Showing posts with label ed harris. Show all posts
Showing posts with label ed harris. Show all posts

Absolute Power (Snap Case) (1997) Review

Absolute Power (Snap Case) (1997)
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At the start of "Absolute Power" Luther Whitne (Clint Eastwood), cat burglar par excellence, finds himself in a very strange situation. While robbing a rich man's safe in a large bedroom closet, he is interrupted by the appearance of a man and woman who head straight for the bed. While hiding in the closet, where he sees what is going on through a two-way mirror, he watches while the sex play gets rough: the man hits her, she stabs him with a letter opener, and then two men come into the room and shoot her. Luther gets out of there, but while his presence was undetected it does not go undiscovered. The problem is that the man he was watching happens to be the President of the United States (Gene Hackman).
Now, I have to stop at this point and tell you that one of my cinematic pet peeves is the idea that the United States Secret Service will let the president do anything, no matter how stupid or reckless, without batting an eye. Indeed, in "Absolute Power" there are two such agents, who help to cover up the murder and then try to track down Luther and kill him. However, the actors playing those two agents happen to be Scott Glenn and Dennis Haysbert, which is an important fact because a lot of the faults in this film area absolved by the casting, the credit for which goes to the film's director: Clint Eastwood.
The hook for this thriller is the idea that the president, his Chief of Staff (Judy Davis), and the Secret Service are out to get Luther, whose stated intention is to get out of town and get lost as quick as possible. But the key to this film ends up being a rather odd romantic triangle that exists between Luther, his estranged daughter, Kate (Laura Linney), and the D.C. homicide cop, Seth Frank (Ed Harris), who is assigned to the murder. Frank interviews Luther, not because he thinks the old con is a murderer, but because he is one of the few that could have pulled off the heist. He then moves on to Kate, hoping to get her to persuade her father to turn himself in before the wrath of the rich man (E.G. Marshall) whose wife is dead comes crashing down on him. Frank clearly likes Kate and is rather impressed by Luther, which is good because I like smart cops. For his part, Luther clearly has some admiration for the detective and also likes his taste in women.
My favorite scene in this movie is when Frank takes Kate to her father's house, where she has never been, and (knowing where Luther hides the key), takes her inside. In one room she finds a gallery of photographs, of all of the key moments in her life after her father left. "She was at none of these," she insists to Frank, although clearly that was never the case and we can see in an instant that she is rethinking her entire relationship with her father. As much as it is fun to watch Luther outsmart the cops, the Secret Service, and the hitman sent by old man Sullivan, the heart of this film is between Luther and Kate. Even when she sets him up, believing it to be the only way of helping keep her father alive, he surprises her by showing up. His reasoning? He did not want her to believe he was a murderer. Besides, his daughter wanted to see him.
I understand the script by William Goldman is quite different from David Balducci's novel, but that simply has to do with Eastwood playing Luther (if you read the novel you will understand why this would matter in terms of the significant changes). Eastwood's direction is competent as always, and, as I mentioned above, he gets the credit for being able to bring together such a solid cast for one of his projects (who would turn down a Clint Eastwood movie?). Final Note: the White House Tour Guide is played by the director's daughter, Kimber Eastwood.

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He was there he shouldn't have been and saw what he shouldn't have seen. Now, who will believe the word of a career thief and ex-con? Who will trust Luther Whitney when he says he saw a woman killed and that the man responsible for her death is the President of the United States? Clint Eastwood portrays Whitney and directs this crisp, finely acted thriller based on David Baldacci's best-selling novel. A stellar cast which includes Gene Hackman and Ed Harris creates well-rounded characters that intensify constantly spiraling game of cat and mouse between Whitney, local police and the highest levels of White House power. Eastwood is a master at steadily raising the stakes in thrillers. Here his mastery is absolute.

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Swing Shift (1984) Review

Swing Shift (1984)
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"Swing Shift" has proven to be a marvelous nostalgia trip for those who remember the '40s, and for those self-proclaimed nostalgia buffs like myself who enjoy the music of the era.
Goldie Hawn has a childlike innocence as a housewife to Ed Harris in a working class neighborhood in 1941 California. Jack and Kay Walsh deal with Jack's having to work on Saturdays, a rather vampy neighbor at whom they make derogatory remarks when they see her going to work, and enjoy time at the roller rink.
While they are at the roller rink, the attack on Pearl Harbor is announced and their world changes. Jack enlists in the Navy and Kay decides to work as riveter, who helps to build airplanes at a local munitions plant.
She develops an antagonistic relationship with her neighbor, Hazel(Christine Lahti), the singer-turned riveter, whom she and her husband used to taunt, and an even closer relationship with a plant worker named Lucky (Kurt Russell)who repeatedly invites her out to hear him play his trumpet at club leading to gossip and speculation about their relationship among their co-workers.
During the course of the film, we see the reluctance of the women's male co-workers to accept them as equals in the workplace, and one of the male instructors gets a little too familiar with Hazel while instructing her on how to drill.
The unspoken problem in all this is the women's inability to defend themselves against sexual harrassment in the workplace at that time. In modern times, Lucky never would have been able to make the kind of advances that he made towards her in this film, at least not without Kay filing a complaint. This film suggests that such situations may have been common back then, largely because of this fact.It leads a viewer to wonder how many affairs between the female swingshifters and their male counterparts took place at that time, regardless of the marital status of either of them.
But we share the triumphs as well as the tragedies of the swing shifters; Holly Hunter, as Jeanne Sherman, receives her husband's death notice while at work, but later gives the audience a lesson in how life can go on afterwards.
Jack discovers his wife's affair when he comes home on furlough, and is heartbroken. As Kay tries to figure out how best to resolve the situation, Hazel and Lucky begin a dallience of their own after Hazel's relationship with her former boss appears to be over.
After the inevitable fight between the two women, they avoid each other at work. Lucky gets his big break as a musician, and leaves the plant, which makes it easier for Hazel and Kay to eventually make peace with each other.
I found this film--a counterpart to that other portrayal of life in World War II California, "Racing With the Moon", which was released the same year--to be a fine tribute the the women who helped win World War II--to their endurance of heartache and sacrifice, demeaning treatment, the realism of the marginalized treatment of the African American women at the plant, and the support that women in general can give each other in times of crisis. When Kay is promoted after saving a co-worker's life, we see how the men begin to respect their female co-workers for their intelligence. Interestingly, these themes were later echoed in the 1992 film, "A League of Their Own".
Sadly, these women had to give up their jobs once the men returned home from the war. But those who see this film should come to appreciate the way the women of this era paved the way for equality in the workplace.

