Movie Review ~ Spider-Man: Homecoming


The Facts
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Synopsis: Several months after the events of Captain America: Civil War, Peter Parker tries to balance his life as an ordinary high school student in New York City while fighting crime as his superhero alter ego Spider-Man.

Stars: Tom Holland, Michael Keaton, Zendaya Coleman, Marisa Tomei, Jacob Batalon, Laura Harrier, Robert Downey Jr., Jon Favreau, Donald Glover, Tyne Daly

Director: Jon Watts

Rated: PG-13

Running Length: 133 minutes

TMMM Score: (8.5/10)

Review: Another Spider-Man restage?  Really?  A big collective groan was heard from fanboys and girls around the world when Sony decided to reboot their prized web-slinger back in 2012 with The Amazing Spider-Man.  That film and its 2014 sequel (The Amazing Spider-Man 2), while solidifying the rising popularity of stars Andrew Garfield and Emma stone, never fully justified its back to the drawing board feel.  So when Marvel Studios came to Sony with an offer to join creative forces and bring Spidey into the Marvel universe where he belonged, it was an offer they really had no right to refuse.  Still, with a new superhero movie seemingly released every other week, did the world need to get to know Spider-Man all over again?

The answer, dear friendly neighborhood readers, was a resounding yes.  Spider-Man: Homecoming is just the reenergizing kick in the pants Marvel was needing after a string of well received but oddly bland sequels (Avengers: Age of Ultron) and iffy first outings (Doctor Strange, Ant-Man).  Best of all, it’s so tonally different than the original trilogy and recent two entries that it should keep fans of that canon at bay.  Even better news, it’s not an origin story!

If you missed either The Avengers, its sequel, or Captain America: Civil War like my movie mate did, you may be a little lost in the first moments of this new Spidey adventure.  The brief prologue recaps Spider-Man’s introduction to The Avengers in Civil War from his wide-eyed teenage perspective and quickly brings you up to speed while setting the whiz-bang pace at the same time.  It also lays the groundwork for why it’s main bad guy went so rogue.

After his brief foray into the superhero big leagues, Peter Parker (Tom Holland, The Impossible) gets grounded by Tony Stark (Robert Downey Jr., The Judge, looking guiltier than ever at continuing to collect a paycheck) and put under the watchful eye of Happy Hogan (Jon Favreau, Entourage) who quickly loses interest in the teen.  Not one to let his new heroic muscles go unstretched, Peter sets about “saving” residents of his Queens borough neighborhood, whether they like it or not.  Often causing more trouble than preventing it, Peter stumbles upon a group of thugs led by Adrian Toomes (Michael Keaton, Need for Speed), all of whom are clearly up to no good.

A disgruntled former blue-collar union man, Toomes has used his skills and a few alien power sources he’s scrounged together to fashion a set of wings (complimented by a bad ass bomber jacket) that take him sky high.  As Peter gets closer to finding out the truth behind Toomes/The Vulture, he comes up against not only his most powerful villain yet but runs afoul of his ally Stark in the process.

At 133 minutes, there’s a lot to cram in and thankfully the large handful of credited screenwriters have decided to forgo retelling how Peter got his powers and waste little time with introductions.  This being a summer tentpole film for Sony and Marvel and in the wake of the critical and financial success of DC Comics stellar Wonder Woman, a lot was riding on this entry.  Those studio exces can breathe a sigh of relief because from the nicely drawn characters to several impressive action sequences, this is a film that constantly and consistently delivers the goods.

Director Jon Watts (Clown) joins a curious list of “out of the box” choices to direct a movie of this size.  Known for his work in independent films, it’s obvious from the small details Watts adds into the film (like including a bit of Japanese war history on the wall of an otherwise innocuous school official, giving even a minor character a backstory) that he was the right choice for the job.  It’s a fast, funny film that felt unpredictable even though it’s part of the most predictable genre being produced today.

