Review: "Full Frontal" is a Frontal Assault on Hollywood Sameness

TRASH IN MY EYE No. 134 (of 2003) by Leroy Douresseaux

Full Frontal (2002)
Running time: 101 minutes (1 hour, 41 minutes)
MPAA – R for language and some sexual content
DIRECTOR: Steven Soderbergh
WRITER: Coleman Hough
PRODUCERS: Gregory Jacobs and Scott Kramer
CINEMATOGRAPHER: Peter Andrews (Steven Soderbergh)
EDITOR: Sarah Flack
COMPOSER: Jacques Davidovici

COMEDY/DRAMA/ROMANCE

Starring: Julia Roberts, Blair Underwood, David Duchovny, Nicky Katt, Catherine Keener, David Hyde Pierce, Tracey Vilar, Mary McCormack, Jeff Garlin, Erika Alexander, Enrico Colantoni with Terrence Stamp, David Fincher, and Brad Pitt

Steven Soderbergh laid down the law to his large cast of stars for his low budget ($2 million) film, Full Frontal, denying them the amenities that movie stars have come to expect on the sets of films in which they appear (star). Apparently, he really wanted the focus to be on actually making a film and less on the celebrity politics of Hollywood filmmaking. Full Frontal is one of those “meta” films like Spike Jonze’s two films, Being John Malkovich and Adaptation, in which there is a film within a film within a film, a story within a story, and a play within a play. All the elements: filmmakers, actors, characters, settings, story and script blend together to create some kind of hyper fictional/documentary movie hybrid.

Full Frontal follows a day in the life of a group of men and women in Hollywood as they approach an evening birthday party for their friend Gus/Bill (David Duchovny). If you’re wondering why Duchovny’s character has two names it’s because this is a movie within a movie, and some of the film’s characters have dual identities: one is a “real person” and the other is a fictional character. If this is confusing, it is because Full Frontal can be very hard to follow, unlike the aforementioned Spike Jonze films which were both written by Charlie Kaufman and which were both very easy to follow.

Julia Roberts and Blair Underwood (an under appreciated and underutilized actor likely because he is Africa-American) play dual parts and it’s a doozy to separate the lives of four characters that are so alike both professionally and personally. The script by Coleman Hough has that thing we all look for in a story that’s supposed to engage us – pathos. It is a fine dramatic presentation of several slices of several lives ably put to words, and Soderbergh expertly captures the sometimes-farcical nature of life and the sometimes quiet, sometimes manic nature of the beast that is romance.

Full Frontal is a movie within a movie and a film about filmmaking for people who really like movies. Yes, it’s sometimes confusing and following it is occasionally arduous, but numerous excellent performances, sharp film editing, and some neat star cameos make it worth the effort. Steven Soderbergh is a gifted, imaginative and inventive director who really loves to play around with the process of making movies, so anything he makes is not just interesting; it’s damn interesting. Plus, Full Frontal is such an absolute pleasure to watch, even if it bends the mind one too many times.

8 of 10
A

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"The Descendants" Wins USC Libraries Scripter Award

The Descendants Ascend with Scripter Win

Authors and screenwriters of the family drama take the 2012 USC Libraries Scripter Award

LOS ANGELES--(BUSINESS WIRE)--Author Kaui Hart Hemmings and screenwriters Alexander Payne, Nat Faxon, and Jim Rash won the 24th-annual USC Libraries Scripter Award for their creative contributions to The Descendants. Selection committee co-chair Naomi Foner announced the winners at the black-tie ceremony on Saturday, Feb. 18.

“This is such a wonderful honor and to be part of something that celebrates and puts books on a pedestal and none of this would have been possible without Kaui’s wonderful book,” said Rash. “It was such a wonderful journey for us to fall in love with the book and have the opportunity to turn it into the film.”

Hemmings noted that the collaboration has been a positive experience for her.

