Movie Review: “Amelia”

In the 1930s, Amelia Earhart broke records and defied stereotypes with her skillful aviation and affinity for wearing pants. The new biopic “Amelia” follows her rise to fame and sudden disappearance with mixed results. With star-studded leads and awe-inspiring panoramas, it is an enjoyable film only slightly tainted by dark clouds.

Anyone with a basic knowledge of American history is familiar with the tale of Amelia Earhart, played by Hilary Swank. In 1928, she met charming publisher and publicist George Putnam — or “G.P.,” played by Richard Gere — who asked her to join Joe Anderson’s character pilot Wilmer “Bill” Stultz and Louis E. “Slim” Gordon, played by Aaron Abrams, on a risky flight across the Atlantic Ocean. Earhart was only a bystander on this flight and served mostly for publicity’s sake, but it wouldn’t be long before she made the trip on her own.

On May 20, 1932, Earhart became the first woman and second person to fly over the Atlantic Ocean solo. Through strong winds and rough conditions, Earhart succeeded in completing one of her greatest dreams, but this remarkable success wasn’t enough. She went on to break more records, including a solo flight over the Pacific. But there was one more touchstone she had yet to reach.

In 1937, as Earhart reached her 40th birthday, she decided to attempt a solo journey around the world. Although her stubbornness kept her from wanting to seek help, she was convinced to take along Christopher Eccleston’s character Fred Noonan for his navigation expertise. The two made it within 7,000 miles of their fantastic 29,000-mile journey before facing the troubles that would lead to their infamous disappearance.

Too often, biopics resort to dry presentations of factual events or exaggerated caricatures of truth. “Amelia” strays from the pack and does neither. Instead, it offers a fresh perspective on the famous woman who kept America guessing her entire life. Swank is at the top of her game, personifying Earhart with brilliance and grace right down to her androgynous outfits and trademark freckles. Gere complements Earhart’s character as her husband G.P., offering sheepish smiles and unwavering loyalty in the face of Earhart’s fickle ways. There is no spark or blatant chemistry, but rather an underlying sense of endless love.

The breathtaking aerial views over the Atlantic Ocean, Africa, New Guinea and more add to the film’s ethereal sense. The ’20s and ’30s are captured perfectly by the period clothing and elaborate sets. “Amelia” transports its viewers to that turbulent time when the economy was down and hopes were lifted by Earhart’s bravery.

“Amelia” only falters in its staggered delivery. The actors are talented and the setting is beautiful, but the scenes are choppy and the script seems clipped, as if the writers completed their work only to have pieces of it taken out at random.

Even though the ending is widely known, “Amelia” leads gracefully to its sobering conclusion. A few slow moments arise along the way, but essentially it’s a pleasant ride that you’ll be glad you’ve taken.

Grade: B-

Movie Review: Whip It

Take a group of tough-as-nails female roller derby players and a teenage misfit from rural Texas, and the result is a witty, fast-paced comedy. “Whip It” is the first film that Drew Barrymore has directed, and she has proved herself highly capable of that challenge. Call it a chick flick, a girl-power movie or a crossover indie film — it is a strikingly smart comedy that shouldn’t be ignored.

Ellen Page is Bliss Cavendar, a unique teen leading a boring life in Bodeen, Texas. Her temporarily blue hair, funky clothes and sardonic attitude separate her from the Southern belles of Bodeen. Save for her best friend Pash (Alia Shawkat), Bliss doesn’t identify with anyone in her small town and is desperate to break out. Her conservative mother (Marcia Gay Harden) pushes her to participate in a constant string of beauty pageants, hoping she will follow in her pageantry footsteps.

When Bliss discovers a roller derby flier at the local mall, she decides to check out the scene. What she finds is a fiercely competitive world compacted into a warehouse with crowds flowing out of the doors. Once she witnesses aggressive female players speeding around a concrete track in roller skates, she knows she has to be a part of it. With a simple lie to her parents, Bliss joins a roller derby team and begins to find her own sense of belonging.

As Bliss enjoys her newfound passion and the company of her spunky teammates, her friendship with Pash and family life begin to suffer. While Bliss is desperate to continue being a part of the roller derby team, she must decide where her priorities lie. Suddenly the film shifts focus from the intense world of roller derby to the complications of relationships and coming-of-age.

