The Crazies

Film Review by Alexander Morales

With a title like “The Crazies,” I am betting someone could expect a lot of weird stuff to be going on. I mean, come on, just the idea of the word crazy brings up some pretty frightening things. From mass murders to demented clowns, crazy has become one of those words that, while probably used too much in the incorrect context, is still able to reduce you down to your worst kind of nightmares. Fortunately, you don’t have to worry about that here.

Directed by Breck Eisner and a remake of the 1973 film of the same name by George A. Romero, “The Crazies” is set in the quaint, quiet Iowa town of Ogden Marsh where something bad is starting to happen. Townsfolk are starting to act a little “off” and it even sends a few of them into a violent rage. Needing to get some answers, the sheriff (played, as always with just the right amount of tough guy swagger by Timothy Olyphant) and his trusty deputy (Joe Anderson) work the conveniently placed clues in order to uncover the ugly truth … something tastes a little funny with the water. From there, more people go a little crazy, the government steps in and a small team of the most likable people in town band together for survival. Let the horror ensue.

Or not.

The problem with this film is that it really isn’t that scary. While the infected can be a little weird and do bad things, the majority is not so much crazy as just turning violent. I think this could be qualified into the zombie kind of genre, but the people that do get infected and get into the killing mood, still have some motive and reasoning skills and last I checked, you kind of lose that when the mind goes a little kooky. Now there were some tense moments, but everything scary was that quick jump kind of a scare and was set up so clearly by the darkness, lack of sound and any other cliché we all know, that you just kind of laugh when it happens.

Now I am not saying I didn’t like the film. Production and acting-wise, this film is very well made. Olyphant plays the tough sheriff role perfectly and a nice surprise of loyalty, humor and strength comes from his deputy Russell. The sheriff’s wife (Radha Mitchell) is just as tough as him and holds her own in times of danger so I can’t really complain about her role. The movie is not too long and paces well with a good score and solid special effects. Surprisingly, there is some great humor and good dialogue was interjected throughout so you could stay engaged pretty well, but there was just something about it that seemed a little off to me. What was it? I can’t put my finger on it … oh wait, a minute, that’s right. It’s because I’ve seen it already.

I don’t mean that I’ve seen the 1973 version of the film. Nothing is original about the way this movie is made or in how it is presented. Clearly, the director has just taken the best parts of other, better films and made something based in Iowa. A smattering of “28 Days Later” here, Zack Snyder’s “Dawn of the Dead” there, throw in some Tony Scott government electronics and suddenly you have “The Crazies.” Like I said, it’s not bad, but it’s also nothing new and in the end; I think that is its greatest flaw. Which truly is a shame, since it’s clear that Eisner and Romero were going for the newest creepfest, but like the last few Romero outings, all you get is yesterdays retreads.

In the end, I think most people will like it. Like I said, it’s well made and the cast do a great job. Nothing is overly silly or ridiculous and I think anyone on a date will have fun with the jumpy scares. Probably worth a one-time showing but nothing that will stand for long in great halls of Horrordom.

3 out 5 Infected Townsfolk

Cop Out (A.K.A. “All the other good movie titles were taken so we got stuck with this one”) 

By Jason Gregg

Painful to watch. Absurd story line. Dull action. Slow moving train wreck. Those are the words I am using to describe Bruce Willis’ and Tracy Morgan’s new movie “Cop Out.”  Five being the number of times I laughed in the almost two-hour long tragedy. Although, I think it was intended to be a comedy.

The story begins with Jimmy (Willis) and Paul (Morgan) interrogating a suspect in a drug case. It also happens to be their nine-year anniversary of being partners on the NYPD.  Laugh No. 1: the interrogation scenes were partially funny because Paul, while physically and verbally abusing his suspect, was quoting cop movies he had seen.  The scene does take a clever jab at a Willis movie.  

The film quickly moves into the typical 1980s buddy cop movie. I think that the writers simply Netflixed the entire buddy cop genre one weekend and wrote notes on what they thought was funny. Robb and Mark Cullen wrote the screenplay and Kevin Smith of “Clerks” fame directed.

