JULY, 20


A JAZZ TALE

Gangster / Crime
Cast: Emile Hirsh, Anthony Mackie, Ashanti, Alec Baldwin, Don Cheadle, Morgan Freeman, Kerry Washington, Sean Penn, Eddie Murphy
Director: Clint Eastwood
Screenwriter: Joey Stark

Box Office: 29 mill.
Net Gains: 6 mill.

Stark’s Reaction:
Ouch… Once again I must say I expected much better numbers for this one. And not only because I want my little brother to be happy now that he has decided to write only ‘serious adult stories’. It was a pretty good movie. But nowadays you just cannot succeed if you don’t make a movie oriented to teen audiences…

GRACELAND

Biography / Musical
Cast: Ben Affleck, Michael Madsen, Lindsay Lohan, Paul Giamatti, Dallas Roberts
Director: Cameron Crowe
Screenwriter: Josh Collins


Box Office: 26 mill.
Net Gains: 6 mill.

Stark’s Comment:
‘Graceland’ has followed the pattern of other CMP’s musical biopics: they made a low box office but at least they make slight net gains. I wished we had had a nice surprise with this one but, at the end, the pattern was respected.

SUNSHINE ON LONELY STREET

Romantic Comedy
Cast: Adam Brody, Abbie Cornish, Nicholas Hoult, Bradley James, Ashton Kutcher, Channing Tatum, Jordana Brewster, JK Simmons, Jamie Lee Curtis
Director and Screenwriter: Trent Nielsen
Producer: Grand Island Movies

Box Office: 39 mill.
Net Gains: 16 mill.

Stark’s Reaction:
Surprisingly, this one has turned into the best release of the week. In this case, numbers are pretty good, being a minor genre like romantic comedy. It always depend on expectations after all and this one has been a satisfactory release. A tough week but, at least, there were not net losses…


A JAZZ TALE

‘Stark and Eastwood have put up a highly vintage production directly linked to a classic way of understanding filmmaking. The same way he did past Season with ‘Kavalier & Clay’, Stark has tried to faithfully recreate a time period while telling an ambitious story – and that includes an obsessive attention to details, from wardrobe to cinematography, from insides decoration to exterior settings – that provides both movies the look of a big production the way old Hollywood’s classics. Eastwood - probably the main successor of the most talented classic moviemakers of the Golden Age of Hollywood – was the perfect talent to direct this movie. I am sure both, Stark and Eastwood, have enjoyed this experience and feel very much satisfied of this movie, no matter that audiences have not followed their proposal with too much enthusiasm.’
-Roy Winslow

‘’A Jazz Tale’ can be considered as a ‘perfect movie’. The plot is perfectly built. It has been perfectly directed. It has a perfect cast. Production design is perfect. But sometimes not even perfection is enough to make an outstanding movie. At the end, ‘A Jazz Tale’ is a brilliant tribute to old mafia movies and a perfect sum of ‘The Godfather’ and ‘Cotton Club’. But that’s all in the sense that there’s more of a tribute than originality in this movie. Eastwood has loyally respected all the clichés of the classic gangsters movies… so loyally that you end up with that uncomfortable feeling of ‘seen it all before’ that always damages the appreciation of any film.’
-Jackie O’Callaghan

‘You only need to look at his CMP’s works to realize the undisputable master and versatile moviemaker Clint Eastwood is. He has directed for CMP movies as different as a war drama (‘Nagasaki Daydreams’), a western (‘Dakota North’), a courtroom thriller (‘A Hard Place’) and now a gangsters tale and in all of them he has left the sign of his immeasurable talent. Eastwood does not make films adapted to today’s trends. He makes movies to last in time that will still be appreciated decades after they were made. ‘A Jazz Tale’ can look as an old fashioned style production now. But I am sure that it will be considered as a classic to revisit once and again as time passes. Eastwood already is part of posterity and his movies are called to last forever.’
-Anne Roman

