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<channel>
<title>Sir Critic on Cinema</title>
<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/cinema/</link>
<description><![CDATA[Sir Critic, alias Eric Robinette, reviews movies &mdash; both blockbusters and arty stuff &mdash; comments on theaters and opines about everything else cinematic.

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In a hurry? ActiveDayton.com's twice-a-week e-mail newsletter lets you know the top five things to do in the area twice a week.
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<dc:language>en-us</dc:language>
<dc:creator>erobinette@coxohio.com</dc:creator>
<dc:date>2009-07-02T09:48:39-05:00</dc:date>
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<item>
<title>RIP: Karl Malden and Harve Presnell</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/cinema/entries/2009/07/02/rip_karl_malden.html</link>
<description>And the tribute montage gets longer and sadder, now that both Harve Presnell and Karl Malden have left us. I rather sheepishly admit I cannot write in depth about either man - my best memory of Presnell is his role...</description>
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And the tribute montage gets longer and sadder, now that both Harve Presnell and Karl Malden have left us. 

I rather sheepishly admit I cannot write in depth about either man - my best memory of Presnell is his role as the irascible father-in-law in the Coen brothers&amp;#8217; Fargo. I most remember Malden for his roles in Elia Kazan&amp;#8217;s A Streetcar Named Desire and On the Waterfront - NOT for his American Express commercials, I hasten to add.

Still, if you&amp;#8217;re going to be remembered for something, it might as well be those three movies. And if you&amp;#8217;re remembered for movies like those, I&amp;#8217;d say you&amp;#8217;ve done pretty well.

For more on these actors, I direct you to Joe Leydon&amp;#8217;s evocative tribute to Presnell and to Glenn Kenny&amp;#8217;s brief but punchy summation of Malden. 

Both will be missed. TCM will pay tribute to Malden July 10. 

In case you&amp;#8217;re wondering where my weekly review is, that&amp;#8217;s for Public Enemies.

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<dc:subject>Tributes</dc:subject>
<dc:date>2009-07-02T09:48:39-04:00</dc:date>
<dc:creator>erobinette@coxohio.com</dc:creator>
</item>
<item>
<title>&apos;Public Enemies&apos; fires a near-bulls-eye</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/cinema/entries/2009/07/01/public_enemies.html</link>
<description>With Public Enemies, director Michael Mann has delivered the best live-action movie of the summer. So why do I have this funny feeling that I&amp;#8217;m going to be among the few who really loves this film with Johnny Depp playing...</description>
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With Public Enemies, director Michael Mann has delivered the best live-action movie of the summer.

So why do I have this funny feeling that I&amp;#8217;m going to be among the few who really loves this film with Johnny Depp playing legendary gangster John Dillinger?

Maybe it&amp;#8217;s the somewhat muted reaction I&amp;#8217;ve read in other reviews so far. The consensus seems to be,  &amp;#8220;Well, it&amp;#8217;s good, but it&amp;#8217;s just not the classic it should have been.&amp;#8221; 

I will agree that Public Enemies does not deserve the label &amp;#8220;classic,&amp;#8221; but I think some have burdened the movie with overly high expectations. That&amp;#8217;s not hard to do, given the talent involved.  Anything less than a home run will seem like a disappointment to some - but any disappointment I felt with this movie was relatively minor. Mann is a master of the crime drama, and his portrait of the last days of Dillinger pulses with energy.

For some people, the movie may seem too cerebral, too studied, even though there are more than a few action scenes. Nobody shoots a gun battle like Mann does, but for me, the best parts of the film happened between the shoot-outs.

Mann, who also made Heat and Collateral, is legendary among filmmakers for his attention to even the minutest detail. He approaches his movies like a scientist, a historian, a psychologist and a sniper all rolled up into one. He particularly excels at getting inside the minds of his characters to show why they do what they do. With Dillinger, however, the key may be more why he doesn&amp;#8217;t do things.

As played by Johnny Depp in an outstanding performance, Dillinger is someone who very much lives in the now. He doesn&amp;#8217;t know how to do much of anything other than rob banks, but he has an effortless charisma that charms his enemies and his friends, especially a girl named Billie Frechette (an excellent Marion Cotillard, who won an Oscar for La Vie en Rose). 

(For local history buffs, Dillinger&amp;#8217;s Dayton arrest is referenced via a mug shot, but that event is not depicted in the film).

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<guid isPermaLink="false">13635103@http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/cinema/</guid>
<dc:subject>Reviews</dc:subject>
<dc:date>2009-07-01T07:43:05-04:00</dc:date>
<dc:creator>erobinette@coxohio.com</dc:creator>
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<item>
<title>Another deluxe edition of What Are You Watching</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/cinema/entries/2009/06/30/another_deluxe.html</link>
<description>For the second week running, movies come out on a Wednesday, so I hereby re-present this Deluxe What Are You Watching, covering today&amp;#8217;s DVDs, tomorrow&amp;#8217;s openings, and movies I&amp;#8217;ve watched but not reviewed here. DVDs 12 Rounds: You know, it&amp;#8217;s...</description>
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For the second week running, movies come out on a Wednesday, so I hereby re-present this Deluxe What Are You Watching, covering today&amp;#8217;s DVDs, tomorrow&amp;#8217;s openings, and movies I&amp;#8217;ve watched but not reviewed here.

DVDs

12 Rounds: You know, it&amp;#8217;s funny. There WAS a time once when I thought Renny Harlin directing a movie was a good thing. Kind of a long fall from Die Hard 2 to a John Cena movie, isn&amp;#8217;t it?

Do the Right Thing: One of the best films of the 1980s, Spike Lee&amp;#8217;s chronicle of a particularly hot day in New York comes out in a new deluxe edition for its 20th (!) anniversary, although many of the extras are ported over from a Criterion laserdisc. (Remember those?) 


The Jonas Brothers: The 3D Concert Experience: Featuring 1D music!

Street Fighter: The Legend of Chun Li: Yawn. At least 12 Rounds looks like it might be entertainingly bad. 

Two Lovers: This James Gray-directed drama got some good reviews, but for better or worse, will probably be best remembered now as Joaquin Phoenix&amp;#8217;s &amp;#8220;last&amp;#8221; film.

