Review: "The Sessions" Keeps it Real

TRASH IN MY EYE No. 25 (of 2013) by Leroy Douresseaux


The Sessions (2012)
Running time: 95 minutes (1 hour, 35 minutes)
MPAA – R for strong sexuality including graphic nudity and frank dialogue
DIRECTOR: Ben Lewin
WRITER: Ben Lewin (based on article “On Seeing a Sex Surrogate” by Mark O'Brien)
PRODUCERS: Judi Levine, Ben Lewin, and Stephen Nemeth
CINEMATOGRAPHER: Geoffrey Simpson (D.o.P.)
EDITOR: Lisa Bromwell
COMPOSER: Marco Beltrami
Academy Award nominee

DRAMA

Starring: John Hawkes, Helen Hunt, William H. Macy, Moon Bloodgood, Annika Marks, Adam Arkin, Rhea Perlman, W. Earl Brown, Robin Weigert, Blake Lindsley, Ming Lo, Rusty Schwimmer, and Jennifer Kumiyama

The Sessions is a 2012 drama from writer/director Ben Lewin. The independent film is the story of Mark O’Brien, a real-life poet who was paralyzed from the neck down due to polio. The film is based on the article, “On Seeing a Sex Surrogate,” which was written by O’Brien about the sex surrogate who helped him lose his virginity.

The Sessions opens in 1988 in Berkeley, California where we meet Mark O’Brien (John Hawkes). Mark lives in an iron lung due to complications from polio, which he contracted as a child. Due to his condition, Mark has never had sex. Hunting for someone to relieve him of the burden of his virginity, Mark seeks companionship in the women near to him. After consulting with his priest, Father Brendan (William H. Macy), Mark goes to a professional sex surrogate. Mark meets Cheryl Cohen-Greene (Helen Hunt), a sex therapist and surrogate, who agrees to help him through a series of sessions. This arrangement, however, ends up being, depending on the time and the techniques used, both more and less complicated than either one expected.

There is such overwhelming, beautiful humanity in The Sessions. Writer-director Ben Lewin’s script creates characters that have to be intimate and vulnerable with each other, but not in a contrived way. The actors take what Lewin gives them and make characters that are honestly human by being vulnerable. Vulnerability reveals what is both pitiable and pathetic and also durable and strong, and these are the things that open the characters to the audience. When the audience can go into the characters on such a seemingly intimate level, made-up people can seem like honest-to-God real people, the kind that the audience can’t help watching.

And what wonderful performances the cast gives, from top to bottom. At the 2013 Film Independent Spirit Awards, John Hawkes won “Best Male Lead” and Helen Hunt won “Best Supporting Female.” Sadly, only Hunt earned a corresponding Oscar nomination. Individually, these two actors give great performances; together, they make magic.

In The Sessions, Hawkes is on the level of Daniel Day-Lewis (who won the best actor Oscar at the 2013 Oscars ceremony), as he transforms himself into another person, not a character, but an actual person. Hawkes’ Mark O’Brien is as real as a fictional character can be. Helen Hunt offers so many levels of conflicted emotions and deeply romantic longings. In her hands, Cheryl Cohen-Greene could actually be the lead in this movie. Hunt makes her such a beautiful soul, so I’m glad that this artist is still a working actress.

There are other fine performances. William H. Macy brings some much needed levity to this film as the acerbic sounding board, Father Brendan. Moon Bloodgood is radiant in a quiet role, full of subtle motions and colors.

I have to admit that I shed some tears at this movie; it is both heartbreaking and achingly beautiful. The frank sexual discussions and sex talk are not at all erotic or arousing. I found myself mostly wincing when Mark and Cheryl are sexual. The Sessions, however, aroused the movie lover in me. It is one of the best films of 2012 and, as a love story, is exceedingly special and exceptional. Let’s hope Ben Lewin can keep making movies that come close to the excellence of The Sessions.

