Hitch's bio treats the actors as cattle

HITCHCOCK (2012)

Reviewed by Jerry Saravia

One of the most famous Hitchcock biographers, Donald Spoto who wrote "The Dark Side of Genius," had written that the Master of Suspense had a creepy fascination with blonde women and that it led to some weird goings-on with one of his lead blonde actresses, Tippi Hedren ("The Birds"). The watchable if highly uneven biographical film, "Hitchcock," lays the claim that Hitchcock not only loved blonde women, he was also just as voyeuristic as his cinematic alter-egos and had fantasies that may have crossed the line. It also stipulates that his fascination with the macabre led to him making the trendsetting "Psycho."

"Hitchcock" begins with the director (Anthony Hopkins) just coming off the grand success of 1959's "North By Northwest." A reporter tells the 60-year-old that it may be time to quit. Nonsense! Robert Bloch's novel titled "Psycho" was to be Hitch's next project - a controversial one since it is declared obscene and beneath the Master's standards by the honcho at Paramount Pictures. Regardless, Hitchcock and his wife Alma (an excellent Helen Mirren) put their house up to self-finance the picture, with the hopes that Paramount will distribute the film. While making the film on a low-budget by Hitch's own standards, he begins having nightmares about the notorious Ed Gein (Michael Wincott), the Wisconsin killer whose unsavory methods of keeping mementos of his victims became the basis for Bloch's novel. Meanwhile, Alma is assisting a womanizing screenwriter (Danny Huston) with his own Hitchcock-like spy thriller.

I confess that I do not recollect specific details of the book this movie is based on, "Alfred Hitchcock and the Making of Psycho" by Stephen Rebello, but I do not recall reading about Alma and her efforts to help make the film viable and a success. It is true that she spotted Janet Leigh's pupil almost imperceptibly moving during the moment her character is slumped over the bathtub, but Alma's arrival at the studio during Hitch's brief flu sickness is fiction. Nonetheless, the filmmakers opt to focus precious little on the actors in "Psycho," especially Anthony Perkins (James D'Arcy), Janet Leigh (Scarlett Johansson, who is adept at capturing the actress' charm) and Vera Miles (Jessica Biel), which the book devoted a lot of attention to. Instead we get Hitch's nightmarish visions of speaking to Ed Gein who instructs the Master on how Gein carved up his victims! Are you kidding me? And the Alma scenes with the screenwriter simply detract from the more exciting behind-the-scenes spectacle of making a horror classic. And though we get some insight into Hitchcock's own adoration of blondes, very little is mentioned of how specific he was with their clothing appearance - it is mostly an afterthought.

On the plus side, Anthony Hopkins is brilliant as Hitchcock, capturing the Master's walk, his thick accent, and the specific body language such as having his hands clasped around his belly - it is a marvelous performance that holds the movie together. Same with Helen Mirren as the overworked Alma who stands by her man - she has one emotionally charged scene that shows why the actress is the cat's pajamas. But the meat and bones of the script should be the making of "Psycho" as a whole, and it is abandoned in favor of fruitless and spurious relationships. 

Odd and touching Zombie romance

WARM BODIES (2013)

Reviewed by Jerry Saravia

Just when you think you have had enough of zombies and think every variation has been tapped, "Warm Bodies" comes along and delivers a few, well, fresh "dead" notes. It is actually one of the most charming, soulful and often unsettling horror-comedies in a long while.

"R" (Nicholas Hault) is a zombie who is no typical zombie - he has thoughts and we hear his voice-over narrate the film. "R" is a young man, dressed in jeans and a red hoodie. He keeps to himself but he does try to communicate thru grunts and semi-speech patterns, especially with another zombie named "M" (Rob Corddry). They are all zombies as they parade around an airport and the surrounding airfield, walking in a daze with no particular destination. It is not just a zombie world - there is a wall dividing them and the surviving humans who have formed a militia (none of this will seem unique if you have seen George Romero's "Dead" films or TV's "The Walking Dead"). Julie (Teresa Palmer) is a member of the militia, headed by her straight-as-an-arrow father, Colonel Grigio (John Malkovich). After Julie and a small armed group are sent to recover medical supplies from the deserted buildings off the beaten path, a zombie attack occurs where everyone dies except Julie. "R" is transfixed by Julie, takes her away from harm's away by secluding her in an airplane, which is "R"''s little home. Julie realizes that "R" is not like the other undead - he expresses feelings and slowly develops a "beating heart." Did you read that correctly? Yes, indeed, he has fallen in love with Julie though the reasons will not be revealed here.