Page makes a solid return to the big screen with her effortlessly cool turn as Bliss. This role is similar to her starring role in “Juno,” but she adds an unexpected depth to the typical angst-ridden teen character. Gay Harden is outstanding as always in the role of Bliss’s conventional suburban mother. The mother-daughter scenes they share are extraordinarily believable and heartwarming.

The rough-and-tumble roller derby team is expertly cast, including Saturday Night Live’s Kristen Wiig and the talented Juliette Lewis. Barrymore plays a small role on the team that is not her best acting work, but she may have a future behind the camera. Robert Wilson, the forgotten Wilson brother, is a riot as the team’s coach. Jimmy Fallon makes a notable appearance as an obnoxious announcer.

One of the strongest features of “Whip It” is the soundtrack. With an eclectic mix of The Raveonettes, Dolly Parton, Peaches and more, it does exactly what a soundtrack should — it complements the film’s rising and falling events without distracting from it.

“Whip It” will, without a doubt, be underappreciated. It may appear to cater to young female audiences, but in truth it will be relatable and consistently entertaining to anyone.

Grade: A

(photo courtesy of Fox Searchlight Pictures)

Movie Review: The Invention of Lying

Imagine a world where no one lies. Every thought is expressed, regardless of how offensive or questionable it may be. No more calling work and faking sick or telling your bad blind date you had a great time. That’s the world of “The Invention of Lying”, a surprisingly creative gem that plays with the notion of truthfulness.

Mark Bellison (Ricky Gervais) is, quite simply, a loser in life. He’s an overweight forty-something stuck in a boring, dead-end job with a dwindling bank account and no romantic life. He may be kind and funny, but in a world where everyone tells the truth, his chances of romance or career advancement are slim. But when he goes to the bank one day to empty his meager account, everything changes. He has an epiphany when he realizes he doesn’t always have to tell it like it is—he can lie!

Mark’s life turns around almost instantly, as his untruthful escapades land him a new home, truckloads of money and worldwide respect. The attractive and way-out-of-his-league Anna McDoogles (Jennifer Garner) begins to pay more attention to him as his financial status and fame constantly rise.

It looks like life has finally decided to be kind to Mark, and he gladly accepts the product of his fibbing. But as he is forced to construct more lies for the masses, he begins to realize there may be serious consequences.

“Lying” is Gervais’s directorial debut, as well as the first film he has simultaneously written and starred in. It is loaded with talent, including supporting roles by Tina Fey and Jeffrey Tambor and hilarious cameos that are best left as surprises. Gervais delivers his signature spot-on humor and self-effacing attitude while Garner is brilliant as the snooty, shallow love interest.

For the first 40 minutes or so, “Lying” seems to hit the same note tirelessly, but don’t lose faith. Just as the snarky honesty that was once humorous starts to get old, the film goes off in an unexpected direction that will get people talking. It begs the question, what would the world be like if there was nothing but the truth? The rest should be left for the viewer to decide, but Gervais is making a clever yet daring point here.

In the spirit of truth telling, this should be made clear—this is not the film for everyone. The underlying messages and at times coarse humor won’t resonate with all audiences and will outright offend others. However, “Lying” is worth a look.

Gervais’s blatantly British comedy style makes a difficult crossover into the American mainstream, but the concept of the film is undeniably smart. Give this fascinatingly truthful film a chance, and it may just change your personal distinction between fact and fiction.

Grade: B+

Movie Review: Love Happens

“Love Happens,” but successful romantic comedies rarely do. This film doesn’t join those ranks. Rather than delighting an undemanding audience and setting comforting but unrealistic expectations of love, it walks the line between melodrama and outright sappiness. In what could have been a marginal success, “Love Happens” strays from the cliché of boy-meets-girl with disappointing results.

Aaron Eckhart plays Burke Ryan, a successful motivational speaker whose “A-OK” books and DVDs have garnered him an adoring fan base. The irony here is that while doling out advice for the masses, he abandoned his own troublesome life. A dark secret threatens to shatter his fragile façade and ruin his career. Enter Eloise (Jennifer Aniston), a florist whose own life could use a little patching up. With her own form of baggage and a cynical outlook on romance, she is hesitant to give in to Burke’s kindness.