9 of 10
A+

NOTES:
2013 Academy Awards, USA: 1 nomination: “Best Performance by an Actress in a Supporting Role” (Helen Hunt)

2013 BAFTA Awards: 1 nomination: “Supporting Actress” (Helen Hunt)

2013 Golden Globes, USA: 2 nominations: “Best Performance by an Actor in a Motion Picture – Drama” (John Hawkes) and “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Helen Hunt)

Saturday, April 06, 2013

Review: "Biker Boyz" a Disappointment

TRASH IN MY EYE No. 15 (of 2003) by Leroy Douresseaux


Biker Boyz (2003)
Running time: 110 minutes (1 hours, 50 minutes)
MPAA – PG-13 for violence, sexual content and language
DIRECTOR: Reggie Rock Blythewood
WRITERS: Craig Fernandez and Reggie Rock Blythewood (based upon a magazine article by Michael Gougis)
PRODUCERS: Stephanie Allain, Gina Prince-Bythewood, and Erwin Stoff
CINEMATOGRAPHER: Greg Gardiner
EDITORS: Caroline Ross and Terilyn A. Shropshire
COMPOSER: Camara Kambon

ACTION/DRAMA with elements of crime

Starring: Laurence Fishburne, Derek Luke, Orlando Jones, Djimon Hounsou, Lisa Bonet, Larenz Tate, Kid Rock, Rick Gonzalez, Meagan Good, Salli Richardson, Vanessa Bell Calloway, Dante Basco, Dion Basco, Tyson Beckford, Kadeem Hardison, and (uncredited) Eriq La Salle

The subject of this movie review is Biker Boyz, a 2003 drama and action movie. The film focuses on underground motor cycle drag racers and was released by DreamWorks Studios.

Biker Boyz probably exists because of the surprising and enormous success of The Fast and the Furious. Heck, the television program, “Fastlane,” probably exists because of Furious, as well as the fact that a popular movie video and film director proposed it.

First, I’ll mention what’s good about the movie. Director Reggie Rock Blythewood uses a lot of really interesting, unique, and visually jarring camera angles and shots. To watch the opening credits is an invigorating experience; it was so cool that I expected even greater things later in the film. Blythewood uses still photography and quick-cut editing to raise the level of excitement and tension in the film, and on many occasions it works…for awhile.

Laurence Fishburne is Smoke, the "King of Cali," a legendary motorcycle racer in California. The Kid (Derek Luke), a former member in training of Smoke’s gang, The Black Knights, wants Smoke’s mythical crown, his racing helmet. Smoke would have to surrender it if he ever lost a face, and he hasn’t in over 25 races. However, bike racing, among the mostly African American bike clubs is hierarchical, a governing board has to vote to let Kid play; he has to earn the right to tackle Smoke. Kid forms a club of his own, The Biker Boyz, and sets about throwing his weight around to get his way. But does the older Smoke, whom Kid views as an enemy, have something to teach the brash, young biker?

Just this last line tells you that what could have been a good racing movie turns into a mush fest. That’s just the tip of the bad. The story of the young up-and-comer challenging a revered leader is familiar, and, when done correctly, can make for an entertaining story. However, as good as Blythewood is with camera work and quick cuts, his sense of storytelling is abominable. Things develop so slowly that the film actually seems to grow longer as it progresses. The problems stem from the relationships between the characters. Every time the film stops to give two characters a chance to connect with each other, the film literally grinds to a halt; you can almost hear the film’s gears crunching and dragging. It becomes deliriously dull, and I mean that it gets so dull that it made me delirious. I was going to walk out, but to be fair, I wanted to see the entire film so that I could properly review it for you, dear reader. Never say that I don’t care for you.

Late in the film, Kid and his mother, Anita (Vanessa Bell Calloway), meet to make up, and the movie stops cold. I was ready for her to just make her apologies and get the heck out of Kid’s apartment so that he could go race. Ms. Calloway’s character had potential, but like all the others, she’s wasted by Blythewood’s inability to tell a story through his characters. As long as he can do tricks with his camera, he’s fine, but the moment people stop to relate to one another, Blythewood is struck dumb.

Biker Boyz has lots of supporting characters, and the actors playing them (Kid Rock, Orlando Jones, Djimon Hounsou, Lisa Bonet, Tyson Beckford) might interest moviegoers. But they would be shocked how listless and dull their favorites are in this surprisingly poor film.

2 of 10
D

Review: "Live Free or Die Hard" - I Really Liked It, Didn't I?

