This film covers the rise of Chess Records in the South side of Chicago. It opens with the wheeling and dealing Leonard Chess (Adrian Brody) establishing his business and finding his talent. The talent he finds is some of the best American musicians of the 20th Century: Muddy Waters, Howlin' Wolf, Little Walter, Chuck Berry and Etta James. The film follows the conventional path of the musical biography, everyone begins dirt poor and troubled. Then the initial spark of success lifts everyone. Next, the money and fame rushes in and its only a matter of time before people are hooked on prostitutes and heroin. Marriages falls apart, friendships disintegrate and there's plenty of arguing through clenched teeth and throwing of small items in the final act. We've seen this before.

Most biographies of artists show them to be hindered by some addiction or mental deficiency (or both in the case of Jim Morrison,) but the films always link their addiction and bad behavior to their rise in fame. Ray Charles, Johnny Cash, Jim Morrison are all shown as relatively happy, but struggling guys before they strike it rich. Then when they hit the big time they all magically descend into addiction and self-destruction. Listen, Chuck Berry didn't descend to filming chicks pooping because he was famous - he did that because he was a sick man. Jim Morrison would probably have imploded despite of his fame. Johnny Cash probably would have been some slushy bumpkin if he hadn't made it. These folks are artists, which means they are cursed with the artist's temperament, which means they're all supreme jerks. Fame and riches didn't cause their sorrows, it just heightened and accelerated them. Artists are jerks, their jerkiness is what makes the creative process work. Its the way of the world and most of these movies try to pretend this isn't the case.

This film breaks away from the crowd since it doesn't candy coat reality. The script by writer/director Darnell Martin readily admits these folks were low lives. They were violent, arrogant, dysfunctional and in some cases downright dangerous before they became famous, let alone after becoming known. The choice to show them as the faulty people they were privately, outside of the context of fame, gives the film a more vibrant cast of characters. The actors aren't just mimicking famous people, but presenting developed characters. This is particularly the case with Jeffrey Wright (Muddy Waters), Mos-Def (Chuck Berry) and Columbus Short (Little Walter.) Each of these actors give the engaging performances that breathe life into the legends they are portraying. Wright's work as Muddy Waters is Oscar caliber. He carries the film and gives an insight into Water's life. Even the smaller roles have some punch. As an example, Eamonn Walker as Howlin' Wolf takes over the screen during his brief scenes and creates a great duality between himself and Muddy Waters. The two big names, Beyonce Knowles (Emma James) and Adiran Brody (Leonard Chess) are passable in their roles. Beyonce isn't a great actress and in light of the very strong performances that carry the film before her arrival, she is out of her league. Her lack of depth is quite noticeable. She worked well in Dreamgirls because her castmates weren't brilliant either (although Jennifer Hudson can act.) Here, Beyonce is a reminder that often casting is done based on what brings the investor dollars in, not who is best for the role. Brody likewise doesn't light up the screen. He gives another "ain't I a dismissive, mess up, prick?" performance. He does the same work he's done in every film he's made with the exception of the one that made him famous, The Pianist. It is easy to overlook these deficiencies and enjoy the more valuable performance by the rest of the cast.

The film is well structured, and is a fascinating looks at the lives of some rather screwed up folk living in a volatile time. If you enjoy music biographies, or are looking for a reasonably good drama, this will be a good pick.




Related Reviews:
Adrian Brody movies
The Jacket (2005)
Hollywoodland (2006)


Other Critic's Reviews:
Cinematical
Hollywood Jesus

Labels: Adrien Brody, Beyonce Knowles, film, Jeffrey Wright, movie review

Not wild about Adrien Brody, one of the more overrated actors working, but overall this looks solid. Jeffrey Wright, Mos Def and Eric Bogosian make up for Brody's inclusion. This one really depends on a great script. If Darnell Martin (who's penned a number of Law & Order and other television dramas) can keep things focused on character and really digs into these guys, this could be a great film.