In theaters


Ice Age: Dawn of the Dinosaurs: I thought the first Ice Age was decent, but though the second one was actually rather bad. The reviews so far haven&amp;#8217;t convinced me this third movie is a must-see. I&amp;#8217;m still waiting for a film focusing solely on Scrat, the best part of any of these movies. 

Public Enemies: Michael Mann&amp;#8217;s take on the legendary gangster John Dillinger starring Johnny Depp and Christian Bale has been getting some lukewarm reviews. I think that temperature is too low. Review posts Wednesday.


Whatever Works: Neon opens up Woody Allen&amp;#8217;s latest movie, with Larry David acting as the Woody figure. Evan Rachel Wood and Patricia Clarkson co-star. I don&amp;#8217;t care if the reviews have been middling, I&amp;#8217;m always in for whatever Allen makes.

Also, Easy Virtue transfers from the Neon to Little Art this weekend.

What I&amp;#8217;ve Been Watching


Away We Go: John Krasinski and Maya Rudolph play an expecting couple who travel around the country to find the right home, only to realize everyone else is crazier than they are. The movie gets a little too self-consciously kooky at times, but the strong  performances of the two leads keeps the movie grounded. Directed by Sam Mendes, the film makes a fascinating companion piece to his much bleaker (and underrated and misunderstood) relationship movie, Revolutionary Road. GRADE: B+ 


The Champ: Classic Hollywood weepie featuring an Oscar-winning performance from Wallace Beery as a washed-up fighter trying to make a comeback for his young son, played by an equally excellent Jackie Cooper. It&amp;#8217;s sentimental and obvious, but it does a number on the tear ducts. GRADE: A

A Child is Waiting: Like many Stanley Kramer-produced message movies, this one about caring for developmentally delayed children comes across as heavy-handed and preachy at times. And I really wish the character played by Judy Garland wasn&amp;#8217;t written to be such a mouse. To its great credit, however, the movie goes to great lengths to put a human face on the children, something that was very badly needed in 1963 - and still is now, truth be told. GRADE: B+

A Place in the Sun: This George Stevens melodrama about a sullen young man (Montgomery Clift) who contemplates killing Shelly Winters so he can be with Elizabeth Taylor is regarded as one of the all-time classics by many - but not by me. The ending in particular is heavy-handed and tries too hard to underline The Message We Must All  Understand.  It&amp;#8217;s like George Stevens was an early Oliver Stone. Regardless, the movie still packs a punch when Stevens keeps a lid on the moralizing, allowing the outstanding performances to shine.  Taylor never looked better than she did here. GRADE: B+

What have you seen lately?

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<dc:subject></dc:subject>
<dc:date>2009-06-30T13:17:10-04:00</dc:date>
<dc:creator>erobinette@coxohio.com</dc:creator>
</item>
<item>
<title>It&apos;s almost time for the summer classic film series</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/cinema/entries/2009/06/29/its_almost_time.html</link>
<description>This weekend brings us the Fourth of July, but my favorite attraction won&amp;#8217;t be the fireworks. No, it will be the Victoria Theatre&amp;#8217;s Ultra Cool Films series, which brings classic movies to downtown Dayton every year between July and August....</description>
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This weekend brings us the Fourth of July, but my favorite attraction won&amp;#8217;t be the fireworks.

No, it will be the Victoria Theatre&amp;#8217;s Ultra Cool Films series, which brings classic movies to downtown Dayton every year between July and August. I see well over 100 movies a year in the theater, but without a doubt, Victoria is where I have the most fun. There&amp;#8217;s simply nothing like seeing a classic on the big screen with a big crowd. 

And as I have mentioned  before in this space, the Victoria  holds a special place in my heart, because that&amp;#8217;s the first movie theater I can clearly remember going to, back when it was called the Victory and it played a little movie called Yellow Submarine, kick-starting my self-defining interests in both the Beatles and movies.

The films play at 7:30 p.m. Fridays and Saturdays and 3 p.m. Sundays. Passbooks containing 10 tickets are $24, and individual tickets are $4.75. Here are the offerings for this year, and my takes on the choices.

The Seven Year Itch, July 3-5: It&amp;#8217;s not one of Billy Wilder&amp;#8217;s greatest movies; the director himself thought it was something of a botch, since he didn&amp;#8217;t get the lead he really wanted: a then-unknown actor named Walter Matthau. It&amp;#8217;s rather dated, but there&amp;#8217;s this girl named Marilyn in it, and there&amp;#8217;s this one scene where she&amp;#8217;s standing over a subway grate - and that alone is worth the price of admission.

White Christmas, July 10-12: OK, I get it, Christmas in July. That&amp;#8217;s cute. But this is the one film in the roster that disappoints me a little. I know I&amp;#8217;m in the minority, but I&amp;#8217;ve always thought this film was overrated in the popular imagination. I would much rather have Victoria book the first version of the same story, the infinitely superior Holiday Inn. That&amp;#8217;s where the song &amp;#8220;White Christmas&amp;#8221; really came from, and let&amp;#8217;s face it. Danny Kaye was a lot of fun, but he simply wasn&amp;#8217;t Fred Astaire.

The Sting,  July 17-19: This makes for a nice tribute to the late, great Paul Newman. I saw this for the first time recently, and while it&amp;#8217;s not as good as Butch Cassidy and the Sundance Kid, it&amp;#8217;s still quite fun. 

The following weekend has a different Jimmy Stewart film playing each day.

Vertigo - July 24: I already saw this film in a theater once this year when a megaplex in Columbus played it. Think that&amp;#8217;s going to stop me from going again? Heck, no. It&amp;#8217;s only my favorite film of all time.

The Philadelphia Story - July 25: Cary Grant, Katharine Hepburn and Jimmy Stewart. Has there ever been a better trio of leads than that? No, there hasn&amp;#8217;t. 

Harvey - July 26: &amp;#8220;Well, I&amp;#8217;ve wrestled with reality for 35 years, Doctor, and I&amp;#8217;m happy to state I finally won out over it.&amp;#8221; Awesome.  Just goes to show crazy people don&amp;#8217;t know they&amp;#8217;re crazy.

