Errol Flynn and David Niven star as World War I pilots confronting the grimmest odds of survival in this exciting and moving remake of Howard Hawks’ 1930 original. With its wartime setting and nary a woman in the cast, The Dawn Patrol is another great bromance in the grand tradition of war stories — it’s all about camraderie, brotherhood and sacrifice.
During the opening credits of this Roland Joffé (The Mission, Vatel) version of The Scarlet Letter, a certain snippet of text appeared that allowed me to forgive quite a lot of the nonsense that would follow. The text read: “Based Loosely on the Novel by Nathaniel Hawthorne”. Loosely. So what the hell — why not have the American Indians rescue Hester from the gallows? Alas, it is with deep shame that I confess I find this bastardization completely re-watchable.
Writer/director Miranda July also stars in this Cannes and Sundance Film Festival winner about people trying to connect with each other in an age when culture and technology make that connection more challenging. The film seems to be saying that we are all experiencing this difficulty, but July’s characters are so quirky and awkward that Me and You and Everyone We Know is as much an absurdist fairy tale as it is social commentary. Either way, it’s an interesting film full of bizarre relationships mined for greater truth than for exploitation. Take a six-year old boy’s on-line relationship with a mysterious woman who agrees to “poop back and forth” into each other forever. Or a grown man’s sexually explicit window signage for two teenaged girls that pass by his apartment every day. July doesn’t play these up for laughs, but instead takes them to realistic and surprising conclusions. When the teenaged girls become curious and knock on the man’s door, he hides in fear. And when the boy agrees to meet his sexting partner, the potential nightmare is revealed to be something sweet and tender.
I really like Oliver Stone about half the time, but the show-offy style he used with Natural Born Killers and J.F.K. doesn’t service Any Given Sunday. Those other films, with their multiple perspectives and drug-induced visions, felt right to employ rapid editing and multiple media. But Any Given Sunday is (or should have been) a reality-based ensemble drama about the rigors and tribulations of everyone who works in football. Freeze-frames, stock photography of rolling thunder clouds, and ecclesiastic Moby music don’t work here — they only serve to portray football as something holy and sacred, and the players as celebrities or gods.
Cate Blanchett stars as the real-life Irish journalist who paid the ultimate price for exposing the burgeoning drug problem in mid-90s Dublin. Outraged after discovering children playing in streets littered with used needles, Veronica Guerin decided to bring the epidemic into the national limelight, risking the life and safety of not only herself but her family as well. Blanchett, always reliable, does a great job portraying Guerin as a woman with a brave public face, even after a shot is fired into her home and a drug lord punches her repeatedly in the face for daring to step foot on his property (the film’s most brutal and disturbing scene).
Director Sidney Lumet showcases a true story ripped from the headlines, about two amateur bank robbers who started a media sensation that exploded further when the public learned of their unusual circumstances. Al Pacino stars as the master-mind of the heist plan that goes to hell and Charles Durning costars as the police captain who tries to manage the 24-hour siege. What’s most remarkable about this story is the robbers’ unexpected courtesy toward their hostages and law enforcement, as well as the reason Pacino’s character needs the money — to pay for his lover’s sex change. Lumet’s unadorned, fly-on-the-wall approach neither sensationalizes nor condescends to any of the material or its characters. Dog Day Afternoon is a mesmerizing mash-up of the gritty and the oddly touching, the darkly comic and the emotionally tense. Frank Pierson took home the Academy Award for his original screenplay, while the film also earned nominations for Best Picture, Director, and Editing (Dede Allen). Pacino was nominated for Best Actor and Chris Sarandon (Fright Night, The Princess Bride) was nominated for his supporting role as Pacino’s exasperated boyfriend. With John Cazale and Carol Kane.