Aside from a few factors, the plot of “Love Happens” appears to be the simple formula for a romantic comedy. But rather than taking the usual route, this film veers off course into a subplot that has little to do with its lovebirds. While this somewhat strained emotional turn isn’t an all-out failure, it seems misplaced here.

Just when the sad sack characters seem to be turning their lives around and getting somewhere, another syrupy layer of forced drama is poured on. An overt but well-intentioned metaphor did little to save the movie’s contrived direction.

Martin Sheen, Dan Fogler and Judy Greer in supporting roles add a few moments of reprieve from the dismal game that Burke and Eloise are playing. Their somewhat laugh-worthy lines keep the movie from being utterly depressing.

“Love Happens” could have been a refreshing change from typical rom-coms, but instead it tore relentlessly at heartstrings with no resolve. Yet in true Hollywood form, the audience is rewarded with a happy ending. Sorry to spoil it.

Unless spending two hours trying to figure out where a chemistry-less romance is heading sounds fun, skip this hollow attempt at cinematic creativity.

Grade: C-

National Ballet Twirls for CCA

Few people have more grace than ballet dancers, who move in unexpected ways and yet make it look it easy. The 13-member dance troupe American Ballet Theater II is no exception. Last Friday, they wowed a small crowd at the Collins Center for the Arts. Among their varied dances were a piece from “Swan Lake,” an intriguing “Don Quixote” piece with elaborate costumes and a modern piece set to music by Beethoven.

The bright red seats of the CCA were hardly filled to capacity, and there were many gaps between patrons. The audience was a potpourri of the old and the young, students and citizens. Some moved to better seats in the front and center of the auditorium while others fidgeted with programs. But as the lights went down and the curtains were pulled back, a palpable silence blanketed the crowd.

A stream of dancers in flowing, silver-blue outfits moved across the stage in perfectly choreographed movements. Four couples flitted to center stage and then separated to stage left and right, only to meet again in harmony.

“I try to have a top-shelf dance company on every season,” Adele Adkins, associate director of the CCA, commented. “This young company is one of the best.”

There was no doubt after seeing them perform.

The ABT II troupe is made up of 13 highly trained and skilled dancers, ranging in age from 16 to 19. They have been handpicked from across the globe to travel and perform together. Just by taking a glance through the evening’s program, it was easy to see that the members of ABT II were incredibly experienced. They all participated in dance competitions worldwide and were educated at esteemed dance schools. But as if their biographies weren’t convincing enough, their performances were fantastic.

Of the several pieces they performed, the most breathtaking was an adaptation from “Swan Lake,” Act II. Two dancers stood in the middle of the stage, the girl in a breathtakingly stark white bodice and tutu and an intricate feathered headband. The expression on her face was of great sorrow, which she managed to hold throughout the entire performance.

ABT II’s performance was undoubtedly excellent, but it wasn’t exactly what some members of the audience had expected. The pieces were broken up, some with long pauses in between, two having 15-minute intermissions following them. “It was impressive,” said Aubray Landry, a second year elementary education student. “But I thought it would be more like a full show rather than segments. I thought the pauses were a little distracting.”

The third piece performed was “Don Quixote,” and involved clothing modeled after a Spanish matador and a traditional flamenco dancer. Rather than the typical white tutu, it was shockingly red with complex gold detailing. More surprising than the costumes were the dancers at the heart of this performance. Meaghan Hinkis and Alberto Velazquez made a great couple, and Hinkis pulled off so many pirouettes it was amazing she could keep her balance afterward. The crowd enjoyed this piece most of all, gasping as Velazquez hoisted Hinkis into the air or twirled around in perfect prima ballerina form.

Adkins was somewhat disappointed by the small crowd on Friday, but she is still hopeful for future dance events. “We have ticket breakdowns for each event,” she explained. “I try to program a very diverse season so that at least one event will appeal to our broad audience.”

She expected the ABT II performance to appeal to dance lovers, but perhaps not the general public. Appeasing and intriguing the UMaine community as a whole is no small feat, but she hopes that the CCA’s offerings will continue to draw diverse crowds.

