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(Television programming) Movie Review The Family Stone

By Brent Boyd

 One of the surprise films of 2005, The Family Stone successfully navigates the often tempestuous waters of big screen family dramas. Quite often these types of family relationship films get lost in a deluge of dialogue, conflict, and argument. And although The Family Stone has plenty of the aforementioned, it hits the audience in manageable doses with well-placed comic relief and an unforgettable cast of eccentric characters. Written and directed by up-and-coming Hollywood talent Thomas Bezucha, the film is a mosaic of fun, laughter, sadness, and family relationships most people will find charming and endearing…

The Family Stone examines the vibrant relationships of the Stone family, a close-knit traditional nuclear family gathering for the holidays. Sybil Stone (Diane Keaton) and her husband Kelly (Craig T. Nelson) host their children for the holidays, but as with most families, conflict is abundant. Sarcasm, backstabbing, blame, and jealousy are evident in almost every encounter, but ironically, so are love and respect. When eldest son Everett (Dermot Mulroney) brings home his current girlfriend Meredith Morton (Sarah Jessica Parker) to meet the family, her business-like demeanor and uptight mannerisms clash with the rest of the family, particularly Everett’s vindictive sister Amy (Rachel McAdams). Despite Meredith’s best efforts, the only family member she can impress is Everett’s laidback brother Ben (Luke Wilson).

Meredith’s discomfort is compounded when she inadvertently makes a bigoted remark about Everett’s homosexual brother Thad (Tyrone Giordano), garnering the wrath of the entire family. Pushed to her breaking point, Meredith moves from the house to a nearby bed and breakfast, while Everett struggles with the idea of proposing to a woman his family obviously dislikes. Meanwhile, Ben helps Meredith to come out of her shell, and Meredith enlists the support of her younger sister Julie (Claire Danes) to smooth things over with the Stones. But the holidays take an interesting twist when unexpected relationships blossom and an unforeseen event takes its toll on the entire family…

The Family Stone certainly succeeds in creating a number of dynamic multidimensional characters, but it fails in a couple respects. The most obvious is the relationship switch that eventually takes place and is quite evidently in the making from the opening scenes of the film. One brother stealing another’s girlfriend is not in-and-of itself unbelievable, but the continuation of a normal relationship between the two brothers is. No awkwardness there? No jealousy? Plot twists are great, but keep them realistic…

The other aspect of The Family Stone that stands out is a bit more peripheral and makes the film teeter on the precipice of Hollywood clich. Meredith is portrayed as an uptight homophobic bigot in need of a cure, while the Stone family is free-spirited and in touch with their feelings. In the end, Meredith grows because of her proximity to the Stones, but the Stones don’t learn anything from Meredith. It’s probably not a coincidence that Meredith’s views might be construed as conservative, while the Stones’ views are considered liberal (i.e. conservative evil, liberal good). This same theme was prevalent in Meet The Fockers when Robert De Niro’s character learns the error of his uptight ways and engages in the hippie lifestyle of his daughter’s new in-laws. But, of course, the Fockers never learn anything from De Niro… Not necessarily a movie killer, but a clich nonetheless. Despite the flaws, The Family Stone is still a decent film. Above par dialogue and outstanding performances by a strong cast make it time well spent. Many moments will make you laugh; others will remind you of your own family…

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The Movie review - Cereal as a Metaphor for Capitalism

By Geraldo Bowers

 A business course on cutthroat capitalism disguised as a slacker comedy: That’s the kindest way to describe Michael Lehmann’s “Flakes,” a movie that shares the smug, hipper-than-thou sensibility of its sour protagonist, Neal Downs (Aaron Stanford).

An aspiring rock musician who manages a New Orleans eatery where the only bill of fare is breakfast cereal, Neal is a reflexively sarcastic deadbeat whose equally sour girlfriend, Pussy Katz (Zooey Deschanel), shares his bohemian dream of traveling the country in an Airstream trailer, making music and art.

The walls of the restaurant, called Flakes, are lined with cereal boxes, including rare discontinued brands. As customers slop up exotic combinations, the movie suggests a deadpan spoof of gourmet fetishism. One house specialty - chocolate-flavored grains steeped in chocolate milk - sounds particularly nauseating.

Owned by Willie (Christopher Lloyd), a decrepit hippie geezer with mad-scientist hair, Flakes limps along as a hangout for deadbeats until a bright-eyed yuppie visitor, Stuart (Keir O’Donnell), proposes turning it into a lucrative franchise. When Willie and Neal express no interest, Stuart establishes a rival Flakes across the street, and the New Orleans cereal wars begin.

