Film Review: The Damned United

The Damned United directed by Tom Hooper; written by Peter Morgan and David Peace (Columbia Pictures, BBC Films, Screen Yorkshire, R, 98 minutes)

Starring Michael Sheen, Timothy Spall, and Colm Meaney.

The Real Football 

So I really love football. I don’t mean American football—the NFL is great and I enjoy it thoroughly but it is not the subject of this review. I mean actual football—fútbol to some, soccer to others. Despite my affinity to the sport, I am rather new to the game. I am able to discuss, in detail, the current teams, tactics, and players but I haven’t a clue about the legends of years past.

For this reason, The Damned United interests me. It depicts the tumultuous and short-lived era of Brian Clough (Michael Sheen) as the manager of British heavyweight, Leeds United, in 1974 after the storied manager, Don Revie (Colm Meaney), takes the English national team job.

When It Gets Personal 

The story, though, begins years earlier when Clough and his right-hand man, Peter Taylor (Timothy Spall), manage middling Second Division club Derby County.

Upon drawing Leeds United in the FA Cup in 1968, Clough readies the Derby pitch in expectation of hosting this First Division leaders and Revie, a fellow former Sunderland player. When Revie ignores Clough and uses dirty tactics to win the cup tie, a rivalry is born.

Clough uses this snub to fuel his ambition and inspire his team (coupled with some shrewd signings) to promotion into the first division.

Now battling Leeds in league play, Clough and Taylor experience first-hand the poor play and win-at-every-cost attitude of Leeds United. In every way, Clough molds Derby County to represent the antithesis of Leeds United—sort of like the Red Sox free flowing attitude in comparison to the stuffy feel of the Yankees.

In Over Your Head 

Later, when Revie earns a promotion to the English National Team, Clough jumps at the chance of managing Leeds, even if his compatriot, Taylor, feels loyalty for a previously accepted offer. With the dynamic duo split, Clough’s time with Leeds suffers.

Ever the pugnacious personality, Clough welcomes the Leeds faithful by calling his players cheaters for their style of play and disregards the Leeds championships because they weren’t won with beauty. In short, Leeds aren’t champions because they don’t play like champions.

Of course, such statements do not win over his players. Still devoted to the managerial and personal style of Don Revie, the Leeds players rebel against Clough leading to the worst start in 20 years.

What follows leads the viewer to ask questions about the value of teamwork and the importance of communication. Clough is a brilliant manager but without the help of Taylor, he feels unmoored. When the Leeds players refuse to respond to his managerial style, Clough loses the locker room. In a personal vendetta against Revie, Clough finds himself over his head.

Filling in Some History 

As a soccer fan, I have heard of Clough and Taylor and the brilliance they enacted with Derby County and later with Nottingham Forest. But I don’t know many specifics. Even though I would not label The Damned United a masterpiece, I value it for its contribution to my understanding of soccer’s history. Even though it’s hard to think of a time before Manchester United, earlier eras held their fair share of unique narratives and dramatic personalities.

I enjoyed learning more about Brian Clough and Peter Taylor. If you call yourself a soccer fan, you need to watch The Damned United. It’s not the greatest film in the world, but it tells a fascinating story.

Verdict: 3.5 out of 5

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Posted by: Donovan Richards

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Film Review: The Dark Knight Rises

The Dark Knight Rises directed by Christopher Nolan; written by Johnathan Nolan, Christopher Nolan, and David Goyer (Warner Bros. Pictures, DC Entertainment, and Legendary Entertainment, PG-13, 164 Minutes)

Starring Christian Bale, Tom Hardy, Michael Caine, Gary Oldman, and Anne Hathaway

The Trilogy Phenomenon

I’m forever dubious of the trilogy phenomenon. Whether it be The Hunger Games, the dreadful Twilight phenomenon, or even something wonderful like The Lord of the Rings, I find myself stepping foot into the movie theater ready to undergo some form of disappointment. Why? Once the second or third movie is made, the filmmakers all too easily assume it’s a sure thing that people will see the movie, as they are already invested in the franchise’s past. As a result, the filmmaker (or even author) will normally put less effort into the storyline, and the story ends up flat-lining.

However, with the Dark Knight trilogy, I’m happy to say I didn’t find my worries to be the case. In the last installment of the Christopher Nolan series, The Dark Knight Rises succeeds where so many other trilogies fail only because it holds the key: redemption.

Dark vs. Light

Redemption is what makes the story flourish. In the wake of the Aurora, Colorado shooting, it would seem as though redemption is hard to find in The Dark Knight Rises. And, in such a darkly made film, one would assume redemption would be the last thing to find. However, I think Nolan intentionally uses the darkly lit screen and the depravity in the storyline to intentionally illuminate this single theme.

In the final installment of the Nolan trilogy, we find Batman/Bruce Wayne (Christian Bale) secluded in his mansion, unaware of the city around him. Peacetime has entered Gotham City, and while Gotham rejoices, Bruce Wayne lingers in endless depths of remorse. 

Simply, Wayne is a defeated man and suffering a loss of a dead lover, Rachel (Maggie Gyllenhall from The Dark Knight) when a thief (Anne Hathaway) enters his mansion stealing his fingerprints. This simple act spurs Wayne out of inaction and into saving his city from a new threat, Bane (Tom Hardy).

Torture of the Soul

Avoiding any major spoilers, Bruce Wayne eventually finds himself in a prison with a way out: to climb. Put there by the villain of the movie, Bane, Batman is now worse off than he was before. Feeble, broken, and damaged he wallows in prison as the guards slowly work to bring him back to health. The question is, “Why?”

Bruce Wayne: “Torture?”Bane: “But not of your body...Of your soul.”

A television screen dimly lights the prison where Wayne recovers. It shows footage of a broken Gotham falling into anarchy. Wayne can’t help but watch, knowing he is stuck in prison.

Bane explains there is no worse torment than to see and grasp hope and not attain it. Eventually, Wayne gets better and stronger than before. He tries to climb out with a safety rope, but can’t make it. 