Nailing down the perfect star to play Peter Parker was no small task but Sony struck gold with Holland who, though 21, feels like the first actor to successfully play a believable 15-year-old.  With Holland’s dance training (he was Billy Elliot in the London stage show) and his well-documented tremendous athleticism, he’s able to bring the character forward rather than get lost within the costume and pristine visual effects.  Sharing the screen with scenery chewers like Downey Jr. and Keaton isn’t for the faint of heart but Holland more than holds his own.

Speaking of Keaton, it’s such fun to see him play a bad guy. With his devilish grin and arched eyebrows, he gives Toomes a pulse along with ample brainwaves.  I always respond to villains that aren’t out to take over the world but to reclaim what they think was taken from them and Toomes joins a long list of Spider-Man foes that have personal reasons for going bad. Zendaya Coleman, Marisa Tomei (Love the Coopers), Jacob Batalon, and Laura Harrier round out the cast and all (but especially Batalon) make for a strong support system for Peter and the film.

With a few unexpected twists (there’s at least two reveals I didn’t see coming) and edge of your seat thrills that are sure to inspire furious popcorn munching, Spider-Man: Homecoming is worth your time and your attention.  If your Spidey senses aren’t tingling from the opening logos played over the old-school title tune, they will be once Holland and company get down to business.  This being a Marvel movie, you gotta stay until the very end for one of the more meta post credit sequences to date.

Movie Review ~ Spotlight

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The Facts:

Synopsis: The true story of how the Boston Globe uncovered the massive scandal of child molestation and cover-up within the local Catholic Archdiocese, shaking the entire Catholic Church to its core.

Stars: Mark Ruffalo, Michael Keaton, Rachel McAdams, Liev Schreiber, John Slattery, Stanley Tucci, Brian d’Arcy James, Billy Crudup

Director: Tom McCarthy

Rated: R

Running Length: 128 minutes

Trailer Review: Here

TMMM Score: (8/10)

Review: More than anything, Spotlight reminds us what true journalism used to look like.  In this day and age of up to the minute coverage that often relies on conjecture, I think we as a public have forgotten what it meant to do your homework, cite your sources, and deliver honest news.  Sensationalism may have sold more papers but it wasn’t the driving force behind most true-blue journalists.

That’s the overall message I took away from writer/director Tom McCarthy’s slow burn look into the investigative unit of the Boston Globe (the Spotlight team) that first uncovered the molestation scandal within the Boston Archdiocese.  Setting into motion a global outcry for justice, the members of the squad took their time in gathering information, pounding the pavement, asking the tough questions, and documenting the horrifying answers.

Drawing justified comparisons to All the President’s Men and filled with several genuinely troubling passages where shocking admissions of guilt are made as off the cuff remakrs, there’s nothing salacious on display.  If anything, audiences may start to pull their hair out that Spotlight didn’t come forward with their evidence sooner…but to jump the gun before all the facts had been hammered out would have left them open to doubt when there was little to be had.  They put their careers on the line to tell this story the right way and in doing so they likely saved lives.

Singling out any one person doesn’t feel fair because Spotlight is the very definition of an ensemble film.  McCarthy has cast his movie well starting with Michael Keaton (RoboCop) as the team lead that ultimately makes the call when they bring their findings forward.  Mark Ruffalo (Thanks for Sharing) is the impassioned champion of the down-trodden that wants to push forward even though his journalistic side tells him Keaton’s path is the right one.  Rachel McAdams (The Vow) underplays her role so much that the actress basically disappears inside herself while Liev Schrieber (Fading Gigolo) crackles as the editor-in-chief that prods Spotlight to keep going.

The film isn’t flashy or overly sentimental so as a whole it’s not as ingrained in my memory like other films I’ve seen in 2015.  It does have several moments, though, that are hauntingly present when anyone brings up the film.  It’s easy to see why it’s been heralded as one of the best films of 2015, it’s old-fashioned in construct and forward thinking it its execution.

