A cross between an old school western and a Merrie Melodies cartoon, “The Homesman” is the latest from actor and director Tommy Lee Jones. A rough and tumble look at the harsh realities faced by women in frontier life it sheds light on a little seen aspect of life in the old west. It features a terrific performance from Hilary Swank and a spot on impression of Yosemite Sam from Jones.
Swank is Mary Bee Cuddy, a woman from New York State, now living in Loup City, Nebraska. She’s cultured, wealthy in land and know-how and unmarried. She’s well regarded in the town—one local says she’s “as good a man as many man hereabouts”—but her overtures at romance fall flat. She proposes marriage to Gam Sours (Jesse Plemons) with the caveat, “I won’t take no for an answer,” only to be rebuffed. “You’re as plain as an old tin pale,” he says, “and bossy.”
That may be so, but she has faired better than several other local women (Grace Gummer, Miranda Otto, Sonja Richter) whose fragile mental states have been pushed to the limit by the grim reality of life in Loup City. Cuddy volunteers to transport them on a five-week journey to Iowa where they can be cared for properly.
On the way she meets army deserter, coward and all round scoundrel George “Yosemite” Briggs (Jones). She saves his life and in return he reluctantly agrees to make the journey with them.
“The Homesman” starts off as one thing, a look at Cuddy’s life as it intertwines with these mentally ill women but shifts story wise and tonally with the introduction of Jones’s character. What could have been a tale of female empowerment does a u-turn, shifting the focus to Jones and his cartoonish portrayal of the hard-drinking, jig dancing Briggs. What begins as an unconventional western becomes even less conventional as Jones cuts ghastly scenes of women dumping babies into outhouse holes against more jocular dialogue.
Swank, when she is given something to do, does it extremely well and Tim Blake Nelson as an amorous cowhand is menacing and funny, which seems to be the offbeat tone Jones was searching for, but never quite finds.
Story and character wise “The Homesman” is muddier than the rough terrain it takes place on.
1. Controversial Twerking! In April no one knew what “twerking” was. Unfortunately now we all do.
2. Amanda Bynes threw a bong out the window of her 36th floor apartment. It was “just a vase,” she said.
3. After calling Bruce Willis “greedy and lazy” Sylvester Stallone charged $395 per autograph at NY Comic-Con
4. Tom Cruise said Katie Holmes filed divorced because of Scientology
6. Michael Douglas admitted he didn’t get that he got throat cancer after engaging in oral sex.
7. Kat Von D not so cleverly named her new lipstick “Celebutard.” Sephora pulled the plug amid complaints from Down Syndrome Uprising, Family Member, Inclusion BC and All About Developmental Disabilities.
8. Ke$ha says she drank her urine and, “It tasted kind of like candy.”
9. Banksy stall sells art works worth up to $30,000 for $60 each in New York’s Central Park.
10. Justin Bieber’s pet Capuchin monkey, Mally, was confiscated at a German airport after the singer tried to smuggle it into the country.
Top TV moments
1. Two words: Tentacle porn. – Anthony Bourdain’s Tokyo Parts Unknown episode.
2. Zombies falling through the ceiling of a department store in The Walking Dead
3. “I did it for me. I liked it. I was good at it. And I was really… I was alive.” – Walt (Bryan Cranston) on the Breaking Bad finale
4. Orphan Black Clones!
5. Cooking lessons from Hannibal Lector on Hannibal.
6. The bisected cow on Under the Dome.
7. Nick and Jess’ first kiss on The New Girl. So passionate, Jess says the kiss made her see “through space and time for a minute.”
8. Orange is the New Black’s duct-tape sandals.
9. The “Red Wedding” massacre on Games Of Thrones. “My King has married and I owe my new Queen a wedding gift.” ― Lord Walder (David Bradley)
10. The car crash death of Downton Abbey’s Matthew in the final minute of the period drama’s 3rd season.
Top General Entertainment Stories
1. Lou Reed Dead at 71
2. James Gandolfini Dead at 51
3. Angelina Jolie announced double mastectomy
4. Paula Deen gets fired for using the N word
5. Kanye West declared himself the “number one rock star on the planet” in a BBC interview.
6. The last movie ever rented at a Blockbuster? This is the End.
7. Sinead O’Connor accused Miley Cyrus of “behaving like a prostitute and calling it feminism.”
8. Born! The Royal Baby, Prince George Alexander Louis of Cambridge.
9. Cory Monteith R.I.P.
10. Star Wars: Episode VII release date announced. The Force will return to theatres on December 18, 2015.
Top Online Moments
1. The prank video showing the baffled and terrified reactions of customers in a NYC coffee shop reacting to a woman with telekinesis tearing up the place.
