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Showing posts with label Denzel Washington. Show all posts
Showing posts with label Denzel Washington. Show all posts

Best Actor 2012: Denzel Washington in Flight

Wednesday, January 16, 2013

Denzel Washington received his sixth Oscar nomination for portraying William "Whip" Whitaker in Flight.

Flight is not a particularly good film about a pilot after successfully saving a plane from a nose dive has to face his alcohol problems due to a criminal investigation. The film despite handling the crash scene well tries too many subplot, bizarre attempts at humor, and just fails to bring it together.

Denzel Washington is an actor that I have never found to be that great of one. He is not one that I actively dislike, I think he can be just fine, but for me he tends to be an actor who never really gets to the heart of his character. In this film he portrays one of the very favorite characters of the Oscar voters which is the alcoholic. Now there are many great performances as the alcoholics such as the Oscar winning turns by Ray Milland, and Nicolas Cage, or the Oscar nominated turn by Jack Lemmon in the Days of Wine and Roses. Although they all play alcoholics there character's are very different particularly the way alcohol factors into their life Washington's Whip certainly is a bit different from his predecessors. 

In the opening of the film we see Whip casually drinking and doing drugs without anything special in the way that he is doing it. Washington portrays it as just standard procedures and Whip as a tired individual but not a man without ability to do what he needs to do. Honestly Washington could have pressed these moments a little more to show Whip more down trodden due to his history as an alcoholic that would have made his moments on the air plane more powerful, but than again it works just fine the way he plays the part anyway. His earlier moments though lead him to the scene where he must deal with the plane that is likely to crash.

Just like the film, the crash is the highlight of his performance. Washington is quite good in this scene as he shows Whip basically kick into action by his instincts as a pilot. In this scene he portrays Whip as a man in command of his faculties completely in the moment. Before he portrayed a certain aloofness about Whip, but here he makes Whip able to do what he needs to do. Washington does well by not really making Whip any sort of a different person in this scene, nor is it a revelation in the moment. Instead he does effectively create a history within Whip in this moment through the conviction he gives to Whip when he does display his abilities as a pilot that the events forced him to display.

After the crash though the film goes down hill as does Washington's performance. He has a good scene that is mostly expressed through one eye as he hears the tragic news of the few people who did die in the crash. The scene is very well handled by Washington as he expresses the pain quite well, without overdoing it, nor undergoing  it two things that become a problem later on in the film. Right here though Washington expresses the loss at the moment very well and effectively brings the weight of the moment to life. It is a very well handled scenes by Washington here and really it portrays just what might have been if the film was a better made film, but as well if Washington had given a better performance.

One problem with the performance, that is as well as problem with Washington's performance is the way Whip goes back and forth in using alcohol in the film. In his scene where he stops, or the scene where he jumps back on Washington portrays barely even a thought to doing this action. The film takes a similar approach by rushing through it, but Washington does not make up for it failing to really make it seem even a hard decision for him whether he is going to start drinking or stop. Washington just seems lacking in these moments that should be absolutely pivotal moments in the film, but they fail to have the power one imagine they should have because of how nonchalant his actions seem.

This is not to say Washington completely fails in portraying the alcoholism. There is one very good moment where Whip explains how he just accepts his drinking as part of himself. This moment of self denial is handled bluntly and to the point that works in explaining Whip's mind state much more than those scenes where he decides to stay on or get off the wagon. Washington's overall portrayal though never has the punch it should have in this regard particularly in the scene where Whip goes on a binge near the end of the film. Again this is really the director's fault as we really do not see his decay in this scene instead we only really see him after it is over making so Washington does not even have the chance to show how detrimental his drinking problem is.

Further problems created by the film those involve Whip's relationship with the other character's in the film. In the scenes where the people talk about religion to him, are done in such a bizarre fashion that they seem to want to be taken seriously yet there done in a comedic fashion. Washington who is mostly reactionary in these scenes certainly can't make anything out of them as his expressions do not hold any power. We can't make anything out of these scenes, nor does Washington make anything out of them. I want to say though I can't blame him too much in this regard as I don't know if any actor could make the scene where Whip meets his co-pilot work since it was done in such an absurd inept fashion.

Another problem from the good film comes by the way of Whip's relationship with a fellow addict Nicole (Kelly Reilly). Their relationship seems like it should be based on mutual dependence or something, but Washington and Reilly just kind of are together without really making much out of it. Washington has one good moment with her which is the moment when he says how he drinks which I mentioned earlier. Otherwise than that scene though nothing comes from their scenes together. The only thing that makes this worse is the film just basically seems to forget about Reilly's character at one point making their whole relationship pointless, so there is no wonder that it is as ineffectual as it is.

