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.
Cary Grant stars in this post-war feel-good flick about three beleaguered naval officers whose precious 4-day shore leave is threatened at every turn. At first, it’s disappointing to see Grant slumming it in a party movie, but then there’s a little anti-war sentiment that threatens to elevate the material… before ultimately sinking it. Kiss Them For Me is ultimately an overbearing message movie, with Grant’s character repeatedly explaining to lay people and press alike that war isn’t glorious. Maybe the film served an important function counterbalancing war propaganda from the ’40s, but taken on its own, the message gets tedious very quickly. The line should have been drawn after Grant’s first dramatic outburst (a fine moment for him and the movie), and well before a wounded soldier is wheeled out for exhibition, full of hope and oblivious to his terminal diagnosis.
Gravity is so harrowing, I’m tempted to call it crisis porn. The movie stars Sandra Bullock and George Clooney as astronauts stranded in orbit over Earth after debris destroys their spacecraft. Director Alfonso Cuarón (Children of Men, A Little Princess) warns us from the get-go with some on-screen text that life in space is impossible, and then proceeds to throw everything you can imagine at Bullock and Clooney’s characters. They’ve got dwindling oxygen supplies, they’ve got the debris looping back around at them every ninety minutes, their spacesuits are running out of propulsion, and their connection to Huston has gone dark. There are the threats of burning alive, freezing to death, drowning, and slipping into coma. They see other members of their crew frozen solid, flesh exposed to the vacuum of space — one guy with a tidy hole clean through his head.