"Warm Bodies" is built on clever surprises, some of which were unfortunately revealed in the film's trailer. It doesn't matter because you will be swept away by the romance between "R" and Julie. The tension builds when the two get separated and "R" tries his best to locate her, which means breaching the fortified wall to locate her. "Warm Bodies" often treads on "Twilight's" own waters but this movie can stand on its own lively "dead" feet. It has an apocalyptic feel with its grayish skies and unnerving sense of abandonment, a horrific element with the "Boneys" (skeletal zombies who feast on humans), a love story that resonates with two charismatic stars (keep an eye on Teresa Palmer's career), and compassionate zombies who begin to remember their own past lives when they glance upon objects or store windows that serve as triggers.

Ably directed with a strong emotional chord by Jonathan Levine ("50/50"), "Warm Bodies" manages to say so much in 97 minutes than movies at twice that length. It also breathes new life into the zombie genre with offbeat gestures that not even George Romero would've cooked up. A zombie with feelings who can recover memories from a human it has eaten?  

Some of this con actually happened

AMERICAN HUSTLE (2013)

Reviewed by Jerry Saravia
(Shared with 12 Years a Slave as my selection for Best Film of 2013)

I've often said that the best films are the ones dependent on the characters to motivate the narrative, to drive it rather than the narrative driving them. David O. Russell is a writer and director who knows this all too well. Though I've only been privy to Russell's early work up until "Three Kings," and have since been privy to one of his most stellar, humanistic works, "Silver Linings Playbook," I can say with complete assurance that "American Hustle" is an unforgettable, emotionally draining and downright dazzling masterpiece - a film that unfolds with crackling intensity and crackerjack storytelling not to mention supremely unsavory characters who dare us to like them and sympathize with them.

Right at the start of the film, I knew I was in for a wild ride thru bad 1970's hair and sparkling, glitzy costumes. Christian Bale is Rosenfeld, a con-artist with a comb over who participates in nutty surveillance scenarios with a glib FBI agent, Richie DiMaso (Bradley Cooper with perm hair). DiMaso wants to make a name for himself, insists on inflating the FBI's budgetary concerns for wild setups that involve a fake Arab sheik (and a scam known as Abscam) and the boisterous, caring New Jersey mayor (Jeremy Renner, a major departure from his heroic roles) whom they convince to renovate Atlantic City. This involves some major persuasion from both the FBI and the mayor, which includes wiring two million dollars to a mobster, renting a luxury jet for an hour and using the whole floor of a ritzy hotel for illegal transactions. Hopefully the fake sheik, one of two, knows some Arabic too.

Other members of this con within a con come into play. Amy Adams, in the most electrifying performance of her career, is Rosenfeld's mistress, Sydney, who adorns a fake British accent and immerses herself in the whole con game right from the start. She loves it, whether it is the mink coats, the flashy parties, persuading clients to fork over money, etc. Even after she is caught in these fraudulent scams and partakes in essentially scamming for the federal government, she still loves it - there is a thrill in the allure and the danger of it. Less enthused by all the hoopla is Rosenfeld's emotionally aching and nervously jittering and seemingly anti-social wife, Rosalyn (Jennifer Lawrence, a marvel of a performance from an actress whom I have the deepest admiration), who hates Sydney and hates her husband too.

Some critics have compared this to Scorsese's "GoodFellas" but that is only fitfully on the surface - "American Hustle" is not as daring or as kinetic as any similar Scorsese tales of excess and hubris. What makes "American Hustle" far more tantalizing than Scorsese's films, however, is that director David O.Russell (and co-writer Eric Warren Singer) sympathizes with his characters and gives them emotional weight - this is one of the few recent American films where I felt like I was really listening to people who listen to each other. There is genuine heartbreak in each character, from Sydney's own manipulative games that barely conceal her love for Rosenfeld, to Richie DiMaso's hope for love and a romp in the hay with Sydney, to Rosenfeld's own heart problems and his desire to have custody of his son, to Rosalyn's wounded and pained life that is momentarily relieved when she listens to Paul McCartney's "Live and Let Die," to the New Jersey mayor with a big family who doesn't want to let anyone down, least of all the state of New Jersey.

