Movie #114- "Jack Reacher" (2012)

Remember the days when the name Tom Cruise on the marquee meant something?  Yes, the man continues to churn out movies, but the films aren't the events they used to be.  "Mission: Impossible- Ghost Protocol" made money, yet I never heard anyone mention seeing the film (in fairness, I thought it was quite good, though I didn't see it in a theater).  Public perception of Cruise may play a part and I do have to give him credit for attempting go outside his comfort zone with lesser roles in "Rock of Ages" and "Tropic Thunder".  "Jack Reacher" provides another example of a film just missing its mark.
I have limited commentary about "Jack Reacher".  The film is neither bad or good, it just floats around average and forgettable.  It's one of those slightly engaging films you catch on cable one night, start watching, then realize you've seen it about halfway through.
Fans of the Jack Reacher books quibbled about the notion that Cruise, a man of shall we say short stature, could play Reacher, a rather large, intimidating individual.   Cruise handles the fight scenes fair enough, although he's still not someone that strikes fear upon his opponents.  While Ethan Hunt worked because the character required some athleticism, Reacher is supposedly more brute force, something you don't see in Cruise. I have little to add about the plot except the villain is given a compelling back story, which isn't effectively used.  The real saving grace of the film is Robert Duvall, who doesn't appear until the second half.
Watch "Jack Reacher", be mildly entertained by "Jack Reacher", just don't raise the bar with "Jack Reacher."

Rating: 5/10
Movies I've previously seen: 6
First time viewings: 108

Movie #113- "Jailhouse Rock" (1957)

Music has almost always played a role in the history of motion pictures going back to when pianists and live musicians would provide the musical score during the silent era.  When sound hit the screen with "The Jazz Singer", music helped blaze the trail as the audience could hear the musical numbers projected in front of them.  Al Jolson was a singer/entertainer, bringing his talents from Broadway onto the silver screen.  Throughout the history of movies, musicians have tried to navigate between the two worlds.  The appearances would vary in degrees, with some singers/musicians appearing as themselves while others would make an attempt at acting.  We still see it occur today, with a vast range of success.
Elvis Presley is easily one of the biggest names in rock history, and along his musical credits, he has multiple acting credits in his career.  Elvis' acting career is often dogged about the later movies in his repartee, but it's an area I can't comment because I have never seen a non-performance Elvis movie.  My father was a big Elvis fan, and I remember him taking my sister and I to an Elvis double feature in which both films were performance based (one may have been "Elvis on Tour").  I believe my sister fell asleep and we left before the second film finished.  So into more uncharted territory I wondered.
Elvis brings a dangerous charisma to the role of Vince.  His status as a bad boy, a threat to moral decency helped shape the character.  Elvis sneers at everyone, including those close to him.  Vince wants to be a singer/songwriter, but soon that isn't enough.  As he climbs the ladder success, he revels in a world of excess.  Vince gives the illusion of the man everyone adores while mistreating those in his inner circle.  Fame can create problems as the real Elvis would also discover. 
MOVIE ENDING SPOILER ALERT!  But then, we get toward to the end of the film.  Vince develops a vocal issue and may never sing again.  It's a tense moment as he approaches the piano, and surprise, his voice is back.  Instead of any real apologies to the people he's treated unfairly, the movie simply ends.  It's like a huge build up to his comeuppance, then nothing.
On a musical level, the film logically integrates the music into the story.  The "Jailhouse Rock" sequence is  deserving of it's classic status, and is really the only production number.  The other numbers are scattered about the film, during recording sessions, performances, etc. 
Elvis showed promise in this role, but once the connection between movies and soundtracks was made, the descent into cheese began.

