019. Robin Hood: Prince of Thieves

019. (21 Jan) Robin Hood: Prince of Thieves (1991, Kevin Reynolds) 7



Kevin Costner and Christian Slater are easy scapegoats because they are, after all, unbelievably wretched here. But Robin Hood: Prince of Thieves fails on most basic levels. Despite all the period sets and costumes, it looks and feels like something a Renaissance fair would put on. As an adventure film, it's boring and obnoxiously self-serious. Without any fun or excitement, this is overlong, tiresome and ultimately painful.

017. The Bodyguard

017. (20 Jan) The Bodyguard (1992, Mick Jackson) 26



The Razzie nominations and reputation still couldn't prepare me for this. This is sheer obliviousness captured on film, from Costner and Houston's complete lack of romantic chemistry to the outrageously half-baked assassination plot. Its unnecessary pretension only makes it funnier, like when Kevin Costner and Whitney Houston see Yojimbo on their first date. That eventually pales in comparison to all the Oscar talk, as Houston gets nominated for Best Actress and then insists on going to the ceremony despite the recent death of her sister and the certainty that her attacker will strike at the event. The Academy Award scenes are perfect camp, especially as the ego-stroking paid off in this picking up two actual Oscar nods.

Alternate Best Actor 1993: Results

5. Jeff Bridges in Fearless- Bridges shoots for the sky but never quite reaches the heights that his performance wants to reach.

4. Kevin Costner in A Perfect World- Costner in a very atypical fashion dominates his film well, as well as gives a moving portrait of a man wounded by abuse.

3. David Thewlis in Naked- Thewlis gives an outstanding performance that is a fascinating portrayal of drifter, that is extremely watchable.

2. Bill Murray in Groundhog Day- This is just a great performance by Bill Murray that is both a hilarious joy that makes this film enjoyable to watch all the way through, but as well does realistically portray his character's life changing realizations.

1. Michael Douglas in Falling Down- I must say although I certainly very much enjoying watching and reviewing these great performances foolishly ignored by the academy, I have to say just like last year this was an insanely difficult one to choose since I love Douglas, Thewlis and Murray equally in their roles. This again is not so much a win, but rather just a current decision I really feel a rewatch of any of three could tilt the scales. Nevertheless at the moment I give to Douglas who gives both an incredibly viscerally effective performance that pierces through every scene, but he as well shows a moving portrait of a man completely lost in the ills of modern society.

Overall Ranking of the Year:

1. Michael Douglas in Falling Down
2. Bill Murray in Groundhog Day
3. David Thewlis in Naked
4. Liam Neeson in Schindler's List
5. Daniel Day-Lewis in In the Name of the Father
6. Jeff Daniels in Gettysburg
7. Robert Duvall in Falling Down
8. Kevin Costner in A Perfect World
9. Clint Eastwood in In the Line of Fire
10. Harrison Ford in The Fugitive
11. Anthony Hopkins in The Remains of the Day
12. Sam Neill in Jurassic Park
13. Tom Cruise in The Firm
14. Kurt Russell in Tombstone
15. Al Pacino in Carlito's Way  
16. Jeff Bridges in Fearless 
17. Johnny Depp in What's Eating Gilbert Grape
18. Christian Slater in True Romance
19. Tom Hanks in Philadelphia
20. Laurence Fishburne in What's Love Got To Do With It
21. Denzel Washington in Philadelphia

The Next Year Will Be 1985

Alternate Best Actor 1993: Kevin Costner in A Perfect World

Kevin Costner did not receive an Oscar nomination for portraying Robert "Butch" Haynes in A Perfect World.

A Perfect World is an effective film about the man hunt for a man who has escaped from jail who takes a young boy hostage but ends up becoming a surrogate father to the boy.

Kevin Costner is not a favorite actor of mine as his only actual Oscar nominated performance found itself very close to the very bottom of my overall ranking of leading performances nominated for best actor. I can't say this is just a case of an actor being nominated for his worst though since I have not particularly cared for him in many other roles such as Waterworld and the Untouchables. My usual problems with his performance is there seems to be a distinct lack of conviction or interest in the roles themselves. For me this causes him to either come off as an excessively weak even when he is not suppose to be, or just plain dull as he was in Dances with Wolves.