“An adaptation can sometimes bring so many more readers that I never would have had and to have those readers say that they love both the book and the film and that they work so well together is such a blessing,” she said.

Payne—who was unable to attend—has been a Scripter finalist twice before for his work on the adaptations About Schmidt and Sideways. Payne also directed The Descendants. Faxon acknowledged Payne’s critical decision-making skills in his acceptance speech.

“I am thankful to Alexander Payne for directing such a beautiful film and I think he was right in the end—it was a good call casting George Clooney and not me,” Faxon joked. “That ended up being a benefit.”

The Descendants’ Scripter win adds to its many accolades. The film has been named the American Film Institute’s Movie of the Year and the best film of the year by the Los Angeles, Dallas, Florida, Kansas City, and Southeastern film critics associations, among others. It was named the best drama of the year at the Golden Globes and is nominated for five Academy Awards, including Best Adapted Screenplay.

The Scripter gala, presented by the Friends of the USC Libraries, honors each year’s best cinematic adaptation of the written word. Scripter is the only award of its kind that honors screenwriters as well as the author of the work upon which the adaptation is based.

With filmmaker and USC alumnus Taylor Hackford (‘67, International Relations) and Academy Award-winning actress Helen Mirren serving as honorary dinner chairs, USC Libraries Dean Catherine Quinlan welcomed the attendees to USC’s historic Edward L. Doheny Memorial Library.

“The authors and screenwriters of these books, plays, stories, and screenplays embody the stellar, transformative accomplishments our libraries inspire and make possible.” Quinlan added that by supporting the libraries, all who attended were “supporting the academic and artistic excellence of the entire university.”

The other finalists for the 2012 Scripter Award, in alphabetical order by film title, were: screenwriter Christopher Hampton for A Dangerous Method, adapted from the nonfiction book A Most Dangerous Method: The Story of Jung, Freud, and Sabina Spielrein by John Kerr and the 2002 stage play The Talking Cure by Hampton; screenwriter Moira Buffini for Jane Eyre, adapted from the 1847 book by Charlotte Brontë; screenwriters Steven Zaillian, Aaron Sorkin, and Stan Chervin for Moneyball, based on Michael Lewis’ book, Moneyball: The Art of Winning an Unfair Game; and screenwriters Bridget O’Connor and Peter Straughan and author John le Carré for the thriller Tinker, Tailor, Soldier, Spy.

Co-chaired by Golden Globe-winning screenwriter Naomi Foner and USC screenwriting professor and vice president of the Writers Guild of America, West, Howard Rodman, the Scripter selection committee chose The Descendants as the year’s best adaptation from a field of 109 eligible films.

The 32-member selection committee included film critics Kenneth Turan and Leonard Maltin; Fox Filmed Entertainment co-chairman and chief executive officer Tom Rothman; screenwriters Eric Roth, Geoffrey Fletcher, and Gale Anne Hurd; author Michael Chabon; and USC deans Catherine Quinlan, Elizabeth M. Daley and Madeline Puzo.

Academy Award-winning screenwriter Paul Haggis accepted the 5th-annual USC Libraries Scripter Literary Achievement Award. Haggis’ credits include the screenplays for films such as Crash, Million Dollar Baby, and the two James Bond films starring Daniel Craig, Casino Royale and Quantum of Solace.

During his acceptance speech, Haggis spoke about the influence his parents had on his writing career.

“They encouraged me from a young age largely because they saw I wasn’t good at much else,” Haggis joked. “You have to be a little emotionally unstable to be in this kind of profession—it’s a ridiculous profession, writing.”

“I’m very proud to be here with my daughters tonight—all three of whom grew up to choose ridiculous and difficult careers, in writing, in art, and in music,” Haggis explained. “I’m trying to learn the lesson my parents taught me—to encourage your children to be ridiculous to take on ridiculous challenges, choose ridiculous careers. Only by doing that do they really have a chance to be great.”

Haggis—along with author F. X. Toole—also captured a USC Libraries Scripter Award for Million Dollar Baby in 2005.

