Author Archives: Jonathan Williams

“J. Edgar” exposes the good and bad of an American icon

For the most part, Hollywood has a tendency to romanticize historical figures when putting out biopics such as J. Edgar. But with Clint Eastwood directing a screenplay by Milk screenwriter Dustin Lance Black, this movie doesn’t hesitate to show both the noble accomplishments as well as the darker secrets of controversial American hero J. Edgar Hoover.

Regardless of how much you know about Hoover going into the film, one thing that is pretty accepted about him is that he was neither charming nor particularly handsome. So the casting of Leonardo DiCarpio in the lead role is a bit questionable at first. But in much the same way Charlize Theron did in 2003’s Monster, Leondardo DiCaprio provides a powerfully convincing portrayal of a man who was as guarded as he was determined, thanks in large part to heavy prosthetics, makeup and dark brown contact lenses. Physical attributes aside, DiCaprio seems to adequately capture the inner conflict and frustrations of Hoover, both in his prime and later in his life.

Because of the rapid flip-flopping between Hoover’s earlier and latter life, J. Edgar can be a bit hard to follow at times. But for those able to keep up, it is a revealing look at the life of the man who created the Federal Bureau of Investigation and revolutionized the way crime investigations are done by implementing (despite a good deal of resistance) things like forensic science into the process. But for every good deed it commends, J. Edgar touches on just as many perceived flaws in Hoover’s characters.

Judi Dench as Anna Marie and Leonardo DiCaprio as J. Edgar Hoover. Photo by Keith Bernstein

Sure, he was instrumental in solving some of the biggest crimes of his time and revealing numerous scandals. He was the director of the FBI for almost 50 years and served through eight different presidencies. But he was also sometimes delusional, abused his power to get his way, blackmailed political foes and harbored numerous secrets, personally and professionally. Hoover (according to the film) was also an incredibly insecure man who had an almost Norman Bates-like relationship with his overbearing and judgmental mother (Judi Dench).

Armie Hammer as Clyde Tolson and Leonardo DiCaprio as J. Edgar Hoover. Photo by Keith Bernstein

J. Edgar also touches on subjects such as Hoover’s widely speculated homosexuality, namely with his hiring of and long term relationship with Clyde Tolson (The Social Network‘s Armie Hammer) and other rumored behaviors. DiCaprio and the rest of the impressive cast (including Naomi Watts as Hoover’s secretary Helen Gandy) do a phenomenal job of telling the many stories that made up Hoover’s personal and professional lives. There’s no questioning the abilities of anyone involved with this film, but it’s always difficult to fully tell a story about someone as seemingly complicated and controversial as Hoover. And even if it just scratches the surface of what all went into making the man who was arguably the most powerful person in the country for most of his career, J. Edgar succeeds at providing an entertaining and balanced look at the life of someone who radically changed American crime fighting and politics forever.

J. Edgar. Directed by Clint Eastwood. Starring Leonardo DiCaprio, Armie Hammer, Namoi Watts and Judi Dench. Rated R. www.jedgarmovie.warnerbros.com.

Review by Jonathan Williams

“Immortals” gives Greek mythology some added visual spectacle

Fantasy and mythology have always made for good big-screen drama, and 2011 has been quite a year for such adventures. From Thor to Conan the Barbarian, chiseled warriors doing battle against insurmountable odds have fared incredibly well at the box office. I’m not sure if there is any numerological significance to its release date of 11/11/11, but Immortals is the latest such film to battle its way into theaters.

In much the same way 300 gave the Battle of Thermopylae some stylistic jolts, Immortals (touted as being “from the producers of 300“) retells the story of Theseus and the Minotaur with elaborate costumes, grandiose settings and battles filled with mind-boggling effects. Known for his visual flair and over-the-top aesthetics, director Tarsem Singh (The Cell, The Fall) has plenty to work with here as Greek gods, oracles and armies of masked warriors dominate every scene.

