Day: March 4, 2014

Don’t Shoot the Piano Player: LFM Reviews Grand Piano

By Joe Bendel. Pianist Thomas Selznick has done the nearly impossible, creating buzz for contemporary classical music. Much to his embarrassment, he did so by crashing and burning during an attempt to perform his late mentor’s “impossible to play” composition. After years of nursing his wounds, his celebrity wife has coaxed him into making his concert hall return, playing the very piano once owned by his famous teacher. However, a criminal mastermind will hijack the program in Eugenio Mira’s Grand Piano, which opens this Friday in New York.

Before the show begins, Selznick’s friend and conductor William Reisinger counsels him not to sweat a flubbed note. Considering the density of the music they are about to perform, nobody in the audience will possibly notice. It is good advice musicians of all styles should take to heart. Unfortunately, Selznick will not have that option. Instead, the shadowy “Clem” demands, through an earpiece secretly slipped to Selznick, that he must play each selection perfectly. One missed note and it is curtains for him and his wife, Emma.

Of course, it gets even more complicated. Clem also has a last minute set change. For his solo closer, Selznick is to substitute “La Cinquette,” the very piece that gave him so much trouble before. Naturally, his mentor owned a Bösendorfer, because his unplayable piece requires those extra keys. As the concert progresses towards it climax, Selznick engages in a cat-and-mouse game with the gunman, while remaining rooted at the keyboard, in plain view to all.

Written by Damien Chazelle, this year’s Sundance sensation for Whiplash, Grand Piano has a nice ear for how musician’s talk and think. Shrewdly, his script takes its time establishing the Selznicks and Reisinger, as well as the elite classical world they inhabit. Mira also sets the scene quite effectively, making the mostly digital concert hall feel like a very real and ominous place.

From "Grand Piano."

Evidently, Elijah Wood’s youthful piano lessons paid off, because he looks credible enough at the keys. More importantly, he conveys the perfect level of nervous, ticky stress for a socially awkward artist like Selznick. Don McManus also adds a nice touch of flamboyance as Reisinger. Frankly, the revelation of the actor playing Clem feels like it is intended to be a surprise, even though his name is above the title on the one-sheet. In any event, he is more or less adequate as the mystery villain, even though Grand Piano is by far his best film since at least 2003. In contrast, it is safe to say Bill & Ted’s Alex Winter largely upstages the mostly unseen Clem as his henchman with an attitude.

Grand Piano is a nifty thriller that archly capitalizes on the claustrophobic setting and the neurotic nature expected from musicians of Selznick’s rarified caliber. Cinematographer Unax Mendia gives it a wonderfully dark, stylish look, suggesting a cross between giallos and Hitchcock (whose Royal Albert Hall sequence in The Man Who Knew Too Much stands as an obvious inspiration for the film). Well played and tightly constructed, Grand Piano is enthusiastically recommended when it opens this Friday (3/7) in New York at the Cinema Village.

LFM GRADE: A-

Posted on March 4th, 2014 at 9:26pm.

That was a Tough Gig: LFM Reviews Titanic: Band of Courage

By Joe Bendel. Conservatory-trained Roger Marie Bricoux’s first ocean-liner gig was on the RMS Carpathia, which is best remembered for saving survivors of the RMS Titanic, which happened to be his last seafaring job, for obvious reasons. Considered paragons of the “show must go on” ethos, the dignity and tragic irony of the Titanic musicians’ lives are chronicled in Titanic—Band of Courage, a PBS special airing in select markets around the country over the next two weeks or so.

Sadly, none of the Titanic band-members lived to gig again. As most everyone knows, there was that whole business with an iceberg and an awkward lifeboat shortage. Matters could have gotten really ugly, but the musicians started playing to calm the passengers’ nerves. According to survivors, it really worked.

The night to remember offers no shortage of drama, but for viewers who are not Titanic junkies, Band of Courage also offers an intriguing glimpse into the lives of working musicians during the late Edwardian era. Essentially straddling the lower middle class and upper working class, the ocean liner musicians were required to be proficient in a variety of styles, including operetta, light classical, ragtime, and Tin Pan Alley. They had to be polished enough to withstand the shallow criticism of bored patrons and charismatic enough to earn their tip money. Scottish violinist John Law Hume was a natural in that respect.

