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“Extraordinary Measures”
Ordinary Drama
By Glenn Whipp
The medical drama "Extraor-dinary Measures" has been marketed as another "Blind Side," a true story about quiet heroism, doing the right thing and overcoming great odds. There's much pulling of the bootstraps and milking of the tear ducts on the way to an ending that only an old grump (yes, we're looking at you, Harrison Ford) couldn't love.
But imagine if "The Blind Side" had focused on the legal processes necessary for Michael Oher's adoption instead of the football and spunky Sandra Bullock and you have an idea of the strange path "Extraordinary Measures" takes on its road to inspiration.
The movie, based loosely on Geeta Anand's book "The Cure," tells the fictionalized story of the Crowley family, whose two youngest children are afflicted with Pompe disease, a metabolic disorder that leads to muscle degeneration and short life expectancy.
Shortly after celebrating daughter Megan's (Meredith Droeger) eighth birthday, John (Brendan Fraser) and Aileen (Keri Russell) learn that their girl won't live much longer. The doctor tells them to take comfort that her suffering will soon be over and to look at her demise as a "blessing."
Cue close-up of Fraser's face as he tries mightily to affect an expression of steely resolve.
So far, so predictable. John goes looking for the one man he believes can help save his children, researcher Dr. Robert Stonehill (Harrison Ford). The two form a business partnership. Crowley quits his job, deciding not to passively accept his children's fate but "roll up his sleeves and fight."
Since we know "Extraordinary Measures" isn't going to end with Crowley kneeling by his daughter's grave, the movie's success depends on how well the filmmakers convey the family's journey. Director Tom Vaughan ("What Happens in Vegas") and screenwriter Robert Nelson Jacobs ("The Water Horse") make the strange choice of focusing on funding and paperwork instead of the human drama.
So we spend a lot of time watching Ford and Fraser making investor presentations. We see Ford and Fraser bickering over strategy. Then there's more presentations. More lab work. More bickering. Much talk of enzymes.
With Stonehill, Ford may well be playing the closest version of his true self he has ever committed to screen -- dour, serious, anti-social and, let's be honest, a little bit dull. He makes Stonehill the angriest old movie man we've seen since Clint Eastwood in "Gran Torino," only without the charisma and self-awareness that Eastwood brought to that role.
Given the movie's monotony, it's small wonder that Ford decides to occasionally punctuate the stillness by screaming at the top of his lungs. One over-the-top example has already gone viral, the scene where Ford bellows "I ALREADY WORK AROUND THE CLOCK!" to a startled Fraser.
Fraser brings earnest sincerity to the role of the heroic dad, but all the lip quivering in the world can't overcome the movie's turgid presentation.
"Extraordinary Measures" marks the first release from CBS Films, a new production company created by the television network. Next time out, they might want to deliver a film that veers a little farther from the kind of fare people can watch at home for free.
"Extraordinary Measures," a CBS Films release, is rated PG for thematic material, language and a mild suggestive moment.
'FISH TANK'
SLUM MEANS
By Sean Chavel
You are immersed into a world of meanness by the third scene of the movie Fish Tank but that meanness is not earned. I've had enough of Mike Leigh's ("Life is Sweet," "All or Nothing") subterranean slum dramas, the last thing I needed was a carbon copy by another filmmaker. This Andrea Arnold film tells the story of Mia (Katie Jarvis), a 15-year old girl living under an irresponsible drunk mother (Kierston Wareing) in a slum area where recreations and activities are limited. Mia has no friends, only an interest in hip-hop. Mia develops a crush on her mother's boyfriend Connor (Michael Fassbender).
"Fish Tank" is one of these verité pieces that exist purposely to be as realistic as possible, except the fact there are at least two major developments that are hugely unrealistic. Connor, in the big revelation, has a secondary life pinned to commitments. But no man can pull off sleeping at a girlfriend's house on consecutive overnight stays, so easily, when he has another domestic home life. It is also too apparent, or transparent, that Connor gets more dialogue-intimate scenes with Mia than the mother he is dating.
Second, a strip club would have seen that Mia is underage and dismissed her before she went on stage. The entire strip club audition is phony, with the filmmaker trying to get you to sigh pitifully at a vulnerable girl stumbling into an exploitation trap.
What makes this film different from say, the emotional powerhouse "Precious" is that film's director, Lee Daniels, is an enormously empathetic filmmaker who felt he had the need to tell that story. We are getting works by other filmmakers, such as this one of "Fish Tank," who put out these kinds of movies to show-off their filmmaking skill, to show how "gritty" they can be. "Fish Tank" is preoccupied with throwing obstacles at the heroine in the name of plot cleverness, not empathy.
Also, Arnold is one of these filmmakers who doesn't know how to use a steady cam. One of the checkpoints of the movie, the big symbolic moment of this girl's life, is when she drops an audition tape in the mailbox, a symbolically important moment. A true filmmaker would hold the shot on the mailbox, and hold it steady, to underline its significance. Arnold as a filmmaker swerves the camera around and thoughtlessly tracks onto the next "moment," onto another scene that has less bearing.