Rating: 7/10
Movies I've previously seen: 6
First time viewings: 107

Movie #112- "42" (2013)

Jackie Robinson broke the color barrier in baseball.  In 1947, not only did he accomplish this feat, but he did so as a great player.  His skills had to shine on the ball field.  Mediocrity would have given naysayers ammunition.  Robinson provided the Brooklyn Dodgers a combination of speed and power.  While known primarily as a second baseman, Robinson played a variety of positions during his 10-year career.  First base... outfield... third base.  He averaged nearly 14 home runs, 20 stolen bases, and 74 runs batted in a season, finishing his career with a .311 batting average (as a fantasy baseball geek, I'd gladly take those numbers from a middle infielder).  Solid numbers considering his didn't begin his stint in Major League Baseball until the age of 28.
While "42" proclaims this as the Jackie Robinson story, this is really the story of Robinson's signing with the Dodgers and the subsequent personal struggles during his first season.  Dealing with racism from fans and teammates, Robinson demonstrated that he was a man not only of talent, but of character.  Chadwick Boseman gives a wonderful performance, combining the athleticism of Robinson along with the inner battles his faced in changing baseball.  Harrison Ford is Branch Rickey, the man responsible for signing Robinson.  He plays Rickey as a gruff old man, sometimes over the top, yet knowing this is the right move for baseball as a sport (of course, he knows of the financial rewards as well).
This is a heroic and noble story, with an old-time movie feel.  Ball fields glisten in the sunlight as team members play on carefully manicured diamonds.  The bright tone occasionally undercuts the nature of the story.  Somehow I feel that his entrance into professional baseball was more trying than what appears on the screen.  There were also a few points of dramatic license that really didn't add to the film.
Still, an inspiring story that belongs on the big screen, although it does contain a few weak moments.  "42" may not deliver a home run... maybe a triple.

Rating: 7/10
Movies I've previously seen: 6
First time viewings: 106

Movie #111- "8 1/2" (1963)

This film deserves a higher rating.  I'm positive that a second viewing would yield a higher score.  In fact, I have placed "8 1/2" on my list of movies that warrant a second viewing.  I didn't give this film an 8 for a sense of irony.  There appears to be so much occurring on the screen, that I feel I didn't fully comprehend the filmmakers vision.  This is the kind of work that prompts lengthy articles and papers along with a deep analysis.  "8 1/2" is a film that demands multiple viewings to peel away at the many layers.
The plot is simple to summarize.  Marcello Mastroianni plays a director, Guido, trying to relax while in search of his next project.  This attempt does not come easy as he is surrounded by former co-workers looking to become a part of his next film.  Add to the drama, the women of his life... wife, a mistress, actresses.  Fellini creates an autobiographical film, shining a light on the ups and downs of film making.  The narrative occasionally gets interrupted by flashbacks and fantastic fantasy sequences as Guido wrestles with a new idea.
"8 1/2" is a visual feast, a movie with plenty of style (I wish I had watched the Criterion edition).  The dialogue is in Italian, meaning the film is subtitled.  I don't have a problem with subtitles, but there are moments of the film when the dialogue flies by and your concentration focuses on the words rather than the visuals.  Several times during the film, I found myself going back to capture what I had missed.
I have heard of the beauty of a Fellini film, and unfortunately I had never experienced it until now.  Hopefully a second viewing will provide a greater understanding of the work.

Rating: 8/10
Movies I've previously seen: 6
First time viewings: 105

Movie #110- "Friends with Kids" (2011)

As you've probably noticed, there haven't been many romantic-comedies on the list.  I'm not entirely adverse to the genre, but they don't exactly provide me with inspiration as a film viewer.  When I watch one, I can usually put aside the absurd situation that ensues for a good cast and a well-written script.  "Friends with Kids" popped up as a Netflix suggestion, and the cast was truly a draw.  Another plus was its star/writer/director Jennifer Westfeldt. 
It's been a few years since I watched "Kissing Jessica Stein", which came out in 2001.  That was a film that Westfeldt wrote, starred in, and co-produced.  I don't have a lot of recollection of the actual movie other than I remember enjoying it. In this case, Westfeldt takes the romance/marriage/baby progression and throws it out of order, putting the baby first.  Unlike most rom-coms, the two characters in question (Adam Scott and Westfeldt) start as friends instead of opposite forces that somehow come together.  They are part of a larger circle of friends, consisting of two other couples.  Immediately you know where the relationship will finish, but Westfeldt is interested in looking how children can effect the dynamic of a couple.  Can romance continue once a child enters the picture?  Since it is a rom-com, you'll get the extreme ends of the spectrum. 
I found the cast of "Friends with Kids" solid, although my view may be tainted by my enjoyment of their previous work.  Scott and Chris O'Dowd are two comedic actors that I've taken notice of lately while I've liked Kirsten Wiig and Maya Rudolph since their Saturday Night Live days.  I also have to admire Jon Hamm for his continual ability to display his comedic chops (my wife always refers to his looks as a "cartoon pilot", which I believe was a "30 Rock" line).  And while I don't find Megan Fox as a good actress, I will give her credit for surrounding herself with funny people in a smaller movie. 
Overall, the script provides several funny moments along with a few emotional ones.  I feel the predictability of the finale hurts "Friends with Kids" in the end as I just saw the couple as simply friends.

