Concussion: Mini-review


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Will Smith

Will Smith playing golf, not football

BAt one point in the movie Concussion, Dr. Bennet Omalu (Will Smith), the Pittsburgh pathologist who discovered the link between  playing football and degenerative brain disease, says “I am the wrong person to have discovered this.” Unfortunately, Omalu is also the wrong person to make this very significant movie about. 

Omalu’s interest in the disease known as chronic traumatic encephalopathy (CTE) began when he performed the autopsy on retired Pittsburgh Steeler great Mike Webster, who died a drug addicted shell of his former self at the age of 50. Omalu’s autopsy reveals that Webster’s brain shows signs of CTE, a rare form of dementia, normally only found in much older people, that drove Webster to kill himself. Omalu eventually concludes that the repetitive head blows football players suffer caused Webster’s CTE and those of other former players whose corpses he examines. With the help of his boss (Albert Brooks) and a former Steelers team doctor (Alec Baldwin), Omalu embarks on a long and difficult quest to call the NFL’s attention to the problem.

Concussion tells a powerful and significant story. Omalu’s findings have led to widespread changes in how football is played at all levels, including rules changes to reduce head-to-head contact and mandatory concussion protocols. But while Omalu’s findings are signficant, the man himself, as played by Smith in a very good performance, is quiet, reserved, and low-key to a fault. The real emotion in Concussion lies in its gripping portrayal of star athletes who wind up like the pitiable Webster (excellently played by Morse), or as delusional paranoids like Dave Duerson (Adewale Akinnuoye-Agbaje). Writer/director Peter Landesman apparently realizes the inherent blandness in his central character and tries to play up Omalu’s romance with his eventual wife (Gugu Mbatha-Raw). However, their personal relationship is as restrained as Omalu’s professional character. Similarly, Landesman’s half-hearted and fully fictional attempt to turn Concussion into a conspiracy thriller, with the NFL out to silence Omalu, fizzles out. In reality, the NFL simply ignored Omalu’s findings as long as it could. Fortunately for the movie’s sake, Landesman doesn’t just rely on B-movie conspiracy theatrics but, instead, surrounds Smith’s quiet performance with some effective supporting turns from the likes of Baldwin and especially Brooks, who adds much-needed humor to the film. Still, despite its cast, Concussion is well made and informative, but not as emotional as it could be, a movie that settles for a field goal instead of reaching the end zone. 
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Mission: Impossible Rogue Nation: Mini-review


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Tom Cruise

Tom Cruise is impossibly fit in his latest Mission: Impossible film

BMission: Impossible Rogue Nation is the best argument ever for the creation of an Academy Award for stunt work. Tom Cruise and his cadre of fellow stunt artists put on a dazzling display of death-defying daredeviltry in several astonishing set pieces. In a world of complete CGI artificiality, these set pieces astound and also serve, like a magician’s showmanship, to disguise the thin nature of the story connecting them.

That story has top Impossible Mission Force operative Ethan Hunt (Cruise) in hiding after discovering the existence of secret group of rogue agents engaged in a cleverly concealed worldwide terror campaign. The blowhard CIA director (Alec Baldwin) wants Ethan caught, but Hunt is able to enlist the aid of fellow IMF operatives Benji (Simon Pegg), Luther (Ving Rhames), and Brandt (Jeremy Renner). He also gets help from mystery woman Ilsa Faust (Rebecca Ferguson), who shows up in the nick of time to save Ethan’s life on more than one occasion.

Christopher McQuarrie takes over the writing and directing duties for this installment of the Mission: Impossible series, and, having worked with Cruise previously on Jack Reacher, understands his role perfectly. He creates scenarios that allow Cruise (and to a large extent Ferguson as well) to shine. The best sequences are a full-blown car-and-motorcycle chase through the streets of Casablanca  and an attempted assassination at the opera that recalls Hitchcock‘s The Man Who Knew Too MuchAnd, of course, there’s the almost throwaway pre-title scene featuring Cruise himself dangling on the side of a cargo plane that’s taken off. In addition, with the presence of Ferguson alongside pros like Pegg and Renner, the producers have finally found a supporting cast that actually support Cruise rather than merely occupy space on the screen. Unfortunately, the plot is merely a variation on the time-worn espionage chestnut: Who can you trust? Unlike the situation in McQuarrie’s Oscar-winning The Usual Suspectsit’s ridiculously easy here to figure out who can be trusted. Rogue Nation also lacks a villainous character like Keyser Soze or a villanous actor like Kevin Spacey to add intrigue. With too much exposition resulting in too little payoff, the story drags, especially in the last third, and the film lacks a suitable capper finale. Still, Mission: Impossible Rogue Nation delivers more than enough terrific action in the early parts to thrill even the most jaded audience and to allow it to coast through the last few scenes.
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Aloha: Mini-Review