That said, Michael Fassbender is one to watch and something can be learned from "Fish Tank" not from the story but of observing his talent. Fassbender, you might remember, played good guy Lt. Archie Hicox who gets a briefing by Mike Myers in "Inglorious Bastereds." He's as talented and charismatic as Ewan McGregor, or perhaps a brainier version of Matthew McConaughey.
The Tooth Fairy
By Jonathan Weichsel
The bottom line: The Tooth Fairy is a harmless children's comedy that should make for a fun Saturday afternoon for parents with children nine and under.
Parents will enjoy actor Dwayne Johnson's surprisingly deft comic timing as he holds his own while trading barbs with comic legends such as Julie Andrews and Billy Crystal. Kids will enjoy the spectacle of Dwayne Johnson, shrunk down to six inches, running around collecting teeth from under pillows while dodging obstacles such as dogs and cats. Both parents and kids will appreciate the truly heartfelt story about the importance of dreams and the power of belief.
Dwayne Johnson gives one of the bravest comedic performances in recent memory. To give one example out of many, there is a scene in The Tooth Fairy in which the actor whose nickname is The Rock, a guy who is a symbol of masculinity for the current generation, is dressed in a pink tutu. Johnson suffers other indignities along the way, but it is all done in good fun, and turns The Tooth Fairy into the riotous comedy that it is.
In The Tooth Fairy, Dwayne Johnson plays Derek, a minor league hockey player who has earned the nickname "the tooth fairy" because of his ability to knock out opponent's teeth during hockey games. Derek had once been a major league player, but moved down to the minor league after a shoulder injury. Although his injury is all healed, he does not have the motivation to earn his way back into the major league.
As a result of his personal failure, Derek feels the need to kill dreams in others. When a young boy asks Derek if he can become a major league hockey player when he grows up, Derek tells the boy not to try. Later, when Derek's girlfriend's daughter loses a tooth, Derek tries to tell her, against the mother's wishes, that there is no such thing as the tooth fairy.
As punishment for all of this, Derek receives a citation underneath his pillow for "dissemination of disbelief." Before he can figure out what it means, he sprouts wigs and is transported to fairy land, where the head fairy, Lily, played by Julie Andrews, tells Derek that as punishment he will have to work as a tooth fairy for a two week sentence.
Julie Andrews is pitch-perfect throughout the movie. Lily is a tough, no-nonsense administrator with a real disdain for Derek's dream killing. As Derek slowly becomes transformed by his experience as a tooth fairy into a more loving person capable of embracing dreams, Lily warms to him and we see a new, softer side of her character.
Billy Crystal is also hilarious, reviving his old-man character from such classics as The Princess Bride. Although Crystal and Johnson only have one scene together, it is one of the high points of the movie. Crystal and Johnson react to each other as if they were a long time comedy team, and their scene will keep you chuckling long after you leave the theater.
Stephen Merchant also deserves note as Tracy, the caseworker assigned to train Derek in the art of collecting teeth. Merchant, who will be recognized by fans of the British version of The Office, as well as Extras, lends his dry British to the film with excellent results. Tracy and Derek have a huge rivalry going, and the humor comes from the skinny Merchant constantly throwing insults at the muscular Johnson, who can't do anything in his own defense.
The Tooth Fairy is a charming movie made in good taste, with a broad message about the importance of belief, following your dreams, and not destroying the dreams in others. Stylistically it often goes for cute, and reminds me of the live action Disney films of the 70's and 80's, in which adults often grappled with their moral shortcomings. The film should make for a diverting afternoon for families with young children.
Julie Andrews, Dwayne Johnson, and director Michael Lembeck talk The Tooth Fairy
By Jonathan Weichsel
The Tooth Fairy is a heartfelt live action children's comedy about the power of imagination and the importance of following ones dreams.
Dwayne Johnson plays Derek, a minor league hockey player who has earned the nickname "the tooth fairy" because of his ability to knock out opponent's teeth during hockey games. Derek had once been a major league player, but moved down to the minor league after a shoulder injury. Although his injury is all healed, he does not have the motivation to earn his way back into the major league.
As a result of his personal failure, Derek feels the need to kill dreams in others. When a young boy asks Derek if he can become a major league hockey player when he grows up, Derek tells the boy not to try. Later, when Derek's girlfriend's daughter loses a tooth, Derek tries to tell her, against the mother's wishes, that there is no such thing as the tooth fairy.
As punishment for all of this, Derek receives a citation underneath his pillow for "dissemination of disbelief." Before he can figure out what it means, he sprouts wigs and is transported to fairy land, where the head fairy, Lily, played by Julie Andrews, tells Derek that as punishment he will have to work as a tooth fairy for a two week sentence.
Julie Andrews got involved in the project because the script resonated with her. She writes children books, and identified immediately with the charm of the script, and its message not to destroy dreams in others.
