Subject: Re: [MV] THE EMPEROR'S CLUB / *** (PG-13)
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gregorys@xmission.com wrote:THE EMPEROR'S CLUB / *** (PG-13)
November 22, 2002
William Hundert: Kevin Kline
Sedgewick Bell: Emile Hirsch
Elizabeth: Embeth Davidtz
James Ellerby: Rob Morrow
Martin Blythe: Paul Dano
Universal Pictures presents a film directed by Michael Hoffman. Written by
Neil Tolkin. Based on the short story "The Palace Thief" by Ethan Canin.
Running time: 109 minutes. Rated PG-13 (for some sexual content). Opening
today at local theaters.
BY ROGER EBERT
"The Emperor's Club" tells the story of a teacher who fixes the results of
an academic competition and twice allows a well-connected student to get
away with cheating. Because he privately tells the cheater he is a heel, the
film presents him as a great educator, but he is correct when he tells that
student: "I failed you." The chief curiosity of the film is how it seems to
present one view of the teacher, but cannot prevent itself from revealing
another.
The film will not be generally interpreted in this way, and will be hailed
in the latest of a series of sentimental portraits of great teachers, which
include "Goodbye, Mr. Chips," "The Prime of Miss Jean Brodie," "Dead Poets'
Society" and "Mr. Holland's Opus." All of those are enjoyable films, except
for "Dead Poets," which is more of a show-biz biopic with students as the
audience. None of them have the nerve to venture into the tricky ethical
quicksand of "The Emperor's Club." The movie is too methodical, but it
doesn't avoid the hard questions.
Kevin Kline plays William Hundert. who as the film opens has retired after
teaching the classics for 34 years at St. Benedictus School for Boys, a
private East Coast institution that has an invisible conveyor belt leading
directly from its door to the Ivy League and the boardrooms of the
Establishment. The students are the children of rich men. The purpose of the
school is theoretically to mold them into leaders. Hundert tells them that
"a man's character is his fate" and asks them, "How will history remember
you?" But more truth is contained in the words of a U.S. senator whose son
is in trouble at the school: "You, sir, will not mold my son! I will mold
him."
The troubled student is Sedgewick Bell (Emile Hirsch), a smart-aleck who
interrupts in class, disrespects the teacher, and has a valise under his bed
that is jammed with men's magazines, booze, condoms and a pack of Luckys.
Despite all of the molding and shaping St. Benedictus has performed on its
students, the other boys of course idolize Sedgewick. Strange how, among the
young, there is nothing sillier than a man who wants you to think hard and
do well, and nothing more attractive than a contemporary who celebrates
irony and ignorance. So numerous are these slackwits that now they even have
their own newspapers published for them.
Mr. Hundert is a bachelor, ferociously dedicated to being a good teacher,
and silently in love with the fragrant Elizabeth (Embeth Davidtz), wife of
another faculty member. She also loves him, but marriage and rectitude stand
between them, and there is an effective scene when she says
goodbye--forever, she thinks. Hundert redoubles his teaching efforts, which
climax, every school year, with the Mr. Julius Caesar contest, in which the
three best students compete in a sort of quiz show.
(Spoilers follow.) After a rocky start, Sedgewick begins to apply himself to
his work--not so much because of Hundert as because of dire threats from his
father, the no doubt thoroughly corrupt U.S. senator (Harris Yulin). When
final exams are written, Sedgewick has so improved that he finishes fourth.
But because Hundert wants to reward that improvement, and because even for
him a rebel is more attractive than a bookworm, the professor takes another
long look as Sedgewick's paper and, after much brow-furrowing, improves his
grade and makes him a finalist.
The movie wisely never says if Sedgewick deserves to be upgraded, although
we suspect that if he had placed third in the first place, Hundert would not
have taken another long look at the fourth-place paper. In any event,
Sedgewick competes in the big contest, and cheats, and is seen by Hundert,
who finds a silent and tactful way to force him to lose.
Now many years pass. Sedge-wick is himself a rich man and wants to run for
senator, and will give an enormous endowment to St. Benedictus on the
condition that there be a re-run of the original Mr. Julius Caesar contest.