"American Hustle" also does something Scorsese's films never do - it forgives the characters' trespasses. Whereas Scorsese purposely distances us from clinging to his characters like Henry Hill or most recently Jordan Belfort in "Wolf of Wall Street" so as to observe their actions and make our own judgments, David O. Russell is the apologist, the one who forces the viewer to get close, to feel like his characters are one of us and to spring a touch of hope. Added to this is stunningly alert filmmaking that whips us around from one edge of the screen to other, and yet O. Russell manages to convey just as much with stillness when needed. The performances are vibrant and crackle and pop with the sensation of living a life (Amy Adams, Jennifer Lawrence, Christian Bale and Bradley Cooper should've won a special Academy Award). Along with David Mamet's "House of Games," an American classic in my mind about how con men really operate, "American Hustle" is the most fun I've ever had with the art of the con.  

Bust a move in a traffic jam

HULK (2003)

Reviewed by Jerry Saravia

(Originally reviewed in 2003)

Now that comic-book movies are a hot property again, it was a matter of time before the 15-foot creature known as the Hulk would arrive on screen. The growling, muscle-bound creature with green skin would make Arnold Schwarzenegger blush, and I am proud to say that his arrival on the big screen makes for one of the best Marvel comic-book adaptations yet. Truth be told, this is not a special-effects-laden picture nor is it a spectacularly exciting, fast-moving adventure like "Spider-Man." There are shock and awe moments in "Hulk" but this is more of a psychological study than the average summer blockbuster and, in that respect, it is a solidly good picture.

Bruce Banner (Eric Bana) is a brainy scientist working at a government lab with his ex-girlfriend, Betty Ross (Jennifer Connelly). Their latest experiment where they use frogs as guinea pigs goes haywire (a joke about exploding frogs is one of the few instances of humor in the movie). Nevertheless, a corporate executive named Talbot (Josh Lucas) sees potential in their experiments, and so does Betty's estranged father, General Ross (Sam Elliott). Bruce is emotionally distant and repressed, and has recurring nightmares of his days as a kid living near a military site where an atomic explosion took place. There is also the darker memory of his father turning into some raging creature behind closed doors. A janitor claims to be Bruce's father, David Banner, though Bruce had been told that his father died. Nick Nolte is the wild-haired, maniacal Bruce who has scientific ambitions regarding DNA and radiation. Apparently, David had injected himself with DNA codes that he later injected on his own son. Whatever it was, it transforms Bruce when a massive dose of radiation is set loose during a lab accident. Bruce comes away unscathed but he also feels stronger and healthier - plus, the pain in his knee is gone. But when he loses his temper and starts to think about his traumatic childhood, he changes into a massive creature who is impervious to any weapon, including an entire military arsenal. Tanks, missiles and zero gravity can hardly hurt the Hulk - he just gets momentarily dazed. Mutant dogs, courtesy of David Banner, are pounded to the ground with incredible force. This Hulk can jump incredible distances and run as fast as any Marvel superhero. But beware if he enters the city of San Francisco, he'll induce a massive traffic jam.

Ang Lee, director of noble dramas like "The Ice Storm" and "Crouching Tiger, Hidden Dragon," has wisely chosen to focus less on special-effects than on character specifics. Lee's interest lies in the psychology of the characters, including David Banner's growing madness with his past and his son's future to make his own future possible. There is also the seething General Ross who had David put away for more than thirty years for representing a threat to society, no doubt incurred by his dastardly experiments. As played by Nolte, David comes across as one of the strangest mad scientists ever seen on screen (his constant mumbling may put off many but his presence is never less than commanding). If anyone should have fathered the Hulk, it would have to be someone as titanic in screen presence as Nolte.

I do have some quibbles about Bruce Banner. The character, as played by Bana, comes off as slightly bland and banal. He doesn't have the urgency of the late Bill Bixby from the famous TV series - Bana seems to be sleepwalking through his part. There is also scant chemistry between him and Jennifer Connelly yet there are some occasional sparks of mutual admiration (I like the scene where she claims to have a thing for emotionally distant men). A crucial scene after Bruce's initial transformation indicates his joy of changing into an indestructible monster. The problem is the movie never delves into how Bruce feels mentally and physically when he changes - we just accept that this is something that happens when he loses his temper. In the TV show, we always knew how Banner felt about changing - in the series's entire run, he was seeking a cure because he hated to change.

"Hulk" may be appeal to thrill-seeking teens who get off on seeing the Hulk get mean and green. However, such scenes are strictly limited, though there is a tense climax towards the end that may please those who need their pulse-pounding thrills every second. "Hulk" is a thinking man's comic-book movie (sort of a less dour though no less humorous "Unbreakable"), relying on characters who are undergoing psychological repression. All their feelings come out in a compelling film full of brio and energy. A weak lead character can't quite destroy the Hulk - he just needs to lighten up a little and control that temper.

