"¿Quién engañó a Roger Rabbit??" (1987): A MOVIE REVIEW
by Dane Youssef
Well... what is there?
Gee... What can I say?
What can be said that hasn't been said a zillion times about this movie before? By film critics, film buffs, the other user posters on IMDb and every other person who saw this one?
But you know what? I'm not here to really promote this movie, or analyze it... I'm here to write my love letter for it. We're all here to share our movie-going experiences, aren't we? Well, fuck it, here's mine.
I still remember being a little prepubescent boy sitting in the theater watching this movie, totally amazed and astounded by what I saw. Seeing this wacky cartoons going through a routine Tom-and-Jerry-type episode... and then... it was amazing how these movie actually tricked you, convinced you to believe that human and cartoons can exist in the same universe and dimension of reality.
There are many a great pleasures and moments in this movie, one of them is the duet at a "toon" night club called "The Ink & Paint Club" where Eddie goes to get information about Roger's wife, and the opening act is a dueling duet on the piano featuring two great legends, Daffy Duck and Donald Duck (I doubt there's any biological relation there) together at last. Why did it take so long for these two to get together? Well, they are rival entertainers for rival studios, so...
But of course, the dueling duet ends in an all-out war. Come on, we both know the hatchet wasn't going to stay buried very long.
The whole movie is worth renting just to see the two great legends, Daffy and Donald, put their differences aside for one memorable dueling piano duet ALONE.
"Roger Rabbit" pioneered not only animation and film-making style, but acting, writing, directing and a meshing together of different genres.
Imagination, luck, brilliance, skill... it's all been blended so perfectly here... just like the animation and live-action.
Funny, sharp, satirical, smart, thrilling, skillful, bright, bold, hard-boiled, colorful... at even at times, a little scary.
It one three Oscars, not to mention an Honorary Award for it's Technical Advancements.
Hell, it deserved every single Oscar it got! And a few it didn't. It should've won every single Oscar that year. Maybe some from others...
God, you know, I still remember finding my little Rescue Ranger toy in my pocket and running in back-and-forth through my fingers... I remember being very careful not to loose it as I watched this. And it was hard, damn it, all of what was going up there on the screen.
There's the best of the everything here. Everyone should see it, pure and simple. It's a movie... for pretty much everybody. A masterpiece in more ways than one.
So help me God, I cannot think of a better actor for the role of the classic, hard-boiled, rock-bottom, not-too-smooth P.I. than Bob Hoskins. I don't think he's ever played a better role in his whole life. He seems to be a strange collision of Sam Spade and W.C. Fields, in some strange way.
Christopher Lloyd proves yet again (as he does in all his roles) that he's one of the most underrated actors in the business. He's known for playing the bizarre, the crazy, the wired. But his ability to play villains, particularly more sedate and low-key ones, is overlooked so much, it's grounds for a discrimination lawsuit.
Kathleen Turner is damn perfect as Roger's Mrs; especially considering that all she does here is a voice.
"Roger Rabbit" pioneered not only animation and film-making style, but acting, writing, directing and a meshing together of different genres. Literature purists and scholars (yes, I mean geeks) will note that this movie is adapted from a novel by Gary K. Wolf, who specializes in science-fiction.
For those of you who are enamored with this movie and just learning this, are actively considering dropping this review right this instant and running to your nearest library and bookstore to pick up a copy to read as an addition to the movie or just out of curiosity, I should warn you that the movie is completely unfaithful to the novel.
Oh, both are clever and well-written spoofs of the whole "hard-boiled private-detective mystery noir genre," but the two are so completely different, in writing-style, character dialouge, plot, theme, even ending, you wonder why they even bothered to get Wolf's permission and pay him a royalty. Gee, usually these Hollywood types are a little more snaky and know how to exploit all these loopholes.
You've no doubt heard the old saying, "You can't please everyone, so don't even bother." Because when you try, you wind up ultimately pleasing no one. Least of all, yourself. It's strange, this movie seems like an exception to that one little rule. I mean, I know there's an exception to every rule, but this is one you're sure is completely iron-clad. This is a movie for everyone. This is a movie that will please everyone. And you know what else? It never got the credit for that. Think about what a big train-wreck this movie could have been. How many things could have gone wrong.
How many years Disney and Warner have been at war, all this time, money for a experiment that could have gone worse than than the killer bees and the atomic bomb. And yet, glory be, it didn't. We all live for days like this, filmmakers, film critics... and film lovers.
The best part? After it was all over... Roger and Baby Herman went on to star in several of their own cartoon shorts before the movie for real ("Dick Tracy" and "Honey, I Shrunk The Kids").
Good for them.
--Wondering Whatever Happened to Roger and Baby Herman, Dane Youssef
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Thursday, December 30, 2010
Tuesday, December 28, 2010
MAX HANDELMAN: SPORTS COLUMIST, BLOGGER... AND NOW BIG-SHOT HOLLYWOOD BLOCKBUSTER PRODUCER by Dane Youssef
MAX HANDELMAN: SPORTS COLUMIST, BLOGGER... AND NOW BIG-SHOT HOLLYWOOD BLOCKBUSTER PRODUCER
by Dane Youssef
Many--if not ALL will ask, "This Handelman guy... who the hell is he? What's the big deal him being up here? Who is he?" Right about now, his biggest credit is "the husband of Elizabeth Banks." He's done shit himself. He has his own accomplishments, this movie being one of them.
Now with "Surrogates," this little bastard... he's a filmmaker.
He's also near single-handedly responsible for bringing the art and practice of fantasy-football to the FOX network. He's not just a guy who plays make-believe when it comes to sports.
He even crapped out a book on his infatuation with "what-if" sports: "Why Fantasy Football Matters: (And Our Lives Do Not)." I think it's safe to say they'll be others.
Some of the most intriguing films have been based on comic books. Not the superhero genre, but ones spun-off on the type of graphic novels like the likes of "American Splendor," "Sin City" and "The Watchman."
The movie tanked 'cause "Avatar" was released around the same time. And what made "Avatar" such a special film? A must-see?
The 3-D. And now nearly every other picture is coming out with the whole 3-D gimmick. Yes, the only thing in "Avatar" we hadn't seen before was that damn 3-D. 3-D was never like that. If only "Surrogates" had the 3-D.... Ah, well.
Huh. Now Mr. Max "Fantasy-Land Football" is a filmmaker. Hope he makes another one.
Here, I'm saying this not a fantasy. I'm saying this in the here and real--I hope he does big, great things. I want him to.
--Go Max Go, Dane Youssef
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by Dane Youssef
Many--if not ALL will ask, "This Handelman guy... who the hell is he? What's the big deal him being up here? Who is he?" Right about now, his biggest credit is "the husband of Elizabeth Banks." He's done shit himself. He has his own accomplishments, this movie being one of them.
Now with "Surrogates," this little bastard... he's a filmmaker.
He's also near single-handedly responsible for bringing the art and practice of fantasy-football to the FOX network. He's not just a guy who plays make-believe when it comes to sports.
He even crapped out a book on his infatuation with "what-if" sports: "Why Fantasy Football Matters: (And Our Lives Do Not)." I think it's safe to say they'll be others.
Some of the most intriguing films have been based on comic books. Not the superhero genre, but ones spun-off on the type of graphic novels like the likes of "American Splendor," "Sin City" and "The Watchman."
The movie tanked 'cause "Avatar" was released around the same time. And what made "Avatar" such a special film? A must-see?
The 3-D. And now nearly every other picture is coming out with the whole 3-D gimmick. Yes, the only thing in "Avatar" we hadn't seen before was that damn 3-D. 3-D was never like that. If only "Surrogates" had the 3-D.... Ah, well.
Huh. Now Mr. Max "Fantasy-Land Football" is a filmmaker. Hope he makes another one.
Here, I'm saying this not a fantasy. I'm saying this in the here and real--I hope he does big, great things. I want him to.
--Go Max Go, Dane Youssef
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Sunday, December 26, 2010
ETHAN STIEFEL AS COOPER NIELSEN IN "CENTER STAGE" (2000) AND "CENTER STAGE: TURN IT UP" (2008) by Dane Youssef
ETHAN STIEFEL AS COOPER NIELSEN IN "CENTER STAGE" (2000) AND "CENTER STAGE: TURN IT UP" (2008)
by Dane Youssef
Cooper Nielsen is renown as one of the greatest dancers on earth right now. Without question.
Where the traditional male dancer's body is slightly more muscular, Nielsen has more of a lithe build, allowing him to move the way a prima ballerina absolutta would at the peak of her illustrious career. The man doesn't merely leap, he flies. He puts even some of the best ballerinas to shame.
Something of a "bad boy rebel," he rides a motorcycle, wears aviator shades and has a flip, indifferent way of dealing with authority and those who clash with him. And yes, Nielsen is perhaps the greatest out there right now. But he's not merely content to be the best "ballerino" out there, he's also trying his hand at big professional choreography. But ABA's artistic director isn't content to give into all of Cooper's demands. Reeves seems threatened having someone who's name seems to shine brighter than his.
