Batman Begins "What makes this pic so mesmerizing is its epic scope. Unlike other super-hero movies (including "Spider-Man") this is a dense and profound movie. It makes the Spidey flicks soppy sentimentalism look like preppy garbage. Nolan's analysis of the Dark Knight's trajectory carries an emotional punch unlike any we have seen in blockbusters before..." (full review)
Kiss, Kiss, Bang, Bang "KISS KISS BANG BANG gives an absolutely relaxed view on Hollywood and it's dark side. Not really realistic, sure, but with a nice, not too complex story, extremly cool figures and a sense of humour, that will make you laugh out loud..." (full review)
Mr. & Mrs. Smith "I enjoyed this movie although if I'm honest I cant remember most of it and I only just saw it. Its worth a watch. A good date movie. There are more than a handful of laughs throughout the film. You re date will love Brad and you can stare in awe at Angelina. I did expect more from Doug Liman though..." (full review)
V for Vendetta (Script) "There are so many sins committed, though, so many horrible characters drawn from the novel that it is almost an alien creation as a result. If I had given birth to a flawed masterpiece such as V for Vendetta in the first place, there would be no way in hell I'd want this mutilated fetus in exchange for it splayed out on the screen for everyone to watch..." (full review)
Cinderella Man "An excellent film. It's one of those stories that just astounds us. The combination of Howard behind the camera and this talented cast makes for a terrific experience. I've thought long and hard about whether or not I could find any flaws with it, but I really enjoyed what I saw. I'll go ahead and predict Oscars all around, as they would certainly be well-deserved. Sometimes inspirational films can become trite and boring, or just plain repetitive. CINDERELLA MAN thankfully never falls into that trap...." (full review)
"The real wonder is that it manages to be a significant, completely unique addition to what may have seemed a tired genre, and in doing so has actually made me understand boxing movies. Sure, "Raging Bull" is a brilliant film, but I much prefer the "Cinderella Man" side of the coin..." (full review)
Cinderella Man - A Review by 'Bodhizefa'
"Cinderella Man" is a fairy tale of a film, and its main character, boxer James J. Braddock, leads an enchanting life complete with the happy ending. It's an historical account, therefore eliminating the chance at true surprise from the audience who is familiar with the story. But like a good fairy tale, the ending is simply icing on the cake. We already know how it's going to end, but Howard, as in "Apollo 13," makes the trip a memorable and alluring one despite our knowledge. Again, Howard nails the time period in which he sets us out on this venture. Again, Howard has great actors doing great work in very humanistic and affable roles. And again, Howard hits all the right notes in the heart-tugging adventure. He is an enjoyable story-teller, and what more could you ask for from a fairy tale...
(Warning: Spoilers! -- Bet your children's books didn't have that right before the witch moved in for the kill on Hansel, ay.)
So once upon a time, there was a boxer named James J. Braddock. He led a pictaresque life. He had the cheers of the crowd in Madison Square Garden Bowl (pre-ceiling). He had the money of a champion. He had the wife of his dreams. It was a time of celebration, even though his wife, Mae (Zelwegger), was visibly distraught over his choice of careers. Zelwegger has turned herself into quite the period piece actress as she is both elated and wounded by her husband's success in the ring. But she loves her husband, and the two dance off into the darkness to make love while their three children sleep and dream inside the house.
Fast-forward four years. The stock market has crashed. Suffering is everywhere in America, including one small apartment in New York. No longer are the Braddocks in their cozy, warm house. And nowhere to be found are the lush, sepia-toned riches and flowers and warmth. The children huddle together in a single bed. Braddock gives up his own breakfast fill the tummy of his hungry daughter. He says he dreamt of a big steak and a huge helping of mashed potatoes, so his belly is full. Mae protests, but Jimmy won't have any of it. He loves his children, and all other concerns are secondary.
Braddock has become a shell of his former self, at least in the ring. Turns out that the boxing match at the outset of the film was his crowning achievement, and his life took a sudden turn for the worst soon thereafter. Now he boxes for paltry sums of money in sideshow rings, just scraping by. In the ring, he looks nothing like the boxer in his prime from the opening. He re-injures an old wound on his right hand, and is inept with his left. He has no dexterity with his left hand, and he only manages his way to the end of the fight on pure determination. When the fight promoter (Bruce McGill) tells Jimmy's manager, Joe Gould (Paul Giamatti in another wonderful small character role), that Jimmy's license is being revoked, Gould reluctantly accepts his fighter's fate. Braddock's time has passed, and Gould's along with it. Braddock, too, accepts his fate.