2. Grumpy Cat vs Tommy Lee Jones meme. A side-by-side comparison of Jones at the Golden Globes and Grumpy Cat reveals that they might be long lost relatives.
3. Wisest tweet of the year: Always remember! Many of the people on the Internet telling you what’s what are not old enough to rent a car. – @KenJennings
4. M.I.A.’s Psychedelic Dance Party at the YouTube Music Awards
5. Raven-Symone came out on Twitter after the Supreme Court’s decision to overturn The Defense of Marriage Act. “I can finally get married! Yay government! So proud of you.”
6. Andrew Huang’s video of his rap song without using the letter “E” and it’s about NOT using the letter “E”!
7. Swedish Chef Ramsay meme. “Why did the bork bork? Because you borked the bork!”
8. “I want Drake to murder my vagina.” – Amanda Bynes on Twitter
9. Best web series: The Booth at the End starring Xander Berkelely as a mysterious man who grants wishes… for a price.
10. Homeless Army Veteran Turns Life Around in Amazing Time Lapse Video
The trailer for “Hope Springs” make it look like an elderomcom. That is, a romantic comedy for the old age pension set. Instead it is a touching look at a couple who have forgotten how to b a couple. Add to that a performance from Meryl Streep that could be at acting classes and you have an unexpectedly engaging adult movie released during the silly summer season.
The movie opens on the occasion of Kay (Streep) and Arnold’s (Tommy Lee Jones thirty-first anniversary. “It isn’t anything special,” says Kay, “just an off year.” The Nebraska couple have raised their kids, they sleep in separate rooms and enjoy a comfortable, but disconnected life. When Kay finds a book titled “You Can Have the Marriage You Want” she decides it’s time to have a real marriage again. She books an intensive week of couple’s therapy with the book’s author Dr. Feld (Steve Carell) even though Arnold is uninterested and thinks it is a waste of time. Travelling to Maine they check into the local Econolodge and begin to explore their marriage… and one another.
There is something touching about watching these two characters remembering and reliving their thirty-one years together. Even though the script doesn’t dig too deep—unusual for a movie with therapy as a central plot device—the performances are so rich with meaning the script’s vagueness isn’t a hindrance.
Streep is masterful as a woman who has suppressed her real feelings and is now ready to assert herself, no matter how painful the result. “To be with somebody,” she says, “but not really be with them is worse than being alone.” In a commanding performance she steals every scene she’s in, even when she is silent. Her reactions to Arnold’s behavior are subtle, but heartfelt and heartbreaking.
Tommy Lee Jones has playing a grumpy old coot down pat, but here he brings something more to the table. He’s a plain-spoken accountant who waits just a bit too long to understand that there is trouble at home. Where Streep’s performance is external—she’s a reactor who talks about her feeling—his is internal. It’s his body language and facial expressions that help us understand the character, and understand we do.
Carell is the most understated of the three, in a role that requires him to do little more than ask questions and bring his warm, compassionate side.
There aren’t many big surprises in “Hope Springs,” but what the story lacks in twists it more than makes up for in emotional depth.
Seen as a pair “Lincoln” and “War Horse” appear to usher in a new phase in Steven Spielberg’s career. No longer the Young Turk who made “Jaws,” or the blockbuster king of “Indiana Jones” or the family friendly maker of “ET,” he now is entering his golden age, or at least his homage to the golden age of Hollywood and the movies of his old-school heroes.
Despite a running time of two-and-a-half hours, “Lincoln” focuses on a short period of time in the president’s career. Spielberg and “Angel’s in America” writer Tony Kushner have zeroed in on the months surrounding the backroom politics that allowed passage of the 13th Amendment—“Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States, or any place subject to their jurisdiction.”—through the House of Representatives. Several stories run parallel, but the thrust of the narrative focuses on the passage of this historic document.
The first glimpse of Daniel Day-Lewis as Abraham Lincoln, the 16th President of the United States, feels like watching a Yankee five-dollar bill come to life. Day-Lewis takes a familiar character, seen on money, enshrined in marble at the National Mall in Washington, portrayed on stage and screen*, and brings him to vivid life.
