The Last King of Scotland

When callow Americans need to grow up, they buy a backpack and hustle off to Europe. When callow Scotsmen need to grow up, they go anywhere but Canada.

In THE LAST KING OF SCOTLAND, callow Scotsman Nicholas Garrigan heads off to Uganda in search of mission, meaning, and adventure. Apparently, he doesn't bother to read the paper first, because Uganda is a nation in turmoil. He has barely arrived when General Idi Amin Dada takes power in a bloody coup and, before he knows it, he's treating the General for an injury incurred near the medical mission at which Garrigan works (alongside a fetching Gillian Anderson). Amin takes a shine to Garrigan, invites him down to the capitol to offer him a job, and Garrigan's off and running in the adventure of a lifetime. Of course, if he only bothered to read the paper, he might have second thoughts. But he doesn't.

Garrigan's willful stupidity could sink THE LAST KING OF SCOTLAND, but we can understand it, at least at first, as the film introduces us to Forest Whitaker's Idi Amin. Amin is charismatic, exciting - he's a doer, and he offers privilege and adventure beyond Garrigan's wildest fantasies. But we know things Garrigan doesn't know and, as Amin's facade slowly crumbles to reveal the monster beneath, we come to fear not only for Garrigan and the rest of the General's inner circle, but for Uganda itself. Amin is so evil, so controlled, so utterly without boundaries that, by the end, we have no idea where he'll stop. It's captivating stuff, and it rests on the shoulders of Forest Whitaker as Amin. Fortunately, Whitaker delivers his best work since GHOST DOG: WAY OF THE SAMURAI. He's human and alien, the kind of man another man could follow and the kind of man another man could kill. Whenever he's on screen, there's a palpable tension in the air; and he never releases it, even in moments of levity.

THE LAST KING OF SCOTLAND does a masterful job of portraying its time and place. I believed in the Uganda it showed me, and I believed in the people I met there. More importantly, this movie wrapped me up in knots for nearly two hours. It was terrific stuff.

Volver

What's not to love about VOLVER? It's funny, it's sad, and it features utterly fascinating characters involved in compelling situations. Cruz, an actress who hadn't interested me before this film, comes alive here: she is so dynamic, so fascinating, so jaw-droppingly beautiful, that she manages to keep us completely on her side even as her character does things that a lesser actress would have us condemning.

The movie isn't just a showpiece for Cruz, however. Lola Dueñas, one of the best things about Almodóvar's TALK TO HER, goes from brittle to hapless to joyful and sells us on every step along the way. The movie looks great, with a colorful, lively palette that underscores the celebration of life that begins with the very first frame. The relationships feel right, the people wholly fleshed out. While viewing this film, I felt like I was a part of these people's lives, and I didn't want the lights to come up. I liked these people, I cared about them, and I want to see what happens next.

With VOLVER, Almodóvar knocks yet another one out of the park. This guy is one of the finest filmmakers working today.

El Dorado

John Wayne. Robert Mitchum. James Cann. Howard Hawks in the director's chair. EL DORADO has so much testosterone, I'm growing hair on my knuckles just typing this.

EL DORADO is the second of Hawks' and Wayne's three varations on the same story, told also in RIO BRAVO and RIO LOBO. In this iteration, John Wayne's a hired gun come to town to sell his services to one Ed Asner, a rancher involved in a local range war. Robert Mitchum's the sheriff and trusted friend who warns Wayne that he's signing up with the wrong side. Western Stuff ensues.

The problem with John Wayne movies is that the actor often blows his coworkers off the screen. In Robert Mitchum, Hawks found a man that could hold his own with Wayne, one that audiences can believe isn't just his friend but his peer. The casting choice adds that much more punch to the unexpected and delightful tonal shift that marks the beginning of the second act. I'd never seen Mitchum do slapstick before, and I'd never have guessed that the man had the power to make me laugh out loud. The impossibly young James Cann acquits himself well in the heartthrob role, getting in enough of moments of genuine toughness to show us what the film's grizzled vets may have seen in this greenhorn. As for the rest of the cast, well, they're just fine: Asner snarls, Christopher George is a principled competing gunman, and Michele Carey defies gravity as the courageous daughter of the good-guy rancher.

I noticed that Edith Head designed the costumes for this picture, by the way. I suspect she had loads of fun because while these people wear clothes that'd never work in the real West, they sure look great.

I've been in the mood for a solid western for some time now. EL DORADO filled the bill.

Spider-Man 3

Last weekend, I took my family to see SPIDER-MAN 3. Judging by the difference in our reactions, I saw a totally different movie than they did. In fact, judging by the fact that I was often the only one laughing in the theater, I saw a totally different movie than everyone else in the theater.

That's ok. I loved the movie I saw.

SPIDER-MAN 3's opening credits give us a quick recap of the previous two movies, and before you know it we're right in the middle of the action. Things are going pretty well for Peter/Spidey. He's managing a good work/life balance, he makes time to attend Mary Jane's big Broadway premier, and he's happy as a beloved New York icon. But wouldn't you know, as in most two-career relationships, one partner's career starts falling behind. Before you know it, Peter's life is filled with animosity, jealousy, and guyscara. This is not good.

Speaking of things that are not good, Harry Osbourne is all Goblined out and ready for revenge; that guy from SIDEWAYS has been working out and he's mad as hell; and there's this new photographer at the Bugle who isn't above a little photoshopping if it'll help to make the perfect shot. Oh, and now Peter has to cope with a new black tar habit, to boot.

So, there's your drama. But director Sam Raimi isn't just about the drama: SM3 is laced with comedy that runs from the subtle dig to the broad John Cleese impression (I swear to God, I was waiting for Bruce Campbell to offer Peter a wafer-thin mint.) to the full-on SATURDAY NIGHT FEVER parody. Additionally, SM3's action set-pieces manage both beauty and excitement. Mix in a nice moral, solid work in even the smaller supporting roles, and you have a recipe for big-ticket, blockbuster fun.

SPIDER-MAN 3 is just the thing for a summer afternoon, even if you are the only one laughing in the theater. The more I think about it, the more I like it.

Godzilla Raids Again

The first of the GODZILLA sequels, GODZILLA RAIDS AGAIN sheds its predecessor's sense of horror with gaining its successors' sense of fun. It's a long, dull, slog of a movie about your standard group of pals who must band together to - oh, never mind. The folks who made this movie clearly didn't give itself much thought. Why should I?

GRA (Now, there's a title!) features Godzilla's battle with Anguirus, a giant cross between an armadillo and a porcupine, and Takashi Shimura shows up to fulfill his contractual obligations, and that's about all the movie has going for it. When the best part of your movie is the flashback to its predecessor, you're in big trouble.

It's a wonder GODZILLA RAIDS AGAIN didn't sink the franchise.