Woody Harrelson

Wildcats (1986)

Wildcats (1986)

ByChristian Sauvé Movie Review

(In French, On Cable TV, December 2019) As far as I can determine, Wildcats is essentially Private Benjamin in an inner-city high school football context: a quirky blonde (Goldie Hawn) being thrown into a man’s world where she gets to overcome prejudice, grow as a person, and prove herself worthy. Add a little bit of inspiration for the disadvantaged students, and you’ve got every single uplifting teacher movie included in the mix as well. It’s a comedy, but it’s more annoying than amusing to get through. Of note: Wesley Snipes and Woody Harrelson both make their film debut here in minor roles. Goldie Hawn is certainly in her element, carrying the film as the star vehicle that it is. Otherwise, well, there isn’t much to say: Wildcats is a film on autopilot, obvious from the get-go as to how it’s going to end. There’s been better and worse movies along the same ideas, but you’d have a tough time picking this one out of a line-up.

Indecent Proposal (1993)

Indecent Proposal (1993)

ByChristian Sauvé Movie Review

(On TV, October 2019) I thought I would enjoy Indecent Proposal. The subject matter is off-putting by design, but who could imagine that a film with Woody Harrelson, Demi Moore and Robert Redford could go wrong? To its credit, the film tells you almost from its first thirty seconds that it’s not going to be fun, as a couple reflects on what they had together. One flashback later and we’re quickly off to the celebrated premise of the film as our young couple struggles with money problems and Redford steps in as a billionaire playboy so smitten with her that he offers them a million dollars for a night with her. (In the mid-nineties, this became a popular party question.)  But for such a saucy premise, Indecent Proposal soon sinks in preposterousness and boredom. Directed without much energy nor precision by Adrian Lyne (from a script that reportedly toned down much of the novel’s ambiguity), it’s a film that quickly becomes a feat of endurance as we move from one obvious set-piece to another, the resolution never in doubt even despite the misleading prologue. The longer it goes on after delivering on its premise, Indecent Proposal multiplies the double standards, attempts to make heroes out of obnoxious characters and showcases retrograde ideas about, well, just about everything linked to sex and women. Harrelson is miscast as an intellectual, Moore’s beauty isn’t equalled by an equivalent acting talent, and Redford himself can’t use his charisma to hide the smarminess of his character. It’s all a bit sad, and most fatally, interminable. It took me only a few minutes to lower my expectations, and they stayed there for the rest of the film.

Money Train (1995)

Money Train (1995)

ByChristian Sauvé Movie Review

(On Cable TV, July 2019) There’s a clear attempt in Money Train to duplicate some of the easy chemistry between Wesley Snipes and Woody Harrelson in White Men Can’t Jump: the banter attempts to be as fast and knowing, with two transit cops (also foster brothers) teaming up to rob a train carrying the cash receipts of a particularly busy week in the subway. There are a few subplots, one of them involving a serial killer played by Chris Cooper, and another with a stunning Jennifer Lopez as a romantic interest. Money Train didn’t get good reviews back in 1995, but time may have been kinder to it in that we get to see a few known actors looking great as their younger selves, and because such mid-budget action movies are getting increasingly scare now compared to the mid-nineties. Speaking of which, the film is becoming a period piece with every passing year—among other things, cash has almost disappeared from the New York Subway system. Still, there are annoyances: our designated heroes aren’t particularly admirable most of the time, and there’s some weirdness in seeing the film go all-in in them planning a robbery of citizen dollars. (That’s when creating an evil boss becomes important, but now we’re stretching contrivances.)  It does amount to a decent watch today, even though it doesn’t quite pack the punch of White Men Can’t Jump or many of the better action movies of the time. I’d suggest pairing it with the 1970s The Taking of Pelham 123, but Money Train probably wouldn’t sustain the comparison.

White Men Can’t Jump (1992)

White Men Can’t Jump (1992)

ByChristian Sauvé Movie Review

(On Cable TV, July 2019) Hustling and basketball—it doesn’t take much than that to get a strong premise for a sports comedy. But what sets White Men Can’t Jump above similar movies is the addition of capable actors such as Woody Harrelson and Wesley Snipes, both at the top of their physical condition, as well as Rosie Perez in one of her best roles. Venice Beach as seen from the bottom rung is interesting, but not as much as the characters trying to hustle their way out of there. Writer-director Ron Shelton has an uncanny grasp of dialogue, athletic ego and not-so-friendly competition—White Men Can’t Jump is never as good as when it’s following our two protagonists on the basketball court, inventively trash-talking their way through their own hustles. The basketball sequences are thankfully convincing. Rosie Perez is also a joy as a motor-mouthed bookworm whose wildest dreams come true through sheer determination. I’m not so happy about the ending of the film (in which a serious conversation could have prevented its bittersweet conclusion) but much of White Men Can’t Jump is still quite a bit of fun to watch.

