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Archives for : Rachel McAdams

Morning Glory

November 13, 2010

Director: Roger Michell

Starring: Rachel McAdams, Harrison Ford, Diane Keaton

Release Date: November 10, 2010

What’s the Story, Morning Glory?  That’s a Good Question.

Morning Glory is a tough film to categorize.  Is it a romantic comedy?  Kind of.  Is it a drama?  Not exactly.  Come to think of it, there’s only one thing that’s universal about Rachel McAdams’ latest starring role: it’s disappointingly uneven.

The story goes like this: the producer of a New Jersey morning talk show (McAdams) is fired, seeks out a job in the Big Apple, runs into a coy-yet-keenly-aware-of-his-own-charming-nature television editor, manages to elicit the help of an acrimonious-yet-legendary journalist (Ford), and learn a little something about “kicking up her heels” along the way.  morning_glory_posterThese ingredients, it would seem, call for a prolonged simmer—one that gives these characters a chance to breathe and release all of their flavors in an appropriate amount of time.  Unfortunately, screenwriter Aline Brosh McKenna and director Roger Michell decided that microwaving the whole thing and serving it on a paper plate would make for a more satisfying meal.

Because of this, Morning Glory ends up being a classic example of what not to do when constructing a narrative.  The adage “show, don’t tell” is cliche, but it’s become a mantra because of one indisputable fact: it’s true.  Explaining to an audience, for example, that Mike Pomeroy—the previously alluded to legendary news anchor—has deep regrets about his decision to pursue his career above all else (including his family) doesn’t give us a chance to mull over any character-driven subtleties that would otherwise be meaningful and lasting.  In fact, said subtext is literally spelled out by the brooding TV personality as he chews on a cigar and straightens his silk tie.  To say the thematic delivery is heavy-handed is an understatement.

But this is supposed to be lighthearted fare, right?

No one goes to see a movie like this expecting a life-altering experience, but teasing viewers with the potential of interesting/complex characters is arguably worse than brashly rolling out the stock we were already expecting.

The film isn’t a total loss, though.  It has its comedic moments, most notable of which are Pomeroy’s gruff delivery of certain one-liners and his bitter exchanges with Colleen Peck (Keaton), an aging newswoman who’s every bit as spiteful as her newly hired co-host.

One thing that I found especially unfunny, though, is a recurring gag involving the show’s weatherman.  His tendency to engage in slapstick comedy and hurl obscenities while riding roller coasters and leaping from airplanes was inexplicably grating.

This tendency to see-saw between varying degrees of seriousness and often errant attempts at humor ultimately results in the uneven tone mentioned earlier, and that’s too bad.  Like a good glass of wine (and a well-written story), had this taken the time to develop of its own volition there’s a good chance we’d have been treated to a serviceable glimpse into the almost certainly overwhelming (and humorous) world of news media production.

redstar2redstar2 out of 5

–Chris Flowers

Check out a trailer for Morning Glory:

Sherlock Holmes

January 4, 2010

Director: Guy Ritchie

Starring: Robert Downey Jr., Jude Law, Rachel McAdams

Release Date: December 25, 2009

It’s Not So “Elementary” After All

Alchemy, fist fights, and a stereotypically dreary 19th century England: all of these (and much more) can be found in Guy Ritchie’s latest film, Sherlock Holmes.  sherlockholmes_poster1While this one seems to be nothing more than a Saturday matinee “who-dun-it,” it is, in fact, a movie that’s well worth the price of an evening ticket.  Holmes is a lot more smartly constructed than the recent flurry of trailers would suggest, as it’s billed as a no holds barred action flick that will leave you breathless.

I doubt there are many people who are unfamiliar with the legendary character of Sherlock Holmes and his loyal assistant Watson—a particularly observant pair of detectives who serve as the often unheralded heroes of the London of yesteryear—so I’ll just jump right into the plot.  It revolves around (of course) Holmes and Watson as they attempt to solve the case of Lord Blackwood, a man who is a purveyor of black magic and all things evil.  After Blackwood is arrested while trying to sacrifice a young woman during a bizarre ritual, he’s hanged for the aforementioned crime (as well as five other recent murders).  Case closed, right?

Wrong.

Not long after he’s buried, Blackwood is seemingly resurrected, as his grave is abandoned and no trace of his body is anywhere to be found.  The mystery deepens from there, and from that point on we, as viewers, become participants in the hunt for the truth.