Mickey Rourke as the ruthless King Hyperion. Photo by Jan Thijs

As the ruthless King Hyperion (The Wrestler‘s Mickey Rourke) systematically conquers village after village (torturing and murdering innocent people along the way), he progressively builds a larger and larger army to help him on his quest to rule the world. Channeling the tough repugnance he’s portrayed in such movies as Sin City, Iron Man 2 and The Expendables, Rourke’s portrayal of Hyperion makes it impossible to do anything but despise him. And when he personally murders your helpless mother right in front of you (as he does to Theseus, unknowingly incurring the wrath of one of mankind’s greatest warriors and the gods that support his cause), he eventually determines his own fate, despite the destruction he leaves in his wake.

Theseus (The Tudors‘ Henry Cavill), a rebellious peasant who has no faith in the gods, reluctantly becomes humanity’s last hope, with the help of the virgin oracle Phaedra (Freida Pinto of Slumdog Millionaire and Rise of the Planet of the Apes), the thief Stavros (Stephen Dorff) and, eventually, the gods themselves. In pure Greek irony, the death of Theseus’ mother inadvertently leads him to the very thing he will need if he is to prevent Hyperion from achieving his goal of obtaining the Epirus Bow and releasing his fellow Titans from captivity.

Stavros (Stephen Dorff), Theseus (Henry Cavill), Phaedra (Freida Pinto) and Nycomedes (Greg Bryk) in "Immortals." Photo by Jan Thijs

From the oracles’ visions of the future to epic battles between vast armies, Singh’s unique cinematography makes Immortals feel as imaginative as the Homeric tales from which these characters have been derived. Singh’s visual spectacle seems to assume that the audience will either be familiar enough with these Greek myths to already know the relationships that exist between some of the characters, or that viewers will be distracted enough by the skull-bursting battles and other excrutiating scenes to not care about what’s going on. So whether you see it as fantasy escapism or recognize Singh’s literal and aesthetic influences, Immortals is a grandiose Greek drama filled with the tragedy and triumph that should be expected.

Immortals. Directed by Tarsem Singh. Starring Henry Cavill, Mickey Rourke, Stephen Dorff and Freida Pinto. Rated R. www.immortalsmovie.com.

Review by Jonathan Williams

 

Underground horror arises at the Buried Alive Film Fest

By Jonathan Williams

Horror movies are a Halloween tradition for many, but the Buried Alive Film Fest has become a post-Halloween tradition for true horror fanatics. Having grown and improved each year, the sixth annual event (taking place Nov. 11-12) features world premiere shorts, the Southeastern premiere of at least one feature-length film, Q&As with filmmakers and more.

The festival opens with Do Not Disturb the Dark Dead, a short film program with themes ranging from accursed cats and the apocalypse to zombies and room service. That’s followed by Jonathan Martin’s award-winning An Evening With My Comatose Mother, which makes babysitting a comatose elderly woman on Halloween seem even more unsettling than it sounds (especially when the horrific hallucinations kick in). Friday night’s main attraction is the Southeast premiere of Bradley Scott Sullivan’s I Didn’t Come Here To Die, a gruesome film about a haphazard group of young adults venturing into the woods together for a humanitarian project. It seems there’s something about this particular piece of land that brings out the worst in people, especially once alcohol, chainsaws and axes are thrown in the mix. The story is as quirky as it is gory (think The Blair Witch Project meets The Shining, with a bit of The Evil Dead), and the special effects are incredibly impressive for a low budget film.

More short film’s arise on Saturday afternoon as acclaimed horror author, journalist and screenwriter Philip Nutman presents Nutman’s Nightmares, a selection of his favorite submissions to this year’s fest. That’s followed by Georgia Fever Dreams, featuring the world premiere of such films as A Wet Dream on Elm Street and Survivor Type (based on a Stephen King story), all made by Georgia filmmakers.

Saturday night includes two features, beginning at 6:30 p.m. with the opening short The Familiar. Like a modern day Renfield, the Familiar is the human that takes care of a vampire. But this film gives the concept a humorous new twist, as the Familiar is forced to do such tasks as bathing the vampire to avoid having his home “smelling like a KFC Dumpster.” The Familiar‘s dark comedy is the perfect warm-up for The Selling.

If you’ve ever wondered what it might be like to be the real estate agent plagued with the task of selling the houses from The Amityville Horror, Poltergeist or The Exorcist, this horror comedy might give you some idea of how difficult it might be. While trying to clean the place up for potential buyers, things like disembodied voices and bleeding walls just become part of a day’s work for the realtor and his buddy. And when the agent decides to start marketing these occurrences as selling points, things just get more and more absurd.