It’s a remarkable performance that blends familiar historical details with personality to create real flesh and blood character, complete with all the iconic traits history has endowed on him, and quirkier qualities—his habit of telling long anecdotes, his occasional prickliness. It falls in line with history’s attempts to bestow sainthood on Honest Abe, but doesn’t ignore the president’s human side.
Day-Lewis’s work brings the myth of the man to life in a film filled with remarkable acting. Despite the worst wig in cinema history Tommy Lee Jones as Thaddeus Stevens, the radical Republican who wanted to give voting rights to freed slaves, makes the speeches in legislature sparkle with life and righteous indignation.
Sally Field sheds light on the misunderstood Mary Todd Lincoln–“All anyone will remember of me is that i was crazy and ruined your happiness,” she says—and James Spader provides a much-needed light touch as a proto lobbyist.
The glimpse of backroom politics, 19th century style, is fascinating, although restless viewers may find some of the colourful dialogue daunting. Many of the speeches sounds like Conrad Black on a bafflegab bender, so bring a dictionary if words like pulchritude throw you for a loop.
The final vote is somewhat drawn out for dramatic effect, but considering it is one of the most important ballots in American history–make that human history–it deserves the space to breathe dramatically.
Spielberg’s treatment of the story is respectful, but nuanced. He doesn’t shy away from showing Abe and Mary arguing, for instance, but the well-crafted film feels old-fashioned, like a throwback to another era when epic filmmaking didn’t necessarily mean showing planets exploding but showcasing epic ideas.
*Most famously by Canadian-born Raymond Massey, who played him multiple times on stage and on film. In fact, he was so attached to the character a colleague joked that Massey wouldn’t be satisfied with his Lincoln impression until someone assassinated him
I was six when Apollo 11 happened and was incredibly bored by the whole thing. I couldn’t understand why the shows I liked were being preempted for moon launch coverage. The Cape Canaveral takeoff plays a big part in “MIB3” and I felt like I was six again. Not filled with wonder but wishing I was watching something else.
As the third installment opens Boris the Animal (Jemaine Clement), a notorious intergalactic serial killer is 40 years into a life sentence. He’s locked away in the only place that will hold him, a super-high security prison on the moon. After a daring escape he plans a full-scale invasion of earth, but first he wants revenge on the man who put him in jail: MIB agent K (Tommy Lee Jones). The only way to thwart Boris’s evil plan is for Agent J (Will Smith) to go back in time to 1969 and stop Boris.
Once every decade or so Will Smith makes a big-budget mistake. He’s the biggest movie star in the world and his charisma is usually enough to save almost any movie he chooses to do. But every now and again he makes a “Wild Wild West” or, this season, “MIB3.” Smith’s got a good track record, but you can’t always hit it out of the park.
There is some good stuff here. If this acting thing doesn’t work out for Brolin he does have a future as a Tommy Lee Jones impersonator. He could do weddings and Bar Mitzvahs and make a fortune. He’s that good.
I also enjoyed Smith literally hurtling through time, Bill Hader’s take on Andy Warhol, the idea that Mick Jagger is an alien sent to the planet to breed with Earth women, Michael Stuhlbarg’s unusual performance as an alien psychic and the battle in the Chinese restaurant. All of these elements were cool, but despite a good bad guy, some cool creatures and Brolin the movie didn’t have the charm or the energy of the first two films.
The magic of the first film is gone. Even the fun stuff in this film seems to evaporate as soon the next scene starts and don’t even get me started about the ending. The attempt at adding in some heart to what should be an oversized sci-fi romp fails miserably.
“Men in Black 3” brings something to the franchise that was missing from the great first film and not even present in the second, lamentable entry in the series. Unfortunately that element is blandness.
In most cases sequels are the work of the devil. It is rare that the second kick at the can compare favourably with the original, although several films have managed to muster up enough inventiveness to keep things interesting. The Bride of Frankenstein and The Godfather II are examples of movies that equal or surpass their namesakes. Sadly MIB II is no Godfather II, heck, it’s barely Police Academy II. The first film was one of the funniest, original and entertaining comedies to come down the pike in quite a while, which makes the failure of the second one so much more profound. MIB II seems tired – almost as tired as Will Smith’s lyrics to the movie’s theme song – and vaguely familiar, like we’ve seen it all before, only better. It’s the dumb younger brother who can’t seem to measure up to his older, brighter and better looking sibling. Smith and Jones fit their roles like finely tailored suits, but aren’t given much to do. Even the jokes feel dated. When Frank the talking dog cranks the radio and sings along to Who Let the Dogs Out I cracked a smile, but wasn’t that same gag in a car commercial about two years ago? The special effects are good just not that interesting. Only Smith’s elaborate fight scene against a cloned flying bad guy is truly inspired. Keep your thirteen dollars locked away in your wallet, and rent the original Men In Black on video instead.