Why? He isn’t afraid; he is simply angry. Bruce fails time and time again, unable to make the jump. The prison’s physician reminds Wayne that fear is good, and fear is healthy. The right kind of fear motivates, and the proper fear is even redemptive. Wayne finds his fear is ultimately for others: it is a sacrificial kind of fear.

Wayne must become like a child (akin to Matthew 18:3) in order to get out. A child ascended before, without the rope, and made it. Wayne is forced to do the same in order to reach out to his devastated city and save the day as the Dark Knight. 

Wayne’s past and brokenness is redeemed because he is forced to be like a child. More to the point, an entire city discovers redemption because one man was forced to realize his ardent love for his city and reconcile with the truth of the situation. 

As Alfred (Michael Caine) puts it in the movie: 

“It’s time for truth to have its day.”

Christopher Nolan finds a way to make truth have its day. He puts forth the theme of redemption throughout the entirety of the movie, making The Dark Knight Rises a fitting end to the trilogy. If you haven’t, I sincerely recommend seeing the movie now.

Verdict: 4.5 out of 5
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Posted by: Andrew Jacobson

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Film Review: Moonrise Kingdom

Moonrise Kingdom directed by Wes Anderson; written by Wes Anderson and Roman Coppola (Focus Features, Indian Paintbrush, American Empirical Pictures, Moonrise, PG-13, 94 minutes)

Starring Kara Hayward, Jared Gilman, Bruce Willis, Edward Norton, Bill Murray, Frances McDormand, Tilda Swinton, and Jason Schwartzman.

The Pains of Growing Up

Did you ever try and run away as a kid? It might have been to the end of the street, to a friend’s house, or maybe even farther. Why did you do it? Oppressive parents? An untenable friendship? A bad test at school? Often irrational, this escape can sometimes result from not wanting to grow up. When a child shoulders more responsibility, sometimes it seems easier to flee hoping to return to the days where playtime occurred 24/7.

Along these lines arises Wes Anderson’s Moonrise Kingdom.

Run-Aways 

In 1965 on a diminutive island in New England, Sam Shakusky (Jared Gilman) and Suzy Bishop (Kara Hayward) run away together.

An orphan attending Khaki Scout summer camp, Sam escapes the campground after leaving a letter of resignation with Scout Master Ward (Edward Norton). Sam is an outcast and the rest of the troop shudders at the thought of searching for him.

Suzy met Sam a summer before when she acted in a church performance of Noye’s Fludde. Having been pen pals since that day, the two plan withdrawal together. Suzy flees because she cares little for her dysfunctional parents, Walt (Bill Murray) and Laura (Frances McDormand).

With both young teenagers missing, Scout Master Ward, Walt, and Laura partner with local Island police officer, Captain Sharp (Bruce Willis) to commence a search.

A Desperate Search Party 

While Suzy and Sam traverse the island in pursuit of refuge, the search party learns harrowing news: Sam’s foster parents want nothing to do with him. With an orphaned and un-guardianed child on the loose, the search party notifies Social Services (Tilda Swinton). Given Sam’s flight risk, Social Services announces intentions of subjecting Sam to electro-shock therapy.



Moreover, a hurricane approaches this sleepy isle.

With such grim news, the search party not only needs to find the run-aways before the storm surges, but they also need to ascertain a guardian promptly to keep Sam out of the mental ward.

An Ochre Hue 

Moonrise Kingdom holds all the signature styles of a Wes Anderson movie. For starters, an ochre hue emanates throughout the film. Aesthetically, the palette screams summer and warmth.

Additionally, Anderson’s sharp, witty, and ironic dialogue shines. Bill Murray holds some excellent lines, including a deadpanned scene where he intones his intentions to cut down a tree.

Even more, Wes Anderson continues to depict humor through ironic subtlety. During one scene where Scout Master Ward’s Khaki Scouts are hiding behind a fence, a stranger walks behind them wearing a Native American headdress. The audience, then, finds humor in the juxtaposition. We are under the impression that the Scouts are hidden, yet a meandering stranger breaks the wall of belief around this task of espionage.

Setting aside Wes Anderson’s brand stylings, Moonrise Kingdom explores the motif of growing up. In particular, Khaki Scout summer camp is a regimented boot camp—much more adult than a child should experience.

To a certain extent, Sam and Suzy escape to remain children. Throughout the narrative, Wes Anderson masterfully weaves the tension between growing up and remaining a child.

If you are a fan of Wes Anderson or quirky feel-good movies, go see Moonrise Kingdom.

Verdict: 4.5 out of 5

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Posted by: Donovan Richards

Film Review: Prometheus

Prometheus directed by Ridley Scott; written by Jon Spaihts and Damon Lindelof (Brandywine Productions, Dune Entertainment, Scott Free Productions, R, 124 minutes)

Starring Noomi Rapace, Charlize Theron, Logan Marshall-Green, Michael Fassbender, and Guy Pearce

Ridley is Back

Ridley Scott’s Alien trilogy is now over three decades removed, but nearly everyone knows it in reference at least. I still am completely freaked out by the original trilogy, as I watched it in my teenage years. A lasting scar emerges in the franchise’s wake. Ridley Scott blended space travel and horror in a unique way, forever enshrining himself into the media hall of fame. Prometheus is the famed director’s attempt to continue the franchise by explaining its origins. But, the movie falls short.

In the prologue, set sometime in Earth’s past, an alien that looks somewhat human drinks some black ooze on the edge of a high precipice somewhere in Scotland in the planet’s distant past. The alien falls into said water, and his DNA is reassembled—presumably seeding the human race. Later, in the year 2089 at the same location on earth, we meet biologists Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) when they find a cave painting supposedly pointing to the origins of the human race. Enthralled that they may have finally answered the question, “where did we come from?”, they embark on a scientific voyage to a distant planet (drawn in the cave paintings of course) that may hold an answer to who engineered the human race.

Elizabeth and Charlie are joined by a somewhat lugubrious android (Michael Fassbender), a corporate crony (Charlize Theron), a badass captain (Idris Elba), and some people that barely take up fifteen seconds in the movie. On the spaceship Prometheus they journey in stasis, and once arrived begin the scientific expedition. Meanwhile, they are located in one of two places: either the ship or a dark-lit cavern where the alien race is supposedly found. Much like the Alien movies of old, the team hopes to find answers but soon they find more than they bargained for. No real plot surprises within. It’s an entertaining film, and visually stunning. But, the music throughout the movie kept playing, and I found myself more and more distraught.

