Movie Review ~ The 33

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The Facts:

Synopsis: Based on the real-life event, when a gold and copper mine collapses, it traps 33 miners underground for 69 days.

Stars: Antonio Banderas, Rodrigo Santoro, Juliette Binoche, James Brolin, Lou Diamond Philipps, Bob Gunton, Gabriel Byrne

Director: Patricia Riggen

Rated: PG-13

Running Length: 127 minutes

Trailer Review: Here

TMMM Score: (7.5/10)

Review: Based on the book Deep Down Dark, narrative journalist Hector Tobar’s weaving together of the firsthand accounts from the men who were there, The 33 is a drama in real life story that has its heart in the right place. The whole world was riveted by the plight of the Chilean miners trapped 2,300 feet below the ground by a cave-in for 69 long days. As the country watched, an international rescue team was assembled to devise a way to get to the men before time and food runs out. Anyone that’s picked up a newspaper or watched the news during that time knows how it all ended, but the details were a bit cloudy for me five years later which added to the dramatic tension the movie builds nicely.

I told someone after the movie that I thought it was “mostly good” because for all of the genuine emotion and heroism captured on screen, there was a strange disconnect that comes out of the film being watered down and becoming more traditionally American-ized than it should. I was surprised at how clearly divided into three acts the movie was, with the traditional climax happening about 3/4 of the way through the film. There seemed to be a carefully rendered formula to every new development that presented itself to the men below the surface and the government officials, family members, and rescue crews racing against the clock to save the trapped workers.

I also found myself really wishing that the Chilean film was entirely in Spanish. All of the signs and news report headings were in Spanish yet the actors almost uniformly speak English with a fair to decent accent. Something that always annoys me is when a movie takes the time to subtitle actors speaking in a foreign language only part of the time. Here, a song of hope and pain starts off with an English translation before the subtitles disappear – perhaps it’s a way to provide a bridge between two cultures but it can come off as slightly manipulative with the filmmakers only translating information they want you to know.

Attracting high-profile talent, the film has a wealth of strong performances. Though he’s billed a bit far down in the credits, Lou Diamond Phillips has perhaps the best, most moving arc as a miner who worked his way up to management, knowingly making concessions along the way that comes back to haunt him. Phillips is one of the last people you see in the movie (before it breaks to a roll-call like credits sequence that should leave a lump in your throat) and he makes a significant impression.

Also impressive is Juliette Binoche (Godzilla) who convincingly masters the language (though her French slips in every now and then) as a strong-willed family member of a trapped miner and Antonio Banderas (The Expendables 3) who is better here than in any movie he’s made in over a decade. Rodrigo Santoro (The Last Stand) is notable as a government official with a conscience while James Brolin and Gabriel Byrne pop up for some histrionically dramatic scenes. The Irish Byrne, it must be noted, totally gives up on his Spanish accent well before the movie reaches its conclusion.

The movie covers all the bases and even brings in a few of the more human interest stories that developed while the men were underground. Most notable are the amusing above ground fights between the mistress and the wife of a hapless fellow and the impending birth of a young miners first-born. It’s all handled nicely by director Patrica Riggen set to the late James Horner’s rousing score (it’s nice to see a tribute to Horner at the end, the second film I’ve seen it in after Southpaw)

Not a movie delivered on an epic scale, The 33 is nonetheless a powerful tale of the human condition and the strength to continue on in the face of terrible odds. Worth digging into.

Movie Review ~ Love the Coopers

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The Facts:

Synopsis: When four generations of the Cooper clan come together for their annual Christmas Eve celebration, a series of unexpected visitors and unlikely events turn the night upside down, leading them all toward a surprising rediscovery of family bonds and the spirit of the holiday

Stars: Alan Arkin, John Goodman, Ed Helms, Diane Keaton, Jake Lacy, Anthony Mackie, Amanda Seyfried, June Squibb, Marisa Tomei, Olivia Wilde

Director: Jessie Nelson

Rated: PG-13

Running Length: 107 minutes

TMMM Score: (1/10)

Review: Hold on a sec, allow me to get into full Ebenezer Scrooge mode because have I got a whopper of a turkey for you. Normally, I truly feel like the last two months of the year are, as the song says, the most wonderful time of the year. It’s a time to reunite with family, practice being ok with giving instead of receiving, and hauling out classic holiday films made more enjoyable on snowy days and chilly nights. Arriving like a lump of coal in a moldy old fruitcake, Love the Coopers is not only the worst holiday film in recent memory but one of the worst offerings of 2015. Yes, I’m counting the endless TV movies featuring a department store Santa Claus helping an exasperated female executive find love with a burly man we all know is perfect for her.

Picture a movie where every single character is miserable. They don’t like their family, they can’t stand their friends, they basically hate their lives. Now imagine its set during Christmas and filled with every lame joke in the holiday handbook, from family secrets spilling out during a disastrous dinner table scene to irascible old fogies that turn wise when the movie needs a moral.

Screenwriter Steven Rogers (who, after viewing his credits on IMDb, seems to specialize in saccharine nonsensical dramedies) sketches the film as an ensemble affair with multiple storylines playing out (more like wearing out) during one jam packed day.

There’s Eleanor (Olivia Wilde, The Lazarus Effect), who’d rather hang out at the airport bar than head home, befriending a military man (Jake Lacy, Carol, the only bright spot in the movie) before convincing him to come home with her and pretend to be her boyfriend. Ruby (Amanda Seyfried, Lovelace), a diner waitress that feels a kinship with the cantankerous old coot (Alan Arkin, Indian Summer) that frequents her section. Hank (Ed Helms, Vacation) is trying to find a way to tell his estranged wife (Alex Borstein, A Million Ways to Die in the West) that he’s lost his job and can’t afford to buy presents for their kids. Emma (Marisa Tomei, Trainwreck) is a kleptomaniac taken on the longest drive in the history of ever by a policeman with a Big Secret (Anthony Mackie, Pain & Gain).

Then we have Diane Keaton (And So It Goes) and John Goodman (Argo) as the heads of the family who can’t seem to get out of the rut they’ve been wallowing in for years. Keaton seems resigned to live in the shadow of a career that’s left her in the dust and Goodman must have needed the money to buy clothes in light of his recent weight loss. Oh…and I can’t leave out June Squibb (Nebraska, in a role I’m sure Betty White turned down) as a forgetful aunt that’s just a set-up for various sight gags and fart jokes. There’s also a narrator to the film, a device employed not only as an opportunity for a famous comedian to provide a voice for but to be a part of a twist reveal that most awake audience members will figure out early on.

The last film director Jessie Nelson released was I Am Sam in 2001 and it’s painfully obvious the dormant decade between the two films wasn’t spent in a graduate film school seeing that the film is an awkward mix of false emotional peaks and ill-conceived bits of comedy that makes the running length feel neverending. The tipping point for me was a dreadful family sing-a-long with Helms and Arkin strumming away at their guitars without the vaguest hint of knowing irony. Another particularly painful passage was the aforementioned police car ride where Tomei tries to psychoanalyze stoic cop Mackie, leading to a left-field admission that’s not only offensive but downright tacky.

Love the Coopers seems destined to be that awful holiday entertainment that that one good friend of yours (hopefully not a loved one) claims to be their ‘favorite’ film and forces you to watch with them. Take my advice and resist the urge to bask in the glow of doing something kind for others and think only of yourself…and stay far away from this stinker.