Homefront movie
7.25 out of 10
The Hunger Games: Catching Fire movie
8.75 out of 10
Disney's Frozen movie
10.0 out of 10
Delivery Man movie
6.75 out of 10
Thor
8.25 out of 10
Showing posts with label Alan Arkin. Show all posts
Showing posts with label Alan Arkin. Show all posts

Sunday, March 10, 2013

The Incredible Burt Wonderstone

COMEDY

Sleight of Hand

6.5 out of 10 | Rental

Rated: PG-13 Sexual content, dangerous stunts, a drug-related incident and language.
Release Date: March 15, 2013
Runtime: 1 hour 41 minutes

Director: Don Scardino
Writers: Jonathan M. Goldstein, John Francis Daley, Chad Kultgen, Tyler Mitchell
Cast: Steve Carell, Steve Buscemi, Olivia Wilde, Jim Carrey, James Gandolfini, Alan Arkin, Jay Mohr



SYNOPSIS: Magician Burt Wonderstone splits from his longtime stage partner after a guerrilla street magician steals their thunder. By spending some time with his boyhood idol, Burt looks to remember what made him love magic in the first place.

REVIEW: Small screen director Don Scardino, known for Royal Pains and 30 Rock, takes the stage for the silver screen to bring Steve Carell (Seeking a Friend for the End of the World) into the spotlight with another possible comedy hit. Written by the team of Jonathan M. Goldstein and John Francis Daley (Horrible Bosses), with Tyler Mitchell (My Own Worst Enemy) and Chad Kultgen (Southern Comfort) supplying the story, The Incredible Burt Wonderstone hopes to be true to its namesake.  


Young Albert is the focus of many bullies during his young life. On a lonely 10th birthday Albert receives the Rance Holloway Magic Kit which changes his young life forever. Dedicating his life to magic, he befriends another young boy who is the target and scorn of other kids in the school. Together, they master the tricks and start coming up with their own inventions of illusion. Fast forward 10 years and the duo, now called the Incredible Burt Wonderstone (Steve Carell, Date Night) and Anton Marvelton (Steve Buscemi, Hotel Transylvania), are happy to have become one of the major acts in Las Vegas. For years they ruled the Strip with their 'Magical Friendship' show. But when ticket sales slump and the magic tricks become dated, Bert and Anton have to face the fact that their act is no longer relevant. Enter Steve Gray (Jim Carrey, Mr. Popper's Penguins), a Chris Angel-esque street magician, who takes the art of illusion for the next extreme level. Unable to compete with what's the target demographic of 18 to 45 want to see, Burt and Anton suffer a fracture in their own friendship causing Anton to disappear from the business while Burt struggles with obscurity. When Burt, now forced to perform magic at a convalescent home, discovers that his magical idol Rance Holloway (Alan Arkin, Stand Up Guys) is a resident there he starts to realize that what inspired him to become a magician in the first place is really the most important thing.

Steve Carell, finding himself a more quirky character than that of Seeking a Friend for the End of the World or Little Miss Sunshine, faces the challenge of a more sleight of hand role. As a head-lining magician and a Las Vegas casino staple, Carell's Wonderstone is not really a likable character at the start. The fact of Wonderstone being down and out still doesn't do much to sway the audience to his side. It's only when Wonderstone rediscovers what he has been missing, in his act, his friendships, and his personal life, does he become sympathetic and an underdog to root for. Anton, Wonderstone's partner in magic and longtime friends, knows exactly where Wonderstone heart lies. Olivia Wilde (The Words), as the stage manager Jane/magician's assistant Nicole, finds that her love of her own idol Burt Wonderstone is really just an illusion after all. Jim Carrey, as the street magician Steve Gray, adds some hijinks and a little conflict - but really is more silly than anything else. Alan Arkin's Holloway does a good job with this snarky retired magician who discovered that his loss of the love of his craft was secondary to losing himself to a loveless mundane show.

The Incredible Burt Wonderstone tries to be silly, succeeding on some levels. It's relative clean fun, from the stage show opening dance moves to the song 'Abracadabra', to Jim Carrey's Gray looking to outdo himself at every turn to comic effect, to a magicians' duel involving a Yorky puppy, to the reveal of the final trick at the end of the film. There are a few laughs in the flick, but not enough to make it up uproarious comedy.

Steve Carell and Steve Buscemi work well together, showing us the illusion of some good chemistry on screen. Olivia Wilde's Jane enters a partnership of these two illusionists with reverence, skepticism, and eventual disappointment, always trying to see Wonderstone as someone who could still be the best if he wanted to. But her chemistry with Carell's Wonderstone seems a little forced, not as important to the flow of the story. The conflict between  Doug Munny (James Gandolfini, Killing Them Softly)
 and extreme illusionist Gray give the story something to do, but neither carry the story strong enough to get the job done. You have to love Arkin, though, in his snarky senior citizen's ways.