Seeing Versus Hearing

Prometheus looks claustrophobic and gloomy. But, the soundtrack inside is a hopeful, modal tune repeated over and over...and over. The music doesn’t align with the striking visual effects.

Marc Streitenfeld, composer for the movie, has worked in such films as Hannibal, Kingdom of Heaven (another Ridley Scott flick), and Mission: Impossible II. So, his resume is stocked. In talking to a film-scoring buddy of mine, what Mark Streitenfeld has done is write something a little outside of the film-scoring norm, and in order to talk about the norm, I need to go back in time.

Leitmotif and Film

Richard Wagner is specifically known for his work in Opera and Drama. His most famous opera is a cycle of four operas, Der Ring des Nibelungen (or The Ring). If one goes to see The Ring, it lasts for a grand total of four days with a playing time of fifteen hours (I've been. It's even longer than it sounds).

But, it isn’t the length that is important, it’s the concept he developed in the cycle called leitmotif. In leitmotif, there is a Grunthema (basic idea), as well as several other ideas that accompany various characters. It’s usually a short melody or chord progression that is altered every once and a while.

The best known example in film is by the great John Williams. Think back to the Star Wars films of old. What music comes to mind when you think of Darth Vader? Luke Skywalker? The songs that come to mind were specifically written for every time you saw the characters, and they’re memorable. The song for Darth Vader has become synonymous with evil.

Back to Disappointment

Now, to link the music back to Prometheus. In a dark, cavernous world with doom ever looming on the horizon, one would expect something like this to occur: Man goes into tunnel, creepy music plays; man meets alien, creepy, but different music plays; android tries to muck about in the scientific expedition and screw everything up, music designed for the android plays.

But instead, what the listener finds is a beautiful modal melody played with an oboe (many times during the movie), strings gently backing, and eventually horns loudly blaring. When both the plot line and visual effects point to something harrowing, the music is epic and hopeful. Take a listen.

So, in closing, my main problem with the movie wasn’t the plot (albeit farfetched) or even the acting. My problem was that my visual senses were seeing things with which my auditory senses weren’t agreeing. A film is good based on what it does to all the senses, not just the visual ones. The movie could have been much more memorable, and much more frightening had the film score gone along with the visual sense. Prometheus was a fantastic film, in all ways but one: the music frankly sucked to the point of distraction.

Verdict: 3.5 out of 5
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Posted by: Andrew Jacobson

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Film Review: Extremely Loud & Incredibly Close

Extremely Loud & Incredibly Close directed by Stephen Daldry; written by Eric Roth and Jonathan Safran Foer (Paramount Pictures, Scott Rudin Pictures, and Warner Bros. Pictures, PG-13, 129 minutes)

Starring Thomas Horn, Tom Hanks, Sandra Bullock, and Max von Sydow.

A Grief Observed 

Grief is a difficult concept. It defies reason; it reacts in the visceral regions of the body. Some people immediately return to work in order for the dark feelings to subside. Others need weeks, months, and sometimes years to restore their soul. No matter the method by which people work through pain, grieving is a process we all must endure. With Extremely Loud & Incredibly Close, we gain access to a particular way toward managing grief.

Adapted from the eponymous novel by Jonathan Safran Foer, Extremely Loud & Incredibly Close focuses on nine-year-old Oskar Schell (Thomas Horn). An amateur inventor, Francophile, and pacifist, Oskar searches for meaning in the wake of the death of his father, Thomas Schell (Tom Hanks).

Thomas and Oskar possess a special bond. Partly due to the void his father (Max von Sydow) left in Thomas’ life, Thomas and Oskar are inseparable. Sparking Oskar’s immense imagination, Thomas tells of New York City’s fantastical sixth borough, which disconnected from Central Park and floated away. To encourage sociability—Oskar always had shy tendencies, Thomas devised a scavenger hunt for Oskar to discover the remnants of the lost sixth borough.

But, this relationship vanishes underneath a toppled skyscraper on September 11. While in a meeting at the top of the World Trade Center, Thomas is situated above the airplane strike zone, marooned and waiting for rescue. With only a phone, Thomas calls his wife, Linda (Sandra Bullock), at work and tries to connect with Oskar at home, assuming classes have been cancelled.

After six messages, Thomas disappears among the thousands who perished in the tragedy. For young Oskar, those messages were marinated in panic, and as a result, fear represents the last connection with his father.

Unlikely Exploration 

One day while exploring his father’s untouched closet, Oskar finds a key in an envelope labeled, “Black”. Supposing this key represents a clue from his father to a lock owned by a person with the name “Black”, Oskar methodically plans a cross-borough adventure in search of every person named “Black” in New York City.



Afraid of public transportation, Oskar peregrinates from borough to borough meeting new people, explaining his search for meaning after the death of his father, and receiving much affection in return. In an unexplainable way, Oskar believes his last scavenger hunt will bring closure to his grief.

Artful & Grating 

Despite the mixed reviews from critics, Extremely Loud & Incredibly Close succeeds in its depiction of grief. For the most part, I felt as if the movie artfully portrayed a family coping with the effects of September 11.

However, I found Thomas Horn’s depiction of Oskar rather grating. Of course, I must mention the difficulty of this role. Jonathan Safran Foer’s Oskar in the novel is incredibly intelligent for his years and immensely imaginative. To successfully act this character is a remarkable feat for a person of such a young age. Sadly, Thomas Horn’s attempt falls short. Too often, it felt as if Horn’s performance hindered the power of the story.

Even though the acting performance provides copious amounts of doubt, the themes of this movie are strong. If you desire to watch a unique take on grief and the September 11 attacks, check out Extremely Loud & Incredibly Close. If grief isn’t your thing or if you find grating acting unbearable, I suggest you pass on this movie.

Verdict: 3 out of 5

Have you seen this movie? What about the book? How do you deal with grief?
Share your thoughts below.