TRASH IN MY EYE No. 102 (of 2007) by Leroy Douresseaux


Live Free or Die Hard (2007)
Running time: 130 minutes (2 hours, 10 minutes)
MPAA – PG-13 for intense sequences of violence and action, language, and a brief sexual situation
DIRECTOR: Len Wiseman
WRITERS: Mark Bomback; from a story by Bomback and David Marconi (based upon the article “A Farewell to Arms” by John Carlin and certain original characters by Roderick Thorp)
PRODUCERS: Michael Fottrell, John McTiernan, Arnold Rifkin, and Bruce Willis
CINEMATOGRAPHER: Simon Duggan (D.o.P.)
EDITOR: Nicolas de Toth
COMPOSER: Marco Beltrami

ACTION/THRILLER/SCI-FI

Starring: Bruce Willis, Timothy Olyphant, Justin Long, Mary Elizabeth Winstead, Maggie Q, Cliff Curtis, Jonathan Sadowski, Andrew Friedman, Tim Russ, and Kevin Smith

The subject of this movie review is Live Free or Die Hard, the fourth film in the Die Hard movie franchise. Bruce Willis returns as John McClane, a character created by the late novelist, Roderick Thorp, for his 1979 novel, Nothing Lasts Forever.

According to pop culture magazine Entertainment Weekly, after watching Underworld: Evolution with his daughters, Bruce Willis knew that’d he found in Underworld franchise director, Len Wiseman, the man to helm the long in gestation fourth Die Hard film. Willis’ Die Hard character John McClane is perhaps the actor’s signature role, and in the new film, Live Free or Die Hard, Willis proves that he and McClane are great in these movies. Meanwhile, Wiseman doesn’t just make a good movie. He makes damn great movie.

On the July 4th holiday, a mysterious figure attacks the United States digital infrastructure, and he’s figured out every angle, except old school, tough guy cop, John McClane (Bruce Willis). When’s he’s asked to escort Matt Farrell (Justin Long), a talented young hacker, into FBI custody, New York Police Detective McClane thinks of it as just another pain-in-the-butt favor keeping him enjoying his time off. When heavily armed and highly-trained killers come gunning for Matt and literally obliterate the young man’s apartment with gunfire, McClane knows Matt is part of something really big. Soon, McClane is dragging Matt across Washington DC, simultaneously trying to save his life and hunt down the cyber-terrorist who has brought America to a standstill.

Live Free or Die Hard practically hits the ground running, giving the viewer very little time to take a deep breath before diving into this smorgasbord of chase scenes, gun fights, and hand-to-hand combat that is a buffet of international fighting techniques. Of course, this is pretty much the way Underworld: Evolution opened – throw gasoline on the fire and then, throw that in the viewer’s face. Wiseman, however, does stay true to Die Hard’s roots. This is the kind of macho, big budget, special effects laden action filmmaking that thrived from the late 1980’s and into the 90’s. The 1988 Die Hard helped to give birth not only to sequels but to films that relied on gargantuan sound and complicated stunts like Bad Boys, Con Air, Face/Off, The Long Kiss Goodnight, and The Rock among others.

Willis is so good here that I hope he not only gives us more Die Hard flicks, but I also hope that he makes more action films just like this. Here, he certainly satisfied even the die-hardest Die Hard fan, but he does this with a good supporting cast. Justin Long is the perfect tag-along as Matt Farrell, who is basically a hand-held device – giving macho, blue collar McClane the lay of the geek-techie land, and Long seems perfectly happy to play that part. Timothy Olyphant’s brilliant smart bad guy, Thomas Gabriel, is the perfect foil for Willis’ comin’-to-kick-your-ass hero. Mary Elizabeth Winstead hits the right note as Lucy McClane, the fruit of John McClane’s loins.

Live Free or Die Hard may not seem like a great work of film art, but when McClane uses a car to “kill” a helicopter, you know that this is more than just another action movie. When a fighter jet takes on an 18-wheeler with McClane behind the wheel, you know Live Free or Die Hard is extra-special, and that’s not even the climax.

9 of 10
A+

Sunday, July 08, 2007

Review: "On the Waterfront" is Still an American Classic (Happy B'day, Marlon Brando)

TRASH IN MY EYE No. 75 (of 2005) by Leroy Douresseaux

On the Waterfront (1954) – Black & White
Running time: 108 minutes (1 hour, 48 minutes)
DIRECTOR: Elia Kazan
WRITER: Budd Schulberg; from a story by Budd Schulberg (suggest by the series of articles “Crime on the Waterfront” for the New York Sun newspaper by Malcolm Johnson)
PRODUCER: Sam Spiegel
CINEMATOGRAPHER: Boris Kaufman
EDITOR: Gene Milford
Academy Award winner

