see it. Take the hit.
Nate’s Grade: A
Share this:
The Core (2003)
I knew about 15 minutes in that The Core was not going to take its science too seriously. Aaron Eckhart, as a hunky science professor, is addressing military generals and essentially says, “We broke the Earth.” He tells them that because the Earth no longer spins (don’t think about it, you’ll only hurt yourself) the electromagnetic shield will dissipate and the sun will cook our planet. And just to make sure people understand the term “cook” he sets a peach on fire as an example. At this point I knew The Core was going to be a ridiculous disaster flick with its tongue firmly planted in its cheek.
Earth’s core has stopped spinning and horrific disasters are starting to be unleashed with anything from drunken bird attacks to lightening strikes in Rome. I always love how in disaster films Mother Nature always instinctively goes after the monuments, the landmarks, the things of cultural importance. The United States government hires a ragtag group of scientists and NASA pilots to journey to the center of the Earth and jump-start our planet. Of course everything that can go wrong on this fantastic journey will eventually go wrong.
The Core is so improbable, so silly, that it ends up being guilty fun. If you let go, ignore the incredible amounts of birth imagery (the sperm-like ship tunneling through to get to the egg-like core), then the very game cast will take you for a fun ride.
There’s a scene where the government approaches kooky scientist Delroy Lindo to build the super-ship that will take them to said core. When asked how much he thinks it’ll cost Lindo laughs and says, ”Try fifty billion dollars.” The government responds, ”Can you take a check?” I was pleasantly reminded of an episode of Futurama where the space-time continuum is disrupted and time keeps skipping forward. The old scientist and a Harlem Globetrotter (it was a very funny episode) theorize that to create a machine to stop this problem they would need all the money on the Earth. Flash immediately to the two of them being handed a check that says, “All the money of the Earth.” Richard Nixons head, in its glass jar, then says, “Get going, you know we cant spend All the Money on the Earth every day.”
The assembled cast is quite nice. Hilary Swank assumes a leadership role quite nicely. Eckhart is suitably hunky and dashing. Stanley Tucci is very funny as an arrogant science snob. Tcheky Karyo (the poor mans Jean Reno) is … uh, French. I don’t think anyone would believe that these people were the best in their fields (only in movies are scientists not old white men but hunky and sexy fun-lovin folk).
Director Jon Amiel (Entrapment) seems to know the preposterous nature of his films proceedings and amps up the campy thrills. An impromptu landing of the space shuttle in an LA reservoir is a fantastic action set piece, yet is likely the reason the film was delayed after the Columbia crash. The cornball science and steady pacing make The Core an enjoyable, if goofy ride. The film does run out of steam and goes on for 20 minutes longer than it should.
The Core is pure escapist entertainment without a thought in its head. And in dire times of war and harsh realism blaring at us every evening, there’s nothing wrong with a little juicy escapist fair. Buy a big tub of popcorn and enjoy. Does anyone else wonder if we broke the Earth just after its 5 billion year warranty was up?
Nate’s Grade: C+
Share this:
Nurse Betty (2000)
Can a fairy tale have a dark undertone below all the bubbly whimsy? Hell, the Grimm tales were barbaric before they became homogenized, sanitized, and finally Disneytized. Nurse Betty presents a modern day fairy tale with the strike of reality always below it — the strike of darkness and disappointment. Fairy tales are an escape from this, but what if one creates her own fairy tale and chooses to believe in it over the drab reality she presides in?
Neil LaBute, the director of the incessantly dark In the Company of Men and Your Friends and Neighbors, collects together a whimsical modern day fable with a top-notch cast. Yes, to those fans of earlier LaBute offeriengs his name doesn’t seem synonymous with whimsical comedy – but in this flick LaBute cuts his teeth in the mainstream and earns his stripes if ever.
Baby-voiced and rosy-cheeked Renee Zellweger plays our heroine in diner worker and soap opera fanatic Betty. Betty finds solace from her life featuring a sleazy spouse, played with marvelous flair by Aaron Eckhart, in her favorite soap opera. When her louche of a hubby isn’t wiping his hands on the kitchen curtains or banging his secretary he tries proposing drug deals for shady characters. A recent drug peddling snafu sets him up to an ominous encounter with hitmen team Morgan Freeman and Chris Rock. Through a jarring scene of violence Betty’s husband is left brutally murdered and the only witness is Betty herself. The event causes Betty to slip into a fractured psychological state where she believes the world of her soap opera is alive and real with herself a vital character. She hops in one of her dead hubby’s used cars and drives off toward California to meet the doctor/soap star of her dreams in Greg Kinnear.
