Category: Reviews

  • ‘X-Men: Days of Future Past’ proves this franchise has a bright future

    ‘X-Men: Days of Future Past’ proves this franchise has a bright future

    Michael Fassbender, James McAvoy and Hugh Jackman in 'X-Men: Days of Future Past
    Michael Fassbender, James McAvoy and Hugh Jackman in ‘X-Men: Days of Future Past

    The seventh film in the X-Men series, X-Men: Days of Future Past is set in a not too distant future where mutants and the humans who are helping them find themselves being hunted to the verge of extinction by “Sentinels.”  These are sentient robots created by “Bolivar Trask” (Peter Dinklage).  Thanks to the ability of “Kitty Pryde” (Ellen Page) to shift someone’s consciousness backward in time, one group of mutants is keeping one step ahead of the Sentinels.  This group hooks up with “Professor Xavier” (Patrick Stewart) and “Magneto” (Ian McKellan) who have come up with a plan.  Send the mind of “Wolverine” (Hugh Jackman) back in time to 1973 to prevent the murder of Trask by “Mystique” (Jennifer Lawrence).  His murder made him into the perfect martyr to serve as a reason to wipe out the mutants, and Mystique’s capture in the aftermath of his death gave them her mutated genetic structure; allowing the Sentinels to be engineered to deal with any mutant powers.

    Only Wolverine, with his incredible healing powers, can handle being sent that far back in time.  He awakens and must find the younger Xavier (James McAvoy) and Magneto (Michael Fassbender), who along with the young “Hank McCoy” (Nicholas Hoult), will try to stop Mystique from killing Trask.  First they have to break Magneto out of the prison cell where he’s being held, with the assistance of “Quicksilver” (Even Peters).  Meanwhile as this is going on in the past, the Sentinels are closing in on the mutants in the present, setting the stage for an epic battle sequence.

    Jennifer Lawrence is "Mystinque" in 'X-Man: Days of Future Past'
    Jennifer Lawrence is “Mystinque” in ‘X-Man: Days of Future Past’

    What makes the Marvel branded action films so successful is that the people behind the scenes really understand the product.  Here they have an ensemble cast film with an amazingly talented company of actors.  Jennifer Lawrence, Halle Berry and Anna Paquin are all Oscar winners.  Ian McKellan, Michael Fassbender, Hugh Jackman, and Ellen Page are all Oscar nominees.  Great actors don’t always bring out the best in one another, particularly in action films.  Fortunately, in this film we watch how a great script, the right director and this excellent cast of performers combine to make a stellar film.  The acting, action and ambience are all perfect.

    Sadly there just isn’t time to develop the newest mutants to come to the film franchise, like “Blink” (Fan Bingbing), “Bishop” (Omar Sy) and “Sunspot” (Adam Canto).  Hopefully we will learn more about them in the present time in future sequels.  We do get humor in just the right places, with the perfectly deft touch of Bryan Singer.  The authenticity with which the year 1973 is recreated is spectacular, right down to the sound quality of Roberta Flack’s haunting song “The First Time Ever I Saw Your Face.”   Homages to the earlier X-Men films can be found and yes, we get the obligatory post-credits scene which I will not spoil.

  • Jon Favreau delivers delicious cinema in ‘Chef’

    Jon Favreau delivers delicious cinema in ‘Chef’

    Jon Favreau as the title character in 'Chef'
    Jon Favreau as the title character in ‘Chef’

    Every film critic has one.  A list of their favorite films involving food.  The movies that make mouths water with magnificent morsels being prepared and consumed on the screen.  My short list includes Like Water for Chocolate, Big Night, Eat Drink Man Woman and of late, Jiro Dreams Of Sushi.  Now I have added another film to this list of food films that make me hungry.  Chef, from writer/director/star Jon Favreau gets two big forks up.