Most of these problems I speak of are mostly the film's problem well there is one scene where Washington and the film are terrible in equal measure. This scene is when Whip goes to visit his ex-wife and his son. This scene is rushed over the top, with his son being played as poorly as possible, and Washington tries to make something out of it which is a serious problem. He starts going over the top right back with his Training Day evil smile right on his face. It is a terrible scene and Washington only makes it worse by trying to interact the scene which was unsalvalagble. Due to his attempt to do something here though this stands as one very bad scene in his portrayal that sticks out like a sore thumb.

Now after this scene where get the breakdown we do not see than we get the scene where he is on trial. The trail scene is problematic as Washington does not really show the scene like he just is barely holding together like one would imagine he should be doing. When he is pushed to damn the name of a deceased crew member he does reveal the truth. In this moment Washington is okay, but the moment of revelation does not have nearly enough passion behind it. Washington does not handle downright poorly, but it frankly seems like a missed opportunist. A stronger moment really was warranted as it should have been the moment he was going to stop lying to himself, but Washington leaves it fairly mundane.

Due to the mundane fashion he handles that scene his last months later scene seems more like the ending to a PSA than really where Whip would end up at the end. The final moment of his performance just seems like an anticlimax for the character, and it all seemed a little too easy in the end. Washington does have a few very good moment like the crash scene and some of his reactions like his face of fear and disbelief when he first hears of the criminal charges. The film though stops him from really giving anything more than middling, and unfortuantely Washington also fails in key moments where he possibly could have made up for the problems of the film. Unfortunately this is a performance where the bad very much outweighs the good. 

Best Actor 2012

Tuesday, January 15, 2013

And the Nominees Are:

Denzel Washington in Flight

Hugh Jackman in Les Miserables

Daniel Day-Lewis in Lincoln

Bradley Cooper in Silver Linings Playbook

Joaquin Phoenix in The Master 

Well do to the fact that I have no way of watching the Master at the moment, but I still am itching to review the performances nominated this year so I will continue on to Best Actor.

005. Flight

Sunday, January 13, 2013

005. (06 Jan) Flight (2012, Robert Zemeckis) 53



Now we know what would've happened if you remade The Lost Weekend with a plane crash and terrible music cues. Tonally all over the map, this is far too preachy to get away with a gag scene where a coked-up Washington rides an elevator while a Muzak version of "With a Little Help from My Friends" plays. It ticks all the boxes for a substance abuse drama, meaning there are few surprises to be found with Zemeckis's predictable direction as an added liability. Whenever he lets the camera linger on anything (e.g. the miniature vodka bottle in the empty hotel room, Washington's tearful face at the end of the hearing), it's clear something dumb or gimmicky is about to transpire. The plane crash scene is exciting, I suppose, but it's a pale imitation of the 2004 Lost premiere.

FLIGHT

Tuesday, October 30, 2012

FLIGHT
Written by John Gatins
Directed by Robert Zemeckis
Starring Denzel Washington, Kelly Reilly, Bruce Greenwood, Don Cheadle and John Goodman

Flight deck: Southjet 227, uh, did you say inverted?

It has been twelve years since Robert Zemeckis last directed a film that featured real people. Well, to be fair, the last three films he made before his latest, FLIGHT, had real people in them; Zemeckis just had art departments paint over them after the actors performed in front of green screens. This is motion capture, which does exactly what it says, capture motion, and not necessarily emotion at the same time. Many complained that his films had grown cold as a result. With FLIGHT, he says what he has to with plenty of feeling but all this reality seems to have thrown off his confidence somewhat.

FLIGHT does two things very well. First of all, it gives Denzel Washington his first truly great role in at least five years. Washington plays Whip Whitaker, an airline pilot with a problem. In fact, he actually has several problems, from drinking to drugs to a troubled past that includes an estranged wife and son. When we meet Whip, he is pretty wrecked from his night of excessive drinking and sexual adventure with one of his flight attendant co-workers (Nadine Valesquez). After doing a line of coke to perk himself up for another day on the job, he struts down the street, aviators conveniently covering his glassy eyes, as though he has everything well under control. By the time his plane starts plummeting out of the sky, he is not so certain about that anymore.


This is the second thing that FLIGHT gets just right. With 102 souls on board, Whip’s plane begins to nosedive shortly before reaching its destination due to a technical malfunction. This catastrophe is intense and moving. While some panic, some triumph and find bravery they clearly never knew they had. It is spectacular to behold on screen and as soon as the plane hits the ground, the questions start. What is to blame for this tragedy? Or rather who? Both we the audience and Captain Whitaker know full well that the reason that plane went down is because of an equipment malfunction. That said, the same parties are also well aware of the fact that it is truly a miracle that Whip was able to land that plan as intoxicated as he was.