The American Ballet Company doesn't seem to be entirely his when Nielsen is that arrogant, obnoxious, womanizing Alpha-male jock you see in every other sports movie. Nielsen may currently be the best there is, but Jonathan was the one who could assure her job security.
But more likely, there is a moment near the end of the movie where someone tells Nielsen, "You're an amazing dancer and you're a great choreographer. But as a boyfriend, you kind of suck." So maybe Kathy had the right idea all along.
Since the great Nielsen's departure from ABC, the feelings and relationship of Reeves and Donahue continue to ferment. Eventually (and thankfully), Cooper returned to the US of A and to the ABC. He wasn't about this one embarrassing relationship mishap make him go into hiding forever. And he still is the brightest star ever to come out of the ABC, even more so than current artistic director and current significant other of Kathleen Donahue, Jonathan Reeves. To celebrate his grand return to the company, he re-unites with his former lover (as a dance partner only) and the two perform a rendition of Sir Kenneth MacMillan 's "Romeo & Juliet." The piece is greeted with the expected raves and teary-eyes. The two seem to be re-united as more than just dance partners. Yet when Cooper plants a passionate kiss on her elegant swan-like neck at the reception, she takes him aside and tells him in no uncertain terms that it's over and it's been over. They're dance partners, she tells him. Nothing more. But Cooper's abilities as a dance don't just overshadow Kathleen. He seems to take limelight away from her husband as well.
Which may very well explain why Reeves resent Cooper so much--that and the fact that Cooper used to bone his wife. Kathleen cheated on Cooper with Jonathan and now there are clues hinting that she's now making time with Cooper behind Jonathan's back.
Perhaps.
She gives Cooper a look when ABC's least promising (yet most determined) pupil gives him a box of cookies after their one-night stand ("so you'll have some for next time"). And at a performance, she seems to have some kind of issue with dear Jody comes to see their duet. Kathleen hints at her being a stalker. "You are in big trouble," she tells him. Though he goes home with another woman.
He has a geekiness about him, though a boyish charm. He doesn't seem like the playboy type. But his success in the field of professional ballet allows him to play Don Juan. Though it's implied he still loves Kathleen and in one scene, he may be trying to get her back. Or he may be just trying to get back at her.
The man is considered the greatest ever to pull on tights, slippers and stand at the barre without being a Russian. Everyone who sees him dance knows he's the greatest. Even Kathleen, Jodie and Eva have to concede that.
Professional ballet has never seen anything as breathtaking as Cooper's ballet. But even the piece itself would only be half of what it is with our Cooper himself dancing the male lead. After it's over, the applause is loud enough to bring the entire roof down.
His dancing is not in the way of Baryshnikov or Nureyev, a powerful beast with grace. His dancing is more light and delicate. He's soars with more grace and ease than his ballerina partners.
While those who know him best are quick to point out he has his faults (only some of which are listed above), he just seems to always know and have whatever dance is all about...
--For Every Boy Who Ever Got Into Ballet (tights, slippers and all), Dane Youssef
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by Dane Youssef
Cooper Nielsen is renown as one of the greatest dancers on earth right now. Without question.
Where the traditional male dancer's body is slightly more muscular, Nielsen has more of a lithe build, allowing him to move the way a prima ballerina absolutta would at the peak of her illustrious career. The man doesn't merely leap, he flies. He puts even some of the best ballerinas to shame.
Something of a "bad boy rebel," he rides a motorcycle, wears aviator shades and has a flip, indifferent way of dealing with authority and those who clash with him. And yes, Nielsen is perhaps the greatest out there right now. But he's not merely content to be the best "ballerino" out there, he's also trying his hand at big professional choreography. But ABA's artistic director isn't content to give into all of Cooper's demands. Reeves seems threatened having someone who's name seems to shine brighter than his.
The American Ballet Company doesn't seem to be entirely his when Nielsen is that arrogant, obnoxious, womanizing Alpha-male jock you see in every other sports movie. Nielsen may currently be the best there is, but Jonathan was the one who could assure her job security.
But more likely, there is a moment near the end of the movie where someone tells Nielsen, "You're an amazing dancer and you're a great choreographer. But as a boyfriend, you kind of suck." So maybe Kathy had the right idea all along.
Since the great Nielsen's departure from ABC, the feelings and relationship of Reeves and Donahue continue to ferment. Eventually (and thankfully), Cooper returned to the US of A and to the ABC. He wasn't about this one embarrassing relationship mishap make him go into hiding forever. And he still is the brightest star ever to come out of the ABC, even more so than current artistic director and current significant other of Kathleen Donahue, Jonathan Reeves. To celebrate his grand return to the company, he re-unites with his former lover (as a dance partner only) and the two perform a rendition of Sir Kenneth MacMillan 's "Romeo & Juliet." The piece is greeted with the expected raves and teary-eyes. The two seem to be re-united as more than just dance partners. Yet when Cooper plants a passionate kiss on her elegant swan-like neck at the reception, she takes him aside and tells him in no uncertain terms that it's over and it's been over. They're dance partners, she tells him. Nothing more. But Cooper's abilities as a dance don't just overshadow Kathleen. He seems to take limelight away from her husband as well.
Which may very well explain why Reeves resent Cooper so much--that and the fact that Cooper used to bone his wife. Kathleen cheated on Cooper with Jonathan and now there are clues hinting that she's now making time with Cooper behind Jonathan's back.
Perhaps.
She gives Cooper a look when ABC's least promising (yet most determined) pupil gives him a box of cookies after their one-night stand ("so you'll have some for next time"). And at a performance, she seems to have some kind of issue with dear Jody comes to see their duet. Kathleen hints at her being a stalker. "You are in big trouble," she tells him. Though he goes home with another woman.
He has a geekiness about him, though a boyish charm. He doesn't seem like the playboy type. But his success in the field of professional ballet allows him to play Don Juan. Though it's implied he still loves Kathleen and in one scene, he may be trying to get her back. Or he may be just trying to get back at her.
The man is considered the greatest ever to pull on tights, slippers and stand at the barre without being a Russian. Everyone who sees him dance knows he's the greatest. Even Kathleen, Jodie and Eva have to concede that.
Professional ballet has never seen anything as breathtaking as Cooper's ballet. But even the piece itself would only be half of what it is with our Cooper himself dancing the male lead. After it's over, the applause is loud enough to bring the entire roof down.
His dancing is not in the way of Baryshnikov or Nureyev, a powerful beast with grace. His dancing is more light and delicate. He's soars with more grace and ease than his ballerina partners.
While those who know him best are quick to point out he has his faults (only some of which are listed above), he just seems to always know and have whatever dance is all about...
--For Every Boy Who Ever Got Into Ballet (tights, slippers and all), Dane Youssef
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"Unter Haien in Hollywood" (1994): A MOVIE REVIEW by Dane Youssef
"Unter Haien in Hollywood" (1994): A MOVIE REVIEW
by Dane Youssef
Now here is a movie for those looking for an attack on white-collar corporate office life, the spinning gears of Hollywood. And not overblown with big-budget special effects, scatological humor and saccarine-coated deluded big-screen implausibilities. For those looking for something really strongly written by a veteran of it's field and performed by pure-blooded thespains in the low-budget indie vein.
"Unter Haien in Hollywood" seems to owe more than a little something to "Dilbert." The movie is more about Corporate America than Hollywood. There are a lot of white-collar touches that apply to offices, cublicles and other such rather than the Hollywood spin machine. Like Robert Altman's "The Player," this is one of those thrillers about people in "the biz" who are driven to the breaking point by how cruel L.A. can really be.
The film's writer/director George Huang himself was a former personal assistant to some of the biggest names in Hollywood, has described the movie as "20% autobiographical." Much of this one is said to be based on his experience working for noted mega-mogul producer Joel Silver for Columbia Pictures. So it should come as no surprise what-so-fucking-ever that his first crack at film was his own life story.
Surprise, surprise, huh? Well, more or less.
A critical darling, unseen by most of the world and known mostly for the blistering, superb performance of two-time Oscar-winner Kevin Spacey.
But despite Kevin Spacey being the big name in this movie and him getting first-billing because of it, Frank Whaley ("The Doors" and "Career Opportunities") is the star of this one. Most of anything with him headling is a sign of a bad movie ("Cold Dog Soup" and "The Jimmy Show"), but this is one of those where he shines because he's allowed to. He's not the most versative actor, the best-looking or the most charismatic. He's had a rep as being something of the life-long "bit player." But when he's given a movie, script and part which allows him any headway, he damn well manages to make the most of it.
Spacey, being one of Hollywood's finest and renown, is able to pull off the screaming antagonistic drill-instructor and the restrained, tortured hostage here pitch perfectly. Whaley effectively plays the green and naive wide-eyed rookie to the Hollywood spin machine with his usual perfection, but when the other shoe drops, he doesn't quite pull off the scorned, disgruntled employee seeking revenge.