This year’s in-kind sponsors included Esquire Bar & Lounge (Pasadena, Calif.); the Wine of the Month Club; John and Dana Agamalian and Blue Ice Vodka; Barry Eggleston II of the Exotic Car Collection by Enterprise; Final Draft Inc., Movie Magic: Screenwriter; Paperblanks; and thinkThin.

For more details on Scripter—including additional images from the ceremony—visit http://scripter.usc.edu/.

"Pride" is Also About Determination

TRASH IN MY EYE No. 115 (of 2007) by Leroy Douresseaux


Pride (2007)
Running time: 109 minutes (1 hour, 49 minutes)
MPAA – PG-13 for thematic material, language including some racial epithets, and violence
DIRECTOR: Sunu Gonera
WRITERS: Kevin Michael Smith & Michael Gozzard, J. Mills Goodloe, and Norman Vance, Jr.
PRODUCERS: Brett Forbes, Patrick Rizzotti, Michael Ohoven, Adam Rosenfelt, and Paul Hall
CINEMATOGRAPHER: Matthew F. Leonetti
EDITOR: Billy Fox, A.C.E.

DRAMA/HISTORICAL

Starring: Terrence Howard, Bernie Mac, Kimberly Elise, Tom Arnold, Brandon Fobbs, Alphonso McAuley, Regine Nehy, Nate Parker, Kevin Phillips, Scott Reeves, Evan Ross, and Gary Sturgis

Pride is a 2007 biopic and drama starring Terrence Howard and Bernie Mac. The film is loosely based upon the true story of Philadelphia swim coach, James “Jim” Ellis, who, in 1971, formed the first swim team made of African-American swimmers.

In 1973, Jim Ellis (Terrence Howard), a college educated African-American, arrives in Philadelphia looking for work. He lands a job with the Philadelphia Department of Recreation to begin closing the Marcus Foster Recreational Center. Instead, he refurbishes the rundown center’s abandoned swimming pool, and then, shocks this local inner city community by forming a swim team. With the help of the center’s janitor, Elston (Bernie Mac), Ellis forms Philadelphia’s first black swim team. He recruits from a group of young men who hang around the center, and eventually adds one female swimmer.

They struggle to be a winning swim team, but soon, Team PDR (Philadelphia Department of Recreation) is earning respect and also the ire of an all-white team, the Barracudas, the swim team of the affluent Main Line Academy. Team PDR heads for their biggest competitive test at the Eastern Regional Swimming Final, but a dark incident from Coach Ellis’ past might sink their dreams.

Pride might come across as an amalgamation of many different Hollywood sports movies, especially those based on true stories or real life events. Out of its clichés, however, comes a truly inspirational film that is both an uplifting and moving story about a teacher who encourages his pupils to be not just proud, but also determined and resolute in pursuing their goals.

The film isn’t marked by any great performances, but both Terrence Howard and Bernie Mac give high-quality turns as the fatherly and stern, but loving African-American role models. Howard as Ellis seems strangely serene, but he cleverly hides Ellis’ passion and firebrand spirit until the moments that it is most needed. Mac’s performance exposes Elston as a terse, but gentlemanly father figure who simply wants more for the young people of his community. In a time when so many are cynical without really knowing why they should be, a film like Pride will seem like a stereotype. Taken in context, however, Pride is a winning film about a man who taught marginalized children to be proud.

7 of 10
B+

Wednesday, August 15, 2007

NOTES:
2008 Image Awards: 2 nominations: “Outstanding Actor in a Motion Picture” (Terrence Howard) and “Outstanding Directing in a Motion Picture (Theatrical or Television)” (Sunu Gonera)

Cinema Audio Society Honors "Hugo"

Founded in 1964, the Cinema Audio Society is a philanthropic, non-profit organization formed for the purpose of sharing information with Sound Professionals in the Motion Picture and Television Industry. Cinema Audio Society Awards or The C.A.S. Awards is an annual awards ceremony honoring “Outstanding Achievement in Sound Mixing” and began doing so 1994.