Hoping to put Stuart out of business, Neal begins playing dirty tricks, the nastiest of which is the distribution of fliers to the homeless promising 10 free bowls per customer at his rival’s establishment. The prank sets off a near-riot that Stuart skillfully turns to his advantage.

Neal’s new live-in relationship with Pussy begins to curdle when she turns traitor and goes to work for the competition, hoping that the demise of the original Flakes will leave Neal with time to finish his CD. If the name of his band, Cereal Killers, is perfectly chosen, its music is a joke.

Once lawyers become involved in the dispute, the movie’s anti-establishment attitude evaporates, as does the teeny bit of levity “Flakes” has generated.

FLAKES

Opens on Wednesday in Manhattan; also on Video on Demand.

Directed by Michael Lehmann; written by Chris Poche and Karey Kirkpatrick; director of photography, Nancy Schreiber; edited by Nicholas C. Smith; music by Jason Derlatka and Jon Ehrlich; produced by Gary Winick and Jake Abraham; released by IFC First Take. At the IFC Center, 323 Avenue of the Americas, at Third Street, Greenwich Village. Running time: 1 hour 24 minutes. This film is not rated.

WITH: Aaron Stanford (Neal Downs), Zooey Deschanel (Miss Pussy Katz), Christopher Lloyd (Willie), Frank Wood (Bruce), Ryan Donowho (Skinny Larry), Izabella Miko (Strawberry) and Keir O’Donnell (Stuart).

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Let’s Review The Movie Crash

By Giuseppe Mathis

 Nominated for six Academy Awards, and winner of Best Picture, Crash is more than deserving of the critical acclaim surrounding its release. Probing the deepest recesses of racism, prejudice, and discrimination in modern day America, the film forces viewers to examine their own tendencies to create and foster stereotypes. More importantly, it does so in a way that doesn’t accuse, blame, or pursue a political agenda. In fact, Crash even touches on the shortcomings of political correctness and how some people have allowed outside perceptions to affect personal judgment, often to their own detriment. Written and directed by Paul Haggis, author of the Million Dollar Baby screenplay, Crash is a thoughtful piece of social commentary wrapped in a storyline ripe with conflict and suspense.

Crash follows numerous characters living in and around Los Angeles as they deal with racial perceptions, prejudices, and stereotypes in their daily lives. Jean Cabot (Sandra Bullock) struggles with her inability to trust her own instincts following a car-jacking which leaves her teetering on the brink of a mental breakdown. Meanwhile, police officer John Ryan (Matt Dillon) harasses African-Americans as a result of the prejudices he developed following his father’s bankruptcy years ago. Lucien (Dato Bakhtadze) and his wife Elizabeth (Karina Arroyave) find their own biases and self-perceptions erupting to the surface of their marriage following a traumatic encounter with Officer Ryan. The consequences of Ryan’s hatred have a rippling effect, a theme which is repeated in countless other social exchanges between store owners, locksmiths, detectives, and hockey enthusiasts. In short, Crash sets out to jar its audience into recognition of the enormous consequences of racial prejudice, no matter how “minor” we may believe those attitudes may be.

The cast of Crash is superb. Don Cheadle completes his graduation from the front desk of The Golden Girls spin-off Golden Palace by turning in a second blockbuster performance within a matter of months (Hotel Rwanda would be the other). Like other characters from the film, Cheadle’s Graham is unable to fully develop due to time constraints, yet he manages to come across as a sympathetic and flawed character. The same can be said of Matt Dillon’s portrayal of Officer John Ryan. He isn’t a mere hatemonger skinhead, but rather a caring individual who developed detrimental prejudice based on past events from his childhood. In the end, like many of the film’s characters, the audience gets a glimpse of his good side.

Overall, Crash is an excellent film that lives up to the notoriety and hype. For the typical viewer, it will evoke myriad emotions - hatred of racism, loathing of man’s inhumanity to man, empathy, self-reflection, and an awareness of how one’s own prejudices may affect others. Paul Haggis brilliantly illustrates the consequences of widespread attitudes harboring racist, prejudicial, discriminatory, and stereotypical overtones. He does so without pointing fingers or assigning blame. Everyone is guilty; no race, gender, class, or ideology is spared. Crash also probes the depths of American prejudice by addressing the unintended consequences of both affirmative action and political-correctness. It’s this reluctance to strictly adhere to an ideological agenda that empowers Crash with its universal appeal. By not being preachy, the film is better able to relate its themes to viewers from every type of background and perspective. It’s an entertaining film. Hopefully, it also makes each us think twice about the way in which we relate to our fellow man. If so, then Crash is more than just a film; it’s a world-changing experience.

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Friday, November 27th, 2009 at 10:30 pm and is filed under television. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.