From "Titanic: BandofCourage."

Technically, there were two Titanic ensembles: a quintet and a string trio. Reportedly, they only played together on that fateful night, but they shared a common repertoire, collected and conveniently numbered in the Titanic songbook. To give viewers a sense of their sound, a contemporary septet (a piano and six strings) performs each song under discussion as various talking heads weigh in, most notably including Hume’s grandson (whom he never met) and Steve Turner, the author of The Band that Played On.

Musicians and their friends will be particularly fascinating by the details of the ocean liner musicians’ working lives during the Gilded Age. Evidently, the agents handling the White Star Line’s exclusive bookings were not especially ethical or compassionate, suggesting some things in show business never change. Frankly, viewers are likely to conclude the eight musicians in question were not well served by their somewhat cartoonish portrayal in the bloated Cameron Oscar-winner. Interesting from both a musical and historical perspective, Band of Courage comes with convenient places to put pledge breaks, so do not be surprised if someone interrupts the broadcast to ask you for money.  Recommended for fans of string music and the infamously unsinkable ocean liner, Titanic—Band of Courage airs on participating PBS stations throughout the March 1-16 window.

LFM GRADE: B

Posted on March 4th, 2014 at 9:20pm.

Teddy Roosevelt Gets His Independence Day On: LFM Reviews War of the Worlds: Goliath

By Joe Bendel. You would think if H.G. Wells’ Martians could master space travel and death rays, they could also develop antibiotics. It turns out they have shored up their immunological vulnerabilities and have come back for more in Joe Pearson’s animated feature War of the Worlds: Goliath, which opens in select cities this Friday.

Germs saved our butts in 1899, but the vigilant understand it is only a matter of time before the Martians return for round two. Under the leadership of U.S. Secretary of War Teddy Roosevelt, the multinational A.R.E.S. defense force is formed, employing abandoned Martian technology reverse-engineered by their science advisor, Nikolai Tesla. However, by 1914, tensions in Europe threaten to pull A.R.E.S. apart.

Captain Wells struggles to hold his team together, but he has issues stemming from the first Martian invasion, when he witnessed his parents getting zapped. The IRA also hopes to capitalize on the potential European war, striking the British with advanced weaponry they expect Corporal Patrick O’Brien to steal from A.R.E.S. Obviously, this would be a good time for Mars to attack.

Ordinarily, you do not expect steampunk science fiction with a touch of art deco from a Malaysian animation studio, but here Goliath is, with Teenage Mutant Ninja Turtles co-creator Kevin Eastman on-board as executive producer. While the jaws of its characters could not possibly be any squarer, it creates a surprisingly cool world, where A.R.E.S. battles Martians with era-appropriate biplanes and EVA–Jaeger-style tripods, the latest model being the titular Goliath, piloted by Captain Wells and his crew.

Frankly, the warfighting scenes are more graphic than you might expect, particularly for those unfortunate enough to get caught in the Martians’ flesh-melting lasers. However, the historical details are sort of clever, including the hotshot Captain Von Richthofen, engaging the Martians’ air support as the ace of A.R.E.S. Wells’ backstory and his relationships with his squad members are a bit clichéd, but Goliath has a real ace in the hole. Any film that features Teddy Roosevelt shooting Martians earns a pass.

Since it exists in an alternate universe, Goliath manages to be both hawkish and internationalist in its galactic world view. The animation might be just a cut above passable (if that), but the world-building details are well thought out. Fans of the Highlander television series will be particularly interested in its voice cast, which includes Adrian Paul, Elizabeth Gracen, and Jim Byrnes (probably best known for Wiseguy), with the latter being a standout as Roosevelt. It is not a classic, but it is fun in an ambitious meathead sort of way. Recommended for fans of H.G. Wells and T.R. looking for an animated distraction, War of the Worlds: Goliath opens this Friday (3/7) in select theaters.