In one of the most touching sequences in the film, Braddock now has to find a way to keep his family together. He has no immediate source of income, and the couple have sold all their sellable belongings long ago. When Mae decides without Jimmy's approval to send the children off to stay with her family, Jimmy has had enough. He is silently enraged. Crowe shines here, as he becomes the reluctant beggar, having to ask the government and his former employers and friends for money to get his children back within his care. Crowe's demeanor is brilliant here. His mannerisms, his body language, his hushed and almost whimpering plea for help -- this is an actor who invests himself in a role and runs with it. I wouldn't be surprised if the speech he gives to the boxing elitists and entrepreneurs is the one shown at the Academy Awards when he's nominated for yet another Best Actor award. This is a character that loves his children, and Crowe elicits this perfectly.
As luck would have it, Gould manages to scrape Jimmy a fight. It's a tough assignment -- one of the top contenders in the world for the heavyweight championship. The previous opponent had to cancel, and no one would take the fight on such short notice. Gould sells Braddock as "The Man Who's Never Been Knocked Out," and it's Jimmy's chance to say goodbye to boxing in style in the Garden, a chance he would never get otherwise. Here we see Giamatti's rapport with Crowe really blossom. Just as Mae has gone through the up's and down's of being the boxer's wife, so too has Gould seen his life ebb and flow with Jimmy's career. Gould's character is one of appearances. Despite the desperate times, he remains a public rock of stature. But his last best hope remains in Jimmy. He doles out advice to his fighter as if Jimmy actually has a chance against such an invincible competitor. He wishes upon his man the vision and punching ability that he once had and lost. Where Mae loves her husband, Gould loves his fighter. Giamatti is the most steadfast of friends here, and his convictions and loyalties underline the actor's ability to sell the fairy godmother as real.
What happens? Well, of course Jimmy wins that fight. And once he wins a couple more, the world starts to take notice. The "boxing vision" shots display Braddock's ability to visualize his opponents in the ring and break down their weaknesses amidst a flurry of punches. The first person points of view generally work well, although it sometimes feels gimmicky. Nevertheless, Braddock is the new #1 contender for the heavyweight championship of the world. The only opponent that stands in his way is champion Max Baer, truly a fitting name as he is a bear of a man in the ring. He looms over all opponents and roundhouses them from above with his thundering right hands. He's killed two men in the ring, and many think Braddock will be the third. Here is the pay-off for Zelwegger's character as Mae must confess how hurt she is by her husband's profession. And for the first time since the opening of the film, she glows on the screen again. Her pain accentuates her beauty, and Crowe plays extremely well off of her in the role of the man who simply wants to control his own destiny. The actors sell both the pain and the redemption to equal effect.
The final fight is a deft exercise in editing. Howard utilizes the radio to great effect as he intercuts between the fight in third person, first person, ringside with Gould, and over the radio as Braddock's children and, eventually, his wife, tune in. This is where the director is given a moment to shine, as he is a master of suspending the audience's fear and hope and enjoyment during a moment that is well-chronicled in history. Especially effective are the shots of the family and others around the world listening to the radio -- the lack of visuals of the fight in such a visual medium prolong and emphasize the sugpense of the fight. Even if somewhat formulaic, Howard has the formula written as well as anyone. It's a masterful bit of editing.
Of note is the musical score by Thomas Newman. I knew it was a Newman score even without the opening credits as the "Road to Perdition"-like chords filled the screen from the moment the picture came onscreen. The score is essentially an amalgamation of "American Beauty", "The Shawshank Redemption", and "Road to Perdition" with a little bit of "Finding Nemo" thrown in for good measure. In other words, they hired this guy to tug the heartstrings. It works for the most part, but it's nothing new. I'd like a refreshing new timbre from Newman at some point along with some new thematic material. His scores are starting to veer into the sameness category that has plagued composer James Horner for the majority of his career. Newman's more talented than that, though, and I hope for something better soon.
Overall an enjoyable film experience. I'd give it 3 and a half stars out of 4. Definitely worth my time amidst all the special effect extravaganzas of the summer season. It's no "Raging Bull" or even "Million Dollar Baby", but it's an enjoyable film, well acted and well made."