More after the jump &amp;#8230;

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<guid isPermaLink="false">13595903@http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/cinema/</guid>
<dc:subject>In Area Theaters</dc:subject>
<dc:date>2009-06-29T11:37:11-04:00</dc:date>
<dc:creator>erobinette@coxohio.com</dc:creator>
</item>
<item>
<title>Michael Jackson - a sad but reluctant tribute</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/cinema/entries/2009/06/25/michael_jackson.html</link>
<description>I shouldn&amp;#8217;t be writing any tribute to Michael Jackson. I admit it. For one thing, this is a movie blog, and Jackson didn&amp;#8217;t make much of an impact on the movies. The best thing that can be said about his...</description>
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I shouldn&amp;#8217;t be writing any tribute to Michael Jackson. I admit it.

For one thing, this is a movie blog, and Jackson didn&amp;#8217;t make much of an impact on the movies. The best thing that can be said about his minimal contributions to cinema was that he was far and away the highlight of The Wiz, delightfully playing the Scarecrow in that bloated movie adaptation.

And for another thing, to be honest, I couldn&amp;#8217;t properly call myself a fan. Oh sure, I liked him a lot in the Off the Wall/Thriller days, but I must be one of 12 people who have never owned a copy of Thriller. I liked most of the songs, but almost every track on that record was released as a single. Why buy the album when most of it was on the radio 24/7 in 1983?

Do you know how many Michael Jackson songs I have in my CD collection? Two - &amp;#8220;Say Say Say&amp;#8221; and &amp;#8220;The Man,&amp;#8221; the songs he wrote with Paul McCartney on McCartney&amp;#8217;s album, Pipes of Peace. And as a Beatlemaniac, I always deeply resented Jackson for undercutting McCartney and snatching away the rights to the Beatles&amp;#8217; songs. It was at that point I started to lose interest.

And that King of Pop label? Paul McCartney fits that description better than Michael Jackson ever did. Michael Jackson stopped being the King of Pop the day he started calling himself that.

I believed those molestation accusations were true. Consequently, with the sole exception of &amp;#8220;Billie Jean,&amp;#8221; I couldn&amp;#8217;t listen to anything from Thriller onward without cringing. 

I hate to sound unkind so soon after his death, but I had to get those feelings out and burst a few of the bubbles that were already oversized. However, I would be lying if I said I didn&amp;#8217;t feel a great sense of sadness at what we&amp;#8217;ve lost. 

I would never deny that Michael Jackson was a phenomenal talent. Anyone who says otherwise is a fool. I will forever remember that night in 1983 when he performed &amp;#8220;Billie Jean&amp;#8221; during the Motown 25: Yesterday, Today and Forever TV show.

Even though he was performing to a backing track, Jackson was absolutely rocking the room with that song. Then he did that &amp;#133; that THING with his feet that we later learned was called the Moonwalk. That moment took millions of breaths away - including mine.

Even amid all the controversies and all the mechanical music that marked his later years, there was still a part of me that wanted him to succeed. When news of his comeback concerts broke, the cynic in me scoffed. But that 12-year-old who was absolutely blown away by that &amp;#8220;Billie Jean&amp;#8221; performance  was curious. Could he wow us again? 

The saddest thing about his passing is that now we will never know. Michael Jackson may have died Thursday, June 25, 2009, but the Michael Jackson I loved watching had already been gone for a very long time. 

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<guid isPermaLink="false">13566803@http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/cinema/</guid>
<dc:subject>Tributes</dc:subject>
<dc:date>2009-06-25T22:07:25-04:00</dc:date>
<dc:creator>erobinette@coxohio.com</dc:creator>
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<item>
<title>The Oscars go to 10 Best Picture nominees</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/cinema/entries/2009/06/25/the_oscars_go_t.html</link>
<description>Wednesday, the Academy of Motion Picture Arts and Sciences announced that starting next year there will be 10 nominees for Best Picture. I can&amp;#8217;t quite decide if this is good news or bad news. Maybe it&amp;#8217;s both. But I can...</description>
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Wednesday, the Academy of Motion Picture Arts and Sciences announced that starting next year there will be 10 nominees for Best Picture.

I can&amp;#8217;t quite decide if this is good news or bad news. Maybe it&amp;#8217;s both. But I can tell you this much: I&amp;#8217;m quite sure this is a direct response to a certain movie not getting nominated last year. it was called The Dark Knight.

The theory lately goes that the Oscars have been losing ratings and relevance because they don&amp;#8217;t nominate popular hits enough. People complain the nominated pictures are too stuffy, pretentious or otherwise inaccessible/unseen to Joe and Jane Average, so viewership of the show has been declining.

That argument was always bunk anyway. People have increasingly short memories and forget the fact that Ghost and Four Weddings and a Funeral were both Best Picture nomineees. Neither of those is exactly &amp;#8220;arty,&amp;#8221; but still, there sat Ghost alongside Goodfellas and there sat Four Weddings alongside Forrest Gump and Pulp Fiction.

And it&amp;#8217;s more than a little disingenuous of the Academy to suggest this hearkens back to the 1930s and 40s when there were 10 nominees, and Mr. Smith Goes to Washington, Stagecoach, The Wizard of Oz and  Gone with the Wind were all nominated in the same year.  Give me a break. 2009 isn&amp;#8217;t 1939, and this ain&amp;#8217;t no golden age for movies.

Don&amp;#8217;t get me wrong, I&amp;#8217;m not saying popular movies shouldn&amp;#8217;t be nominated. The Dark Knight absolutely should have made the cut. So should have WALL-E. Had there been 10 nominees last year, the field might have looked like this:

The Curious Case of Benjamin Button
Frost/Nixon
Milk
The Reader
Slumdog Millionaire

The Dark Knight
Doubt
Gran Torino
WALL-E
The Wrestler

The good news is that deserving films that wouldn&amp;#8217;t have made the cut will now. Pixar&amp;#8217;s Up now has a real shot at the Best Picture prize, rather than having to settle for Best Animated Feature. Heck, even Star Trek has a chance now. The general consensus is that it  is one of the most flat-out entertaining films of the year. It will deserve a nomination.