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.

Three Billboards Outside Ebbing, Missouri (2017)

Three Billboards Outside Ebbing, Missouri (2017)

ByChristian Sauvé Movie Review

(On Cable TV, October 2018) As I’ve grown up to become a cranky middle-aged movie reviewer who gets to complain that they don’t make them like they used to, here comes Three Billboards Outside Ebbing, Missouri to reassure me that while original mid-budget realistic drama movies are on life support, they’re not dead yet. It does help that even within the context of a contemporary adult setting, writer/director Martin McDonagh gets off to a roaring start with a strong premise: a small-town woman putting up three highly critical billboards demanding justice for her murdered daughter. The event sparks dramatic conflict across an ensemble cast of strong actors, reaching across a community to spur characters to action. As befits a film written by a playwright, Three Billboards Outside Ebbing, Missouri is an actor’s dream with several strong sequences, well-developed characters and a dark sense of comedy that keeps viewers interested from beginning to end. Frances McDormand now deservedly owns an Oscar for her performance here, but there’s a lot more good material from Sam Rockwell and Woody Harrelson. A strong plot means that the film’s 115 minutes go by in a flash, with a conclusion that provides some comfort but not an entirely wrapped-up happy ending. It’s quite a ride, and I couldn’t be happier to see how Three Billboards Outside Ebbing, Missouri leveraged its critical success to become a commercial one as well.

Natural Born Killers (1994)

Natural Born Killers (1994)

ByChristian Sauvé Movie Review

(Second viewing, On TV, October 2016) I first watched Natural Born Killers on VHS two decades ago, given to me by a friend who thought it was quite the experience. He was right (for summers after, I’d refer to myself jokingly as “Natural Born Christian” whenever I shaved my head), and watching the film again today only highlights it. There isn’t much to the basic plot, as an abused couple goes on a crime rampage, are arrested, become unlikely folk heroes and then react to an attempt to turn them into TV stars during a live interview from the prison in which they’re held. But the way director Oliver Stone chooses to put together the film is special. Blending impressionistic techniques such as animation, double-cutting, various film stocks, repeated lines, colour shifts and tilted cameras (among others), Natural Born Killers aims to create a chaotic atmosphere and reach for bigger themes about violence and media amplification in American society. It still works remarkably well, largely due to solid performances and in-your-face direction. This was Woody Harrelson’s first turn as a quasi-villain, and it’s still creepily effective today. Meanwhile, Juliette Lewis is very good in a role very much in-line of her early persona role—and I say this as someone who doesn’t usually like that persona. Elsewhere in the movie, Rodney Dangerfield is brutally effective as the star of a demented expeditionary sitcom, while Robert Downey Jr. gets a small but memorable role as a ratings-obsessed TV personality. Natural Born Killer is noisy, confusing, exhilarating, depressing and sometimes even beautiful. It remains quite a viewing experience with a relevant message even more than twenty years after release. (Amusingly enough, the channel on which I watched the film at very low volume did not have fully working subtitles, adding to the messy chaos of the viewing experience.)

Seven Pounds (2008)

Seven Pounds (2008)

ByChristian Sauvé Movie Review

(On TV, January 2015)  The problem beyond movies that crank up their drama beyond a reasonable threshold is that they either become funny or annoying.  Seven Pounds, to its credit, begins with a fascinating mystery: Who is this sad man, what has happened to him and what is he doing?  As the protagonist’s actions are revealed, though, the overwrought drama kicks in.  Are we being shamed in our loose morality by a fictional character so selfless?  By the time the ending rolls by, even the most sympathetic viewers will spot at least two or three major holes in the plot, and it takes a lot of forgiveness to be moved by the film’s extreme sentimentality.  Will Smith is actually pretty good in the lead role, stretching acting muscles seldom used during his career.  Opposite him, Rosario Dawson is unexpectedly captivating, while Michael Ealy makes an impression in a small role.  (One can’t say the same about Woody Harrelson, largely wasted in a generic role).  Some of the details of the film are interesting, and Gabriele Muccino’s direction is handled with skill.  Still, the impression left by the last few minutes of the film is one of increasing bewilderment, if not outright disbelief: By cranking up the dramatic stakes so ludicrously high, Seven Pounds undoes quite a bit of its careful quiet setup.  I’m just not sure it deserves the ending it reaches for.

