The Truth About Charlie

Cary Grant, Audrey Hepburn, a very cool supporting cast, Paris locations and a mysterious story that keeps you guess throughout. The movie...1963's Charade. Nothing is sacred though in Hollywood so while I'm not exactly timely with this criticism, here's an unnecessary remake that is basically really bad on all accounts, 2002's The Truth About Charlie.

Returning home a vacation on a tropical island, Regina Lambert (Thandie Newton) walks into her Paris apartment stunned at what she finds. The whole place has been ransacked and little remains but two detectives have been waiting for her. Why? Her husband of just a few months, Charles (Stephen Dillane), has been found dead, apparently murdered. The husband she thought she knew apparently was holding onto some deep, dark secrets, and that past is coming after Regina now. She begins to see people following her and has no idea what they're after. There seems to be one person on her side, a mysterious stranger, Josh Peters (Mark Wahlberg), who appears to be trying to help her. What was her husband actually into? Can Regina figure it out before she gets pulled in too deep? Time is quickly running out as her husband's enemies close in.

It's been several years since I saw Charade for the first time. Is it an all-time classic? No, but looking back on it, I know I liked it for all the right reasons. It's goofy at times, dark at others, and entertaining throughout. But almost 40 years later? Eh, no one really has a memory for anything older than a couple days so we might as well remake all those classics, near-classics and just really good movies from Hollywood's past. So yeah, Charade isn't perfect, but it wasn't missing that special something that screamed out "REMAKE ME!" So why remake it? Words fail me at this point. Director Jonathan Demme (Silence of the Lambs, Philadelphia) helms a movie that was critically panned and made barely $7 million in theaters. Let's jump in!

The reasons for struggles are pretty much across the board. A refusal to pick a tone, all style and no substance, the waste of a decent script, and some really interesting but mostly bad cases of casting. Mark Wahlberg is one of my favorite actors, but this was not a part that was cut out for him. He's playing the Cary Grant part. That's all I'm going to say about that. Mostly, the character's main goal seems to make Wahlberg look goofy. He wears a turtleneck almost the entire movie and also favors either a fedora or a very masculine beret. Yeah, that's self-explanatory in its badness. Thankfully he has decent chemistry with the very talented, very beautiful Thandie Newton. The duo makes the most of their time together on-screen, but neither delivers an especially good performance. Their fault? Director? Script? Probably a mix of all three.

The characters are just too stupid for their own good. Once Newton's Regina finds out she's in deeper than she thought, she never really questions what the mysterious Peters is up to. How does he always end up in the right place at the right time? Who's with her? Who's against her? She's perpetually frantic but never puts it all together. So who else to look for? The always sinister (when he wants to be) Tim Robbins plays Bartholamew, an American government agent/official offering his help to Regina. Ted Levine, LisaGay Hamilton and Joong-Hoon Park are three mysterious strangers tailing Regina, apparently from her dead husband's checkered and secret past. Also worth mentioning is Christine Boisson and Simon Abkarian as two Parisian detectives investigating the case.

The biggest handicapper for me was the choice of style over substance. 'Truth' never picks a tone or finds a rhythm and sticks with it. Demme's style is aggressive and unnecessary, the camera always off center and slightly ajar, characters directly addressing the camera. The mystery of what's going on should be better than it is, but that mystery gets lost in a maze of double-crosses and surprises and twists that don't work. Bad is one thing -- to be fair -- but surreal in its badness is another thing. French singer Charles Aznavour makes two appearances as himself, simply appearing and singing as if he was part of the action. The cast looks at him adoringly, the extras look on in confused fashion. Weird is fine. Weird for weirdness' sake is another not so fine reason.

My favorite stylistic choice is a tango scene. Regina dances with...well, everyone, all of the suspects and strangers passing her around a dance floor. At no point does she question why all these people are together. It's a choice that I'm assuming is meant to stylistically WOW but it goes the opposite way to the point I was groaning, even laughing at the scene. That's the entire movie. Give this one a wide berth and go revisit the original Charade instead.

The Truth About Charlie (2002): */****

The Shawshank Redemption

Sometimes you just have to shake your head at audiences and moviegoers. Some movies just aren't meant to make some money in theaters no matter how good reviews are, no matter how good the cast and crew is. It just isn't meant to be. Take 1994's The Shawshank Redemption, a movie that barely recovered its budget in theaters but has become a ridiculously popular movie in the 20 years since its release. How good is it? On the IMDB Top 250 (of all-time), it's currently rocking the No. 1 ranking...of All-Time. Not the most scientific voting, but still...