In his long and storied career Robert De Niro has made some stone cold classics, won Oscars and made the saying “You talkin’ to me?” a standard punchline for impressionists and psychopaths everywhere.
He’s also made lots of movies like “The Family.”
They’re what I call “new roof” films. Every now and again actors take on work for reasons other than artistic. Say, for instance, when they need a new roof on their castle in the South of France.
“The Family” feels like one of those movies. He’s still Booby D, so he isn’t terrible, neither is his co-star Michelle Pfeiffer, who brings back fond memories of “Married to the Mob,” but the film teases us with visions of De Niro in gangster mode and let’s us down with a paint-by-numbers story.
It’s a basic fish out of water story with a gangland twist. The Manzoni’s, Maggie (Pfeiffer), Belle (Diane Argon), Warren (John D’Leo) and father, hit man turned stoolie Giovanni (De Niro), have spent years in the witness protection program, moving from place to place, overseen by an FBI handler (Tommy Lee Jones). Their newest home is a sleepy little town in Normandy where they try and fit in.
Trouble is, they don’t blend.
The kids take after dad. Belle is a bruiser who beats up her classmates and Warren runs rackets in his school hallways. Maggie has a way with explosives and Giovanni, well, let’s just say you don’t want to get one his bad side. They are living proof that “the family that slays together, stays together.”
Stateside the people he betrayed are on the look out for Giovanni and family with revenge on their minds.
In one of the film’s pivotal moments Giovanni attends a film club screening of (MILD SPOILER) of “Goodfellas.” The mere mention of Martin Scorsese—De Niro’s collaborator on eight films since 1973—only reinforces how lame this movie is. De Niro has a rapturous look on his face as he watches the movie in the movie, as though longing for the good old days when Hollywood still made good gangster pictures. Or at least mob movies that didn’t rely on stereotypes to sell the sadistic dark humor.
Before “The Family” turns into a bullet orgy, it contains a few tense moments but fails to deliver on the comedy or any fresh gangland drama.
I hope De Niro at least got a nice new roof out of the deal.
“The Company Men,” a new downsizing drama starring Ben Affleck, Chris Cooper and Tommy Lee Jones, is the flipside of last year’s hit “Up in the Air.” Where George Clooney and company gave us a glimpse into the inner workings of how companies fire employees, “The Company Men” shows us the other side, what happens to people who find themselves suddenly left out in the cold.
The story revolves around three men in different stages of their careers at GTX, a shipping and manufacturing conglomerate in the midst of restructuring and sale. Middle management type Bobby Walker (Affleck) is the first to be let go. He’s arrogant, refuses to believe he is unemployable, and is convinced there is a corner office with his name on the door somewhere out there. Cooper is Phil Woodward, a few rungs higher on the ladder, but also a few years older. When he gets fired his grey hair gets in the way of finding a new job. Finally at the top of the ladder is Gene McClary (Jones), the company’s gruff CFO. He’s a corporate shark tired of swimming in infested waters.
“The Company Men” taps into the zeitgeist. According to the movie corporations are big bad soulless beasts that have led to the collapse of the homegrown manufacturing industry. The only way America will survive, it suggests, is by getting back to basics, switching off Bloomberg TV and putting employees in front of the bottom line. It’s not a revolutionary premise, but it is a timely and crowd pleasing one.
Performances are top notch from Affleck whose arrogant façade slowly gets chipped away until he is forced to deal with his humiliation, fear and anger to Cooper’s world weary white collar panic but it is Jones and Kevin Costner who really shine. Jones’s take on a corporate bigwig rediscovering his idealism is by times warm, by time caustic but always compelling, and Costner, as a small businessman—read: salt of the earth—who doesn’t worry about the books as much as he does for his workers is terrific in a small but important role.
It may be hard to make us feel empathy for former highflyers whose biggest issue is where to place the second Christmas tree or how much to ask for their Porsche but “The Company Men” does a good job of shining a light on the situation as a whole and leveling the playing field, telling a story about the people and not the corporations that spawned them.