    “Carl Casper” (Favreau) is a chef whose star rose rapidly when he burst on the scene years ago.  Now he is the chef at a restaurant owned by “Riva” (Dustin Hoffman) and as the film opens, one of the most important food bloggers around is going to be in that night to review the place.  The pressure is on.  Carl wants to revamp the menu, making new dishes rather than keep the same old stuff.  Riva is opposed, more concerned about the paying customers than pleasing a reviewer and he gets his way.  As a result, Casper’s fare is judged as being only fair, if that.  Thinking that he’s sending a private message to the critic, “Ramsey Michel” (Oliver Platt) through social media, Carl insults him. Naturally the message wasn’t private and goes viral.

    Carl’s life was already complicated.  He’s divorced, he’s too busy trying to re-achieve success and happiness through his art to be a good father to his son “Percy” (Emjay Anthony)and his perceived control over the kitchen at Riva’s may not be what he thinks it is.  Soon he’s unemployed and helping his ex-wife “Inez” (Sofia Vergara) out as she takes Carl and Percy to Miami where she has work.  Things come together and Carl finds himself the owner of a food truck and en route back to Los Angeles with Percy, and “Martin” (John Leguizamo), one of his former kitchen staff sharing this new adventure.

    John Leguzaimo, Bobby Cannavale and John Favreau in 'Chef'
    John Leguzaimo, Bobby Cannavale and John Favreau in ‘Chef’

    Food is a great metaphor for life, in both the broadest and narrowest examinations.  It is a basic survival need but can also push someone to the pinnacle of Maslov’s mythical pyramid of self-actualization.  Food is both art and science, and can satisfy physical and emotional hunger.  Favreau captures all of this as we see the utter joy in his life when he is creating in his kitchen.  One of the smartest things that he did in making this movie was to enlist the services of Roy Choi, an amazing chef who is one of the founders of the food truck movement, as his technical expert.  The expected moral messages and comedic elements are all here in appropriate measures, stirred and mixed with care and provide a delicious feast for the eyes and ears.

    There’s no point in having a meal before seeing Chef.  You will leave the auditorium hungry.  So go in hungry and make sure you have plans to eat somewhere with awesome eats after seeing Chef.  This is one of those times you want a movie and dinner, rather than dinner and a movie.

  • ‘God’s Pocket’ is an interesting place to visit

    ‘God’s Pocket’ is an interesting place to visit

    Philip Seymour Hoffman and Eddie Marsan in "God's Pocket
    Philip Seymour Hoffman and Eddie Marsan in “God’s Pocket

    There’s a neighborhood like God’s Pocket in every major metropolitan area.  Downtrodden areas filled with people who wish they’d gotten out when they could have, but in almost every case never really had a chance to escape.  This one is located in South Philly and is home to “Mickey Scarpato” (Phillip Seymour Hoffman Hoffman) and his wife “Jeanie” (Christina Hendricks).  She’s a native of the Pocket and he’s moved in and is still considered an outsider by those who were born there.  They live in a house across from his regular watering hole, with her son “Leon” (Caleb Landry Jones) who is an adult handful.

    On the day Mickey is doing a job with his buddy “Bird” (John Turturro) and a gangster named “Sal” (Domenick Lombardozzi), there’s a problem at the construction site where Leon works.  He winds up dead.  Everyone there says it was an accident but Jeanie is convinced that’s not what happened.  Mickey, who got stiffed by Bird on the job they just did, finds himself low on funds and with a big funeral bill he must foot.  He tries to work out a deal with the local funeral home guy, “Smilin’ Jack” (Eddie Marsan) but this just adds to Mickey’s woes.

    Meanwhile, a local newspaper columnist, “Richard Shellburn” (Richard Jenkins) is trying to find something to motivate him to write his columns as he staggers through a daily drunken haze.  The newspaper fouls up the details of Leon’s death and Shellburn is handed the punitive assignment of doing a column about the deceased.  He is fascinated by Jeanie and she becomes the object of his affection.

    Philip Seymour Hoffman and John Turturro in 'God's Pocket'
    Philip Seymour Hoffman and John Turturro in ‘God’s Pocket’

    This is director John Slattery’s first feature and it’s a strong initial effort.  Films where the audience doesn’t really root for anyone are a tougher sell and this isn’t a highly commercial film as a result.  It doesn’t make a clear choice between taking the dark or the light approach to life in a depressing, suffocating neighborhood and that detracts from it a bit.  That doesn’t stop the talent-laden cast from delivering some very strong turns, particularly Jenkins as the alcoholic dreamer and Turturro as a man overwhelmed by the life choices he made, desperately in search of the light at the end of a seemingly endless tunnel.