It's 1947 when banker Andy Dufresne (Tim Robbins) is convicted of murdering his wife and the man she was having an affair with. Andy maintains his innocence but the evidence is overwhelmingly against him, and he receives consecutive life sentences as a verdict. He is sent to Shawshank Prison near Portland, Maine and settles into prison life as best he can. More than that, he just wants to survive. Days to weeks, weeks to months, months to years, Andy becomes close friends with a fellow prisoner, Red (Morgan Freeman), who is similarly serving a sentence for murder. Prison life is one step above hell itself, Andy carving out a niche for himself as best he can. Will it ultimately prove to be too much? Will it wear Andy down over the years? Can he somehow prove his innocence when on one else believes him and the evidence against him seems like a sure thing? In prison with life sentences on the line, only time will tell.

What a difficult movie to review in a somewhat concise plot synopsis. I tried to build this movie up to someone recently who had never seen it, and without giving too much away....well, let's just say it proved difficult. It's difficult, but it's for good reason. In the 20 years since 'Redemption' was released, it has gained quite the positive reputation, director Frank Darabont also adapting a screenplay from a short story by acclaimed author Stephen King. For about three years in the early 2000s, AMC and TNT and TBS seemed to show this movie EVERY SINGLE WEEKEND, and I probably watched it every other weekend or so. It had been years since I'd seen the movie straight through in one sitting, and not surprisingly, it holds up one basically all levels. Who knows how it will be remembered in years to come. Will it be a classic? A highly-regarded film? Maybe both, but for me, it's a personal favorite.

As I prepare to write some reviews, I try to identify some flaws, if I haven't already from during the viewing. So those flaws here....yeah, there aren't any. This is one of those perfect movies you can sit back and appreciate on any number of levels. The biggest strength is the story, a dark, unsettling story that is able to blend drama and comedy and even elements of horror effortlessly. The look of the movie reflects the story, colors washed out to pale shades of blue and grey, the Ohio State Reformatory serving as the backdrop for Shawshank. The immense prison walls tower over the prisoners, its hallways holding all kinds of hellish horrors. Another of the movie's strongest features is the soundtrack from Thomas Newman, my personal favorite score from an excellent composer. Listen to the entire soundtrack HERE, music equal parts emotional and moving with unsettling and uncomfortable.

Above all else, this movie rides on the shoulders of its stars, Tim Robbins and Morgan Freeman. Talk about an effortless chemistry. These two pros make it look downright easy. This isn't acting, just two very talented actors doing their thing. Natural doesn't begin to describe the power of their performances, the relationship between Andy and Red developing into a genuine friendship as the years pass. Their conversations crackle, two men talking because, well, because there's plenty of time to talk in prison. They talk about life, about their pasts, their likes and dislikes, but bigger things too. Andy and Red talk about hope -- check that, Hope -- and dreams, about something bigger, about finding your spot and persevering no matter what's thrown in front of you. I can't think of other films where Robbins and Freeman were better than this. Two great actors bringing two flawed, fascinating characters to life.

Who else to look for? How about evil personified as Shawshank's warden (Bob Gunton) and his lead guard and enforcer Byron Hadley (Clancy Brown), two of the most evil, despicable villains ever. James Whitmore, 73 years old at the time and having worked in Hollywood since the late 1940s, is a scene-stealer as Brooks, an aging prisoner who's become institutionalized as his sentence runs into its fifth decade. Other prisoners include William Salder as Haywood, an overbearing at times but generally likable inmate, with Larry Brandenburg, Neil Giuntoli, Brian Libby, Joseph Ragno and David Proval rounding out Red's clique of prisoners. Also look for Gil Bellows as Tommy, a young prisoner who comes to Shawshank in the mid 1960s with knowledge that could change Andy's life.

Maybe the biggest effect this movie has had on audiences is Morgan Freeman Narration Syndrome. Featuring one of the all-time great voiceover narrations, 'Shawshank' propelled Freeman into another stratosphere. It would be fun to listen to Freeman read a phone book. He's that good. The narration is what holds the movie together, almost 20 years of story packed into 142 minutes. There is a simple elegance to the narration, conversations about hope and fate, destiny and love, all of it giving a deeper sense of what's going on. It also features one of my all-time favorite movie lines, Red taking one of Andy's thoughts to heart. 'Get busy living or get busy dying....Damn right.' Just good stuff. Narration can be overdone, condescending, pretentious, but here? It's damn perfect.