The most surprising piece came at the end and was titled “A Taste of Sweet Velvet.” Aptly, the dancers were dressed in soft, velvety outfits with touches of brocade and deep purple. The piece was set to Symphony No. 9 in D Minor by Beethoven and was hardly the typical ballet piece.

“Velvet” had a whimsical and modern feel to it and involved almost all the members of the ABT II company. Unlike most of the pieces, this didn’t focus on two dancers, but on the group as a whole. They all danced together seamlessly, eliciting reverent applause and smiles from the crowd.

Much to the delight of dance students and enthusiasts from the community, two of the ABT II dancers held a master class at 1 p.m. at the Thomas School of Dance on Friday to impart some of their talent and experience.

While UMaine has been privy to some great acts at the CCA this year, ABT II’s performance is likely to remain one of the most surprising and enjoyable to date.

Movie Review: Duplicity

These days, it’s getting more difficult to find a movie that is both entertaining and thought-provoking. Among the many mindless movies in theaters today, it’s refreshing to find one that is clever and original. “Duplicity” succeeds as a smart spy caper that is as delightful as it is witty.

Ray Koval (Clive Owen) and Claire Stenwick (Julia Roberts) are corporate spies whose lives have intertwined over the years. After a series of steamy hook-ups, the two meet again to plan a con to end all cons. As they attempt to pull off the plan of the century, they are met with unexpected obstacles. The result is a whirlwind plot filled with witty repartee and surprising turns.

Owen and Roberts have a believable chemistry and play off of each other well. Owen’s overly confident swagger mixed with Roberts’ cool sophistication makes for a sexy and exciting on-screen pairing. They demand the audience’s attention as they swing in and out of each other’s lives. The dynamic between them is intriguingly complicated by the fact that they are predisposed to mistrust each other. Although they have a credible magnetism, more could have been done to show the affection between them. The relationship, while heated and interesting, is a bit hollow.

“Duplicity” somewhat echoes the spy flicks of the ’40s, with its snappy dialogue and the classic couple who carry the film. It keeps viewers on their toes with the somewhat choppy back-and-forth editing and time jumping. At times the film snails along when it could have kept up the pace. The pulse-pounding conclusion almost makes up for the rest of the film’s tendency to lag.

Paul Giamatti and Tom Wilkinson play two rival corporate hotshots and serve as great entertainment, particularly in the opening credits. Their performances add a level of finesse to the high stakes battle in the backdrop of Ray and Claire’s complicated courtship.

This film is reminiscent of “Ocean’s Eleven” and its sequels, with its cleverness and elaborate schemes. Unfortunately, it’s not quite as entertaining and leacks the support of other actors who made the “Ocean” series so great. “Duplicity” is missing a little something. Whether it’s the lazy script or the weak plot is hard to tell. Despite its downfalls, “Duplicity” remains a fun little romp and is worth seeing, if only for the cat-and-mouse antics and the dynamite between Owen and Roberts.

Grade: B

Movie Review: Fast & Furious

If fast cars, short skirts and huge muscles could carry a movie to greatness, “Fast & Furious” would be at the top of the heap. Unfortunately, a well-formed plot, dialogue and good acting are generally required for an enjoyable film experience. “Fast & Furious” follows the previous three testosterone-driven vehicles in a highly predictable fashion.

Although none of the earlier films were Oscar-worthy, they each offered something for viewers. “The Fast and the Furious,” “2 Fast 2 Furious”, and “The Fast and the Furious: Tokyo Drift” could at least be considered guilty pleasures, but “Fast & Furious” left a bitter taste and none of the light satisfaction of the others.

“Fast & Furious” returns with the heavily muscled and slack jawed Dominic Toretto (Vin Diesel), along with his tough and trusty girlfriend Letty (Michelle Rodriguez). Also returning in this unnecessary sequel is Paul Walker as Brian O’Conner, the moody FBI agent who holds a rivalry with Dominic.

When trouble befalls Letty, our two star-crossed actors are brought together like a bad jigsaw puzzle. Before we can bat an eye, they are a dynamic duo overcoming their differences in the search for a notorious drug lord. This jumbled rat race leads Dominic and Brian over the U.S.-Mexico border, where they fight for justice. Their journey concludes with a cliffhanger, which hopefully doesn’t allude to yet another fast and furious mess.