    Even though it isn’t his finest work, God’s Pocket is a stark reminder of the immensity of the loss of Philip Seymour Hoffman.  One of the finest actors of his or any generation, he had this ability to find new levels of multi-faceted performance.  He took written creations from a page (or monitor if you prefer) and brought them into vibrant existence before our eyes.  He is sorely missed.

  • ‘Fed Up’ will fill you full of important information

    ‘Fed Up’ will fill you full of important information

    FEDUP_5

    Writer/director Stephanie Soechtig has combined forces with executive producers Katie Couric and Laurie David to give us a heaping helping of dynamic documentary filmmaking with Fed Up.  When the filmmakers used the phrase “the film the food industry doesn’t want you to see” to market the movie, it sounds like typical hyperbole.  It isn’t.  Using a combination of startling facts and poignant anecdotes, Fed Up takes the crisis in food consumption beyond Supersize Me.

    Facts such as the fact that by 2010, two out of every three Americans was either obese or overweight.  80% of the hundreds of thousands of food products sold in the U. S. has added sugar.  Hispanic-American children see 49% more television ads for sugary drinks and energy drinks than their Caucasian counterparts.

    'Fed Up' director Stephanie Soechtig
    ‘Fed Up’ director Stephanie Soechtig

    Most of this is stuff we were at least partially aware of.  What Fed Up does to drive home the message about the pandemic of obesity in our country that other documentaries have not, is to challenge our basic assumptions about weight loss.  After all, everyone knows that it’s a simple equation.  Burn more calories than you take in and eventually the pounds melt off.

    Fed Up lets us know that sugar isn’t just addictive.  It is highly addictive.  One test involving lab rats already addicted to cocaine gave these rats a choice between that drug and sugary water.  93% of the rats chose the sugary water over that “other white powder.”

    Fed Up examines the key component to any problem like this, the profit motive.  It educates its audience about who is making money from all of this added sugar being stealthily added to our food products.  It also shows how blaming us as individuals and trying to assign the responsibility for our failure to lose weight is a technique that masks the actual reasons it is so damn difficult to lose weight in this day and age.  How else are we to explain that the First Lady’s Let’s Move program has become less focused on healthy eating and more on exercise?  All the exercise in the world can’t overcome a diet where reducing/eliminating fats can actually be made worse when they are replaced by sugars in order to make the foods tasty (and addictive).

    Former President Bill Clinton in 'Fed Up'
    Former President Bill Clinton in ‘Fed Up’

    Strong graphics, the appearance of figures like Bill Clinton, and the clear commitment of the filmmakers makes Fed Up a powerful presentation.

    If you’re interested in learning more about the subject I would suggest you pick up a copy of “Salt Sugar Fat: How the Food Giants Hooked Us” from New York Times reporter Michael Moss.

  • ‘Amazing Spider-Man 2’ tries to do too much

    ‘Amazing Spider-Man 2’ tries to do too much

    Andrew Garfield spin another web in 'Amazing Spider-Man 2'
    Andrew Garfield spin another web in ‘Amazing Spider-Man 2’

    It’s tough to reboot a film franchise.  It’s even tougher to do when you’re doing it only ten years after the film that (to borrow an overused meme) “jumped the shark” comes out.  But The Amazing Spider-Man did just that in 2012 and did it very well.  The sequel, The Amazing Spiderman 2 has just opened, and with two more films (plus spinoffs) already scheduled, the expectations were high.  Especially with the key cast members all back and Marc Webb in the big chair.