To my surprise, Holmes demands that you pay attention to every detail (just as its famous protagonist does).  This might sound a little monotonous—even boring—but it never is.  As the methods of the genius detective are exposed, it’s clear that everything happening on screen is an important clue that will factor into the case somewhere down the road.  We’re virtually dared to try and outsmart the movie itself by solving the mystery of Blackwood before the final act reveals all, and, I have to admit, try as I might I couldn’t unravel the enigma before the obligatory explanation/confrontation scene slapped me in the face with what should have been fairly obvious answers.

Each leading actor plays his/her role to perfection, especially Robert Downey Jr. who portrays Holmes as the quirky brains/brawn figure that deduces all through the use of what many would consider unconventional techniques.  Watson (Jude Law) is the more down-to-earth type who likes to think that he’s grown tired of Holmes’ antics.  He’s preparing to propose to his girlfriend, and this often impedes on the sense of duty he feels to his longtime friend.  This really is the only weakness in Sherlock Holmes; the subplot concerning Watson and his love interest, though a honest attempt to add characterization, is a little distracting.  Had it been pared away from the final draft of the screenplay, I think the whole thing would’ve turned out just a little more streamlined.  No one going to see this expects to forge a deep connection with any of the characters, and screenwriters Michael Robert Johnson and company would’ve done well to keep that in mind.  Really, the addition of Watson’s romance seems like nothing more than an afterthought when it’s all said and done.

A movie like Sherlock Holmes is all about having fun and trying to solve the mystery before the credits roll, and on that front, it does, in fact, succeed with flying colors.  I recommend checking this one out, as it’ll have you combing over the details with your movie-going counterpart long after leaving the theater.

redstar114redstar114redstar114redstar114 out of 5

–Chris Flowers

Rated PG-13 for intense sequences of violence and action, some startling images and a scene of suggestive material.

Check out a trailer for Sherlock Holmes:

State of Play

April 25, 2009state_of_play_poster

Director: Kevin Macdonald

Starring: Russell Crowe, Rachel McAdams

Release Date: April 17, 2009

***Warning: Minor Spoilers Below***

With political thrillers, moviegoers are often treated to overly complex, muddled, and–dare I say it–boring plots that center on ludicrous notions of epic conspiracies that are designed to bring about the end of the world. What’s so nice about State of Play is that it is somewhat grounded in reality. What’s more, it contains “plot elements” that its audience can relate to: namely, the privatization of war and the underlying motivator for the vast majority of politics that a lot of people are aware of but few are willing to acknowledge–money.

The story follows a get-it-done-any-way-possible reporter named Cal (who’s played by Russell Crowe), a seasoned writer for a DC paper called the Washington Globe. A newly-hired, and fairly green reporter named Della Frye (Rachel McAdams) accompanies Cal on his journey to discover the truth behind two homicides on the DC area, one of which involves an aide for a US Congressman named Stephen Collins (Ben Affleck) who also happens to be the former college roommate of Cal.

You’d think a movie with this many links and close associations would quickly fall into the trap of one false ending after another. Or, perhaps, that it’d instantly become convoluted and headache inducing, causing its viewers to dedicate the bulk of their time in the theater trying to make the connection between one minute detail from the beginning with another halfway through that would otherwise have seemingly little relevance. As mentioned earlier, this is not the case with State of Play.

Even though director Kevin Macdonald does demand your complete attention during every scene, that turns out to be a good thing here. State of Play is told in a linear fashion that’s somewhat uncharacteristic for these types of films, and even though some brain power is required on your part, it’s certainly not overwhelming–in fact, the film leaves you craving every new bit of evidence as it progresses, and once that new revelation is provided, it seems every bit as earthshaking as the characters suggest it is. Even if you’ve finished your extra large coke and really need to make a bathroom run, you’re not going to want to. The story is so engrossing that you’ll more than likely opt to sit in agony as not to miss any bit of information. There’s one scene in particular that almost ventures into the realm of horror, with Cal accidentally discovering a character he was not expecting and subsequently being stalked in the wee hours of the morning in an eerily quite parking deck. As corny as it sounds, this resonated with me as one of those particularly poignant moments in film where you can literally feel the tension oozing from the screen–I even caught myself holding my breath.

At the risk of revealing any more about the plot, I’ll end by saying that State of Play is well worth the price of admission. Just remember–if you have a small bladder, forego the concession stand. You won’t want to miss a minute of one of the more engaging thrillers to come out of Hollywood in quite some time.

redstar1redstar1redstar1redstar1redstarhalfout of 5

–Chris Flowers

Rated PG-13 for some violence, language including sexual references, and brief drug content.