At the same time, it&amp;#8217;s going to be a stretch sometimes to fill those 10 slots. And in so doing, I think Oscar will end up cheapening itself. Now that it&amp;#8217;s that much easier to make the cut, maybe it&amp;#8217;s not such an honor to be nominated after all. 

What do you think of having 10 nominees? If this means movies like The Dark Knight get nominated, will you be more likely to watch the Oscars?

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<guid isPermaLink="false">13554103@http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/cinema/</guid>
<dc:subject>Oscars Sunday Night</dc:subject>
<dc:date>2009-06-25T11:23:56-04:00</dc:date>
<dc:creator>erobinette@coxohio.com</dc:creator>
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<item>
<title>Transformers ROTF: More is less</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/cinema/entries/2009/06/24/transformers_ro.html</link>
<description>Memo to: Michael Bay, director and sensory overloader From: Eric Robinette, frazzled film reviewer, AKA Sir Critic CC: Blog readers I have to admit, Mike, I owe you my congratulations. I didn&amp;#8217;t think you would do it, but you sure...</description>
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Memo to: Michael Bay, director and sensory overloader

From: Eric Robinette, frazzled film reviewer, AKA Sir Critic

CC: Blog readers

I have to admit, Mike, I owe you my congratulations. I didn&amp;#8217;t think you would do it, but you sure proved me wrong.

With Transformers: Revenge of the Fallen, you have made your worst film since the atrocity known as Bad Boys II.  Compared to this sequel, the first Transformers soars like the original The Day the Earth Stood Still.

Now, I can practically hear people&amp;#8217;s eyes rolling. &amp;#8220;Here comes the stuffy critic who can&amp;#8217;t appreciate robots beating each other up.&amp;#8221;  Not so. Terminator 2: Judgment Day - I rest my case. But when a Transformers movie can&amp;#8217;t even get the robot fighting right, it fails on the most basic level.

Speaking of leveling, I&amp;#8217;ll be honest with you Mike.  I went into your movie with a chip on my shoulder. I had a really bad day long before I saw the film.  But that doesn&amp;#8217;t mean I wasn&amp;#8217;t willing to give your sequel a chance. I was hoping at the very least the movie would match the original: tolerable, but still mediocre. Heck, I thought it was vaguely possible you might surprise me and direct a movie I actually liked. You did it once with The Rock.

For the first hour or so, I thought the sequel might not be so bad. The action scenes often didn&amp;#8217;t make sense, but that&amp;#8217;s normal for you. At the very least, your editing wasn&amp;#8217;t too frenzied, Shia LaBeouf was engaging, and a couple of ideas were actually kinda fun, particularly the one robot who could transform into something besides a machine. I&amp;#8217;ll be nice and not spoil it for the other people reading this.

But then the movie kept going on &amp;#133;

And on &amp;#133;

And on &amp;#133;

And on ..

And on &amp;#133;

And on until finally 2.5 hours seemed like 2.5 years. I know you&amp;#8217;re the master of excess, Mike, but I think you really should sell this movie to dental offices. By the time it was finally over, it made me totally numb. 

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<guid isPermaLink="false">13527203@http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/cinema/</guid>
<dc:subject>Reviews</dc:subject>
<dc:date>2009-06-24T07:18:32-04:00</dc:date>
<dc:creator>erobinette@coxohio.com</dc:creator>
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<title>What&apos;s opening/on DVD/What are you watching?</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/cinema/entries/2009/06/23/whats_openingon_1.html</link>
<description>Welcome to the deluxe edition of What Are You Watching! Since one new movie comes out on a Wednesday this week, and because today is DVD day, you get three of my regular blog posts rolled into one! On DVD...</description>
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Welcome to the deluxe edition of What Are You Watching! Since one new movie comes out on a Wednesday this week, and because today is DVD day, you get three of my regular blog posts rolled into one!

On DVD

Confessions of a Shopaholic: This movie seemed to have everything going for it. It was adapted from the popular Sophie Kinsella books, had a good director in PJ Hogan (My Best Friend&amp;#8217;s Wedding) and a very talented lead in Isla Fisher - and yet the movie fizzled at the box office. It would seem something got lost in translation.

Inkheart: This fantasy about a man who can make fictional characters come to life by merely reading their books got rather lost in the shuffle early this year, which is too bad, Adapted from the well-loved Cornelia Funke novel, the movie sometimes feels messy and cluttered. I sensed it was a real struggle to adapt the novel to the screen. Still, a strong cast, including Brendan Fraser, Jim Broadbent and Paul Bettany liven things up, as do some imaginative visuals. GRADE: B

The Pink Panther 2: I don&amp;#8217;t like to wish misfortune on anyone, but I couldn&amp;#8217;t help but smile when audiences said &amp;#8220;No, thanks&amp;#8221; to this unnecessary sequel to the ineffectual remake.

Waltz With Bashir: I was very sorry to miss this animated documentary about the 1982 Lebanon war in theaters, so I am very eager to see it on DVD.  

What&amp;#8217;s opening this week?


Transformers: Revenge of the Fallen: I like to give Michael Bay grief on this blog, but I&amp;#8217;m hoping this movie will be good. Really, I am. What I hope and what I expect, however, are two entirely different things. But I am wondering about something.  Audiences have by and large rejected Terminator Salvation because it&amp;#8217;s all mechanics and no heart. So why is the intent to see on Transformers so high, when it&amp;#8217;s also all mechanics and no heart? Just asking.

My Sister&amp;#8217;s Keeper: Add the director of The Notebook to an adaptation of a novel about a girl who seeks medical emancipation from her parents, and what do you get? Instant tearjerker. The initial buzz on this one is pretty quiet so far, but it&amp;#8217;s hard to bet against a cast that includes Abigail Breslin, Alec Baldwin and Cameron Diaz. It opens Friday.

The Neon might open Sam Mendes&amp;#8217; Away We Go Friday; that movie with John Krasinski and Maya Rudolph has been called director Sam Mendes antidote to his wrenching Revolutionary Road. The Little Art hangs on to Up and adds Star Trek to the mix this week.

What Are You Watching?

I reintroduced this column last week, so check here to find out more of what it&amp;#8217;s all about. 

