Brad Pitt & Marion Cotillard Revisit WWII In Robert Zemeckis’ ALLIED

Now playing at a multiplex near everybody:

ALLIED (Dir. Robert Zemeckis, 2016)

This is Brad Pitt’s third World War II movie (not counting the 2009 short BEYOND ALL BOUNDARIES), but while in Quentin Tarantino’s INGLORIOUS BASTERDS * and David Ayers’ FURY he was a gruff, hard ass Sgt. Rock-style Nazi-killing machine with nicknames such as “The Apache” and “Wardaddy,” here he’s a suave, dapper intelligence officer. But don’t worry, he still kills plenty of Nazis.

The premise in this WWII tale, which is Pitt’s first film with director Robert Zemeckis of BACK TO THE FUTURE and FORREST GUMP fame, is that our hero’s wife may be a German spy.

Marion Cotillard, whose second WWII film this is (Pierre Grimblat’s 2001 drama LISA was her first), plays French Resistance fighter Marianne Beausejour, who meets Pitt’s Max Vatan on a dangerous mission in Morocco to kill a German ambassador. Before long, they fall in love and consummate it in an intense love-making scene set in the back of a car in the middle of a sandstorm.

That’s one of the movie’s most memorable moments as it’s heated and convincing enough to make Angelina Jolie feel like her real-life split from Pitt is beyond justified, but unfortunately the film lacks enough of such stunning scenes to make it ultimately worthwhile.

After Max and Marianne get married and have a daughter while living in London and dream about having a house together across the pond in Medicine Hat in Alberta, Canada, Max is told by a SOE (Special Operations Executive) Officer portrayed by Simon McBurney (who really ought to play Roman Polanski someday) that there’s strong evidence that Marianne is a spy. If she’s found guilty, Max will be forced to kill her or be executed himself for not following orders.

So Max does what he can to prove her innocence including traveling to a veterans hospital to question an acquaintance named Guy Sangster (an almost unrecognizable Matthew Goode) about whether his wife is who she says she is, and a French prison to interrogate a one-armed drunk to corroborate the same. The latter is another effective sequence with genuine suspense and a thrilling shoot-out, but, again, there’s not enough of this action to really make this movie a must.

One of the film’s major problems is that it looks so phony. From Pitt and Cotillard’s heavy, unnatural looking make-up to obvious use of green screen to the soundstage sets (especially in the rooftop scenes), the whole thing never not comes across like a glossy Hollywood production.

I’m sure that some of these aesthetics are intentional in its attempt to make an old fashioned CASABLANCA-type romance involving espionage and intrigue, but I was distracted by how Pitt looked like BENJAMIN BUTTON when he reached his pretty boy stage, and how artificial the surroundings appeared.

The conclusion is far from satisfying in its predictability and there are some character threads that don’t add up to much like that of Max’s lesbian sister, played by Lizzy Caplan. Jared Harris is used more successfully as Max’s sympathetic commander, but it’s a part Harris could play in his sleep (Harris’ role in CERTAIN WOMEN is certainly a much more challenging one).

Still, ALLIED is passable entertainment, and many folks will be swept up in its charms, as limited as they may be. It stars two appealing movie stars, who do display considerable chemistry, and it moves along at a brisk pace. If only its screenplay, by Steven Knight, was more fleshed out and there was more authentic grit in its visuals.

As is, it’s a fairly forgettable affair that I doubt will have much traction this season.

* Will Fonvielle of the fine blog Filmvielle pointed out that August Diehl, who appeared in INGLORIOUS BASTERDS, also makes an appearance in this film. I consider that a callback.

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JGL’s Breathtaking High Wire Walk Between The WTC Towers In THE WALK

Now playing at an IMAX theater near you:

THE WALK (Dir. Robert Zemeckis, 2015)

While watching James Marsh’s excellent Oscar-winning documentary MAN ON WIRE back in 2008, I thought many times that the story of Frenchman Philippe Petit’s high-wire walk between the twin towers of the World Trade Center in 1974 could really make for a great dramatized movie.

Obviously I wasn’t alone in that thinking because now we’ve got Robert Zemeckis’ supersized recreation of the event, releasing today only in IMAX theaters (it will enter wide release on October 9), starring Joseph Gordon-Levitt as Petit, and featuring some of the most exquisite and breathtaking visual effects ever rendered on the big screen.