Does he at last redeem himself? You will have to see for yourself. What is
interesting about the movie is that Mr. Hundert is fully aware of his
ethical shortcomings in the matter of young Sedgewick. He does not let him
win, but does not expose him. And the movie does not provide the kind of
ending we fear the material is building up to, but finds its own subtle way
to see that justice is done. The mechanics of the eventual confrontation
between Sedgewick and his own son are ingenious, devastating and
unanswerable.
We are so accustomed to noble teachers that "The Emperor's Club" surprises
us by providing one who is dedicated, caring and skillful, but flawed. As a
portrait of the escalator that speeds the sons of the rich upward toward
power, it is unusually realistic. Kevin Kline's performance shows a deep
understanding of the character, who is, after all, better than most
teachers, and most men. We care for him, not because he is perfect, but
because he regrets so sincerely that he is not.
Copyright ⌐ Chicago Sun-Times Inc.
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<P>PLEASE STOP SENDING THESE REVIEWS!!!!!!!!!!!!!!!!! YOU'RE RUINING THE MAILING LIST
<P> <B><I>gregorys@xmission.com</I></B> wrote:
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">THE EMPEROR'S CLUB / *** (PG-13) <BR><BR>November 22, 2002<BR><BR>William Hundert: Kevin Kline<BR>Sedgewick Bell: Emile Hirsch<BR>Elizabeth: Embeth Davidtz<BR>James Ellerby: Rob Morrow<BR>Martin Blythe: Paul Dano<BR><BR>Universal Pictures presents a film directed by Michael Hoffman. Written by<BR>Neil Tolkin. Based on the short story "The Palace Thief" by Ethan Canin.<BR>Running time: 109 minutes. Rated PG-13 (for some sexual content). Opening<BR>today at local theaters.<BR><BR>BY ROGER EBERT<BR><BR>"The Emperor's Club" tells the story of a teacher who fixes the results of<BR>an academic competition and twice allows a well-connected student to get<BR>away with cheating. Because he privately tells the cheater he is a heel, the<BR>film presents him as a great educator, but he is correct when he tells that<BR>student: "I failed you." The chief curiosity of the film is how it seems to<BR>present one view of the teacher, but cannot prevent itself from revealing<BR>another.<BR><BR>The film will not be generally interpreted in this way, and will be hailed<BR>in the latest of a series of sentimental portraits of great teachers, which<BR>include "Goodbye, Mr. Chips," "The Prime of Miss Jean Brodie," "Dead Poets'<BR>Society" and "Mr. Holland's Opus." All of those are enjoyable films, except<BR>for "Dead Poets," which is more of a show-biz biopic with students as the<BR>audience. None of them have the nerve to venture into the tricky ethical<BR>quicksand of "The Emperor's Club." The movie is too methodical, but it<BR>doesn't avoid the hard questions.<BR><BR>Kevin Kline plays William Hundert. who as the film opens has retired after<BR>teaching the classics for 34 years at St. Benedictus School for Boys, a<BR>private East Coast institution that has an invisible conveyor belt leading<BR>directly from its door to the Ivy League and the boardrooms of the<BR>Establishment. The students are the children of rich men. The purpose of the<BR>school is theoretically to mold them into leaders. Hundert tells them that<BR>"a man's character is his fate" and asks them, "How will history remember<BR>you?" But more truth is contained in the words of a U.S. senator whose son<BR>is in trouble at the school: "You, sir, will not mold my son! I will mold<BR>him."<BR><BR>The troubled student is Sedgewick Bell (Emile Hirsch), a smart-aleck who<BR>interrupts in class, disrespects the teacher, and has a valise under his bed<BR>that is jammed with men's magazines, booze, condoms and a pack of Luckys.<BR>Despite all of the molding and shaping St. Benedictus has performed on its<BR>students, the other boys of course idolize Sedgewick. Strange how, among the<BR>young, there is nothing sillier than a man who wants you to think hard and<BR>do well, and nothing more attractive than a contemporary who celebrates<BR>irony and ignorance. So numerous are these slackwits that now they even have<BR>their own newspapers published for them.