Today I saw Ford v Ferrari, starring Christian Bale and Matt Damon.
Caroll Shelby (Damon) is a former race car driver who had to stop racing due to a heart condition. He has been tasked with helping the Ford motor company develop a new race car to beat Ferrari, who insulted them during acquisition negotiations.
Shelby accepts the challenge and brings his friend, British war veteran Ken Miles (Bale), who is an engineer and driver, along with him. The entire film centers around the building of this super-fast vehicle and the race that will determine certain victory for one of the rivals.
Chtristian Bale is predictably superb as a hot-headed, but good-at-heart racer who has a deep passion for his craft. Miles is also a family man who dearly loves his supportive wife Mollie (Catriona Balfe) and adoring son Peter (Noah Jupe).
Damon is predictably solid as Shelby, who wants to do right by his bosses, but usually personally agrees with Miles (though his behavior is sometimes wild).
The story makes the representatives of Ford very unlikeable, especially that of VP Leo Beebe (Josh Lucas), who, though based on the real man, is portrayed as a composite of every slimy corporate white-man-of-privilege any of us have had the displeasure of working with or for, and that's a bit much to take.
With few exceptions the order of events is followed faithfully to the climactic race that determines the winner. And the buildup to that is fun to watch, but the best parts of the film are the moments that examine the genuine friendship between Shelby and Miles and the genuine love between Miles and his family.
I enjoyed the film—mostly because of Bale's performance—but thought it could have been about an hour shorter.
~~~
Showing posts with label Matt Damon. Show all posts
Showing posts with label Matt Damon. Show all posts
Tuesday, December 17, 2019
Wednesday, January 03, 2018
Downsizing
Last night I saw Downsizing, starring Matt Damon and Christoph Waltz.
In a world where the environmental health of the planet is in jeopardy, a clever Norwegian scientist formulates a solution: To shrink human beings into tiny colonies to reduce the carbon footprint and establish a new way of life.
Of course, the incentive for most to take advantage of this technology is not the environmental altruism, but the personal promise of a life upgrade since money goes much further in a micro-society.
Matt Damon plays Paul, an occupational therapist for workers at Omaha Steaks who is married to Audrey (Kristen Wiig), who seems to be a good wife. Paul cares for his mother, massages his wife when she gets headaches and barely squeaks by on his salary. He's a perfect candidate for the sales pitch of the folks at Leisureland, the most popular micro-community for the newly transitioned.
When Paul decides to go through with the procedure, but Audrey chickens out, he's faced with soul searching like he's never faced before. He arrives in his new body craving a purpose and flying solo, until he meets Ngoc (Hong Chau), a Vietnamese micro-resident who was miniaturized against her will for activism and now serves as his neighbor's cleaning lady.
And this is where the film went off the rails.
Aside from being completely annoying, playing up the Asian stereotypes through her broken English, the movie shifts from showing us the novelty of all that tinyhood entails (protective domes to keep birds/insects from eating you, giant-size flowers, toy-size cars to transport yourself around the property) to becoming a "statement" film about either: the environment, class divisions, depression or cults. It's not sure which, and therefore neither are we.
Smaller (pun intended) players such as Christoph Waltz, who plays an enterprising, obnoxious neighbor, are welcome additions to the mix, but not there long enough to save the story.
Did I mention the film is long too? Whoever thought that editing this to 2 hours, 15 minutes was a good idea wasn't paying attention.
Or maybe they were and hoped the extra time would improve it.
~~~
In a world where the environmental health of the planet is in jeopardy, a clever Norwegian scientist formulates a solution: To shrink human beings into tiny colonies to reduce the carbon footprint and establish a new way of life.
Of course, the incentive for most to take advantage of this technology is not the environmental altruism, but the personal promise of a life upgrade since money goes much further in a micro-society.
Matt Damon plays Paul, an occupational therapist for workers at Omaha Steaks who is married to Audrey (Kristen Wiig), who seems to be a good wife. Paul cares for his mother, massages his wife when she gets headaches and barely squeaks by on his salary. He's a perfect candidate for the sales pitch of the folks at Leisureland, the most popular micro-community for the newly transitioned.
When Paul decides to go through with the procedure, but Audrey chickens out, he's faced with soul searching like he's never faced before. He arrives in his new body craving a purpose and flying solo, until he meets Ngoc (Hong Chau), a Vietnamese micro-resident who was miniaturized against her will for activism and now serves as his neighbor's cleaning lady.
And this is where the film went off the rails.
Aside from being completely annoying, playing up the Asian stereotypes through her broken English, the movie shifts from showing us the novelty of all that tinyhood entails (protective domes to keep birds/insects from eating you, giant-size flowers, toy-size cars to transport yourself around the property) to becoming a "statement" film about either: the environment, class divisions, depression or cults. It's not sure which, and therefore neither are we.