Jimmy and Paul go on an assignment and make a few mistakes that results in losing their badges for 30 days. Who takes their badges away? It is the stereotypical angry police captain that has had enough of their antics. Sorry, seen it before, guys. 

Jimmy soon finds himself in a situation where he needs $48,000 and is without a job. Oh no, how will Jimmy ever find a way get the money? It turns out that Jimmy has a very valuable baseball card and when he goes to sell the card, it’s stolen by Dave (Seann William Scott). The card ends up in the hands of a ruthless Mexican gang leader who houses baseball memorabilia worth hundreds of thousands of dollars in a $25,000 home in the ghetto.   

During this train wreck, I couldn't find a time where I really cared about any of the characters; Willis seemed to be phoning most of his lines into the movie. Morgan was being, well, Tracy Morgan. That was actually a good thing. He plays the sensitive dumb wit so well that it's fun to watch him on “30 Rock.” But, when I can watch him be a goofball for free on Thursday nights, why would I pay $10 on Friday to watch him to play the same character?

The rest of the story is about Jimmy trying to get his baseball card back from the Mexican gang who is using Jimmy and Paul to retrieve a stolen Mercedes. Dave comes back into the story with laugh No. 2 where they have a juvenile joke fest while figuring out if Paul’s wife is cheating on him. Laugh No. 3 comes soon after that with a little physical pain to an 11-year-old boy (I don't advocate violence upon children, but I will laugh at it when it is done right). The story moves slowly into finding an angry Mexican woman. I assume the casting agent hired her because she is pretty and she could scream/ curse in Spanish for the remaining 45 minutes of the film.  

Laugh No. 4 and the last one (Sorry, there was no laugh No. 5. I was giving the movie a handicap out of pity), was when the credits were rolling. It takes place in a morgue and as far as morbid pranks are concerned it was funny. Again the joke was by Scott, which makes me ask - why didn't he get his name on the movie poster? He did most of the work.

There you have it, a 1980s cop comedy that would have been funny 25 years ago. Maybe it was paying homage to the cop comedies we grew up on but then again maybe this is simply a lost cause. Pay attention to the musical score and you'll hear the 1980s Casio Synthesizer used in movies like “Fletch” and “Beverly Hills Cop.” It brought me back to a simpler time when these jokes were fresh and new.     

Should you see this movie? Please don't. Save your $10, watch “30 Rock” and rent “Die Hard” and you'll see Willis and Morgan in their best elements.

Shutter Island

Film Review by Alexander Morales

Uncomfortable. Completely uncomfortable. And that’s a good thing.

From the opening scene of “Shutter Island,” you are overwhelmed with this complete feeling of uneasiness. From the hard-edged musical score to the worried frowns of the island employees, you just know that something is not right. But then again, I’m getting a little ahead of myself.

“Shutter Island,” directed by Martin Scorsese and based on the novel of the same name by Dennis Lehane, is a mega-creepfest that needs to become a prerequisite watching for all young filmmakers in the mood to make a thriller. Starring a slew of superb actors, including Leonardo DiCaprio, Mark Ruffalo and Ben Kingsley, this film begins delivering immediately.

The story starts simply, in 1954 a female patient has disappeared from her quarters without a trace and two U.S Marshals have been called in to investigate. Unfortunately for them, the patient is a passed murderess and her quarters are housed on an island in Boston Harbor that is home to a maximum, security hospital for the criminally insane. From there, the story moves into a complex maze where everyone’s intentions, including the two investigators must be called into question.

Honestly, it’s hard to find something wrong with this film. DiCaprio is captivating as the tattered hero Teddy Daniels. From the stress of seeing the ugliness of World War II to the loss he experiences at home, DiCaprio plays his part with focus and determination that never falls into cliché or satire. Which is extremely important since the pace of the film and the unraveling of the truth all depends on him and his dedication. At the same time, Kingsley is excellent as Dr. Crawley; a passionate man, who cares deeply for the well-being of his patients but is surely hiding something sinister within the storm-hitting Shutter Island.