There really isn't a weakness in this movie. Not a one. Now that said, the last 40 minutes or so is one of the strongest extended sequences in film history. This is a story that builds and builds, but you're not necessarily sure where. It doesn't drop hints so when a twist comes along, it genuinely shocks and surprises. One twist and surprise on top of each other -- all of them working effortlessly -- that don't feel forced. Thankfully, no 'Gotcha!' moments here. It leads to an ending that is beyond perfect. Moving, emotional and dramatic, including a beautiful final shot set to Newman's music. One of those great movies, a classic that gets better with repeated viewings. Sit back and enjoy it beginning to end.

The Shawshank Redemption (1994): ****/****

Anchorman: The Legend of Ron Burgundy

Oh, how time flies. I remember 2004 like it was yesterday, me a young college student enjoying everything about 2004's Anchorman: The Legend of Ron Burgundy. One of the most quotable movies ever and one of my all-time favorite comedies in general, it's hard to believe it has been almost 10 years since the comedy's initial release. Rewatching it recently in preparation for its sequel (review coming), I had to go back and revisit it, see if it still holds up. Short answer? Yes.

It's the mid 1970s and no one in San Diego is a bigger star than Channel 4 anchorman Ron Burgundy (Will Ferrell). An icon in the city and must-watch every time he's on the news, Ron is riding high, his news team, sportscaster Champ Kind (David Koechner), field reporter Brian Fantana (Paul Rudd) and weatherman Brick Tamland (Steve Carell) ever at his side. The television ratings are high, the city loves them, and it seems no one can take them down. Well, that could change. Channel 4 has hired a new field reporter, Veronica Corningstone (Christina Applegate), who would like nothing more than to become the first female news anchor. Ron and the News Team are going to do their best to make sure she doesn't get to achieve her dream, but there's a catch. Ron really likes Veronica and Veronica really likes Ron. Uh-oh, I sense some late 1970s hijinks on the way.

I saw Anchorman in theaters upon its initial release and loved it. L-O-V-E-D it. From director Adam McKay, co-writing the script with good friend Ferrell, Anchorman is either loved or hated among viewers. You don't hear a lot of folks who came away just liking the movie, mildly enjoying it. It's pretty obvious why. The humor -- to say the least -- is the definition of random, pretty off the wall and while not filthy, low-brow certainly comes to mind. I tend to think there's a brilliance to the randomness here (and in the sequel), the twisted minds of Ferrell and McKay finding that perfect outlet to let out that craziness. A review listing the countless memorable scenes would be incredibly easy because there is one laugh out loud scene after another. It deserves its status as one of the best comedies ever, not to mention a status as one of the most quotable movies ever from Brick's "I love lamp" to Ron's explanation of the origin of the name San Diego and a whole lot of other lines in between.

The movie's epic success (in my eyes) begins and ends with Mr. Ferrell as legendary newsman Ron Burgundy. Thanks to Elf and Old School, Ferrell was a rising star in the comedy world making the jump from SNL to movies, but for me, this was the movie that put him on the A-list map officially and for good. Maybe you love the character, maybe you hate him, but Ferrell makes Ron Burgundy a truly memorable character. He's uber self-confident, a ladies man, a master player of jazz flute, a hard-drinker who favors scotch, epically proud of his perfectly coiffed hair, loves his little dog, Baxter, and knows more than anything else that he was born to READ THE NEWS! There's a certain idiotic charm to Burgundy, a man who is all sorts of confident, but he's really dumb too. That's the beauty of the character, the biggest doofus of all to lead a cast full of doofus characters. A great, truly funny part for Will Ferrell.

There really isn't a weakness in the entire cast. Applegate holds her own in the Boys Club, her Veronica wanting to make a legitimate name for herself, not just because people like her. The Channel 4 News Team is perfect, especially Rudd as the epically smooth ladies man and field reporter Brian Fantana. Koechner and Carell too help hold the group together, four freakishly dissimilar folks who bond through their love of the news, partying and carousing. Also look for Fred Willard as Channel 4's producer, Chris Parnell as his nerdy assistant, Seth Rogen as a cameraman, and Danny Trejo as an angry bartender.

There are certain moments here that rise above that same old, same old comedy formula. On top of the countless lines worth quoting, there are certain set pieces that take this comedy to a special place. One of my favorites? Rudd's Fantana revealing his hidden musk/scent display to Ron, especially the illegal Sex Panther (it's got bits of real panther so you know it's good), is ridiculously funny. Ron trying to impress Veronica on their date is priceless, both sitting in his car overlooking San Diego, Ron citing all sorts of "history" about the city. How they finally got a take without laughing I'll never know. There is no doubt about the best scene though, Ron and the Channel 4 News Team engaging in a brutal street fight with rival news teams. The cameos are priceless including Vince Vaughn as hate-filled Wes Mantooth, second in the ratings, Luke Wilson (3rd ranked), Tim Robbins (PBS) and Ben Stiller (Spanish). Words don't describe how stupid this scene is, and that's why it works. It works because it's stupid, it knows it, and it embraces the stupidity. Also look for Jack Black in a quick cameo earlier.