Rating: 7/10
Movies I've previously seen: 6
First time viewings: 104

Movie #109- "Highlander" (1986)

"There can be only one."  That quote will occasionally be referenced at my place of work, and while I know the origin, I had actually never seen the movie.  I'm not one for this particular genre of fantasy film, but I can respect it when done well.  As I've reading message boards, "Highlander" has a devoted following.  I get the appeal of the concept, which is the huge plus for this movie.  However, part of the problem with "Highlander" is the idea eclipses the budget necessary for a film of this scope.
A group known as "Immortals" battle to the death, through the ages, leading the victors to a final battle known as the "Gathering".  Connor MacLeod is one of the last Immortals standing.  While the film is generally set in the future, we also flashback to Connor's early days in Scotland, the discovery as his powers, and the teacher, Sean Connery, that would help hone his skills.  We learn that an Immortal is destroyed by beheading.
Some of the battle scenes are impressively staged, especially the ones in Scotland.  The modern fight scenes lack some punch as they usually occur in darkened areas, apparently to hide wires that are occasionally visible.  Since it came out in 1986, it has a strong 80's vibe, ranging from the thumping, rock soundtrack, to sequences of dark rooms bathed in outside light.  Queen provides the music, but 80's Queen songs aren't as good as 70's Queen songs (although "Hammer to Fall" is one of my favorite later Queens tunes).
Christopher Lambert in the lead gives a somewhat stoic performance, spending much of the movie with a permanent scowl.  On the other hand, Sean Connery appears to be having the time of his life, chewing the scenery for a brief appearance.  Connery's role in "Highlander" may surprise some, but take a good look at his resume throughout his career.
Judging by the comments, "there can be only one" should have applied to the movie as fans have universally ripped the sequels.  I'm stopping at the original because I only need one.

Rating: 5/10
Movies I've previously seen: 6
First time viewings: 103

Movie #108- "Manhattan" (1979)

Woody Allen has had an impressive career, spanning six decades of acting, writing, and directing.  You've seen his artistic growth over that period, from his early, sillier comedies, to the examination of relationships and neurosis, to some of his darker work, along with a few valleys.  Allen works outside the Hollywood system, basically puts out a movie every year, and actors love working for him.  "Manhattan" works as a bookend to "Annie Hall", with the search of love, relationships, and the perfect partner.
In "Manhattan", Allen plays Isaac, a television writer who by chance, runs into Mary (Diane Keaton) at a gathering.  The two have differing, intellectual viewpoints, which annoys and intrigues Isaac.  Mary also happens to be having an affair with his best friend Yale.  When the affair ceases, Mary and Isaac begin a relationship full of the witty banter one expects in a Woody Allen film (this is not a dig, as Allen writes very clever dialogue).
"Manhattan" is more than just a love story between people.  It's a love letter to a city.  Filmed in black and white, several significant locations in New York City are gorgeously captured, almost eliminating the grime from the big city.  It's a vibrant location, with several scenes filled with people going about their day, not to be bothered by the filming that is taking place.  The cinema photography of "Manhattan" is beautiful.
Yet you can't discuss "Manhattan" without the elephant in the room.  One of the sub-plots has Isaac dating Tracy, a 17 year old high school girl (Mariel Hemingway).  The situation is creepy enough, but given hindsight and Allen's personal life years after the movie, it ratchets that factor up a couple notches.  Not only is Isaac involved with statutory rape, none of his friends seem particularly fazed by the notion.  I don't know the message Allen is trying to send with this relationship, but it makes an uncomfortable viewing (it's also strange that many of the glowing reviews gloss over that part).
There are many truly funny points to "Manhattan" and it's a wonderful film to look at, however it loses a few points for the cringe inducing romance.