The Cinema Audio Society Awards for “Outstanding Achievement in Sound Mixing” for 2011 nominees and winners (in bold):

MOTION PICTURES:

WINNER:
Hugo
Production Mixer: John Midgley
Re-recording Mixer: Tom Fleischman, CAS
Scoring Mixer: Simon Rhodes

Hanna
Production Mixer: Roland Winke
Re-recording Mixers: Christopher Scarabosio, Craig Berkey, CAS
Scoring Mixer: Andrew Dudman

Moneyball
Production Mixer: Ed Novick
Re-recording Mixers: Deb Adair, CAS, Ron Bochar, CAS, David Giammarco
Scoring Mixer: Brad Haehnel

Pirates of the Caribbean: On Stranger Tides
Production Mixer: Lee Orloff, CAS
Re-recording Mixers: Paul Massey, CAS, Christopher Boyes
Scoring Mixer: Alan Meyerson

Super 8
Production Mixer: Mark Ulano, CAS
Re-recording Mixers: Tom Johnson, Andy Nelson, Anna Behlmer
Scoring Mixer: Dan Wallin

TELEVISION MOVIES AND MINI-SERIES:

WINNER:
Too Big to Fail
Production Mixer: James J. Sabat, CAS
Re-recording Mixers: Chris Jenkins ,Bob Beemer, CAS
Scoring Mixer: Chris Fogel

Cinema Verite
Production Mixer: Petur Hliddal
Re-recording Mixers: Lora Hirschberg, Scott Lewis, Douglas Murray
Scoring Mixer: Greg Townley

Innocent
Production Mixer: Shane Connelly
Re-recording Mixers: Mark Hensley, Tamara Johnson, CAS
Scoring Mixer: Tom Brissette

The Kennedys: Hour 7
Production Mixer: Henry Embry, CAS
Re-recording Mixer: Frank Morrone, CAS, Stephen Traub
Scoring Mixer: Larold Rebhun

Mildred Pierce : Part 5
Production Mixer: Drew Kunin
Re-recording Mixer: Leslie Shatz
Scoring Mixer: Todd Whitelock

TELEVISION SERIES:


WINNER
Boardwalk Empire – To The Lost
Production Mixer: Franklin D. Stettner, CAS
Re-recording Mixers: Tom Fleischman, CAS

Breaking Bad – Face Off
Production Mixer: Darryl L. Frank, CAS
Re-recording Mixers: Jeffrey Perkins, Eric Justen

Dexter – Just Let Go
Production Mixer: Greg Agalsoff
Re-recording Mixers: Pete Elia, CAS, Kevin Roache, CAS

Game of Thrones – Baelor
Production Mixer: Ronan Hill
Re-recording Mixer: Mark Taylor

The Walking Dead - What Lies Ahead
Production Mixer: Bartek Swiatek, CAS
Re-recording Mixers: Gary D. Rogers, CAS, Daniel J. Hiland, CAS

TELEVISION – NON-FICTION, Variety or Music – Series or Specials:


WINNER
Deadliest Catch: New Blood
Re-recording Mixer: Bob Bronow, CAS

American Experience – Triangle Fire
Production Mixer: G. John Garrett, CAS
Production Mixer: Rick Angelella
Production Mixer: Everett Wong
Re-recording Mixer: Coll Anderson

Bobby Fischer Against the World
Production Sound: Mark Maloof
Re-recording Mixer: Bill Marino

Great Performances At The Met: Nixon in China
Re-recording Mixer: Ken Hahn, CAS
Music Mixer: Jay David Saks

Lady Gaga Presents the Monster Ball Tour: At Madison Square Garden
Production Mixer: John Harris
Re-recording Mixer: Brian Riordan, CAS

The Cinema Audio Society Technical Awards for 2011 nominees and winners (in bold):

