The U.S. vs. John Lennon (2006)

Reviewed: 2/2007

As John Lennon was evolving from Beatle to peace activist, the Nixon Administration was becoming more fearful of the musician turned firebrand. When Lennon moved to New York City back in 1970, the administration was terrified that he and Yoko One had to power to organize protesters, affect the outcome of presidential elections and shape the nation in years to come.

The U.S. vs. John Lennon focuses on Lennon the activist and his five-year fight against the Immigration and Naturalization Service's quest to deport him (at the request of J. Edger Hoover and Nixon's hatchet man, John Ehrlichman, no less). The focus of wiretapping, surveillance, and God-know-what-else, Lennon's childlike sincerity, his stand for justice and truth amid it all, is awe-inspiring even today. If only there could be more like him.

Using archived footage of protests, interviews, news reports, senate hearings, etc. and the newly release FBI files on Lennon, writer/directors David Leaf and John Scheinfeld created a tight, to-the-point story of David vs. Goliath. The interviews (Mario Cuomo, G. Gordon Liddy, George McGovern, Dr. Angela Davis, Gore Vidal, Ron Kovic {the paraplegic Vietnam Vet who wrote Born on the Fourth of July}) they score are particularly interesting with a wide swath of historic figures, peace-nicks and activists. Each interview from famed newsman Walter Cronkite to Black Panther founder Bobby Seals is insightful but really provide more information on the tumultuous time period than on Lennon. It's his songs and own words that really emphasize Lennon's innocent and unblinking quest for peace and truth.

The film, as a documentary, is very narrow. Considering it's short running time just over 90 minutes, the opinions become redundant. But it's really when the footage loops for the third time, that you become bored. It's a shame that so much of this aspect of Lennon's life must come from outside sources. One of the greatest surprises here is Yoko Ono Lennon. The viewer is getting something special; it's like you're getting taken behind the veil. You've never seen her so real and so unlike her public persona.

It's rather mind-boggling that the federal government could be so scared of one man. Ridiculous when you consider this is the GOVERNMENT we're talking about. What is sad, however, is the extremes to which this administration went to stifle the freedoms on which this country was founded.

The viewer will have to determine what agenda the directors had here, but for me, it was rather obvious. The interviewees didn't help. As Lennon's battles end, the film turns into a medium to bash the present administration. Despite all this, truthfully, I couldn't shake the parallels to today's administration. The paranoia, the fear, the extremes. It is frightening to think. Too bad, there is no Lennon to incite us now.

If you do want to know how it ends, Lennon lawyered up and won his fight in 1976. On his birthday, on his son Sean's birthday, John Lennon found out that he had won their case, mainly because the INS decided not to pursue him any longer.

The U.S. vs. John Lennon is an interesting, albeit brief look into a volatile part of America's history. Fans of John Lennon will be delighted, historians will be bored, and casual movie-goers will be disappointed. Regardless, the film is a testament to brilliant free-thinker whose life was snuffed out much too soon.

Gladiator (2000)

Reviewed: 11.2006

Legendary general Maximus Decimus Meridius (Russell Crowe) has one thing on his mind-- get back to his wife and child. War has left nothing but a bad taste in the mouth of the general and he desires nothing but to return to his peaceful life in Spain, but Rome's fair, yet dying Emperor Marcus Aurelius has other plans. He wishes to bestow his title on Maximus over his cruel son, Commodus (Joaquin Phoenix). Understandably annoyed, Commodus takes drastic actions to save his title. Killing his father and setting Maximus up for the fall, Commodus succeeds in his quest for rule. Maximus, escaping his demise, forced to into exile and unable to save his family, gives up hope. As easy target for slave traders, Maximus is quickly sold to former gladiator Proximo (Oliver Reed). Maximus quickly rises to fame as 'The Spaniard' in the arena with his fast sword and indifferent attitude, despite his distaste of the blood-lusty sport. It's only when Maximus discovers he can exact the vengeance he swore for the death of his family, on the Emperor, that he rises to his celebrity title to get his chance to fight Commodus in the Arena.

Leading the powerful and intense cast, Russell Crowe is captivating as the general turned slave turned gladiator. The intensity of his role and roguish good looks pale when compared to the emotional depth found in his portrayal of Maximus. Alongside him, Joaquin Phoenix, as Commodus, the perverted, lusting, jealous son goes way beyond egotistical with his intensity. Commodus reaches the pinnacle of maniacal thanks to him. Connie Neilson, as Lucilla, tormented by loyalty to her corrupt brother and doing what's best for the empire, softens the edges of an this blockbuster film. Oliver Reed, Richard Harris, Derek Jacobi, and Djimon Hounsou all give strong, memorable performances as supporting players. Hounson, in a seemingly 'bit-part', is overwhelmingly inspiring as his role as Juba, Maximus' friend and gladiator.

The dream-like spell-binding cinematography is as strong a player in this film as the actors. The battle-scenes, while graphic, are tastefully so. Screenwriter, David Franzoni has done the toughest part, writing a script destined for greatness. Add director Ridley Scott to the mix and you've got epic story-telling. From the mesmerizing battle scenes and a script that reads like poetry to the lush costumes and settings, this colossal film is not only beautiful, magnificently complete. Whether it's the wheat-fields of the Afterlife or the the fields of Germania, the attention to detail, stunning at every angle. Then there's the soundtrack. A score truly is successful when the viewer can hear the score and evoke a film's imagery. Another fitting and epic score courtesy of Hans Zimmer.

While Gladiator may follow the 'formula', it's the collective elements that make this film a powerful tale, destined to 'echo in eternity'.

The Devil Wears Prada (2006)

Reviewed 07.2006

Wow, I am impressed. This smart little comedy is brilliant. Easily one of the best films of the year!

The Devil Wears Prada is the story of a Andrea Sachs (Anne Hathaway), a naive young woman who comes to New York, fresh out of Northwestern with a journalism degree. The lucky girl scores a 'dream' job as the assistant to one of the city's biggest and demanding magazine editors, the ruthless and cynical Miranda Priestly (Meryl Streep).

Director David Frankel assembled the perfect cast to bring the characters of author Lauren Weisberger's best-selling novel to the screen.  Meryl Streep is divine as the cold and calm Miranda. Without a doubt, she delivers the first Oscar-worthy performance of the year. Throughout the entire film, Streep manages to not only humanize Miranda, but maintain the perfect blend of bitch and boss. Streep is simply captivating to watch.

Anne Hathaway delivers a charming performance, providing Andy the right blend of demure and clueless. He dance with 'death' is beautiful. Scene stealer, Stanley Tucci as Andy's 'fairy godmother' is too funny, yet endearing. His witty sense of humor and fashion is worth the price of admission alone! Emily Blunt brings non-stop laughs as the first assistant. Andy's love interests played by Simon Baker and Adrien Grenier make for the perfect eye candy.

Not to be overlooked and a 'lead' in it's own right, are the clothes, shoes and accessories. If you can tell your Prada from Dolce, Chanel from Jimmy Choo than you'll certainly enjoy the 'scenery'. If you can't, come anyway.

I would hate to see people intimidated by the trailers and mere title of the film. The Devil Wears Prada is a smart comedy that deserves a watch.