Buried Alive concludes with a short called Banana Motherfucker (from the makers of Papa Wrestling, a personal favorite from last year’s fest) and Chillerama, a horror anthology from the makers of Hatchet, Wrong Turn 2: Dead End, 2001 Maniacs and Detroit Rock City. Then it’s back to the morgue to dig up next year’s selections!

Buried Alive Film Festival. $7 per screening, $30 for all access pass. 7:30 p.m.-11:30 p.m. Nov. 11. 2 p.m.-midnight. Nov. 12. Plaza Theatre, 1049 Ponce de Leon Ave., Atlanta, Ga. 404-873-1939, www.buriedalivefilmfest.com.

 

Love proves to be a proverbial battlefield in “Like Crazy”

Just because I wear a mask and fight evil doesn’t mean I haven’t experienced the manic highs and heartbreaking lows of love. So even though Like Crazy (which won the Sundance Film Festival‘s Grand Jury Prize (Dramatic) for Best Picture) doesn’t feature a single explosion, supervillain or plot to destroy the world, the seemingly earth shattering struggles faced by Jacob (Anton Yelchin, who has battled all kinds of baddies in Star Trek, Terminator Salvation and Fright Night) and Anna (Felicity Jones from The Tempest) are all too familiar to Flash Gorem (as I’m sure they will be for many of you as well).

After Anna, a British student, falls for Jacob, her American classmate, their young love becomes so unquenchable that Anna overstays her student visa in order to spend the summer with Jacob. As a result, poor little Anna is unable to obtain a tourist visa, and is thus unable to return to the United States to see her true love. As we all know, long distance relationships can be difficult, bringing out all kinds of insecurities on both sides.

Now that we've found love, what are we gonna do with it?

Though their Notebook-like intentions (yeah, I saw The Notebook, too) of toughing it out in hopes of someday being able to spend their lives together seem noble, the push and pull of the situation is a constant reminder of the impending hopelessness of it all. And it’s not until after they’ve agreed to see other people (which results in a similar push and pull for their new significant others) that Anna and Jacob finally decide to go through with the most logical solution: getting married. Oh, but even then Anna’s previous visa violation holds things up, sending Jacob packing his bags back to American once again. Just when things look up, it gets all depressing again and again!

By the time the couple is finally able to be together, it seems too much damage may have already been done. Or has it? Based on the mostly silent and somewhat awkward interaction between the two after they finally get what they’ve been wanting, it’s difficult to deduce the exact emotion being conveyed. Could be sadness or regret. Could be a peaceful relief. It’s probably an odd mix of many emotions, and each viewer is likely to have his own opinion of where things stand. But regardless of what you take away from this film, Like Crazy ultimately shows that it’s just as easy to make mistakes in the battle of love as anything else that’s worth fighting for.

Like Crazy. Written and directed by Drake Doremus. Starring Anton Yelchin and Felicity Jones. Rated PG-13. www.likecrazy.com.

Review by Flash Gorem

 

High-flying Jeff Hardy looks for a new beginning in TNA at Turning Point

When Jeff Hardy made his Impact Wrestling return on Spike TV recently, there was an overwhelmingly positive response from the audience. Considering that his last outing with Total Nonstop Action was a 90-second loss to Sting in the main event at Victory Road last March (not to mention he had turned his back on the fans just months before by joining Immortal), the fact that he was welcomed back so quickly might be a bit of a surprise. But I suppose surprises come with the territory when talking about “The Charismatic Enigma.” As he heads into a marquee match against Jeff Jarrett this Sunday at Turning Point, Hardy takes a moment to talk to Wrestling with Pop Culture about his return, how he’s preparing for the pay-per-view and more.

Courtesy Impact Wrestling

I was at the Impact Wrestling TV tapings in Macon, Ga. a couple of weeks ago, where you got another very positive response from the crowd. What were your expectations coming back to TNA? Were you surprised to have gotten such a positive response?