PRODUCTION
WINNER Zaxcom Nomad Production Sound System
Calrec Apollo Broadcast Mixing Console (software release 1.6 and later)
Movie Slate Sound Dept. Plugin by Pureblend Software
Remote Audio Meon LiFe
Yamaha 01V96i Digital Mixer

POST PRODUCTION:
WINNER Avid Pro Tools 10
Avid Eucon Protocol Version 2.6.2
Dolby Media Meter 2
Izotope Ozone 5 Advanced
Meyer Sound Acheron Designer Screen Channel Loudspeaker

http://www.cinemaaudiosociety.org/

Cheesy "Shark Night" Actually Has Some Bite

TRASH IN MY EYE No. 14 (of 2012) by Leroy Douresseaux


Shark Night 3D (2011)
Running time: 91 minutes (1 hour, 31 minutes)
MPAA – PG-13 for violence and terror, disturbing images, sexual references, partial nudity, language and thematic material
DIRECTOR: David R. Ellis
WRITERS: Will Hayes and Jesse Studenberg
PRODUCERS: Chris Briggs, Mike Fleiss, and Lynette Howell
CINEMATOGRAPHER: Gary Capo
EDITOR: Dennis Virkler
COMPOSER: Graeme Revell

HORROR

Starring: Sara Paxton, Dustin Milligan, Chris Carmack, Katharine McPhee, Joel David Moore, Donal Logue, Joshua Leonard, Sinqua Walls, Alyssa Diaz, and Chris Zylka

Set in Louisiana, Shark Night 3D is a 2011 3D horror movie directed by David R. Ellis, who directed two films in the Final Destination series. I did not see Shark Night in 3D; although I wanted to, it did not play in a theatre near me. After having seen it, I must admit that I am glad that I did not pay the inflated price for a 3D movie ticket to see it in a theatre.

The film introduces us to seven Tulane University undergraduates: Sara Palski (Sara Paxton), Nick LaDuca (Dustin Milligan), Beth (Katharine McPhee), Blake Hammond (Chris Zylka), Gordon (Joel David Moore), Malik (Sinqua Walls) and his girlfriend, Maya (Alyssa Diaz). They are going to spend the weekend at an island beach house on a private lake near Lake Pontchartrain. Their weekend of debauchery turns sour when one of them loses an arm in a waterskiing accident. When they discover that the accident is really a shark attack, their weekend becomes a hellish nightmare.

If nothing else, director David R. Ellis is a master of gruesome and bloody flesh-ripping death. Final Destination 2 and The Final Destination, Ellis’ two Final Destination films, are the most fun and most ghastly inventive of the lot. Shark Night 3D is similar in style and tone to both of these films, but the story isn’t well-developed nor the script well-written, even for something that is just a youth-oriented horror movie.

Ellis and his cast make this work to the degree that it is merely dumb fun. The young actors in Shark Night turn on the passion and dramatic theatrics, and they give it their all. Watching them, you might even get the idea that some of them are fighting for a part in a “Shakespeare in the park” production. This is not Jaws or even Deep Blue Sea, but it’s thrilling and enjoyable.

Plus, at the end of the credits, we are treated to an excellent and amusing rap music video featuring these young actors, and they are surprisingly good at rapping. Shark Night 3D doesn’t stop trying to entertain.

5 of 10
C+

Friday, February 10, 2012

"Midnight in Paris," "The Descendants" Win 2012 Writers Guild Awards

The Writers Guild of America, West (WGAW) and the Writers Guild of America, East (WGAE) announced the winners of the 2012 Writers Guild Awards for outstanding achievement in writing for screen, television, radio, news, promotional, videogame, and new media writing at simultaneous ceremonies at Hollywood Palladium in Los Angeles and the B.B. King Blues Club in New York City.

There are several categories, but I’m listing only the film and television categories. Go here for a complete list of winners.

