Showing posts with label David Morse. Show all posts
Showing posts with label David Morse. Show all posts

Friday, December 25, 2015

Concussion: Grim reality check

Concussion (2015) • View trailer 
3.5 stars. Rated PG-13, for dramatic intensity and occasional profanity

By Derrick Bang • Originally published in The Davis Enterprise, 12.24.15

Great movie entrances are pure magic.

Consider George C. Scott’s eyebrow-raising pep talk, at the opening of Patton. John Travolta, strutting down the street, in Saturday Night  Fever. Or, more recently, Christian Bale’s meticulous “suiting up” and comb-over, in American Hustle. Everything you need to know about each of these characters, in one quick scene.

When renowned neurosurgeon Dr. Julian Bailes (Alec Baldwin, center) finally gains an
audience with veteran NFL doctor Joseph Maroon (Arliss Howard, right), Dr. Bennet
Omalu (Will Smith) is enraged to hear that his meticulous research into brain injuries
is being dismissed. With prejudice.
Writer/director Peter Landesman grants Will Smith’s Dr. Bennet Omalu a similarly illuminating entrance, as Concussion begins. It’s a courtroom confrontation; Omalu has taken the stand to testify; his credentials have been challenged. In a bravura display of gentle chiding, unassuming pride and a droll insistence on full disclosure — leavened with an oh-so-slightly-mocking sense of humor — Omalu takes complete control of the room.

It’s a brilliant display of acting chops by Smith, who — from this moment onward — firmly has our hearts and minds. We’ve learned everything essential about this doctor, mostly crucially that he is a good and honorable man. That he respects the dignity of others, and insists — in turn — that they respect him.

The scene is marvelous: destined to become a much-viewed YouTube hit.

And, of course, the perfect way for Landesman to start his film.

Concussion, based on journalist Jeanne Marie Laskas’ exhaustive September 2009 exposé in GQ Magazine, charts Omalu’s initially lonely and Sisyphean struggle to get the National Football League to acknowledge that grown men bashing their heads together, even when wearing the (minimal) protection afforded by a helmet, likely isn’t good for their grey matter.

Indeed, far from “not good.” Potentially life-altering, even deadly.

Sensible people, confronted with such a suggestion, would nod and say, “Well, of course; what else would you expect?”

But the NFL circled the wagons, sent out the lawyers, and — possibly — pulled strings in Washington, D.C., to thoroughly discredit anybody daft enough to suggest such a thing. We’re talking football, folks: the one thing in Amuuurica capable of generating more foolish passion than the right for each citizen to own 437 guns.

But that’s getting ahead of things.

Wednesday, August 15, 2012

The Odd Life of Timothy Green: A delicate bloom

The Odd Life of Timothy Green (2012) • View trailer
3.5 stars. Rating: PG, and needlessly, for mild (and fleeting) profanity
By Derrick Bang



Peter Hedges makes delightfully idiosyncratic films about socially awkward and mildly eccentric characters somewhat out of step with the real world: people not quite in synch with the rest of us, and unable to figure out how to bridge that divide.

Rather perplexed by the ivy-esque leaves that appear to be fastened
to the lower legs of the mysterious boy (Cameron "CJ" Adams) who
entered their lives as in answer to a prayer, Cindy (Jennifer Garner)
and Jim (Joel Edgerton, far right) bring the little guy to a horticulturist
(Lin-Manuel Miranda). He offer to clip off the leaves ... a suggestion
that we just know is misguided.
Hedges doesn’t work quickly; he came to our attention back in 1993, when he adapted his own novel, What’s Eating Gilbert Grape, for director Lasse Hallström. He followed that with adaptations of two books by other authors — Jane Hamilton’s A Map of the World and Nick Hornby’s About a Boy (the latter earning Hedges an Academy Award nomination) — before taking the director’s chair for his next project, 2003’s Pieces of April.

Aside from giving Katie Holmes her best role to date — and bringing co-star Patricia Clarkson an Oscar nomination for supporting actress — Pieces of April established Hedges as a writer/director with a fondness for wayward souls, and a solid sense of the way people interact with each other. His next project, the 2007 romantic comedy Dan in Real Life, remains my favorite Steve Carell film.