It starts with an extreme, ginormous close-up of Gordon-Levitt telling us his story from the top of the Statue of Liberty with an immaculate view of the Manhattan skyline of the ‘70s behind him. Gordon-Levitt’s French accent may be just barely passable, but his boundless energy and charm make him a great Petit (he was also trained to walk on wire by Petit himself, so there's that). 

And check out JGL's mad miming and acrobatic skills in the early Paris scenes, in which Zemeckis mimics jaunty new wave French films in bits in black and white, and shots in the grainy color textures of that era.

Petit’s life is one of obsessions. First, he’s obsessed with learning how to tightrope walk, under the tutelage of a circus ringleader/father figure named Papa Rudy (Sir Ben Kingsley doing his Yoda thing); then he’s obsessed with finding the perfect place to perform his wire-walking act (the towers of Notre Dame cathedral is one early effort), and finally he’s obsessed with pulling off what he calls “the artistic coup of the 20th century.”

That is, of course, to illegally infiltrate the World Trade Center, which was still under construction, string a 450-pound steel cable between the towers, and conduct a high-wire walk for the whole world.

To pull it off, Petit recruits a rag tag crew of accomplices for the coup. First, there’s the lovely Annie (Charlotte Le Bon), who he has a meet-cute with in the streets of Paris – she’s busking Leonard Cohen songs while he upstages and steals her audience with his shenigans on the same block. Then there’s Clément Sibony as a dapper photographer, César Domboy as a math teacher, who is afraid of heights; James Badge Dale as a savvy electronics salesman, Ben Schwartz (Jean-Ralphio from Parks and Recreation!) as a New York recruit, and Steve Valentine as Petit's inside man at the Trade Center as he has an office on the 82nd floor. 

The pacing really picks up as Petit’s meticulous plotting, 6 years in the making, gets put into action, helped along by longtime Zemeckis collaborator Alan Silvestri's score which takes its jazzy queue from such ‘70s crime capers as THE TAKING OF PELHAM 1,2,3 for the heist-like sequences.

The first half is fine, but as you’d expect it’s the second half involving the staging of the stunt itself that really - forgive me, but it’s right there – reaches incredible heights.

Every shot pops, with not a single moment that’s unconvincing, of Petit’s walk across the air 110 stories above street level, as crowds gather to watch, and policemen pop up on both towers waiting to arrest the performing perpetrator.

Look for cinematographer Dariusz Wolski, and visual effects supervisor Kevin Baillie to get many accolades this upcoming awards season – what these guys did here, helped by an army of digital technicians, of course, is beyond stellar. It's also one of the few 3D films in which the format feels the most necessary.

Now, I have a bit of a fear of heights, so I strongly felt the sensation of being on the edge of my seat – I don’t care how much of a cliché that is – throughout the sky high scenes that form the climax. At the same time, I felt the regret that I had never been to the top of the towers when I had the chance (in 1995, I was visiting my brother in New York and came close to going up, but the lines were too long for us. Sigh).

Like many of Zemeckis’s films, THE WALK is several movies at once: it’s a heist thriller, it’s a high-scaling adventure, it’s a comedy, and it’s a love story – though, one that’s about being in love with a dream. All of these genres collide together into a pure piece of pop entertainment that’s one of the director’s and the year’s best films.

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Film Babble Blog Celebrates 25th Anniversary Of WHO FRAMED ROGER RABBIT

25 years ago today, Robert Zemeckis' innovative blend of animation with live action classic WHO FRAMED ROGER RABBIT was released in theaters. Guest writer Spencer Blohm, helps Film Babble Blog celebrate the anniversary with this insightful piece:

How WHO FRAMED ROGER RABBIT Impacted Movies

Almost everyone recognizes WHO FRAMED ROGER RABBIT as an iconic animated comedy-drama set against a gritty, noir detective novel background. What many don’t realize, however, is the lasting impact that this film had on both animated and live action films since its release.

An obvious innovation brought about by the hit 1988 movie was the development of the techniques used by director Robert Zemeckis, producers Frank Marshall, Robert Watts, and Steven Spielberg and their special effects crew. They were attempting to create a full scale human-cartoon hybrid world. That level of integration was truly uncharted territory, and the integration of both of these elements needed to be seamless. Since these techniques and procedures had not yet been developed, the team was left to figure it out for themselves.

It's amazing to think that scenes like the memorable shot of Bugs Bunny and Mickey Mouse parachuting alongside Bob Hoskins were created with nothing more than green screen technology and the team's ingenuity. Their success paved the way for future special effects driven films, such as SPACE JAM and THE MATRIX.

