SYNOPSIS: Narrated by former KGB agent Viktor Ivanov, “Reagan,” a new biopic starring Dennis Quaid as the 40th President of the United States, follows Ronald Reagan from childhood to Hollywood fame to his time in the oval office and an assassination attempt.
CAST: Dennis Quaid, Penelope Ann Miller, Robert Davi, Lesley-Anne Down and Jon Voight. Directed by Sean McNamara (who, at age 18 worked as a sound engineer during filming of Reagan’s 1981 inauguration ceremony).
REVIEW: Into our current unpredictable partisan era comes an old-fashioned movie that harkens back to, if not a simpler time, then at least a time when there was some nuance left in political debate.
Not that “Reagan” is a movie of great nuance.
A cradle-to-almost-grave look at one of the most popular presidents of the Twentieth Century, it covers a lot of ground and does so respectfully—it sometimes feels like director Sean McNamara must have been standing at attention while shooting—but at a gallop that doesn’t allow for deep exploration.
Instead, it plays like a greatest hits of Reagan’s life. I was left wondering if a more focused look, concentrating on only his Hollywood activism, or his time in the Oval Office, or his escalation of the Cold War, may have provided opportunities for greater insight.
In an unexpected twist, the film is narrated by Jon Voight as former KGB officer Viktor Ivanov. Providing details gleaned from years of Russian surveillance, it’s an interesting idea to allow one of Reagan’s enemies to act as tour guide, but the narration doesn’t add much. It’s intrusive and overbearing, an exposition dump, that acts only as a page turner to the next chapter of the story without providing substance.
Quaid, who plays the character in all the iterations of its adult life, nails Reagan’s distinctive voice and physicality. He brings a theatrical flair to the performance, playing Reagan as a larger-than-life character who always beat the odds.
There is no doubt that Reagan led a remarkable life, but “Reagan” is not a remarkable movie. The spotty history—there’s no mention, for instance, of his position on gay marriage or inaction during the AIDS epidemic—and cinematic glow applied to every frame suggests hagiography more than a simple biography, but Quaid does good work even if “Reagan” feels like a movie a substitute teacher would run in history class.
“Strange World,” the new animated film from Walt Disney, starring the voices of Jake Gyllenhaal and Gabrielle Union, is a colorful ode to making the world a better place.
The story centers on the Clades, led by intrepid explorer Jaeger (voice of Dennis Quaid). The Clade clan is devoted to finding a way out of Avalonia, their home and small nation, tucked away between unpassable mountains.
On one of their journeys through the snow-capped mountains—“Exploration is ‘snow’ joke,” Jaeger snorts as he leads the crew through an icy patch.—Searcher (Gyllenhaal) discovers a glowing plant that has a pulsing energy all its own.
Jaeger is unimpressed. Conquering the mountains is his dream, a victory he sees as his legacy. “Avalonia’s future is beyond the horizon,” he says. Determined to move forward, he leaves Searcher and crew behind with the glowing plant. As he disappears into the wintery wilderness he also leaves behind any semblance of a relationship with his son.
Cut to twenty-five years later. Searcher is now grown up and resembles a cartoon John Krasinski with a bulbous nose. His discovery has literally energized the country. Called Pando, it’s a wonder plant that supplies the power that transformed Avalonia into a kind of steampunk paradise. It fuels their airships and keeps the lights on in their homes. “No Pando,” they say, “no power.”
Searcher is a Pando farmer, alongside his wife Meridian (Union) and son Ethan (Jaboukie Young-White), a teen who is more interested in catching the attention of a local boy named Diego than harvesting the crops.
When the Pando crops begin to fail, Avalonia president Callisto Mal (Lucy Liu) reaches out to Searcher looking for help. The crops all across the land are related by an interconnected root system. When one field fails, eventually they all will.