With a cameo from David Copperfield as a real magician, it is interesting to see that the art of illusion goes beyond just parlor tricks, sleight-of-hand, and grand illusion. Evident are bold velvet suits, capes, and as many rhinestones as one could costume can muster. Watching Carell dance poorly on stage before leading up to an actual allusions just goes to show you how much showmanship is needed to keep an audience enthralled between every trick's prestige. Just as the audiences become more jaded about the magic they want to see, Burt and Anton's stage antics lose their comic luster just as quickly. From Rance Holloway's caped master magician, to Burt Wonderstone's feathered hair and sequined velvet, to Steve Gray's grunge street illusionist, we get a timelines of the evolution of theatrical magic.

The Incredible Burt Wonderstone is a story of magical friendships, the ever-changing art of illusion, and the cost of losing passion for one's profession. Although there's a few laughs and silly sequences throughout the movie, the story lags. Not unlike the stage direction between tricks, Burt Wonderstone leaves us waiting for the comic payoffs.

I am a fan of Steven Carell's work on both the small screen and the big screen, but Burt Wonderstone is, unfortunately, not that incredible. If you want to know the secret behind the tricks of the 'Disappearing Audience', you may want to wait for the rental.

Monday, January 28, 2013

Stand Up Guys


COMEDY

Bad Boy Bucket List

★ ★ ★ ★ out of 5 | DVD or Rental

Rated: R Sexual content, language, brief drug use and violence.
Release Date: February 1, 2013
Runtime: 1 hour 35 minutes

Director: Fisher Stevens
Writer: Noah Haidle
Cast: Al Pacino, Christopher Walken, Alan Arkin, Juliana Marguiles, Mark Margolis, Lucy Punch, Addison Timlin, Vanessa Ferlito, Katheryn Winnick, Bill Burr



SYNOPSIS: A pair of aging con men try to get the old gang back together for one last hurrah before one of the guys takes on his last assignment -- to kill his friend.

REVIEW: Writer/Actor/Director Fisher Stevens, moves back to the director's chair for a piece of fiction that is a little different than the documentaries and documentary shorts he is more known for. Stevens is joined by another member of the team who is moving from shorts to a full feature. Noah Haidle writes his first full-length feature, both attracting A-list talent with the likes of Christopher Walken (Seven Psychopaths), Al Pacino (Righteous Kill), and Alan Arkin (Argo).



Doc (Christopher Walken) loves to spend his time painting sunrises, then spending time at a diner talking to the waitress Alex (Addison Timlin, Californication). Today he changes his routine in order to pick up newly released convict Valentine (Al Pacino) - known as Val to hi friends - who he ran with doing mob jobs when they were younger. Now twenty-eight years later, Val and Doc are together again. The only problem is that Doc was given the contract to kill Val for killing the mob boss Claphands' (Mark Margolis, Immortals) son during a botched robbery which landed Val in prison in the first place. Knowing that his friend has been given a contract, Val decides to make it one hell of a night before Doc needs to "deliver the package" at 10am the next morning. Along the way they visits whorehouse, do lines of prescription drugs, have a few beers, and break out their old friend Hirsch (Alan Arkin) out from a adult living facility. As a night burns away the trio reminisce about old times and how this might be the end of the line.

Touted as an ex-con bucket list, Stand Up Guys is a sentimental look at regrets, aging, and things left undone and unsaid. Can Val cram all his last wishes into one night? Doc and Hirsch try their best to try to make it happen. Not only is Stand Up Guys about getting old and thinking about the younger years, but it's also about how the world is changed - And not necessarily for the better.

Director Fisher Stevens does a great job with the symbology in this film. A brand-new sports car represents how everything has changed around the old retired mobsters. Keyless ignition, horsepower, and all the gauges on the dashboard represents a new modern technological era that the retired mobsters just don't fit into anymore. Walken, Pacino, and Arkin prove to the younger thugs that sometimes the old ways are the best ways - even if the older generation may have lost a step or two.

Walken, Pacino, and Arkin give performances that you've come to expect and love from these actors. Walken, with his distinctive voice, cadence and mannerisms, shows that Doc is a happier man now that he's retired. Pacino brings back his typical devil-may-care attitude, just looking to fulfill his last night with food, booze, drugs, and women before the clock strikes 10 AM. Arkin is his typical gruff and quiet self who also wanted to fulfill one last wish since he was broken out of the nursing home. The trio is supported by Timlin's Alex, and victim Sylvia (Vanessa Ferlito, Wall Street: Money Never Sleeps) whose found in a compromising position. Add in Hirsch's daughter Nina, played by Julianna Margulies (The Good Wife) who slips comfortably into the familiar role of an ER nurse, and a Madam named Wendy (Lucy Punch, Bad Teacher) and her employee Oxana (Katheryn Winnick, Love and Other Drugs) and you have several avenues that the old timers can explore to serious or comic effect.