The human-cartoon integration piece created a host of challenges for actors, voice talent and animators as well. Bob Hoskins, who played male lead Eddie Valiant, read his lines to fully costumed voice actors to help him stay in character. Mime artists and mannequins were utilized to further assist the live actors with spacing and interaction. The attention to detail that this project required was so great that Kathleen Turner, the uncredited but unforgettable voice of Jessica Rabbit, had to record her voice track before the animators could finish their work. This was due to their need to get the character's breathing drawn correctly. This team's work created the blueprint for developing future projects with similar challenges.

WHO FRAMED ROGER RABBIT is also distinguished by the cooperation required by different cartoon studios and production companies to make the film happen. Many of the characters in the film are Disney characters, which is natural since this was a Disney production. However, quite a few of the other characters were created by Warner Bros. Studios. This cross-studio collaboration was (and still is) unique, and helped create a substantial interest in media that crosses the intellectual property of multiple studios. Currently, there is a whole sub-section of comic books and video games where characters come together in ways that would have otherwise been impossible.

Another achievement credited to this project is the impact it had on animated features that would follow. WHO FRAMED ROGER RABBIT, scripted by Jeffrey Price and Peter S. Seaman from the source material of the 1981 Gary K. Wolf  novel Who Censored Roger Rabbit, was not typical intellectual territory for a cartoon.

The plot and characters in the film were uncharacteristically adult in nature. From the literary influence of the crime novel genre to the background graffiti stating, "For a Good Time, Call Allyson Wonderland," this was new ground for animated production companies. The success of an animated film covering this ground paved the way for many future animated projects from the movies made by Pixar to South Park.

The Golden Age of Animation is the period of time when production companies used created theatrical animated shorts featuring such recognizable characters as Mickey Mouse and Popeye. These shorts eventually waned in popularity in the 1960's, when television cartoons began to overtake these shorts in popularity. 

WHO FRAMED ROGER RABBIT introduced these characters to a whole new generation of fans. If it were not for the adventures of Eddie Valiant in Toontown, many of the popular children's shows on various networks today might never have happened.

WHO FRAMED ROGER RABBIT was more than a detective story with cool special effects. It was an innovative feature film that had a wide reaching and profound impact on animation, film making and pop culture.

Author Bio: Spencer Blohm is a freelance television, film and video game blogger for Direct2TV.com. He enjoys animation from the golden age of Disney shorts all the way to the newest releases from Japan and the online work of Flash artists pushing the genre forward.

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FLIGHT: The Film Babble Blog Review

FLIGHT (Dir. Robert Zemeckis, 2012)

With its disaster movie tension and tone, Robert Zemeckis’ first live action film since 2000’s CAST AWAY (and first R-rated movie since 1980’s USED CARS) comes on at first like it could be a reboot of the ‘70s AIRPORT series. Albeit a more edgy version, as we witness pilot Denzel Washington snort a few lines of cocaine before take-off, and drink vodka while in flight.

Despite the drinking and the drugging, when the airplane’s machinery malfunctions Washington is still able to successfully make an emergency landing, after the stunning maneuver of flying the jet upside down to halt the dive. Washington’s skills saves 96 of the 102 lives (or “souls” as he says it), and he’s initially hailed as a hero, but his hospital toxicology report could get him lifetime imprisonment for manslaughter.

As he’s recuperating, Washington tries to quit drinking and throws out all his liquor and beer. This can’t help but be comical as the supply of booze at his family’s farmhouse in the countryside of Georgia, where he’s hiding from the media, is so huge that he keeps finding more to dispose of.

Washington’s sobriety doesn’t last long; he drops off the wagon right after a morning meeting with Bruce Greenwood as a airline union rep, and Don Cheadle as a Michael Clayton-esque fixer-lawyer who is a little concerned about a certain blood-alcohol-level report. Although Cheadle is confident that he can suppress it, Washington relapses big-time.

Again, the scenes with Washington dealing with his alcoholism can’t help but be comical as we see him guzzle from a big bottle of liquor in the parking lot of a liquor store, and driving around Atlanta with a can of Budweiser in his hand. It seems like Washington spends most of the movie trying to out-drink Nicholas Cage in LEAVING LAS VEGAS.

