The minor Philip Seymour Hoffman

After the very sad and tragic passing of Philip Seymour Hoffman, I kept thinking back to his performances in Twister and Along Came Polly.

Twister? Along Came Polly? Why those when I could be talking about Almost Famous or fricken Capote, for which he won an Oscar?

Well, yes, Twister and Along and Came Polly. Neither of those is a great movie. Twister is entertaining junk, and I can't even recommend Polly, which was thoroughly mediocre. I won't even say that Hoffman gave great performances in either movie.

What Hoffman did do is stand out in both, and I think that's actually a trickier feat than his great performances. Long before he died, it was no secret how fearless and powerful Hoffman was. But it's easy to talk about his best work. Many people have already done that and done it very well. However, I think greatness shows not only in what you bring to the best movies, but what you bring to the average ones.

Twister was the very first time I can recall seeing him. (Many tributes have mentioned Scent of a Woman as his first notable role, and I saw that movie, but I honestly don't remember much of anything about it  except for the scenery that Al Pacino ate like the Tasmanian Devil.)  And yet, as Hoffman leaned over into Jami Gertz and whispered, "It's the suck zone," there was a charisma there, a unique energy. I remember thinking, "This guy is somebody to watch." He definitively proved that when Boogie Nights came out the following year. 

By the time Along Came Polly arrived in 2004, Hoffman had Happiness, Magnolia and Cold Mountain under his belt, and Polly seemed like a step backward. It struck me as his Twister character after he'd lost his job as a storm chaser. When I reviewed the movie, I said Hoffman was "slumming."

Maybe he was. Even so, Hoffman still stood out as a very unique presence in a very mediocre movie. Most of his gags were gross, such as squeezing grease from one slice of pizza to another and then eating it, but I remember that a lot more than anything Ben Stiller or Jennifer Aniston were doing.

Now he's gone. And I still have trouble wrapping my head around that fact. I'll miss seeing his amazing diversity in powerful movies like Doubt and The Master, in which he had astonishingly different personalities and chemistry with the same actress, Amy Adams. But I'll miss seeing him in the small stuff too. It's not only sad that he won't be around to make great movies greater. It's sad that he won't be around to make average  movies cool, if only for a few scenes.

REVIEW: Man of Steel

This is a fantasy. A careless product of wild imagination. And my good friends, Man of Steel is all the better for it.

For months, I actively worried about this movie. The last one, Superman Returns, was better than most people say it is, but those who complained it was too meditative and ponderous had a point.  When I realized that Zack Snyder was directing the new movie, I swallowed hard. I had greatly enjoyed his debut film, the Dawn of the Dead remake, but each successive film got worse, culminating in the juvenile rampage called Sucker Punch. And yet, I held out hope because Christopher Nolan was producing and co-writing the story. Maybe he would keep Snyder's excesses in check.

As it turns out, he hasn't. Man of Steel bears all the hallmarks of Snyder's hyperactive approach, and if anything, his direction is wilder than ever. But what's different this time is that the material actually supports and merits the over-the-top style. This is a film about what would happen to Earth if a platoon of Kryptonian soldiers decided to invade, and Superman put up a fight. The planet gets shellacking of absolutely immense proportions

But that's what woud happen in a Superman story with ultra-high stakes. No other movie has captured the adrenaline rush of a superhero story with such unbridled abandon. Drew McWeeny of Hitfix raised my eyebrows when he said the action made The Avengers look quaint. He wasn't kidding. Man of Steel left me breathless and exhilarated in a way I haven't felt in a very long time. THIS is the kind of gargantuan action that Michael Bay has been trying, and mostly failing to mount for decades. Snyder choreographs his action with just enough control that I was always dizzy, but never lost.

Even more importantly, the action, powerful though it is, does not snuff out the drama. As they did in Batman Begins, Nolan and co-writer David S. Goyer move forwards and backwards in time to show how the past influences the present. Superman Returns had the noble intent of exploring the loneliness of a god-like alien, but became lugubrious along the way. In Man of Steel, we more directly see the cause and effect as young Clark wants to use his powers but can't, giving Superman's conflict the emotional import it needs. At the same time, Nolan and Goyer add novel tweak the Superman mythology, such as making Kal-El the rare natural birth on Krypton - and making his parents criminals in the process.

The actors, by and large, are terrific. It's no surprise that Michael Shannon (General Zod) plays menace well, and Amy Adams (Lois Lane) elevates every project she does with her intelligent sunniness. Diane Lane is somewhat underused as Martha Kent, but Kevin Costner has his best role in years, as does Russell Crowe, playing Superman's father.