LFM GRADE: B

Posted on March 4th, 2014 at 9:07pm.

Stephen Chow Unleashes the Monkey King: LFM Reviews Journey to the West

By Joe Bendel. Wu Cheng’en’s classic Ming era novel is a big thick multi-volume work that has inspired many film adaptations drawn from various points throughout its epic time frame. Still, you might not find the exact story of Stephen Chow’s latest comedic spectacle in there, but several of the characters will certainly be familiar. The Monkey King and his fellow demons will tangle with a young and awkward Xuan Zang in Chow & co-director Derek Kwok’s Journey to the West, which opens this Friday in New York.

As a novice demon hunter, Xuan Zang hardly seems likely to reach enlightenment. However, he will do his best to fight the water demon plaguing a provincial fishing village in the go-for-broke opening sequence. While he is more effective than the charlatan that took the first crack at the creature, he is no match for the prowess of Miss Duan, a demon hunter extraordinaire. She does not think much of his use of a collection of nursery rhymes to appeal to the demons’ inner youthful goodness. Nevertheless, she falls for Xuan Zang hard, which confuses the devout Buddhist no end.

While Miss Duan handles the Water Demon with relative ease, KL Hogg (the Pig Demon) turns out to be elusively slippery.  Their pursuit of the latter will bring them into uncomfortably close contact with Sun Wukong, the Monkey King. At this point, all bets are off.

Wen Zhang (recognizable from Ocean Heaven) is appropriately wide-eyed and innocent as Xuan Zang, but the film is completely dominated by Shu Qi. As Miss Duan she shows all kinds of moves and a flair for physical humor we never knew she had in her. Watching her kick demon butt is a sight to behold, but it demonstrates the superior action opportunities for actresses in Chinese language cinema, especially when contrasted with their Hollywood counterpoints.

The prospective Expendabelles film is a case in point, with the embarrassing casting rumors centering around Meryl Streep (all dingos beware). On the other hand, every major Chinese language star takes on action roles throughout their careers, as a matter of course. Recent examples include Gwei Lun Mei in Flying Swords of Dragon Gate, Zhou Xun in the same film, as well as The Great Magician, Michelle Yeoh in nearly all her films, with Reign of Assassins being a recent example, Angelababy in Tai Chi Zero, Ziyi Zhang in The Grandmaster, and Mi Yang in Wu Dang. Now its Shu Qi’s turn and she makes the most of it.

When Shu Qi does her thing, Journey is wildly fun. Nevertheless, Chow did not return to the Monkey King character that made his name and reputation in A Chinese Odyssey just for a quick paycheck. As a reboot/prequel/film-within-the-margins, Journey starts as a massive beatdown and explodes on a cosmic scale, ending with more divine retribution than you will find in the entire Left Behind franchise. The message is simple—do not tick off Buddha.

So you have Shu Qi, a trio of demons, and an apocalyptic showdown. What more could you possibly need?  On the micro level, Ku Huen Chiu’s action choreography is impressively cinematic yet true to Chow’s eccentric aesthetic. On the macro level, Ken Law’s special effects really do not look like anything we have seen before. Plus “pseudo-model”-turned actress Chrissie Chau appears as Miss Duan’s lieutenant, Killer Four, giving her lessons in seduction that go fantastically awry. This is indeed the full assault to the senses Chow’s fans have been waiting for. Recommended with the enthusiasm of a fanboy, Journey to the West opens this Friday (3/7) in New York at the Cinema Village.

LFM GRADE: A-

Posted on March 4th, 2014 at 9:00pm.

LFM’s Jason Apuzzo at The Huffington Post: The Ultimate Southern California Movie: Criterion Restores It’s a Mad, Mad, Mad, Mad World to Its Full Glory

[Editor’s note: the post below appeared yesterday at The Huffington Post.]

By Jason Apuzzo. Sunny southern California rarely gets its due at the movies. Ever since the 1940s, when film noir classics like Double Indemnity and The Big Sleep depicted Los Angeles as a dark urban labyrinth, you might get the feeling that southern California has remained in a permanent Blade Runner nightfall of neon signs, wet streets and detectives pulling fedoras down over their eyes. A world of call girls and corrupt police, of murder and car crashes; a bleak landscape of paparazzi and Black Dahlias, of washed-up actresses and sleazy district attorneys who wear too much aftershave.