Director Michael Lembeck also identified with the script. Lembeck grew up with a supportive, enthusiastic, energetic father who taught him to follow his dreams and to keep on educating himself.
Dwayne Johnson was also attracted to the script because he identified with its message. Johnson's early life was hard, but luckily he had a few adults in his life to help him keep on the right path. One of these was his mother, who saw potential in him when others didn't. The thing about the script that most resonates with Johnson is the theme of the impossible becoming possible.
The Tooth Fairy is a children's movie, but it will appeal to adults as well. Michael Lembeck has a very important message he wanted to convey in the film. He wanted to tell parents to encourage their kid's dreams. Everybody stumbles, but if you understand the power of potential and belief, and if you believe in yourself and are comfortable with yourself, then you can accomplish great things.
A lot of improvisation went into the film's witty comic scenes. Stephan Merchant, who plays Tracy, the case worker in charge of Derek's sentence, was Ricky Gervais' long time writing partner, so he knows a thing or two about comedy. The rivalry between the characters Tracy and Derek, which drives a large portion of the film, was developed during improvisation, when the actors just started working with each other and jumped off the page. Many of the most inspired scenes between the characters were actually improvised takes.
A lot of improvisation also went into the scene between Dwayne Johnson and Billy Crystal. Dwayne Johnson grew up admiring Billy Crystal, so being in a scene with him was a real dream come true. During these scenes Johnson did what any great actor does. He listened to what Billy was saying, and responded appropriately. This back and forth between these two actors is one of the most memorable scenes in the movie.
Lembeck was influenced by the film Up while working on The Tooth Fairy. For him, Up proved that studios need to stop talking down to kids and to respect them when making children's movies. If you simply show real life on the screen, you will make a film that the entire family can enjoy.
'THE BOOK OF ELI'
WASTELAND HERO
By Sean Chavel
The Book of Eli is post-apocalyptic sci-fi with a drifting hero (with an initial undisclosed purpose) travelling west, and he is embodied by none other than Denzel Washington as the title character. This is a violent and graphic film, with gray skies and brown deserts, desaturated from realistic colors to the point that some of the visuals look black & white. In an early deadly encounter as Eli faces off some homicidal scavengers underneath a bridge, it is filmed in high contrast so the actors are pitch-black while the desolate landscape serves as backdrop.
Interesting how much more involving this opening action scene are in comparison to other movies of this nature. This probably has to do with a steady and fixed camera where you can appreciate the elaborate choreography taking place before your eyes. There are no choppy and chaotic editing techniques, and for an abundance of the movie, you can sense the filmmakers' disciplined strategy.
This is the fifth film by the Hughes Brothers ("Menace II Society," "From Hell") who if anything depend upon a regimented style. But enough about them, let's go onto the story. As if it was the old west once again, Eli stumbles into a town to do some trades with the intent to immediately get the hell out of there. It is amusing that in the future, KFC wet napkin packets carry a certain value. Eli makes the wrong decision to enter the local pub to get some water and soon enough Carnegie (Gary Oldman), the lord of the town, wants Eli to join his side and work for him.
Tension of the story persuasively arises when Carnegie makes any threat or coercion to get Eli to stay. Eli just wants to head for the road and a new girl, the barmaid, Solara (Mila Kunis, with improbably perfect skin) wants to accompany him. The story structure gets routine - one band of baddies chase the good guys down in the desert that all leads to the inevitable shoot-out. But the movie deserves a nod for creating a shoot-out that is technically unique, with the camera doing an unbroken, virtual figure-8 camera loop-around.
Second act violence is all triggered by the Carnegie character. But Oldman suggests something interesting with his character, he makes Carnegie a man who you once believed was good until he lost his sanity and corrupted himself with lordly power, but he is literate and cultivated man in contrast to a wasteland of degenerates. Oldman's hook on the character is subtle, and the movie doesn't rest to contemplate this idea thoroughly, but if you look deep you will see it. This is not to take away anything from Washington who is terrific as this saintly, baddass and a self-appointed apostle. An apostle with a gun, if this is something you can accept.
Maybe Eli becomes something more than an apostle though, it's up for debate. The conclusion of the movie is actually very bold. It goes further, into more transcendent territory, than the usual post-apocalyptic movie. This is a surprise for a movie coming out in January, where studios unleash their dogs. This is a movie that is not a dog, but you still have to chew on some preposterous stuff. Such as, why do roughnecks with only pipes and hacksaws approach Eli, who clearly has a gun? Why does Solara choose such an inopportune moment to recite a prayer? And what's with that laughable final twist, revealed in ultra-tight close-up of Eli that is anything but gratuitous?
Still, genre fans are going to eat this up and appreciate its evocative visual style as well as for the reflective religious elements. It is uncommon for an action movie to depend crucially on adversaries vying for scripture. But ardently the script by Gary Whitta makes a good case that the Bible could be the greatest book ever written due to its intellectual content and influential language. Audiences looking for plot holes will find "Book of Eli" a crock, but the kind of substance the movie has is very bold indeed. It also goes without saying the movie is very entertaining.
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