Then there's Henry Cavill in the title role. Ever since Christopher Reeve left his indelible mark, other actors have been unable to escape his shadow.That's because none played Clark Kent as well as Reeve. Playing Superman isn't so hard, but making the Kent disguise believable is.  So Cavill, for the most part, doesn't try. This story doesn't require it. He brings the appropriate physicality to the role without overdosing on moodiness.  How well he plays Clark will be best explored in future movies, but I'm confident he'll pull it off.

That said, when the credits rolled, I could only wonder how the sequel could possibly match the sheer scale of this movie. I'm very anxious to find out, when the first movie is the best one I've seen so far in 2013.

GRADE: A+

The Top 13 films of the fall/Holiday season

As the mercury begins to drop, along with the leaves on the trees, the focus in Hollywood turns away from popcorn and more toward Oscars. So I scoured the fall/holiday movie release schedule and came up with 13 titles I’m particularly looking forward to seeing. Aren’t we lucky?

In order of release, with dates subject to change:  

Contagion: The “disease that kills everyone” movie has been made a number of times, but when Kate Winslet, Gwyneth Paltrow and Matt Damon star, and Steven Soderbergh (“Traffic”) directs, I can only be intrigued.  (Sept. 9)


Moneyball: Although I like baseball, I can’t call myself a rabid fan. And I care even less about the world of finance. This movie, starring Brad Pitt and Jonah Hill, combines both. That sounds like it could be poison, but the story of how the Oakland As used computers to draft players sounds fascinating, even to a non sports/finance fan like me. Bennett Miller ("Capote") directs, and Aaron Sorkin ("The Social Network") and Steven Zaillian ("Schindler's List") write.  (Sept. 23)


The Ides of March: Even if George Clooney hadn’t shot his political drama at Miami University earlier this year, I would still want to see a movie with a cast that also includes Ryan Gosling, Evan Rachel Wood and Marisa Tomei. Since he did shoot at Miami, and I didn’t get to see the filming, I’m all over this one. (Oct. 7)

 J. Edgar: Clint Eastwood directs Leonardo DiCaprio, who plays the infamous FBI Chief. Good enough for me. (Nov. 9)

The Descendants: Yes, George Clooney stars in two movies I’m anxious to see this fall. In this one, he stars as a man trying to reconnect with his daughters and learns his wife was cheating on him. Alexander Payne (“Sideways”) directs for the first time in a too long while.  (Nov. 23)

Hugo: Yes, the director of such violent classics as “Taxi Driver,” “Goodfellas” and “The Departed” tries his hand at a family film, and shoots it in 3D to boot. Better yet, the very talented Chloe Moretz (“Let Me In”) stars. This could be either wonderful or a maddening misfire; any way you slice it, it has to be fascinating. (Nov. 23)

The Muppets: Here is the movie I am most looking forward to this fall. I’ve been a Muppets fan all my life, and it seems like they’re on the rebound after churning out subpar material like “Muppets from Space” and “Muppets Wizard of Oz.” That this co-stars my favorite actress, Amy Adams, only sweetens the deal. (Nov. 23)


The Artist: Here’s the arthouse film I most want to see: A modern-day silent and black and white movie about a silent film star facing the arrival of talking pictures.(Nov. 23)

The Girl with the Dragon Tattoo: I was a great fan of the foreign trilogy starring Noomi Rapace, and now “the feel-bad movie of Christmas” is being directed by David Fincher (“The Social Network”) Yes, please. (Dec. 21)


Mission: Impossible: Ghost Protocol: Too many people scoff at this franchise and at Tom Cruise, but the trailer for this looks like loads of fun to me, and it’s shot partly in IMAX too, just like “The Dark Knight.” Brad Bird (“The Incredibles” - yes, he's moving from animation to live action) directs. (Dec. 21)


The Adventures of Tintin: I’ve not been a great fan of the motion-capture style of animation used in movies like “Beowulf” and the “Christmas Carol” with Jim Carrey, but when a master of visuals like Steven Spielberg is at the helm, I have to give it a chance. (Dec. 22)

We Bought a Zoo: Cameron Crowe hasn’t directed since the misguided “Elizabethtown” and hasn’t made a truly great movie since “Almost Famous.” I’d say he’s due. Matt Damon and Scarlett Johansson star.(Dec. 23) 

War Horse: Spielberg double dose! Having plumbed World War II several times, the director turns his atttenton to World War I and the story of a boy and his horse who serve in the trenches. The trailer looks gorgeous. (Dec. 28)

Home (Re)Viewing/What Are You Watching?

Today I return to a hybrid of DVD reviews and short takes on some movies I've seen on the small screen. 