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Posted by: Donovan Richards

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Film Review: Young Adult

Young Adult directed by Jason Reitman; written by Diablo Cody (Paramount Pictures, Denver and Delilah Productions, and Indian Paintbrush, R, 94 minutes)

Starring Charlize Theron, Patton Oswalt, and Patrick Wilson.

The Glory Days, Or, A Period I’d Soon Forget 

In my opinion, high school is an odd sociological experiment. For most people, the high school experience is one soon forgotten. Some encounter intense rejection from “popular” groups; others find studying stressful fully understanding the importance of high grades on later success.

For others, high school is the apogee in life. High school connects budding social beings in a focused group. Every high school has a “popular” crowd with the whole school orbiting around that social class.

Interestingly, certain “popular” kids never find the same swagger in the post-high-school landscape. Whether their low grades expectorate these kids into unglamorous jobs or the totality of the world population is a social mountain too high to conquer, some popular kids are never the same.

In Jason Reitman’s and Diablo Cody’s Young Adult, we find such a protagonist—returning from an urban metropolis to her small-town roots expecting her former classmates to reaccept her queen bee status from high school.

A Young Adult 

A divorced ghostwriter of young adult novels from Minneapolis, Minnesota, Mavis Gary (Charlize Theron) receives a baby announcement from her high school boyfriend, Buddy Slade (Patrick Wilson).

Encountering writer’s block during the process of drafting the final novel in a soon-to-be-cancelled series, Waverly Prep, Mavis journeys back home to Mercury, Minnesota hoping to rekindle old flames with the happily married Buddy.

After scheduling a “catch-up” meeting with Buddy for the following day, Mavis relieves stress through alcohol consumption at the local watering hole. There, she encounters a former high school classmate, Matt Freehauf (Patton Oswalt). His name does not ring a bell until Matt confides he was the guy who jocks beat up presuming he was gay, leaving Matt permanently disabled.

With copious amounts of alcohol releasing her inhibitions, Mavis admits she has returned to rekindle her relationship with Buddy. Matt, having remained integral to the social workings of the small town, laughs at her audacity, claiming Buddy is a happily married man and not worth ruining a marriage over.

With the arrogance of a high school popular girl, Mavis shoves aside Matt’s worries hoping to win over a former love.

When Everyone Else Moves On 

As Young Adult unfolds, the viewer encounters numerous awkward scenarios as Mavis’ former classmates receive glimpses of her neuroses. Not wanting to be impolite, her old friends include her in social occasions while Mavis’ delusions about her relationship with Buddy increase.



Her current life derailed, Mavis desperately seeks to reignite the social systems which exalted her in high school. While all of her former friends and lovers have moved to greener pastures, Mavis refuses to do the same.

Perhaps Mavis concocts references her former exploits in her young adult novels and therefore, has lost touch with a post-high-school reality.

More Awkward than Comedic 

Young Adult is labeled a dark comedy, but I don’t find it funny. Jason Reitman and Diablo Cody place Mavis in excruciatingly awkward situations. Truthfully, Young Adult is difficult to watch. But, I enjoyed the storyline. Mavis’ disconnect with reality resonates as she seeks to relive her glory years.

The world is so much bigger than a graduating class. The sooner we can realize this truth, the easier life becomes. Does it matter how we acted, who we dated, how we felt? In the grand scheme of things, the worries of high school are infinitely meaningless. For some people, life will never be as good as it was in high school. For others, high school is something they’d soon forget.

If you can withstand awkwardness and you are a fan of quirky and semi-depressing films, give Young Adult a try.

Verdict: 3.5 out of 5

How was high school for you? Do you miss the glory years or are you glad it is over? Is there any value in reliving the past?
Share your thoughts below.

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Posted by: Donovan Richards

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Film Review: The Five-Year Engagement

The Five-Year Engagement directed by Nicholas Stoller (Apatow Productions, R, 124 minutes)

Starring Jason Segel, Emily Blunt, Chris Pratt, and Alison Brie.

What Makes Something Good? 

Is a hot wing tasty if it is sufficiently spicy? Is a murder mystery novel good so long as the murder is mysterious? Is a comedy good if it’s funny?

My inability to answer this last question perfectly summarizes my thoughts on The Five-Year Engagement. Billed as a comedy, the movie executes; it is extremely funny. But is it good? I wish I knew.

Another Romantic Comedy 

As a story, The Five-Year Engagement arises from the romantic comedy cookie-cutter-plotline:

1. Couple meets. 
2. Couple experiences good times. 
3. Couple hits a rough patch.
4. Couple works everything out. 

In fact, on our way to theater, I mentioned to my wife, Tara, how we already knew the storyline since these movies fit the same mold consistently and without fail.

The High Point 

The Five-Year Engagement begins with the apogee of the relationship between Tom Solomon (Jason Segel) and Violet Barnes (Emily Blunt) on a clear night in San Francisco. Somewhat awkwardly, Tom proposes to Violet on the one-year anniversary of their first meeting.

Upon affirmation of the proposal, the couple begins planning a wedding, only to find external circumstances push back the plans.

Tom’s best friend, Alex (Chris Pratt), impregnates and then marries Violet’s sister, Suzie (Alison). After canceling plans to accommodate the shotgun wedding, Violet receives word of her acceptance to the psychology program at the University of Michigan.

Admitting the discord a similar long-distance move for professional reasons conjured in her parent’s relationship, Violet worries how such a move will alter her relationship with Tom.

The Low Point 

A sous chef and an emerging talent in the culinary industry, Tom isn’t thrilled with the move but recognizes the immense value of Violet’s opportunity. He also figures many culinary jobs will exist in Michigan.

While quitting his job, Tom’s plans begin to sour when he learns he was in line to become executive chef at a new fine dining restaurant. Nevertheless, Tom remains true to his word and ventures north to the land of ice and snow and no fine dining.

As Violet’s job blossoms on the campus of Michigan, Tom’s quality of life plummets as he recedes into a dead-end job. Tom and Violet’s relationship, in turn, begins to exhibit cracks.



The Five-Year Engagement then proceeds to unfold much like every other high-budget romantic comedy.