Getting to the source of the trouble means taking a trip to a strange world that lies under the surface. Callisto Mal recruits Searcher to undertake an expedition but it soon becomes a family affair when Ethan stows away on board and Meridian comes to rescue him. Together they enter a surreal subterranean land, home to amorphous, cute-but-not-so-cuddly blobs, hungry phosphorescent creatures and walking mountains. “We are definitely off the map now,” says Callisto Mal.
As they attempt to discover the cause of the Pando plight, they also come across another unexpected find, Jaeger, still searching for whatever is on the other side of the mountain.
“Strange World” puts the action adventure right up front, never missing an opportunity for the characters to take a wild ride of some sort or another. These sequences are imaginative and over-the-top with their stylized action and crazy creatures, but screenwriter and co-director Qui Nguyen isn’t just interested in making your eyeballs dance. He’s crafted an emotional story about legacy, and how the burdens and expectations of one generation can inadvertently passed to the next. Jaeger and Searcher have obvious father son snags, but the friction between Searcher and Ethan isn’t as pronounced, but the issues are the same.
The film does a heartfelt job of essaying the rifts that became chasms over time. Progressive and creative, it casts its eye to a world where respect and acceptance are a balm for troubled relationships.
By the time the end credits roll “Strange World” has established itself as an exciting adventure that values its character-driven messages just as much as the action.
The story in “Blue Miracle,” an against-all-odds new movie now streaming on Netflix, seems too good to be true, but it is based on real events.
The story begins at Casa Hogar, a boy’s home in Cabo San Lucas, Mexico. Hit hard by Hurricane 0dile in 2014 and in desperate need of money, caretaker Omar (Jimmy Gonzales), with the orphaned boys he looks after in tow, enters Bisbee’s Black & Blue Tournament, a fishing competition with a huge cash prize. With no boat, or fishing experience, Omar teams with a crusty local Wade (Dennis Quaid), the captain of a charter fishing boat called the Knot Enough. Wade won the tournament in the past, and having fallen on bad times, reluctantly agrees to allow Omar and kids on board.
In an effort to not reveal any plot twists, I’ll stop here. Just know that there aren’t really any plot twists and “Blue Miracle” plays out pretty much the way you think it is going to, which is heavy on the heartstring tugging with a dollop of family-friendly conflict.
What it lacks in surprises, it makes up for in inspirational messaging. From the title on down—the word “miracle” gives away the game—the movie threatens to be washed away on a tidal wave of good feelings. And that’s OK. “Blue Miracle’s” motives are pure. It wants to raise awareness for Casa Hogar, which is still there but not benefitting financially from this film, and provide a ninety-minutes of entertainment for the whole family.
Edgy, it is not, although Quaid’s take on Wade is crispier than a freshly fried piece of cod. He’s the stereotypical cantankerous old guy with a heart of gold you often find in movies like this and while Quaid doesn’t reinvent the grumpy Gus character, he at least seems to be enjoying being on the water in the sunshine.
“Blue Miracle” is a new story but its insistence on sticking to a feel good formula makes it feel like déjà vu.
Who do you get to play an icon? If you are James Vanderbilt, director of Truth, you hire another icon.
The story of 60 Minutes producer Mary Mapes and legendary news anchor Dan Rather’s journalistic examination into President George W. Bush’s military service features Robert Redford as one of the most famous reporters of the twentieth century.
“The movie’s big buy is, ‘Are you going to see Redford all the way through or are you going to see Rather?’” says Vanderbilt. “Redford is a phenomenal actor but what he brings into a scene by just being present (is a) gravitational pull. The room turns toward him. Getting to know Dan, that’s what Dan Rather is like. When Dan Rather walks into a room, the same thing happens.
“Everybody turns into, in a good way, a teenager, because those are both voices who have been in your living room for 30 to 40 years. It’s a voice of God thing they both have and that’s why I really wanted Bob to do it.”
Vanderbilt says the legendary actor is “very easy going, the nicest guy you’ll ever meet,” but nonetheless made people on the set nervous.