The Silver Bullet ~ Spotlight

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Synopsis: The true story of how the Boston Globe uncovered the massive scandal of child molestation and cover-up within the local Catholic Archdiocese, shaking the entire Catholic Church to its core.

Release Date: November 6, 2015

Thoughts: A drama that looks to be along the lines of All The President’s Men, Spotlight is a glimpse into the investigation by the Boston Globe that wound up exposing a now-famous cover-up of sexual abuse within the Catholic Church. This material could have been delivered in any number of cinematic ways and has been covered in one way or another in documentaries already…but director Tom McCarthy has assembled some top-tier talent for this dramatization. Oscar nominees Michael Keaton (Minions), Mark Ruffalo (Thanks for Sharing), and Stanley Tucci (Jack the Giant Slayer) join Rachel McAdams (The Vow) and Liev Schreiber (Fading Gigolo) as journalists seeking to uncover the truth and dealing with the landslide of backlash. It’s an important story to tell and I’m hoping that the roster of stars on board bodes well for its overall success.

 

Movie Review ~ Minions

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The Facts:

Synopsis: Minions Stuart, Kevin and Bob are recruited by Scarlet Overkill, a super-villain who, alongside her inventor husband Herb, hatches a plot to take over the world.

Stars: Michael Keaton, Steve Coogan, Allison Janney, Sandra Bullock, Jon Hamm, Jennifer Saunders, Pierre Coffin, Steve Carell

Director: Kyle Balda, Pierre Coffin

Rated: PG

Running Length: 91 minutes

Trailer Review: Here

TMMM Score: (4/10)

Review:  In my review of 2013’s Despicable Me 2, I mentioned that the filmmakers succeeded in making an enjoyable sequel because of their understanding of exactly what the audience wanted…more Minions.  After Despicable Me 2 broke big at the box office, a third film was set for release in 2017 but in the interim a spin-off animated adventure has been created that focuses solely on how the Minions came to serve their not-quite-so evil master Gru.  You’d think that the most enjoyable elements from the first two films would be a slam-dunk when given their own film…but it turns out that sometimes it’s best to leave well enough alone.

Look, I loved the Minions in the first two films and laughed at their gibberish language and love of bananas as much as the next easily pleased adult in the audience.  Heck, I even waited in line for a considerable time in a light drizzle for a spot on the Minion Mayhem ride at Universal Studios in Florida.  It’s clear, though, that these were characters that worked better in their featured supporting roles and aren’t quite ready for headlining their own film.

The opening credits show the genesis of the Minions as they emerge from a prehistoric ocean and start their quest to serve the baddest of bad guys throughout time.  Their bumbling winds up offing their masters throughout history, though, from a T-Rex to Dracula to Napoleon and eventually they find themselves exiled into a cave frozen over with ice where they languish without a villainous boss to serve.  Not content with just lying around any longer, during the ‘60s the resourceful Kevin recruits two of his compatriots (Stuart and Bob) to venture out in search of an evil genius they can attend to.

Starting out in New York before heading to Florida and then England, the film follows the three pals as they become involved with the first female supervillain, Scarlet Overkill (Sandra Bullock, Gravity) as she plots to overthrow the British monarchy.  Owing a little bit of its plot to King Ralph, the final half of film has the Minions first trying to help Overkill steal The Crown Jewels and then staving her off as she goes mad with newfound power.

Like the previous two entries in the Despicable Me universe, Minions feels too long even at the relatively short 91 minutes.  I was checking my watch before it was half over, a bad omen for a film not lacking in color or 3D distraction. (Like its predecessors, this one is worth the 3D upcharge…but make sure to stay until the final credits have passed for some impressive 3D effects.)  Directors Kyle Balda and Pierre Coffin (who also voices every last Minion…totaling almost 1,000!) seem to know they don’t have enough material for a full-length feature so there are more than a few pit stops along the way, such as Stuart leading some Royal Guards in a sing-a-long to, randomly, a selection from the musical Hair.