Whaley's Jeckyll isn't as convincing as his Hyde. He doesn't scare us. He never seems truly unhinged. Maybe that's why Whaley sticks to the youthful deer-in-the-headlights. He's just believable. When it comes to acting, you judge a book by it's cover. Whaley doesn't really seem as demented and unhinged as he should in his captor scenes. He's best as a whipping boy--whcih is why he plays so many.
1994 was the official year for Spacey. He got his breakout with the TV series "Wiseguys," and made the big screen transition with worthwhile fare like his Oscar-winning supporting role in "The Usual Suspects," "The Ref," "Se7en" and this. Spacey monopolized himself in the '94 as "absolute talent" (my term).
Geez, after seeing what a softball he was in "Glengarry Glen Ross" and "The Usual Suspects" who would've guessed the same actor could pull off such a corporate monster?
Well, I guess we all would have. Every time, you see him act, he has that way of letting you know he make you believe in every single role.
Benecio Del Toro, the "Brad Pitt of Mexico" (someone else's quote, believe me, I never dubbed him such) has a quickie cameo as Spacey's assistant who's given his three weeks notice and is on the way out, making way for Guy. But not before giving Whaley some final parting words of wisdom. "Protect his interests, serve his needs. What you think means nothing. What you feel means nothing. You have no brain. He yells all the time. It's a lose-lose situation." This job is a fast-track shortcut to the top and if Guy does right and keeps his mouth open wide enough to catch all of Buddy's sadomasochistic crapola, he may very well be someday on the same mantel as Buddy and his former assistants. Everything Guy'll ever need to know about his job, he learns on day one.
Enter Dawn Locklard (Michelle Forbes of "Guiding Light" and "24"), another powerful Hollywood producer who Guy doesn't have the best first meeting with. She doesn't show a lot of warmth, which explains why she's a producer.
She herself is angry and cycnical, and throughout the course of the film, we will see why. She eventually warms up to Guy and asks him out. Guy is stunned. But she needs Buddy on her side and is interested in him getting behind her new project. Guy sees this as an opporunity. Her new project for the studio, "Real Life"may just be Guy's window of opportunity. She seems to be interested in Guy because he's the most real thing she's seen in the Valley for the longest time. But does she really feel something for him or is she just using him? Is Buddy two-faced and back-stabbing or is Dawn? Guy no longer knows what's real and what's what?
At first, we don't realize Buddy just likes to yell and scream and humiliate no matter what. Well, unless you've seen the trailers. e just likes to rant. You will never again confuse a packet of Sweet 'N' Low with Equal again. You'll never look at sugar packets the same way. This is perhaps the funniest moment in the movie. Although when Guy starts to show some spine after a lot of Buddy's tantrums, the payoff is almost evenly matched with the artifical sugar scene. Buddy gets to emotionally, verbally (and at times, physically) abuses Guy (and apparently all his assistant's) on every possible ocassion. He also gets to skewer just about everyone who crosses his path.
Kevin Spacey's rans are hilarious. We dont know whether to laugh at Spacey or feel bad for Whaley. Often, we don't know if the horrific hostage-stiuation quite works as well as the corporate office scenes.
And Kevin Spacey brings his trademark dry cynicsm and sardonic behavior to what could have been a limited one-dimensional bullying manager. But Spacey plays the character for all it's worth and then some and turns him into a memorable antagonist who is one of the sole reasons this movie has a reputation and cult following.
"Unter Haien in Hollywood" isn't just a featherweight comedy for a slow Saturday night about a bullying boss like the trailer may lead you to believe. It's a non-cronological film which deals with white-collar office comedy and torturous drama. Shifting from a lightweight comedy to a torturous thriller. It's sort of schizophrenic thing. We're laughing heartily one minute and horrified the next. A lot of time, this one keeps us guessing as it criss-crosses from Buddy torturing Guy to vice-versa.
The whole fiim is so reliant on it's writing and acting, it was adapted into a play premiering at London's Vaudeville Theatre in 2007, featuring Christian Slater, Matt Smith and Helen Baxendale. Ys, plays can be adapted into movies and vice-versa. The movie works like the theatre or an actor's workshop, relying mostly on performance and dialouge. Spacey seems to prefer doing this type of work, judging by his resume. It's fun for actor's and it forces them to rely on their own raw talent, letting you know exactly where they stand.
But there's a lot to this movie (maybe too much) about this movie that rings true to life. A lot of moments filled with the harsh insights and disillusioned truths that one learns from living an uncharmed life. And so theres illuminating light and lessons, as well as laughs. Not to mention some great acting from the heavier moments where ugly secrets about Buddy and... well, surprisingly Dawn are revealed.
The plot is over-developed and the ending is more poetic than anything else.
But most of the movie really does does work and really does sticks with you... like all the great ones do.
--Boo-Boo For Corporate Hollywood, Dane Youssef
danessf@yahoo.com
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=58175682
http://www.amazon.com/gp/cdp/member-reviews/ASKUZHOKQ1W3E/ref=cm_pdp_rev_title_1?ie=UTF8&sort_by=MostRecentReview#R2MFYILVVRXX73
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by Dane Youssef
Now here is a movie for those looking for an attack on white-collar corporate office life, the spinning gears of Hollywood. And not overblown with big-budget special effects, scatological humor and saccarine-coated deluded big-screen implausibilities. For those looking for something really strongly written by a veteran of it's field and performed by pure-blooded thespains in the low-budget indie vein.
"Unter Haien in Hollywood" seems to owe more than a little something to "Dilbert." The movie is more about Corporate America than Hollywood. There are a lot of white-collar touches that apply to offices, cublicles and other such rather than the Hollywood spin machine. Like Robert Altman's "The Player," this is one of those thrillers about people in "the biz" who are driven to the breaking point by how cruel L.A. can really be.
The film's writer/director George Huang himself was a former personal assistant to some of the biggest names in Hollywood, has described the movie as "20% autobiographical." Much of this one is said to be based on his experience working for noted mega-mogul producer Joel Silver for Columbia Pictures. So it should come as no surprise what-so-fucking-ever that his first crack at film was his own life story.
Surprise, surprise, huh? Well, more or less.
A critical darling, unseen by most of the world and known mostly for the blistering, superb performance of two-time Oscar-winner Kevin Spacey.
But despite Kevin Spacey being the big name in this movie and him getting first-billing because of it, Frank Whaley ("The Doors" and "Career Opportunities") is the star of this one. Most of anything with him headling is a sign of a bad movie ("Cold Dog Soup" and "The Jimmy Show"), but this is one of those where he shines because he's allowed to. He's not the most versative actor, the best-looking or the most charismatic. He's had a rep as being something of the life-long "bit player." But when he's given a movie, script and part which allows him any headway, he damn well manages to make the most of it.
Spacey, being one of Hollywood's finest and renown, is able to pull off the screaming antagonistic drill-instructor and the restrained, tortured hostage here pitch perfectly. Whaley effectively plays the green and naive wide-eyed rookie to the Hollywood spin machine with his usual perfection, but when the other shoe drops, he doesn't quite pull off the scorned, disgruntled employee seeking revenge.
Whaley's Jeckyll isn't as convincing as his Hyde. He doesn't scare us. He never seems truly unhinged. Maybe that's why Whaley sticks to the youthful deer-in-the-headlights. He's just believable. When it comes to acting, you judge a book by it's cover. Whaley doesn't really seem as demented and unhinged as he should in his captor scenes. He's best as a whipping boy--whcih is why he plays so many.
1994 was the official year for Spacey. He got his breakout with the TV series "Wiseguys," and made the big screen transition with worthwhile fare like his Oscar-winning supporting role in "The Usual Suspects," "The Ref," "Se7en" and this. Spacey monopolized himself in the '94 as "absolute talent" (my term).
Geez, after seeing what a softball he was in "Glengarry Glen Ross" and "The Usual Suspects" who would've guessed the same actor could pull off such a corporate monster?
Well, I guess we all would have. Every time, you see him act, he has that way of letting you know he make you believe in every single role.
Benecio Del Toro, the "Brad Pitt of Mexico" (someone else's quote, believe me, I never dubbed him such) has a quickie cameo as Spacey's assistant who's given his three weeks notice and is on the way out, making way for Guy. But not before giving Whaley some final parting words of wisdom. "Protect his interests, serve his needs. What you think means nothing. What you feel means nothing. You have no brain. He yells all the time. It's a lose-lose situation." This job is a fast-track shortcut to the top and if Guy does right and keeps his mouth open wide enough to catch all of Buddy's sadomasochistic crapola, he may very well be someday on the same mantel as Buddy and his former assistants. Everything Guy'll ever need to know about his job, he learns on day one.
Enter Dawn Locklard (Michelle Forbes of "Guiding Light" and "24"), another powerful Hollywood producer who Guy doesn't have the best first meeting with. She doesn't show a lot of warmth, which explains why she's a producer.
She herself is angry and cycnical, and throughout the course of the film, we will see why. She eventually warms up to Guy and asks him out. Guy is stunned. But she needs Buddy on her side and is interested in him getting behind her new project. Guy sees this as an opporunity. Her new project for the studio, "Real Life"may just be Guy's window of opportunity. She seems to be interested in Guy because he's the most real thing she's seen in the Valley for the longest time. But does she really feel something for him or is she just using him? Is Buddy two-faced and back-stabbing or is Dawn? Guy no longer knows what's real and what's what?