As soon as the film begins, the audience is met with a high-octane action scene, and it seems that it is headed in its usual direction. This wouldn’t have been so bad. Unfortunately, this scene spirals into a drawn-out disaster so filled with awkward stares, stutters and plot holes that it’s nearly impossible to focus on the road ahead.

Diesel has never been lauded for his acting chops, but at least in the first movie he served as a somewhat intriguing meathead. In “Fast & Furious,” he garners no empathy for his troubles and spends his screen time filling out tight shirts and staring into the distance.

Likewise, Walker has lost his charm since 2001’s “The Fast and the Furious.” He looked old and tired and acted lackadaisically, only coming alive to punch someone or press the gas pedal. It is no great mystery as to why audiences haven’t seen much from these two in years.

There are some decent car chases and shoot-em-up moments. The shiny cars and fast women are back in full force, so fans of the franchise might not be disappointed. But as far as good movies go, “Fast & Furious” doesn’t fit the bill. The plot bounces back and forth and expects viewers to understand that it was set sometime before “The Fast and the Furious: Tokyo Drift.” Movies such as this are to be enjoyed like chocolate – as a treat, but not as a steady diet. “Fast & Furious” can’t even fill this requirement. It is a fast and infuriating disappointment.

Grade: D

Movie Review: Adventureland

It is the age of the underdog on the big screen today, and losers everywhere should take note. “Adventureland” takes its rightful place in a long line of recent films chronicling the life of the unnoticed and underappreciated. Unlike its predecessors, however, “Adventureland” is neither comedy nor drama, and it can’t be described as strictly a teen flick. The movie doesn’t rely on the typical comedic tricks and emotional ploys – it’s entirely original, yet oddly familiar.

The year is 1987, and James Brennan (Jesse Eisenberg) has just graduated from college. He hopes to jet off to explore Europe with some buddies for the summer. But over dinner at his graduation party, his parents break the news that they have fallen on financial hardship and can’t fund his trip.

James is forced to search for the dreaded summer job in his hometown of Pittsburgh, armed only with a padded academic resume and limited work experience. It turns out the only job he’s qualified for is at Adventureland, a dumpy local amusement park. He reluctantly accepts the position and begins work as a carnie.

It’s at Adventureland that James meets a host of interesting characters, including the disenchanted Joel (Martin Starr of Apatow film fame), maintenance man Connell (Ryan Reynolds), and the lovely Em (Kristen Stewart). Although James’ job as announcer of mechanical horse races is unfortunate, he forms a kinship with fellow employees that helps carry him through the miserable summer.

An instant attraction between James and Em becomes the plot’s centerpiece. Stewart shows surprising depth as the complicated and sullen Em, and it’s refreshing to see that her talents go beyond teen queen of the vampire obsessed. Eisenberg may be on his way to becoming the next Michael Cera, with his self-effacing disposition and adorable awkwardness.

Familiar faces include the amusing Bill Hader (“Superbad”) and the always brilliant and deadpan Kristen Wiig (“Saturday Night Live”). It would have done the filmmakers well to make more use of these characters, who spend most of their time in the background.

“Adventureland” will undoubtedly be labeled as a “coming of age” film, but don’t let that scare you away. It effortlessly captures the essence of the late ’80s in a way that almost makes it look appealing, and the true to the era soundtrack carries the movie through when it drags.

The somewhat pathetic lives of the Adventureland employees make the ride simultaneously poignant and amusing, even if the movie slows at certain points with awkward car-ride silences and drug-induced hazes. Unfortunately, the trailers advertise “Adventureland” as having the same director as “Superbad” and shared actors, which might lead moviegoers to believe that they will be treated to “Superbad 2: The Carnival.”

“Adventureland” leans toward melodramatic with a touch of gritty realism. Just don’t go into the theater expecting a fast paced comedic joyride. The style of “Adventureland” is more like the kiddie dragon coaster than the Thunderbolt. It is slow-paced and mellow, but eventually delivers.

Grade: B

Movie Review: The Haunting in Connecticut

Take an old house, an unassuming family and a few evil spirits. Put them together and you’ve got the recipe for a horror movie. Despite these key ingredients, “The Haunting in Connecticut” falls far short of terrifying. It wants to be scary, but aside from a few jumpy moments, it’s nothing audiences haven’t seen.