The voice talent also is disappointingly underwhelming.  I was looking forward to Bullock’s performance but didn’t get much from her.  Like Frozen, the voices never seemed to really match their animated counterparts so you have the voices of talented actors like Bullock, Michael Keaton (RoboCop), Allison Janney (The Way Way Back), Jon Hamm (Million Dollar Arm), and Steve Coogan (Philomena) coming awkwardly out of designs that don’t sound totally correct.

It’s in the final five minutes where the movie shows some signs of life, not surprisingly it’s the part that acts as a bridge between Minions and Despicable Me, by that time I was just ready to get up and go so it’s a credit to the film that it finished up strong.  Still, in a summer that’s shown that there’s a case to be made for successful sequels, Minions is an example of how a spin-off (even one with good intentions) isn’t always the wisest route to take.  I’m sure the film will rake in a buttload of cash, though, so I hope that Despicable Me 3 puts the Minions back to work at what they do best…support the action rather than lead it.

Movie Review ~ Need for Speed

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The Facts
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Synopsis: Fresh from prison, a street racer who was framed by a wealthy business associate joins a cross country race with revenge in mind.

Stars:  Aaron Paul, Imogen Poots, Dominic Cooper, Ramon Rodriguez, Rami Malek, Harrison Gilbertson, Scott ‘Kid Cudi’ Mescudi, Michael Keaton, Dakota Johnson

Director: Scott Waugh

Rated: PG-13

Running Length:131 minutes

Trailer Review: Here

TMMM Score: (6.5/10)

Review: Though I want you to read the whole review, let me say right off the bat that there’s no real need to see Need for Speed.  It’s a hare-brained, noisy, overlong film that most will probably find subpar in comparison to other muscles and muscle car films like Fast & Furious 6.  Even with that disclaimer, I’ll tell you that I found myself enjoying Need for Speed more than I thought I would/could.

Based on a popular game from Electronic Arts, Need for Speed has a rather lenghty set-up that takes up a good half hour of your time but ably covers a lot of bases you’ll need to get something out of the final 100 minutes.  Tobey Marshall (Aaron Paul) is a good ole boy living in the kind of quaint small time town that so many city denizens would long to visit…for a weekend.  Taking over an auto-body shop from his recently deceased dad, he’s seeing the bills pile up and begrudgingly takes an offer from rival Dino Brewster (Dominic Cooper) to soup up a car to be sold at auction.

Said car is a beaut and attracts the attention of a Julia, a comely associate (Imogen Poots) of a wealthy business man…and leads to a dangerous situation that sees Tobey imprisoned for a crime he didn’t commit.  Upon his release he sets out for revenge, bringing Julia and a bunch of emotional baggage along for the ride.

A gigantically silly film, I couldn’t help but just sit back and enjoy the ride that the 3D converted film provides.  Needing to make it cross-country in less than 48 hours, Tobey burns rubber though scenic vistas while avoiding the police and an array of roadblocks both literal and figurative.  Culminating in an illegal street race across the beautiful coast of California, Need for Speed should be credited with never slowing down…because it’s only after the lights come up that you realize how ludicrous the whole thing is.

Compensating for his tiny facial features by pitching his gravely voice to the Christian Bale basement level and over emoting the simplest of line readings, Paul isn’t nearly as impressive here as he was in his award-winning turn on TV’s Breaking Bad.  He’s better than Cooper (Dead Man Down, Abraham Lincoln: Vampire Hunter), though, who isn’t the formidable foe the character and movie calls for.  Michael Keaton (recently seen in 2014’s failed Robocop reboot) must have filmed his scenes in a day and laughed all the way to the bank as a hyper mastermind behind the final race.

The grand prix winner of the film is Poots who works the same kind of magic she did with That Awkward Moment earlier in 2014 by effectively stealing the role out from under her male counterparts.  I had forgotten she was in this so when she appeared on screen I had the feeling the movie was about to be kicked into a higher gear…and I was right.