At first, we don't realize Buddy just likes to yell and scream and humiliate no matter what. Well, unless you've seen the trailers. e just likes to rant. You will never again confuse a packet of Sweet 'N' Low with Equal again. You'll never look at sugar packets the same way. This is perhaps the funniest moment in the movie. Although when Guy starts to show some spine after a lot of Buddy's tantrums, the payoff is almost evenly matched with the artifical sugar scene. Buddy gets to emotionally, verbally (and at times, physically) abuses Guy (and apparently all his assistant's) on every possible ocassion. He also gets to skewer just about everyone who crosses his path.
Kevin Spacey's rans are hilarious. We dont know whether to laugh at Spacey or feel bad for Whaley. Often, we don't know if the horrific hostage-stiuation quite works as well as the corporate office scenes.
And Kevin Spacey brings his trademark dry cynicsm and sardonic behavior to what could have been a limited one-dimensional bullying manager. But Spacey plays the character for all it's worth and then some and turns him into a memorable antagonist who is one of the sole reasons this movie has a reputation and cult following.
"Unter Haien in Hollywood" isn't just a featherweight comedy for a slow Saturday night about a bullying boss like the trailer may lead you to believe. It's a non-cronological film which deals with white-collar office comedy and torturous drama. Shifting from a lightweight comedy to a torturous thriller. It's sort of schizophrenic thing. We're laughing heartily one minute and horrified the next. A lot of time, this one keeps us guessing as it criss-crosses from Buddy torturing Guy to vice-versa.
The whole fiim is so reliant on it's writing and acting, it was adapted into a play premiering at London's Vaudeville Theatre in 2007, featuring Christian Slater, Matt Smith and Helen Baxendale. Ys, plays can be adapted into movies and vice-versa. The movie works like the theatre or an actor's workshop, relying mostly on performance and dialouge. Spacey seems to prefer doing this type of work, judging by his resume. It's fun for actor's and it forces them to rely on their own raw talent, letting you know exactly where they stand.
But there's a lot to this movie (maybe too much) about this movie that rings true to life. A lot of moments filled with the harsh insights and disillusioned truths that one learns from living an uncharmed life. And so theres illuminating light and lessons, as well as laughs. Not to mention some great acting from the heavier moments where ugly secrets about Buddy and... well, surprisingly Dawn are revealed.
The plot is over-developed and the ending is more poetic than anything else.
But most of the movie really does does work and really does sticks with you... like all the great ones do.
--Boo-Boo For Corporate Hollywood, Dane Youssef
danessf@yahoo.com
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=58175682
http://www.amazon.com/gp/cdp/member-reviews/ASKUZHOKQ1W3E/ref=cm_pdp_rev_title_1?ie=UTF8&sort_by=MostRecentReview#R2MFYILVVRXX73
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"Plivajuci sa ajkulama" (1994): A MOVIE REVIEW by Dane Youssef
"Plivajuci sa ajkulama" (1994): A MOVIE REVIEW
by Dane Youssef
Now here is a movie for those looking for an attack on white-collar corporate office life, the spinning gears of Hollywood. And not overblown with big-budget special effects, scatological humor and saccarine-coated deluded big-screen implausibilities. For those looking for something really strongly written by a veteran of it's field and performed by pure-blooded thespains in the low-budget indie vein.
"Plivajuci sa ajkulama" seems to owe more than a little something to "Dilbert." The movie is more about Corporate America than Hollywood. There are a lot of white-collar touches that apply to offices, cublicles and other such rather than the Hollywood spin machine. Like Robert Altman's "The Player," this is one of those thrillers about people in "the biz" who are driven to the breaking point by how cruel L.A. can really be.
The film's writer/director George Huang himself was a former personal assistant to some of the biggest names in Hollywood, has described the movie as "20% autobiographical." Much of this one is said to be based on his experience working for noted mega-mogul producer Joel Silver for Columbia Pictures. So it should come as no surprise what-so-fucking-ever that his first crack at film was his own life story.
Surprise, surprise, huh? Well, more or less.
A critical darling, unseen by most of the world and known mostly for the blistering, superb performance of two-time Oscar-winner Kevin Spacey.
But despite Kevin Spacey being the big name in this movie and him getting first-billing because of it, Frank Whaley ("The Doors" and "Career Opportunities") is the star of this one. Most of anything with him headling is a sign of a bad movie ("Cold Dog Soup" and "The Jimmy Show"), but this is one of those where he shines because he's allowed to. He's not the most versative actor, the best-looking or the most charismatic. He's had a rep as being something of the life-long "bit player." But when he's given a movie, script and part which allows him any headway, he damn well manages to make the most of it.
Spacey, being one of Hollywood's finest and renown, is able to pull off the screaming antagonistic drill-instructor and the restrained, tortured hostage here pitch perfectly. Whaley effectively plays the green and naive wide-eyed rookie to the Hollywood spin machine with his usual perfection, but when the other shoe drops, he doesn't quite pull off the scorned, disgruntled employee seeking revenge.
Whaley's Jeckyll isn't as convincing as his Hyde. He doesn't scare us. He never seems truly unhinged. Maybe that's why Whaley sticks to the youthful deer-in-the-headlights. He's just believable. When it comes to acting, you judge a book by it's cover. Whaley doesn't really seem as demented and unhinged as he should in his captor scenes. He's best as a whipping boy--whcih is why he plays so many.
1994 was the official year for Spacey. He got his breakout with the TV series "Wiseguys," and made the big screen transition with worthwhile fare like his Oscar-winning supporting role in "The Usual Suspects," "The Ref," "Se7en" and this. Spacey monopolized himself in the '94 as "absolute talent" (my term).
Geez, after seeing what a softball he was in "Glengarry Glen Ross" and "The Usual Suspects" who would've guessed the same actor could pull off such a corporate monster?
Well, I guess we all would have. Every time, you see him act, he has that way of letting you know he make you believe in every single role.
Benecio Del Toro, the "Brad Pitt of Mexico" (someone else's quote, believe me, I never dubbed him such) has a quickie cameo as Spacey's assistant who's given his three weeks notice and is on the way out, making way for Guy. But not before giving Whaley some final parting words of wisdom. "Protect his interests, serve his needs. What you think means nothing. What you feel means nothing. You have no brain. He yells all the time. It's a lose-lose situation." This job is a fast-track shortcut to the top and if Guy does right and keeps his mouth open wide enough to catch all of Buddy's sadomasochistic crapola, he may very well be someday on the same mantel as Buddy and his former assistants. Everything Guy'll ever need to know about his job, he learns on day one.
Enter Dawn Locklard (Michelle Forbes of "Guiding Light" and "24"), another powerful Hollywood producer who Guy doesn't have the best first meeting with. She doesn't show a lot of warmth, which explains why she's a producer.
She herself is angry and cycnical, and throughout the course of the film, we will see why. She eventually warms up to Guy and asks him out. Guy is stunned. But she needs Buddy on her side and is interested in him getting behind her new project. Guy sees this as an opporunity. Her new project for the studio, "Real Life"may just be Guy's window of opportunity. She seems to be interested in Guy because he's the most real thing she's seen in the Valley for the longest time. But does she really feel something for him or is she just using him? Is Buddy two-faced and back-stabbing or is Dawn? Guy no longer knows what's real and what's what?
At first, we don't realize Buddy just likes to yell and scream and humiliate no matter what. Well, unless you've seen the trailers. e just likes to rant. You will never again confuse a packet of Sweet 'N' Low with Equal again. You'll never look at sugar packets the same way. This is perhaps the funniest moment in the movie. Although when Guy starts to show some spine after a lot of Buddy's tantrums, the payoff is almost evenly matched with the artifical sugar scene. Buddy gets to emotionally, verbally (and at times, physically) abuses Guy (and apparently all his assistant's) on every possible ocassion. He also gets to skewer just about everyone who crosses his path.
Kevin Spacey's rans are hilarious. We dont know whether to laugh at Spacey or feel bad for Whaley. Often, we don't know if the horrific hostage-stiuation quite works as well as the corporate office scenes.
And Kevin Spacey brings his trademark dry cynicsm and sardonic behavior to what could have been a limited one-dimensional bullying manager. But Spacey plays the character for all it's worth and then some and turns him into a memorable antagonist who is one of the sole reasons this movie has a reputation and cult following.
"Plivajuci sa ajkulama" isn't just a featherweight comedy for a slow Saturday night about a bullying boss like the trailer may lead you to believe. It's a non-cronological film which deals with white-collar office comedy and torturous drama. Shifting from a lightweight comedy to a torturous thriller. It's sort of schizophrenic thing. We're laughing heartily one minute and horrified the next. A lot of time, this one keeps us guessing as it criss-crosses from Buddy torturing Guy to vice-versa.