Washington falls in with Kelly Reilly, who he met at the hospital, as a recovering heroin addict/hooker, but it’s obvious that she’s on a better path to getting her life back together than he is by getting a new job and going to AA meetings. Reilly tries to get Washington to attend a meeting with her, but he walks out half-way through. Our disgraced hero’s behavior gets even worse when he pays a drunken visit to his ex-wife (Garcelle Beauvais) after Reilly leaves him.

While Zemeckis, actually a longtime pilot himself, is a former Steven Spielberg protégé his use of music here has a Martin Scorsese-style specificity. This is most on display in the cameo by the always hilarious John Goodman, who should cameo in every movie, as Washington’s drug dealer who struts through hallways to the Rolling Stones’ “Sympathy For The Devil.” Washington gets Joe Cocker’s “Feelin’ Alright” as his strutting song when all he’s coked-up yet still smooth, and Reilly gets the Cowboy Junkies’ cover of the Velvet Underground’s “Sweet Jane” to serenade her when she shoots up in an early scene. 

I dug how gutsy FLIGHT was for most of its lengthy running time (2 hours and 18 min), and was highly amused by Washington’s cocky manner of talking around people (“Don’t tell me how to lie about drinking, I’ve been lying about drinking my whole life!”), but the film hugely falters in its concluding scenes that contrive to give this appealingly un-redemptive character redemption.

Sorry if this is a Spoiler!, but in the climatic hearing, in which Washington gets questioned by Melissa Leo as an understanding federal inquisitor, I was rooting for the guy to get away with it all, like folks often do in this cruel world. Is that what screenwriter John Gatin (REAL STEEL - that’s right) wanted folks to feel? Like, yeah we know Denzel has substance abuse issues, but, da-ham! Look how good he looks even after a rough night, and he did save the majority of passengers on that doomed flight, so why not let him off the hook?

In the end, the well made FLIGHT enjoys partying with Washington so much, that its punishment of him doesn’t really fly.

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IMAXed Out BEOWULF Style

"Just don't take any class where you have to read Beowulf." - Alvy Singer (Woody Allen) ANNIE HALL (1977)

I went to the first IMAX movie I've seen in a long time at a venue I've never been to before - The IMAX Theatre at Marbles Kid Museum in Raleigh, N.C. The movie was BEOWULF, the new Robert Zemeckis 3-D CGI spectacle based on the Old English heroic epic poem (as Wikipedia calls it). 

Did I mention it was IMAX 3-D? Because if the flick didn't have the ginormous screen 3-D enhancement I don't think I would've liked the movie much. Anywhere here goes a review:

BEOWULF (Dir. Robert Zemeckis, 2007)


The very loose adaptation of the ancient landmark of World literature presented here won't do any high school English teachers any favors. 

This throws out all but the basics of the original story and CGI's everything up to 11 - with in-your-face bloody battles, in-your-face grotesque sea monsters and dragons, in-your-face golden villainess Angelina Jolie, and in-your-face uh, everything! 

It was IMAX 3-D you know so everything is constantly coming at you. Beowulf is played by Ray Winstone who with the benefit of the animation process becomes a buff killing machine Adonis while the other actors - Robin Penn Wright, Anthony Hopkins, John Malkovich appear confined to video game character aesthetic restraints. 

I honestly didn't know until afterwards that it was the wonderfully weird Crispin Glover who provided the voice and mannerisms for the colosally disgusting Grendel - good thing too because that might have distracted a bit. 

I am not a fan of the 300-style bravado that often dominated the proceedings and the thrill of the 3-D did wear off after the first half only to come back in spurts but overall BEOWULF is a fairly fun ride through ancient mythic vistas and bloody overwrought battles.

Like I said before, though it was the IMAX 3-D that made the show, I can't really comment on what this film would play like in 2-D. 

As my father said, to make Angelina Jolie into Grendel's mother is quite a stretch but one that doesn't matter as long as things keep coming at you.

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Those Damn DirecTV Movie Tie-In Ads - Offensive To Film Buffs?

