KEA Productions: DVD Movie Reviews

from the archives of NuReel.com, The Berkeley Daily Planet, and Alameda Sun- written by Kamala Appel
ratings: Plus (highest)-Neutral (okay)-Negatives (pass & omitted from archive)
P: Pearl Harbor, Pinero, Planet of the Apes, Pollock, Princess Monoke

PEARL HARBOR (PLUS/NEUTRAL)


Producer Jerry Bruckheimer and director Michael Bay team up with writer Randall Wallace to pay tribute to the people who endured the attack on Pearl Harbor. Bruckheimer and Bay are best known for their summer action collaborations like "Bad Boys", "Armageddon", and "The Rock". Unlike their usual testosteroney action adventures, "Pearl Harbor" focuses on the human component. Bruckheimer elaborates:

"This film is a departure for us," he explains. "Although it's a story of friendshipand romance, overall it is a serious piece about the heart of the men and women, military and civilian, who lived through this period. Pearl Harbor galvanized the American people. We were not prepared for war. Boys became men overnight and nothing would ever be the same again. The Japanese as well were fighting for the survival of their homeland, " Bruckheimer further clarifies. "You cannot forget there was an overall oil embargo against Japan and they felt they had to do something drastic. As is the case with many military expeditions, the Japanese soldiers did not know where they were headed until their mission was well underway. Taking all this into consideration, we wanted to create an entertaining movie, but moreover we wanted to capture the essence of that time in hopes of honoring those brave people." (Touchstone Press Notes 2001)

Bruckheimer and Bay brought in writer Randall Wallace ("Braveheart" and "The Man with the Iron Mask") to assist them in their efforts to pay homage to those who were at Pearl Harbor during the Japanese attack. Together, along with a long list of other talent people, they do an excellent job of transporting the audience back to 1940s isolationist America, setting the scene for how the eventsof December 7, 1941 robbed the American people of their innocence.

Unfortunately, in their efforts to bring the people back to life for modern audiences, the filmmakers resorted to creating a ridiculous love story that was overly predictable, distracting, and downright annoying. Although I commend the filmmakers for trying something new by developing a number of female characters, I think the female lead, Kate Beckinsale, was miscast. A woman who had endured as much as she had, in such a short period of time would have a been a lot tougher than this dainty little lady. Beckinsale did an excellent job of dropping her English accent, but that is not enough to pass herself off as a 1940s American nurse. Furthermore, the modern-day anorexic look was not as prevalent in the pre-Twiggy days. Ironically, I found the brotherly love between the two lead males (played by Ben Affleck and Josh Harnett) more interesting (and for those film theorists, no I am not alluding to homoeroticism in any way). The chemistry between the on-screen friends is more believable and captivating than that with their leading lady. Affleck demonstrates his acting ability to the fullest in this film; Harnett presents himself as a rising star with many leading man roles in his future. In the end, I believe that the story could have explored the joys and pains of love in general, without resorting to a love story with much too much drama and too much screen time.

So Bruckheimer and Bay may not be making another love story in the near future. Let's think back to why these two make the big bucks, oh yeah- ALL STAR ACTION! Fortunately for the filmmakers, the battle scene in Pearl Harbor during the Japanese air strike makes the movie worth the price of admission. I have seen a few documentaries and other films about Pearl Harbor and none of them have made me feel the impact first-hand like this film does. "Pearl Harbor" captures the mayhem and utter terror on a visceral level. My hat goes off to the Visual Effects creators (Eric Brevig, Ned Gorman, Janet Lewin, Ed Hirsh, and Ben Snow some of their credits include "Total Recall", "Hook", "Indian in the Cupboard"; "Star Wars", "Ghost"; "101 Dalmatians", "Men in Black"; "Mission Impossible", "Raiders of the Lost Ark", and "Star Trek" ), the daring stunt people (coordinated by Kenny Bates ""In the Line of Fire", "Die Hard", "Hook", "The Mask", "Bad Boys" and "Armageddon"), Production Designer (Nigel Phelps "The Bone Collector", "Alien Resurrection", and "Judge Dredd"), Aerial Unit Director (David B. Nowell "The Perfect Storm", "The Rock", "Armageddon", "Air Force One", "Turbulence", "Enemy of the State", and "Jurassic Park 1 & 2), and the Director of Photography (John Schwartzman "Ed TV", "Armageddon", "The Rock", "Conspiracy Theory", and "Benny & Joon") for re-creating the horror with such realism that the audience feels the panic. Brevig describes:

"The use of miniatures or large set pieces was minimized because the scope of what we had to create was so huge," he further explains. "We couldn't have built enough things to film. We would make a computer-generated model of a boat or plane and then duplicate it. In the case of planes, hundreds of times, in the case of the ships, a dozen or so, so that we could fill the entire harbor. We also filled the battleships with synthetic sailors, each of whom is a computer generated character in a different costume doing some precisely choreographed bit of activity."