The whole fiim is so reliant on it's writing and acting, it was adapted into a play premiering at London's Vaudeville Theatre in 2007, featuring Christian Slater, Matt Smith and Helen Baxendale. Ys, plays can be adapted into movies and vice-versa. The movie works like the theatre or an actor's workshop, relying mostly on performance and dialouge. Spacey seems to prefer doing this type of work, judging by his resume. It's fun for actor's and it forces them to rely on their own raw talent, letting you know exactly where they stand.
But there's a lot to this movie (maybe too much) about this movie that rings true to life. A lot of moments filled with the harsh insights and disillusioned truths that one learns from living an uncharmed life. And so theres illuminating light and lessons, as well as laughs. Not to mention some great acting from the heavier moments where ugly secrets about Buddy and... well, surprisingly Dawn are revealed.
The plot is over-developed and the ending is more poetic than anything else.
But most of the movie really does does work and really does sticks with you... like all the great ones do.
--Boo-Boo For Corporate Hollywood, Dane Youssef
danessf@yahoo.com
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=58175682
http://www.amazon.com/gp/cdp/member-reviews/ASKUZHOKQ1W3E/ref=cm_pdp_rev_title_1?ie=UTF8&sort_by=MostRecentReview#R2MFYILVVRXX73
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by Dane Youssef
Now here is a movie for those looking for an attack on white-collar corporate office life, the spinning gears of Hollywood. And not overblown with big-budget special effects, scatological humor and saccarine-coated deluded big-screen implausibilities. For those looking for something really strongly written by a veteran of it's field and performed by pure-blooded thespains in the low-budget indie vein.
"Plivajuci sa ajkulama" seems to owe more than a little something to "Dilbert." The movie is more about Corporate America than Hollywood. There are a lot of white-collar touches that apply to offices, cublicles and other such rather than the Hollywood spin machine. Like Robert Altman's "The Player," this is one of those thrillers about people in "the biz" who are driven to the breaking point by how cruel L.A. can really be.
The film's writer/director George Huang himself was a former personal assistant to some of the biggest names in Hollywood, has described the movie as "20% autobiographical." Much of this one is said to be based on his experience working for noted mega-mogul producer Joel Silver for Columbia Pictures. So it should come as no surprise what-so-fucking-ever that his first crack at film was his own life story.
Surprise, surprise, huh? Well, more or less.
A critical darling, unseen by most of the world and known mostly for the blistering, superb performance of two-time Oscar-winner Kevin Spacey.
But despite Kevin Spacey being the big name in this movie and him getting first-billing because of it, Frank Whaley ("The Doors" and "Career Opportunities") is the star of this one. Most of anything with him headling is a sign of a bad movie ("Cold Dog Soup" and "The Jimmy Show"), but this is one of those where he shines because he's allowed to. He's not the most versative actor, the best-looking or the most charismatic. He's had a rep as being something of the life-long "bit player." But when he's given a movie, script and part which allows him any headway, he damn well manages to make the most of it.
Spacey, being one of Hollywood's finest and renown, is able to pull off the screaming antagonistic drill-instructor and the restrained, tortured hostage here pitch perfectly. Whaley effectively plays the green and naive wide-eyed rookie to the Hollywood spin machine with his usual perfection, but when the other shoe drops, he doesn't quite pull off the scorned, disgruntled employee seeking revenge.
Whaley's Jeckyll isn't as convincing as his Hyde. He doesn't scare us. He never seems truly unhinged. Maybe that's why Whaley sticks to the youthful deer-in-the-headlights. He's just believable. When it comes to acting, you judge a book by it's cover. Whaley doesn't really seem as demented and unhinged as he should in his captor scenes. He's best as a whipping boy--whcih is why he plays so many.
1994 was the official year for Spacey. He got his breakout with the TV series "Wiseguys," and made the big screen transition with worthwhile fare like his Oscar-winning supporting role in "The Usual Suspects," "The Ref," "Se7en" and this. Spacey monopolized himself in the '94 as "absolute talent" (my term).
Geez, after seeing what a softball he was in "Glengarry Glen Ross" and "The Usual Suspects" who would've guessed the same actor could pull off such a corporate monster?
Well, I guess we all would have. Every time, you see him act, he has that way of letting you know he make you believe in every single role.
Benecio Del Toro, the "Brad Pitt of Mexico" (someone else's quote, believe me, I never dubbed him such) has a quickie cameo as Spacey's assistant who's given his three weeks notice and is on the way out, making way for Guy. But not before giving Whaley some final parting words of wisdom. "Protect his interests, serve his needs. What you think means nothing. What you feel means nothing. You have no brain. He yells all the time. It's a lose-lose situation." This job is a fast-track shortcut to the top and if Guy does right and keeps his mouth open wide enough to catch all of Buddy's sadomasochistic crapola, he may very well be someday on the same mantel as Buddy and his former assistants. Everything Guy'll ever need to know about his job, he learns on day one.
Enter Dawn Locklard (Michelle Forbes of "Guiding Light" and "24"), another powerful Hollywood producer who Guy doesn't have the best first meeting with. She doesn't show a lot of warmth, which explains why she's a producer.
She herself is angry and cycnical, and throughout the course of the film, we will see why. She eventually warms up to Guy and asks him out. Guy is stunned. But she needs Buddy on her side and is interested in him getting behind her new project. Guy sees this as an opporunity. Her new project for the studio, "Real Life"may just be Guy's window of opportunity. She seems to be interested in Guy because he's the most real thing she's seen in the Valley for the longest time. But does she really feel something for him or is she just using him? Is Buddy two-faced and back-stabbing or is Dawn? Guy no longer knows what's real and what's what?
At first, we don't realize Buddy just likes to yell and scream and humiliate no matter what. Well, unless you've seen the trailers. e just likes to rant. You will never again confuse a packet of Sweet 'N' Low with Equal again. You'll never look at sugar packets the same way. This is perhaps the funniest moment in the movie. Although when Guy starts to show some spine after a lot of Buddy's tantrums, the payoff is almost evenly matched with the artifical sugar scene. Buddy gets to emotionally, verbally (and at times, physically) abuses Guy (and apparently all his assistant's) on every possible ocassion. He also gets to skewer just about everyone who crosses his path.
Kevin Spacey's rans are hilarious. We dont know whether to laugh at Spacey or feel bad for Whaley. Often, we don't know if the horrific hostage-stiuation quite works as well as the corporate office scenes.
And Kevin Spacey brings his trademark dry cynicsm and sardonic behavior to what could have been a limited one-dimensional bullying manager. But Spacey plays the character for all it's worth and then some and turns him into a memorable antagonist who is one of the sole reasons this movie has a reputation and cult following.
"Plivajuci sa ajkulama" isn't just a featherweight comedy for a slow Saturday night about a bullying boss like the trailer may lead you to believe. It's a non-cronological film which deals with white-collar office comedy and torturous drama. Shifting from a lightweight comedy to a torturous thriller. It's sort of schizophrenic thing. We're laughing heartily one minute and horrified the next. A lot of time, this one keeps us guessing as it criss-crosses from Buddy torturing Guy to vice-versa.
The whole fiim is so reliant on it's writing and acting, it was adapted into a play premiering at London's Vaudeville Theatre in 2007, featuring Christian Slater, Matt Smith and Helen Baxendale. Ys, plays can be adapted into movies and vice-versa. The movie works like the theatre or an actor's workshop, relying mostly on performance and dialouge. Spacey seems to prefer doing this type of work, judging by his resume. It's fun for actor's and it forces them to rely on their own raw talent, letting you know exactly where they stand.
But there's a lot to this movie (maybe too much) about this movie that rings true to life. A lot of moments filled with the harsh insights and disillusioned truths that one learns from living an uncharmed life. And so theres illuminating light and lessons, as well as laughs. Not to mention some great acting from the heavier moments where ugly secrets about Buddy and... well, surprisingly Dawn are revealed.
The plot is over-developed and the ending is more poetic than anything else.
But most of the movie really does does work and really does sticks with you... like all the great ones do.
--Boo-Boo For Corporate Hollywood, Dane Youssef
danessf@yahoo.com
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=58175682
http://www.amazon.com/gp/cdp/member-reviews/ASKUZHOKQ1W3E/ref=cm_pdp_rev_title_1?ie=UTF8&sort_by=MostRecentReview#R2MFYILVVRXX73
http://en.wikipedia.org/wiki/User:DANE_YOUSSEF
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"O Preço da Ambição" (1994): A MOVIE REVIEW by Dane Youssef
"O Preço da Ambição" (1994): A MOVIE REVIEW
by Dane Youssef
Now here is a movie for those looking for an attack on white-collar corporate office life, the spinning gears of Hollywood. And not overblown with big-budget special effects, scatological humor and saccarine-coated deluded big-screen implausibilities. For those looking for something really strongly written by a veteran of it's field and performed by pure-blooded thespains in the low-budget indie vein.
"O Preço da Ambição" seems to owe more than a little something to "Dilbert." The movie is more about Corporate America than Hollywood. There are a lot of white-collar touches that apply to offices, cublicles and other such rather than the Hollywood spin machine. Like Robert Altman's "The Player," this is one of those thrillers about people in "the biz" who are driven to the breaking point by how cruel L.A. can really be.