Whip’s realization that he may have a serious problem is now all he can think of. His strut has rightfully become a shameful shuffle and Washington captures the push and pull of his addiction brilliantly. Alcohol is the problem but unfortunately for him, and for so many others dealing with similar addictions, it is also, at least in his mind, the solution to alleviate his problems. The cycle is vicious and made very real by a very powerful performance but Zemeckis, along with the help of screenwriter, John Gatins, distracts from it with manipulative tangents about God and unnecessary supporting characters. In the end, like the character he plays, Washington cannot stop FLIGHT from crashing, but his unexpected maneuvering minimizes the overall damage upon impact.



SAFE HOUSE

Sunday, February 12, 2012


SAFE HOUSE
Written by David Guggenheim
Directed by Daniel Espinosa
Starring Denzel Washington, Ryan Reynolds and Brendan Gleeson


Tobin Frost: Remember Rule no. 1 - You are responsible for your house guest. I am your house guest.

Despite the title, at no point in time while watching SAFE HOUSE will you feel anything close to safe. Director, Daniel Espinosa, an unproven talent in the industry before now, delivers a non-stop thrill ride that provides Denzel Washington with an all too uncommon role worthy of his weight as an actor and co-star, Ryan Reynolds with an opportunity to step up his sometimes all too easy game. Once the chase is on, it is flat out relentless. By the time you do actually get to catch your breath though, you might wonder if there was any real need for all the fuss.

Washington plays Tobin Frost, a former C.I.A. operative who went rogue years ago and is now one of the most wanted traitors on the American watch list. After acquiring a microchip with naturally damaging information on it, he becomes instant prey around the world, allows himself to be caught and then finds himself in a C.I.A. safe house, which is a holding tank of sorts, awaiting his fate. Reynolds plays Matt Weston, a green C.I.A. operative whose job it is to oversee this safe house in Cape Town, Africa. It sounds important but he hasn’t had a single guest in the year he’s been there. Once the safe house is inevitably compromised, Washington and Reynolds begin a dance that finds them both helping and hindering each other as they try to stay alive together.


In the end, SAFE HOUSE plays too safe a hand. Espinosa plays all his cards properly, including shaky camera, grainy tone and off center framing, all devices that heighten tension and keep the viewer on edge, but it’s an exercise in competency at best. At no point does it elevate to a place of originality, which is also due to the oversimplified plot structure. David Guggenheim, another untested player, has written a script that relies too heavily on the genre’s familiarity to make any part of it necessarily memorable. For instance, we don’t know what’s on this microchip until much later on in the film but it doesn’t even matter what is on it really. All that matters is the chase. Espinosa can keep that chase fast and taut, and this is what makes SAFE HOUSE a pretty safe bet, but once the cat catches the mouse, the game is gone and simply forgotten.

Best Supporting Actor 1987: Results

Wednesday, December 14, 2011

5. Sean Connery in The Untouchables- Connery has little to do in his role besides act tough and give inspirational talks both which he does adequately enough but never to any sort of amazing degree.
4. Denzel Washington in Cry Freedom- Washington gives a fine quietly passionate performance that avoids the problems some of his other performances suffer from.
3. Vincent Gardenia in Moonstruck- Gardenia gives an effectively colorful performance that only succeeds in adding to his film.
2. Morgan Freeman in Street Smart- Freeman gives a great performance excelling in both showing the odd charm and charisma equally well with the terrifying brutality of the same man.
1. Albert Brooks in Broadcast News- This for me was a rather close choice between the top two, although I really should not have had to make because Brooks gives really more of a lead than a supporting performance. Brooks either way gives a great performance that balances the different aspects of his character making a winning performance. He gives a charming humorous performance that finds the right emotional tone throughout the film.
Deserving Performances:
Vincent D'Onofrio in Full Metal Jacket
R. Lee Ermey in Full Metal Jacket
Mandy Patinkin in The Princess Bride

Best Supporting Actor 1987: Denzel Washington in Cry Freedom

Friday, December 9, 2011

Denzel Washington received his first Oscar nomination for portraying Steve Biko in Cry Freedom.

Cry Freedom tells of the murder of anti-Apartheid activist Steve Biko, and the escape of his friend a white newspaper editor (Kevin Kline) who must escape South Africa to tell the truth about what happened to Biko.

Washington plays the murdered Biko who is killed relatively early on but before he is killed Washington is basically the lead in the film. Washington I will admit is not one of my favorite actors as he can act in a too self aware fashion in many of his performances, or fail to really make a characterization with conviction. His performance as Steve Biko though is one of his better performances because he avoids these problems.