DRAMA/CRIME/ROMANCE

Starring: Marlon Brando, Karl Malden, Lee J. Cobb, Rod Steiger, Eva Marie Saint, Pat Henning, Leif Erickson, James Westerfield, John Hamilton, Marty Balsam, Fred Gwynne, and Pat Hingle

The 1954 “Best Picture” winner, On the Waterfront, remains one of the all-time greats of American cinema. A landmark “issue” film, its screenplay is based upon Malcolm Johnson’s series of articles for the New York Sun, “Crime on the Waterfront;” the Pulitzer Prize-winning series focused on organized crime’s control of the longshoreman’s union, specifically in New York City. However, On the Waterfront is more than just an important film or some kind of docu-drama, it is film art as truth, taking real life and wringing the drama out of it into a story that is compelling because it portrays true crime and also because it beautifully depicts the struggle of real lives.

Terry Malloy (Marlon Brando in an Oscar-winning role) was a prizefighter who threw fights for his corrupt boxing manager and for his brother Charley “the Gent” Malloy (Rod Steiger), who was in tight with organized crime. Now, Terry feeds his pigeons and runs errands for Johnny Friendly (Lee J. Cobb), the corrupt boss of the longshoreman’s (or dock workers’) union, but one of those errands leads to the death of an acquaintance, Joey Doyle, at the hands of Friendly’s thugs. Now, the Waterfront Crime Commission is about to hold hearings on the underworld’s infiltration of unions, specifically the longshoremen.

Terry feels pangs of guilt, especially after he meets and falls for Joey Doyle’s sister, Edie (Eva Marie Saint, who won an Oscar for supporting actress for the role). Spurred on by Edie (who sees more in Terry than he sees in himself) and Father Barry (Karl Malden), a local priest who wants to stop the corrupt union from preying on desperate workers, the washed up boxer contemplates taking on the corrupt union boss, Friendly, much to the chagrin of Friendly and Friendly’s right hand man, Terry’s brother Charley.

Marlon Brando gives one of the great screen performances as Terry Malloy, and the cab ride with Terry and Charley having a man-to-man chat in the backseat is one of the most famous scenes in cinematic history. Brando embodies a man who is soured on life and made cynical by his bad decisions, the cruel injustices, and minor (and major) disappointments in life. We can watch Brando struggle to better himself against the part of him that really believes in nothing more than getting by each day, a man who believes that you live longer if you don’t have ambitions. This performance is a work of art that established Brando in many minds as the greatest screen actor of all time.

Don’t let Brando’s performance take away from the rest of the cast. There are some really great supporting performances here. Eva Marie Saint is fetching as a young woman who can be both relentless in her quest for justice and coy in her play at getting a man. Karl Malden’s Father Barry also has a great scene at the dock when he delivers a powerful “eulogy” about standing up like Christ to injustice and accepting that Christ is in each and every man, making each man your brother – powerful stuff.

On the Waterfront is superbly directed; it’s as if Elia Kazan couldn’t help but make the right choice every time. He was blessed with Budd Schulberg’s screenplay, which mastered the perfect balance of gritty realism and potent drama. Combine excellent cinematography with the real locations in NYC, and you have must-see cinema.

10 of 10

NOTES:
1955 Academy Awards: 8 wins: “Best Picture” (Sam Spiegel), “Best Director” (Elia Kazan), “Best Actor in a Leading Role” (Marlon Brando), “Best Actress in a Supporting Role” (Eva Marie Saint), “Best Art Direction-Set Decoration, Black-and-White” (Richard Day), “Best Cinematography, Black-and-White” (Boris Kaufman), “Best Film Editing” (Gene Milford), and “Best Writing, Story and Screenplay” (Budd Schulberg); 4 nominations: “Best Actor in a Supporting Role” (Lee J. Cobb), “Best Actor in a Supporting Role” (Karl Malden), “Best Actor in a Supporting Role” (Rod Steiger), and “Best Music, Scoring of a Dramatic or Comedy Picture” (Leonard Bernstein)

1955 BAFTA Awards: 1 win: “Best Foreign Actor” (Marlon Brando, USA); 2 nominations: “Best Film from any Source” (USA) and “Most Promising Newcomer to Film” (Eva Marie Saint)

1955 Golden Globes: 4 wins: “Best Motion Picture – Drama,” “Best Cinematography - Black and White” (Boris Kaufman), “Best Director” (Elia Kazan), and “Best Motion Picture Actor – Drama” (Marlon Brando)

1989 National Film Preservation Board: National Film Registry

Saturday, May 21, 2005

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