Month: May 2016 (Page 7 of 9)

Drink of the Week: The Keys of the Kingdom (TCM Fest 2016 Salute #1)

The Keys of the Kingdom.Every year since it’s inception, the organizers of the  TCM Classic Film Festival have been letting me in without paying. Most of those years, I’ve been celebrating that fact by putting together my own drinks inspired by the films I was lucky enough to see there.

My first 2016 beverage du cinema (please don’t tell if that’s not actual French) is actually drawn from a film I saw on the last day of the fest which, frankly, was rather a last minute choice. An adaptation of a novel by A.J. Cronin, “The Keys of the Kingdom” isn’t a movie even hardcore film geeks hear that much about, even if it netted a young Gregory Peck his first Oscar nomination. As the decades-long tale of an idealistic priest from Scotland who finds himself a missionary in China, I have to admit that I had some qualms about spending my dwindling TCM time on what seemed likely to be a rather draggy bit of classic-era Hollywood Oscar bait from John Stahl, a director best known for making the original 1930s versions of the classic melodramas “Imitation of Life” and “Magnificent Obsession.” (If you know them at all, you’re likely more familiar with the 1950s remakes directed by Douglas Sirk.)

However, I should have more thoroughly considered the talents of two of classic Hollywood’s most skilled and witty screenwriters, Joseph Mankiewicz (“All About Eve”), who also produced, and the hugely versatile Nunnally Johnson (“The Grapes of Wrath,” “How to Marry a Millionaire,” and, get this,”The Dirty Dozen.”) As good as the suprisingly humorous and compelling script turned out to be, I was very pleasantly surprised by the film’s treatment of its many Asian characters. They are well-rounded non-stereotypes and, even more of a surprise, all played by actual Asian actors. That’s more impressive than it should be considering that, up to this very moment, Hollywood seems to be allergic to casting Asian actors in large roles.

“The Keys to the Kingdom” is a bit longish but, otherwise, a terrific example of classic-era Hollywood at it’s humanistic, entertaining, inspiring, and relatively progressive semi-best. Why not make it a cocktail?

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The Buddy System: How Shane Black has continually reinvigorated and redefined the buddy cop film

the_buddy_system_1

While usually thought of as a hackneyed cliché from the ’70s and ’80s, the buddy cop film has actually been around a lot longer than that. Some trace its roots back to Kurosawa’s 1949 film “Stray Dog,” with early adopters being the politically charged “In The Heat of the Night” (1967) and the “I Spy” TV show in 1965. But it really grew legs with such films as “Hickey & Boggs” (1972), “Freebie and the Bean” (1974) and “48 Hrs.” (1982), each adding to the genre its own flair and nuance. (Please note: while the term is “buddy cop,” in this post the genre includes films with people that aren’t necessarily police officers; rather it’s just two, usually mismatched, partners joined together to solve a mystery.) So although it’s not as if famed filmmaker Shane Black invented the buddy cop film, for the past four decades, he has reinvented and reinvigorated an otherwise predictable and tired genre by using recurring tropes, witty banter and impressive action.

After “Die Hard,” “Lethal Weapon” is easily the most influential action film of the last 35 years. The spawn of homages and knockoffs that came after it is staggering, using Black’s template of the loose cannon and his straight-laced partner who engage in comic repartee while also delivering explosive violence. But many of the imitators that followed, including the “Lethal Weapon” films where Black isn’t involved (although he originally scripted the 1989 follow-up, it was heavily rewritten), missed that special mystery ingredient he brought to the first entry. “Lethal Weapon” is unique not just for its go-for-broke take on action, but also because it begins the type of story and archetypal characters that Black would revisit time and again over his career.

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Movie Review: “Money Monster”

Starring
George Clooney, Julia Roberts, Jack O’Connell, Dominic West, Caitriona Balfe, Giancarlo Esposito
Director
Jodie Foster

Jodie Foster‘s last directorial effort, the Mel Gibson-led drama “The Beaver,” is a slightly unconventional and often brutal movie. The film proved to be a commercial failure, but then again, it’s hardly a commercial movie. Whether or not it connected with audiences, there was an honesty to “The Beaver” that’s not always present in Foster’s latest feature, the real-time thriller “Money Monster.” Although it’s more of a conventional crowd-pleaser, the film fails to resonate as strongly as it should.

Lee Gates (George Clooney) is the loud, fast-talking host of “Money Monster,” a finance show in the same vein of “Mad Money.” One day, the show’s filming is interrupted when Kyle Budwell (Jack O’Connell) sneaks onto the set and holds Gates hostage at gunpoint. Kyle partially blames Gates for a bad stock tip that resulted in the loss of his life savings after Ibis Clear Capital inexplicably lost $800 million overnight. Nobody has answers, including Gates, and nobody is asking the important questions until Kyle shows up. With the help of his producer Patty Fenn (Julia Roberts), Gates will do everything he can to get to the bottom of what happened, re-discovering his humanity in the process.

That last line sounds cheesy, I know, and it slightly is in execution. It’s not because of the performances or directing, but because the script by Jamie Linden, Alan DiFiore and Jim Kouf is treading such familiar territory that character revelations and the big dramatic moments are sometimes more calculated than human. The script is refreshingly efficient — a story that’s cleanly under 100 minutes, especially during the summer, is always a blessing — but it’s almost always serving a formula. Every once in a while, like when Kyle talks to his wife, the story takes a surprising turn, only to find itself back on track towards an inevitable conclusion.

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Lebron James will win an NBA title for Cleveland

Lebron James

When LeBron James made the decision to stop chasing rings with buddy Dwyane Wade and return home to Cleveland, it became pretty clear to me that the only thing LeBron James cares about is making good on his promise to deliver a championship to the city of Cleveland.

At the time, LeBron had a better chance to win more championships and cement his legacy among the all-time greats by staying in Miami instead of bolting for Cleveland. They did just go to four-straight NBA Finals in his four years there. As unselfish of a basketball player that LeBron James is, he made the ultimate unselfish decision to leave the beaches of South Beach and return home to the cold and snowy state of Ohio. At the end of the day, this decision could damage his legacy and hurt him in the standings amongst the all-time greats when talking championships, but winning just one in Cleveland could trump the six that Michael Jordan won in Chicago.

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