2012 Writers Guild Awards Winners Announced:

SCREEN WINNERS

ORIGINAL SCREENPLAY
Midnight in Paris, Written by Woody Allen; Sony Pictures Classics

ADAPTED SCREENPLAY
The Descendants, Screenplay by Alexander Payne and Nat Faxon & Jim Rash; Based on the novel by Kaui Hart Hemmings; Fox Searchlight

DOCUMENTARY SCREENPLAY
Better This World, Written by Katie Galloway & Kelly Duane de la Vega; Loteria Films

TELEVISION WINNERS

DRAMA SERIES
Breaking Bad, Written by Sam Catlin, Vince Gilligan, Peter Gould, Gennifer Hutchison, George Mastras, Thomas Schnauz, Moira Walley-Beckett; AMC

COMEDY SERIES
Modern Family, Written by Cindy Chupack, Paul Corrigan, Abraham Higginbotham, Ben Karlin, Elaine Ko, Carol Leifer, Steven Levitan, Christopher Lloyd, Dan O’Shannon, Jeffrey Richman, Brad Walsh, Ilana Wernick, Bill Wrubel, Danny Zuker; ABC

NEW SERIES
Homeland, Written by Henry Bromell, Alexander Cary, Alex Gansa, Howard Gordon, Chip Johannessen, Gideon Raff, Meredith Stiehm; Showtime

EPISODIC DRAMA *TIE*
1. “Box Cutter” (Breaking Bad), Written by Vince Gilligan; AMC
2. “The Good Soldier” (Homeland), Written by Henry Bromell; Showtime

EPISODIC COMEDY
“Caught in the Act” (Modern Family), Written by Steven Levitan & Jeffrey Richman; ABC

LONG FORM – ORIGINAL
Cinema Verite, Written by David Seltzer; HBO

LONG FORM – ADAPTED
Too Big to Fail, Written by Peter Gould, Based on the book written by Andrew Ross Sorkin; HBO

ANIMATION
“Homer the Father” (The Simpsons), Written by Joel H. Cohen; Fox

COMEDY / VARIETY – (INCLUDING TALK) SERIES
The Colbert Report, Writers: Michael Brumm, Stephen Colbert, Rich Dahm, Paul Dinello, Eric Drysdale, Rob Dubbin, Glenn Eichler, Dan Guterman, Peter Gwinn, Jay Katsir, Barry Julien, Frank Lesser, Opus Moreschi, Tom Purcell, Meredith Scardino, Scott Sherman, Max Werner; Comedy Central

COMEDY / VARIETY – MUSIC, AWARDS, TRIBUTES – SPECIALS
After the Academy Awards, Head Writers: Gary Greenberg, Molly McNearney; Writers: Tony Barbieri, Jonathan Bines, John N. Huss, Sal Iacono, Eric Immerman, Jimmy Kimmel, Jonathan Kimmel, Jacob Lentz, Danny Ricker, Richard G. Rosner; ABC

DAYTIME DRAMA
General Hospital, Written by Meg Bennett, Nathan Fissell, David Goldschmid, Robert Guza, Jr., Karen Harris, Elizabeth Korte, Mary Sue Price, Michele Val Jean, Susan Wald, Tracey Thomson; ABC

CHILDREN'S EPISODIC & SPECIALS
“Hero of the Shadows” (Supah Ninjas), Written by Leo Chu, Eric S. Garcia; Nickelodeon

DOCUMENTARY — CURRENT EVENTS
“Top Secret America” (Frontline), Written by Michael Kirk, Mike Wiser; PBS

DOCUMENTARY — OTHER THAN CURRENT EVENTS
“Wiki Secrets” (Frontline), Written by Marcela Gaviria & Martin Smith; PBS

NEWS — REGULARLY SCHEDULED, BULLETIN OR BREAKING REPORT
“Educating Sergeant Pantzke” (Frontline), Written by John Maggio, Martin Smith; PBS

