The Movie Report #785, September 12, 2014

#785, September 12, 2014

MOVIES:

• The Disappearance of Eleanor Rigby: Them
  
• Dolphin Tale 2
  
• The Drop
  
• No Good Deed
  
• The Skeleton Twins
  
• Swearnet
  
• Take Me to the River
  

Review: No Good Deed

; Rated PG-13
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As the proverbial "they" often say, no good deed goes unpunished, and indeed that will likely be the case with those involved with No Good Deed, at least as far as most of the mainstream critical media is concerned. It's all too easy, to a certain degree understandably so, for the would-be cinema intelligentsia to turn their noses up at a commercial Hollywood thriller, what with their not entirely unearned rep for shamelessly mechanical manipulation and--perhaps most of all--a rapidly diminishing intelligence level that generally isn't very high to begin with. Taken at its barest of bones, the basic scenario of No Good Deed doesn't deviate from the norm; in fact, it perhaps perfectly exemplifies the norm: on a dark and stormy night, a freshly escaped convict makes his way into the home of a housewife who has been left alone with her two very young children.

But one look at the formidable talent involved--veteran BBC television director Sam Miller, his award-anointed Luther star Idris Elba, playing alongside similarly celebrated (yet still too often undersung) actresses Taraji P. Henson and largely mainstream-U.S.-unknown (unjustly so) Kate del Castillo (seriously, people--witness her Emmy-robbed work in 2011's La Reina del Sur (The Queen of the South), hands down one of the great tour de force turns in recent TV history, in any language)--only begins to suggest how No Good Deed pulls off the very good deed of being a better than average entry in the genre. Beyond whatever unique and uncommon virtues they each bring to the proceedings (and more on that later), what strikes from the outset is how Miller and writer Aimee Lagos (who wrote and directed the underseen, underrated 2012 drama 96 Minutes) efficiently and effectively go about the more traditional trappings. Setting the pace is how swiftly establish the characters and their individual situations. After being denied parole, Colin (Elba) escapes while being transported from the courthouse to the clink. While she is an ever-doting stay-at-home mom, former district attorney Terri (Henson) is starting to feel the urge to start working again, much to the chagrin of her husband (Henry Simmons), who is too often away on various business--as he is the fateful night that Colin, after wrecking his car, turns up on Terri's doorstep.

The exposition swiftly taken care of, Miller and Lagos more patiently but steadily build up the tension once the film comes to that central situation of home invasion. Miller certainly isn't above indulging in the well traveled tropes, be it the entrance of an overly perky and flirty best friend (Leslie Bibb, making a commonly thankless role much less so) for Terri or a strategically placed jump scare. After all, to a certain degree the audience not only expects but wants certain beats like the latter, for that's part of the moviegoing fun--and, indeed, Miller pulls off those moments with aplomb without overusing them. But the former point also underscores the fun Miller and Lagos themselves have with thriller conventions, at once going along with them in their own style and then subverting those expectations. That they do so in a manner not immediately apparent in the moment yet always there working under the surface and slowly, surely, logically coming together for a climactic payoff is a measure of how thoughtfully constructed the piece is.

At first one of the quirks of Miller's editing style, never shy to cut to subjective viewpoints, appears to be the opposite, if not completely random. But as what seems to be a standard tormentor/victim dynamic reveals itself to be an even match of wits, that turns out to be an appropriately cinematic visual touch reflecting where the film's thoughtfulness most distinctively arises: within its core cast of characters, which, in another show of efficiency and control, Lagos wisely keeps down to only five principals. Unlike many of its genre ilk, the film's characters are constantly observing, thinking, and processing what is going on and what is presented to them before acting. They may not always get plenty of time to do so nor always make the right decision, but each move everyone makes is less movie world fake/stupid and more plausible, driven logically by, if not always deep thought, then raw gut instinct. The former, of course, more accurately describes Colin's mind manipulation tactics, while the latter most strikingly comes from Terri. Her believably pleasant, benefit-of-the-doubt demeanor in the initial stages doesn't mean her guard is ever completely down. There's none of the typical thriller "heroine" slowness-on-the-uptake here; the moment her curiosity about Colin turns into suspicion, she quickly falls back into defensive mother hen mode.