Now You See Me (2013)

Now You See Me (2013)

ByChristian Sauvé Movie Review

(Video on Demand, September 2013) I really wished I liked this film more than I actually do.  After all, I’m a near-addict to the kind of fast-paced, slick commercial filmmaking that Now You See Me represents at its best, and I’m fond of thematic parallels between stage magic and thriller moviemaking.  The story of four skilled magicians involved in a revenge caper that they don’t entirely understand, Now You See Me is fun to watch and filled with interesting actors: Jesse Eisenberg is perfecting his alpha-nerd persona, Mark Ruffalo is fast settling as a dependable protagonist, while Woody Harrelson has some of the best lines in the movie as an arrogant hypnotist.  Having both Michael Caine and Morgan Freeman as supporting actors really doesn’t hurt.  (Too bad about Isla Fisher’s bland character, though.)  When it clicks, Now You See Me blends beat-perfect editing with skillful visuals and great audio material.  Director Louis Leterrier loves to move his camera around in order to make even the most ordinary moments seem exciting, and his action scenes are impressively choreographed.  So what’s the problem?  Well, essentially, a lack of restraint: The film often uses blatant CGI trickery in order to fake what are supposed to be real-time stage magic tricks, and in doing so basically blows away its own suspension of incredulity: When the smallest details are so obviously fake, it’s tough to be impressed by the film’s bigger magical set-pieces.  Now You See Me’s plot dynamics are also as overblown as to minimize the impact of its last narrative revelations: by the time the final sequence is supposed to blow our minds with an unexpected reversal, an excess of previous twists is bound to leave viewers’ reaction divided between “That makes no sense” and “Oh, whatever”.  The caper plot is also very unlikely, but that’s part of the charm of the sub-genre.  Despite its flaws, Now You See Me is an enjoyable piece of commercial filmmaking, and I even look forward to the announced sequel.

Friends with Benefits (2011)

Friends with Benefits (2011)

ByChristian Sauvé Movie Review

(On Cable TV, March 2012) There really isn’t anything new to this romantic comedy, but it’s a small triumph of capable execution.  From the whip-taut dialogue of the opening sequence to its cheerful ending, Friends with Benefits is a clever self-aware take on the romantic-comedy formula.  The fast-paced dialogue makes up a lot of the film’s appeal, but there’s a lot to be said about the hipness of the film’s assumptions as coupled to the solidity of its morals.  It’s a bright and cheerful comedy, funny except when it becomes convinced that it has to be serious for a while.  Justin Timberlake adds to his growing repertoire of thankless roles, whereas Mila Kunis is an able sparring partner.  (Woody Harrelson’s performance is also a small delight.) Friends with Benefits‘ witty script and solid dialogue (as well as brief appearances by Patricia Clarkson and Emma Stone) reminded me of Easy-A, which is all too reasonable given that both films come from writer/director Will Gluck.  As much as it would be easy to criticize the schematic nature of the film’s romantic angle, its heavy dose of unreality or the carefully delimited nature of the film’s irreverence (those satin bed-sheets surely get arranged strategically, don’t they?), there’s still a lot of sheer movie-watching pleasure in watching a slick rom-com gorgeously shot.  New York looks beautiful in this film, and Gluck’s direction has a nice flow helped along by some fluid camerawork.  It amount to a much-better-than-average romantic comedy, one that doesn’t push any boundaries but entertains charmingly.

Game Change (2012)

Game Change (2012)

ByChristian Sauvé Movie Review

(On Cable TV, March 2012) Political junkies will get their fix of gossipy fantasy in this made-for-HBO docu-fictive account of Sarah Palin’s role in the 2008 American Presidential race as seen from her Republican entourage.  Fans of the original Halperin/ Heilemann book will be surprised to find out that this adaptation barely mentions the Obama/Clinton contest and focuses solely on Palin’s selection and the backroom dealings of the Republican strategists trying to do what they can with an unsuitable candidate.  At its best, Game Change is a fascinating look behind the scenes of a major political campaign as a team of self-aware political professionals has to deal with a wholly unsuitable candidate.  It plays like a mainstream Hollywood comedy in which a half-wit is thrust in a position of importance… except that it really happened, and it happened recently in an American presidential election.  True enough, Palin occasionally comes across in the film as more admirable than her public personae would suggest: a dedicated mom, perhaps a figure to be pitied for having been asked to do more than she ever could.  Still, she really doesn’t come across well here: out of her depth, overwhelmed, petty and of limited capabilities.   The casting is exceptional: Julianne Moore excels in a nearly-perfect take on Palin, whereas Ed Harris has no problem establishing himself as a sympathetic McCain.  Meanwhile, Woody Harrelson turns in a clever performance as strategist Steve Schmidt, the nominal protagonist of the film.  The film is generally well-directed by comedy director Jay Roach and scripted competently, but it does have to work within the constraints of real-world events: The dramatic arc here is slight (especially compared to Obama’s journey) and even understanding that this is a heavily dramatized version of events as they occurred isn’t much of a comfort.  Game Change will appeal to those who remember the 2008 election well, but may not be all that compelling for others.  Which is fine, really: Even political buffs deserve their slick Hollywood entertainment.

