Category: Reviews (Page 55 of 120)

Toots

Saddled with a predilection, if not quite an outright addiction, to too much booze and excessive gambling, Toots Shor somehow avoided being just another Jewish tough guy/borderline crook and instead became one of the most legendary restaurateurs in the history of New York City. His food wasn’t gourmet fair, but that wasn’t really expected in mid-century Manhattan. The key to his success was his way with people, lubricated with plenty of whiskey, and that made his restaurant-saloon into a kind of Valhalla populated by legends of three worlds: sports, entertainment, and crime.

Directed by Schor’s filmmaker granddaughter, Kristi Jacobson, this affectionate but honest documentary portrait from 2006 is constructed largely from reminisces by authors Nicholas Pileggi (“Casino“), Pete Hamill, and Gay Talese; sports personalities Frank Gifford, Yogi Berra, and Joe Garagiola; uber-anchor Walter Cronkite, and many others. More comedy than tragedy, it’s the story of a man whose irresponsibility when it came to practically everything, especially money, was only matched by his sentimental attachment to both friends and family. A full-on gonif who once made his living as professional muscle, but apparently never crossed the line into Murder, Inc. territory, Toots was not a particularly “good” person by any normal definition — except often to the people he loved, and there were apparently quite a lot of them. It’s hard not to like a guy like that.

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Encounters at the End of the World

I’m a reasonably big fan of Werner Herzog, the film performer, documentarian, and wryly humorous, neurotically heroic philosopher-poet. When it comes to his hugely acclaimed fiction films, however, I can become impatient with their emphasis on pure thought over pure storytelling. Though it is a reasonably straightforward documentary, “Encounters at the End of the World” has elements of both sides of Herzog’s output. Instead of being driven by a sharply dramatic real-life narrative like the one in Herzog’s brilliant 2005 nonfiction, “Grizzly Man”, 2007’s “Encounters” is basically a quasi-philosophical and psychological exploration of just what it is that drives a certain species of extremely intelligent people to frozen (still, for the time being) Antarctica — a place that, as Ernest Shackleton learned the hard way, might as well have had a giant “no human beings allowed without space-age technology or a death wish” sign pasted on it.

Herzog obviously loves the hyper-intelligent rebels and happy misfits the place attracts as much as its sometimes mind-blowing beauty. There’s also plenty of cinematic and verbal rumination, including a soliloquy by Herzog in which he muses about what he sees as the impending end of all human life in a more or less fatalistic matter — not so much an “if” as a “when.” On the other hand, in a brief, intriguing interview with a former linguist, the director also appears to be deeply concerned with preserving dead languages for future generations…so, maybe he’s not expecting the end tomorrow. Still, for all its bone-deep beauty and for the sweetness of its intentions, its Herzogian concern with reality-based eschatology makes “Encounters at the Edge of the World” easily the most disturbing G-rated inquiry into science and possible end times since Robert Wises’ “The Andromeda Strain.”

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Madame Bovary

Compared to that other famed desperate housewife of world literature, Tolstoy’s sympathetic Anna Karenina, Emma Bovary is, well, kind of a…word that I’m too well brought up to use. Especially as portrayed during Isabelle Huppert’s perfectly minimalist performance, she is more than a little superficial, unable to distinguish between fantasy and reality, and horribly unable to asess the consequences of her own actions. On the other hand, she’s no Paris Hilton, by which I mean she is still very recognizable as an actual human being, all to similar to anyone one of us (her creator, author Gustav Flaubert famously declared, “Madame Bovary, c’est moi!”). Still, the flavor of the story is dry – almost satirical. So, France’s ultra-prolific master of ultra-dry melodramas and tales of suspense, Claude Chabrol, makes perfect sense as the writer-director to bring Flaubert’s revered, frequently filmed novel to the screen. This 1991 production takes a worm’s eye of the tale, which has Emma coldly marrying a goodhearted but deadly dull doctor (Jean-François Balmer) simply to get out of the house. Bored literally to tears, she cuckolds him with a cold-blooded womanizer (Christophe Malavoy) and a seemingly more goodhearted law student (Lucas Belvaux), while literally spending the good doctor and herself to destruction. Yes, this is an evergreen story with a contemporary ring to it – and Chabrol’s cool, dispassionate, and not merely cynical eye is an appropriate counterpoint. This is no tearjerker, but it’s also impossible to stop thinking about this underplayed tragedy of a family destroyed by pretension, materialism, and self-involvement, with innocent victims all around.