Luckily though this is an unusual turn in many ways for Costner, and watching the film his performance most certainly acted as a pleasant surprise for me. In the role as the intelligent escaped convict who was abused by his father, who is trying to escape the law Costner has the one thing here that he tends to lack in the role which is conviction. Kevin Costner here actually has a strong presence through the film and it is easy to follow him all the way though his attempt to avoid capture while trying as well to be a father figure to a boy who never had a good one just like himself. This is not a vastly different performance by Costner than his others in terms of his actual style but it is in terms of execution.

Costner still actually does sort of do his average man routine as he does in many of his films for better or in most cases for the worse, but here there is just the right twist in that he is portraying a criminal. He never portrays him as a thug of any sort and in most ways he treats him like a smarter but normal person who happen to go that path. I say most ways though because Costner actually infuses in his performance just the right amount of volatility and danger with his presence. Even though he makes Haynes seem like a nice enough man for the most part, there is always an underlying tension in Costner's performance to show Haynes's ability for violence when needed.

What I really like about this performance though is the intelligence of Haynes which Costner effectively brings to life. Costner keeps this rather all rather quiet through his performance as Haynes never shows off the fact that he is intelligent, he merely is. Costner brings this along well in his performance as he conveys the inner workings of Haynes through the film, he is a man who is constantly thinking, and attempting to figure a way out of his predicament. Costner also interestingly has the power in this performance he usually lacks. Here there is the similar type of presence that for example Clint Eastwood had in his younger days, which works perfectly to show strength of Haynes.

The main aspect of this performance though is Haynes's attempt to be a surrogate to the father he kidnapped, as well as dealing with his own feelings he feels toward his own father who abused him. I will say there is one big thing against Costner here and that is in the portrayal of the boy named Phillip played by T.J. Lowther. The problem is Lowther's performance at best is only okay, but rather bad when at his worse. Whenever there is a scene where he really is pressed to show emotional pain, or being distraught he just kind of makes a weird face like Eastwood was desperately trying to get something from the kid but that was the best he had.

Even with a lackluster co-star I still quite liked Costner's portrayal of Haynes's attempt to be a father. Costner is careful in that he does not overplay it to be some excessively heartfelt man ready to instantly become this boy's father. Costner instead shows a wounded soul just trying his best. He is never overbearing  in any way, and he shows it as just a natural reaction on Haynes's part. There is though just the right amount of warmth in his performance as he does his best to act in the father role for the boy, even though the connection never becomes quite as strong as I would like. The reason is though because of Lowther, if a better actor had been in that role it could have been astonishing. As it is though it stands as still moving due to Costner's effort but lacking on a whole due to Lowther.

Costner gives a strong performance throughout but the very highlight of his work comes in the very end of his work as the more violent side of Haynes appears when seeing a man habitually abusing his son as he had been. Costner is excellent here actually as he shows Haynes's rage over his own past his own hate at his father which becomes a intense hatred at this man just like his father. In this scene we gain a window into the troubled past of this man incredibly well handled by Costner. He really shows just how wounded this man is that has brought him to the terrible point in his life. For me this is a powerful work by Costner, and I was surprised how moving his final scenes actually ended being for me. This easily Costner's best work that I have seen, although that technically speaking seems like a low standard, this performance raises my view of Costner considerably.

Alternate Best Actor 1993

And the Nominees Were Not:

Kevin Costner in A Perfect World

Michael Douglas in Falling Down

Jeff Bridges in Fearless

Bill Murray in Groundhog Day

David Thewlis in Naked

117. Hatfields & McCoys

117. (19 May) Hatfields & McCoys (2012, Kevin Reynolds) 65

The network that nearly inflicted The Kennedys on us redeems itself wholly with Hatfields & McCoys. From its fiendishly clever writing to its pitch-perfect cast, this intimate epic is deservedly poised to dominate the Emmy tally. The most deserving of its nominations will belong to Mare Winningham, who looks so distraught in every frame it's enough to tear your heart out. But there's no weak link here as the understated Bill Paxton and Kevin Costner graciously share their screentime with accomplished newcomers Lindsay Pulsipher and the impossibly photogenic Matt Barr.

It's hard to justify the miniseries' five hour runtime considering this family feud goes in such circles. Nevertheless, there are consistent rewards in each of the three parts. Kevin Reynolds competently navigates action sequences, dramatic confrontations, and private romantic moments that hardly suggest the same heavy hand that helmed Waterworld.

THE COMPANY MEN

Written and Directed by John Wells

Starring Ben Affleck, Tommy Lee Jones, Chris Cooper, Rosemarie DeWitt and Kevin Costner

Phil Woodward: You know what's the worst part? The world didn't stop. I mean, my life ended and nobody noticed.