Screenwriters: Darnell Martin
Director: Darnell Martin
Actors: Gabrielle Union (Something the Lord Made), Beyoncé Knowles (Dreamgirls), Adrien Brody (The Jacket), Emmanuelle Chriqui (You Don't Mess with Zohan), Jeffrey Wright (Casino Royale), Mos Def (Be Kind, Rewind), Cedric the Entertainer (Street Kings) and Eric Bogosian (Under Siege 2: Dark Territory)

Labels: Adrien Brody, Beyonce Knowles, film, Jeffrey Wright, Mos Def, movie trailer

Short Review: Two hours of Bond crying in his martini.

The James Bond franchise, while still successful, had become tedious and struggled for years to come to terms with the rise of socially sensitive audiences. In a post-modern age, Bond felt like a throwback to a bygone era. Today, male characters are supposed to be introspective and not allowed to walk with a swagger. Like most of our society, Bond was in need of a “re-envisioning”. Throw out the classic Bond (tall, dark, handsome, cool, collected, charming) and replace him with post-modern Bond (tall, blond, receding, brutish, wracked with guilt and generally unpleasant). The things in our culture are being redesigned for us by the elites to remove heroism from the public sphere. This “updating” is happening all over the place (Batman, I'm looking at you).

Gone is the man of the cold war and in comes in the post-modern half-man. He’s sensitive, he’s troubled by his masculine traits, and he’s oh so grumpy. Everything needs to be more “real”, meaning the heroes and bad guys remove their white and black hats and settle for nice moody gray hats. Instead of our heroes holding set morals and making clear, decisive choices everything is a wash of existential muck. The heroes of our modern myths have been knocked down from their pedestals and replaced with brooding mopes.

I have never been a huge fan of James Bond. I’ve always found the films to be too corny for my tastes. I always understood his draw however. Complaints that the franchise had become to heavy with gimmicks and flash are reasonable and the films could have done with more plot and less goofy antics. The inability of producers to keep Bond from his descent into irrelevance was killing the series. Bond was in need of attention, they gave him an overhaul. Daniel Craig was cast in a striking move to abolish the physical remnants of the previous incarnations of Bond. With his villain’s eyes, pumped up body and blond hair, it was clear when he was cast Bond was in for a change. The plot and its devices changed dramatically as well. Gone is Q and his gadgets, goodbye Miss Moneypenny and sayonara to all of you overblown villains. The plot in this new version of Bond is more serious, more real. The problem with the piece is that Bond isn’t about being serious and it’s certainly not real. Yes, this piece is closer to the original books but that’s isn’t important anymore. Bond is a cinematic brand. Its like McDonalds trying to sell whole foods.

When an audience goes to see a Bond film they know what they can expect to see. This film sets to break all of these expectations. It does this successfully by ignoring its pedigree and showing the darker side of 007. As a separate movie, this film is pretty good. Not great, but good. The structure is somewhat disjointed but it still works. Craig is a convincing hired killer and the story has some interest. This is a good film, but it is not Bond. With all other Bond movies you could remove the music, his name and that whole “shaken, not stirred” routine and you’d still know you’re watching a 007 film. This movie is missing the central heart of the franchise and is only connected by the frivolous references thrown in as an awkward reminder of who we’re watching.

I liked (not loved - liked) the movie and chances are that you will like it as well. If you want the same ol’ 007 you’re used to, you’re out of luck. There’s a new sheriff in town and he needs therapy. In effect, this is like redesigning Star Trek without Spock and making Kirk longing for emotional love and respecting other people's boundaries. The name is the same but the formula has changed.



Related Reviews:
Daniel Craig movies
Layer Cake (2003)
Infamous (2005)

Other Critic's Reviews:
Film Critics United
Roger Ebert

Labels: 007, Daniel Craig, Eva Green, film, James Bond, Jeffrey Wright, Judi Dench, movie review