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Review: Big Mommas: Like Father, Like Son
Reviews
Leatherheads
A plucky play that takes its eyes off the ball
By
TOM MEEK
|
April 9, 2008
LEATHERHEADS
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2.5
Stars
TACKLED: George Clooney glorifies the good ol' days of American football.
Behind the camera and in front of it, George Clooney has glorified screwjobs (Chuck Barris) and romanticized bygone eras (Murrow versus McCarthy). Here he does both, tackling the early days of pro football when it was more of a circus spectacle than a game of skill. The premise, cooked up by two SI scribes, has post-WWI pro pigskin on the verge of collapse, so Clooney’s “Dodge” Connolly, an aging man boy who wants a few more snaps, contrives a scheme to bring heralded Princeton halfback and national war hero Carter “The Bullet” Rutherford ( John Krasinski) into the huddle. Fans and funds run flush until details of Carter’s wartime heroics come under fire from can-do gal reporter Lexie Littleton (Renée Zellweger). The ensuing love triangle and male rivalry don’t hold much mud, but the themes of economic uncertainty and sports scandal (Spygate, anyone?) echo the now. It’s a plucky play that never quite runs to daylight.
114 minutes | Boston Common + Fenway + Fresh Pond + Circle + suburbs
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George Clooney’s Hub stopover this past Saturday night was designed to draw attention to the 23-year-old Boston Film Festival.
Hell on earth
How does the Devil get his work done? With the greatest of ease, seems to be the answer.
And justice for one . . .
“I’m not a miracle worker, I’m a janitor.”
Quotes + numbers, February 17, 2006
Twelve: Number of US Olympians vying for spots in the sixth season of Donald Trump’s The Apprentice .
Review: Fantastic Mr. Fox
In The Royal Tenenbaums and The Life Aquatic with Steve Zissou, Wes Anderson excelled at telling adult stories with childlike whimsy. Telling children’s stories with adult whimsy is another matter.
The ultimate BROADCAST JOURNALIST movies
Judging from the handful of movies made on the subject, filmmakers have little apparent use for the television business.
The Good German
Steven Soderbergh merges his mainstream aptitude with his proclivity for experimentation, making a conventional post-WW2 proto-espionage noir packed with movie stars, but daring to make it in the black-and-white style of period classics like The Third Man, Notorious , and The Lady from Shanghai . Watch the trailer for The Good German (QuickTime)
23 skidoo?
As of press time, the 23rd Boston Film Festival was still shaping up.
Yankee know-how
Back from the Telluride Film Festival in Colorado, I proclaim a renaissance of American cinema.
Promises kept
Eastern Promises begins with uncanny images of birth and death, equally raw and bloody.
Country for gold men
All kinds of voting has been taking place lately — for presidential candidates, for union contracts, for Oscar nominees.
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[
02/18
]
20th Annual Cajun & Zydeco Mardi Gras Ball
@ Rhodes-On-the-Pawtuxet
[
02/18
]
"Dana Levin: A Classical Realist In the 21st Century," an exhibit of paintings
@ Bert Gallery
[
02/18
]
A screening of Andy Warhol's Sleep
@ RK Projects + Magic Lantern Cinema
ARTICLES BY TOM MEEK
REVIEW: UNDERWORLD: AWAKENING
| January 24, 2012
The Underworld series got long in the tooth early, but here, in the fourth installment (directed by Swede Måns Mårlind), it grows new fangs.
REVIEW: JOYFUL NOISE
| January 10, 2012
There's not much joy but there's plenty of noise of the rafter-rocking gospel singing variety in Tony Graff's musical dramedy.
REVIEW: IN THE LAND OF BLOOD AND HONEY
| January 05, 2012
Jolie has loosely reworked the story of Romeo and Juliet in an infamous setting familiar from CNN but here seen from the inside.
REVIEW: ALVIN AND THE CHIPMUNKS: CHIPWRECKED
| December 13, 2011
For 50 years, Alvin and the Chipmunks have been driving parents nuts with their helium-infused banter and shrill bastardizations of pop music.
REVIEW: TRESPASS
| October 13, 2011
If Rod Lurie's errant remake of Straw Dogs didn't tickle your morbid fear of home invasion, then perhaps the latest from Joel Schumacher ( Falling Down ) might do the job.
See all articles by:
TOM MEEK
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