GRACELAND

‘Risky. Too risky. Telling something that has been told so many times through articles, books or documentaries like the life of Elvis Presley is taking a very big risk. Chad Taylor knew that when he made his biopic of The Beatles. And probably Collins also knew it when he faced this challenge. The difference is that, to avoid the too known territories, Taylor bet for a creative, imaginative and deconstructed screenplay, full of flashbacks and flashforwards, that provided the movie with an artsy conception. Collins has partially done the same – alternating the perspective of the young and the older Elvis – but that’s not been enough to make ‘Graceland’ look as a much more standard biopic only suitable for the most devoted fans of Elvis ready to be told a story they already know very well.’
-Vic Carter

‘Any movie critic going to watch ‘Graceland’ will have one idea in mind: I’m going to tear to pieces Affleck’s acting work. Well, I’m sorry, colleagues, but you won’t be able to do it. Affleck not only survives to this impossible challenge but he in facts makes a wonderful recreation of the character. He perfectly recreates not only the charm, the sexy appeal and the charisma of young Elvis but also his tacky and kitsch side. He does not try to make him look perfect but just the way he was: the first version of what we know today as a teen idol – after all, that was what he was at the beginning, beyond his undisputable musical quality –with his good and his bad things. Surprisingly wonderful work, Mr. Affleck. And you, colleagues, stop prejudging Ben because, you like it or not, the guy’s got talent and he shows it when he wants to.’
-Lilly Stevens

‘Up and downs for the most difficult element of this biopic: the cast. Both Elvis, Affleck and Madsen, are the best of the movie. In fact, it’s their wonderful work what saves this movie from routine. In particular, Madsen seems born to play the decadent Elvis. He reaches such a perfection that sometimes you have the feeling he is not playing Elvis but he IS Elvis. But my biggest praise goes to Paul Giamatti. The sinister, devious and ambitious Colonel Parker was probably the most interesting character of the story, even more than Elvis himself, and Giamatti has taken the best of this great character. I simply demand a Best Villain GMA for him right here and now. On the other side… oh, Mr. Collins, how could you in hell cast Lindsay Lohan to play Priscilla? What were you thinking about? Among all the actresses in Hollywood, did you really think Lohan was the best for the character? I would have preferred an alternative story of Elvis’ life showing him as a single man or a widower than having to suffer Lohan on screen…’
-Tim Reeve

SUNSHINE ON LONELY STREET

‘I was scared after ‘Out Partying’. I had become an instant fan of Trent Nielsen after his amazing debut Season, with those wonderful movies like ‘Running On Empty’ or ‘The Princess And The Captain’. But then came ‘Out Partying’ and I feared the worst. ‘Out Partying’ made me fear all that could be only a mirage. My faith in him as an author of big little movies – dramedies, romantic comedies, soft dramas… genres that I missed in CMP, always looking more for the big action and sci-fi shows – begun to recover with the interesting ‘Hallelujah’. And this ‘Sunshine’ has finally turned me back to believe in Nielsen as a moviemaker different from all others in CMP. ‘Sunshine’ is a funny and intelligent movie that does not look for a big impact on audiences but to make moviegoers think and smile at one time, a task much more difficult to achieve that what it may seem at first sight.’
-Amy Ratched

‘Any romantic comedy depends 100 % on the chemistry between the starring couple. And that perfectly works here. You believe Brody and Cornish’s feelings and behavior in this movie. ‘Sunshine On Lonely Street’ is over the average of most romantic comedies. It’s not just a silly Sandra Bullock’s story. The most dramatic elements – mainly Sunshine’s painful past – is very well inserted in the romantic plot and characters are not as unidimensional as they usually are in these kind of movies. Besides the obvious influence of ‘500 Days of Summer’ kind of humor – including the wording of the title, playing here with ‘Sunshine’ as a first name the way it was done there with ‘Summer’ -, Nielsen’s movie is a refreshing proposal that renews and prestiges the romantic comedy genre and proves that romance and intelligence are not enemies. Oh, and now get ready to see Cornish and Brody becoming brand new CMP’s stars…’
-Andrew Stampton

‘Confirmed. Trent Nielsen – like it has been said for so long about Dawson Edwards – becomes one of those CMP’s authors from whom we can expect the best and the worst. Nielsen can surprises us with the best written screenplay, analyzing human feelings and taking an intelligent look to the soul of human beings – ‘Running On Empty’, ‘The Princess and the Captain’, ‘That’s The Way’, ‘Hallelujah’ – or he can irritate us with the most foolish stories – ‘Faded’… with Mr.T, the horrendous ‘Out Partying’. From now on, each new story coming from him will be an in intriguing release. Will he prove again his talent dissecting human soul? Or will he make us mad with silly jokes? ‘Sunshine On Lonely Street’ has been a surprise in the right direction. Now I’ll wait for the next.’
-Jake Cobb