Does a Comedy Need Anything Beyond Humor? 

So is The Five-Year Engagement a good movie? I’m not sure. It is very funny. I found myself laughing at dialogue on a minute-by-minute basis. But, my mind also thrives on uniquely engaging stories. Sadly, The Five-Year Engagement utilizes story as a method of joke telling instead of story as an intrinsic good.

My favorite comedies mix humor with inventive storytelling. I loved Little Miss Sunshine not only for the humor but also for the inventive plot and complex characters. The Five-Year Engagement, on the other hand, only succeeds at a surface level. For all intents and purposes, the story in The Five-Year Engagement is meaningless.

Even though the movie entertained, I find it hard to give The Five-Year Engagement high grades. If you want to laugh for a couple hours, check it out, but don’t expect any depth.

Verdict: 3 out of 5

How do you like your comedies? Are jokes enough or do you need a story?
Share your thoughts below.

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Posted by: Donovan Richards

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Film Review: Candyman

Candyman: The David Klein Story directed by Costa Botes (Lion Pine Productions & Picnic Productions, NR. 77 minutes)

Starring David Herman Klein, Bert Klein, and “Weird Al” Yankovic.

Candy Addict

My wife and I often resupply from the warehouse grocery store, Costco. Every time we go we stock up on the necessities—paper towels, vegetables, canned soups, cleaning supplies, and of course, Jelly Bellies. 

The gourmet jelly bean comes in a large canister, something easily fashioned into a large bucket for feed, filled with umpteen gallons of water, or supply a small nation with food for a month. My wife and I generally inhale a bucket of beans in a week or two, pointing to both our gluttony and love for the jelly bean.

David Klein, inventor of the famed gourmet jelly bean, however regrets his moment of inspiration. 

“I wish I never invented the things. They ruined my life”

Jelly Beans Rule

The documentary Candyman explores the life of David Klein, who is the unnamed and forgotten inventor of the Jelly Belly. In 1976, Klein approached the Herman Goelitz Candy Company and asked them to produce the mini-gourmet jelly bean out of natural flavors. The colorful beans came in a rainbow of realistic flavors, previously unknown to the populace. 

A radical new product, Jelly Belly became a pop culture phenomenon in the seventies. Most notably touted by President Ronald Reagan as his favorite snack, the jelly bean became a hit.

A Lost Dream

Somewhat eccentric, yet brilliant, Klein sadly forfeited the company for a few million dollars, just before it exploded. He managed to use the money to pay for his house, and fund some new candy exploits, none of which have really taken off like the Jelly Belly. Now a billion dollar enterprise, David Klein has no place in the jelly bean world he created. David is now an alien erased from the candy’s history.

Because of selling too early, Klein lost his beans (pun intended), and sunk into bitter depression. But, interestingly, the documentary exposes how Klein kept his soul alive in the process.

Now, Klein helps entrepreneurs around the country develop successful ideas, despite Klein’s lack of further success in the candy industry. The viewer is able to see both sides of the American dream, one where all the hopes and dreams are fulfilled for Klein, and one where he simply cannot catch a break. 


Of note, however, Klein is much more of a solid, sane, and compassionate individual now that his “dream” of funding another candy mega-hit fades. Klein has been able to move on from his tragic choice because he realized life is bigger and more important than a paycheck. It seems as though his new consulting business runs closer to his personal goals as an individual, providing closure from the difficult break from Jelly Belly.

  

Selflessness

Klein’s selflessness and desire to see dreams come true fuels his current endeavors, speaking to the drive of the human spirit. His desire to help others makes him a better man than he once was. No longer the spokesman for a large candy company of his own design, he is able to more fully function. 

If you enjoy candy, or Jelly Bellies as much as I do, I think Candyman is a fun documentary to watch. At times Candyman is a bit slow, but with a stroll through the life of an entrepreneur, it’s worth your time. 

Verdict: 3 out of 5

What are your thoughts? Do you like the popular candy? How do you feel that the inventor of the bean has been ousted from his own invention's history? Share your thoughts below.
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Posted by: Andrew Jacobson

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Film Review: My Week with Marilyn

My Week with Marilyn directed by Simon Curtis (The Weinstein Company, BBC Films, and Lipsync Productions, R, 99 minutes)

Starring Michelle Williams, Eddie Redmayne, Kenneth Branagh, Zoё Wanamaker, Emma Watson, and Julia Ormond.

I Wanted to Be Famous; Now I Want to Take It Back 

Have you ever had dreams of fame and fortune? As a kid, did you imagine walks on the red carpet with flashbulbs blinding your entrance? Did you desire constant adoration and the corresponding riches? While such glory seems intoxicating, My Week with Marilyn proposes a dark undercurrent to worldwide fame.

My Week with Marilyn is a slow-burning, character-driven film adapted from a memoir by Colin Clark, on his relationship with Marilyn Monroe during the shooting of a movie.

Marilyn Monroe: A Third Assistant to the Director’s Introduction to the Movie Business 

Colin Clark (Eddie Redmayne) is a young, British aristocrat enamored with the movie industry. Utilizing a family connection with Sir Laurence Olivier (Kenneth Branagh), Clark becomes third assistant to the director on Olivier’s latest film, The Prince & the Showgirl.

Starring Hollywood’s most famous leading lady, Marilyn Monroe (Michelle Williams), Olivier, as lead actor and director, delegates Clark with logistical tasks meant to ensure an easy and successful stay for Monroe.

When filming commences, tension emerges between Olivier and Monroe. Ever the stoic professional, Olivier becomes frustrated when Monroe constantly arrives late and heavily relies on her acting coach, Paula Strasberg (Zoё Wanamaker). To Laurence, acting only requires the recitation of a line; to Marilyn, acting means becoming a character.



As such, the differences between actors threaten to derail the movie.

Working as a mediator, Colin finds himself befriending the amatory actor and the relationship between Clark and Monroe exhibits the best portions of My Week with Marilyn.

Unearthing the Real Marilyn 

Young and inexperienced, Colin encounters the gravitational pull of Marilyn’s star power. Sultry and provocative while simultaneously shy and unassured, Monroe is timid behind closed doors.