Bay adds "Pearl Harbor" contains an immense amount of real visuals that were done in camera, but it also has about 190 digital effects shots. My concept was to make the digital shots huge and do less of them. I feel you need to have a lot of real footage shot through the camera, mixed in with a few digital effects to make it more visceral, make it more realistic." (Touchstone Press Notes)

The only criticism I would have in terms of effects would be with the sound effects, and it is rare for me to say this, but turn up the bass! Normally, THX has too much bass for me and makes me feel like a caged animal freaking out before an earthquake; however, I think the lower range sounds would have increased the impact by making the theater shake as much as a ship hit with a bomb would (or what is reasonable to expect without injury).

Many historians debate about why the US stayed out of the war for as long as it did. Books like THE SHIP OF FOOLS allude to FDR's anti-semitism. The filmmakers do skirt the issue of how much FDR (played by Jon Voight, who gives a convincing performance) really knew by being extremely vague, probably to avoid controversy. However, this film is far from being controversy-free. The last comment I want to make is in response to the criticism that the film portrays the Japanese negatively and incites racism. I do not think so. Unlike many other films about war or terrorism, "Pearl Harbor" takes the time to develop some of the key Japanese characters, thus accounting for the decisions the the Japanese government made and the ambivalence their military leaders felt. To be honest, I think it would be difficult to capture the sentiments at the time without portraying the Japanese as the enemy, and depicting the cultural differences.

Despite some weaknesses in the storyline, I think "Pearl Harbor" stands up to the test as an action film that captures a historical psychology, even if there a fewhistorical inaccuracies. (Cuba Gooding Jr. plays the one real-life character). "Pearl Harbor" is a must-see on the big screen since the full impact will not be felt on a television. This film opens wide Memorial Day weekend and promises to take the first box office spot; my prediction, it will make $100 million in less than a week.

PINERO (PLUS)

Leon Ichaso directs Benjamin Bratt, Rita Moreno, Talisa Soto, Giancarlo Esposito, and Mandy Patinkin in this experimental biopic about poet-playwright-actor Miguel Pinero. Although Pinero had made some appearances in well-known television series and films like MIAMI VICE, KOJAK, BARETTA, FORT APACHE: THE BRONX; he is probably best known for his Broadway hit play, "Short Eyes". Pinero was a Puerto Rican immigrant who came to the New York's lower east side as a teenager with his mother and siblings in the sixties. He spent much of his life in and out of trouble with the law, and the remainder writing about his experiences as a Nuyorican, a New York Puerto Rican. He dedicated himself to writing about what he knew best, and tried to encourage other Puerto Ricans and ex-cons to do the same. Unfortunately, drugs and criminal acts fueled his creative energies, while destroying his body and relationships.

Unlike his time on television's LAW & ORDER, Bratt is well cast in this film and finally has the opportunity to demonstrate his acting ability in a role that he is well suited to play. Bratt's performance captures the highs and lows of the artist's life: from convict, to Obie winner, to street junkie, and back in and out of a self-destructive cycle. The Ichaso's decision to present the Pinero's life in a fragmented, non-linear fashion works to capture the disjointed memories that one would have after years of drug abuse. The non Hollywood Classical Cinema style also supports the storyline that revolves around an experimental poet.

In addition to the innovative presentation of story, the film hosts a powerful soundtrack that promises to make Puerto Ricans and non Puerto Ricans want to buy the CD. If you like Latino music, you will dance in your seat while watching PINERO. I think it would also benefit the licensing efforts, if the studio had a release with the poetry readings as it plays in the film.

If you are looking for a film with authentic latino flavor, then Pinero is for you. Let's face it, there are not a lot of films about Latino Americans, so if you seek a little diversity in the theater, then support this film. If however, you do not enjoy films that have a loose narrative and a non traditional presentation of story, then you may not appreciate what the film has to offer. This film would be equally enjoyable on video, and will probably have an interesting DVD. PINERO opens in a platform release starting January 25, 2002.

PLANET OF THE APES (NEUTRAL)

PLANET OF THE APES marks yet another attempt by Hollywood big wigs to create a summer blockbuster, and another attempt to recreate the magic of a former hit. Unfortunately, the filmmakers do not succeed at either attempt. This is not to say that PLANET OF THE APES (2001) is not a fun film to watch, but it lacks the magic to make it a memorable hit or a future classic.

