Roll-M |
Pollock (starring Ed Harris, Marcia Gay Harden, Amy Madigan, Jeffrey Tambor, Val Kilmer; written by Barbara Turner and Susan J. Emshwiller, based upon the book Jackson Pollock:An American Saga, by Steven Naifeh and Greg White Smith; co-produced and directed by Ed Harris; rated R.)
Actor-director Ed Harris paints a portrait of the artist as a very troubled young man in Pollack. Although never specifically addressed, we see Jackson Pollack as a manic-depressive, given to bouts of alcoholism, all the while the abusive, tortured, inspired artist and womanizing husband of Lee Krasner (Harden). And while Harris’ performance is memorable (and Oscar® -nominated), the film is somewhat of a disappointment.
Harris, who spent nearly 10 years in getting Pollock to the screen, actually learned to paint in Pollock’s style, creating real canvases for the film’s cameras. These manic moments are some of the best in the film, as Harris’ Pollock madly flings, drips and plops paint on enormous canvases. The scenes with Harden as Pollock’s take-no-nonsense, controlling wife Krasner are also noteworthy. And Harris’ real-life wife Amy Madigan is too briefly on the screen as Peggy Guggenheim.
The difficulty is that “hyphenates” — actor-director-producers — seldom know when to say “Cut!” And unfortunately, Harris is no exception. At times, the movie is entertaining and enlightening; at others, it is literally as exciting as watching paint dry. It is this irregular pacing that holds back what could have been a great biographical film. However, if you are interested in character-driven biopics with good performances, by all means, see Pollock. (Screened at the Landmark Theatre in San Diego. Pollock is playing a limited engagement at the Valley Arts Theatre in Tempe.) 3 out of 5
The Mexican (starring Brad Pitt, Julia Roberts, James Gandolfini, Gene Hackman, Luis Felipe Tovar, Bob Balaban, J.K. Simmons; written by J.H. Wyman; directed by Gore Verbinski; rated R.)
You say you can’t wait to see Brad and Julia burning up the screen in a torrid, steamy, sexy scene? Then The Mexican is not your film. The amount of hype about the pairing of these two hottest of Hollywood’s megastars is prodigious; in actuality, they’re hardly together long enough to scream or throw things at each other in a few scenes, with the exception of the film’s last couple of reels.
Okay, now that that’s out of the way, go see The Mexican. It’s not a half-bad romp – part Western, part comedy, part semi-violent drama. Pitt plays a reluctant bagman for the Mob, assigned to retrieve a valuable pistol known as “the Mexican.” And thereby hangs a tale. Some of the best scenes in the movie are the telling of the backstory about this gun – done exceedingly well through the use of sepia-toned film-within-a-film, and much humor, punctuated with the thwack-thwack-thwack sounds of an old-time projector.
Unfortunately for the audience, while Pitt is off in Mexico trying to retrieve the ever-evasive gun, girlfriend Julia calls it quits and splits for Vegas. Most of their scenes together are on the telephone. It’s not quite “Sleepless in Mexico,” but close. Enroute to Sin City, she’s kidnapped into protective custody by Gandolfini (TV’s “Tony Soprano”), and the two actually have more chemistry in their platonic relationship than the Roberts-Pitt pairing.
There are some nice twists and turns, but at two hours, it’s half an hour too long. Oh go ahead, bite the bullet and see it.
Personal note: The opening sequence, showing Studio City, California’s Ventura Blvd. and a big blue street sign proclaiming “Laurel Terrace,” is about ¼ of a mile from where I lived for nine years before moving to Arizona. At the screening, I startled the people in the two rows around me when I yelled out in surprise, “That’s the street I used to live on!!” (This opening sequence, by the way, is the key to Pitt’s whole plight, although we don’t learn its significance until later in the film.) 3 ½ out of 5
You Can Count on Me (starring Laura Linney, Mark Ruffalo, Rory Culkin, Matthew Broderick; written and directed by Kenneth Lonergan; rated R.)
You Can Count on Me is an outstanding character-driven film that showcases some even more outstanding talent. Lonergan’s directorial debut portends a promising career as a rare hyphenate (writer-direct) who brings honor to both genres; Laura Linney’s performance is well deserving of the Oscar® nomination she received, and Mark Ruffalo as her drifter brother is another talent to watch.
The story opens with a brother and sister, orphaned at an early age when their parents are killed in a car crash. Jump ahead 18 years and we meet Sammy (Linney) as a single mom, struggling to make ends meet. No earthshaking plot here, but the actors breathe believable life into their characters. Into this mix comes kid brother Terry (Ruffalo), a drifter and hell-raiser but basically good guy. As their lives intermingle, they learn from each other, and like all good film characters, grow emotionally and socially by film’s end (the exception is Brian, the despicable bank manager and Linney’s lover, played with aplomb by Broderick.)
This is an intelligent, thoughtful, oftentimes humorous film for Mensans to savor. The award-winning writing is praiseworthy and not condescending; most Mensans can count on enjoying You Can Count on Me. 4 out of 5