Showing posts with label chicago. Show all posts
Showing posts with label chicago. Show all posts

The In-Laws (Widescreen Edition) (2003) Review

The In-Laws (Widescreen Edition) (2003)
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Why? Why why why?
Well, there are positives to get out of the way first. Albert Brooks is an inspired choice to recreate Alan Arkin's role from the original "In-Laws". He brings to every movie a fully-formed nebbish ready to let loose 6 or 7 really memorable zingers, and this was no exception. Michael Douglas has played a very wide range of stock characters, if not necessarily deep. And the original "In-Laws" certainly wasn't technically perfect: it suffered from atrocious film editing. Why not spruce it up with some CGI submarines, more expansive stunt sequences, and a Paul McCartney soundtrack?
Most of the changes in the remake, however, don't make sense. Brooks is playing a Chicago podiatrist, not a Manhattan dentist. Michael Douglas has been saddled with a female sidekick, the likes of which Peter Falk didn't need. There's considerable more emphasis placed on Brooks's daughter and Douglas's son... so they can argue at length about his pre-marital flings. Candice Bergen has a strenuously unfunny cameo as Douglas's ex-wife (Falk was happily married in the original, albeit to a wife who had no idea what he did for a living).
Most noticeably, the witty humor of the original is all but gone, save for a few Brooks gags. That's all been replaced by a wide variety of warmed-over sex and toilet jokes, which have been funny in a hundred other movies since "The In-Laws" came out, and which are so familiar here that you'll laugh at the joke before it's even finished. Indeed, with the main character being a nebbishy Jewish medical professional from Chicago, and his co-star an over-the-top CIA agent, you'll quickly realize that this is a remake of "Meet the Parents" more than anything else.
The accomplished David Suchet shows up for a pointless role only faintly evocative of Richard Libertini's in the original. I'm sure that blatant gags about repressed gay terrorists are still funny somewhere, but it is possible to do a movie without them. Right?
I wasn't expecting a carbon copy of the original "In-Laws". However, I was expecting something lively and original. And this movie isn't it.

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Family matters. Laughing matters. They're all a matter of laugh or death as Michael Douglas and Albert Brooks play opposites thrust together by their children's wedding and by CIA agent Douglas' involvement in an arms-smuggling sting operation, plunging mild-mannered podiatrist Brooks into the world of international intrigue.

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The Lake House (Widescreen Edition) (2006) Review

The Lake House (Widescreen Edition) (2006)
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If you enjoy love stories, then you should delight as much in this modern day fairy tale as my wife and I did. Sandra Bullock (one of my favorite actresses) as Dr. Kate Forster and Keanu Reeves as Alex Wyler complement each other extremely well and manage to develop a tangible chemistry despite the unique nature of their "long distance" (in time) relationship. However, you have to be prepared to suspend your usual conception of the relationship of time and place and accept unconditionally the truly unusual and scientifically fictional aspects of the storyline. This film is about emotions, interpersonal relationships and personal discovery, and needs to be engaged with your heart, not your mind.
CAUTION: it was obvious from the comments of other moviegoers who watched the film with us that our enthusiasm was not universally shared. Perhaps understandably given several of Sandra's Bullock's previous films, some people obviously expected to see a typical romantic comedy, which this most definitely is not despite some truly funny sequences. Others seemed to be unable to let go of their attempt to rationally analyze the techniques which the story utilized to further the relationship between Kate and Alex; this trait led to their inability simply to accept the facts as the writer and producer chose to present them in furtherance of the story and thus distracted from the essence of the film, which is the development of the central characters' relationship and the mystery of how the story will conclude. And finally, a few seemed bewildered that anyone would find such a ridiculous story appealing and frustrated that they had wasted almost two hours of their time watching it.
As the film begins, Kate and her female dog Jack are ending their tenancy at an architecturally unique LAKE HOUSE and moving into a modern new apartment in downtown Chicago near the hospital where she is on staff. She leaves a note in the mailbox for the next tenant, which Alex finds when he moves into the house. Thus, very early in the film, the four main actors in this drama have already been introduced - Kate, Alex, Jack, and THE LAKE HOUSE itself. However, the key plot twist of what briefly appears a rather conventional and undoubtedly otherwise pedestrian romance (which would simply be a showcase for the stars) is introduced. It is a concept familiar to science fiction fans but seldom used in other genres; specifically time shifting together with some aspects of parallel universes. Since what has happened is incidental to the story and never explained, it is not clear at any particular point in the story what rules will apply to the situations in which the characters find themselves. (N.B. This film should definitely not be included in the genre of science fiction, it involves neither time travel or futurism.)
However, when Alex replies to Kate's note and a correspondence ensues, their initial misunderstandings soon turn to disbelief when she claims to be living in 2006 and he is in 2004. What! How could she move out and he then move in? Despite their incredulity, they eventually both become convinced that their lives really have been linked through some sort of time warp. Of course, since this is a love story they then both become increasingly attracted to each other (Remember, you can't expect to understand how the intermediary device of the magic mailbox operates, just enjoy the flag waving which results.) The story is incredibly cleverly constructed, with several threads gradually coming together and increasingly causing their lives to become intertwined. THE LAKE HOUSE, a memorable edifice built on stilts and reached by a walkway over the water is reminiscent of Phillip Johnson's signature Glass House. It not only unites Alex and Kate but plays a crucial role in Alex's family history and his strained relationship with his father, the noted architect Simon Wyler (Christopher Plummer).
The enjoyment of the film is in fact heightened by its leisurely pace, the cast (and the supporting roles are uniformly well acted) has time to develop the story and let us get to know Kate and Alex as they get to know each other; thus we also experience their frustration that thyey may have to accept the fact that they will be resigned to living separate lives. The most difficult aspect of the film for me to follow was the fact that the sequence of the scenes as presented to the moviegoer was not always immediately clear. Not only are Alex and Kate simultaneously living in different years, but their individual experiences are not presented in chronological order. There are frequent flashbacks and the jumps forward to their individual present day selves, interspersed with one chance meeting of which only Alex is aware. Remember, concentrate on their story - not on trying to figure out how it is occurring. One incredibly deft touch is the use of a copy of Jane Austen's PERSUASION as both a very important point of contact in their relationship and also with the story as a metaphor for their situation.
In conclusion, if you enjoy fantasy, then you should enjoy this unconventional love story. In addition, you also get as a bonus to try to figure out how an appealing dog such as Jack could somehow live with both Kate and Alex and maybe you will even receive a few insights about architecture. Just remember to pay attention to details, because at various times during the film events occur whose complete relevance only becomes clear much later. Interestingly enough, if you do pick up these clues, while they foreshadow some of the later events (in the sequence in which the movie unfolds), they in no way make the eventual outcome predictable and thus do not spoil the story. Fun, interesting, well acted, emotionally satisfying and unpredictable enough to keep your interest - certainly a more attractive set of attributes than most of today's film fare.
Tucker Andersen