Today's DVDs

Michael Jackson: This is It:  The documentary assembled from hours of rehearsal footage for the Michael Jackson extravaganza that never was could have been exploitative. Instead, it's a fascinating glimpse that raveled the Michael of old was still very much there. He remained too hung up on slick bombast and gooey sentiment when he didn't need them - but he was also still one of the most magnetic performers of our age when he simply sang and/or danced. By it's very nature, this portrait is incomplete, but at its best, it's enthralling.  Full review - GRADE: B+

Saw VI: Snore. Snore. Snore. Snore. Snore. Snore.

Surrogates: This sci-fi actioner gets points for some inventive ideas and well-staged action scenes, but it failed to make me care about the characters very much. It's a little too robotic for its own good. Full review - GRADE: B-

Whip It: I was very disappointed that Drew Barrymore's scrappy, winning  directorial debut got precious little attention in theaters. Her chronicle of a girl (Ellen Page) who finds herself when she gets into roller derby is the sort of solid storytelling people keep saying is missing from movies - and then they don't go to see it when it arrives. I hope it finds the audience it deserves now. Full review - GRADE: A-

What are You Watching?

A Guy Named Joe: Having recently bought The Wizard of Oz on Blu-Ray, I decided to check out this movie also directed by Victor Fleming. I had always been curious to see it because Steven Spielberg remade it into the one film of his I can't recommend: the pallid Always. Is the original better? Yes, but not by that much. The soapy World War II story, about a deceased Spencer Tracy trying to guide his girl (Irene Dunne) and the hotshot flyer who loves her (Van Johnson), takes WAY too long to get going. As it settles into the third act, however, the superbly talented cast gives it their all, and the melodramatics got to me. I can see why Spielberg liked it - too bad even he couldn't improve upon it. GRADE: B

Moonlight Serenade: People who know me know well my penchant for Amy Adams and for girls who can sing. So since Amy sings in this film, it should be an automatic winner for me, right? Alas and alack, no, I am surprised to say. Naturally, it's fun to hear Amy croon the standards, but she's stuck with  a barely Lifetime-worthy plot, a washout of a male lead (Scott G. Anderson) and production values that aren't much slicker than those of Paranormal Activity. Never mind that it's not up to Miss Pettigrew Lives for a Day - it ain't even Leap Year. GRADE: C

A new Amy Adams trailer? GOTTA blog about THAT!

Over on EW's Popwatch blog, writer Missy Schwartz laments the fact that Leap Year, the new romantic comedy with Amy Adams, looks rather lame, especially for a  star as luminous as Amy.

OK, I've gotta say something about this. For the handful of you who may not be familiar with me, Sir Critic is not only the Steely-Eyed Moviegoing Man, he is also The Man with a Giant Shameless Crush on the Delightful Amy Adams.

So when I hear a movie trailer with Amy Adams looks lame, my automatic response must be, "But it's Amy."

Now, I am not totally blind, I just wear rose-colored glasses when it comes to Ms. Adams. I can easily spot trouble signs and cliches aplenty in this trailer.






Scene with girls trying on fancy dresses? Check.

But it's Amy.


Scene with sassy best bud? Check.

But it's Amy.


Solid old actor pro (John Lithgow) in the role of the father? Check.

But it's Amy.

Dopey "I'm nothing without a man" plot? Check.

But it's Amy.

Scene where our heroine confronts a phobia? Check.

But it's Amy.

Wacky fall-down drunk? Check.

But it's Amy.

Meet cute with a smart-ass antagonistic guy she'll obviously fall for? Check.

But it's Amy.

Fake-looking greenscreen footage that reveals the movie was obviously not shot on location? Check.

But it's Amy.

Attempted hilarity with uncooperative animals? Check.

But it's Amy.

Circumstances force would-be couple to get snuggly n' smoochy? Check.

But it's Amy.

Scene where guy sees girl kinda nekkid? Check.

But it's Amy. And Amy ... um, wow. Nevermind.

Unexpected kiss prompts bolt of lightning moment? Check.

But it's Amy!

Guy number one reappears to ruin everything? Check.

But it's Amy, I say! 

Movie trailer apparently telegraphs entire plot?  Check.

But it's Amy, I tell you!

Movie being released in the quality graveyard month of January? Check.

But it's Amy, dammit!!

Much as I hate to admit it, this movie looks like it could be Amy's first bad choice since she co-starred in The Wedding Date. But will I see it? You'd better believe it. I will watch Amy in anything. She could spend an entire movie swatting flies and I'd find it appealing.

And just to show it's not ALL about Amy, I will also point out the director credit gives me hope. It's Anand Tucker, who made two very fine films, Shopgirl, and Hilary and Jackie. That said, good directors have been known to be neutered by the rom-com machine before.

But then again ... it IS Amy.