The Conversation: I almost forgot how haunting Francis Ford Coppola&amp;#8217;s 1974 film, made in between the two Godfathers, was. Almost. The story of a surveillance man (Gene Hackman) who gets in way over his head remains chilling. 

The Fortune Cookie: Puzzlingly, Billy Wilder told Cameron Crowe he didn&amp;#8217;t care for this film much, saying &amp;#8220;it was the beginning of my downfall.&amp;#8221;  I can&amp;#8217;t agree with him. It&amp;#8217;s not among Wilder&amp;#8217;s very best movies, but the first screen teaming of Lemmon and Matthau (the latter won an Oscar) makes it more than a little funny. GRADE: A-

The Front Page: More Wilder and Lemmon/Matthau. I can better understand why this one isn&amp;#8217;t that well regarded. Wilder was coasting here, and the whole endeavor seems kind of pointless, considering the 1931 movie The Front Page had already been successfully remade as His Girl Friday. Again, however, the comic team of Lemmon and Matthau makes it worthwhile. GRADE: B

So what are you watching/anticipating? 

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<dc:subject></dc:subject>
<dc:date>2009-06-23T08:26:09-04:00</dc:date>
<dc:creator>erobinette@coxohio.com</dc:creator>
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<item>
<title>My take on the IMAX/LIEMAX controversy</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/cinema/entries/2009/06/22/my_take_on_the.html</link>
<description>As most everyone knows, Transformers: Revenge of the Fallen comes out this week, and you might be thinking about seeing it in IMAX, especially since parts of the movie were shot using IMAX cameras, like The Dark Knight was. Thing...</description>
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As most everyone knows, Transformers: Revenge of the Fallen comes out this week, and you might be thinking about seeing it in IMAX, especially since parts of the movie were shot using IMAX cameras, like The Dark Knight was.

Thing is, depending on where you go, you may not be seeing it in &amp;#8220;real&amp;#8221; IMAX.

Last month, controversy boiled over when actor Aziz Ansari, wrote this blog post with righteous indignation, feeling he was cheated when he went to see an IMAX screening of Star Trek, and found the screen wasn&amp;#8217;t nearly as big as the IMAX screens he was used to seeing.

Indeed, there are two types of IMAX screens. The &amp;#8220;classic&amp;#8221; IMAX, as seen at the Wright Patterson Air Force Museum in Dayton, is one of these. The screen measures about 76 by 97 feet, and has an aspect ratio of 1.33 to 1,  the same as a standard television.

The newer type of IMAX screen, which you&amp;#8217;ll find in commercial movie theaters as opposed to museums, measures about 28 by 58 feet and has an aspect ratio of about 1.85 to 1 - roughly the shape of a high-definition TV.  This picture explains the difference (click to enlarge).



The IMAX at Newport on the Levee is one of the smaller kinds. The IMAX at the National Amusements in Springdale is a version called MPX, which I believe is larger than some of the newer installations, but still not as big as classic IMAX. Check out this map for a nationwide directory. Some people refer to this as &amp;#8220;LIEMAX&amp;#8221; and feel it&amp;#8217;s a rip-off.

Now, I am very much a stickler when it comes to presentation of movies. I refuse to watch a movie panned and scanned, and I sneer at &amp;#8220;fullscreen&amp;#8221; DVDs when I see them on shelves. I&amp;#8217;m also not fond of squashing and stretching a picture to make it &amp;#8220;fit&amp;#8221; on an HDTV so that people on the edges of the frame look like they should be linebackers for the NFL. The people who made these films certainly woudn&amp;#8217;t want us to watch their movies that way.

So I&amp;#8217;m rather surprised to find myself taking a somewhat conservative stance on the IMAX/LIEMAX brouhaha. I&amp;#8217;ve seen a number of movies in the new kind of IMAX, and I&amp;#8217;ve never felt cheated. Sure, the screen is smaller than the classic IMAX, but it is also notably larger than a conventional movie screen. The sound has much more kick to it too. I saw The Polar Express in IMAX 3D at Springdale, and it remains one of the top 10 moviegoing experiences of my life. 

The key question for me is this: Are we cutting off image? In most cases of the new IMAX, I don&amp;#8217;t believe so. Most movies are shot in 1.85 to 1 or 2.35 to 1, the latter of which is called Scope. In the case of Scope movies like Star Trek, you&amp;#8217;ll see thin black bars on the top and bottom of the picture, just like you do on an HDTV.  I saw Star Trek at the Springdale IMAX, and it looked and sounded great.

However, if the movie is shot partly in IMAX, as Dark Knight and Transformers:ROTF were, then there is a distinct possibility that image will be lost. The scenes shot with IMAX cameras have a ratio of 1.33 to 1. On some, if not all of the the new IMAX screens, the tops and bottoms of the image in those scenes might be cropped. If you  want to see the full effect of a movie shot in the actual IMAX format, you have to catch in it classic IMAX. 

Does all this matter to you? What has your experience with the &amp;#8220;new&amp;#8221; IMAX been? Do you feel cheated?

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<guid isPermaLink="false">13491003@http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/cinema/</guid>
<dc:subject>Coming Attractions</dc:subject>
<dc:date>2009-06-22T12:45:50-04:00</dc:date>
<dc:creator>erobinette@coxohio.com</dc:creator>
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<item>
<title>Bullock, Reynolds deserve better &apos;Proposal&apos;</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/cinema/entries/2009/06/19/bullock_reynold.html</link>
<description>To the proposal of Sandra Bullock and Ryan Reynolds as a couple, I give a heartfelt &amp;#8220;I do.&amp;#8221; To the kind of middling movie they&amp;#8217;re in, The Proposal, I give a half-hearted, &amp;#8220;Well, I guess you&amp;#8217;re sort of OK.&amp;#8221; The...</description>
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To the proposal of Sandra Bullock and Ryan Reynolds as a couple, I give a heartfelt  &amp;#8220;I do.&amp;#8221;

To the kind of middling movie they&amp;#8217;re in, The Proposal, I give a half-hearted, &amp;#8220;Well, I guess you&amp;#8217;re sort of  OK.&amp;#8221;

The movie is one of those pleasant but innocuous, predictable comedies that&amp;#8217;s a lot more enjoyable than it ought to be thanks to the sheer charisma of the two leads. Bullock and Reynolds double-handedly make The Proposal worth seeing, even if the movie is only passable.

