Rob Reiner

Shock and Awe (2017)

Shock and Awe (2017)

ByChristian Sauvé Movie Review

(On Cable TV, May 2019) As someone who stood by aghast as the United States rushed into the invasion of Iraq back in 2002–2003, I’m naturally predisposed to like Shock and Awe, a dramatization of how the Knight Ridder staff consistently reported accurate information about the rush to war … only to be ignored by much of the mainstream press which, at the time, was uncritically relaying the Bush administration’s message. There are a few great messages here about an independent press, skepticism of government, analysis-based decision-making (rather than the other way around) and perseverance in the face of mass delusions. Director Rob Reiner features stirring speeches, confrontation scenes with deceivers, hints of conspiracy in journalists meeting sober-minded sources and characters trading J-school best practices. This is good stuff, and the film does act as a reminder (for people my age) or primer (for younger viewers) on the events of the time. The relevance of such a film won’t be lost, as today’s headlines have to do with another administration mounting another war in the Middle East under a steady drum of impeachment talk. But as much as Shock and Awe acts as catnip for a political junkie, there’s a clear difference between its blunt approach and the more subtle machinations of something on the level of, say, The Post: it’s overstuffed with inelegant exposition, rushing through facts while not always giving characters the breathing room to live. Even a dating scene, meant to humanize the characters, ends up being a blatant as-you-know vehicle. It’s not enough to make me dislike the film (in fact, I do like it a lot), but a bit more attention to characters could have made it stronger, and one that doesn’t necessarily play to a sympathetic crowd such as myself. The issues with the screenplay are so fundamental that they obscure really good work done by capable actors—one day, we will have to talk about Woody Harrelson and his choice of roles as one of the most progressive actors of his generation. Other names such as James Marsden, Tommy Lee Jones and Jessica Biel show that they can be counted upon to deliver a serviceable performance no matter the circumstance. But even if having the right intentions is crucial, having the right methods is essential.

The American President (1995)

The American President (1995)

ByChristian Sauvé Movie Review

(In French, On TV, April 2019) At this point in American history, the idea of a likable, virtuous, law-abiding president is the stuff of comforting fantasy, so here’s The American President to remind us of what that was like. This rather charming romantic comedy takes on the premise of having a widowed president woo a lobbyist. Written by Aaron Sorkin, the film can certainly be seen as a dry run for The West Wing—voluble, clever, and idealistic at once. (Checking the film’s original English-language quotes, it’s obvious that the film loses something in translation.)  Even though other movies and shows have mined the same terrain since 1995, The American President still provides an interesting glimpse at the heart of a presidency, and doesn’t forget to tackle the more honest aspects of the power dynamics of a relationship between the president and a citizen. A great cast anchors Rob Reiner’s straightforward direction: While Michael Douglas gets to play the president opposite Annette Bening’s fiery lobbyist, the film can also count on Martin Sheen (I told you it was a West Wing dry run), Michael J. Fox and John Mahoney. The American President is a good movie, but the current political context makes it even better, with its romance being as idealistic as its political nature—presupposing a president of good moral character and a concerned effort to curb emission gasses. It is a bit disheartening to hear a film nearly twenty-five-year-old tackling things that really should have been done back then. But when it comes to escapism, Hollywood does it best.

Misery (1990)

Misery (1990)

ByChristian Sauvé Movie Review

(In French, On TV, July 2016) Stephen King’s Misery is a memorable novel (even and especially now, touching upon the themes of fannish entitlement that have grown so tediously familiar latterly), and its movie adaptation (partially thanks to screenwriter William Goldman) manages to be as good, in its own way, as the original book. James Caan ably plays a best-selling author who, thanks to an accident, comes to rest in an isolated farmhouse under the supervision of his self-professed “number one fan” (a terrifying Kathy Bates in a career-best performance) who turns out to be completely crazy in dangerous ways. What follows is so slickly done as to transform King’s writer-centric thriller into a horrifying experience for everyone. Director Rob Reiner is able to leave his comedic background behind in order to deliver a slick thrill ride, gradually closing off the protagonist’s options even as it becomes clear that he’s up against a formidable opponent. While the film does soften a few of the book’s most disturbing or gory moments, it does not lack for its own unbearable scenes. A solid, competent thriller, Misery easily ranks near the top of King’s numerous adaptations, and remains just as good today as it was a quarter of a century ago.

And so it Goes (2014)

And so it Goes (2014)

ByChristian Sauvé Movie Review

(Video on Demand, January 2015)  The modern drive to transform movies into non-stop spectacles means that middle-of-the-road character-based comedies such as And so it Goes are often forgotten among so many other viewing choices.  And that’s too bad, because they often offer satisfying acting performances by well-known names, gentle humor, quiet pacing and heartwarming conclusions.  There isn’t, to be clear, anything new or challenging in And so it Goes: Michael Douglas stars as an embittered real-estate agent drawing back into his shell after a series of setbacks.  Fortunately, there’s Diane Keaton as a lounge singer widow to draw him out of his shell, alongside a number of other supporting characters including an estranged granddaughter.  We all know where that kind of story is going, and that’s part of the charm.  Veteran director Rob Reiner isn’t interested in flash, and the unspectacular result might have been better, but it goes down nicely given appropriate exceptions.  The focus of And so it Goes on older leads, addressing similarly-older audiences, is not a bad change of pace, even though there’s a pervasive feeling that the film should have been quite a bit more than what it is.