Maybe more than any genre, comedies are subjective because senses of humor can be so all over the place. This is that special kind of bizarre humor, but it works. How could a movie narrated by legendary newscaster Bill Kurtis not be good at least a little bit? Enough talking, it's a classic. Brace yourself for the laughs and lots of them. Stay tuned tomorrow for a review of the Anchorman sequel.

Anchorman: The Legend of Ron Burgundy (2004): ****/****

Bull Durham

Of all the sports out there -- and there's plenty -- my favorite is and always will be baseball.  There's something simple about America's pastime that you either appreciate or you don't. Little middle ground exists. You can watch 10,000 baseball games over the course of your life and never see the same game twice. More than that, on any given play in any stadium across the country, you can see something you will most likely never see again. Baseball is baseball, a sport and a beast unto itself.

One of the best movies to ever try and explain the beauty and lunacy of baseball was 1988's Bull Durham. With professional baseball, there are the thousands of players who want nothing more than to play in the Majors, or as 'Bull' puts it....make it to The Show.  This is a story from the minor leagues though, players who don't necessarily have a great shot at future stardom. This is a movie about long bus trips, games in front of half-filled stadiums, eccentric players left and right, and most importantly, that dream of making it at the highest level even if it's just for a game.

Recently signed for a large bonus, rookie pitcher Ebby Calvin 'Nook' LaLoosh (Tim Robbins) has been assigned to Class A ball, the Durham Bulls in the Carolina League. LaLoosh has all the talent in the world, but he struggles on focusing, keeping his mind in the game, and therefore his pitching control. Hoping to groom the star pitcher for the majors, the organization brings in career minor leaguer Crash Davis (Kevin Costner), a catcher with 12 years experience under his belt. The rookie and the vet don't exactly get along, making things worse when Annie (Susan Sarandon), a diehard "supporter" of the team takes an interest in them both. Each season Annie picks one player and hooks up with them all summer, prompting a great season. How's this mess of a situation in the middle of a baseball season going to be fixed?   

Where to start with Bull Durham? Lots of good starting points -- there's a reason it is held in high regard among baseball fans -- but the best point to start is Kevin Costner, a baseball fan and a movie star. With this movie and Field of Dreams and For the Love of the Game, Costner has shown his love and respect for the game of baseball.  Playing Crash, he looks and sounds like a baseball player. You're rooting for him with the thousands of miles he's put on his legs chasing his dream. Signed by the Bulls as a mentor, he has the dubious honor of chasing the all-time minor league home run record but wants nothing to do with it. He's a baseball player on his last legs looking to stay in the game a little while longer, and Costner nails the part.

Director Ron Shelton, the screenplay and the cast get this one right. An easy 3-for-3. There are sports stories, and there are chasing your dream sports stories. For the most part, that's what these players are doing albeit in a funny fashion. There's the superstitious Hispanic player blessing his bat and glove, the bible-thumping player who leads a prayer group, the manager (Trey Wilson) trying to hold it all together, and his assistant (Robert Wuhl) always ready with a word. 'Bull' gets the little moments right; the manager losing his mind following a bad loss (watch HERE), Crash's 'I believe' speech (watch HERE), the meeting of the minds at the mound (watch HERE), LaLoosh striking out 18 in his debut and walking 18 batters, and so many more, too many to mention.

Selling these moments along with Costner is Susan Sarandon and Tim Robbins.  Sarandon's Annie is an interesting character, a baseball groupie if a highly intelligent one. Each summer she picks one player and teaches him the ways of love and baseball, always producing his best year for himself and the team in the process.  She's torn between Nook and Crash, knowing she can help the star pitcher but wanting Crash instead. Robbins is hilarious as Nook, the tall, lanky and generally clueless star prospect. He wants to do things his way, accepted ways be damned. In his cluelessness though, he's likable in a part that would have been easy to dislike. And as a topper, seeing his Fernando Valenzuela-like pitching motion is hysterical.

Where other movies don't understand the people and places they're showing, 'Bull' hits it right on the button. This is a movie and story that knows baseball, that respects baseball and all its idiosyncrasies, all its positives and negatives that can switch with the snap of a finger. It is a game that people and fans have always been drawn to, and you can see why through all the craziness. In its simplicity, it is a most beautiful game.

Bull Durham <---trailer (1988): ****/****