The film's writer/director George Huang himself was a former personal assistant to some of the biggest names in Hollywood, has described the movie as "20% autobiographical." Much of this one is said to be based on his experience working for noted mega-mogul producer Joel Silver for Columbia Pictures. So it should come as no surprise what-so-fucking-ever that his first crack at film was his own life story.
Surprise, surprise, huh? Well, more or less.
A critical darling, unseen by most of the world and known mostly for the blistering, superb performance of two-time Oscar-winner Kevin Spacey.
But despite Kevin Spacey being the big name in this movie and him getting first-billing because of it, Frank Whaley ("The Doors" and "Career Opportunities") is the star of this one. Most of anything with him headling is a sign of a bad movie ("Cold Dog Soup" and "The Jimmy Show"), but this is one of those where he shines because he's allowed to. He's not the most versative actor, the best-looking or the most charismatic. He's had a rep as being something of the life-long "bit player." But when he's given a movie, script and part which allows him any headway, he damn well manages to make the most of it.
Spacey, being one of Hollywood's finest and renown, is able to pull off the screaming antagonistic drill-instructor and the restrained, tortured hostage here pitch perfectly. Whaley effectively plays the green and naive wide-eyed rookie to the Hollywood spin machine with his usual perfection, but when the other shoe drops, he doesn't quite pull off the scorned, disgruntled employee seeking revenge.
Whaley's Jeckyll isn't as convincing as his Hyde. He doesn't scare us. He never seems truly unhinged. Maybe that's why Whaley sticks to the youthful deer-in-the-headlights. He's just believable. When it comes to acting, you judge a book by it's cover. Whaley doesn't really seem as demented and unhinged as he should in his captor scenes. He's best as a whipping boy--whcih is why he plays so many.
1994 was the official year for Spacey. He got his breakout with the TV series "Wiseguys," and made the big screen transition with worthwhile fare like his Oscar-winning supporting role in "The Usual Suspects," "The Ref," "Se7en" and this. Spacey monopolized himself in the '94 as "absolute talent" (my term).
Geez, after seeing what a softball he was in "Glengarry Glen Ross" and "The Usual Suspects" who would've guessed the same actor could pull off such a corporate monster?
Well, I guess we all would have. Every time, you see him act, he has that way of letting you know he make you believe in every single role.
Benecio Del Toro, the "Brad Pitt of Mexico" (someone else's quote, believe me, I never dubbed him such) has a quickie cameo as Spacey's assistant who's given his three weeks notice and is on the way out, making way for Guy. But not before giving Whaley some final parting words of wisdom. "Protect his interests, serve his needs. What you think means nothing. What you feel means nothing. You have no brain. He yells all the time. It's a lose-lose situation." This job is a fast-track shortcut to the top and if Guy does right and keeps his mouth open wide enough to catch all of Buddy's sadomasochistic crapola, he may very well be someday on the same mantel as Buddy and his former assistants. Everything Guy'll ever need to know about his job, he learns on day one.
Enter Dawn Locklard (Michelle Forbes of "Guiding Light" and "24"), another powerful Hollywood producer who Guy doesn't have the best first meeting with. She doesn't show a lot of warmth, which explains why she's a producer.
She herself is angry and cycnical, and throughout the course of the film, we will see why. She eventually warms up to Guy and asks him out. Guy is stunned. But she needs Buddy on her side and is interested in him getting behind her new project. Guy sees this as an opporunity. Her new project for the studio, "Real Life"may just be Guy's window of opportunity. She seems to be interested in Guy because he's the most real thing she's seen in the Valley for the longest time. But does she really feel something for him or is she just using him? Is Buddy two-faced and back-stabbing or is Dawn? Guy no longer knows what's real and what's what?
At first, we don't realize Buddy just likes to yell and scream and humiliate no matter what. Well, unless you've seen the trailers. e just likes to rant. You will never again confuse a packet of Sweet 'N' Low with Equal again. You'll never look at sugar packets the same way. This is perhaps the funniest moment in the movie. Although when Guy starts to show some spine after a lot of Buddy's tantrums, the payoff is almost evenly matched with the artifical sugar scene. Buddy gets to emotionally, verbally (and at times, physically) abuses Guy (and apparently all his assistant's) on every possible ocassion. He also gets to skewer just about everyone who crosses his path.
Kevin Spacey's rans are hilarious. We dont know whether to laugh at Spacey or feel bad for Whaley. Often, we don't know if the horrific hostage-stiuation quite works as well as the corporate office scenes.
And Kevin Spacey brings his trademark dry cynicsm and sardonic behavior to what could have been a limited one-dimensional bullying manager. But Spacey plays the character for all it's worth and then some and turns him into a memorable antagonist who is one of the sole reasons this movie has a reputation and cult following.
"O Preço da Ambição" isn't just a featherweight comedy for a slow Saturday night about a bullying boss like the trailer may lead you to believe. It's a non-cronological film which deals with white-collar office comedy and torturous drama. Shifting from a lightweight comedy to a torturous thriller. It's sort of schizophrenic thing. We're laughing heartily one minute and horrified the next. A lot of time, this one keeps us guessing as it criss-crosses from Buddy torturing Guy to vice-versa.
The whole fiim is so reliant on it's writing and acting, it was adapted into a play premiering at London's Vaudeville Theatre in 2007, featuring Christian Slater, Matt Smith and Helen Baxendale. Ys, plays can be adapted into movies and vice-versa. The movie works like the theatre or an actor's workshop, relying mostly on performance and dialouge. Spacey seems to prefer doing this type of work, judging by his resume. It's fun for actor's and it forces them to rely on their own raw talent, letting you know exactly where they stand.
But there's a lot to this movie (maybe too much) about this movie that rings true to life. A lot of moments filled with the harsh insights and disillusioned truths that one learns from living an uncharmed life. And so theres illuminating light and lessons, as well as laughs. Not to mention some great acting from the heavier moments where ugly secrets about Buddy and... well, surprisingly Dawn are revealed.
The plot is over-developed and the ending is more poetic than anything else.
But most of the movie really does does work and really does sticks with you... like all the great ones do.
--Boo-Boo For Corporate Hollywood, Dane Youssef
danessf@yahoo.com
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by Dane Youssef
Now here is a movie for those looking for an attack on white-collar corporate office life, the spinning gears of Hollywood. And not overblown with big-budget special effects, scatological humor and saccarine-coated deluded big-screen implausibilities. For those looking for something really strongly written by a veteran of it's field and performed by pure-blooded thespains in the low-budget indie vein.
"O Preço da Ambição" seems to owe more than a little something to "Dilbert." The movie is more about Corporate America than Hollywood. There are a lot of white-collar touches that apply to offices, cublicles and other such rather than the Hollywood spin machine. Like Robert Altman's "The Player," this is one of those thrillers about people in "the biz" who are driven to the breaking point by how cruel L.A. can really be.
The film's writer/director George Huang himself was a former personal assistant to some of the biggest names in Hollywood, has described the movie as "20% autobiographical." Much of this one is said to be based on his experience working for noted mega-mogul producer Joel Silver for Columbia Pictures. So it should come as no surprise what-so-fucking-ever that his first crack at film was his own life story.
Surprise, surprise, huh? Well, more or less.
A critical darling, unseen by most of the world and known mostly for the blistering, superb performance of two-time Oscar-winner Kevin Spacey.
But despite Kevin Spacey being the big name in this movie and him getting first-billing because of it, Frank Whaley ("The Doors" and "Career Opportunities") is the star of this one. Most of anything with him headling is a sign of a bad movie ("Cold Dog Soup" and "The Jimmy Show"), but this is one of those where he shines because he's allowed to. He's not the most versative actor, the best-looking or the most charismatic. He's had a rep as being something of the life-long "bit player." But when he's given a movie, script and part which allows him any headway, he damn well manages to make the most of it.
Spacey, being one of Hollywood's finest and renown, is able to pull off the screaming antagonistic drill-instructor and the restrained, tortured hostage here pitch perfectly. Whaley effectively plays the green and naive wide-eyed rookie to the Hollywood spin machine with his usual perfection, but when the other shoe drops, he doesn't quite pull off the scorned, disgruntled employee seeking revenge.
Whaley's Jeckyll isn't as convincing as his Hyde. He doesn't scare us. He never seems truly unhinged. Maybe that's why Whaley sticks to the youthful deer-in-the-headlights. He's just believable. When it comes to acting, you judge a book by it's cover. Whaley doesn't really seem as demented and unhinged as he should in his captor scenes. He's best as a whipping boy--whcih is why he plays so many.
1994 was the official year for Spacey. He got his breakout with the TV series "Wiseguys," and made the big screen transition with worthwhile fare like his Oscar-winning supporting role in "The Usual Suspects," "The Ref," "Se7en" and this. Spacey monopolized himself in the '94 as "absolute talent" (my term).
Geez, after seeing what a softball he was in "Glengarry Glen Ross" and "The Usual Suspects" who would've guessed the same actor could pull off such a corporate monster?