On the flip side, the score is extremely heavy and is, above all, the source of the high tension you feel throughout the film. Although the set and landscape of the island helps enhance the dark tone of the film, the score completely becomes like a persona working side by side with the actors and places you in the moment. In contrast to the acting, which is very nuanced, the sharp heaviness of the score helps balance everything in a way that keeps the audience engaged and on the edge of their seats. However, I will say that the musical format is not for everyone and some will probably think that’s a little too intrusive into the film, but that’s OK, because like the island, nothing is as it seems.

If I did have to find something wrong with the film, I will say that some of the events in the film are a little coincidental and the ending, which I enjoyed, could be a little too ambiguous for the average audience member. However, that’s if I had to find something wrong.

Clues are all around to tease you into thinking you know what’s happening, but at the same time, you are getting pulled into a web of lies, abuse and fear that never allow you to feel comfortable within the confines of the island complex. This works wonderfully, especially when, as things start to fully unravel, you are not given the random twist-kind-of-ending that Hollywood is making standard in its films right now. No, this film is deliberate, focused and the kind of story that makes you feel satisfied about spending your time in the theater.

Above all, go see this film. Martin Scorsese, while truly a wonderful filmmaker, has made an excellent addition to his resume and given filmgoers a magnificent thriller to spend time with. While many new films think that tension is built on quick scares and dark lighting, “Shutter Island” proves that with strong acting, deep source material and the right guidance, the thriller is alive and well. Just don’t get too comfortable.

4.5 out of 5 Stars

‘Dear John’ Presents a Mixed Bag of Messages

Reviewed by Kellie Houx

OK, let’s put this on the line now. This is a mother-daughter review team with different tastes. Carol Thompson is an early 60-something retired schoolteacher with a penchant for contemporary romance novels and movies. During convalescence last year after back surgery, she listened to several Nicholas Sparks’ books on tape. And any time, “The Notebook” comes on, she is glued to the television.

I am a wife, mother and editor for Townsend Communications. I have not seen “The Notebook” all the way through, but I am a sentimental individual who does enjoy a sweet movie from time to time. With Valentine’s Day around the corner, I could see some girlfriends, wives and other sorts of significant others dragging their guys to the movie theater.

Here is what my mother wrote: Sparks book has a lovely love interest, sadness and a twist of events at the end. The scenery was beautiful, the stars (Amanda Seyfried and Channing Tatum) were cute to look at and the love story was enjoyable. I thought the ideas on autism were unique especially in a movie of that type. It will probably make some of the audience realize how special autistic people can be. Despite the chance to preview the movie, it still was on my must-see list.”

That being said, the film adaptation of “Dear John,” Sparks’ book of the same name, represented a mixed bag of clichéd contrite romance novel elements with several pleasing snippets that work and work well for me, the daughter. 

Having read an interview with writer Sparks, the movie clicks a little more. He said the inspiration for his novel is “Casablanca.” The film, starring Humphrey Bogart and Ingrid Bergman, has her showing up with her Czech Resistance husband at the beginning of World War II. Bogart’s character ends up making a sacrifice for the two of them. Having seen “Casablanca,” I understand the intent behind the sacrifice of John.

Director Lasse Hallström is a quiet director driven to share a quirky story. He directed “What’s Eating Gilbert Grape” in 1993; “Cider House Rules” in 1999; “Chocolat” in 2000; and “The Shipping News” in 2001. These are four of his films I have seen and enjoyed. They are quiet story-driven films rather than crazy special effects.

“Dear John” had some lovely images. Not giving any spoilers away, John is shot during the current conflict. As he falls, he remembers a trip to the Treasury Department as a young elementary boy and talks about how coins are minted. As he grows up, we understand that his father and he had some connection with coin collecting, but as a rebellious teen, John turns away. Mr. Tyree, played by Oscar nominee Richard Jenkins, is a creature of extreme habit. The father and son have a strained relationship, but a young Savannah, the role played by Seyfried, reignites some semblance of a better relationship. There’s even a nice turn by an adult and bearded Henry Thomas, whose character is a single father of an autistic child — again, a very relevant issue is presented to the audience. 

