Some recent trailers of a political bent: Sen. Tom Cruise urges stay the course, journalist Meryl Streep harbors doubts, and guidance counselor Robert Redford soapboxes like it’s going out of style in the full trailer for Redford’s Lions for Lambs, also with Peter Berg, Derek Luke, and Michael Pena. Or, if you take your Meryl dark, Reese Witherspoon’s Arabic husband falls awry in the CIA secret prison system (or does he?) in the more compelling trailer for Rendition, also with Streep, Jake Gyllenhaal, Peter Sarsgaard, Alan Arkin, J.K. Simmons, and Omar Metwally. Elsewhere, an Afghani emigre (Khalid Abdalla) ventures home, into the realm of the Taliban, to honor the last wish of a childhood friend in Marc Forster’s version of Khaled Hosseini’s The Kite Runner. And, for more historically-minded muckraking, Ed Harris, Helen Mirren, Harvey Keitel, and Bruce Greenwood join alums Nicolas Cage, Diane Kruger, Jon Voight, and Justin Bartha in unlocking the hidden mysteries of the presidency in the trailer for National Treasure 2: Book of Secrets. (A totally cheesy b-movie, to be sure, but I enjoyed the first one more than the ponderous Da Vinci Code.)
Tag: Derek Luke
The Burdens of Power.
In case you didn’t get your trailer fill earlier today, here’s a few more for the independence day blitz: Robert Redford, Meryl Streep, and Tom Cruise take aim at the GWOT in the teaser for Redford’s muckraking Lions for Lambs; Lawyer George Clooney bites off more corporate conspiracy than he bargained for while helping crazy Tom Wilkinson in this look at Tony Gilroy’s Michael Clayton, also with Tilda Swinton and Sydney Pollack; and Cate Blanchett returns to the throne (and does expect the Spanish Inquisition) in the trailer for Shekhar Kapur’s Elizabeth: The Golden Age, with Geoffrey Rush (returning), Clive Owen (as Walter Ralegh), Rhys Ifans, and that famous Armada.
Moving right out of Babylon.
In a special Africa-themed edition of the movie bin, a young Scottish doctor (former faun James McAvoy) hangs with Ugandan dictator Idi Amin (Forrest Whitaker) and Gillian Anderson in the new trailer for The Last King of Scotland, potentially crooked cop Nic Vos (Tim Robbins) spurs Patrick Chamusso (Derek Luke) to rally against South African apartheid in the trailer for Phillip Noyce’s Catch a Fire (which continues the director’s move from Patriot Games-type thrillers to global-political fare such as Rabbit-Proof Fence and The Quiet American), and things go awry in Morocco for Brad Pitt and Cate Blanchett (and elsewhere for Gael Garcia Bernal and Clifton Collins Jr.) in this look at Alejandro Gonzalez Inarritu’s Babel. (Let’s hope it’s better than Inarritu’s woeful 21 Grams.)
Bound for Glory.
Nothing if not textbook and by-the-numbers (Coach Haskell would be proud), Disney’s Glory Road — the story of the 1966 NCAA Champion Texas Western Miners, the first basketball team in tournament history to feature five black starters — still makes for a decent genre matinee. It’s not a movie that’ll light the world on fire by any means, but it hits its beats decently, and benefits from amiable performances from Josh Lucas and Emily Deschanel right on down the bench. I wish the movie had stayed more with the historical game plan it marked out in the opening credits — and that the basketball scenes were more engrossing — but, all in all, Glory Road is a journeyman sports pic.
A synopsis here is probably overkill, suffice to say that a well-meaning disciplinarian coach (Josh Lucas) rides into El Paso, circa 1965, to try to mold a championship basketball team out of a triracial group of college athletes. Do these youngsters overcome their cultural differences, learn there’s a method to Coach’s madness, and become a Team? Do they play well enough to get to the Big Dance? Well, I’ll leave that for you to discover. The main — ok, the only — thing that differentiates Glory Road from its many predecessors is its period flavor. These players don’t just have to worry about the usual assortment of college problems: They’re also caught up in the middle of the civil rights revolution — and the white backlash — across the South, and have to contend with brutal acts of racism off the court as well as the usual opposing teams. George Will recently questioned whether this team was as history-making as it’s made out to be here. Well, ok, but, in a way, that’s beside the point. By bringing race and the civil rights struggle to the fore here, Glory Road acts as a corrective to the main flaw in what’s otherwise a better basketball film, Hoosiers. As Spike Lee points out in Best Seat in the House, it’s hard to watch that film, particularly its final game, and not feel at times that its an uncomfortably white basketball flick.
Speaking of Spike Lee’s book, it also kinda ruined some of Glory Road for me. Therein, Lee (pre-He Got Game) spends a chapter calling out ridiculous basketball scenes in movies — watching unathletic actors dunk on 6-foot rims, etc. And, while the rims look the right height in Glory Road, I have to admit, none of the basketball scenes are all that engaging. They’re cut too close, there’s barely a sense of plays developing, and very few shots seem to leave the actors’ hands to go into the basket. (For that matter, you don’t really get a sense of what various players’ strengths or weaknesses are here, other than that Bobby Joe Hill (Derek Luke) has a nice handle and Nevil Shed (Al Shearer) has a tendency to disappear in the paint. What’s more, Coach’s advice throughout basically can be summed up as “You can do it!” — Not a lot of play-calling going on.) Still, for what it is — an uplifting vignette of sports history — Glory Road is solid enough. Formulaic, sure, but no harm, no foul.