Not at all. I’ve been fortunate to have such support from the fans, even going back to when I first came back in Knoxville. I’ve always been real fortunate with that and I think I’ve always given the fans a lot, so I always get a lot in return. I think people have respect for me. Macon was great. It’s really good to get out of the Impact Zone every now and then to get to these fresh, bigger crowds, especially for TV tapings, so I think it was phenomenal.

It looks like you haven’t missed a step, but how has it felt to be back in a TNA ring?

I’ve been doing really well. We just got back yesterday from doing four live events in Michigan, Dayton, Ohio and Canada and we had four great shows. Physically, I’m in really good shape. I run every morning, I work out more than I probably ever have in my whole life, so everything’s extremely positive and I think that’s playing a big part in the way I feel in the ring. I feel awesome. Each match I’ve had since I’ve been back has felt really good. I’m excited about my future.

Before you returned to the ring, it seemed like there was a lot of hesitation in the locker room to accept you back. Do you feel like the rest of the roster is being more supportive now that you’ve proven yourself in the ring again?

I think so. Naturally, it was questionable coming back to a lot of the guys. It takes a while. I had decided that for the next year, I’m going to do whatever it takes to prove myself to these guys. I think it’s happened faster because I’ve been feeling really good and I think I’ve proved myself to everybody. The shows are great, I’ve been feeling great and I think that forgiveness has pretty much happened. We’re on an extreme roll in TNA and, like I said, I’m very excited about the future.

Courtesy Impact Wrestling

Going into Turning Point this Sunday, you’re facing Jeff Jarrett. When you were last in TNA, you were part of Immortal with Jeff Jarrett. With all that’s gone on since then with you, Immortal and TNA, what do you think you have to prove in this match and how are you preparing for it?

I think that’s real simple. It’s going to be challenging out there in the ring with Karen at his side, that’s for sure. But I beat him and that’s pretty much it as far as I’m concerned. I think I’ll prove something to him by beating him in the middle of the ring in my first actual match back at a pay-per-view. So I’ll beat him in the middle and see what happens.

Anything can happen out there. I’ve been to a lot of live events preparing for this match, but the couple of loops I’ve been on Jeff Jarrett hasn’t been there. So I might be at a little bit of a disadvantage. I’ve been doing a few more shows while he’s been resting up, but I’m going in there confident and I’m going to do what I always do and hopefully get the 1-2-3. But I feel better than I have in a long time in the ring, so I’m just going to try not to injure myself, but at the same time be entertaining in beating Jeff Jarrett.

WWE superstar John Cena flexes his action movie muscles again in “The Reunion”

When he’s not being WWE‘s proverbial Boy Scout on Raw, John Cena seems to be quite adept at playing cops, soldiers and the like in such WWE Studios releases as 12 Rounds and The Marine. And in the latest production from WWE Studios and Samuel Goldwyn Films, The Reunion, Cena once again plays the convincing role of a take-charge police officer.

Available today on DVD and Blu-ray, the film features a somewhat convoluted plot about estranged siblings being brought together when their deadbeat dad kicks the bucket. The good news for them is that the dad that was never there for them when he was alive has willed each of them a few million dollars. The bad news is, the only way they can get the money is if they go into business together. It doesn’t take long for things to haphazardly fall into place as Sam (Cena), a cop on suspension for his aggressive tactics; Leo (Ethan Embry), a sleazy bail bondsman only out for himself; and Douglas (Boyd Holbrook), a young and charming orphan fresh out of prison, find themselves in Mexico in search of  a wealthy businessman (Gregg Henry) who has been kidnapped.

Nina (Amy Smart) and Sam (John Cena) take a moment to bond in "The Reunion." Photo courtesy WWE Studios

If that’s too much to wrap your head around, the movie provides plenty of action and comedy to keep your mind off any potential continuity problems. It seems that each of the four siblings (Amy Smart plays Nina, the sister who has been left in charge of their father’s estate) has adopted at least one of their father’s characteristics despite their best efforts to not be like him. Sam is headstrong and has a short fuse, Leo is selfish and untrustworthy and Douglas (who was orphaned and is meeting his family for the first time) is a bit of a womanizer, though in an apparently more gentlemanly way than his father, who sired each child with a different mother.