Of course, the other strong image that appealed to me is writing letters. John and Savannah exchange letters during his deployment and her return to college after their romance erupts during a long spring break (he’s on leave). Here is where I actually saw the romantic story arc. I remember my grandmother and grandfather telling me stories of their letter writing while he was fighting in World War II and she was working in an ammunitions plant stateside. She even wrote him a Valentine’s letter in those little candy hearts. I never knew whether the hearts survived the mailing, but the two of them always looked at each with such love when they would tell this story.

So I suppose the movie and book title works, as there finally is a real “Dear John” letter. I can only imagine that as people were able to write and correspond, there have been sweethearts separated by war and eventually the strain on the relationship severed those ties. Toward the end, there’s one minor twist, but if you are paying attention you can guess what happens. So perhaps I walked away from this film with a tepid response that has warmed up, just like the waters off the Charleston coast in the movie.

Perhaps it’s true, we are all minted by our experiences. Sometimes the edges aren’t perfect and the image isn’t centered, but we turn out OK in the end.

March 6 & 7, 2010

Saviors in the Night/Unter Bauern: Retter in der Nacht
Saturday, March 6 - 7:30 pm + Opening Reception
Director: Ludi Boeken | Narrative | France, Germany | 2009 | 95 min | English, French, German with subtitles | Subjects: Drama, History, Holocaust, Interfaith Relations

The riveting, real life drama of a Jewish family that found refuge with farmers during WWII, SAVIORS IN THE NIGHT is a powerful, humanity-affirming story in the face of barbarism. Escaping the last of the death camp deportations, the Spiegel family is offered safe hiding for nearly three years by salt-of-the-earth German peasants who reject fascism and put themselves at grave risk without hesitation.  Danger lurks constantly as SS officers, Nazi youth groups  and frightened citizens threaten to expose the refugees and their protectors. Today, the names of these courageous farmers are immortalized at the Yad Vashem memorial in Israel. Based on the memoirs of the now 97-year-old Marga Spiegel and featuring strong performances by the ensemble cast, SAVIORS IN THE NIGHT is a refreshingly unsentimental memorial to these silent heroes. 

Circumcise Me: The Comedy of Yisrael Campbell
Saturday, March 6 - 9:45 pm
Director: David Blumenfeld & Matthew Kalman
Writer: Yisrael Campbell 
Comedy, Documentary | USA | 2008 | 47 min | English
| Subjects: Conversion 

It's non-stop laughter when standup comedian Yisrael Campbell-born Chris Campbell-tells of his conversion to Judaism from Catholicism. You can't help but laugh as he relates how he had three circumcisions (it's true!). His story is a side-splitting true tale of his conversion to Reform, then Conservative then Orthodox Judaism. Yisrael, who after a stint with illegal substances, says he was born "Catholic enough to know I was going to hell," now has the pais to prove his Orthodox commitment. And, by the way, he lives in Jerusalem. Laughs galore are promised as Yisrael delivers standup comedy in this unusual story. 

Children of the Sun
Sunday, March 7 - 2:00 pm - Discussion following
Director: Ran Tal | Documentary | Israel | 2007 | 70 min | Hebrew with subtitles
| Subjects: Zionism, Kibbutz Movement, Israeli History, Personal Narrative

Children of the first kibbutzim in Israel were born in the early 20th century to youthful parents, full of hope. They have been called "Children of the Sun," because they were considered children of the "Sun of Nations" Revolution in Israel. Born into a utopia, they were destined to become "new citizens" for the common good and a life of equality. Children of the Sun features rare footage shot at the kibbutzim between 1930 and 1970, and rare recordings and conversations with family and friends. Director Ran Tal weaves an amazing tapestry that is both a very personal and very public story -- a meta-narrative about the fascinating and founding myths of the Zionist movement in the Land of Israel.

Sponsored by the Alon family in memory of Michal Alon.