Though it hits the skids plot-wise as it nears the finish line, director Scott Waugh stages some mighty fine action sequences that don’t fall victim to repetition.  Using very little in the way of visual effects, Waugh is able to up the ante on race films without coming off as showboating.  It adds a considerable amount of realism to a non-realistic flick and I enjoyed his employment of interesting camera angles.

This is a film I wish was released later in the summer when I could have seen it at a drive-in movie theater.  Though set in present day it has a pleasingly retro-vibe to it even if it lacks the overall cool factor that made classics like Bullitt so monumental in the race genre.  If you’re in the mood to put your brain on cruise control and can take your hands off the wheel, Need for Speed could be a road trip worth taking.

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Movie Review ~ RoboCop (2014)

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The Facts:

Synopsis: In 2028 Detroit, when Alex Murphy – a loving husband, father and good cop – is critically injured in the line of duty, the multinational conglomerate OmniCorp sees their chance for a part-man, part-robot police officer.

Stars: Joel Kinnaman, Gary Oldman, Michael Keaton, Samuel L. Jackson, Abbie Cornish, Jackie Earle Haley, Michael K. Williams, Jay Baruchel, Jennifer Ehle, Marianne Jean-Baptiste

Director: José Padilha

Rated: PG-13

Running Length: 108 minutes

Trailer Review: Here

TMMM Score: (7/10)

Review:  Even uglier than the recent trend of Hollywood eating its own by remaking many a film barely 30 years old is the nasty critical backlash lobbed at these remakes.  While some of this ire is warranted (I’m looking at you 2012’s Total Recall) there seems to be efforts that become collateral damage,  wrongly tossing commendable efforts like José Padilha’s update to RoboCop into the junkbin.

Listen, Paul Verhoeven’s 1987 RoboCop is a not-minor classic but one that I wasn’t overly attached to, so treating it like a precious property isn’t going to allow anyone to really enjoy the 2014 remake.  The thing that made the ’87 sci-fi action film so razor sharp was its cynicism toward violence and the media, a concept reaching its peak in the final years of the advent of the “me” generation.  The digs taken at the alarming change in what was considered entertainment came at the right time and right place. 

That same approach wouldn’t have worked for this update;  after all we live in a time when stardom can be achieved for doing nothing so Padilha and screenwriter Joshua Zetumer wisely jettison that impossible to match angle for something admittedly less special and memorable…but one that provides the kind of entertainment that is engaging, if altogether fleeting.

The structure of this RoboCop is largely the same: in the not-too-distant future robotic technology has become more advanced and popular opinion is that it’s still too early to embrace the benefits of a robot protected society.  The head of tech giant OmniCorp (Michael Keaton, Gung Ho!, a welcome presence) decides that the public needs to be shown the light and wonders what would happen if there was a beating heart in one of his robot warriors.

That’s where Detroit cop Alex Murphy comes in.  As played by Joel Kinnaman (The Girl with the Dragon Tattoo), he has that same blandness that worked for previous star Peter Weller…though Kinnaman has significantly more “face” time in this film allowing us to see the man inside the machine.  Injured in the line of duty while investigating an arms dealer and police corruption, he’s saved by OminiCorp technology and becomes their RoboCop.

I’m not sure if adding more heart to the film is what audiences expected or wanted but if the cynicism was lost in the reboot there had to be something to fill the gaps.  This means Murphy’s wife (a non-presence in the first film) has more to do…even if Abbie Cornish winds up delivering most of her lines like she’s shivering in sub zero temperatures.  Where the previous film introduced the refurbished Murphy as an emotionless drone that gradually remembers his humanity, the new Murphy wakes up with the memories of his past, only to see them next to erased by corporate bottom-lining that ordered a machine without scruples.