    Emma Stone is back as Gwen Stacy in 'Amazing Spider-Man 2'
    Emma Stone is back as Gwen Stacy in ‘Amazing Spider-Man 2’

    The result is a movie that tries to do too much and succeeds in only portions of the ambitious agenda.  The last thing one needs in the follow-up to a franchise reboot is revisiting expositional material but that’s exactly where the filmmakers choose to begin.  More of the backstory of the parents of Peter Parker doesn’t really drive the story, although it’s interesting and allows Embeth Davidtz and Campbell Scott a few nice moments.  Then we’re returned to the present where “Peter Parker/Spiderman” (Garfield) is busy trying to keep New York City safe while dealing with his girlfriend “Gwen Stacy” (Stone) and a promise that he made to her dying father and getting to an important ceremony on time.

    At one point Spiderman saves “Max Dillon” (Foxx), yet another employee of Oscorp.  Max already thought Spiderman was his friend and their brief encounter only reinforces his delusions.  Oscorp’s founder, “Norman Osborn” (Chris Cooper briefly reprising his role in the reboot) is dying and his son “Harry” (DeHaan) returns home to see him.  After his father’s death, Harry reunites with his childhood friend Peter Parker, whose help he seeks later, in locating Spiderman.  Harry has the same illness that killed his father and he believes Spiderman’s blood is his salvation.

    Max is the victim of a major industrial accident and becomes “Electro” and seeks out revenge on Spiderman, after Spidey overcomes him in their first encounter.  Gwen wants to move to England for college and Spiderman’s life is coming unravelled.

    Jamie Foxx sparkles as Electro in 'Amazing Spider-Man 2'
    Jamie Foxx sparkles as Electro in ‘Amazing Spider-Man 2’

    In evaluating this film in terms of visuals and special effects, it’s one of the best in quite some time.  Spiderman’s motion and the action against which that motion is set, is better than ever.  When there is action on the screen, the pace is beyond frenetic and it’s easy to lose track of time.  The same can’t be said when there is no physical action involving Spiderman and any of his various foes happening; and in a film that runs on for over 140 minutes, that’s not a good thing.

    Andrew Garfield and Emma Stone have outstanding chemistry and their mutual attraction is not just believable, but enjoyable.  Sally Field has some fine sequences as “Aunt May” who loves her nephew and will do anything to help him.  I wish I’d have loved this film as much as I did the franchise reboot.  I didn’t.

  • You will feel blue if you miss ‘Blue Ruin’

    You will feel blue if you miss ‘Blue Ruin’

    blue3 (500x250)
    Macon Blair as “Dwight” at the beginning of ‘Blue Ruin’

    Writer/director Jeremy Saulnier has clearly avoided the dreaded “sophomore jinx” in his second feature film, Blue Ruin. In fact, it shows a lot of progress in his skills behind the lens since his first film, 2007’s Murder Party, which was a better than average debut effort. As winner of the FIPRESCI (International Federation of Film Critics award) prize at the 2013 Cannes Film Festival, it is a film worthy of notice.

    “Dwight Evans” (Macon Blair) is a man living in a blue wreck of a car on a dune somewhere along the Atlantic. He sneaks into houses to bathe, manages to feed himself and generally seems to be stuck in an aimless existence at the film’s outset. He becomes immediately freed from that existence when he learns that the man who murdered his parents is about to be released from prison. Now he is a man on a mission.

    The ancient blue car is trashed, but once Dwight puts his mind to it, it runs and he is off to confront the man who killed his parents and ruined his life.   That man, “Will Cleland” (David W. Thompson) is picked up at the prison and take him off to celebrate his “early release from the service of the state.” He and the rest of the ‘trailer-trash’ that comprise his family go to a dive bar and Dwight follows. Once he manages to get Will alone, Dwight kills him in a particularly brutal fashion. Problem is, it is easy to know who did the deed and the rest of the Clelands won’t settle for just killing Dwight in return. They will go after his estranged sister and her child. That’s just not acceptable for Dwight. He will do anything humanly possible to protect them, even if it means setting out to kill the entire Cleland clan. No need to involve the cops. He knows the Clelands will seek vengeance, not justice.