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Bradley Cooper

Bradley Cooper won’t be headed back to the Oscars for his role in Aloha

C+Watch some parts of Aloha and it’s easy to see how writer/director Cameron Crowe could create movies like Jerry Maguire and Almost Famous. Watch the entire movie, however, and it’s easy to see how he’s become largely irrelevant in Hollywood in the last decade.

Actually, Crowe has been working on Aloha for nearly a decade through numerous cast and script changes. The finished product bears the mark of a project that’s been circulating since the Bush presidency. Brian Gilcrist (Bradley Cooper), a former Air Force whiz turned civilian contractor, is in Hawaii for a PR job that consists primarily of schmoozing some native Hawaiians into going along with a project that will allow billionaire Carson Welch (Bill Murray) to launch satellites into space from the island. The job also allows Brian to reconnect with former girlfriend Tracy Woodside (Rachel McAdams), now married to an Air Force officer (John Krasinski). Brian also makes some new connections with his Air Force liaison, Allison Ng (Emma Stone). 

Aloha bears the mark of a much longer film that was hastily edited down to a 105-minute running time. Key plot elements are unexplained or poorly explained, and characters’ personalities seem to change drastically from scene to scene. Alec Baldwin has three scenes in the movie as the commanding Air Force general, and he seems like three different people. The result is an at-times incomprehensible mess. To make matters worse, Stone (who’s supposed to be one-quarter Hawaiian) and Murray are badly miscast. However, Aloha is a mess with a lot of wonderful individual scenes such as Stone dancing with Murray or making music with some of the native Hawaiians. Cooper exudes his patented charm in several scenes with both Stone and McAdams, although he admittedly appears lost and befuddled in others. And even a miscast Bill Murray is fun to watch. All in all, about half of the movie consists of anywhere from good to almost magical scenes, including a great closing moment. Aloha is a movie that will be best enjoyed on video with the fast forward button handy to speed viewers through the messy scenes and linger on the good ones.
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Still Alice: Mini-Review


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Julianne Moore

Julianne Moore is still the odds on favorite for the Best Actress Oscar for Still Alice

BIn recent years, the Best Actress Oscar competition has been decidedly one-sided, with one actress blowing away the competition with a stunning performance. That trend is almost certainly going to continue this year. Julianne Moore is simply so good in Still Alice that her fellow nominees’ performances pale in comparison.

Still Alice provides Moore with the type of role that often leads to an Oscar nomination, the person with a disability. She plays Alice Howland, a professor of linguistics who is diagnosed with early onset Alzheimer’s shortly after she turns 50. The movie flows her inevitable downward spiral, from the first indications of forgetfulness through the various coping mechanisms she develops to deal with he increasing disability leading, eventually, to the final stages of near complete helplessness.

Despite a talented supporting case including Alec Baldwin as Alice’s husband, John,  and Kristen Stewart as her younger daughter, Still Alice focuses almost exclusively on Alice’s struggles. Scenes such as one in which she tries to deliver a speech become moments of high drama, but nothing in Moore’s performance seems overplayed. Instead, her actions are generally understated, as she often forgets as simply as others remember. However, Alice’s tragedy isn’t hers alone; it’s a family tragedy. The movie touches on her husband’s and children’s emotions but spends too little time with them. So, audiences see John as a man who is pretty much aloof rather than a man who’s undoubtedly deeply conflicted between a desire to care for his wife and the realization that he can’t destroy his own life as well. Thanks to Moore’s performance, Still Alice gives viewers rare insight into the mechanics and progression of Alzheimer’s disease, but, in essence, it’s just a well-acted disease movie of the week rather than an insightful drama about a family in crisis. 
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