Smaller (pun intended) players such as Christoph Waltz, who plays an enterprising, obnoxious neighbor, are welcome additions to the mix, but not there long enough to save the story.
Did I mention the film is long too? Whoever thought that editing this to 2 hours, 15 minutes was a good idea wasn't paying attention.
Or maybe they were and hoped the extra time would improve it.
~~~
Sunday, November 22, 2015
The Martian
This morning I saw The Martian, starring Matt Damon and Chiwetel Ejiofor.
There is a NASA mission to Mars that gets interrupted by a terrible sandstorm. Because of the severity of the weather, the commander of the ship, Melissa (Jessica Chastain), chooses to have the team abort the mission. As the evacuation begins, the botanist on board, Mark (Damon), gets hit with debris and is presumed dead. The other astronauts safely continue their mission, mourning his loss.
But he didn't die. He was injured and knocked out, but very much alive.
And there we begin ... the nerve-wracking 2+ hours of seeing if he can successfully grow food, navigate unpreventable disasters, make contact with NASA and keep his sanity. It's a tough ride, but one we've been on before.
Reminiscent of films like Gravity and Moon, the film centers around the solitude of the main character, but at least here we have a balance of scenes with the folks back home. Chiwetel Ejiofor delivers a fantastic performance as the Mars head-honcho, though Kristen Wiig, as an essential NASA employee seems displaced. Damon is predictably solid, as is the always-badass Chastain.
Sure, it's interesting to watch the scientific process for how to make food if you're ever stranded on a deserted planet. It's undoubtedly enjoyable to see the kinship amongst astronauts rivaling that of soldiers at war. But what keeps it from being a "great" American film is the crime of formula.
We know what's going to happen every step of the way, even if we're not sure how they're going to get there.
The characters were likeable, the situation of the initial accident very believable, but the outcome was terribly predictable.
Go see it if you want a fun ride, but not if you're seeking something new.
~~~
There is a NASA mission to Mars that gets interrupted by a terrible sandstorm. Because of the severity of the weather, the commander of the ship, Melissa (Jessica Chastain), chooses to have the team abort the mission. As the evacuation begins, the botanist on board, Mark (Damon), gets hit with debris and is presumed dead. The other astronauts safely continue their mission, mourning his loss.
But he didn't die. He was injured and knocked out, but very much alive.
And there we begin ... the nerve-wracking 2+ hours of seeing if he can successfully grow food, navigate unpreventable disasters, make contact with NASA and keep his sanity. It's a tough ride, but one we've been on before.
Reminiscent of films like Gravity and Moon, the film centers around the solitude of the main character, but at least here we have a balance of scenes with the folks back home. Chiwetel Ejiofor delivers a fantastic performance as the Mars head-honcho, though Kristen Wiig, as an essential NASA employee seems displaced. Damon is predictably solid, as is the always-badass Chastain.
Sure, it's interesting to watch the scientific process for how to make food if you're ever stranded on a deserted planet. It's undoubtedly enjoyable to see the kinship amongst astronauts rivaling that of soldiers at war. But what keeps it from being a "great" American film is the crime of formula.
We know what's going to happen every step of the way, even if we're not sure how they're going to get there.
The characters were likeable, the situation of the initial accident very believable, but the outcome was terribly predictable.
Go see it if you want a fun ride, but not if you're seeking something new.
~~~
Monday, December 26, 2011
We Bought a Zoo
Yesterday I saw We Bought a Zoo, starring Matt Damon and Scarlett Johansson.
Benjamin (Damon) just wants to make life better for his family. He recently lost his beloved wife and his teenage son is suffering from a horrible depression. He quits his job and decides to move the family to the country—to a zoo—and begin a new chapter of life.
Crazy? Absolutely. But sincere and genuine too, which Damon conveys almost painfully well.
Soon Benjamin is fighting the crush he has on his zookeeper, Kelly (Johansson), and trying to scrape together enough money to re-open the zoo, all the while dealing with his angry son and his sweet little daughter, who seems to be the most balanced of the entire bunch.
The kids who play the children, Colin Ford and Maggie Elizabeth Jones, are wonderful. Sure, they're cute, but they're in no, way, shape or form annoying (which often happens in these family flicks).
And did I mention this is a family flick that was directed by Seattle stud Cameron Crowe?
Were it not for the cool music that accompanied key scenes of the film, I dare say I would not have recognized his style at all. This film is a far cry from Almost Famous, but maintains the same heart and honesty that's at the core of his best films.
Is it predictable? Sure. Does it stray from the real-life story maybe a little too much? I'd say so.
But that doesn't mean it's not a satisfying, sweet departure from some of the heavier films out this season.
~~~
Benjamin (Damon) just wants to make life better for his family. He recently lost his beloved wife and his teenage son is suffering from a horrible depression. He quits his job and decides to move the family to the country—to a zoo—and begin a new chapter of life.