I’m not sure if you were aware of this but the world’s financial markets crashed hard in the later part of 2008. Thousands upon thousands of people lost their jobs, their homes and their lives as they knew them. Two years later, the situation is on a reasonable mend but many are still without work and still losing their livelihoods. I don’t mean to make light of these difficult times; obviously, you were already aware of everything I just wrote. John Wells, one of the men behind the long-running television series, “E.R.” and the director of THE COMPANY MEN, however, seems to just be joining the table with his first feature. The ensemble drama attempts to tackle the fallout from this economic crisis but only ends up playing out like a whiney reluctance to let go of America’s overinflated financial hay day.

THE COMPANY MEN opens on Bobby Walker (Ben Affleck), strutting into his fancy office after playing a few rounds of golf before coming in. Little does he know, he is about to get canned. The company Bobby has worked for for 12 years, where he earns a salary of more than $120K plus incentives and bonuses, is downsizing in light of the crash. What follows this, is one overwrought termination cliché after another. Will Bobby be able to make his next mortgage payment? Will Phil Woodward (Chris Cooper) be able send his child to an Ivy League university in the fall? Will that other random unemployed guy be able to find another job in his field or will he have to lower his expectations in order to make ends meet? And it doesn’t stop there either. Before the movie ends, some executives will feel great guilt over sacrificing people at the hands of the shareholders, while others will collect their bonuses despite massive layoffs. All that was missing was some suit caving under the pressure and killing himself. Oh wait, it has that too.

Wells clearly believes he is telling an important story and the men of THE COMPANY MEN (also including Tommy Lee Jones, Kevin Costner and Craig T. Nelson) do their best to make the plights feel real, but the truth of it is that the problems they face are those of people who were already privileged to begin with. No one here has to face homelessness or hunger. No, everyone here has their savings to fall back on. Everyone here had a great job to start with, which gives them an advantage over all the other people who were already struggling to begin with, when they lost their jobs. All spending time in the company of these men accomplishes, as they lament the good old days when they used money for toilet paper, is the highly unsympathetic reminder that they were living way too large to begin with.

Wyatt Earp

Fans of traditional westerns no doubt enjoy “Wyatt Earp” (1994) more than general audiences. I think it’s a woefully underrated film, and remember going to see it in the theaters in 1994 and being blown away by how good it was. That was not a popular opinion then nor is it now. But I watched it again the other night and my initial opinion held up for me. I think “Wyatt Earp” is one of the best westerns – and one of the best epics – of the last 15 years.

Yes, an epic, a genre often embraced by audiences yet rejected by the critics. Larger than life characters set amidst the great events of history – that’s what the three-hour “Wyatt Earp” is. It’s a type of film that has sadly gone out of fashion today.

Owen Roizman’s cinematography is gorgeous, giving us sweeping vistas of the West, ably enhanced by James Newton Howard’s epic scoring. This is traditional, old school Hollywood movie making at its most appealing.

I greatly admire the skill and craft that went into its making. Director Lawrence Kasdan keeps the pace sure and steady over the film’s long running time, though the film really picks up once Wyatt becomes a lawman.

Yes, the real Wyatt Earp did live an adventurous life, working on the railroad, and as a teamster, stagecoach driver and a buffalo skinner before becoming a lawman. He earned a reputation for taming the tough Kansas cattle towns of Wichita and Dodge City before earning immortality in Tombstone, Arizona and the Gunfight at the OK Corral.

Wyatt and his brothers Morgan and Virgil were inseparable, much to the consternation of their wives. The family came first – the wives may have been in the family, but they weren’t of the family.

The film doesn’t pain Wyatt as a saint or a sinner. A controversial figure to this day, he was equal parts lawman and vigilante.

The cast can’t be beat: Gene Hackman as Nicholas Earp, the family patriarch; Michael Madsen as Virgil; Tom Sizemore as life long friend Bat Masterson; Bill Pullman as Bat’s brother Ed; JoBeth Williams, Catherine O’Hara, Mare Winningham and Joanna Going as the Earp women; and Mark Harmon as Sheriff Johnny Behan, the lackey of the Clanton Gang in Tombstone.

Special praise must be given to Dennis Quaid for his performance as Doc Holliday. Quaid is one of our best actors and this is one of his best performances. He dropped almost 40 pounds to play the TB-ridden, phlegmatic Holliday.

When “Tombstone”, the other Wyatt Earp drama, opened the year before, much of the praise went to Val Kilmer for his flamboyant Doc Holliday. Audiences couldn’t get enough of him. And yes, he’s great in it.