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A lonely doctor (Sandra Bullock) who once occupied an unusual lakeside home begins exchanging love letters with its newest resident, a frustrated architect (Keanu Reeves). When they discover that they're actually living two years apart, they must try to unravel the mystery behind their extraordinary romance before it's too late.

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Medium Cool (1969) Review

Medium Cool (1969)
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Released in 1969 by overshadowed by Easy Rider (which despite being a bit more flashy in technique is actually a far more conventional film), Medium Cool is one of the few "counterculture" films of the '60s to actually remain relavent. The first film to be directed by famed cameraman Haskell Wexler, Medium Cool is the story of 1968, a panoramic view of a near revolution. Cleverly, Wexler tells his story through two outsiders -- a detached newsman (Robert Forster) and the country widow that he romances (well played by Verna Bloom who should have become a star as a result of her sweetly realistic and appealing performance). Though the film is clearly on the side of the counterculture, the use of these two outsiders allows Medium Cool to retain an objectivity that seems to be missing from most other films of the period. Instead of simply worshipping the trends of the time, Wexler was actually at the apocalyptic events seen in the film. When Forster and Bloom find themselves lost in the chaotic rioting of that year's Democratic convention, the scenes are riveting because they were actually filmed during the actual riots. This is the rare protest film where, instead of seeing wealthy Hollywoodites playing their idealized versions of the times, you are actually seeing the events as they unfold. For someone like myself who was born on the tail end of the Viet Nam War, seeing that footage and realizing how close to collapse society actually was in 1968 is truly an eye opening experience.
Much of the film, of course, is improvised. Improv is often a frightening word when it comes to film making. It seems to be a talent that a lot more people believe they have than actually do. However, Medium Cool is one of the few films I've ever seen where the improvised sequences come off not as self-indulgent but actually very revealing. It helps that Wexler found some of the best improvisational actors working at that time and put them in his film. Hence, the wonderful Peter Bonerz shows up as Forster's jittery partner and the contrast between his nervousness and Forster's coldness provides for a good deal of humor (something missing from far too many protest films). A particurlar highlight is when Forster and Bonerz interview a group of Black militants. Bonerz's desperate attempts to both find an escape and come across as a good, white liberal at the same time are priceless. Other than his later role as the oily dentist on the Bob Newhart Show, Bonerz was never given another oppurtunity to show off just how truly talented he is and that's a shame.
Also giving a strong improvisational performance is Peter Boyle, making one of his first film appearances and playing one of the first of his signature "right-wing nut" roles with a blue collar accent that never condascends or gives into easy elitism (another quality that sets Medium Cool apart from other protest films).
However, the film truly belongs to the two leads and they bring a true humanity to what otherwise could have been an overly cold and clinical film. As stated before, Bloom plays a simple character without ever giving a simple performance. Her political innocence is never ridiculed or attacked and her horror at the growing violence around her is wonderfully conveyed and felt by the audience. Forster, an always underrated actor, gives one of his typically low-key performances and bravely gives an honest performance as a character that many in the audience probably won't find extremely likeable. As he would later in "Jackie Brown," Forster manages to convey his character's detachment while stll suggesting an actual, human being. As he romances Bloom and becomes attached to her young son (well-played by Harold Blankenship), Forster slowly starts to surrender his cool exterior and Forster's subtle emotional development is wonderfully conveyed. By the time of the film's apocalyptic ending, we've come to truly care about these two characters and, as a result, Medium Cool becomes more than just a film about the 1960s. It becomes a film for the ages.

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