NEWS — ANALYSIS, FEATURE, OR COMMENTARY
“Doctor Hot Spot” (Frontline), Written by Thomas Jennings; PBS

Review: "Sneakers" Has a Winning Ensemble Cast (Happy B'day, Sidney Poitier)

TRASH IN MY EYE No. 113 (of 2005) by Leroy Douresseaux


Sneakers (1992)
Running time: 125 minutes (2 hours, 5 minutes)
MPAA – PG-13
DIRECTOR: Phil Alden Robinson
WRITERS: Phil Alden Robinson and Lawrence Lasker and Walter E. Parkes
PRODUCERS: Lawrence Lasker and Walter E. Parkes
CINEMATOGRAPHER: John Lindley
EDITOR: Tom Rolf, A.C.E.

CRIME/COMEDY/THRILLER with elements of action and drama

Starring: Robert Redford, Dan Aykroyd, Ben Kingsley, Mary McDonnell, River Phoenix, Sidney Poitier, David Strathairn, Timothy Busfield, Eddie Jones, Donal Logue, and James Earl Jones

Computer expert Martin Bishop (Robert Redford) heads a team of renegade hackers: a former CIA employee, Donald Crease (Sidney Poitier); a gadgets wizard who goes by the name "Mother" (Dan Aykroyd); a young genius named Carl Arbegast (River Phoenix); and a blind soundman, Erwin Emory, who goes by the name “Whistler” (David Strathairn); they are “sneakers,” routinely hired to test security systems for places that don’t need to get broken into or hacked into, such as a bank. Bishop’s past comes back to haunt him when two men claiming to represent the NSA (National Security Agency) blackmail him into helping them retrieve a “black box.” Along with his former girlfriend, Liz (Mary McDonnell), Bishop’s team steals the box and discovers that it may be able to break into any computer system in the world. Now, Bishop and his team are caught between dangerous factions who would kill for the box, so they must embark on their most dangerous assignment to date.

A combination caper film, mystery, espionage thriller and comedy, Sneakers featured an all-star cast when it debuted in late summer of 1992. The blend of star names (Robert Redford and Dan Aykroyd), legendary film figures (Redford again and Sidney Poitier), acclaimed character actors (Mary McDonnell and David Strathairn), and a young gun (the late River Phoenix) gave something for everyone in the audience. The subject matter may have been a bit over the head of much of the audience at the time. The home computer had not yet come into widespread use, and hackers remained a fringe news item, as most people yet did not realize the growing part computers were playing in their lives, so they didn’t understand the dangers of hackers who could break the encryption codes of security networks. Also, Sneakers is an action-thriller with no hyper-kinetic action scenes, but the film was a hit. It’s an espionage and (ostensible) spy thriller without that razor’s edge of tension a film such as Patriot Games gives the audience.

For me, Sneakers remains a personal favorite. It’s a brilliant (seriously) caper film that uncannily has the perfect mixture of comedy, action, and suspense with all the ingredients measured correctly to a fraction. No one actor really shines; in fact, Redford’s Bishop is an odd action lead, but somehow this works. Chemistry exists here, although it seems that the cast and characters occasionally rub each other the wrong way.

Something else about the film that always stands out for me is James Horner’s score, with Branford Marsalis on alto saxophone (I think). Horner’s sweet compositions with Marsalis delectable sax playing are perfect for comic caper flick. This was another feather in the hat for a unique and highly imaginative film composer who always seemed to create film music that perfectly captured a movie’s tone. A little more than six years later, Horner would finally win two long-deserved Oscars for writing a theme song and scoring Titanic.

Sneakers is a nice look back at what was then new technologies, and it boggles the mind how that new tech inspired three men to make such a film as this. While Sneakers is more an exercise in the caper/heist genre than it is a treatise on the consequences of certain people having unlimited access to private information and the ability to manipulate that info, Sneakers remains a pleasant little treat for those who want something different in their high tech thrillers.

7 of 10
B+