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Old Show, New Season (sort of): “Nip/Tuck”

Chalk it up to another case of there simply not being enough hours in the day, but the truth of the matter is that I’ve never watched a single episode of “Nip/Tuck” until now…and since this is the second half of the show’s next-to-last season, it’s probably not exactly the best time for me to decide to get involved in the adventures of Drs. Sean McNamara and Christian Troy. The decision, however, came as a result of two simultaneous events: Ross Ruediger’s review of the first half of the 5th season, which was just released on DVD, and the arrival of a screener of the first episode of the second half of the 5th season. Stupid ol’ Ross. If his positive review of “Criminal Minds: Season 2” hadn’t introduced me to that show, then I wouldn’t be trusting his opinion of “Nip/Tuck,” but when the guy describes it as “tasteless, vulgar, trashy, over-the-top fare that most people probably don’t care to admit they enjoy,” then I’m left wondering why I never took a chance on it before now.

And with that, let us hit “play” on “Ronnie Chase,” the first new “Nip/Tuck” of 2009.

The use of the O’Jays’ “Backstabber” within the opening sequence is inspired, as is the Mark Ronson cover of “Stop Me If You Think That You’ve Heard This One Before,” since what we’re watching is, after all, more or less an expanded flashback to events which occurred during the last episode of the season’s first half. After we catch up to the cliffhanging moment where Sean was lying in a pool of his own blood, things move pretty fast. Christian and Liz manage to keep Annie from crashing, and even after being dragged from the operating room into his office by Colleen, Sean successfully extracts revenge on his crazed assailant and keeps the show from becoming “Misery: The Series.” But poor Doc McNamara is in bad shape: as Christian arrives and tells his partner to hold on, Sean groans, “I can’t feel my legs.”

Suddenly, it’s four months later…and Sean’s doing his best Ironside impression, making his appearance by rolling out of an elevator in a wheelchair.

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Old Show, New Season: “Scrubs”

Q. Is “Scrubs” funny?
A. It’s a matter of opinion. If you ask Peter Griffin, the answer is “no.” (“You ever watch that show ‘Scrubs’? Lois had it on the other night, and I was kinda fading in and out, you know. I was watching and wondering: which one is the funny guy?”) Personally, though, it’s one of my favorite sitcoms, with a great ensemble cast and an ability to move from laughter to tears without making it feel forced.

Q. Has the writing on “Scrubs” maintained the same level of quality since its premiere in 2001?
A. I think even those most die-hard fans of the show would have to say that the answer is an unequivocal “no.” And so, for that matter, would the show’s creator. Bill Lawrence said outright in his chat with me for Bullz-Eye, “I let it get too broad and goofy in the middle, and, y’know, we got a little lazy sometimes and were a little bit of a caricature of ourselves.”

Q. So given that “Scrubs” just finished up seven seasons on NBC, isn’t the show outstaying its welcome by moving to ABC for an eighth season?
A. Oh, hell, no. And if you think otherwise, then I ask you to at least check out the first two episodes of Season 8 before you make a final decision on the matter, because I’ve seen them, and they’re good.

There’s an immediate change in “Scrubs” from the moment Dr. Dorian…or J.D., if you like…steps onto the screen, sporting what the Janitor describes as a “pre-pubescent ‘Miami Vice’ beard.” (“There are some who say I look like a young Kenny Loggins,” claims J.D., though you’d be a fool to believe him.) Taking a coincidental cue from “House,” the show finds Dr. Dorian dealing with a new class of interns, including Katie the know-it-all suck-up (Betsy Beutler), the incredibly callous Denise (Eliza Coupe), and the awesomely inappropriate Ed, played by Aziz Ansari from “Human Giant.” The powerhouse within the list of guest stars, however, is Courtney Cox, who plays Dr. Taylor Maddox, Dr. Kelso’s replacement as Sacred Heart’s Chief of Medicine.

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