Daily Archives: May 12, 2009

Passengers

A handful of eerily staged scenes and a surfeit of passably evocative production design can’t save the otherwise muddled, new-to-DVD Passengers, in which recent Oscar nominee Anne Hathaway stars as a grief counselor assigned to help survivors of a fiery plane crash. In trying willfully to tick such a wide variety of genre boxes, though, the gauzy melodrama ends up servicing none that credibly.

Assigned by her boss (Andre Braugher) to
help walk a quintet of airplane crash survivors through their shock and
grief, psychologist Claire Summers (Hathaway) encounters particular
difficulties with one of them, Eric (Patrick Wilson). While others display
behavior more consistent with massive trauma, Eric is bouncy and charged by a newfound energy, but also secretive. He flirts with Claire and asks her out
on dates, which strikes her as odd. As her other clients begin
to disappear, though, Claire finds herself swimming in paranoia,
suspecting a strange airline employee (David Morse) of having a hand in their
disappearance, possibly to cover up the real reasons for the crash.

Narratively, Passengers marks a departure from the past films of Colombian-born director Rodrigo Garcia (Nine Lives), whose recent small screen work on HBO’s In Treatment showcased a level of psychological engagement not on display here. Passengers‘ mystery never takes hold, mainly because Ronnie Christensen’s script
is a thinly sketched mood-piece of appropriated motifs and
characterizations
. Almost a decade on, the huge success of M. Night
Shyamalan’s The Sixth Sense is still spawning mystery-thrillers
that seem chiefly backwards-plotted, with gimmicky point-of-view pivots
that are meant to draw appreciative audience reactions out of a
re-framing of the narrative. Given the loose, unrealistically pitched nature of some of the characters in Passengers,
though, it’s quickly apparent that the movie isn’t a straight dramatic
telling, and only a small handful of scenarios seem plausible. Rodrigo,
accordingly, is left to try to imprint and impress a unifying visual
strategy on this forestalled revelation, with only fitful success.

Housed in a regular plastic Amaray case, Passengers comes presented in 2.40:1 anamorphic widescreen, with English and French language Dolby digital 5.1 audio tracks, and complementary English, French and Spanish subtitles to boot. Three deleted scenes run under eight minutes, while a 24-minute making-of featurette includes boilerplate interviews with cast and crew. More specific is a 16-minute featurette focusing on the special effects and stunt work used to capture the movie’s emotional centerpiece, its plane crash. The heftiest supplemental feature, though, is a feature-length audio commentary track with Garcia and Wilson; the pair ladle praise on the absent Hathaway, and generally strike a nice balance between production anecdotes and thematic discussion. To purchase the DVD via Amazon, click here. C- (Movie) B (Disc)

Aero Fetes Jules Dassin with Tribute Screenings

Blending gritty reality and poetic
expressionism, actor turned screenwriter and director Jules Dassin first gained recognition
for a series of tough-minded, urban action movies during film noir’s
glory years
. This weekend, the Aero Theatre celebrates his work with three evenings of double features. The Naked City and Never on Sunday kick things off on Friday, May 15; Saturday, May 16 brings a heist flick double-fister, in the form of 1954’s Rififi and 1964’s Topkapi; Sunday, May 17, the tribute closes with screenings of 1950’s classic Night and the City and Thieves’ Highway.

The Aero Theatre
is located at 1328 Montana Avenue in Santa Monica. Tickets for this movie, as well as other special events, are available through Fandango, but for 24-hour recorded
information on directions and the Aero’s upcoming schedule,
phone (323) 466-FILM. For more information on Easy Virtues, which opens May 22 from Sony Pictures Classics, visit its British web site by clicking here.

Happy Birthday, Malin Akerman

It’s a happy birthday to Swedish-born Malin Akerman today, who turns 31 and probably celebrates by receiving some more Silk Spectre swag from jokester friends and representatives, and being mistaken for Sienna Miller by some hapless barista. It’s no coincidence that the brothers Farrelly cast Akerman in The Heartbreak Kid; she has some of the same spunky, manic charm that helped propel Cameron Diaz into the stratosphere after her winning turn in the smash hit There’s Something About Mary. Key word: some. But she was a part of Watchmen‘s problems, sad but true, and I don’t know that anyone of reasonable mind can picture her donning a wig and going homely, a la Diaz in Being John Malkovich, let alone dabbling substantively in drama.

I met Akerman, who actually has a music background, on the set of The Brothers Solomon, and the general impression I got was of a fairly sweet-natured gal who, in the memorable words of Mike Skinner, is fit but knows it, and is thus basically just along for the ride in the whole film world. If there exists a burning artistic ambition or fierce independent streak, it was hidden away that day. The star-stuffed ensemble comedy Couples Retreat is on deck for her later this, among other stuff in the works; it’d be interesting, though, if Akerman mixed in a small-town melancholic indie or two along the way over the next couple years, either in the lead or as the wise but somehow broken friend. Nothing too overtly melodramatic, just a tonal change-up. It could open new avenues for her, I think. Regardless, somewhere, Kal Penn and John Cho smile to themselves, and/or possibly exchange the email equivalent of a fist bump.