A-list director Tim Burton directs an A-list cast in PLANET OF THE APES. The cast of characters includes Mark Wahlberg as Leo Davidson, a gutsy, self-centered, marooned military man; Tim Roth as a scorned, vindictive, megalomaniac, General Thade; Helena Bonham Carter as Ari, a compassionate human rights activist; Michael Clarke Duncan as Attar, an ambivalent ex-military soldier, unsure of whom to trust: his own instincts or the gut feeling of Ari; Kris Kristofferson as Karubi, one of the rebelling humans and father of one of Wahlberg's on-screen admirers; and a brief appearance by Charlton Heston as a gun-hating ape (Wow! there's irony for you...). The story takes off when Wahlberg travels through time and crash lands on a planet ruled by "civilized" apes, but fueled by the slave labor of demoralized humans. The "rule the planet" tag line alludes to the fight for control of the decision-making position versus the role of pet and servant. As one would expect, Wahlberg spends most of his time trying to figure out how to get back to his original time and planet, so he can be part of the ruling class. Despite the strong performances and Burton's trademark visual creativity, PLANET OF THE APES fell short of meeting this audience member's expectations.

I cannot help but explore what made the first film a big enough hit for the studio to make five sequels and a modern-day remake. In my opinion, what made the first film so successful was its narrative depth. The first film had a lot going for it in terms of action (low budget though, so it will look pretty primitive to modern audiences), acting (including Charlton Heston), and make up (in fact the first one of the series had more sophisticated make up than its successors which featured masks). It is worth noting that the original PLANET OF THE APES won a special Oscar for achievement in the area of make up before make up had its own category. However, I think what appealed to audiences more than the surface entertainment value was the underlying message that explored freedom and discrimination, a theme heavily explored by Americans in their real lives since the original films hit theaters during the Civil Rights and Women's Movement in the late 1960s and early 1970s.

In common with the first, this summer's version ends with the lead character in awe of a famous American icon. By contrast, the 2001 remake does not benefit from a largely politically-oriented audience, instead this PLANET OF THE APES releases into an atmosphere of apathy. In my opinion, Americans are not as politically oriented as they were thirty years ago. America does not have a prevalent issue that unites and divides the population to the degree that the Civil Rights Movement did. As a result the message in PLANET OF THE APES (2001) comes across as somewhat corny and its presentation as too blatant and insincere, and less persuasive as a result. The film attempts to look at what defines humane behavior by reversing the roles of primates and people. I think the filmmakers may have been better off going totally over-board and creating a campy remake like THE BRADY BUNCH, at least then the humor would have been intentional.

As most pre-days-of-video films, the 1972 version makes tremendous use of the entire cinematic space, giving audiences a lot to look at and enjoy. Personally, I enjoy secondary action and think that a good filmmaker takes advantage of the full cinematic space. Yet, since the on-set of video, many directors have filmed their movies with the restrictive space of television in mind, and as a result they decide to center all the action. The excessive use of close ups and completely centered primary action disappointed me. One of the aspects I enjoy most about Tim Burton's films is how imaginative and creative his films look. (He is arguably one of the most visually innovative directors ever). Unfortunately, the shortage of wide shots robs the audience of the opportunity to enjoy the full lookand feel of the larger set. The close ups also reduced the impressive nature of the crouching tiger, flying ape action sequences. I think the decision to use close ups may have been made to capture the characters' expressions and highlight the extraordinary make up by a long list of make up artists including Oscar winner, Rick Baker (THE GRINCH WHO STOLE CHRISTMAS, MEN IN BLACK, NUTTY PROFESSOR II: THE KLUMPS, FRIGHTENERS, and WOLF). I can almost understand the temptation since the make up was stellar (and the Oscar goes to...)

I do think that PLANET OF THE APES (2001) did a better job in terms of capturing the physical aspect of ape behavior, to the degree that you cannot recognize any of the stars. Although the cast does an impressive job of imitating primate movements (except for Bonham Carter who switches back and forth from walking like an ape and a debutante human), I wish the filmmakers would have tried harder to capture the psychological behavior of an ape. I do not think that a living being has to wear clothes, live in a constructed house, and eat at a table to be "civilized". In one scene a young ape expresses his distaste by beating on his chest and sticking out his tongue in a defiant manner (but different than a human would). This sequence struck me because the emotion was clear (rebellion and disagreement), even though the mode of communication was not human. I found this scene more moving than scenes with humans in cages or serving food because this scene captured the emotion behind the actions that have nothing to do with a human definition of civilization or civilized behavior. I think the writer (William Broyles: ENTRAPMENT, CAST AWAY, APOLLO 13, and CHINA BEACH) made a mistake when he decided to personify every aspect of the ape's behavior. Instead, I wish the filmmakers had explored the essence of humane behavior instead of merely swapping roles by putting humans in cages and apes in the government (which given our current political leadership, might not be such a bad idea).