As written, this lead pair of characters may not exhibit too much dimension beyond the functional archetype of the dangerous villain and plucky heroine, but leave it to polished pros like Henson and Elba to do their job in fleshing out the roles beyond the text. Neither are exactly stretching and/or breaking new ground for themselves here, but casting actors to play to their strengths and use their established personae is a canny move not easily discounted in a genre programmer. Elba's now-famously commanding charisma goes a long way toward explaining how and why he's initially able to slip into situations and minds with minimal hesitation--and when, as one character says early on, the "violence in this man" erupts, it's that formidable presence that makes him all the more scary and intimidating. Yet he's also able to throw in some unexpected notes of vulnerability that give Colin some complexity beyond simple evil, particularly in his relationship with his one-time love (del Castillo, another smart casting choice, making a maximum impression with a minimum of screen time). Henson's natural warmth makes her an instantly engaging heroine, but her equally innate hard core strength that belies the softer, more inviting exterior makes for an even more rootable protagonist.

...or, more accurately, cheerable one, for whatever flourishes of craft they all bring to the project, Miller, Lagos, producer Will Packer, and all involved never lose sight of the whole enterprise's bottom line raison d'être: to be one suspenseful, entertaining ride whose tense turns and thrills are further amplified when shared with an audience. Such an ideally communal cinematic experience is not as easy to come by as one would think--a point proven by, for whatever its familiar paces and unabashedly commercial and crowd-pleasing instincts, just how much fun is ultimately to be had while watching No Good Deed.

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Idris Elba & Taraji P. Henson at Vibe's No Good Deed screening

Vibe's advance screening for Screen Gems' upcoming thriller No Good Deed, directed by Sam Miller and produced by Will Packer, at Regal Cinemas L.A. Live Stadium 14 on Tuesday, August 26 was made all the more special when the film's stars and executive producers, Idris Elba and Taraji P. Henson, made an unannounced appearance to introduce the film. Below is video of their introduction and conversation with the event's host, Vibe's Milan Carter, where the pair displayed not only their graciousness with the fans but also their playful and unforced rapport with each other--which, in the film, is quite the opposite of playful.

No Good Deed opens in cinemas nationwide on Friday, September 12, from Screen Gems.

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(Special thanks to Milan Carter, Oronde Garrett, Richard Blackman, and Screen Gems)

The Movie Report #765, April 25, 2014

#765, April 25, 2014

MOVIES:

• Brick Mansions
  
• From the Rough
  
• Locke
  
• The Other Woman
  
• The Quiet Ones
  

F3PR: The Pasadena Playhouse announces the cast for Above the Fold starring Taraji P. Henson

PRESS RELEASE

THE PASADENA PLAYHOUSE ANNOUNCES THE CAST
FOR THE WORLD PREMIERE OF
ABOVE THE FOLD STARRING TARAJI P. HENSON
with Arye Gross, Kristopher Higgins, Mark Hildreth,
Kristy Johnson, Joe Massingill, Seamus Mulcahy

January 28 – February 23, 2014 at The Pasadena Playhouse
Opening Night February 2

PASADENA, CA (9:00 am Thursday, December 5, 2013) – The Pasadena Playhouse (Sheldon Epps, Artistic Director and Elizabeth Doran, Executive Director) announced Academy Award and Emmy nominee Taraji P. Henson (Starred on Person of Interest on CBS, The Curious Case of Benjamin Button and new No Good Deed opposite Idris Elba) to star as “Jane” in the World Premiere of Above the Fold the fourth production of its 2013 – 2014 Season. Written by Bernard Weinraub and directed by Steven Robman, Above the Fold plays January 28 – February 23, 2014. Opening night is February 2, 2014.

The cast of Above the Fold will feature Kristy Johnson, who returns to The Pasadena Playhouse in the role of “Monique” after starring in the Playhouse productions of Jitney and Intimate Apparel. Kristy Johnson’s television credits include Hart of Dixie, General Hospital, and House M.D.

The cast of Above the Fold also features Arye Gross as “Marvin,” who is currently performing in Parfumerie at The Wallis in Beverly Hills. Gross is also a series regular on ABC’s Castle and was a series regular on Ellen Show. Kristopher Higgins appears as “Victor”. Higgins’s credits include the upcoming film Devil’s Knot directed by Atom Egoyan and starring Reese Witherspoon and Colin Firth. Mark Hildreth, a series regular on Resurrection will play the role of “Lorne”. Joe Massingill , whose credits include series regular on Hart of Dixie, and roles in Epic and Trouble With The Curve will play the role of“Bobby” and Seamus Mulcahy, whose credits include “Killing Lincoln” and “One Fall” will play the role of “Eric”.