To cut to the chase - yes. Those commercials (most running for 30 seconds) that re-create a scene from a well known movie oft played on cable with an actor re-outfitted in their old characters duds and mugging to the camera about the better picture quality benefits of DirecTV have been irking me for some time now. Let's take a look at a few of them shall we? : The first of these that I have seen wasn't too bad - it had Christopher Lloyd dressed and made up to look like his 1985 Doc Brown character from BACK TO THE FUTURE (Dir. Robert Zemeckis) in this ad designed to make you feel like you're coming back from commercials to a movie you forgot you were watching. Lloyd hams it up saying "I forgot to tell Marty when he gets back to the future he needs to get DirecTV HD!" As Wikipedia notes "Marty would not actually be able to get DirecTV once he got back to the future as it did not exist in 1985 and the Doc of 1955 would obviously have no way of knowing about it. However, this blatant illogic can be regarded simply as a joke." Uh - okay! You can't really fault Charlie Sheen for turning a fast buck revisiting his MAJOR LEAGUE (Dir. David S. Ward, 1989) role of Rick 'Wild Thing' Vaughn. It's a movie that seems to always playing on some cable channel (mostly TBS) and he was likable in it which is seriously unlike just about all of his other films so he and DirecTV are in the clear here. Major points would have been added if Dennis Haysbert (who played Voodoo practicing Cuban defector Pedro Cerrano in the 1989 film and its sequels) did some add-on shot (he's probably too busy doing AllState ads) - but I'll still put this in the acceptable pile. Now those were somewhat cute - if you stick to mainstream movies and B or C-list celebrities popping up in mock scenes from their movies sure we can look the other way but Sigourney Weaver resurrecting her female-empowering alien-ass-kicking heroine Ellen Ripley in this ALIENS ad attrocity that just starting airing recently really gets my goat! To see this classic character who was named by the American Film Institute as the #8 greatest hero in American cinema history shilling for DirecTV is just depressing. Maybe we can tell ourselves that it's one of Ripley's clones from ALIEN RESURRECTION - no, it's still sad. I mean it makes some kind of marketing sense to have Jessica Simpson break the 4th wall from her role as Daisy Duke in the apocalypse-warning signpost that was THE DUKES OF HAZZARD (Dir. Jay Chandrasekhar, 2005) and chastize her leering viewers by taunting them by saying "Hey - 253 straight days at the gym to keep this body and you're not going to watch me on DirecTV HD? You're just not going to get the best picture out of some fancy big screen TV without DirecTV." Though incredibly eye-rolling inducing it makes some kind of sense because it's a completely disposable commercial movie and nobody will care if a character steps away from that kind of cinematic enterprise to do a sales pitch for a company. Speaking of stepping away from the Enterprise ... "Settling for cable would be illogical" Captain Kirk (William Shatner) says to Spock's (Leonard Nimoy) grimace. Shatner is surrounded from footage from STAR TREK VI mind you in this commercial. Not the first time he's acted reacting to nothing and it won't be the last. This one is understandable because Shatner with his Priceline.com pitches, MCI, and the UK Kellogg's All-Bran cereal ads has been a commercial spokesman * almost more than he's been an straight actor, no wait he's never really been a straight actor. Still, I get a bit pissed off watching his laconic walk-through in this ad I'm reminded by comedian Patton Oswalt's put down from Shatner's Comedy Central Roast -when he held up a paper bag and dared Shatner - "Could you act your way out of this?" * To see the hilarious origins of Shatner as a commercial spokesman checkout this hilarious Commodore Vic20 Ad. I just feel like we're one step away from having Ralph Fiennes popping up as his evil Nazi personage Amon Goeth in a mock scene from SCHINDLER'S LIST looking right at the camera and saying "don't you want to see me personally execute masses of Jews in the crystal clear clarity of DirecTV? Don't you?!!?" Okay, maybe that was a bit over the top - none of the ads so far have been from serious dramas or Oscar-caliber prestige pictures but I think these ads are bad for the film community. Okay, maybe just the online film community. Okay, maybe just me. Now this one with Pamela Anderson playing her iconic character C.J. from the television show Baywatch is just about right - hear that DirecTV! Stick to TV shows and low-brow comedies that were cheesy to begin with and all is forgiven. Okay? Postscript : I know I haven't covered all of those damn ads - Leslie Nielsen revisited his 1980 Dr. Rumack performance in a AIRPLANE! one, Ben Stein again asked "Bueller? Bueller? ..." for a FERRIS BUELLER'S DAY OFF throw-back, Bill Paxton once again chased a tornado in a TWISTER take, and shortly before his death in Pat Morita brought back Miyagi from THE KARATE KID ('86). If there are any others that irk you or that you actually like - send 'em on in to : boopbloop7@gmail.com Oh yeah - I read somewhere that Bill Murray was all set to re-Carlize himself for a spot from CADDYSHACK ('80) but he was either out of the country working on a film or he came down with a case of integrity... More later...