Crazy? Absolutely. But sincere and genuine too, which Damon conveys almost painfully well.
Soon Benjamin is fighting the crush he has on his zookeeper, Kelly (Johansson), and trying to scrape together enough money to re-open the zoo, all the while dealing with his angry son and his sweet little daughter, who seems to be the most balanced of the entire bunch.
The kids who play the children, Colin Ford and Maggie Elizabeth Jones, are wonderful. Sure, they're cute, but they're in no, way, shape or form annoying (which often happens in these family flicks).
And did I mention this is a family flick that was directed by Seattle stud Cameron Crowe?
Were it not for the cool music that accompanied key scenes of the film, I dare say I would not have recognized his style at all. This film is a far cry from Almost Famous, but maintains the same heart and honesty that's at the core of his best films.
Is it predictable? Sure. Does it stray from the real-life story maybe a little too much? I'd say so.
But that doesn't mean it's not a satisfying, sweet departure from some of the heavier films out this season.
~~~
Sunday, October 31, 2010
Hereafter
This morning I saw Hereafter, starring Matt Damon and Cécile De France.
George Lonegan (Damon) is a retired psychic with a gift that won't stop giving. His brother Billy (Jay Mohr) is an enterprising businessman who convinces him to do just one reading for a Greek client going through a rough time. As a result of this spot-on reading, word gets out of George's abilities and Billy pressures him to return to his craft.
A few months prior, Marie (De France) survived what we must assume was the Sri Lankan tsunami, and has a tough time re-adjusting to life after her out-of-body experience during the tragedy.
As this is happening, Marcus (Frankie McLaren), a young British boy with a drunken mother, loses his twin in an auto accident.
Both Marie and Marcus go searching for answers following their respective events as George retreats into a solitary life of factory work.
Damon plays George so cold and guarded, he would be difficult to like if he weren't so appealing. That said, when faced with a burden of former fame, it's easy to sympathize with someone who doesn't want to confront death on a daily basis.
All of the stories are fleshed out well except the cameo by Bryce Dallas Howard, which still leaves me scratching my head. The overall topic of the film is engaging whether or not you're a believer in the afterlife, and the opening scene where the tsunami hits rivals any great action scene in recent memory.
But where director Clint Eastwood somehow misses the mark is in the quiet contemplation of each main character. Those suspended moments of thought and revelation don't need to be as long as he makes them, nor does the slow pace necessarily serve the screenplay well.
This film is like a beautiful piece of scenery captured by a camera that is just slightly out of focus, yet still pleasant to watch.
~~~
George Lonegan (Damon) is a retired psychic with a gift that won't stop giving. His brother Billy (Jay Mohr) is an enterprising businessman who convinces him to do just one reading for a Greek client going through a rough time. As a result of this spot-on reading, word gets out of George's abilities and Billy pressures him to return to his craft.
A few months prior, Marie (De France) survived what we must assume was the Sri Lankan tsunami, and has a tough time re-adjusting to life after her out-of-body experience during the tragedy.
As this is happening, Marcus (Frankie McLaren), a young British boy with a drunken mother, loses his twin in an auto accident.
Both Marie and Marcus go searching for answers following their respective events as George retreats into a solitary life of factory work.
Damon plays George so cold and guarded, he would be difficult to like if he weren't so appealing. That said, when faced with a burden of former fame, it's easy to sympathize with someone who doesn't want to confront death on a daily basis.
All of the stories are fleshed out well except the cameo by Bryce Dallas Howard, which still leaves me scratching my head. The overall topic of the film is engaging whether or not you're a believer in the afterlife, and the opening scene where the tsunami hits rivals any great action scene in recent memory.
But where director Clint Eastwood somehow misses the mark is in the quiet contemplation of each main character. Those suspended moments of thought and revelation don't need to be as long as he makes them, nor does the slow pace necessarily serve the screenplay well.
This film is like a beautiful piece of scenery captured by a camera that is just slightly out of focus, yet still pleasant to watch.
~~~
Friday, December 18, 2009
Invictus
Tonight I saw Invictus, starring Morgan Freeman and Matt Damon.
At the start of the film, Nelson Mandela (Freeman) is just being released from prison and assuming his role as the South African President.
He knows that as he forgives a nation that imprisoned him, he also needs to earn the respect and support of the very people he's forgiving and unify South Africa. Instead of going the traditional route of politics (or not even trying at all), he cleverly goes about it through sport: the traditionally white sport of rugby.
Enter Francois Pienaar (Damon), the Afrikaner rugby captain of the not-so-successful Sprinbok team. He seems like a nice enough guy, but obviously comes from privilege and perhaps is not yet enlightened to Mandela's ability to lead.
Mandela invites him for tea and an instant mutual respect is born—with desirable results for both parties.
