THE GRIDIRON GANG (***)
Derived and dramatized from a documentary;
“The Gridiron Gang” details the inspirational
true story and human journey with a dedicated
youth detention officer, Sean Porter (Dwayne
“The Rock” Johnson) at Camp Kilpatrick in
L.A. County who is determined to make a
difference in the lives of these juvenile
delinquents.
Sean Porter is tired of working with firsttime
teen criminals who have potential and
preaches alternative life goals. But they
usually end up representing the 75% that
returns to the same streets where they either
end up dead or commit a more heinous crime
that sends them to a life living more in prison
than out.
Frustrated and angry toward the
ineffective system he serves as a self
described “sheepherder”; When Sean learns
that a recently released youth inmate is killed
in a drive-by shooting, Porter along with
Malcolm Moore offers an experimental
alternative program that might save the
majority from being repeat offenders.
Besides the obvious moral messages, this
movie attempts to make a statement out of
the false security and macho-driven
brainwashing intimidation tactics used by
street gangs to weaken and rebuild with their
ideology.
However, the film does have its distraction
within its story that is not completely handled
as well as they should have been. For
example, Porter understands Willie’s bitter
resentment toward his absentee father that
makes Porter utter the words of wisdom of
forgiveness that Porter hasn’t “practice what
hew preach “when it comes to his own father.
The scene offers no real sense of closure for
Porter who seems to want Willie to “do what
he says, not as he did” philosophy. Even
though he promises the teen he’ll allow
himself to forgive his father, in order to get
the teen to do like wise. Something seems out
of synch here.
Regardless, “The Gridiron Gang”
represents Dwayne “The Rock” Johnson’s
best screen performance yet. This is also his
second role opportunity based on a real white
man’s life being played by a black actor (like
Johnson did before as the late Buford Pusser
in the 2004 remake, “Walking Tall”). PG-
13; 120min. A Columbia Pictures Release
- Opens Fri. Sept. 15 at selected theaters
THE LAST KISS (***) “The Last Kiss”
offers a familiar yet semi multi-character selfexamination
of thirty-something males in a
mid life crisis over their relationship and
lifestyle. Much of the film begins and focuses
around a seemingly in-love and regarded
“perfect couple”, Michael and Jenna ( played
well by Zach Braff and Jacinda Barrett)
whose lengthy relationship jump starts into
marriage plans when she announces her
pregnant over her parents’ house.
An obvious departure that is far from the
intricate complexities and characters woven
in Oscar winning screenplay for “Crash”,
Writer Paul Haggis’s script adapted from the
French comedy drama, “L’ultimo Bacio” sets
its sights lower that makes this film less
insightful but still interesting and engaging.
Like some men that seem to justify their
action as a “mistake”. Zach Braff does
become a little annoying through his
character’s indecision to recognize what he’s
got in front of him with Jenna doesn’t
represent a jail sentence. Yet this movie
seems to suggest without openly admitting the
guy just wants more than he deserves. Or is it
that he feels he doesn’t deserve what he has?
Generally speaking, “The Last Kiss” is a
passable date movie that delivers its people
and personalities with energy and some
honesty that we can relate and sympathize
with. But Haggis’ words of wisdom come
across late in the film like an exclamation
point that is somehow confound our
sensibilities.
R; 100min. A DreamWorks SKG
Pictures Release - presented at selected
theaters.
THE BLACK DAHLIA (**1/2) Once
considered Hollywood’s most notorious of all
the real-life unsolved murder mysteries that
underscored the seedy side of the glitz and
glamour during the late 1940’s. “The Black
Dahlia” is an uneven yet often intriguing
crime film noir from director Brian DePalma
(“Scarface”, The Untouchables”).
The film interweaves around the uncertain
relationship between two tough L.A.
homicide “supercops”, the more aggressive
Lee Blanchard (colorfully played by Aaron
Eckhart) and his younger, low-key partner,
Dwight “Bucky” Blelchert (Josh Hartnett),
both former boxers nicknamed “Mr. Fire and
Mr. Ice”.
Director Brian DePalma seems to be
bored with it all by the movie’s last 30
minutes. As the proceedings that occurs seems
to be rushed and compacted for sake of time.
Even though Hartnett’s character is meant to
be the opposite of Eckhart’s outgoing
character. His behavior throughout this film
doesn’t believe enough in his motive. Is he
avenging his partner’s death or just trying to
solve another murder case, but it hard to
diagnose by what we have seen here in this
beautifully photographed, yet flat movie.
R; 121min. A Universal Pictures
Release - presented at selected theaters.
CROSSOVER (**) Wayne Brady put
aside his two daytime Emmys and his improve
comedic skills to play it straight as an exsports
agent turned Detroit nightclub owner
who sponsors and illegally profits from his
after hours youth street-ball games in this
uneven urban sports morality drama.
Risking his eligibility to help a friend for
personal reasons, college-bound Cruise
(Wesley Jonathan) performs in a pickup ball
game for Tech (Anthony Mackie) and his
“Enemy of the State” team against rival team,
“Platinum’, led by overly confident yet courtsmart
“Jewelz” (Phillip “Hot Sauce” Champion).
During their ball game, Vaughn (Wayne
Brady) takes notice and tries to lure Cruise
into his representation. Cruise’s B-ball
talents are secondary to his goal to attend
and complete med school after college.
Writer-director Preston A. Whitmore’s
“Crossover” started off with promise
through the characters and his music videolike
techniques that provide flashy
camerawork to match razzle-dazzle streetball
wizardry that is entertaining eye-candy
to watch.
At the same time, “Crossover” seems to
echo a recycled kinship to a previous street
basketball film, “You’ve Got Served”. Still,
this film’s story wallows into a familiar
conclusion and style that weakens the film’s
early potential. And it’s this familiarity that
sends this movie into foul problem by doing
routinely what we’ve seen before.
PG-13; 95min. A Tri-Star Pictures
Release - presented at selected theaters
David Schultz is film critic for NLCN and
other publications. To comment on this
article visit our weblog at: www.nlcn.org. |