The Campbells are an average American family, except for one detail. Their eldest son Matt (Kyle Gallner) is suffering from terminal cancer and must undergo rigorous radiation treatment. In order to be closer to the hospital where he is treated, they rent an old house in Connecticut until he finishes treatment. The house seems like the ideal solution for them, with plenty of space, a convenient locale and the perfect price tag.

But their mother, Sara Campbell (Virginia Madsen) has to wonder what the catch is. It just so happens that like all good backgrounds for a horror movie, the house has a dark history. Regardless of the house’s sketchy past, Sara signs on the dotted line and she and her family begin to make the creepy old place their home.

It’s only when her ill son discovers a sinister room in the basement that the family realizes their dream home was once a funeral home. Not long after, sinister events begin to occur that will change the Campbell family forever.

Gallner, known for bit parts in TV shows and indie films, does a decent job of playing the victim of both cancer and the supernatural. Madsen is convincing as a concerned, loving mother and holds the movie afloat as much as one person can. While the premise of “The Haunting in Connecticut” could have worked, it ends up translating to screen as the same played out plotline.

The film clings to the tagline “based on a true story”. This has helped plenty of films draw a crowd, from “The Texas Chainsaw Massacre” to “The Amityville Horror.” Unfortunately, little about this film seems credible. Even so, horror movies aren’t generally realistic; they just serve to scare us like hell. If “Haunting” had succeeded in that, it might have redeemed itself.

The merits of “The Haunting in Connecticut” include respectable acting attempts, solid visuals and interesting editing. However, it just won’t satisfy hardcore horror fans. It too often resorts to cliched horror devices rather than tapping into an audience’s primal fear. There was an ideal opportunity to reinvent the typical haunted house genre, but “Haunting” is a disappointment.

Grade: C

Movie Review: I Love You, Man

If comedy is an art, Paul Rudd and Jason Segel in “I Love You, Man” rank among Monet and Picasso. This film delivers laughs relentlessly, and while it’s not the most civilized production, it’s simultaneously clever and delightfully juvenile. Even in the opening credits, “I Love You, Man” reaches a level of hilarity that comedies of its kind work twice as hard to manage. It can easily take the title of best comedy so far this year.

The sheepishly charming Rudd plays Peter Klaven, an easygoing nice guy who proposes to his girlfriend Zooey (Rashida Jones, an alum of “The Office”). As the starry-eyed young couple prepares for the wedding, Peter realizes he has no close male friends. As his brother Robbie (Andy Samberg) points out, Peter has always been a “girlfriend guy.” Desperate to fill out his side of the wedding party, Peter embarks on a search for a best man. Along this amusing adventure, he discovers the cool and brazen Sydney Fife, played expertly by Segel of “How I Met Your Mother” and “Forgetting Sarah Marshall” fame. While the two click instantly, Zooey has her reservations about the new guy in her fiancee’s life. What follows can only be described as comedic genius.

Rudd shines as the painfully awkward but lovable Peter, and Segel brings to life the ridiculous slacker personified by Sydney. Beyond the stars, the supporting cast of “I Love You, Man” draws upon the talents of several members of today’s comedy A-team. J.K. Simmons, the sweet, defensive dad from “Juno,” reprises his parental role perfectly. Andy Samberg, best known for his infamous SNL skit with Justin Timberlake, plays an unconvincing yet entertaining gay personal trainer who dispenses well-meaning advice. Jaime Pressly of NBC’s “My Name Is Earl” is surprisingly funny and piercingly candid in her role as Zooey’s friend.

“I Love You, Man” is neither a romantic comedy nor a stereotypical guy movie. It patently refuses to be pigeonholed, and instead will make you laugh too hard to consider it. Bromance abounds, so be ready to either get in touch with your masculine side or simply laugh at the result of the masterful combination of two of comedy’s all-stars.

Although “I Love You, Man” is not the work of Judd Apatow (“Pineapple Express,” “The 40 Year Old Virgin”), it shares a similar feel. The jokes are quick and at times shocking, the characters are outrageous and relatable, and the laughs are endless. While there are similarities between this film and Apatow productions, “I Love You, Man” earns a spot at the top of the heap for its blithe excellence.

Grade: A