Bunraku (2010)

Bunraku (2010)

ByChristian Sauvé Movie Review

(On DVD, December 2011) Every so often, a visually ambitious film slips through the cracks of distribution and promotion to land almost unannounced on video-store shelves.  From the first few moments, executed with a gorgeous mixture of animation and puppet-theater, it’s obvious that Bunraku is going to be an odd and interesting film.  With its fantasy-world mixture of western and samurai iconography, colourful art direction and dynamic direction, Bunraku certainly looks and feels completely different from your run-of-the-mill film.  Experimental, action-packed, crammed with confident performances, it’s also a movie that aspires to the “hidden gem” section of anyone’s collection, right next to films just as The Fall and Sin City: not perfect, maybe not even accessible to audiences who aren’t predisposed to this kind of genre-blending, but surprisingly satisfying to those to do get it and certainly looks like no other film: writer/director Guy Moshe has put together a lovely piece of art.  Josh Hartnett and Gackt share the lead roles, but Woody Harrelson, Ron Perlman and Kevin McKidd get more remarkable roles as supporting players.  (McKidd is particularly good as an eccentric killer.)  The script certainly could have been tightened up: Demi Moore’s character doesn’t look as if she has anything to do, the dialogue sometimes veers toward the pretentious and there’s a pacing slowdown during the third act of the film.  Nonetheless, Bunraku gains back all of its lost points on sheer visual fun alone, and from its references to other tough-guy movies.  For a film that never really showed widely in North-American theaters, I predict a modest cult following.

Defendor (2009)

Defendor (2009)

ByChristian Sauvé Movie Review

(On DVD, May 2011) Let’s face it: “Canadian Superhero film” sounds eccentric already. It’s not much of a surprise when Defendor ends up being a very unusual attempt to explore a more realistic take on the idea of a superhero: a mentally challenged loner who reinvents himself as a superhero in a crime-ridden city.  Billed as a comedy and containing a few genuinely funny moments, Defendor is nonetheless a fairly dark and unglamorous take on the superhero idea: There are no magical powers here, and the superhero fantasy itself is arguably laid bare as a coping mechanism by a mind unable to conceive of better alternatives.  (That it actually works may be the film’s lone concession to the demands of popular filmmaking.)  Nonetheless, the film itself is well-paced, and benefits from a superb performance by Woody Harrelson in the lead role.  Other notables such as Sandra Oh and Elias Koteas round up the cast, with a flashy cameo by Lisa Ray.  Where Defendor may end striking a wrong tone is in matters of expectations: There’s little conventional entertainment here, and the end of the film plays a bit loosely with the idea that it’s a comedy.  It’s a challenging film in its own way, and viewer’s expectations should be calibrated accordingly.

Zombieland (2009)

Zombieland (2009)

ByChristian Sauvé Movie Review

(In theatres, October 2009) By this point in the zombie-movie craze, some stories are redundant. The basic zombies-take-over-the-world narrative has been to death and back, and anyone seriously considering making a zombie film should find an original angle on the concept –we don’t actually need another dour and nihilistic 28 Months Later. Fortunately, Zombieland takes a not-so-blackly comedic approach to the aftermath of a zombie apocalypse. From the opening sequence onward, there’s a playful tone, what with explicit survival rules, kills-of-the-week and on-screen title gags. The picture is anchored by great performances by Jesse Eisenberg as a paranoid nerd and Woody Harrelson as a redneck with a natural talent for killing zombies. It’s a shame that the female characters don’t come across as fully realized, but the pacing of the picture is often too quick to allow for reflection. It’s not quite as brilliant or subversive as Shaun of the Dead, but Zombieland does manage a pleasant, well-executed B-movie vibe. Director Ruben Fleischer uses special effects wisely, has a keen aesthetic sense of slow-motion, keeps things hopping and only occasionally lets the energy of the picture flag in too-long conversation sequences. (Even at a snappy 81 minutes, the film occasionally feels a bit long.) The ending misses full marks by a few inches (the tension is diffused too quickly), but that it gets there at all without letting down the rest of the picture is remarkable. Far funnier than it is gruesome or suspenseful, Zombieland has a good future ahead of itself as a late-evening fan-favourite. The less you know about the celebrity cameo, the better.