Sam (John Cena) on horseback in "The Reunion" recalls Arnold Schwarzenegger in "The Villain." Photo courtesy WWE Studios

Combine that dynamic with the occasional encounter with a Mexican drug lord, a famous local stripper and other untrustworthy natives and you’ve got an action comedy caper with populist appeal (much like WWE itself). Cena once again proves that, should he ever decide to put his multi-championship wrestling career behind him, he’s capable of being an action hero (not quite on the level of his WrestleMania XXVIII opponent and Survivor Series tag team partner Dwayne “The Rock” Johnson just yet, but at least on par with the likes of Jean-Claude Van Damme and Steven Seagal). And seeing the musclebound Cena riding horseback while wearing a cowboy hat is comically reminiscent of Arnold Schwarzenegger in 1979’s The Villain.

Forced to work together in order to survive various perils and obstacles, the Cleary brothers not only make it through the ordeal, but reluctantly create the brotherly bond they’ve never previously had. And despite a bit of a gotcha ending, it appears that these siblings eventually learn to accept each other for who they are and will keep this new family business of private investigating up and running. Sure, it’s a bit hokey and predictable, but as long as you’re not expecting anything more than some WWE-style escapism, The Reunion provides the humor, drama and action you’re likely to expect.

The Reunion. Written and directed by Mike Pavone. Starring John Cena, Ethan Embry and Boyd Holbrook. Rated PG-13. www.thereunion-movie.com.

Review by Jonathan Williams

 

 

“A Very Harold & Kumar 3D Christmas” lights up the holidays with a Christmas (bong) hit

Stoners. They usually show up late or completely forget about major commitments. But thanks to a couple of contemporary cinema’s favorite potheads, the holiday season gets started even earlier than usual (I mean, we’re only a few days removed from Halloween) with A Very Harold & Kumar 3D Christmas.

Everyting goes up in smoke for Harold (John Cho) and Kumar (Kal Penn) when the sacred tree catches fire.

That’s right, they’ve gone to White Castle, escaped from Guantanamo Bay and now they’re lighting up America’s most important holiday (in 3-D, no less). After being estranged for a couple of years, old pals Harold (now working in a Manhattan skyscraper and living with his wife in a suburban McMansion) and Kumar (still a down-and-out stoner who just found out his ex-girlfriend is pregnant) are reunited when a mysterious package addressed to Harold arrives at Kumar’s apartment. With each of them already dealing with holiday crises of their own, it initially seems  as if the contents of the package will only drive the wedge that much harder between Harold and Kumar. But like their previous adventures, this weed-induced caper eventually brings the two back together again.

When things literally go up in smoke after Kumar’s delivery inadvertently catches Harold’s prize Christmas tree on fire, the two embark on “The Gift of the Magi”-style quests to replace the tree before Harold’s intimidating father-in-law (played by Machete himself, Danny Trejo) finds out about the mishap. What follows is an adventure that includes a baby ingesting numerous illegal substances, Russian mobsters trying to off the duo, Harold shooting Santa (the real Santa) in the head and the obligatory cameo by Neil Patrick Harris (who, along with Trejo, are some of the highlights of the film).

Kumar (Kal Penn) and Harold (John Cho) try to find a new tree in "A Very Harold & Kumar 3D Christmas"

Clearly the Cheech & Chong of their generation (despite the smoke), Harold & Kumar find laugh-inducing ways out of each of their predicaments (usually with the help of some sort of mind-altering substance or two). And though the 3-D effects might seem unnecessary, they not only become integral parts of many scenes (especially the acid-induced claymation sequence), but the movie finds plenty of ways to poke (and I do mean poke) fun at the use of such technology in a stoner movie. The movie gives potty-humor nods to pretty much every Christmas classic that has preceded it, from A Christmas Carol and Miracle on 34th Street to A Christmas Story and National Lampoon’s Christmas Vacation. And, of course, it wouldn’t be a feel-good holiday movie with out a feel-good Christmas miracle for everyone in the end. But in this case most of the people are feeling good because of what’s in the bong, not what’s under the tree.

A Very Harold & Kumar 3D Christmas. Directed by Todd Strauss-Schulson. Starring John Cho and Kal Penn. Rated R. www.haroldandkumar.com.

Review by Jonathan Williams