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A film about World War II that examines what happened to the men and women in the factories making weapons rather than following the troops.Genre: Feature Film-DramaRating: PGRelease Date: 8-FEB-2005Media Type: DVD

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Enemy At the Gates (2001) / Uncommon Valor (1983) (Double Feature) (2001) Review

Enemy At the Gates (2001) / Uncommon Valor (1983) (Double Feature) (2001)
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While "Enemy at the Gates" initially overviews the horrendous battle that took place for possession of Stalingrad between the Germans and Russians in World War Two, it is, in fact, a movie of great suspense focusing on two top snipers from either side.
I recommend that you look at the promo section before viewing the film as it gives you a great understanding of its direction. The principal aim of the film is to focus on the blue eyes of the two snipers as they concentrate looking through their scopes. It is brilliant direction.
Enemy at the Gates is a wonderful film of action and suspense from start to finish. I recommend it to all who want to view a realistic, action film of historical significance.

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ENEMY AT THE GATES: An all-star cast lights up the screen in this riveting epic hailed as "a vivid dramatization of one of history's titanic turning points". (Gene Shalit, TODAY) The year is 1942 and the Nazis are cutting a deadly swath through Russia. Under the leadership of Kruschev (Bob Hoskins), the citizens of Stalingrad are mounting a brave resistance, spurred by the exploits of their local hero, Vassili Zaitsev (Jude Law). An expert sniper, Vassili's deeds have become legendary - thanks to propaganda produced by Vassili's best friend, a political officer named Danilov (Joseph Fiennes). To stop Vassili, the Germans dispatch their best sniper, Major Konig (Ed Harris), to Stalingrad. When Vassili and Danilov both fall in love with a beautiful soldier (Rachel Weisz), Danilov deserts his friend, leaving Vassili to face his German counterpart alone. As the city burns, Vassili and Konig begin a cunning game of cat and mouse, waging a private war for courage, honor and country. UNCOMMON VALOR: Ted Kotcheff continues his First Blood fervor with Uncommon Valor. Gene Hackman stars as Cal Rhodes, a former Marine Colonel who has been getting the run-around for ten years from the government concerning the disappearance of his son and his buddies - all Marines who enlisted years prior and served in Vietnam. Rhodes' son was last seen in Laos, where he was fighting in the war and captured as a POW. When word gets back to Rhodes that the men may still be alive and held in prison camps, but the government still has the men listed as missing in action, Rhodes decides to take matters into his own hands. Contacting an old friend, oil baron MacGregor (Robert Stack), Rhodes is granted financial backing to form his own incursion force. He assembles a crack team of men, puts them through an intensive period of training. and heads back with them into the Laotian jungles to search for the MIAs.

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Enemy at the Gates (2001) Review

Enemy at the Gates (2001)
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After many major Hollywood epics about the war on the Western Front (THE LONGEST DAY, PATTON, A BRIDGE TOO FAR, BATTLE OF THE BULGE, SAVING PRIVATE RYAN), it is long overdue that ENEMY AT THE GATES, centered on the pivotal battle for Stalingrad, should play to audiences ... particularly American audiences.
The core of the plot is the personal duel between two expert snipers, the Red Army's Vasily Zaitsev (Jude Law) and the German Wehrmacht major, Koenig (Ed Harris), the latter brought into the Stalingrad cauldron to kill the former before he totally destroys the morale of the German troops trying to capture the city. It's a cat and mouse confrontation depicted with startling realism, though, in this case, the mouse is just as deadly as the cat. The rest of the film is just window dressing, especially the sappy love triangle between Zaitsev, political commissar Danilov (Joseph Fiennes), and a female Red Army sniper, Tania, played by Rachel Weisz.
The film, set among the rubble and destroyed factories of Stalin's city, is visually stunning. The performances of Law, Harris and Fiennes are excellent, as is that by Bob Hoskins, who plays Joe Stalin's political representative on the scene, Nikita Krushchev. My complaints center on the accents of the main characters, which don't sound Russian by any stretch of the imagination, the previously-mentioned and totally superfluous love story, and the fact that the Krushchev is given way too much screen time at the expense of the Russian general, Chuikov, who doesn't even appear, even though he was the Red Army's military commander whose gritty defense of the city ultimately prevailed.
This story of the duel between Zaitsev and his German nemesis is based in fact, though a better telling of the tale is the work of book fiction, WAR OF THE RATS, by David Robbins. If you're interested in this footnote to the Stalingrad struggle, the book is a "must", and the film will serve as excellent visual reinforcement.

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ENEMY AT THE GATES - DVD Movie

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