You wouldn't like me when I yawn

THE INCREDIBLE HULK (2008)

Reviewed by Jerry Saravia

Why on earth did Edward Norton make a boring Hulk movie? Why do moviegoers hate Ang Lee's "Hulk" so much? Why even bother with essentially reimagining or remaking, or whatever you want to call it these days, the 2003 box-office bust that was "Hulk"? These questions plagued me while watching "The Incredible Hulk," which is a mediocre and completely flat, superficial superhero movie that tries to do too much and accomplishes too little.

Edward Norton initially makes a convincingly scrawny Bruce Banner, living in Brazil and working at a soda factory. He has maintained communication with a genetic scientist who may know how to cure Bruce's Green Giant anger problem. Unfortunately, a drop of Bruce's blood that accidentally falls into an open soda bottle is all that is needed to raise awareness from the government and the sour, unemotional General Ross (William Hurt). The military arrives armed and ready to shoot Bruce Banner, though there is a new foe, a Marine named Emil Blonsky (Tim Roth), who is interested in acquiring a sample of that genetic Hulk pool. Most plaguing question: if General Ross only wants to capture the Hulk and use him as a weapon, how is killing Bruce Banner going make that possible? The answer may be that the General will use Blonsky as his new guinea pig, though the script never quite makes that clear. Nevertheless, Betty Ross (the pallid Liv Tyler) is waiting in the wings for Bruce to show up, despite being lovey-dovey with a new beau. How can anyone compete with the Green Giant? Oh, well, he has one deficiency - he can't get too excited and have sex.

The origin plot of the Incredible Hulk since its inception in the late 60's never made a lot of sense - what is the point of using a genetically-engineered Hulk as a secret weapon when his animal instincts cause him to destroy everything in his path? Does that not defeat the purpose, General Ross? Yes, I am asking you, Mr. Ross. Of course, that would not matter if the film was entertaining and thrilling. Face it: the sight of an enormous Hulk wrecking havoc is always fun to watch. And the scenes where Hulk destroys a few vehicles on a college campus is exciting and nifty...and just as dispiriting. The lack of spirit can be attributed to director Louis Letterier ("Transporter") and star Edward Norton who seem to go through the motions. Numerous action-filled moments of Hulk throwing a car or a tank in the air or causing the ground beneath him to break become monotonous. So does Edward Norton, who never quite infuses Bruce Banner or the Hulk with any personality or any depth to his anger issues. Norton never becomes convincingly angry either, and how can Edward Norton of "American History X" never come across as convincingly angry? It just seems like a disservice to have a weakling still come across as a tall green-skinned weakling with muscles - there is no real sense of transformation or urgency. The theme seems to be this: Hulk loves to smash.

A big mistake is the casting of Tim Roth, who comes across as evil, mean and most certainly angry, though it is such a one-dimensional character that it is hard to care whether he lives or dies - he is just a mean prick from the beginning. Perhaps Tim Roth should've played Bruce Banner - he might have come closer to tapping into that inner rage that is the Hulk in all of us. Eric Bana came close but the late Bill Bixby fully accomplished that goal. This is where a good screenplay is needed, folks. The cast of characters are limp and underwritten. William Hurt delivers no zeal or emotion as the angry General Ross. Compare Hurt's take to Sam Elliott's in the 2003 Hulk and you see a world of difference. Ditto for Liv Tyler who is uncharismatic and lifeless that I can't believe this is the same actress from "Lord of the Rings" or even "Heavy." And she scores a -15 on any chemistry with Norton. Check out Jennifer Connelly from, once again, the 2003 Hulk for a more well-rounded character.

This "Hulk" film is a dull disaster with an unconvincing love story, non-threatening villains, lots of amped-up explosions, and a lead character who hardly seems to be the same person that becomes the Hulk. For a fully developed and humanistic take on a raging Hulk and a complex Bruce Banner who wishes for the beast to be expunged, check out the TV series or the 2003 Hulk. This droning Hulk of a movie is for the birds.

Technology will save the Motor City

ROBOCOP (1987)

Reviewed by Jerry Saravia

Revisiting "Robocop," the ultraviolent 1987 action flick by Paul Verhoeven, is a lot like revisiting a nightmare of a satire that may have lost some of its oomph in its near thirty year inception. In 2014, "Robocop" is hardly as ultraviolent as it once was, and its satiric targets may not strike as sharply as they once did. As a techno action thriller, "Robocop" delivers the goods but it lacks any tangible emotional surface.