Stand Up Guys is a tight dramatic comedy about old-timer mobsters who make realizations about their mortality, regrets, and how the old ways are still the best ways. Walken, Pacino, and Arkin make the film their own, letting us indulge in their practiced arts of being wise guys. It's time to either kick ass or chew bubble gum... and I'm all out of bubble gum!


Saturday, October 13, 2012

Argo

Turnaround

★ ★ ★ 1/2 out of 5 buckets | DVD


Rated: R Language and some violent images
Release Date: October 12, 2012
Runtime: 2 hours 0 minutes

Director: Ben Affleck
Writers: Chris Terrio, based on an article by Joshuah Bearman
Cast: Ben Affleck, Bryan Cranston, Alan Arkin, John Goodman, Victor Garber, Tate Donovan, Clea DuVall, Scoot McNairy, Rory Cochrane, Christopher Denham, Kerry Bishe, Kyle Chandler, Titus Welliver




SYNOPSIS: As the Iranian revolution reaches a boiling point, a CIA 'exfiltration' specialist concocts a risky plan to free six Americans who have found shelter at the home of the Canadian ambassador.

REVIEW: Director Ben Affleck, director of The Town and Gone Baby Gone, helms and stars in a factual fiction of the 1980 Iran hostage crisis and a secret CIA-run declassified exfiltration using a fake movie production as cover. Santa Fe Film Festival Luminaria Award winner for Best Short Book of Kings Chris Terrio writes a script based on an article "Escape from Tehran" written by Joshuah Bearman.
In 1980, the Ayatollah Khomeini was failing in health and was given refuse in the United States. As a result, angry protesters started to gather at the United States embassy in Tehran. As the protectors grew in size and fervor, they actually invaded the sovereign soil of the United States and took all of the foreign affairs officers and staff hostage. As the invasion was happening, six of the foreign affairs staff, Bob Anders (Tate Donovan, Wild About Harry), Cora Lijek (Clea DuVall, American Horror Story) Joe Stafford (Scoot McNairy, Killing Them Softly), Lee Schatz (Rory Cochane, A Scanner Darkly), Mark Lijek (Christopher Denham, Shutter Island), and Kathy Stafford (Kerry Bishe, Red State) escaped from the embassy and to the residence of the Canadian Ambassador Ken Taylor (Victor Garber, You Again). The CiA and Department of Defense, finding out about the escaped staffers, try to come up with a plan to extract them before the Iranian Revolutionary Guardsmen find them and execute them as spies. The CIAs Jack O'Donnell (Bryan Cranston, Red Tails) and expert ex/fil professional Tony Mendez (Ben Affleck, The Town) take a meting with the Department of Defense to consult on the plans that the DoD had come up with - supply the staffers bicycles and have them ride over 300 miles to the Turkish border. Unwilling to go along with such a ludicris idea, Tony comes up with a almost more far-fetched idea to create a cover that the six staffers are part of a film scouting crew looking at locations in Tehran. Tony must enlist the help of make-up effects professional John Chambers (John Goodman, Trouble With The Curve) and director Lester Siegel (Alan Arkin, The Change-up) to start a production company, option a script, and make the world believe that the film known as Argo would soon be in production. Once all of the mechanics are in place, Tony still has to travel to Tehran, brief each staffer on their cover ID, and try to get them out of the country before the ruse is found out. 

Ben Affleck continues to prove that he has the right stuff as a director with this follow-up to The Town. Way back in the day, when he and Matt Damon came up with, wrote, and won the Academy Award for Good Will Hunting, many saw that achievement as a fluke, farce, or outright lie. Now, when several well-received films as an actor and, now, as a director, Affleck cannot be dismissed as a just a lucky man. Forget Gigli... Affleck's body of work has grown in all of the right ways. Argo starts off with actual storyboards that outline the rise of the Iranian state from its Persian roots. Then we get a brief summary of the political state of the nation up to the morning that the irate citizens climb the fences of the United States embassy perimeter and take over 100 US citizens hostage, demanding the return of their former leader, the Ayatollah Khomeini, for judgement and execution. As the outrage of the protesters grow, the intensity of the film heightens. The sounds, the camera work, the pacing, all suit an atmosphere that breeds uncertainty, worry, and need for self-preservation. Affleck directs the opening sequence with a visual aesthetic close to what the raw footage depicted in 1980 in Tehran. As the crowds grow more restless, the audience can feel that tension, as if on site at the embassy on that day. Throughout the film, the direction, pace, and suspense are certain... even if the fates of the escapees are not.