Rounding out the quite well acted ensemble of performers are a kindly Dr. Frankenstein-like character played with dimension by Gary Oldman (Lawless) and a blowhard political reporter etched out by Samuel L. Jackson (Django Unchained) on a CGI-graphic heavy set that looks remarkably like the one Jackson shoots his credit card commercials on.  Hints at the dark comedy of the original film come through Jackson’s character and he’s given enough free rein to be over the top while eschewing winking knowingness.

Had the film cannibalized the original loyal fans would have gone crazy (and rightly so)…and I find it a bit unfair critics have knocked the film for not going that direction…maybe it was a lose-lose situation for all involved with updating this story.  For me, I was able to keep the tonally different film from ’87 at enough of a distance and take this revamp for ’14 for what it is – handsomely rendered entertainment that’s serviceable at its worst and involving at its best.

The Silver Bullet ~ Need for Speed

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Synopsis: Fresh from prison, a street racer who was framed by a wealthy business associate joins a cross country race with revenge in mind. His ex-partner, learning of the plan, places a massive bounty on his head as the race begins.

Release Date:  March 14, 2014

Thoughts: I’ll admit the first time I saw the preview for Need for Speed I feared we had lost star Aaron Paul to the Nicholas Cage darkside of films.  The more I saw it though (and I’ve seen it a LOT lately) I’m intrigued by what looks to be a popcorn flick (ala Fast & Furious 6) wanting to emulate those grindhouse-y films from decades ago but filtered through a modern lens.  It’s hard to balance a retro-feel with an updated approach but I find myself cautiously optimistic that this will deliver the goods.  Bonus points for having the intriguing Imogen Poots (That Awkward Moment) and Michael Keaton (Gung-Ho, also in the RoboCop reboot) on board in supporting roles.

The Silver Bullet ~ RoboCop (2014)

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Synopsis: In 2028 Detroit, when Alex Murphy – a loving husband, father and good cop – is critically injured in the line of duty, the multinational conglomerate OmniCorp sees their chance for a part-man, part-robot police officer.

Release Date:  February 7, 2014

Thoughts: I’m not usually one to get behind remakes of films that were just fine to begin with.  My biggest problem is the more often than not these remakes/reboots do very little to make any strong case that the film needed to be revisited in the first place (case in point…2012’s Total Recall).  Still, I must admit that I was intrigued by the prospect of a re-envisioning 1987’s RoboCop.  Though by no means a classic, it’s still a genre favorite of mine thanks to its clever take on the future of law enforcement and its copious amounts of violence (that originally earned it an X rating before director Paul Verhoeven went back and made some trims).  While the just released trailer is interesting enough to not make me roll my eyes totally out of my head, it’s distressing to hear that the filmmakers are aiming for a PG-13 rating…something that just doesn’t work for this character or the series which was all about a next generation weapon being used to combat decaying violence.  Delayed for release several times doesn’t bode well but February is a long way away…I’m open to seeing where this one goes.

Mid-Day Mini ~ Gung Ho

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The Facts:

Synopsis: When a Japanese car company buys an American plant, the American liason must mediate the clash of work attitudes between the foreign management and native labor.

Stars: Michael Keaton, Gedde Watanabe, George Wendt. Mimi Rogers, Sô Yamamura, Sab Shimono, John Turturro

Director: Ron Howard

Rated: PG-13

Running Length: 111 minutes

TMMM Score: (6/10)

Review:  You really have to keep in mind that Gung Ho was made in 1986 to swallow some of the ideas that the film offers up to you.  The world was in a totally different place with tensions high surrounding the protection of the job of the American worker as many jobs started being farmed out to other countries.  Those that had built their homes and families around a job were suddenly out of work as companies found faster and cheaper ways to keep up with products that were highly in demand.

In Gung Ho, that product is automobiles and the film focuses on a Japanese company that comes to a small town and takes over an automobile manufacturing plant.  The American workers clash with the Japanese management and star Michael Keaton is left in the middle as a liaison between the two.  His loyalty to his friends is tested as he tries to play both sides…to disastrous results.