Bullock and Reynolds star as Margaret and Andrew,  a book editor and her forever put-upon guy Friday. She&amp;#8217;s the sort of no-nonsense shrew that scares men and women away, while he always looks like he&amp;#8217;s ready to break into a chorus of &amp;#8220;We Gotta Get Out of This Place.&amp;#8221; 

However, when Margaret, a Canadian, is threatened with deportation and the prospect of losing her job, she blackmails Andrew into marrying her. In return, Andrew blackmails Margaret into promising  him the promotion he has always wanted. 

So far, so good. It&amp;#8217;s a clever idea for a  romantic comedy. Then our charming couple heads to Alaska to meet Andrew&amp;#8217;s family, a well-to-do Kennedy-esque clan that struck me as the dumbest people on earth.

Bullock and Reynolds&amp;#8217; play-acting at being a real couple was so obviously fake, I kept wondering why no one except the sniggering immigration agent saw through the ruse. The screenplay by Pete Chiarelli tries to give the family some depth by creating a rift between Andrew and his dad, played by Craig T. Nelson. That was a good idea - so why not go a step further and have the dad be the one who sees that these two aren&amp;#8217;t a real couple?

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<guid isPermaLink="false">13453903@http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/cinema/</guid>
<dc:subject>Reviews</dc:subject>
<dc:date>2009-06-19T07:22:40-04:00</dc:date>
<dc:creator>erobinette@coxohio.com</dc:creator>
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<item>
<title>What&apos;s opening Friday, June 19?</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/cinema/entries/2009/06/18/whats_opening_f_31.html</link>
<description>Summer&amp;#8217;s big fireworks return next week with the opening of Transformers:ROTF (god, I love that acronym). So for now, the slate serves up a couple of comedies this week. The Proposal: Sandra Bullock stars as an ice queen book editor...</description>
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Summer&amp;#8217;s big fireworks return next week with the opening of Transformers:ROTF (god, I love that acronym). So for now, the slate serves up a couple of comedies this week.


The Proposal: Sandra Bullock stars as an ice queen book editor who blackmails her put-upon assistant (Ryan Reynolds) into marrying her so she won&amp;#8217;t be deported to Canada. From Anne Fletcher, the director of the not-bad 27 Dresses. Early buzz on this is good; I will offer my take Friday. 

Year One: Michael Cera and Jack Black star in a cavemen movie, that, thankfully, has nothing to do with Geico, so far as I know. The early ads for this underwhelmed me, and one can never rule out a movie if Harold Ramis (Groundhog Day) is directing. Although then again, he can turn out clunkers like Bedazzled too &amp;#8230;

At the arthouses

Neon hangs on to The Brothers Bloom (which I review back here) and opens Easy Virtue, a comedy of manners (or lack of same) starring Kristin Scott-Thomas, Colin Firth and Jessica Biel. It hasn&amp;#8217;t been that well reviewed, but Neon is certainly extolling its virtues (rim shot). 

The Little Art plays the best film of the year, Pixar&amp;#8217;s Up, and has a special screening of the underrated Serenity Saturday, preceded by a special sing-along of &amp;#8220;Dr. Horrible&amp;#8217;s Sing-Along Blog.&amp;#8221;

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<guid isPermaLink="false">13437203@http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/cinema/</guid>
<dc:subject>In Area Theaters</dc:subject>
<dc:date>2009-06-18T10:05:37-04:00</dc:date>
<dc:creator>erobinette@coxohio.com</dc:creator>
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<item>
<title>Would you see a fifth Indiana Jones movie?</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/cinema/entries/2009/06/17/would_you_see_a_2.html</link>
<description>Shia LaBeouf has told the BBC that &amp;#8220;Steven [Spielberg] just said that he cracked the story on it before I left and I think they&amp;#8217;re gearing that up.&amp;#8221; Now, for the record, I don&amp;#8217;t consider Mr. LaBeouf a fountain of...</description>
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Shia LaBeouf has told the BBC that &amp;#8220;Steven [Spielberg] just said that he cracked the story on it before I left and I think they&amp;#8217;re gearing that up.&amp;#8221;

Now, for the record, I don&amp;#8217;t consider Mr. LaBeouf a fountain of accurate information. For now, this news falls into the &amp;#8220;Believe it, When I See It&amp;#8221; file. But let&amp;#8217;s just say for the sake of argument it is true. After all, Indiana Jones and the Kingdom of the Crystal Skull DID make $787 million worldwide.

Are you interested in a fifth movie?

Now, I know it&amp;#8217;s a popular sport  to kick Crystal Skull around. I can HEAR eyes rolling at Shia&amp;#8217;s &amp;#8220;news.&amp;#8221; Still, I call foul on that game. Sure, the movie has some pretty significant flaws. The ending especially lacked excitement, for instance. But it&amp;#8217;s my considered opinion (explained more thoroughly here) that people are entirely too hard on Indy IV. It&amp;#8217;s not THAT much sillier than the prior Indiana Jones movies, which I think people tend to view through the rose-colored glasses of nostalgia. 

You may argue I see Crystal Skull through rose-colored glasses myself, but that&amp;#8217;s my story, and I&amp;#8217;m sticking to it. That being the case, I&amp;#8217;m cautiously optimistic about a fifth Indiana Jones movie. I resisted the prospect of a fourth one too, but eventually, my resistance crumpled like a smart-aleck swordsman felled by a single bullet. 

What do you think? Would you see Indiana Jones and the Whatever of the Wherever?

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<dc:subject>Coming Attractions</dc:subject>
<dc:date>2009-06-17T10:51:41-04:00</dc:date>
<dc:creator>erobinette@coxohio.com</dc:creator>
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<item>
<title>The return of What Are You Watching?</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/cinema/entries/2009/06/16/the_return_of_w.html</link>
<description>Today is normally the day I would review the DVD releases, and there are two new titles that will rent very well: The Friday the 13th remake and Tyler Perry&amp;#8217;s Madea goes to Jail. I have nothing to say about...</description>
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Today is normally the day I would review the DVD releases, and there are two new titles that will rent very well: The Friday the 13th remake and Tyler Perry&amp;#8217;s Madea goes to Jail. I have nothing to say about either one, and quite honestly, have no interest in either one, so I&amp;#8217;ve done my duty by letting you know they&amp;#8217;re out there. If you want em, have at em.