He manages to play Steve Biko fairly simply but fairly effectively. He does not try to really make Biko a larger than life sort of figure, but rather just a man who wishes to find some justice in his country. Washington never overplays the role of Biko rather handles everything relatively quietly in his performance. From his speeches to the way he convinces Kline's character of his cause Washington just shows a nice dignity and passion in the part that is effective.

The part is not the greatest of challenges really though past showing the passion of Biko, but nonetheless it is a well handled performance. Biko though is not as well developed of a character as one might think though as he is murdered very early on, and he only occasionally is remembered past this point, and even when he is remembered it is not in any sort of different fashion than when we saw him alive earlier in the film.

What there is though Washington is as he should be in his performance. He realizes the exact Steve Biko the film wanted you to remember as a martyr for his cause throughout the rest of the film. I do wish that the film had maybe expanded even more on his character and given a bit less emphasis on Kline's characters escape, but still Washington's performance is a good one that avoids the problematic tendencies of his later work.

Best Supporting Actor 1987

Wednesday, December 7, 2011

And the Nominees Were:

Albert Brooks in Broadcast News

Denzel Washington in Cry Freedom

Sean Connery in The Untouchables

Vincent Gardenia in Moonstruck

Morgan Freeman in Street Smart

EGOT Alert: could Robin WIlliams join the club?

Sunday, April 3, 2011




I'm not someone who likes to hype things up. This is true mostly because I've seen so much amped-up hype fizzle miserably.  This is very true for awards season, most specifically the Oscars and the Tonys (mind you, this isn't going to be a Tony or a theatre blog, I'm just making an observation).  But I must cave into my hype on this one for a few reasons, but mostly because of a potential new EGOT champ.

On March 31st, Bengal Tiger at the Baghdad Zoo staring Robin Williams opened on Broadway at the Richard Rogers Theatre.  Williams received mostly positive reviews, though many single out the play for its excellence more than Williams himself, who plays the titular caged beast.  The most glowing review comes from Charles McNulty over at the LA Times, saying :


Williams submits himself wholly to the play's utterly natural surrealism. Concerns that the actor might turn this into a vehicle for his signature shtick are dispelled right way: Williams is in complete sync with the blasted tragicomic vision of the playwright, whose ample humor is far too sneaky for stand-up showboating...He's put himself at the drama's service.


An EGOT--invented my infamous non-EGOTer Philip Michael Thomas--represents the the Grand Slam of industry awards   an Emmy (TV), Grammy (music), Oscar (film), and Tony (stage).  Someone who EGOTs receives one of each, an impressive feat since few actors ever nab even one.  Williams is nearly there, having an Oscar (as the Best Supporting Actor of 1997 for Good Will Hunting), two Emmys, and four Grammys on his mantle.  This leaves only the Tony.

In the over 80 years the oldest award (the Oscar) has existed, only 10 artists have completed this daunting task.  They range from actors (Helen Hayes, Rita Moreno, John Gielgud, Audrey Hepburn, Whoopi Goldberg) to musicians (Richard Rogers, Marvin Hamlisch, Jonathan Tunick) to writers and directors (Mike Nichols, Mel Brooks).  Note that Bengal Tiger just opened at the Richard Rogers Theatre...a sign?

the face of an EGOTer?
Of course, though, Williams will have to survive the very unpredictable Tony season.  In the past, the Tonys used to turn a cold shoulder to celebrities-turned-Broadway-stars, but at last year's ceremony, Denzel Washington, Catherine Zeta-Jones and Scarlett Johanson all took home highly-competitive acting Tonys over more unknown stage stars.  So a potential Tony victory isn't out of the question, but when it comes to the Tonys, the voters typically hold staunchly to their guns and vote for what they actually consider the best, never giving into media hype or overdue status.

Currently, Williams stands alongside greats John Williams, Barbra Streisand, Randy Newman, Cher, Julie Andrews, and Michael Giacchino as Tony-less potential EGOTers.  

Also, it should be noted that I'm not trying to make news out of nothing.  I bring this up only because the potential for witnessing a complete EGOT is rare.  The last chance we had, by my calculation, was in 2009 when Liza Minnelli lost the Grammy for Best Traditional Pop Vocal Album.  Before that was in 2002, when John Kander and Fred Ebb lost the Best Original Song Oscar to Eminem.  The most recent member to the club is Whoopi Goldberg, who became a member in 10 years ago in 2001.  Chances to see it are few and far between.  I tend to keep my eyes peeled.  Here's wishing luck to Williams to complete and EGOT...and become the first EGOTer (and Tony winner?) to be awarded for playing an animal.


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