One-in-a-million film

EVAN MARMOL

“Million Dollar Baby” is the type of seminal film that touches an

entire generation. As a film it is touching, provocative and

innovative; as a social statement it has reached out to a generation

of women by demonstrating and inspiring self-empowerment and hope.

Starring, directed and produced by Clint Eastwood, this film is a

consummate masterpiece that reaches out and grasps its audience’s

heart, mind and soul.

The story is about a haggard boxer, Dunn (Clint Eastwood), who

runs a ramshackle gym in Los Angeles with his longtime friend, a

former fighter, played by Morgan Freeman. Dunn is estranged from his

daughter and riddled with self and spiritual doubt. When a female

boxer, Maggie Fitzgerald (Hilary Swank), enters the gym for training,

she challenges his chauvinism and demons.

The narrative builds into a father-daughter relationship with

heart-wrenching pitfalls as this young lady explores the ruthless

world of women’s boxing. The film is simultaneously uplifting and an

exploration into human suffering. The character development and

performances draw the audience entirely into the film.

Thoroughly uncool

“Be Cool” is anything but. Thefilm is bereft of anything

resembling or suggestive of smart, hip or entertaining.

The film is as nimble as a drunk on Xanax, but not nearly as

humorous. It staggers from one mediocre subplot to another with no

logic, segues or purpose. The scintillating, all-star cast does

nothing to further the heavy-handed, lackluster narrative.

The gist is startlingly predictable. Appearing as nothing more

than a cheap sequel to “Get Shorty,” a poor movie in its own right,

“Be Cool” attempts to be a jaunt into the world of record producing.

The plot begins with a disillusioned movie producer named Chili

(John Travolta) helping a young woman break into the music industry.

Chili’s former exploits in organized crime are used as a lazy device

for comedic consequences.

Uma Thurman, Vince Vaughn, the Rock and company seem incidental to

a plot that needed strong performances, not pretty faces.

‘Ring Two’ unfocused

At the start of “The Ring Two,” when Rachel Keller (Naomi Watts)

moves to a small town in Oregon with her son Aidan, she expects

freedom from traffic, crime, noise and, most importantly, demonic

little girls crawling out of wells to exact revenge on unsuspecting

victims.

Much to her chagrin, the little girl, Samara, is still up to her

out-of-focus, well free-climbing, and she has been patient enough to

await the sequel to resurface precisely in the tiny hamlet to which

Keller has fled.

This movie is shoddily edited, the narrative is tortuous, and the

performances are awful.