Moving on, I would like to resurrect a column in this blog space I tried to start some time back, called What Are You Watching? I&amp;#8217;ll do my best to run this regularly on Tuesdays, and give it a chance to take off.

The concept is pretty simple. I will offer short reviews of movies I&amp;#8217;ve seen on TV or DVD, and in theaters if I haven&amp;#8217;t already given them a full review. 

I invite  you to do the same. Tell me what movies you&amp;#8217;ve seen lately, whether they were old or new, or whether you saw them on the big or small screen. Even if it&amp;#8217;s something you&amp;#8217;ve seen a million times, that&amp;#8217;s fair game too. Even if it&amp;#8217;s a movie I&amp;#8217;ve already covered, like The Hangover or Up, tell me what you thought of it. Anything goes.

So with that in mind, here&amp;#8217;s what I&amp;#8217;ve seen lately. With one exception, all are available on DVD. 


The Brothers Bloom: Fans of this movie about con men and their elaborate schemes absolutely rave about it, while its detractors say its all style over substance. I fall somewhere in between.The writing and the visual style are so self-consciously showy that it comes off as too hip for the room. At the same time, some of the shots and story ideas are so imaginative, it&amp;#8217;s hard to resist the energy. Who  really saves the film is Rachel Weisz. She&amp;#8217;s absolutely delightful as the mark Adrien Brody falls for, and she gives the film much-needed warmth. It&amp;#8217;s playing at the Neon now. GRADE: B

The Children&amp;#8217;s Hour: This William Wyler drama about Shirley MacLaine and Audrey Hepburn being accused of being lesbians absolutely wiped me out.  An underrated must-see.  You remember Brokeback Mountain? This movie covered that ground first, and just about as well. GRADE: A

Excalibur: John Boorman&amp;#8217;s take on King Arthur and company is great fun; gloriously overheated. It&amp;#8217;s certainly preferable to the dreadful film musical Camelot. GRADE: B+

The Electric Horseman: This Robert Redford/Jane Fonda romance ODs on the cheesy romance, but it&amp;#8217;s endearing all the same. Fun to watch as a time capsule of Vegas in the 70s. GRADE:  B


Nothing but the Truth: This fictionalization of the Valerie Plame story sometimes stacks the deck too high, as is writer-director Rod Lurie&amp;#8217;s wont, but it&amp;#8217;s still very powerful. Kate Beckinsale gives a career-best performance. GRADE: A-

Pygmalion: This 1938 version of the George Bernard Shaw play is supposed to be a classic, but I don&amp;#8217;t rate it quite that high, mainly because I find Leslie Howard a bit of a wet blanket as a lead. It&amp;#8217;s still better than My Fair Lady, though. GRADE: B

Robin and Marian: The movie shows us what might have happened with Robin Hood and Maid Marian after Robin Hood came back from the Crusades. It&amp;#8217;s a bit slight story-wise, but with Sean Connery and Audrey Hepburn as the leads, it&amp;#8217;s more than a little charming. GRADE: B+

Sherrybaby:  Fairly standard drug addiction recovery drama gets a boost from a sterling performance by Maggie Gyllenhaal. GRADE: B+

They Were Expendable: John Ford&amp;#8217;s take of PT boat crewmen in World War II ODs on sentiment, but gradually gains power as it moves along. And was there a cuter nurse than Donna Reed? No there, wasn&amp;#8217;t. GRADE: A-

Throne of Blood: Kurosawa+Macbeth = Wow. GRADE: A+

Tsotsi: This drama about a criminal who softens when he accidentally kidnaps a baby won the Best Foreign Language Film  Oscar a few years back. It certainly has its powerful moments, but I also found it dramatically obvious and overrated. GRADE: B

Unfaithfully Yours: Absolutely hilarious, acidic  black comedy about a musical conductor (Rex Harrison) who imagines various dire fates  for his wife (Linda Darnell) when she suspects he&amp;#8217;s cheating on him. One of Preston Sturges&amp;#8217; best. GRADE:  A

Your turn. Respond to any of my reviews or tell us what you&amp;#8217;ve been watching. Give us recommendations for our Netflix queues/DVRs! 

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<dc:subject>Ask the Audience</dc:subject>
<dc:date>2009-06-16T12:08:22-04:00</dc:date>
<dc:creator>erobinette@coxohio.com</dc:creator>
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<title>Help! Save Eddie Murphy&apos;s career!</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/cinema/entries/2009/06/15/help_save_eddie.html</link>
<description>Eddie Murphy&amp;#8217;s new movie may be called Imagine That, but its box office this weekend should give Murphy a hard slap of reality. The movie grossed $5.7 million dollars. For the entire weekend. Let&amp;#8217;s put that into perspective, shall we?...</description>
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Eddie Murphy&amp;#8217;s new movie may be called Imagine That, but its box office this weekend should give Murphy a hard slap of reality.

The movie grossed $5.7 million dollars. For the entire weekend. Let&amp;#8217;s put that into perspective, shall we?

That&amp;#8217;s only slightly better than last summer&amp;#8217;s Meet Dave, which made $5.2 million its opening weekend.

That&amp;#8217;s about as much as the current box office leaders, Up and The Hangover, were making in one day. During the week.

That&amp;#8217;s only about as much as much as 12 Rounds made during its opening weekend. Congratulations, Eddie. You are now the box office equal of John fricken&amp;#8217; Cena!

Clearly, Murphy&amp;#8217;s career is on the skids. And clearly, not many people above the age of 6 are interested in his movies anymore. How can he get back on track? I have a few ideas.

1) No more family &amp;#8220;comedies&amp;#8221;: When Murphy started making these several years ago, it was kind of novel. Now it&amp;#8217;s old hat. I didn&amp;#8217;t think  these movies were very good even when they were moneymakers like Daddy Day Care and Dr. Dollittle. Now too many bland Haunted Mansions have caught up with him so no one cares anymore. And apparently Murphy hasn&amp;#8217;t learned his lesson. On his slate is a remake of The Incredible Shrinking Man, by the writers of the Night at the Museum movies. Eddie. Stop. Enough. (The Shrek sequels get a pass, those are understandable, even if they&amp;#8217;re diminishing in quality.) 