As an actor, Affleck is center stage, but he is not. He is surrounded by a stellar cast that includes the always versatile Bryan Cranston, Kyle Chandler (Super 8) as Chief of Staff Hamilton Jordan, Titus Welliver (Man on a Ledge) as one of the other Embassy employees, the actors and actresses who play the escaped staffers to a physical and emotional tee, and a cast of dozens more who make the film so gripping.

Affleck makes Argo feel like 1980, from the period correct Warner Bros. logo fly-in to a slight washed out grainy visual feel of the cinematography. The backgrounds, cars, feathered hair styles, big mustaches and glasses, actual newscasts - all make make for a perfect set for an imperfect and impossible situation. I am sure that the fact to fiction ratio will not be please everyone, but the production designers, story writers, and set designers should be consideration come Oscar time.

Argo starts off with a bang, and really does not slow down. Sure, there are scenes where there is little action, but the political closed-room discussions between the CIA and Department of Defense add as much tension to the tale as the Iranians storming the United States Embassy. And for much tension as the story conveys, there is also light and humorous moments. With John Goodman and Alan Arkin on board trying to make a fake movie on Affleck's behalf, the sheer audacity of the concept is fodder for a few laughs (while still being dramatic).

Argo tells the tale of a science fiction adventure with heroes, villains, and innocents in jeopardy. Although a script in turnaround, it mirrors on paper the real world international crisis that swept the world's attention in 1980 and 1981. Those who remembered the events know how the crisis ends, for others who were too young and growing up it is a reminder of the political and international turmoil that continues to haunt us to this day.

Saturday, August 6, 2011

The Change-Up

The Old Switch-a-Roo

Director: David Dobkin
Writers: Jon Lucas, Scott Moore
Cast: Jason Bateman, Ryan Reynolds, Olivia Wilde, Leslie Mann, Alan Arkin

Watch Monte Carlo Trailer Now
SYNOPSIS: A over-worked, career-driven lawyer and married father Dave switches bodies with his wild-living actor-wannabe bachelor best friend Mitch, leading to chaos and disasters in both of their original lives.

REVIEW: David Dobkins, director of
Shanghai Knights, Wedding Crashers and Fred Claus, takes a tale of body switching from The Hangover scribes Jon Lucas and Scott Moore. It's the same old classic story of two people (son and father, mother and daughter, friends) - who lead different lives, change bodies, explore the possibilities of the other person's life to ill effect, make personal self-discoveries about their lives, and yearn to be switched back to their old lives before the change is permanent.

A comedy body-switching sub-genre that includes Freak Friday in all of its iterations, Like Father, Like Son, 17 Again and Big, The Change-Up looks to ramp up the raunchiness with their rated-R version of this formulaic comedy main-stay. Stoic, straight man Jason Bateman teams up with the green ring-slinger Ryan Reynolds as polar opposite best friends Dave Lockwood and Mitch Planko. Dave Lookwood is the father of three whose self-imposed drive to further his career demands so much of his attention that he has little time for his wife Jamie (played with grace, humor and heart by Leslie Mann). On the other side of the body-switching coin is Mitch Planko who struggles through life aided by a schedule full of sex, herbs and paper, a GED and a laundry list of poor decision making. After a night of bar drinking, Dave and Mitch pee in a fountain and wish for each other's life, causing a rolling blackout and a seemingly permanent change in their minds and body. Dave, in Mitch's body, must abandon his mindset of always working and never relaxing, while Mitch, in Dave's body, must figure out how to handle the rigid schedules of ballet practices, 3am feedings of twins, and navigate his way through a merger agreement and documents that the real Dave had been preparing for months.

Leslie Mann comes on board as Dave's wife Jamie, a woman who is happy with the lifestyle Dave has provided for her and the kids and just wants Dave to slow down and give her a little attention. Olivia Wilde from Cowboys & Aliens joins the cast as legal eagle Sabrina who catches the eyes of both Dave and Mitch, regardless of what body they inhabit. Alan Arkin cameos as Mitch's father, hoping for a son who wants to turn his live around and finish at least one thing that he starts.

The R-rating offers a couple gross out laughs, a few of topless ladies, and more explicit language. There are some hits, but a lot of missed opportunities. One of the twins, before the 3am changings and feedings, continues to bang his head against the rail of his crib. Its mildly funny the first time, but quickly loses its ability to instill a laugh each time we see it again. The father/son relationship with Mitch and his father could have been developed more to give us some more tenderness. Most of the heart of the film comes from Leslie Mann's Jamie as she continues to stand by her man with the realization that she may become numb to the problems of the marriage. Ryan Reynolds and Jason Bateman play their duel roles well enough, but I know both have such wider ranges than what appears on screen.

Ultimately, The Change-Up will make you laugh a little, cry a little, and smile a little. In the end, though, The Change-Up could have very easily switches places with some of the other lesser worthy films in the genre. I love every actor and actress cast in the lead roles, but I think that maybe some of them wished they had woken up in the bodies of another film as well.

WORTH: Rental