Sheldon Epps, Artistic Director of The Pasadena Playhouse, says, "I am tremendously excited about mounting the first production of this play which we developed in our Hothouse series. The play is timely, resonant, hard hitting, and surprising. Bernie writes of a world that he knows very well, so it provides a fascinating insider's look at the intricacies and the sometimes dangerous aspects of the world of journalism. It is always a challenging pleasure to help give birth to new work and I look forward to both the process and to what I know will be the exciting rewards of having this play on our stage."

Above the Fold Director Steven Robman says “ If you've ever wondered how much a news story is affected by the whims and biases of even the most scrupulous reporter, check out this play.”

Bernard Weinraub, author of Above the Fold, adds “All the actors, led by Taraji, give such depth and meaning to their roles. They're supremely talented. And I'm deeply grateful to every one of them.”

Taraji Henson earned an Academy Award nomination for Best Supporting Actress opposite Brad Pitt in David Fincher’s The Curious Case of Benjamin Button. Taraji is a 2011 Emmy nominee for Best Actress in a Movie or Miniseries for Lifetime’s Taken From Me. She starred as Detective Joss Carter in the highly rated J.J. Abrams crime drama Person of Interest for CBS opposite Jim Caviezel and Michael Emerson. Taraji stared in the major hit Think Like a Man, which opened to #1 at the box office and just completed Think Like a Man Too. She will next star in Sony’s No Good Deed opposite Idris Elba which opens in September 2014.

In Larry Crowne she co-starred with star and director Tom Hanks alongside Julia Roberts and Cedric the Entertainer. She starred in the hugely successful The Karate Kid opposite Jaden Smith and Jackie Chan and in Date Night with Tina Fey and Steve Carrell. For her role in Tyler Perry’s I Can Do Bad All By Myself, she received the 2009 Diversity Award for Best Actress. She also starred in the upcoming Peep World playing Rainn Wilson’s love interest; The Good Doctor with Orlando Bloom and Once Fallen costarring Ed Harris.

Henson received rave reviews for her role in Focus Features’ Talk to Me opposite Don Cheadle. She costarred in the ensemble action drama Smokin’ Aces with Ben Affleck and Alicia Keys. Henson was named Outstanding Supporting Actress in a Feature Film by the Black Movie Awards and received the BET Best Actress nod for her performance as Shug in the gutsy drama Hustle & Flow also starring Terrence Howard. She starred in Sony’s Not Easily Broken opposite Morris Chestnut, opposite Forest Whitaker in Hurricane Season, and with Kathy Bates in Tyler Perry’s The Family That Preys.

Henson made her singing debut in Hustle & Flow and performed the Academy Award-winning song, “It’s Hard Out Here for a Pimp,” on the Oscar telecast. She reunited for the third time with John Singleton to film Four Brothers with Mark Wahlberg and Andre 3000 for Paramount. Henson costarred with Simon Baker and Sanaa Lathan in Focus Features’ Something New. Henson is well remembered for her role as Yvette opposite Tyrese Gibson in Baby Boy.

Taraji was a series regular on David E. Kelley’s Boston Legal and recurred on ABC’s Eli Stone. She was featured in Jamie Foxx’s video, “Just Like Me,” and also appeared in Estelle’s video, “Pretty Please.”

Above the Fold tells the story of Jane, an African-American newspaper reporter from New York, who flies to a Southern university where three white fraternity boys have been accused of raping a young African-American woman. Taking place amidst the shift from print to digital journalism Above the Fold asks tough questions about the exploitation of tragedy, the cost of success and the dangers that come when ambition collides with truth. Above the Fold began as a HOTHOUSE at The Playhouse staged reading.

Above the Fold will play January 28 – February 23, 2014. The Pasadena Playhouse is located at 39 South El Molino Avenue, Pasadena, CA 91101. The performance schedule is Tuesday through Friday at 8:00 p.m.; Saturday at 4:00 p.m. and 8:00 p.m.; and Sunday at 2:00 p.m. and 7:00 p.m. Tickets are available by calling The Pasadena Playhouse at 626-356-7529 or by visiting The Pasadena Playhouse Box Office, Tuesday – Sunday from 1:00 p.m. until 6:00 p.m. during non-performance dates. On performance dates the Box Office is open Tuesday – Saturday from 1:00 p.m. – 8:00 p.m. and 1:00 p.m. – 7:00 p.m. on Sunday. For more information, visit www.PasadenaPlayhouse.org.