2) Go back to making grown-up comedies: They don&amp;#8217;t necessarily have to be raunchy movies, but good, solid adult comedies that will allow him to flex those comedy muscles that have atrophied. Something like Bowfinger would be nice.

3) Take more supporting roles, or at least co-leads: It worked like gangbusters for Dreamgirls, his  one recent unqualified success. And actually, Bowfinger is a good example there too. He was a lead in that, but that was just as much Steve Martin&amp;#8217;s movie as it was his. Those days when he could take a lame script like The Golden Child and turn it into a hit just because he was in it? Done and gone. 

4) Work with A-list talent behind the camera: Too many of Murphy&amp;#8217;s movies lately have been directed by nondescript names like Brian Robbins (Norbit, Meet Dave) and Tom Dey (Showtime). He needs to turn to good directors like Frank Oz. It would be really interesting to see him in one of Judd Apatow&amp;#8217;s movies. Heck, even John Landis would be preferable at this point. But again, Murphy doesn&amp;#8217;t seem to know what&amp;#8217;s good for him. Robbins is directing him again in a movie called A Thousand Words. (sigh). 

5) Check the ego at the door. Or better yet, sell it: Some people were surprised when Murphy lost his Dreamgirls Oscar to Alan Arkin in Little Miss Sunshine. I wasn&amp;#8217;t. I called that a mile away. He has alienated too many people in Hollywood with his self-important, &amp;#8220;I&amp;#8217;m god&amp;#8217;s gift to this movie&amp;#8221; attitude. And quite frankly, he alienated me. When he picked up some awards for Dreamgirls, he kept going on about how he worked in the movie for &amp;#8220;free.&amp;#8221; Yuk, yuk, yuk. 

You may have been laughing Eddie, but all that told me was that all you care about is money. Well now your movies aren&amp;#8217;t making any.

Don&amp;#8217;t get me wrong. I don&amp;#8217;t dislike Eddie Murphy. I&amp;#8217;m very disappointed in him. It&amp;#8217;s not that he&amp;#8217;s lost his talent. If that were the case, it would be easier to write him off and move on. But as Dreamgirls showed, he can still deliver the goods. The problem is, that movie aside, Murphy just isn&amp;#8217;t trying anymore. He&amp;#8217;s capable of so much better, but he takes the lazy road almost every time now. And for someone as talented as him, that&amp;#8217;s a crying shame.

What do you think? Why did you stop seeing Eddie Murphy&amp;#8217;s movies? What would get you to go back to him again?

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<guid isPermaLink="false">13380103@http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/cinema/</guid>
<dc:subject>Celebrities</dc:subject>
<dc:date>2009-06-15T11:40:03-04:00</dc:date>
<dc:creator>erobinette@coxohio.com</dc:creator>
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<item>
<title>Travolta, Washington propel &apos;Pelham 1 2 3&apos;</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/cinema/entries/2009/06/12/travolta_washin.html</link>
<description>The more The Taking of Pelham 1 2 3 talked, the better I liked it. That may seem like a strange thing to say about an action movie, but Tony Scott&amp;#8217;s remake of the 1974 subway hijack thriller is one...</description>
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The more The Taking of Pelham 1 2 3 talked, the better I liked it.

That may seem like a strange thing to say about an action movie, but Tony Scott&amp;#8217;s remake of the 1974 subway hijack thriller is one of the few action movies in which the action isn&amp;#8217;t so much the point as it is beside the point. In this film, the dialogue is much more enjoyable than any of the chases or  shootouts.  

Granted, the 1974 film, starring Walter Matthau and Robert Shaw, was more a psychological thriller than a chase movie, and the remake honors that perhaps a little too well. The battle of wills between Denzel Washington and John Travolta is so effective, that when the remake tries to shoehorn in a chase or a fight, it&amp;#8217;s usually distracting.  

Washington plays Walter Garber, a lifelong subway employee who just happens to be working dispatch when a mastermind who calls himself Ryder (Travolta) hijacks a train and demands $10,000,000, or he&amp;#8217;ll start killing one passenger per minute past his deadline. 

It&amp;#8217;s a great, suspenseful setup, and Scott would seem a natural fit for this story, having handled a similar battle of wills very skillfully in Crimson Tide, his submarine thriller with Washington and Gene Hackman.  However, Scott has a reputation for handling action much better than he does drama.

That&amp;#8217;s why it&amp;#8217;s so surprising that in his Pelham, what happens is the exact opposite. The drama is compelling, but the action scenes are flat and ordinary, and even, I would argue, unnecessary.

Every time the movie cut away from Travolta and Washington to show a shootout or a car crash, my interest level dropped.  It didn&amp;#8217;t help that Scott too often staged the scenes using slow motion and blur-o-vision that only diminished the drama. Even the action scenes in the preposterous Deja Vu were more imaginatively shot. Here, I didn&amp;#8217;t care about the pursuits and guns,  I was interested in the verbal sparring between the leads, sharply written by Brian Helgeland. 

Washington is less physically active here than in his other movies with Scott, but he&amp;#8217;s no less commanding than usual, playing a deeply flawed man who has hero status unwillingly thrust about him. Although he&amp;#8217;s a touch hammy at times, Travolta meshes with Washington very well, revealing Ryder to be more than a little unhinged, but also more than a little intelligent and diabolical. John Turturro lends strong  support as a hostage negotiator in over his head.

That Scott felt the need to amp up the action is more than understandable in this age of short attention spans when too many people care more about popcorn than plot. Still, The Taking of Pelham 1 2 3 stays on track  most of the way.  If the whole movie were as good as Washington and Travolta, it might have been outstanding. As is, Pelham has to settle for solid but unexceptional. 

GRADE: B

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<dc:subject>Reviews</dc:subject>
<dc:date>2009-06-12T07:48:32-04:00</dc:date>
<dc:creator>erobinette@coxohio.com</dc:creator>
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