Seeking reinforcement, Monroe flirts Colin into a sycophant role.

A complicated character, Monroe drowns in insecurity, yet she awakens in front of adoring crowds. In perhaps the most iconic scene of the film, Monroe transforms from a withered and scared woman to a famous actress in front of Colin’s eyes when a group of fans emerges.

Before she greets her fans, Marilyn whispers to Colin,

“Shall I be her?”

This question brings forth the central tenets of My Week with Marilyn. Monroe’s sultry on-screen persona must invade her personal life. Fans of the actress require performance even when Monroe desires a moment of solitude.

As such, fame and fortune—an endeavor sought by many—becomes a prison and a self-defeating principle when Monroe comes to realize her true self isn’t “good enough” for her myriad of fans.

The Dark Side of Fame 

My Week with Marilyn announces a darker side to fame. The dreams of Hollywood are more than glitz, glamour, and luxury. Feelings of insufficiency reside beneath it all. If fans want the character more than the person, how can the true self survive?

In My Week with Marilyn, we see fame devouring an individual. Michelle Williams masterfully depicts this schism; Marliyn Monroe is capable of performing the worldwide sex symbol on one hand, and a vulnerable woman on the other.

If you love good acting and well-crafted character, check out My Week with Marilyn.

Verdict: 4 out of 5

What do you think? Did you desire fame as a child? Has the dark underside of fame given you reason to pity the famous? Or should they just deal with the unending focus of the media? Does the story of Marilyn Monroe interest you? Do you want to watch this film?
Share your thoughts below.

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Posted by: Donovan Richards

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Film Review: Being Elmo

Being Elmo: A Puppeteer's Journey directed by Constance Marks (Constance Marks Productions, PG, 80 minutes)

Starring Kevin Clash.

The Most Famous Person You've Never Heard of

Kevin Clash is the most famous person you’ve never heard of. He is the voice and genius behind the Sesame Street character, Elmo. Through viewing his life, it is easily seen that art functions only as well as what drives it. It is Kevin’s ambition, love for puppeteering, and most of all love for others that drives him, and it can be seen in his most famous puppet/muppet character, Elmo.

In the documentary, Being Elmo, Whoopi Goldberg narrates Kevin’s rise to puppet stardom. A teenager growing up in Baltimore in the 1970s, puppets, Captain Kangaroo and Sesame Street mesmerized Kevin. Because of those television shows, Clash found he had very different aspirations than his classmates. He didn’t strive to be a fireman, ninja, or doctor like most boys, but rather to work with Jim Henson, the most famous puppeteer.

Kevin began his rise to stardom by stealing a coat from his father’s wardrobe and fashioning it into a puppet. His father, accepting the loss of his favorite coat, encouraged Kevin to create more puppets, saying, “Just ask next time”. The encouragement of his parents most likely spurred Kevin onto great success. His mom called Kermit Love, Sesame Street’s expert puppet maker, and persuaded him to take Kevin under his wing. Kermit taught Kevin the ins and outs of show business as well as the craft of 

puppet making.

There Goes My Hero

Through what Kevin describes as a “miracle,” he meets his hero, Jim Henson, after Kermit Love asks Kevin to participate in the Sesame Street float for the Macy’s Parade as the puppeteer for the lovable Cookie Monster. During the after party in the Macy’s building, Kevin meets Jim Henson, and, too nervous to get a word out, Kermit kindly does all the talking for him, getting him work with Henson himself.

Kevin, then, goes through a series of jobs for Jim Henson, including working on the movie Labyrinth, where Kevin worked on some incredibly complex scenes with the puppets. Kevin does a commercial with Henson, but the jobs are getting him nowhere.

The Greatest Puppet of All Time

Finally, we meet Elmo, speaking in a deep guttural voice, delivered by veteran puppeteer Richard Hunt, one of Henson’s right hand men. Hunt hates the character and gives up, exasperated and frustrated. He, in chagrin, tosses the puppet to Kevin, saying “maybe you’ll have better luck than me”.

Kevin labors over Elmo, and finally develops a character. Knowing that all great characters are inspired by something (i.e. Miss Piggy is a truck driver who wants to be a woman, at least according to the film), Kevin comes up with his inspiration: love. Love is what makes Elmo one of the most well-known muppets of all time. Culminating in scenes where Elmo makes a dying child’s wish come true by meeting him, the premise of the documentary becomes clear.

Art functions only as well as what drives it.

Great comedians are driven by the desire to make someone laugh and lighten their day. A great drama is driven by the desire to tell an entertaining story. But, all of these goals are ignoble compared to the inspiration that Kevin chose.

Kevin Clash picked the most noble of inspirations: love. The documentary states that Elmo has only become such a success because he embodies love. Elmo both gives love to others, and needs it as well. Clash succeeds in show business not through underhandedness or sly dealings, but rather through idealizing pure human emotion. Totally mesmerized by this documentary and Kevin Clashes single-minded pursuit towards being a puppet master, I sincerely recommend Being Elmo.

Verdict: 4 out of 5


What do you think?  Does it matter what inspires art?  Should it matter, but we only choose to ignore it? Is Elmo the most famous of muppets?  Share your thoughts below.
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Posted by: Andrew Jacobson


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Film Review: Hugo

Hugo directed by Martin Scorsese (Paramount Pictures, GK Films, Infinitum Nihil, PG, 126 minutes)

Starring Ben Kingsley, Sacha Baron Cohen, Asa Butterfield, Chloё Grace Moretz, and Emily Mortimer.

We Always Need More Drinking Games 

When the cast of Bridesmaids introduced a category at this year’s Golden Globes, they ushered in a new era of award ceremony watching. Humorously, the cast suggested a “Martin Scorsese Drinking Game”, in which one takes a shot every time someone mentions Scorsese during an award ceremony telecast. The inherent joke in this game revolves around the notion that Martin Scorsese seemingly has his hand in every part of the movie business; by default, anything Scorsese touches garners critical acclaim.