    The most amazing aspect of Blue Ruin is that it was made with such a low budget. It was funded by a campaign on Kickstarter. On basis of quality of film versus expense it is one of the better films to come along in some time. Blair is in almost every sequence and does well portraying a complex character.   Amy Hargreaves, playing Dwight’s sister “Sam” is the one character in the film’s cast who garners some sympathy and concern from the audience. She’s good in the role. But aside from the brilliance of Blair, it is Devin Ratray (Nebraska) who deserves the most plaudits. As Dwight’s best friend from childhood, “Ben Gaffney” he provides assistance to Dwight and most of the few, but perfectly placed moments of laughter in an otherwise dark revenge thriller. As “Kris Cleland,” Eve Plumb just isn’t given much to do, but for fans of “The Brady Bunch” it’s nice to see her on the big screen.

    I look forward to more films from this clearly talented filmmaker. Even if I have to kick in to his next Kickstarter campaign.

  • Get aboard ‘The Railway Man’ and you’ll enjoy the ride

    Get aboard ‘The Railway Man’ and you’ll enjoy the ride

    Colin Firth is the title character in 'The Railway Man'
    Colin Firth is the title character in ‘The Railway Man’

    “Men are at war with each other because each man is at war with himself” – Jonathan Teplitzky

    Francis Meehan’s The Railway Man is based on the true story of Eric Lomax (Colin Firth). He was an officer in the British Army Signal Corps, assigned to Singapore. When the Japanese attacked the island, then part of the British Empire, the defenders fought on but eventually had no choice but to surrender to the attacking force.  Thousands of men were taken prisoner and sent to work on the Burma-Thai railway. Lomax, his best mate “Finlay” (Stellan Skarsgård ) and a few other officers avoid working “up the line” where the conditions are horrific.   Instead they are sent to a camp where their advanced skills can be put to good use by their Japanese captors.

    They construct a radio and when it is discovered, Lomax steps up and takes all of the blame. He is tortured by the Kempetai (Japanese Military Police) with an officer named Nagase (Hiroyuki Sanada) handling the interpreting. The brutality leaves him physically broken but he never gives in to give them the confessions and admissions they are seeking. Eventually the Japanese are defeated and Lomax goes home.

    The British officer POWs at the camp in 'The Railway Man'
    The British officer POWs at the camp in ‘The Railway Man’

    Years later, thanks to his obsession with trains and rail schedules, Lomax meets Patti (Nicole Kidman) and they fall in love and marry. Eventually she learns all too well about his post-traumatic stress issues. Only then does he discover that his tormentor is still alive and he resolves to go and confront him, determined to get justice for himself and those who died in the construction camps. He finds him running a war museum in Thailand at the site where Lomax had been abused.

    The Bridge on the River Kwai is considered one of the best war films ever made and won a Best Picture Oscar telling the story of British and other Allied military men being mistreated while building the railroad at the root of this film. This is not that story. This is a look at one man, what he endured and how he finally found a way to quell the demons inside of himself, long after the physical damage had healed. He did it with the help of his fellow POW friends, who were as bothered by their shared experiences as he was; and mostly with the love and support of his new wife, portrayed brilliantly by Nicole Kidman. She gives an outstanding performance in this film. Colin Firth tries hard but he just isn’t up to this particular role. He is a tremendous talent and I’m a major fan but this just isn’t his best work. There is brutality in this movie. It is necessary to portray the experiences of the real Eric Lomax. It isn’t gratuitous, but some may find it disturbing. The imagery is nicely done, particularly the shots of trains as they plod along tirelessly.

  • Buy a large popcorn before going in to see ‘Robocop’

    Buy a large popcorn before going in to see ‘Robocop’

    Abbe Cornish and Joel Kinnaman before he becomes 'Robocop'
    Abbe Cornish and Joel Kinnaman before he becomes ‘Robocop’

    This review of the 2014 remake of Robocop is based on making no comparisons between it and the excellent 1987 original, directed by Paul Verhoeven.  If comparisons were to be made, the rating would be lowered from a three to a two.

    Set in 2028, the remake begins by showing how the rest of the world is using robots and drones to enforce the law.  No police officers are at risk.  Reporters from the television program “The Novak Factor”, an excellent parody of Bill O’Reilly’s show on Fox News are touting the equipment as the host of the show “Pat Novak” (Jackson) is trying to assist the CEO of Omnicorp.  That CEO, “Raymond Sellars” (Keaton) is working to get Congress to overturn a law that prevents the use of the robotic technology inside the U.S., as it represents a vast, untapped market for his company’s products.