But you know what? Quaid is every bit as good in the role of Doc Holliday. And so are Jason Robards, Kirk Douglas and Victor Mature. For Doc Holliday is a fool proof role, one the worst actor in the world couldn’t screw up.

Doc Holliday was a former dentist turned gambler, a wounded soul from Georgia, his TB causing him to have uncontrollable coughing jags, extremely cynical but tremendously loyal to his only friend Wyatt Earp – what actor could resist such a role?

And then there’s Kevin Costner in the title role. I’ve always been a big fan of Kevin Costner, and not just because he has a splendid first name. He’s one of the few performers today I’ll go see in anything.

He’s very well cast here and does a fine job. Flinty when he needs to be but incredibly loyal to his family and Doc, Costner looks the part and from what I’ve read of the real Wyatt Earp, he really captures the man’s personality.

I have a feeling time will be very kind of “Wyatt Earp.” Hopefully this epic style of filmmaking will come into fashion again. I can’t wait.

1408, Mr. Brooks, The Snake Pit, Dive Bomber

Due to a busy work schedule of late, I have not been able to blog as much as I would like, so here is a quick run down of a few films I’ve watched the last week or so.

“1408” is a pretty good adaptation of a Stephen King short story about a haunted hotel room in downtown Manhattan. Or as Samuel L. Jackson, manager of the hotel says, an evil hotel room. There are some pretty good scares in it, and it held my attention, but in the end I felt curiously unsatisfied. It could be I prefer my haunted scenes less expansive, such as when the room turns into a large ice cavern or water rushes from a seascape painting. I can only suspend my belief so much.

It’s pretty much a one-man show for John Cusack, who stars as a debunker of haunted places. It’s good to see a horror film relying on suspense and mood, much more difficult to pull off than gross-out torture scenes. There are no great revelations about why the room is the way it is. That didn’t bother me; I just assumed the room was “born evil.”

Jackson is absolutely mesmerizing in his big scene where he explains to Cusack why he should not stay in the room. If Cusack were smart, he would have fled the hotel, taken a cab to the airport and hightailed it back to California. But there wouldn’t be much of a movie if he did that, would there?

More entertaining was “Mr. Brooks” with Kevin Costner as the title character, a serial killer, egged on by his bad side, played with relish by William Hurt. “Mr. Brooks” is too long, gets downright wacko towards the end, and has some subplots involving cop Demi Moore that could have easily been done away with. If anything, there’s too much in here for its own good. But the performances are all fine, Costner is especially good as the model family man (on the outside) who can’t control his lust for killing. If the script needs tightening, it’s never boring, which is the cardinal sin of bad movies.

From the new to the old: In a classic film class I’m taking at the College of DuPage, we watched “The Snake Pit” (1948) as part of a class on social issues films. “The Snake Pit” stars Olivia DeHavilland as a mental patient in an insane asylum. While some of the psychology and treatment may seem dated today, it’s still pretty strong stuff. There’s a shock therapy sequence that’s hard to watch. DeHavilland is absolutely marvelous. When one thinks of the great actresses in Hollywood’s Golden Age, one tends to think of Bette Davis, Ingrid Bergman or Katherine Hepburn, but DeHavilland is right up there. She won the Academy Award for Best Actress in 1946 for “To Each His Own” and again in 1949 for “The Heiress”, so “The Snake Pit” falls in the middle of that period. Ingrid Bergman was originally slated for the role, but I don’t she could have pulled off the vulnerability that DeHavilland does here.

From the Errol Flynn Volume Two DVD box set , I watched “Dive Bomber” (1941). It’s an odd film. It’s long (133 minutes) and there’s no action in it. Despite what the title promises, “Dive Bomber” features no combat but concerns itself with aviation medicine. It’s almost a documentary on the treatment of such pilot ailments as blackouts. No big action scenes per se, but it held my interest throughout. There’s no love story to speak of. Alexis Smith shows up for a few scenes but at one point Flynn would rather sketch a design for a new piece of medical equipment on a nightclub tablecloth than romance Ms. Smith. The Technicolor photography is gorgeous, the flying scenes with the planes in formation are thrilling to watch, and historically it’s interesting to see Warner Bros. doing its part to prepare the nation for the war everyone knew was inevitable. The U.S. Navy allowed full cooperation, including allowing a film crew to film aboard the aircraft carrier U.S.S. Enterprise, one of the most famous ships of WWII. All this and a Max Steiner score, with a title tune so infectious it may cause you to enlist.