Well, I guess we all would have. Every time, you see him act, he has that way of letting you know he make you believe in every single role.
Benecio Del Toro, the "Brad Pitt of Mexico" (someone else's quote, believe me, I never dubbed him such) has a quickie cameo as Spacey's assistant who's given his three weeks notice and is on the way out, making way for Guy. But not before giving Whaley some final parting words of wisdom. "Protect his interests, serve his needs. What you think means nothing. What you feel means nothing. You have no brain. He yells all the time. It's a lose-lose situation." This job is a fast-track shortcut to the top and if Guy does right and keeps his mouth open wide enough to catch all of Buddy's sadomasochistic crapola, he may very well be someday on the same mantel as Buddy and his former assistants. Everything Guy'll ever need to know about his job, he learns on day one.
Enter Dawn Locklard (Michelle Forbes of "Guiding Light" and "24"), another powerful Hollywood producer who Guy doesn't have the best first meeting with. She doesn't show a lot of warmth, which explains why she's a producer.
She herself is angry and cycnical, and throughout the course of the film, we will see why. She eventually warms up to Guy and asks him out. Guy is stunned. But she needs Buddy on her side and is interested in him getting behind her new project. Guy sees this as an opporunity. Her new project for the studio, "Real Life"may just be Guy's window of opportunity. She seems to be interested in Guy because he's the most real thing she's seen in the Valley for the longest time. But does she really feel something for him or is she just using him? Is Buddy two-faced and back-stabbing or is Dawn? Guy no longer knows what's real and what's what?
At first, we don't realize Buddy just likes to yell and scream and humiliate no matter what. Well, unless you've seen the trailers. e just likes to rant. You will never again confuse a packet of Sweet 'N' Low with Equal again. You'll never look at sugar packets the same way. This is perhaps the funniest moment in the movie. Although when Guy starts to show some spine after a lot of Buddy's tantrums, the payoff is almost evenly matched with the artifical sugar scene. Buddy gets to emotionally, verbally (and at times, physically) abuses Guy (and apparently all his assistant's) on every possible ocassion. He also gets to skewer just about everyone who crosses his path.
Kevin Spacey's rans are hilarious. We dont know whether to laugh at Spacey or feel bad for Whaley. Often, we don't know if the horrific hostage-stiuation quite works as well as the corporate office scenes.
And Kevin Spacey brings his trademark dry cynicsm and sardonic behavior to what could have been a limited one-dimensional bullying manager. But Spacey plays the character for all it's worth and then some and turns him into a memorable antagonist who is one of the sole reasons this movie has a reputation and cult following.
"O Preço da Ambição" isn't just a featherweight comedy for a slow Saturday night about a bullying boss like the trailer may lead you to believe. It's a non-cronological film which deals with white-collar office comedy and torturous drama. Shifting from a lightweight comedy to a torturous thriller. It's sort of schizophrenic thing. We're laughing heartily one minute and horrified the next. A lot of time, this one keeps us guessing as it criss-crosses from Buddy torturing Guy to vice-versa.
The whole fiim is so reliant on it's writing and acting, it was adapted into a play premiering at London's Vaudeville Theatre in 2007, featuring Christian Slater, Matt Smith and Helen Baxendale. Ys, plays can be adapted into movies and vice-versa. The movie works like the theatre or an actor's workshop, relying mostly on performance and dialouge. Spacey seems to prefer doing this type of work, judging by his resume. It's fun for actor's and it forces them to rely on their own raw talent, letting you know exactly where they stand.
But there's a lot to this movie (maybe too much) about this movie that rings true to life. A lot of moments filled with the harsh insights and disillusioned truths that one learns from living an uncharmed life. And so theres illuminating light and lessons, as well as laughs. Not to mention some great acting from the heavier moments where ugly secrets about Buddy and... well, surprisingly Dawn are revealed.
The plot is over-developed and the ending is more poetic than anything else.
But most of the movie really does does work and really does sticks with you... like all the great ones do.
--Boo-Boo For Corporate Hollywood, Dane Youssef
danessf@yahoo.com
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"Kalavelkoja hollywoodilaisittain" (1994): A MOVIE REVIEW by Dane Youssef
"Kalavelkoja hollywoodilaisittain" (1994): A MOVIE REVIEW
by Dane Youssef
Now here is a movie for those looking for an attack on white-collar corporate office life, the spinning gears of Hollywood. And not overblown with big-budget special effects, scatological humor and saccarine-coated deluded big-screen implausibilities. For those looking for something really strongly written by a veteran of it's field and performed by pure-blooded thespains in the low-budget indie vein.
"Kalavelkoja hollywoodilaisittain" seems to owe more than a little something to "Dilbert." The movie is more about Corporate America than Hollywood. There are a lot of white-collar touches that apply to offices, cublicles and other such rather than the Hollywood spin machine. Like Robert Altman's "The Player," this is one of those thrillers about people in "the biz" who are driven to the breaking point by how cruel L.A. can really be.
The film's writer/director George Huang himself was a former personal assistant to some of the biggest names in Hollywood, has described the movie as "20% autobiographical." Much of this one is said to be based on his experience working for noted mega-mogul producer Joel Silver for Columbia Pictures. So it should come as no surprise what-so-fucking-ever that his first crack at film was his own life story.
Surprise, surprise, huh? Well, more or less.
A critical darling, unseen by most of the world and known mostly for the blistering, superb performance of two-time Oscar-winner Kevin Spacey.
But despite Kevin Spacey being the big name in this movie and him getting first-billing because of it, Frank Whaley ("The Doors" and "Career Opportunities") is the star of this one. Most of anything with him headling is a sign of a bad movie ("Cold Dog Soup" and "The Jimmy Show"), but this is one of those where he shines because he's allowed to. He's not the most versative actor, the best-looking or the most charismatic. He's had a rep as being something of the life-long "bit player." But when he's given a movie, script and part which allows him any headway, he damn well manages to make the most of it.
Spacey, being one of Hollywood's finest and renown, is able to pull off the screaming antagonistic drill-instructor and the restrained, tortured hostage here pitch perfectly. Whaley effectively plays the green and naive wide-eyed rookie to the Hollywood spin machine with his usual perfection, but when the other shoe drops, he doesn't quite pull off the scorned, disgruntled employee seeking revenge.
Whaley's Jeckyll isn't as convincing as his Hyde. He doesn't scare us. He never seems truly unhinged. Maybe that's why Whaley sticks to the youthful deer-in-the-headlights. He's just believable. When it comes to acting, you judge a book by it's cover. Whaley doesn't really seem as demented and unhinged as he should in his captor scenes. He's best as a whipping boy--whcih is why he plays so many.
1994 was the official year for Spacey. He got his breakout with the TV series "Wiseguys," and made the big screen transition with worthwhile fare like his Oscar-winning supporting role in "The Usual Suspects," "The Ref," "Se7en" and this. Spacey monopolized himself in the '94 as "absolute talent" (my term).
Geez, after seeing what a softball he was in "Glengarry Glen Ross" and "The Usual Suspects" who would've guessed the same actor could pull off such a corporate monster?
Well, I guess we all would have. Every time, you see him act, he has that way of letting you know he make you believe in every single role.
Benecio Del Toro, the "Brad Pitt of Mexico" (someone else's quote, believe me, I never dubbed him such) has a quickie cameo as Spacey's assistant who's given his three weeks notice and is on the way out, making way for Guy. But not before giving Whaley some final parting words of wisdom. "Protect his interests, serve his needs. What you think means nothing. What you feel means nothing. You have no brain. He yells all the time. It's a lose-lose situation." This job is a fast-track shortcut to the top and if Guy does right and keeps his mouth open wide enough to catch all of Buddy's sadomasochistic crapola, he may very well be someday on the same mantel as Buddy and his former assistants. Everything Guy'll ever need to know about his job, he learns on day one.
Enter Dawn Locklard (Michelle Forbes of "Guiding Light" and "24"), another powerful Hollywood producer who Guy doesn't have the best first meeting with. She doesn't show a lot of warmth, which explains why she's a producer.
She herself is angry and cycnical, and throughout the course of the film, we will see why. She eventually warms up to Guy and asks him out. Guy is stunned. But she needs Buddy on her side and is interested in him getting behind her new project. Guy sees this as an opporunity. Her new project for the studio, "Real Life"may just be Guy's window of opportunity. She seems to be interested in Guy because he's the most real thing she's seen in the Valley for the longest time. But does she really feel something for him or is she just using him? Is Buddy two-faced and back-stabbing or is Dawn? Guy no longer knows what's real and what's what?
At first, we don't realize Buddy just likes to yell and scream and humiliate no matter what. Well, unless you've seen the trailers. e just likes to rant. You will never again confuse a packet of Sweet 'N' Low with Equal again. You'll never look at sugar packets the same way. This is perhaps the funniest moment in the movie. Although when Guy starts to show some spine after a lot of Buddy's tantrums, the payoff is almost evenly matched with the artifical sugar scene. Buddy gets to emotionally, verbally (and at times, physically) abuses Guy (and apparently all his assistant's) on every possible ocassion. He also gets to skewer just about everyone who crosses his path.