Man, this sounds like a heavier film than it actually is.  Director Ron Howard (Backdraft, Parenthood, Splash) applies a light touch to the film and populates the cast with solid character actors with familiar faces.  Keaton, in the second of three movies he’d make with Howard (Night Shift and The Paper are the others) is nicely cast in a role that ultimately gets frustrating as written by Edwin Blum, Lowell Ganz, and Babaloo Mandell.  You see, Keaton’s character makes so many lame-brained promises and tells so many white lies that he almost solely creates the problems for everyone in the film.  In the hands of another actor, this may have proven interminable to watch…but Keaton is so likable and laid-back that he makes it work.

What doesn’t work for modern audiences are some truly cringe-inducing racial stereotypes that I can’t imagine played well even when it was first released.  Making nearly every Japanese joke known to man without the slightest bit of irony, I’m betting many of the people involved would like to forget these dark points of what is otherwise a very upbeat film.

Stereotypes aside, Gung Ho is a nicely structured film that’s not all together forgettable…but not one that will last in your memory either.  Thanks to a typically Howard-esqe strong supporting cast and Keaton’s leading man, it is a harmless distraction.

Mid-Day Mini ~ The Paper

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The Facts:

Synopsis: Henry Hackett is the editor of a New York City tabloid. A workaholic who loves his job, the long hours and low pay are leading to discontent until a hot story soon confronts Henry with tough decisions over the course of one 24 hour period.

Stars: Michael Keaton, Robert Duvall, Glenn Close, Marisa Tomei, Randy Quaid, Jason Robards, Jason Alexander, Lynne Thigpen

Director: Ron Howard

Rated: R

Running Length: 112 minutes

TMMM Score: (7.5/10)

Review:  In between period pieces Far and Away and Apollo 13, director Ron Howard (Parenthood, Backdraft) delivered this fast-moving and involving comedy-drama that takes place over 24 hours and focuses in on the goings-on at a NYC daily newspaper.   Not a high-class publication like the New York Times but maybe just above the near tabloid nature of the New York Post, the newspaper at the center of The Paper is struggling and its editor (Keaton) is thinking about the future.  With a pregnant wife (Oscar-winner Tomei), a crazed reporter (Quaid who we all know now is crazed in real life), a jaded colleague (Close, Albert Nobbs), and a veteran boss (Duvall, Tender Mercies, Jack Reacher) to juggle on a daily basis he burns the midnight oil thanks to Coke (the drink, not the powder) and gumption.

When a murder takes place and two youths are jailed it seems like any other story…until Keaton’s character begins to do some actual reporting and begins to see that things aren’t as cut and dry as they appear to be.  With a deadline looming and Close’s character breathing down his neck, the film keeps Keaton plowing on without getting much of a breather.

This is a solid film with good, easy performances and a better than average script thanks to David Koepp (Jurassic Park) and his brother Stephen.  Howard does what he does best and lets the movie develop naturally, placing most of the responsibility on his trusted star Keaton who doesn’t disappoint.  Close, too, is very effective as a dragon lady that’s talked about a lot before we finally see her.  When she does appear, Howard presents her in such a way that the first frame tells us everything we heard about her is right on the money.  Duvall and Tomei also turn in fine performances, navigating some cliché material with ease.

Aside from our above the title leads, Howard once again shows strength in casting by filling the newsroom and outside colleagues with strong character actors.  The late great Thigpen has a small role as Keaton’s secretary but makes the most out of her scenes…this is what true renaissance man/woman acting is all about.

Though print news is clearly dying off, The Paper is no period piece when viewed from an online, tech-savvy perspective.  True, some elements are clearly dated but the pursuit of the truth in the face of the grinding engine of economics still has an impact on our society today.  If you’ve never seen this one or haven’t revisited it in a while, check it out again.  It’s no classic but it’s a nice representation of the talent of all involved.