All of which brings us to the aptly titled The Odd Life of Timothy Green, a delicate, poignant little fantasy that I suspect will have trouble finding an audience during these noisy, action-oriented summer months. Timothy Green feels like a story that might have been spun by the Brothers Grimm, were they among us today; this is a fairy tale with a gentle message, and characters whose lives are changed by the intervention of a supernatural being straight out of wish-fulfillment dreams.

The story is credited to Ahmet Zappa, a low-profile actor making an intriguing writing debut; Hedges directed and supplied the script. The result is whimsical, charming and completely preposterous ... and that latter attribute is somewhat at odds with Hedges’ traditional strengths.

Because this narrative can’t possibly take place in our world, despite his insistence that it’s doing precisely that.

Cindy and Jim Green (Jennifer Garner and Joel Edgerton) live in the small town of Stanleyville, known as “the pencil capital of the world.” Unfortunately, the growing proliferation of computers, iPhones and the like have greatly diminished the demand for pencils, and plant employees keep expecting manager Franklin Crudstaff (Ron Livingston) to announce cutbacks and layoffs.

Thursday, July 23, 2009

The Hurt Locker: Explosive drama

The Hurt Locker (2009) • View trailer for The Hurt Locker
Four stars (out of five). Rating: R, for war violence and profanity
By Derrick Bang • Originally published in The Davis Enterprise, 7.23.09
Buy DVD: The Hurt Locker• Buy Blu-Ray: The Hurt Locker [Blu-ray]


Although not quite the heart-stopper that its previews would suggest, The Hurt Locker certainly is the most absorbing Iraq-based drama mounted thus far by an American filmmaker.

I suspect its success derives from the curious quality of independent film production that automatically confers a level of authenticity so frequently absent from big-budget Hollywood projects, which also usually arrive with partisan agendas. The Hurt Locker has no political axes to grind, except perhaps the observation that young men die in war zones; director Kathryn Bigelow's muscular film seems content to be an intense character drama that dissects its central protagonist much the way he disarms bombs, in order to learn what makes them tick.
The laws of physics involved with a detonated bomb are remorseless, and if a
man is caught within the expanding diameter of concussive force -- even a man
wearing a special ordnance disposal suit -- mere flesh and blood with turn into
pulp. Small wonder, then, that the members of Bravo Company describe
experiencing an explosion as being put "in the hurt locker."

Honest films draw viewers, even when limited budgets preclude splashy advertising campaigns. Somehow, people just know; their collective interest becomes viral. And, judging by the unusually large crowd at the Tower Theater Monday evening  always the quietest night at a movie house  The Hurt Locker will build an impressive audience as it gathers momentum all summer.

Certainly Bigelow and cinematographer Barry Ackroyd (United 93) play up writer Mark Boal's documentary-style approach, often employing the grainy film stock and hand-held camera work that simulate events as they unfold. (Fortunately, Bigelow is savvy enough to minimize this technique, using it only when appropriate, to spare us attacks of vertigo.)

The unfamiliar faces heading the cast also draw us into their characters in a manner that rarely occurs with name-brand stars; the illusion is so complete that it's actually distracting when (for example) Ralph Fiennes briefly pops up, or David Morse's distinctive voice is recognized in another scene (his features obscured behind battle gear).

The time is the summer of 2004, the setting the streets of Baghdad, as patrolled by the Army's elite Explosive Ordnance Disposal Squad: the specialized technicians who search for and attempt to disarm the homemade roadside bombs that threaten Americans and Iraqis alike. Obviously, the job is dangerous enough on its face; it becomes exponentially worse  maddeningly suicidal  because these young soldiers are at constant peril from insurgents waiting with rifles or detonators, who hope to blow the bombs at the most inopportune moment.

We meet Sgt. J.T. Sanborn (Anthony Mackie) and Specialist Owen Eldridge (Brian Geraghty) of Bravo Company during a prologue, which establishes the film's central plotline and demonstrates the armored, spaceman-style suit worn by the man who gets up close and personal with each deadly device.