MARKED MOVIES

Director: Tamara Jenkins.
Screenplay: Tamara Jenkins.
Starring: Philip Seymour Hoffman, Laura Linney, Philip Bosco, David Zayas, Peter Friedman.

Having not experienced any of director Tamara Jenkins’ films before, I went into this film expecting something along the lines of “Little Miss Sunshine” in it’s supposedly humourous take on a dysfunctional family. That’s not what I got but there was still plenty to enjoy from the emotionally impaired characters.

As their estranged father Lenny Savage (Philip Bosco) sinks into senility in an Arizona retirement village, Wendy (Laura Linney) and Jon (Philip Seymour Hoffman) are forced to figure out how to care for the dad who never cared for them.

This is not a comedy as some of the critics would have you believe. Yes, there are moments of comedy but no more than the humour that accompanies life and it’s irony. This is a heartfelt drama, dealing with the painful responsibility that families face in our modern day, injected with humour and pathos and wonderfully acted by Linney and Hoffman – who are two of the best in the business. The relationship between the siblings is entirely believable. There is not a lot of communication between them but what’s not said, is just as important. There’s also not a lot going on in these peoples lives. They seem to think so but we are able to sit back and observe the avoidance they are trying to make. It also never fully discloses why the two of them have such contempt for their ailing father. It’s hinted that he never had much time for them but as the film draws to a close and Wendy’s creative writing and aspiration to be a successful playwright comes to fruition, a bit more is revealed as she uses her experiences as inspiration for her writing.

A good family drama, dealing with the stuggles that are becoming ever more present in our current times, helped by subtle and very real performances. If you have the patience to invest, you’ll be rewarded.

Director: Martin Scorsese.
Screenplay: Richard Price.
Starring: Paul Newman, Tom Cruise, Mary Elizabeth Mastrantonio, John Turturro, Helen Shaver, Bill Cobbs, Bruce A. Young, Richard Price, Iggy Pop, Forest Whitaker.

It’s a salivating inducing prospect for any film fan to have old hands Martin Scorsese and Paul Newman and new hand Tom Cruise combine, to follow on the story of pool shark ‘Fast Eddie’ Felson from Robert Rossen’s classic 1961 film “The Hustler”. Attempting a sequel to that great film may seem like blashpemy but if anyone can pull it off, these three can.

Aged pool hustler ‘Fast Eddie’ Felson (Newman) discovers a younger version of himself in small-time hotshot Vincent Lauria (Cruise), who’s bubbling with talent and attitude and decides to mould him into a hustler just like he used to be. But Vincent’s mouthy lack of restraint begins to spoil a perfect partnership and Eddie considers another shot at the big time himself.

Scorsese crafts a film that compounds most peoples expectations and first off, it seems like a waste of time and talent. However, on repeat veiwings this stands alone as a very fine loose sequel and a great film in it’s own right. Newman as ever is absolutely superb (finally grabbing that elusive Oscar Award) as the embittered and disillusioned hustler, now working a living from seedy pool hall to seedy pool hall. Scorsese brings his usual professional approach to what is an unusual choice of film for him. His cracking of the pool balls, tobacco filled halls and fast talking cons are spot on and helped by some rich and inventive camerawork by Michael Ballhaus. Despite these veterans impressively plying their trade though, they are almost upstaged by the cocksure vibrancy of Cruise. His performance is alive, energetic, and overall what he’s supposed to be…an irritating little shit. It’s a fabulous turn from him and love him or loathe him, it’s a reminder of how good an actor he can be. Shake this up with a few supporting turns from the likes of John Turturro and Forest Whitaker and the ingredients are all there. What it just about lacks though, is the finished article. The film heads along the path of an inevitable showdown between teacher and student and then frustratingly doesn’t deliver. Maybe this is the correct choice from Scorsese, maybe he wanted to avoid the cliched ending but you can’t help but feel a little disappointed in not seeing it happen.

The anti-climactic ending threatens to undo the whole film but the talent involved shines through, in what is a richly textured drama with sharp dialogue and two magnificent lead performances.

Mark Walker

Director: Robert DeNiro.
Screenplay: Eric Roth.
Starring: Matt Damon, Angelina Jolie, Robert DeNiro, Alec Baldwin, John Turturro, Billy Crudup, William Hurt, Timothy Hutton, Tammy Blanchard, Michael Gambon, John Sessions, Keir Dullea, Gabriel Macht, Martina Gedeck, Joe Pesci.

Robert DeNiro’s second directorial effort, 14 years after his debut “A Bronx Tale”. He again shows that he’s as good a director as he is an actor but unfortunately, it’s the script that let’s this potential classic down.

In 1961, after the Bay Of Pigs fiasco, CIA agent Edward Wilson (Matt Damon) tries to learn who leaked word of the planned invasion of Cuba. He recalls his long service with the Agency, and ponders the failure of his marriage to Clover (Angelina Jolie).

Having been involved in some of the best films ever made and worked with some of the best directors; Scorsese, Leone, Coppola, Bertolucci to name a few. You can see where DeNiro’s ambition and scope has come from with this sprawling, convoluted espionage film. First off, he amasses a very impressive cast playing out over a number of years and in split-time frame structure. His attention to detail and eye for capturing time and place is astutely done and wonderfully captured, and it certainly doesn’t lack ambition. It’s heavily based on fact and covers a lot of ground; the origins of the CIA; Nazi sympathisers; the invasion of Cuba; the cold war conflict with the Soviet Union, as well as Wilson’s strained relationship with his wife. Despite all this though, the film is surprisingly lacking in excitement. At times it borders on boring. It’s a real shame as everyone involved puts in a good shift but the major problem is the main character. He’s so stoic and impassive that it’s hard for Damon to deliver a performance that’s anything other than awkward and expressionless. It’s a difficult character to identify with and he’s hardly ever off screen, which is a bit of a slog at a running time approaching 3 hours. There are still many powerful scenes throughout though and Robert Richardson’s cinematography is splendid but despite the ambition also shown in Eric Roth’s script, it doesn’t quite come together as an absorbing or gripping spy thriller, when really it should.

Considering the talent involved, this is listless and ultimately frustrating. I really want to rate this higher – as I found plenty to enjoy – but can’t bring myself to do so.

Mark Walker