Morgan Freeman and Chris Rock mistake Betty for a criminal mastermind and believe her to have taken the drugs and run. They embark on their own mad dash to capture her and finish the job they were paid to complete. Along the way Betty encounters many people that are at first confused but ultimately charmed by this delusional dame. Through a series of events she meets up with the eternally smarmy Kinnear and begins to learn what happens when a fantasy is corrupted by the disappointment of reality. Allison Janey has a small part as a network executive that shines strong, and Crispin “McFly” Glovin is just nice to see in a film again. He doesn’t seem to age though. Maybe he has that Dick Clark disease.
The flow of Betty is well paced and a smart mix between drama, whimsy, and dark humor. Overlooking some sudden bursts of violence bookend the film it comes across as a sweet yet intelligent satire and fable. Betty is looking for her Prince Charming but will later learn that she doesn’t need one, that she is the fairy tale happy ending inside her.
The acting of Nurse Betty is never in danger of flat-lining. Zelwegger is a lovable and good-natured heroine. Freeman is a strong and deceptively hilarious actor along side a caustic yet down-to-earth Rock. And I make an outgoing question if there is an actor alive out there that can do smarm better than Kinnear — I think not.
Nurse Betty is a wonderful surprise. Check into your local theater, take one showing, and call me in the morning. You’ll be glad you did.
Nate’s Grade: A-
Reviewed 20 years later as part of the “Reviews Re-View: 2000” article.
Share this:
Erin Brockovich (2000)
Julia Roberts is the female equivalent of John Travolta in last year’s A Civil Action — little guy/gal taking on the big/evil corporations that pollute our water. This is hands down what is likely her best performance of her long career. It’s a one-sided take and displays the title character’s ruthless tactics and intimidation in order to reach whatever goal she wishes to strive for. The story though, isn’t much for most to work with as it is essentially sap and predictability: the hero will win, justice will prevail, the bad guys who were alluding in the beginning will be punished… etc. etc. Julia’s “woman in a man’s world” business gruff will either prove sadistically humorous or simply wickedly mean-spirited to each viewer. You’ll either love this character or hate this character but either way it will keep you watching.
Nate’s Grade: B
Share this:
Any Given Sunday (1999)
Oliver Stone is a seamstress of visuals and visceral noise. Any Given Sunday is perfect as he delves into the professional world of football and how it becomes a dance of testosterone and fury. But after awhile all the audience feels is a pounding and a ringing in its ears.
The biggest stumbling block may actually be its focal point – there’s too much football! The games last as long as actual games and there are multiple games through out. Though Stone captures the essence nicely that these spandex-clad athletes are the gladiators of today playing in a ballet of chaos, he just throws too many jangled cuts, quick shots, and extreme angles flashing around to hyper-decibel soundtrack fodder. After a while the viewer becomes dizzied by the rush of noise and flash of lights buzzing around their precious skull. It’s enough to cause a concussion simply from watching.
]Most of the action in Any Given Sunday actually happens off the field with some meaty drama delivered by multiple players. Stone focuses in on the people behind the catches and blocks and how the game can control or transform their lives. Finally a drawn-out story that covers football with respect. Diaz and Pacino get into screaming matches for roughly most of the movie, but it’s exciting to see two great actors throw the acting medicine ball back and forth trying to out-duel the one before. The supporting characters all have stories suitable to the game and interesting enough to warrant attention. Jaime Foxx has a nonchalant magnetism that keeps the audience pulling for him even after he vomits for the third time on camera.
Stone lets the viewer into the game of football in a manner truthful yet exaggerated. But with all the whiz-bang he throws out in Any Given Sunday one can’t help but have wished for more constraint in the excess and more minutes for the drama in between.
Nate’s Grade: B-
nathanzoebl 
You must be logged in to post a comment.