The President infuses the captain with the will and inspiration to create a winning team; in doing so the captain begins to build something that all South Africans can agree on. And the rest is somewhat predictable (especially if you know your South African history).
So is the movie good? Sure. Morgan Freeman (who truly resembles Mandela) is always a pleasure to watch and Matt Damon impresses me more and more with every role. In this one, he seems comfortable in the pretty-boy skin, yet still stretches with an African accent.
There are moments of pause that probably wouldn't be there if Clint Eastwood hadn't directed it, but there are also sentimental seconds that last just long enough to bring a tear. Really, a fine balance.
I wish I understood rugby more because the game scenes are aplenty, but I still enjoyed the story nonetheless.
It's just one tiny piece of Mandela's incredible rise to power, and it made me want to see more.
At the start of the film, Nelson Mandela (Freeman) is just being released from prison and assuming his role as the South African President.
He knows that as he forgives a nation that imprisoned him, he also needs to earn the respect and support of the very people he's forgiving and unify South Africa. Instead of going the traditional route of politics (or not even trying at all), he cleverly goes about it through sport: the traditionally white sport of rugby.
Enter Francois Pienaar (Damon), the Afrikaner rugby captain of the not-so-successful Sprinbok team. He seems like a nice enough guy, but obviously comes from privilege and perhaps is not yet enlightened to Mandela's ability to lead.
Mandela invites him for tea and an instant mutual respect is born—with desirable results for both parties.
The President infuses the captain with the will and inspiration to create a winning team; in doing so the captain begins to build something that all South Africans can agree on. And the rest is somewhat predictable (especially if you know your South African history).
So is the movie good? Sure. Morgan Freeman (who truly resembles Mandela) is always a pleasure to watch and Matt Damon impresses me more and more with every role. In this one, he seems comfortable in the pretty-boy skin, yet still stretches with an African accent.
There are moments of pause that probably wouldn't be there if Clint Eastwood hadn't directed it, but there are also sentimental seconds that last just long enough to bring a tear. Really, a fine balance.
I wish I understood rugby more because the game scenes are aplenty, but I still enjoyed the story nonetheless.
It's just one tiny piece of Mandela's incredible rise to power, and it made me want to see more.
Saturday, September 26, 2009
The Informant!
On Monday I saw The Informant!, starring Matt Damon and Scott Bakula.
It was the topic of Cinebanter #78, which is available here.
Saturday, August 11, 2007
The Bourne Ultimatum
This morning I saw The Bourne Ultimatum, starring Matt Damon and Julia Stiles.
This was definitely the best film of the trilogy. The first one lacked sentiment, the second one was simply a 'setup' device for the third, but this one had everything: action, suspense, drama, comedy and heart.
The heart is what really sets it apart from its predecessors.
In a very brief, yet pivotal scene, Nicky (Stiles) conveys more love for Bourne (Damon) than Marie (Franke Potente) did in either of the two movies. A twist I (and hopefully the rest of the audience) didn't see coming.
And while their 'love' story is never defined, her loyalty to him essentially saves him and vice versa.
Another standout in the film is David Strathairn as Noah Vosen, a bitter government big shot hell bent on burying Bourne and anyone who stands in his way from doing so. He's pitch perfect in this role because he's evil without being menacing and makes it easy for you to side with the assassin.
This film is also less dizzying than part two and the story moves at a more comfortable pace (read: I didn't feel like throwing up because of the camera work in this one).
My only gripe would be that it had a wink of an ending that almost begs for The Bourne Resurrection.
Let's hope they just let sleeping assassins lie.
This was definitely the best film of the trilogy. The first one lacked sentiment, the second one was simply a 'setup' device for the third, but this one had everything: action, suspense, drama, comedy and heart.
The heart is what really sets it apart from its predecessors.
In a very brief, yet pivotal scene, Nicky (Stiles) conveys more love for Bourne (Damon) than Marie (Franke Potente) did in either of the two movies. A twist I (and hopefully the rest of the audience) didn't see coming.
And while their 'love' story is never defined, her loyalty to him essentially saves him and vice versa.
Another standout in the film is David Strathairn as Noah Vosen, a bitter government big shot hell bent on burying Bourne and anyone who stands in his way from doing so. He's pitch perfect in this role because he's evil without being menacing and makes it easy for you to side with the assassin.
This film is also less dizzying than part two and the story moves at a more comfortable pace (read: I didn't feel like throwing up because of the camera work in this one).
My only gripe would be that it had a wink of an ending that almost begs for The Bourne Resurrection.
Let's hope they just let sleeping assassins lie.
Thursday, October 12, 2006
The Departed
Yesterday I saw The Departed starring Leonardo DiCaprio and Matt Damon.
It is the topic of Cinebanter 10, which is available here.
It is the topic of Cinebanter 10, which is available here.
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