    Gary Oldman and Michael Keaton arguing over 'Robocop'
    Gary Oldman and Michael Keaton arguing over ‘Robocop’

    In Detroit, police officer “Alex Murphy” (Kinnaman) is working to build a case against a crime lord named “Antoine Vallon” (Garrow).  On orders from Vallon, a bomb is placed on Murphy’s car and when it explodes he is nearly killed.  This leads to him becoming the test subject in an experiment conceived by Omnicorp scientist “Dr. Dennett Norton” (Oldman) that would combine man and robot, as a selling point to the American public.

    At first the experiment seems doomed to fail as “Robocop” is not able to perform at the same level as the actual robots on which he is patterned.  Tactical consultant “Rick Mattox” (Haley) is convinced these difficulties can’t be overcome.  But Dr. Norton alters the mind of Officer Murphy so that he only thinks he is in control, in actuality, the machinery controls his reactions.  This results in a vast improvement in performance.  Now as Robocop is being used to sell the idea of robot cops to the people of the U.S., he himself sets out to solve the attempt on his life, and to uncover the corrupt police officers who were assisting Vallon.

    Joel Kinnaman as "Officer Murphy" following an attempt on his life in 'Robocop' as Gary Oldman's "Dr. Norton" outlines the experiment
    Joel Kinnaman as “Officer Murphy” following an attempt on his life in ‘Robocop’ as Gary Oldman’s “Dr. Norton” outlines the experiment

    The same moral questions are being examined here, but this is definitely a different movie.  The special effects, the action sequences and the general appearance of the film all benefit from advances in technology over the past 27 years.  The film’s pacing ebbs and flows at time but it never reaches any moments of full “pause” in plot progress.  Michael Keaton is a very talented actor but that mischievous twinkle in his eyes that made him so good in films like Mister Mom hampers his ability to portray a sinister CEO.  Gary Oldman would probably be great standing still and saying nothing and he stands out among this cast, as does the lovely Abbie Cornish.  Director Padiha, whose Elite Squad won the Golden Bear at the Berlin Film Festival, can be proud of his effort here.

  • Be sure to book a stay at ‘The Grand Budapest Hotel’

    Be sure to book a stay at ‘The Grand Budapest Hotel’

    hotel2 (500x334)
    Ralph Fiennes and Tony Revolori deal with Edward Norton and his minions in ‘Grand Budapest Hotel’

    “Stefan Zweig was a dark and unorthodox artist; it’s good to have him back.”–Salman Rushdie

    At the end of the latest impressive film from Wes Anderson, Grand Budapest Hotel, there is a credit that states Anderson was inspired by the works of Stefan Zweig.  Zweig, a very popular author in Europe before World War II is little known in the West and published only one novel during his lifetime.  This film is actually inspired by the one novel published during Zweig’s life and one published posthumously.

    The movie brings us inside the titular hotel through a clever device at the outset and suddenly we are taken back to the 1960s.  Jude Law is “Young Writer” and enjoying a sojourn at the Grand Budapest in the “off-season” when he encounters the property’s mysterious owner.  F. Murray Abraham is “Mr. Moustafa” and little is known about him.  They meet and Mr. Moustafa invites Young Writer to dine with him and promises to tell the story of how he came to own the hotel.

    F. Murray Abraham and Jude Law in 'The Grand Budapest Hotel'
    F. Murray Abraham and Jude Law in ‘The Grand Budapest Hotel’

    As he begins telling his story we are taken further back, to 1932.  “Gustave H.” (Ralph Fiennes) is the concierge of the hotel and enormously popular with the wealthy guests who frequent it.  In particular, elderly dowagers and straying wives of rich men.  He sleeps with these women with a curious nonchalance that indicates he has mixed feelings about them.  He discovers that a new Lobby Boy, “Zero” (Tony Revolori) was hired subject to his approval and after carefully scrutinizing the young man, he pronounces him acceptable.