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Review: Think Like a Man

; Rated PG-13
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The idea of a film based on Steve Harvey's bestseller Act Like a Lady, Think Like a Man sounds more than a bit dubious; after all, a narrative feature based on what is essentially a self-help book? But with Think Like a Man, director Tim Story and screenwriters Keith Merryman and David A. Newman have unlocked the material in as cinematic a way as ideally possible. They go beyond merely using the title as a springboard for a premise (like, for instance, He's Just Not That into You) and consistently calling back to the source in a way that made sense to the plot lines, fashioning it into basically another character--and Harvey's book is the troublemaker of the ensemble that shakes up the romantic status quo for most of the rest of the canvas: The Player (Romany Malco), The Mama's Boy (Terrence J), The Dreamer (Michael Ealy), The Non-Committer (Jerry Ferrara); and their respective matches, The 90-Day Rule Girl (Meagan Good), The Single Mom (Regina Hall), The Woman Who Is Her Own Man (Taraji P. Henson), and The Ring Girl (Gabrielle Union). Acting as bemused bystanders most of the way are The Happily Married Guy (Gary Owen) and, most notably, The Even Happier Divorced Guy (Kevin Hart), who narrates and comments on all the intergender byplay and--perhaps more accurately--warfare.

Those assigned labels are not my own snarky, reductive invention. While this is another of the wave of large ensemble rom-coms where everyone generally falls into an identifiable character type, making for a conveniently, if not always realistically, varied canvas to follow, Story and the writers not only acknowledge but rather proudly own such a contrivance/convention from the jump, from Hart's introductory voiceover identifying the guys to even title cards identifying each pairing. This also nicely serves to solidify the connection with the source material, taking types from the book and thus having certain scenarios from it play out in storylines in the film proper. Of course, mere self-awareness of the types and formulae don't make compelling viewing alone. There needs to be the right actors to bring them life and personality, and across the board everyone fits their part like a glove, both in ways that fit their established wheelhouses (such as the jovially wisecracking Hart) or show sides they had not yet had the opportunity to do so on screen (such the gifted Henson, finally getting an opportunity to fulfill her Glamorous Romantic Leading Lady destiny; relative big screen newcomer Terrence, who is a bit of a revelation; Chris Brown, in an amusingly goofy turn).

Even more crucial, however, is the chemistry between the actors, and in terms of both the romantic couples and the camaraderie between the guys and girls, and on both counts the film gets it right, having both the agreeable, infectious sense of humor and genuine, welcoming likability and therefore investment. Also helping immeasurably is that the flavor of each duet, much like the character types, have their distinctive flavor and appeal. Union and Ferrara have the believable, warmly "lived-in" energy of a pair that's been together for what feels like forever (a nice costuming touch is having her often wear clothes that are clearly his). On the opposite end are Henson and Ealy, bringing the intense erotic heat of immediate, impetuous passion while also forging a palpable connection that could serve as a foundation for something deeper. Lying between those two are the very cute Terrence/Hall coupling, who easily convince that there would be a genuine and substantial rapport despite their differences in age and circumstance; and the sexual suppression and resulting tension of the Malco/Good pairing makes for choice comic moments and a satisfying, cathartic release as their relationship blooms into something neither of them planned nor expected.

Bringing it all together is Story, and as he showed in the original Barbershop, he not only knows how to bring balance to such an expansive multi-character and -story piece but also make every thread feel part of a cohesive whole. No one story nor character dominates (though, naturally, there are scene/movie stealers--and the timing could not be more perfect for Hart, coming off of the box office success of Laugh at My Pain, and more than likely this will be the big springboard for a proper, major starring vehicle for his considerable comic talents), and everyone gets a chance to shine, whether comically or dramatically or both. Story's able, indispensable guidance is almost certain to be underrated, given how this is of the most notoriously formula of genres and hence is more notably personality/actor-driven. But one need only look at Garry Marshall's recent twin fiascoes of holiday-themed ensemble rom-coms, Valentine's Day and New Year's Eve, to see just how such a film requires a strong, careful directorial hand--which, ultimately, is how and why Think Like a Man ends up being one of the best mainstream date movies to come out in recent memory.

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