A Boy Named Hugo 

Case in point: I’m not sure if this year’s award darling, Hugo, is that good, yet it still received a nomination for best picture. Based on the book, The Invention of Hugo Cabret, and set in Paris during the 1930s, Hugo follows its eponymous protagonist, orphaned Hugo Cabret (Asa Butterfield) as he lives in the walls and winds the clocks of the rail station, Gare Montparnasse. Surviving on stolen goods, Hugo spends his downtime repairing a broken automaton in order to remain connected to his deceased father (Jude Law) who considered the broken machine an important project.

Hugo’s work, clock winding, must remain secret since the job is filled by his drunk and absent uncle. Always dodging the somewhat puerile security guard (Sacha Baron Cohen), Hugo develops an affinity for an elderly toy maker, Georges Méliès (Ben Kingsley).

Spending time with Georges, Hugo befriends Georges’ goddaughter, Isabelle (Chloё Grace Moretz). Together, the children find a mutual affection for cinema. For Hugo, film reminds him of the influential father-son outings of better days. Isabelle, on the other hand, feels the pull of the movies because her godparents refuse to allow her access.

As the children discover more about early cinema and seek to rebuild the automaton, they learn more about themselves and the meaning behind family.

Martin Scorsese = Critical Acclaim? 

Despite a reasonably high entertainment level, I question the critical merit of Hugo. Having seen many of the Academy Award nominated films from this year, nothing from Hugo suggests that it operates at a higher level than the rest of the field. Of course, I must note that I am not Hugo’s target market. But, compared to the rest of the films I have seen, I am not particularly impressed by Hugo. In all honesty, it seems like the attachment of Martin Scorsese to this film gave it the critical street cred necessary to reach the pinnacle of the movie business. Hugo is pretty good for a children’s movie, but not above and beyond others in the movie business.

Don’t get me wrong, Hugo displays wonderful visuals and grand élan. Nevertheless, I can’t help but think of the witty cast from Bridesmaids making fun of the critical elite and their attraction to Scorsese. I am positive that without the visionary filmmaker, Hugo would have received less acclaim and no Oscar nods whatsoever. An entertaining work, Hugo is worth watching, especially for those interested in touching family fare. But don’t assume that its Oscar nominations make it one of the best movies of the year.

Verdict: 3.5 out of 5

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Posted by: Donovan Richards

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Film Review: The Joneses

The Joneses directed by Derrick Borte (Echo Lake Productions, Premiere Picture, R, 96 minutes)

Starring: Demi Moore, David Duchovny, Amber Heard, Ben Hollingsworth, Gary Cole, Lauren Hutton.

The Hype 

I’m anti-hype, or what my sister-in-law would call “hipster”. When the band, Mumford & Sons, wasn’t popular, I loved them. Now that they’re huge and trendy (at least here in Seattle), they’re no longer my favorite. Additionally, I bought a Nintendo Wii instead of the Xbox. But, American consumerism, and our economy as a whole, is based on hype, and what’s popular. In the satirical commentary on American consumerism, The Joneses, everyone looks to a picture-perfect family to discern what to buy.

The Joneses (played by David Duchovny, Demi Moore, Amber Heard, and Ben Hollingsworth) are good looking, friendly, affluent, and always seem to stay ahead of the fashion curve. Everyone in the neighborhood wants to be like them.

But, in the first few minutes of the plot, the audience notices something is different about them; they aren’t really a family; they’re a huge marketing ploy by a large corporation. Husband and wife don’t sleep in the same room, and the children act more like adults than angst-ridden teens. They instead, are moving into the neighborhood to try to sell as much cutting-edge fashion, cars, golf equipment, or whatever to their new neighbors.

The Perfect Sale 

Steve Jones (David Duchovny) is the worst salesman in the family. He only sells moderately well, displaying his golf clubs to the local golf fetishists. He also is beginning to hate his family life. He realizes his life is a sham, and feels somewhat repulsed by his trivial and shallow lifestyle. He wants a real family and a real wife, with real children; he doesn’t want a shallow scam put forth by a large corporation. Perhaps his conscience protests too loudly and affects his influence.

Kate Jones (Demi Moore), as the family team leader only seeks to increase their overall referral rate for sales. She is, in short, a cold-hearted, single-minded individual. She entertains her female neighbors brilliantly, and manages to sell all the girly products out there. She’s the saleswoman of the century; she also lacks a conscience, only seeking to make the money she wants.

The children, Jennifer (Amber Heard) and Mick (Ben Hollingsworth), also sell well because they wear cool stuff. You can watch the fashion shift in their fictitious neighborhood drastically as the teenagers exert more influence on their angst-ridden counterparts. But, they begin to feel a sense of inner worthlessness. Their cynicism begins to show, and their inauthentic lives begin to fall apart.

Artistry and Conviction 

While this movie is far from perfect, and lacks the conviction that a more artfully considered movie would provide, the message remains clear, and director Derrick Borte did a good job with the cast, all things considered (Demi Moore never really does it for me). The noose tightens around The Jones’ inauthentic lives, and their complicated emotions unravel in an elaborate, emotion-filled way.

The message that is portrayed is clear—in our society you have to play to your Joneses. Whatever influence it may be, whether family, commercial, or other, there is always an outside influence telling society what is cool and important. You may choose to ignore the hype, but generally you’re susceptible to it whether you know it or not.

In the end, this movie is a great idea; it tells of the pitfalls of consumerism through a drama. But, I think the film fell short because it isn't as artfully and intentionally executed as it should have been. Nonetheless, I think The Joneses is worth a view.

Verdict: 3 out of 5
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Posted by: Andrew Jacobson

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Film Review: The Artist

The Artist directed by Michel Hazanavicius (La Petite Reine, La Classe Américaine, JD Prod, PG-13, 100 minutes)

Starring Jean Dujardin, Bérénice Bejo, and John Goodman.

How Did We Survive Ten Years Ago? 

Do you ever feel like life is passing you by? Do you remember life before a smart phone? Considering the myriad of people daily glued to their iPhone, a smart-phone-less world seems unfathomable. Likewise, what magic innovation will make us look back on 2012 and chuckle at how primitive we used to live? This sense of change surrounds the Academy-Award-nominated film, The Artist.