A JAZZ TALE

OPENING SEGMENT Every time Clint Eastwood is pinned to a film, we get excited. We know we are in for an amazing treat. And it seems as though every time Joey Stark's name is announced to a project, the other screenwriters shiver; knowing their GMA chances are in jeopardy. They have every right to be afraid with this creative story set in the 1940s era with the classic gangster stories. Joey may have done it again and just like Matt Kubrick with his 'Legends of the West' film, Stark was able to tap into Eastwood's frame of direction.

BEST OF IT Just one of those movies where everything is superb. The acting, writing, direction, cinematography, music.

WORST OF IT A little lengthy and to many film-goers, might seem a little too pretentious.

SHINING STAR/DEAD WEIGHT Emile Hirsch: He has always been on fire in CMP. Never a dull movie and he shines brightly in this. The rest of the cast also does a good job in their roles, but honorable mention to Emile, still considered new in a cast full of seasoned veterans.

THE BRAINS BEHIND Joey Stark is the brains behind this, even if Eastwood directed, composed, produced, etc. They were such a well rounded pair. They correctly recreated this time when mobsters were hugely influenced.

IN CONCLUSION: A+ Definitely worth seeing in the theaters multiple times.

GRACELAND

OPENING STATEMENT Well it was promoted on Collins' site and the forums for a long time and it's finally here. We groaned at the cast choices, many even boycotted the film because of the cast choices. But those of us who actually DID see the film know that it's really not that bad. It's a well done remembrance of Elvis' life, capturing his best and worst moments; great songs, the acting isn't too bad. I'm proud of this well documented film.

BEST OF IT Definitely the well told story of Elvis' life from his childhood to his death. The music is worth singing and dancing too and if you actually want to see Ben Affleck put effort into a role, it's the film to see. Good job, Ben.

WORST OF IT I think it makes Paul Giamatti's character out to be one of those HUGE pricks. And two words: Lindsay Lohan.

SHINING STAR/DEAD WEIGHT Ben Affleck and Michael Madsen indeed work well in the film as both actors portray "the good, the bad and ugly" of the king. We've seen Giamatti play prick before so it's nothing new and for god sake Cobie, did you realize Lindsay almost ruined the film? Good thing her part is small enough to not be noticed.

THE BRAINS BEHIND Of all of Collins' films this season, this one is real iffy. It's good, but could have been a lot better. It's worth seeing at least. Cameron Crowe correctly breaths air into Elvis to bring him to life and does an honest job of life in America 1950s. It was funny, uplifting, tearjerking, has it all to be just as inspirational as Dream of a King.

IN CONCLUSION A- it really is a lot better than what I was expecting. Thank you, Elvis. We love ya!

SUNSHINE ON LONELY STREET

OPENING STATEMENT Can we give it up for Trent Nielsen? Because in this world of remakes adaptations and sequels, we have someone who actually still uses his imagination to come up with something original. This is one of the reasons why I admire Trent a great deal. Not only can he do original material, but he can effectively do it right to avoid making it bland.

BEST OF IT The characters are very enthralling and real. The acting, writing, direction all that stuff that goes into the aspect of character development is all there.

WORST OF IT The romance may make a few people cringe if they're not into romance stories. Fortunately it's not too sappy to make us all want to vomit.

SHINING STAR/DEAD WEIGHT Obviously, Adam Brody and Abbie Cornish are the stars to look out for in this film. Their characters are most enjoyable and this film reminds me of 500 Days of Summer because of them. The rest of the cast does an alright job adding the support to the film. Nobody really deserves the title of being the dead weight.

THE BRAINS BEHIND Trent did an incredible job making this original story come to life. You can tell he really understood the structure of it and I admire that there are still some creative minds left in this world. Definitely GMA worthy for at least original material.

IN CONCLUSION A Go and see it, you won't be disappointed. Have fun!

MR. THUMBS' CERTIFIED MUST SEE OF THE WEEK:

SEE ALL THREE!!