<BR><BR>Mr. Hundert is a bachelor, ferociously dedicated to being a good teacher,<BR>and silently in love with the fragrant Elizabeth (Embeth Davidtz), wife of<BR>another faculty member. She also loves him, but marriage and rectitude stand<BR>between them, and there is an effective scene when she says<BR>goodbye--forever, she thinks. Hundert redoubles his teaching efforts, which<BR>climax, every school year, with the Mr. Julius Caesar contest, in which the<BR>three best students compete in a sort of quiz show.<BR><BR>(Spoilers follow.) After a rocky start, Sedgewick begins to apply himself to<BR>his work--not so much because of Hundert as because of dire threats from his<BR>father, the no doubt thoroughly corrupt U.S. senator (Harris Yulin). When<BR>final exams are written, Sedgewick has so improved that he finishes fourth.<BR>But because Hundert wants to reward that improvement, and because even for<BR>him a rebel is more attractive than a bookworm, the professor takes another<BR>long look as Sedgewick's paper and, after much brow-furrowing, improves his<BR>grade and makes him a finalist.<BR><BR>The movie wisely never says if Sedgewick deserves to be upgraded, although<BR>we suspect that if he had placed third in the first place, Hundert would not<BR>have taken another long look at the fourth-place paper. In any event,<BR>Sedgewick competes in the big contest, and cheats, and is seen by Hundert,<BR>who finds a silent and tactful way to force him to lose.<BR><BR>Now many years pass. Sedge-wick is himself a rich man and wants to run for<BR>senator, and will give an enormous endowment to St. Benedictus on the<BR>condition that there be a re-run of the original Mr. Julius Caesar contest.<BR>Does he at last redeem himself? You will have to see for yourself. What is<BR>interesting about the movie is that Mr. Hundert is fully aware of his<BR>ethical shortcomings in the matter of young Sedgewick. He does not let him<BR>win, but does not expose him. And the movie does not provide the kind of<BR>ending we fear the material is building up to, but finds its own subtle way<BR>to see that justice is done. The mechanics of the eventual confrontation<BR>between Sedgewick and his own son are ingenious, devastating and<BR>unanswerable.<BR><BR>We are so accustomed to noble teachers that "The Emperor's Club" surprises<BR>us by providing one who is dedicated, caring and skillful, but flawed. As a<BR>portrait of the escalator that speeds the sons of the rich upward toward<BR>power, it is unusually realistic. Kevin Kline's performance shows a deep<BR>understanding of the character, who is, after all, better than most<BR>teachers, and most men. We care for him, not because he is perfect, but<BR>because he regrets so sincerely that he is not.<BR><BR>Copyright ⌐ Chicago Sun-Times Inc.<BR><BR>[ To leave the movies mailing list, send the message "unsubscribe ]<BR>[ movies" (without the quotes) to majordomo@xmission.com ]</BLOCKQUOTE><p><p><br><hr size=1><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><b><font face="Arial" size="2">With Yahoo! Mail you can get a bigger mailbox -- choose a size that fits your needs</font></b></a><br>
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Date: 27 Nov 2002 15:41:52 GMT
From: gregorys@xmission.com
Subject: [MV] ADAM SANDLER'S EIGHT CRAZY NIGHTS / ** (PG-13)
ADAM SANDLER'S EIGHT CRAZY NIGHTS / ** (PG-13)
November 27, 2002
With the voices of:
Davey/Whitey/Eleanore Adam Sandler
Jennifer Jackie Titone
Benjamin Austin Stout
Other voices by Tyra Banks, James Barbour, Bobby Edner, Jon Lovitz, Kevin
Nealon.
Columbia Pictures presents a film directed by Seth Kearsley. Written by
Brooks Arthur, Allen Covert and Sandler. Running time: 71 minutes. Rated
PG-13 (for frequent crude and sexual humor, drinking and brief drug
references). Opening today at local theaters.
BY ROGER EBERT FILM CRITIC
Heaven help the unsuspecting families who wander into "Adam Sandler's Eight
Crazy Nights" expecting a jolly animated holiday funfest. The holidays
aren't very cheerful in Sandlerville, which is why the PG-13 rating mentions
"frequent and crude sexual humor." The MPAA doesn't mention it, but there's
also a lot of scatological humor in the film, in keeping with Sandler's
inexplicable fascination with defecation, flatulence and bodily fluids.
If this is not a family film, what is it? Well, the audiences for "Jackass"
may enjoy a scene where Davey, the hero, slams a sweet little old man into a
Port-a-Potty and shoves it down a hill. When the geezer emerges at the
bottom, he is still alive, but covered from head to toe with excrement. Then
Davey sprays him with a garden hose, and he freezes solid. Ho, ho.