Rating: 7/10
Movies I've previously seen: 6
First time viewings: 102

Movie #107- "Goldfinger" (1964)

Is this the greatest Bond movie ever and is Sean Connery the greatest Bond?  These two questions are always up for debate in the world of Bond although I'm leaning toward yes in both cases.  Regardless of your viewpoint, "Goldfinger" is where the standard elements of the Bond franchise really began to gel.
Going into this year, I wasn't too familiar with the Connery years as Bond.  I jumped into "Dr. No" (Movie #12) early in 2013, although I skipped over "From Russia With Love" to get to the third Bond outing.  It's fun, and at times difficult, watching the Bond formula come into focus, even though it pertains to both the good and bad.  I say difficult because the formula is so ingrained into your mind that it's tough to image that it was fresh when "Goldfinger" was released.
You're treated to the opening mission before the credits, the gadgetry, the most spectacular death of a Bond girl, and the intriguing sidekick.  All of these would be signature Bond.  On the flip side, you also have the weak retorts when Bond has vanquished an enemy, as well as the sophomoric female names.  One aspect that has changed is Bond's ascension into near superhero status.  You'll notice that in "Goldfinger", Bond would require the assistance of the U.S. Army in stopping the evil plot.  And as the series marched forward, that role would fall squarely on his shoulders.
I'll probably hit a few more of the Connery Bond films later in the year, but I don't imagine any of those outings topping this one.

Rating: 9/10
Movies I've previously seen: 6
First time viewings: 101

Movie #106- "All the President's Men" (1976)

I was only 10 years old the year Richard Nixon resigned from the presidency.  I wasn't quite old enough to understand the scandal that was Watergate.  Due to the media coverage (however, no 24 hour news networks), I can remember many of the names of those involved.  It's strange to recall Haldeman, Dean, Ehrlichman, and Liddy, as well as the two men that helped bring them down, Woodward and Bernstein.  I was aware of the names even though I wasn't aware of the complexity of the situation.
History supplies the viewer with the ending, still "All the President's Men" is a tightly wound thriller.  It's also a film that works on many different perspectives.  You see the historical and political view, as well as the changing face of journalism and the way we gather information.  Several phone conversations push the story forward, and it's somewhat quaint to watch one of the reporters digging through a pile of phone books to find the number of a potential source.
Still, this was a story that took time to shape.  From the beginning, there was doubt on whether Woodward and Bernstein had a story worth the time and effort.  The reporters continued to hammer away at insiders, not realizing where the road would lead.  Other news organizations paid little attention.  You make a comparison to how journalism works today, where speed trumps accuracy.  I would be curious to see how the early stages of this story would have been handled in today's media climate.  Would the time have been spent, or would early conclusions be drawn, then move on to the next issue?
I've read some posts about how this film is shown in schools, with several commenting on the slow pace.  I disagree.  The scandal didn't quickly unfold, and the movie shouldn't shortchange the work.  These are two men, working on a hunch, feeling the narrative may be of significance, then trying to follow it to the conclusion.  Redford and Hoffman are on even footing, matching each others performances.  It helps that they are surrounded by a strong supporting cast, especially Jason Robards as an editor holding out for someone to go "on the record".  A great movies reflecting an unfortunate part of American history.

Rating: 10/10
Movies I've previously seen: 6
First time viewings: 100

June Update

A little better with the blogging, although it seems that every month, I fall a couple movies behind schedule.  Through 181 days, I've watched 157 movies and posted about 105.  At my current pace, I'll finish the year at about 315.  Spent one weekend watching the entire Godfather trilogy, which is almost as long as the Lord of the Rings trilogy.  I'm also surprised at the ratio of new movies to previous viewings.  I've seen several top notch films this year, but several more are on my list.