“We had heads of departments who had been working in film for 30 years who couldn’t call him Bob. He would say, ‘Call me Bob,’ and they would say, ‘I’m sorry, I can’t do that Mr. Redford. I’m very sorry that is not going to happen.’”
Vanderbilt is best known as a screenwriter, penning the scripts for The Amazing Spider-Man, Zodiac, White House Down and the upcoming Independence Day 2. His screenplay for Truth is based on Mapes’ memoir Truth and Duty and reveals a time before journalism was driven by ad sales and click-throughs.
“It was pre iPhone,” he says. “It was a year before the iPhone came out and that is such a big thing in terms of how we connect to one another now. How we relate to each other. Journalists and everybody. It felt like a fulcrum point, kind of where we had been, journalistically, and where we are now.”
His research into the story gave the director a new respect for journalists.
“I think it is a very noble profession but maybe I’m a very pie in the sky guy,” he says. “I think the more young people who grow up and go, ‘This is what I want to be. I want to ask questions of power,’ the better. I think we, as a society, are better that way.”
Made at a time when big stores are broken on Twitter truth set at a time when journalist did work the old-fashioned way, following paper trails and working the phones, “Truth” tells of murky investigation into an even murkier story.
Based on the nonfiction book “Truth and Duty: The Press, the President, and the Privilege of Power” by Mary Mapes, the film begins with Mapes (Cate Blanchett) having just broken the story of the Abu Ghraib prison scandal. Her hard-hitting approach made her a journalism superstar at CBS and “60 Minutes,” the show that ran the story. Gearing up for the next season meant finding an even bigger story. Mapes put together a crack team of investigators—the jaded but idealistic Mike Smith (Topher Grace), army insider Colonel Roger Charles (Dennis Quaid) and journalism professor Lucy Scott (Elisabeth Moss)—to examine President George W. Bush’s military service. The theory, supported by the so-called Killian documents, was that Bush had received preferential treatment to avoid fighting in the Vietnam War.
The seemingly airtight story falls apart the day after airing on “60 Minutes,” calling into question the reputation of CBS News, Mapes and her team and costing anchor and news legend Dan Rather (Robert Redford) his job.
For a movie that is all about bias, or the lack thereof, “Truth” is certainly in the corner of its journalists. The much ballyhooed fair and balanced approach is largely absent as the movie paints Mapes and Company as warrior journalists on a search for the truth while everyone else is painted with a big bad Republican brush.
As Mapes Blanchett plays a scapegoat, a mix of steely nerves and vulnerability, who will do what she thinks is right no matter what the consequences. In real life Mapes was fired and hasn’t worked in television news since even though her Abu Ghraib story won a Peabody Award.
Redford brings gravitas to the role of Rather, reeking of old school trust. Rather was a link to the past, to a time when journalism wasn’t driven by ad sales or click throughs. “Why did you get into journalism?” he’s asked. “Curiosity,” he says, “that’s everything.” He viewed asking the right questions and passing along the results, pro or con, to his audience as a trust. Times changed around him and Redford captures Rather’s resignation to the new world of news with equal measures of sadness and outrage.
“Trust” is a compelling story told with a heavy hand. A slow-motion shot of Mapes’s hand, holding a remote, and turning off the TV after Rather’s retirement announcement is a bit much and some clumsy foreshadowing— just before the troublesome “60 Minutes” story airs a commercial for “Survivor” screams, “Somebody’s going to get burned!”—adds unnecessary melodrama to what should have been an even-handed look at the inner workings of the fourth estate.
Rock ’n’ roll and the movies have always had an uneasy relationship. For every film that hits all the right notes, like Quadrophenia or A Hard Day’s Night, there’s a host of tone-deaf films like Light of Day, featuring Michael J. Fox and Joan Jett as musical siblings, or Sgt. Pepper’s Lonely Hearts Club Band, a glam-rock-and-disco re-imagining of the Beatles classic.