Davey (who looks like and is voiced by Sandler) is "a 33-year-old crazy
Jewish guy," the film informs us, who is up before the judge on the latest
in a long series of brushes with the law, this time for drunkenness. The
judge is prepared to send him away for a long time, but kindly little Whitey
(also voiced by Sandler) pipes up. Whitey explains that he is the referee of
the local youth basketball league, and he could use an assistant. The judge
releases Davey to Whitey's custody, not explaining why he thinks this drunk
and vandal would be a good role model.
Whitey and his twin sister, Eleanore (Sandler again), take the lad into
their home, but he remains stubbornly ill-mannered, not to mention
pathologically violent, until the movie's eventual collapse into obligatory
peace and goodwill, etc. If there was ever a movie where the upbeat ending
feels like a copout, this is the one.
I can understand why Sandler might want to venture into "South Park"
territory with a raunchy animated cartoon, but not why he links it to
Christmas and Hanukkah. The advertising will inevitably use holiday images,
and in the minds of most people those images will not suggest a film this
angry and vulgar. There is also an odd disconnect between Sandler's pride in
his Jewishness, which is admirable, and his willingness to display the
obnoxious behavior of this particular Jewish character to an audience that
may not get the point.
That point is, I think, that Davey has lost his way through alcoholism and
antisocial neurosis, and is finally redeemed by the elfish saints Whitey and
Eleanore, plus the beneficial side effects of working with the basketball
team. All well and good, but the movie lingers on the scatological stuff and
adds the happy ending as if paying its dues. Did it occur to Sandler that he
could touch his bases and make his points in a film that was not quite so
offensive? That was, in fact, sweet and cheerful and family-friendly?
Considering that his popularity and the movie's holiday packaging will
attract large numbers of teenage Middle Americans not necessarily familiar
with Jews, does he think this is a good way to get them started?
Yes, I've argued against the requirement that ethnic groups must present
"positive" images of themselves in the movies. I've defended Justin Lin's
"Better Luck Tomorrow," with its criminal Chinese-American teenagers, and
Chris Eyre's "Skins," with its portrait of alcoholics and vigilantes on an
Indian reservation, and Tim Story's "Barbershop," with its free-for-all
African-American dialogue. But those films are positioned to reach audiences
that will understand them--decode them as their directors hoped they would.
Won't "Adam Sandler's Eight Crazy Nights" attract an audience for reasons
(holiday images, Sandler's popularity) that have nothing to do with the
material? What are people who want to see an Adam Sandler movie going to
take home from this one? Sandler's most recent film, the inspired and
wonderful "Punch Drunk Love," was not well received by Sandler fans; I heard
from readers appalled by the way his audience responded to the film--before,
in some cases, walking out. (How can someone in the dark of a movie theater
tell "his audience" from themselves? Easily: The giveaway is inappropriate
laughter, especially during serious moments.)
Sandler has painted himself into a corner. His comedies have included
generous amounts of antisocial hostility, sudden violence, dodgy material
about urination, defecation and flatulence, and a general air of defiance. A
lot of people like that. But they are not the people likely to understand
the Hanukkah message in "Eight Crazy Nights." And those who appreciate the
message are likely to be horrified by a lot of the other material in the
film. What Sandler has made here is a movie for neither audience.
Copyright ⌐ Chicago Sun-Times Inc.
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Date: 27 Nov 2002 15:41:54 GMT
From: gregorys@xmission.com
Subject: [MV] ARARAT / **1/2 (R)
ARARAT / **1/2 (R)
November 27, 2002
Raffi David Alpay
Edward Saroyan Charles Aznavour
Rouben Eric Bogosian
Philip Brent Carver
Celia Marie-Josee Croze
Martin/Clarence Ussher Bruce Greenwood
Ani Arsinee Khanjian
Ali/Jevdet Bey Elias Koteas
David Christopher Plummer
Miramax presents a film written and directed by Atom Egoyan. Running time:
116 minutes. Rated R (for violence, sexuality/nudity and language). Opening
today at local theaters.
BY ROGER EBERT FILM CRITIC
Atom Egoyan has something he wants us to know. In 1915, he tells us in his
new film "Ararat," Turkey committed genocide against its Armenian
population, massacring two-thirds of its 1.5 million citizens of Armenian
descent. This crime, denied to this day by Turkey, has largely been wiped
from the pages of history.