It’s a shadowy, sexy and malevolent vision — except that it’s not really the day-to-day SoCal that longtime residents know and (mostly) love. Actually, the place is a lot brighter and more cheerful than that. And a lot goofier.

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From "It's a Mad, Mad, Mad, Mad World."

For one thing, southern California is actually huge, wide-open and flat — with endless horizons, whether of the Palm Springs or Redondo Beach variety — instead of the cramped, angular spaces you typically find in crime thrillers. And it’s got color — lots of color, from the saturated blues of the ocean and sky, to the lurid red-and-gold Fatburger signs on Pacific Coast Highway. Whoever dreamt up southern California was clearly dreaming it in 65mm Ultra Panavision Technicolor.

And contrary to popular belief, most people in southern California don’t pack guns or talk like they just stepped out of a Raymond Chandler novel, diverting as that would be. Most SoCal residents are sedate, middle-class people with just a hint of craziness to them — that quiet spark that drove them long ago to pack up and leave the East Coast/Midwest/Deep South to pursue their pot of gold right here in the Golden State.

And this brings us to It’s a Mad, Mad, Mad, Mad World.

The wonderful folks at Criterion, who are forever saving our cinematic heritage from the ravages of time and neglect, have recently outdone themselves in producing a five-disc set (two Blu-rays + three DVDs) of It’s a Mad, Mad, Mad, Mad World, all built around a pristine 4K transfer of the film and a newly restored 197-minute ‘roadshow’ version of the movie not seen in 50 years. (See a video on the restoration at the bottom of this post.)

And this new, authoritative version of director Stanley Kramer’s beloved epic comedy makes one thing abundantly clear: that It’s a Mad, Mad, Mad, Mad World is the ultimate southern California movie.

For those unfamiliar with the film, It’s a Mad, Mad, Mad, Mad World depicts a pack of otherwise unremarkable southern Californians unleashed in a frenzy of greed when they learn that a stash of $350,000 in stolen money is waiting for them, ready to be dug-up in a park at Santa Rosita Beach (in real life, Portuguese Bend in Rancho Palos Verdes). Unable to come up with an equitable way of sharing the loot, the group breaks up into separate teams, frantically racing toward their hidden treasure by land and air — comedian Jonathan Winters even rides a girl’s bicycle for a while — all while the Santa Rosita Police, led by Spencer Tracy, tracks their progress.

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From "It's a Mad, Mad, Mad, Mad World."

So it’s off to the races, as airplanes smash through billboards (and even a restaurant at one point), cars roar off cliffs and bridges, an entire gas station is demolished, cast members are flung through the air by an out-of-control fire ladder, and every major speed law in southern California is broken. And although the wild conclusion of the film — a Hitchcockian visual effects extravaganza filmed in downtown Long Beach — leaves none of the avaricious group satisfied with their financial arrangement, it does leave everyone with smiles on their faces. (You’ll have to see the movie to find out what that means.)

And that’s really it. The premise of Mad, Mad World — greed — couldn’t be simpler, but it’s enough to power a non-stop, three-plus-hour chase from Yucca Valley to Santa Clarita to Malibu, all filled with dangerous stunts and comic gags performed by the greatest comedians of their time: Milton Berle, the recently passed Sid Caesar, Mickey Rooney, Jonathan Winters, Buddy Hackett, Phil Silvers, Terry-Thomas, Ethel Merman, Peter Falk and Jim Backus, just to name a few. Mad, Mad World also features spot cameos from the likes of Jimmy Durante, Jack Benny, Buster Keaton, Don Knotts, Jerry Lewis, Carl Reiner, The Three Stooges and more comedy talent than you can shake a stick at. Continue reading LFM’s Jason Apuzzo at The Huffington Post: The Ultimate Southern California Movie: Criterion Restores It’s a Mad, Mad, Mad, Mad World to Its Full Glory