Max Minsky and Me
Sunday, March 7 - 7:00 pm
Director: Anna Justice 
Narrative | Germany | 2007 | 94 min | German with subtitles
| Subject: Coming-of-age, Youth/Bat Mitzvah, German Jews, Family Life, Science, Basketball, Family Friendly Film 

Nelly Sue Edelmeister (Zoe Moore) is a skinny 13-year-old future astronomer living in Berlin with her divorcing American Jewish mother (Adriana Altaras) and German Christian father (Jan Josef Liefers). Though her mom pushes her to practice for her fast-approaching Bat Mitzvah, Nelly is more fascinated by the mysteries of the cosmos. When a school basketball championship offers her a chance to meet fellow astronomy fan and heartthrob Prince Edouard of Luxembourg, Nelly turns to Max Minsky for help. Author Holly-Jane Rahlens based the screenplay for this coming-of-age story on her novel, Prince William, Maximillian Minsky and Me, which received the German Award for Young Peoples Literature in 2003. 

FilmFest 2010

The Kansas City FilmFest: a new name for a new combined festival bringing the best of the KC Jubilee Film Festival—our long running, juried shorts fest—with KC’s oldest film festival, FilmFest KC, offering curated programming of great international and independent feature films.

Occurring annually in April (2010 dates are April 14—18), the Kansas City FilmFest is a juried festival for both shorts and features in several divisions: the Heartland Division (filmmakers from Missouri or Kansas), US / International Division and CinemaJAZZ Division (films inspired by jazz). We will also be curating special programs of international and independent films.

We are excited about our new festival creating a new tradition in downtown Kansas City in the newly renovated, historic, all-digital AMC Mainstreet Theatre. There is a growing vibrancy downtown with KC Live, the Sprint Center and an expanding residential population while blocks away is the hip, cool Crossroads Art District, a growing collection of home-grown media production companies mixed among the many art galleries. We are poised to build Kansas City FilmFest into a major regional film festival celebrating the love of movies and moviemaking.

In difficult economic times we always seek to escape, at least briefly, from our travails. Join our celebration. Get involved as a volunteer. Be inspired by the creativity of these artists.

Fred G. Andrews
President
Kansas City Filmmakers Jubilee

For more information on the past 2009 KC FilmFest, please visit the dedicated Festival website, www.kcfilmfest.org.

Crazy Heart stole mine!

Reviewed by Heidi Nast

I went into Crazy Heart expecting the same old fall from grace elevated Hollywood story and was very surprised to find it was quite the contrary. Fox Searchlight combines four-time Academy Award nominee Jeff Bridges with writer/director Scott Cooper along with a star-studded cast for the release of Crazy Heart.

Yes, Jeff Bridges stars as Bad Blake who’s 57, tired, broke, an incessant smoker, excessive drinker, washed up and run down, sleeping in seedy motels, but still possesses a charming scratchy demeanor that lands him in one-night stands with 50-year-old groupies, in between one unremarkable destination after another on the road to nowhere.  Bad Blake has quite a sordid past of fame and loss, of multiple marriages; needless to say, he’s lived fast and hard, he’s never been famous for county charm and it’s taken its toll, thrusting him toward rock bottom. Bad Blake’s been drunk most of his life and he’s lost a lot along the way. But he catches a few breaks.

Maggie Gyllenhaal plays Jean, a small town journalist who requests an interview with Bad Blake while he’s playing a gig in Santa Fe. One thing leads to another with twists and turns that you’ll have to see for yourself.

Colin Farrell plays Tommy Sweet, the still standing success story from the days when Bad Blake gave Tommy his start in the music business. “Sweet” is sweet and kind and so much more than just a pretty face.

Robert Duvall plays Wayne, a soft spoken introspective recovering alcoholic that is there for Bad Blake at the right time and in the right place.

Crazy Heart isn’t some predictable movie; it’s well written and well acted by all.  What surprised me is that all these guys can actually sing, and they sing exceedingly well!  It was the perfect Triple Play given the fact that writer-director Scott Cooper (1990-1997) was a two-time Major League Baseball All-Star third baseman for the Boston Red Sox and played for the Kansas City Royals and the St. Louis Cardinals!  Crazy Heart is funny, it’s sad; and the star studded cast all achieved what they deserved and not necessarily what we hoped for, but what was right for the story line.  

*Congratulations to Jeff Bridges for his recent acknowledgment at the 2010 67^th Golden Globe Awards for Best Actor in the category of drama for Crazy Heart.