Kevin Spacey's rans are hilarious. We dont know whether to laugh at Spacey or feel bad for Whaley. Often, we don't know if the horrific hostage-stiuation quite works as well as the corporate office scenes.
And Kevin Spacey brings his trademark dry cynicsm and sardonic behavior to what could have been a limited one-dimensional bullying manager. But Spacey plays the character for all it's worth and then some and turns him into a memorable antagonist who is one of the sole reasons this movie has a reputation and cult following.
"Kalavelkoja hollywoodilaisittain" isn't just a featherweight comedy for a slow Saturday night about a bullying boss like the trailer may lead you to believe. It's a non-cronological film which deals with white-collar office comedy and torturous drama. Shifting from a lightweight comedy to a torturous thriller. It's sort of schizophrenic thing. We're laughing heartily one minute and horrified the next. A lot of time, this one keeps us guessing as it criss-crosses from Buddy torturing Guy to vice-versa.
The whole fiim is so reliant on it's writing and acting, it was adapted into a play premiering at London's Vaudeville Theatre in 2007, featuring Christian Slater, Matt Smith and Helen Baxendale. Ys, plays can be adapted into movies and vice-versa. The movie works like the theatre or an actor's workshop, relying mostly on performance and dialouge. Spacey seems to prefer doing this type of work, judging by his resume. It's fun for actor's and it forces them to rely on their own raw talent, letting you know exactly where they stand.
But there's a lot to this movie (maybe too much) about this movie that rings true to life. A lot of moments filled with the harsh insights and disillusioned truths that one learns from living an uncharmed life. And so theres illuminating light and lessons, as well as laughs. Not to mention some great acting from the heavier moments where ugly secrets about Buddy and... well, surprisingly Dawn are revealed.
The plot is over-developed and the ending is more poetic than anything else.
But most of the movie really does does work and really does sticks with you... like all the great ones do.
--Boo-Boo For Corporate Hollywood, Dane Youssef
danessf@yahoo.com
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=58175682
http://www.amazon.com/gp/cdp/member-reviews/ASKUZHOKQ1W3E/ref=cm_pdp_rev_title_1?ie=UTF8&sort_by=MostRecentReview#R2MFYILVVRXX73
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by Dane Youssef
Now here is a movie for those looking for an attack on white-collar corporate office life, the spinning gears of Hollywood. And not overblown with big-budget special effects, scatological humor and saccarine-coated deluded big-screen implausibilities. For those looking for something really strongly written by a veteran of it's field and performed by pure-blooded thespains in the low-budget indie vein.
"Kalavelkoja hollywoodilaisittain" seems to owe more than a little something to "Dilbert." The movie is more about Corporate America than Hollywood. There are a lot of white-collar touches that apply to offices, cublicles and other such rather than the Hollywood spin machine. Like Robert Altman's "The Player," this is one of those thrillers about people in "the biz" who are driven to the breaking point by how cruel L.A. can really be.
The film's writer/director George Huang himself was a former personal assistant to some of the biggest names in Hollywood, has described the movie as "20% autobiographical." Much of this one is said to be based on his experience working for noted mega-mogul producer Joel Silver for Columbia Pictures. So it should come as no surprise what-so-fucking-ever that his first crack at film was his own life story.
Surprise, surprise, huh? Well, more or less.
A critical darling, unseen by most of the world and known mostly for the blistering, superb performance of two-time Oscar-winner Kevin Spacey.
But despite Kevin Spacey being the big name in this movie and him getting first-billing because of it, Frank Whaley ("The Doors" and "Career Opportunities") is the star of this one. Most of anything with him headling is a sign of a bad movie ("Cold Dog Soup" and "The Jimmy Show"), but this is one of those where he shines because he's allowed to. He's not the most versative actor, the best-looking or the most charismatic. He's had a rep as being something of the life-long "bit player." But when he's given a movie, script and part which allows him any headway, he damn well manages to make the most of it.
Spacey, being one of Hollywood's finest and renown, is able to pull off the screaming antagonistic drill-instructor and the restrained, tortured hostage here pitch perfectly. Whaley effectively plays the green and naive wide-eyed rookie to the Hollywood spin machine with his usual perfection, but when the other shoe drops, he doesn't quite pull off the scorned, disgruntled employee seeking revenge.
Whaley's Jeckyll isn't as convincing as his Hyde. He doesn't scare us. He never seems truly unhinged. Maybe that's why Whaley sticks to the youthful deer-in-the-headlights. He's just believable. When it comes to acting, you judge a book by it's cover. Whaley doesn't really seem as demented and unhinged as he should in his captor scenes. He's best as a whipping boy--whcih is why he plays so many.
1994 was the official year for Spacey. He got his breakout with the TV series "Wiseguys," and made the big screen transition with worthwhile fare like his Oscar-winning supporting role in "The Usual Suspects," "The Ref," "Se7en" and this. Spacey monopolized himself in the '94 as "absolute talent" (my term).
Geez, after seeing what a softball he was in "Glengarry Glen Ross" and "The Usual Suspects" who would've guessed the same actor could pull off such a corporate monster?
Well, I guess we all would have. Every time, you see him act, he has that way of letting you know he make you believe in every single role.
Benecio Del Toro, the "Brad Pitt of Mexico" (someone else's quote, believe me, I never dubbed him such) has a quickie cameo as Spacey's assistant who's given his three weeks notice and is on the way out, making way for Guy. But not before giving Whaley some final parting words of wisdom. "Protect his interests, serve his needs. What you think means nothing. What you feel means nothing. You have no brain. He yells all the time. It's a lose-lose situation." This job is a fast-track shortcut to the top and if Guy does right and keeps his mouth open wide enough to catch all of Buddy's sadomasochistic crapola, he may very well be someday on the same mantel as Buddy and his former assistants. Everything Guy'll ever need to know about his job, he learns on day one.
Enter Dawn Locklard (Michelle Forbes of "Guiding Light" and "24"), another powerful Hollywood producer who Guy doesn't have the best first meeting with. She doesn't show a lot of warmth, which explains why she's a producer.
She herself is angry and cycnical, and throughout the course of the film, we will see why. She eventually warms up to Guy and asks him out. Guy is stunned. But she needs Buddy on her side and is interested in him getting behind her new project. Guy sees this as an opporunity. Her new project for the studio, "Real Life"may just be Guy's window of opportunity. She seems to be interested in Guy because he's the most real thing she's seen in the Valley for the longest time. But does she really feel something for him or is she just using him? Is Buddy two-faced and back-stabbing or is Dawn? Guy no longer knows what's real and what's what?
At first, we don't realize Buddy just likes to yell and scream and humiliate no matter what. Well, unless you've seen the trailers. e just likes to rant. You will never again confuse a packet of Sweet 'N' Low with Equal again. You'll never look at sugar packets the same way. This is perhaps the funniest moment in the movie. Although when Guy starts to show some spine after a lot of Buddy's tantrums, the payoff is almost evenly matched with the artifical sugar scene. Buddy gets to emotionally, verbally (and at times, physically) abuses Guy (and apparently all his assistant's) on every possible ocassion. He also gets to skewer just about everyone who crosses his path.
Kevin Spacey's rans are hilarious. We dont know whether to laugh at Spacey or feel bad for Whaley. Often, we don't know if the horrific hostage-stiuation quite works as well as the corporate office scenes.
And Kevin Spacey brings his trademark dry cynicsm and sardonic behavior to what could have been a limited one-dimensional bullying manager. But Spacey plays the character for all it's worth and then some and turns him into a memorable antagonist who is one of the sole reasons this movie has a reputation and cult following.
"Kalavelkoja hollywoodilaisittain" isn't just a featherweight comedy for a slow Saturday night about a bullying boss like the trailer may lead you to believe. It's a non-cronological film which deals with white-collar office comedy and torturous drama. Shifting from a lightweight comedy to a torturous thriller. It's sort of schizophrenic thing. We're laughing heartily one minute and horrified the next. A lot of time, this one keeps us guessing as it criss-crosses from Buddy torturing Guy to vice-versa.
The whole fiim is so reliant on it's writing and acting, it was adapted into a play premiering at London's Vaudeville Theatre in 2007, featuring Christian Slater, Matt Smith and Helen Baxendale. Ys, plays can be adapted into movies and vice-versa. The movie works like the theatre or an actor's workshop, relying mostly on performance and dialouge. Spacey seems to prefer doing this type of work, judging by his resume. It's fun for actor's and it forces them to rely on their own raw talent, letting you know exactly where they stand.
But there's a lot to this movie (maybe too much) about this movie that rings true to life. A lot of moments filled with the harsh insights and disillusioned truths that one learns from living an uncharmed life. And so theres illuminating light and lessons, as well as laughs. Not to mention some great acting from the heavier moments where ugly secrets about Buddy and... well, surprisingly Dawn are revealed.
The plot is over-developed and the ending is more poetic than anything else.
But most of the movie really does does work and really does sticks with you... like all the great ones do.
--Boo-Boo For Corporate Hollywood, Dane Youssef
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