    All seems well until one of Messier H’s favorite clients dies suspiciously at home.  “Madame D” (Tilda Swinton) has one son, “Dmitri” (Adrien Brody) and a large passel of ne’er do well distant relatives.  They have gathered at her home to see if they are mentioned in her will.  Messier H and Zero travel there so H can say his good-byes to his lover.  What ensues is best left for you to enjoy.

    There are certain things you know you will get in a Wes Anderson movie.  You will be treated to whimsy.  You will laugh.  You will enjoy an interesting story, although some of his stories have been better than others.  The recent Moonrise Kingdom was a masterpiece of writing and directing while The Life Aquatic with Steve Zissou is good, but not brilliant.  You will almost certainly see Bill Murray, who has appeared in seven of the eight feature films from Anderson to date.  It is worth noting that Murray’s role in this movie is limited but he makes the most of it.  Owen Wilson will probably be involved with the film somehow, as he’s been in six of Anderson’s features and co-wrote one of the two he wasn’t in.

    Anderson keeps using some of the same actors over and over, and this is not a bad thing.  He works other actors into his “company” seamlessly and allows them to find the interesting characters he has shaped for them.  Make sure you check in at the Grand Budapest Hotel.

  • ‘Grand Piano’ is a taut, tense thriller

    ‘Grand Piano’ is a taut, tense thriller

    Elijah Wood stars in 'Grand Piano'
    Elijah Wood stars in ‘Grand Piano’

    Name a famous concert pianist who plays only classical music.  Don’t use Google.  Did any names spring immediately to mind?  Don’t worry if they didn’t.  In this day and age, very few classical musicians become household names.  But within the world of classical music, they are very well known and the surprisingly good thriller Grand Piano focuses on just this sort of musician.

    “Tom Selznick” (Wood) is a brilliant ‘young’ pianist who was on his way to the very pinnacle of his field when he broke down in the middle of a performance.  A performance where he might have been attempting something beyond his grasp.  Now, five years later, he is returning to the concert hall to perform again.  Hoping he has conquered the stage fright that has consumed him since his last performance.

    Kelly Bishe and Tamsin Egerton in 'Grand Piano'
    Kelly Bishe and Tamsin Egerton in ‘Grand Piano’

    The famed actress “Emma Selznick” (Bishe) he is married to is in the audience, along with one of her close friends, “Ashley” (Egerton) and her husband.  Ashley is unhappy that she isn’t able to sit with her friend, and has little interest in the concert that is about to unfold before her.

    Backstage just before the performance, Tom is examining his sheet music and he finds a piece that he wasn’t planning to perform.  It is La Cinquette, the magnum opus of his deceased mentor.  It is the piece Tom was playing when he had his melt-down, and is considered by many to be unplayable.  Also important is that with permission of the mentor’s estate, his personally designed piano has been flown in to the concert hall in Chicago.  Tom discards the music and heads to the stage.

    “Reisinger” (McManus) is the conductor of the orchestra that is backing Tom’s concert and he is both old friend and pain in the posterior to Tom.  Everything is going well until Tom spies the note on the piano.

    The note that "Tom" sees
    The note that “Tom” sees

    If that wasn’t enough to convince him, the bright red laser dot that shines on him makes him aware there is a sniper out there who can and will shoot him.  Or worse yet, kill Emma right in front of him.

    Some will dismiss this as nothing more than Phone Booth on a concert stage, or Under Siege on a piano stool; but that’s a mistake.  Director Eugenio Mira allowed himself to be influenced by the right masters of the thriller to make this film work.  Echoes of De Palma and Carpenter are there, more so than those of Alfred Hitchcock, who Mira admits is a major influence on him.

    Elijah Wood is perfectly cast as the tortured artist who looks wide-eyed but is very jaded by his experiences.  He and Kerry Bishe have the right chemistry to evoke the specter of a couple very much in love with one another; and desparate to ensure each fulfills their dreams.  Don McManus is wonderful in the small role as leader of the orchestra while Alex Winter is fun to watch as the sniper’s behind-the-scenes assistant.  The assassin himself, John Cusack is mostly heard and not seen, and this is another facet of this film that works quite well.  You don’t have to love classical music to enjoy the playing of the Grand Piano.