Peter Weller is Murphy, a Detroit cop of the future who has been transferred to the worst section of the Motor City. His detective partner, Anne Lewis (Nancy Allen), can handle herself better than any cop in the precinct. Trouble brews all over town when cops are killed, gangs dominate the streets and trash and rob everyone - in short, it is anarchy. A corporation by the name of OCP (Omni Consumer Products) wants to fight crime by using advanced robots with strategic commands in their memory banks. Murphy dies in a run-in with bank robbers and narcotics dealers (the leader is played by the frighteningly intense Kurtwood Smith), but Murphy's brain survives long enough to become part of an experiment. Enter Bob Morton (Miguel Ferrer), an ambitious OCP executive, who wants a new kind of robot cop - one that has a human brain (although why all human memories have to be erased is questionable - why not just forgo a human brain for an electronic one? But then we wouldn't have a movie). Now Murphy is Robocop, his human face intact but largely consisting of a metal endoskeleton. His instincts slowly become human. And detective Lewis recognizes who the robocop actually is.

"Robocop" does the job of a techno action thriller efficiently, and there is a level of witty satire with regards to TV commercials of the future. Even better is the introduction of the ED-209 prototype robot where a test run goes horribly wrong. The movie doesn't quite cling long enough on Murphy before he becomes Robocop. We see flashes of his past home life but they are infrequent flashes. To Peter Weller's credit, he makes us care for this walking metal contraption with an electronic voice - his body language and his facial reactions elicit a lot of sympathy (compare them to Robert Burke's monotone look in "Robocop 3" and you'll see the difference).

"Robocop" is enjoyably dirty, messy fun (one of the criminals' vehicles hits a toxic waste barrel that can still shock by today's standards). Nothing can beat watching Miguel Ferrer trouncing his OCP rivals, or partying with hookers and ingesting lines of coke. I wish there was more Murphy backstory but why carp when you got Dan O'Herlihy as an "Old Man" CEO? 

Lizards! Why did it have to be lizards?

JOURNEY 2: THE MYSTERIOUS ISLAND (2012)

Reviewed by Jerry Saravia

I have not seen the 1950's version of "Journey to the Center of the Earth" with James Mason in eons. "Journey 2: The Mysterious Island" is not a sequel to that film - it is a sequel to the 2008 remake starring Brendan Fraser. Although the latter is unseen by me, I can safely say that "Journey 2" is a goofy, wholly unbelievable fantasy adventure that is perfect family viewing.

Josh Hutcherson is Sean, a young "Vernian" high-school student (Vernian as in a Jules Verne addict - who knew?) who in the opening scene of the movie is chased by cops after he has broken into a satellite facility. All this trouble just to boost a coded message from his grandfather (Michael Caine) who is in the "Mysterious Island" - the grandfather sends encrypted messages by use of a ham radio! I am glad to see such ancient technology finds it way in 21st century movies. Sean discovers his grandfather's whereabouts and gets his stepdad (Dwayne Johnson) to fly with him out to Palau where they get a pilot aching for money (Luis Guzman) and his reluctant daughter (Vanessa Hudgens) to continue a hazardous journey to that island. Only problem is there is an intense hurricane on route in the Pacific. Nevertheless, after arriving in this fantasy island, we see giant lizards, elephants in Lilliputian size, giant bees, giant butterflies, Captain Nemo's Nautilus buried deep in the water, electric eels, volcanoes that spew golden nuggets, etc. This is the kind of silliness where two people can take a deep breath underwater long enough to enter the Nautilus while evading an electric eel and turn the power on! I could be wrong but I think they hold their breath longer than Olympic swimmer Michael Phelps.

"Journey 2" is bright, breezy fun, a sort of junior-league adventure movie for those who find "Jurassic Park" too intense. Do not expect a literal translation of Jules Verne's own novel which had a completely different story and subtext. In fact, this movie exists outside of it, in reference and code and homage only. Aside from the Nautilus, there is no Nemo to be found except his grave, and monsters and bees used as carriers are nowhere to be found in Verne's text (nor are the Polynesian jokes and Dwayne's vibrating nipples). This is shamelessly goofy fun for the Nickelodeon set, and it might inspire young impressionable kids to read Jules Verne. That is a plus nowadays.