Set in Hollywood from 1927 to 1932, The Artist portrays the fall of the silent film and the rise of the “talkies”. Using black-and-white techniques and no dialogue, The Artist pays homage to the golden age of cinema.

Silence Is Golden

George Valentin (Jean Dujardin)) is a silent film star. Sharing the screen with his star sidekick and pet dog, Valentin signifies the best of a fledgling industry. Celebrating his latest premier, Valentin bumps into an admiring fan, Peppy Miller (Bérénice Bejo), and makes a show of the encounter for the press photographers.

The next day, Peppy and George’s picture appears on the front page of Variety. Encouraged by the uplifting headline, Peppy endeavors to become a movie star and signs up as an extra in the latest film. Smitten by Peppy, George encourages her to find her voice in the business and she begins to work her way up the credits.

After a couple years, the studio head, Al Zimmer (John Goodman), publicizes the end of silent film production and the beginning of talking pictures. Flippantly, George writes off the talking picture trend and begins funding his own silent pictures.

Peppy, on the other hand, signs with Zimmer’s studio as a headlining actress starring in the latest talking pictures. Coincidentally, both actors’ films debut in the wake of the 1929 stock-market crash. Having invested all of his money in his silent picture, George needs a hit in order to maintain financial viability.

In Defense of Acclaim 

On the whole, Michael Hazanavicius’ script breaks no boundaries. An entertaining but well-tread plot, The Artist gains acclaim for its production, cinematography, and acting.

First, the use of silence and black and white is powerful. For the most part, I felt like I was watching a move from the 1920s. From the lack of widescreen to the vintage score, I was caught up in the magic of a “new” medium as a person in the 1920s would have felt.

Yet, I wish they would have cast completely unknown actors. Even though I did not recognize the leads, having John Goodman play a crucial part was distracting. I know him from too many movies to suspend my disbelief.

The use of sound, however, mesmerizes. Without dialogue, the viewer relies on the score and the occasional vintage caption in order to infer the plot. When The Artist chooses to use sound, the effect becomes all the more powerful. Upon learning of the talking picture, George has a nightmare depicted in sound; his glass clanks against the counter, his dog barks, and he hears laughter outside. These simple noises exist in stark contrast to the dreamy score that surrounds the rest of the film.

Second, the cinematography shines. In every scene, it seems like the camera is perfectly placed—not like a modern picture where it’s from an unfathomable angle, but from a classic perspective re-imagined. Whether filming the reflection of an actor or the feet, every shot feels both fresh and classic simultaneously.

Finally, the acting is impeccable. Of course, without sound the actors must over-accentuate in order to convey emotion. Such actions were continuously conveyed perfectly. Having seen George Clooney in The Descendants, Dujardin gets my vote, so far, for the best actor Academy Award. Dujardin’s performance is magical.

A Silent Film in 2012 = Brilliant? 

But I question whether The Artist receives its praise for the quality of the movie or for the idea it conveys. Yes, paying homage to the golden age of cinema by replicating it in modern society carries much to extol. Had this story, cinematography, and acting existed outside of a silent, black-and-white film, I’m not sure that I would have liked it as much.

Exploring change while remaining firm in a sense of nostalgia, The Artist reminisces on the beginning of the film industry. With fantastic production, cinematography, and acting, The Artist clearly deserves critical recognition, but I question whether its use of silence and black and white veils the less spectacular portions of the movie. Nevertheless, The Artist is worth a watch.

Verdict: 4 out of 5

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Posted by: Donovan Richards

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Film Review: Tinker, Tailor, Soldier, Spy

Tinker, Tailor, Soldier, Spy directed by Tomas Alfredson (Focus Features, R, 128 minutes)

Starring Gary Oldman and Colin Firth.

Based on the Same Name 

Based on the 1974 novel of the same name by John le Carre, a former operations agent for the British agency of MI6, Tinker, Tailor, Soldier, Spy joins the long list of Oscar-nominated movies for 2011 based on bestselling novels that are perhaps better than the films of which they are based. The first in what is a trilogy of spy novels; the film depicts English spy George Smiley (Gary Oldman) as he is pitted against a Soviet mole inside the MI6.

Silence as Suspense 

MI6 Headquarters, London

After a forced, disgraced retirement from MI6, George Smiley is thrust back into service to oust a mole from within the ranks of his former employer. Unsure of his new re-appointment, and obviously still bitter about his forced retirement, Gary Oldman is silent for almost thirty minutes at the beginning of the film. Much like in the novel, silence on the part George Smiley is persistent, and director Tomas Alfredson uses the silence as a means to both intrigue and frustrate the viewer. Silence adds to the suspense of the movie, as those like myself unfamiliar with what actual espionage would be like, expect exotic locations and huge explosions. The silence shows that no exotic location is needed, no huge action sequence, but rather intriguing puzzles that confound the viewer.

Cast with superstar British actors, Tinker, Tailor, Soldier, Spy introduces them one at a time. “Tinker” is the codename for Percy Alleline (Toby Jones), “Tailor” is Bill Haydon (Colin Firth), “Soldier” is Roy Bland (Ciaran Hinds), and “Spy” would be the unknown mole in MI6 that “Beggarman”, or George Smiley, is trying to find throughout the film.

Paranoia 

Not only does the silence add to the suspense of the movie, but the constant feeling of dread and paranoia certainly adds a feeling of weariness to the overall tension of the film. Sequestered meetings with ubiquitous brown tweed suits in closed rooms and quiet, dark conversations in shadowy corners of London add to an atmosphere of suspense and great pondering on the part of the audience.

While the movie doesn’t pander to the stereotypes of current thrillers, I posit that such a position makes Tinker, Tailor, Soldier, Spy absolutely superb. Without the excessive explosions or exotic locations, this movie offers a cigarette-filled rendering of things past. With clues to ponder against the background of the poker-faced and quiet George Smiley, words pierce just as hard as bullets would in a lesser film. If you love suspense and intrigue, this movie is for you. However, if you don’t like thinking through things and have a hard time piecing clues together on your own, I would wait until DVD.

Verdict: 4.5 out of 5

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Posted by: Andrew Jacobson

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