Egoyan is one of Canada's best and most respected directors. He and his
wife, the actress Arsinee Khanjian, are Canadians of Armenian descent. When
he told his children of the massacre, he has said in interviews, they wanted
to know if Turkey had ever apologized. His answer is contained in "Ararat."
Unfortunately, it is couched in such a needlessly confusing film that most
people will leave the theater impressed, not by the crime, but by the film's
difficulty. Egoyan's work often elegantly considers various levels of
reality and uses shifting points of view, but here he has constructed a film
so labyrinthine that it defeats his larger purpose.
The story has three central strands: (1) A film is being made about the
atrocity; (2) some of the scenes of this film-within-the-film re-create
historical incidents, for our information; (3) there is a web of connections
between the people working on the film and other characters in the story.
We meet an art historian named Ani (Khanjian) who lectures on the Armenian
artist Arshile Gorky, whose mother was one of the Turkish victims. Ani's
husband died in an attempt to assassinate a Turkish official some 15 years
earlier. She has a son named Raffi (David Alpay) from her first marriage,
and a stepdaughter named Celia (Marie-Josee Croze) from a second marriage
with a man who, Celia believes, was driven to suicide by Ani. When Ani
lectures on Gorky, Celia often attends in order to heckle her with questions
about her dead father. Further complicating this emotional tangle, Raffi and
Celia are sleeping with each other.
There is another sexual-political connection. When Raffi attempts to pass
through a Canadian customs post with several film cans from Europe, he is
questioned at length by a customs inspector named David (Christopher
Plummer), who is on his last day on the job. Raffi says the cans contain
unexposed documentary footage needed for the movie. We know, because of a
scene at breakfast that day, that Plummer's son Philip (Brent Carver) is the
lover of an actor named Ali (Elias Koteas), who plays the barbaric Turkish
general Jevdet Bey in the film. Thus David is in a position to know that the
film being brought in by Raffi may not be needed for the project.
We meet the director of the film, named Edward (Charles Aznavour), and see
him on the set, filming scenes that are often presented as reality before
the camera pulls back to reveal another camera. And we meet the
screenwriter, Rouben (Eric Bogosian). Both Aznavour and Bogosian, who are of
Armenian ancestry, are used to provide more information about the
atrocities, as is the character of Clarence Ussher (Bruce Greenwood), a
character in Aznavour's film. He was an American physician who was an
eyewitness to the massacres and wrote a book about them.
The questioning at the customs station goes on, apparently, for hours,
because David, on his last day on the job, is trying to determine through
sheer skill whether the cans contain film or heroin. He could open them (in
a dark room to avoid spoiling the film), but that would be too simple, and
perhaps he thinks that by understanding the young man before him, he can
gain a better insight into his own son.
The scenes in the movie-within-a-movie document horrendous acts by the Turks
against the Armenians, including one sequence in which women are burned
alive. The film also shows Gorky as a young boy, shouldering arms against
the Turks. There are flashbacks to show the adult Gorky painting in exile in
New York. And discussion of the relative truth of two portraits: one a photo
of Gorky with his mother, the other the painting he has based on this
portrait. It is the same painting we have heard Ani lecturing about.
You may be feeling some impatience at the complexity of this plot. It is too
much, too heavily layered, too needlessly difficult, too opaque. Individual
scenes leap out and have a life of their own; Khanjian makes the
difficulties of her own character very affecting; the Plummer episode is
like a small, perfect character study, and I remember the re-created
atrocities as if from another film, which is indeed how they are presented.
"Ararat" clearly comes from Egoyan's heart, and it conveys a message he
urgently wants to be heard: that the world should acknowledge and be shamed
that a great crime was committed against his people. The message I receive
from the movie, however, is a different one: that it is difficult to know
the truth of historical events, and that all reports depend on the point of
view of the witness and the state of mind of those who listen to the
witness. That second message is conveyed by the film, but I am not sure it
presents Egoyan's intention. Perhaps this movie was so close to his heart
that he was never able to stand back and get a good perspective on it--that
he is as conflicted as his characters, and as confused in the face of
shifting points of view.
Note: In the film, Adolf Hitler is quoted discussing his plans for genocide
and asking, "Who remembers the extermination of the Armenians?" The film
presents this as fact, although there is enormous controversy over whether
Hitler actually ever said it.
Copyright ⌐ Chicago Sun-Times Inc.
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