If you do decide to see PLANET OF THE APES, I would recommend seeing it on the big screen with good sound to enjoy the full effect. The film is fun to watch for its unintentional campy elements, but it is far from classical. PLANET OF THE APES opens wide on July 27th.

Pollock (neutral/plus)


"Pollock" provides a close psychological study of one of America's most original and renown painters, Jackson Pollock. Ed Harris, better known as an actor (including his performance in "The Truman Show" for which he won a Golden Globe and received an Oscar nomination, and "Apollo 13" for which he won a SAG award and was nominated for both the Golden Globe and the Oscar), stars and directs this film. Harris does an excellent job of playing Pollock and conveying Pollock's internal struggles that stemmed from his external challenges. Opposite Harris, Marcia Gay Harden ("Space Cowboys", "Meet Joe Black", "Flubber", and "Miller's Crossing") plays Pollock's biggest supporter, his wife and fellow painter, Lee Krasner. Harden also gives a stirring performance. She and Harris have both received recognition for their performances by the Academy with two Oscar nominations. The cast also includes: Amy Madigan, Harris' real-life wife (the two have also collaborated on TNT's RIDERS OF THE PURPLE SAGE, "Places in the Heart", and "Alamo Bay"), as Peggy Guggenheim; Jennifer Connelly ("Once Upon a Time in America", "Requiem for a Dream", "Waking the Dead", and "The Rocketeer") as Pollock's young mistress, Ruth Kligman; Jeffrey Tambor ("How the Grinch Stole Christmas", "Girl Interrupted", "Meet Joe Black" "Mr. Mom" and numerous television series) as art critic Clement Greenberg; Bud Cort ("Harold and Maude" and "M*A*S*H") as Howard Putzel, the scout for Guggenheim; and Val Kilmer has a small part as Willem DeKooning a contemporary artist and quasi rival of Pollock.

Despite the fine acting and the high level of emotion they communicate, the film drags. This may sound strange, but on some level Harris' immersion into the character may have clouded his objectivity that would have reminded him how important a storyline beyond a mere character study is. Personally, I would have liked it if the film had provided more historical information. Helen Harrison, the Director of the Pollock-Krasner House and Study Center, explains:

Pollock was the first American abstract painter to be taken seriously in Europe, where Guggenheim exhibited his work from her collection.. Even in the early 1940s, synthesizing influences from such diverse sources as Mexican murals, Native American pictographs and universal archetypes identified by psychologist Carl Gustav Jung, combined with modernism's rejection of literal representation, Pollock was already exploring new territory.. Greenberg's (art critic) forceful opinions inspired Life magazine's 1949 feature article- its first on an abstract artist- which made Pollock the most celebrated painter of his generation... Not until Andy Warhol in the 1960s would another American artist receive so much attention in the popular press. (press notes Sony Picture Classics 2001)

Unfortunately, the film lacks historical background beyond Pollock's individual history which to some degree takes his struggle out of context and reduced the impact for me. I also think the film would have also benefited from some character development with scenes without Pollock; just because the film is about him does not mean that every scene has to revolve around him.

"Pollock" presents some examples of fine acting, but also self-indulgent and self-conscious directing. If you are a Pollock zealot you will probably find the film quite interesting. If however, you are interested in Pollock's place in American history or as an artist of the 1950s, then you may be disappointed. "Pollock" has already opened in a few cities for Oscar consideration and will continue to platform starting February 23rd.

*Marcia Gay Harden won an Oscar for Best Supporting Actress for this film.

PRINCESS MONOKE (Plus)

The artwork in this animated feature demonstrates why Japanese animation is the craze. So, needless to say the film is esthetically pleasing from a visual perspective. The plot is quite intricate, but the dialogue helps explain the storyline so that it is not too confusing (yet, you really do have to pay attention). The story is very allegorical, so you will definitely have to suspend belief for the duration of the film, which is actually quite easy to do, due to the fact that the dialogue is believable (in other words, when an animal speaks, its words seem to be what a wolf would say, that is if you are an animal lover). A lot of celebrities do the voice overs, so if you are a star gazer, you might have fun trying to match the voices to the faces (hint: some of the voices include Claire Danes, Billy Bob Thorton, and Minnie Driver). The film is long though, so plan on setting aside about 2 1/2 hours to watch it. I would recommend seeking it out in theaters and pick one with a good sound system because the sound track (music and effects) really adds to the drama. Despite its length, the film does move well and you will be sutured into the narrative, so you probably won't mind. The best part of this film is the use of strong female leads without it seeming like PC lip service. I would recommend this film on the big screen or at least on DVD, since I don't think VHS will do the art or sound track decency. It is out in theaters now.

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