Rock ’n’ roll biographies are equally hit-and-miss. In The Buddy Holly Story, the toothy Gary Busey earned an Academy Award nomination for his portrayal of the rock legend, but Roger Ebert sneered that Dennis Quaid played Jerry Lee Lewis in Great Balls of Fire “as a grinning simpleton with a crazy streak.”
This weekend, Jersey Boys — directed by Clint Eastwood, and based on the Tony Award-winning musical — tells the story of ’60s hitmakers The Four Seasons. Songs like Big Girls Don’t Cry, Walk Like A Man and Can’t Take My Eyes Off You made them one of the biggest-selling rock acts of all time.
Lesser known than the Four Seasons but louder, faster and dirtier were The Runaways, the subject of a rambunctious 2010 movie. Set back when you could still drink a bottle of stolen booze in the shade of the Hollywood sign, The Runaways focuses on two glue-sniffing, tough girls named Joan Jett (Kristen Stewart) and Cherie Currie (Dakota Fanning) who formed the underage all-girl band. The music of The Runaways was described as the “sound of hormones raging,” and this film captures that.
I’m Not There is a hard movie to describe. It’s a metaphoric retelling of Bob Dylan’s life, but none of the characters in it are called Bob Dylan. Most of them don’t look like Dylan, and the one who most looks like Dylan is a woman. Unlike Walk the Line or Ray, which were both standard-issue Hollywood biopics, there is nothing linear here, but then there is nothing straightforward about the man, so there should be nothing straightforward about the movie.
Sex & Drugs & Rock & Roll is the title of eccentric English singer Ian Dury’s biggest hit and the 2010 biopic about his eventful life. Starring Andy Serkis, the film is as high voltage as one of Dury’s legendary live performances.
Finally, the film Control details the short life of Joy Division singer Ian Curtis (Sam Riley). After seeing the film at Cannes, Curtis’s bass player Peter Hook said he knew the movie “would be very well received because, even though it’s two hours long, only two people went to the toilet the whole time. In fact, one of them was (Joy Division founding member) Bernard (Sumner). The other one was a 70-year-old woman.”
The Hobbit author J.R.R. Tolkien described dragon Smaug as “a most specially greedy, strong and wicked worm.” The Flight of the Conchords have a song called Albi the Racist Dragon, and on Dragon Day at Cornell University, an effigy of one of the giant beasts is burned while students shout and dance.
They can be fiery, fearsome creatures. “Noble dragons don’t have friends,” writes Terry Pratchett in Guards! Guards! “The nearest they can get to the idea is an enemy who is still alive.”
It’s not hard to understand why the folks on Game of Thrones are wary of Daenerys Targaryen’s (Emilia Clarke) brood of the beasts when she spouts off lines like, “When my dragons are grown, we will take back what was stolen from me and destroy those who wronged me! We will lay waste to armies and burn cities to the ground!” Then there’s Bryagh, the serpentine villain of The Flight of Dragons who not only insults the movie’s heroes before dispatching them, he also gobbles up the eggs of other dragons!
Maybe if characters in movies paid more heed to the advice given by author Steven Brust — “Always speak politely to an enraged dragon” — then movies and TV wouldn’t have to offer up such a wide array of ways to rid the world of dragons. Look on IMDb, there are dozens of titles containing the phrase “dragon slayer.”
The 2010 animated hit How to Train Your Dragon begins in a remote Viking village where killing a dragon is “everything.” It focuses on Hiccup (Jay Baruchel), a kind- hearted boy who captures one of the flying behemoths and discovers two things: One, he can’t bring himself to kill it, and two, that dragons aren’t the fearful monsters everyone thinks they are. He becomes a Dragon Whisperer and the movie shows the serpentine creatures in a different light than the abysmal brutes usually seen on screen.
This weekend, How to Train Your Dragon 2 adds to the list of cinematic dragons who are more misunderstood than actually evil.
The 1941 Disney flick The Reluctant Dragon features a dragon that would rather recite poetry than cause havoc. “You’ve got to be mad to breathe fire,” he says, “but I’m not mad at anybody.”
In the live-action DragonHeart, a fire-breather must team with a dragon-slaying knight (Dennis Quaid) to end an evil king’s rule. When the giant serpent is accused of eating an adversary, he is indignant. “I merely chewed in self-defense, but I never swallowed.”
Eddie Murphy lent some comedic relief to the 1998 animated movie Mulan as the tiny, blue-horned Mushu. He may be the size of the Geico gecko, but don’t mention it. “I’m a dragon, not lizard. I don’t do that tongue thing.”
Simply put Far From Heaven is the best movie of the year so far. Director Todd Haynes’ tribute to the “women’s films” of the 1950s shines, bringing forth issues that outraged America in 1957 when the film is set, and continue to rub people the wrong way 45 years later. Cathy (Julianne Moore) and Frank (Dennis Quaid) have the picture perfect life. He’s an executive for the (fictional) television giant Magnatech, she’s the perfectly coiffed housewife. Imagine Ozzie and Harriett. Everything is perfect until one day she finds him, shirtless, in the arms of another man. She takes solace in the company of her handsome African-American gardener Raymond (Dennis Haysbert), which sends shock waves through her snooty and prejudiced Connecticut community. Now picture Ozzie and Harriett as imagined by Norman Rockwell after a three day drinking binge. Haynes maintains a feeling of melodrama throughout the film, but never becomes campy. His even handed approach lends an air of hyper-reality to the movie, as if we are watching real life through a looking glass. It’s a stunning achievement – emotional but not ironic, simple but very effective. A beautiful score by veteran Elmer Bernstein and Mark Friedberg’s amazing production design enhance an already wonderful movie experience. Julianne Moore gives the performance of her career as a housewife who watches her idyllic world crumble around her, while Dennis Quaid lets go of the macho posturing that has informed so many of his recent roles, and plays Frank as a tortured soul who doesn’t really understand why his life turned out the way it did. Dennis Haysbert (best known as presidential candidate David Palmer on 24) gives a smart, dignified performance as Raymond the gardener. Highly recommended.
If the idea of a show-tune singing suicide bomber doesn’t make you laugh, then perhaps the new satire American Dreamz might be a bit too heavy handed for you. It takes on the things that we are all reading about in the newspaper everyday, depending on which section of the paper you look at—the war in Iraq, terrorism, American Idol worship and the nasty talent scout Simon Cowell. Each are American obsessions and each are skewered.
The movie is actually made up of four stories that are tied together by the televised talent show American Dreamz. Under the guidance of its producer and host, a smarmy Hugh Grant, it has become the number one show in the world. It’s so popular that in story number two the President of the United States has to beg to secure a spot as a guest judge, a move bound to raise his popularity a few points in the polls. Plotline number three sees a young singer who will stop at nothing to win the competition, and the fourth and final piece of the puzzle involves the aforementioned show-tune singing suicide bomber.
The movie is a good-natured send-up of current American pop culture, skewering everyone from the President on down, and while there are laughs, none of them have the same edgy bite as those on an average episode of The Daily Show.
Generally good performances from the cast, including Dennis Quaid as the President who doesn’t know what the word placebo means to Willem DaFoe as his right hand man—a hybrid of Dick Cheney and Karl Rove—and Hugh Grant as the pompous television host really sell what humor there is in the script.
American Dreamz is bound to be controversial, but I think it would have been a better film if they had pulled out all the stops and really gone for it. A director like Mel Brooks in his prime would not have ridden the fence with a film like this. Think of the comic anarchy of Blazing Saddles or the original Producers. Those were movies that delighted in offending the audience to make them think. By not mining the full potential of the material American Dreamz filmmaker Paul Weitz makes us giggle but doesn’t make us think.
