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Associated Press
Oct. 12, 2011 5:38 PM ET (AP)
By CHRISTY LEMIRE
You’d have to really love birding as much as the guys here do to enjoy the strained buddy comedy “The Big Year” to its fullest potential.
Except for some lovely scenery and a few lively interactions between the three stars _ Steve Martin, Owen Wilson and Jack Black _ “The Big Year” feels like the long, cross-country schlep that it is. And in the pursuit of what? The title of spotting the most bird species in North America over the course of a calendar year, something extremely specific that will probably only interest a few people in the audience.
Yes, of course, the journey is the destination and whatnot. And The Big Year competition itself is merely a device, an allegory for the desire these three men have to prove their worth at this particular moment in their lives. If that weren’t obvious to us already, the voiceover-heavy script spells out everything these people are thinking or regretting or learning from this magical experience.
David Frankel’s film, based on the non-fiction book by Mark Obmascik, begins in lively fashion in introducing its characters and establishing its premise, as you might expect from the director of “The Devil Wears Prada.” (Frankel also previously directed Wilson in “Marley & Me.”) But it quickly grows repetitive as Martin (as retiring corporate CEO Stu Preissler), Wilson (as the cutthroat reigning champ, Kenny Bostick) and Black (as divorced, cubicle-dwelling newbie Brad Harris) go to extremes chase each other around and race against the clock.
It’s a mad, mad, mad, mad bird.
Along the way, Stu and Brad form an easy friendship, despite coming from opposite ends of the success spectrum. Watching these two extremely different comic actors team up and play off each other provides one of the few natural joys in a film that too often relies on heartwarming schmaltz.
Sharing screen time with the various geese and eagles and owls is a ridiculously strong cast of supporting actors, most of whom don’t get enough to do. They include Brian Dennehy, Dianne Weist, Joel McHale and Kevin Pollak; even the brief narration at the start, explaining the history of The Big Year, comes from John Cleese.
JoBeth Williams enjoys a few deadpan zingers as Stu’s inordinately understanding wife, while Rosamund Pike provides some substance to what could have been a naggy, one-note role as Kenny’s wife, who longs to have a baby and is increasingly frustrated with his absence and obsession. Anjelica Huston, meanwhile, has some amusing moments as a no-nonsense birding tour guide in Oregon (just the sight of her in braided pigtails, suspenders and a plaid shirt is good for an initial laugh).
Ultimately, though, the who-cares? factor in watching men chase birds is just too insurmountable. “The Big Year” flaps its wings awfully hard but never truly takes flight.
“The Big Year,” a Fox 2000 release, is rated PG for language and some sensuality. Running time: 99 minutes. Two stars out of four.
___
Motion Picture Association of America rating definitions:
G _ General audiences. All ages admitted.
PG _ Parental guidance suggested. Some material may not be suitable for children.
PG-13 _ Special parental guidance strongly suggested for children under 13. Some material may be inappropriate for young children.
R _ Restricted. Under 17 requires accompanying parent or adult guardian.
NC-17 _ No one under 17 admitted.
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Associated Press
Oct. 7, 2011 4:57 PM ET (AP)
By BRETT ZONGKER
Actor Luke Evans and director James McTeigue laid a wreath at Edgar Allan Poe’s grave as they paid their respects and talked about their upcoming film “The Raven,” which reimagines the American writer’s last days.
Evans, 32, plays a young Baltimore detective hunting for a killer who is using Poe’s grisly stories as the inspiration for a string of murders. John Cusack plays Poe, who joins the hunt.
Poe died in Baltimore on Oct. 7, 1849.
Evans said he was captured by Poe’s biography and considers him the “godfather of American literature.” He said he learned of Poe’s heartbreak and alcoholism and his unique role in history as the first American writer who tried to make a living by writing.
“This man started something that’s still thriving today, the murder stories and the detective,” Evans told The Associated Press. “He was the beginning of all of that.”
The movie is a blend of fact and fiction, marrying Poe’s tumultuous life with his stories, which sets it apart from other Poe films, McTeigue said.
Poe’s famous poem, “The Raven” figures into the script in a scene where he gives a dramatic reading of the poem to a lady’s society luncheon. It’s clear, though, that Poe is just “going through the motions because he has to make a living,” McTeigue said.
Both Evans, who is Welsh, and McTeigue, who is Australian and known for his film “V for Vendetta,” were eager to visit Baltimore for the first time. McTeigue said he researched Baltimore scenes for the film, but it was shot in Budapest, Hungary, for its older architecture.
Visual effects were used to add the historic Baltimore Harbor, Fell’s Point and the city’s Washington Monument to the film.
“The Baltimore of 1849 doesn’t exist anymore,” McTeigue said. Still, he said, “it’s nice to come and walk the streets and be where Poe is.”
Evans also stars in the upcoming films “The Three Musketeers” and “Immortals,” in which he plays Zeus, king of the Greek gods. His film career is less than four years old after starting his career on stage in London’s West End. His role in “Clash of the Titans” put Evans on the film map.
“The Raven” opens nationwide on March 9.
While Evans had to create an American accent for “The Raven,” he didn’t try to adopt that unique Maryland way of saying “Bal-more” for his detective character, he said.
“I didn’t want to embarrass myself because it’s quite a specific accent,” he said.
After Evans and McTeigue laid a wreath at Poe’s downtown grave in a one-time church cemetery, Evans rubbed the nose of Poe’s likeness in a penny that’s part of his tombstone as tourists and locals gathered around to snap pictures. The filmmakers also toured the Edgar Allan Poe House and Museum.
They bemoaned the possible closure of the Poe House after the city cut off funding for the museum this year and said they hope the movie can draw attention to his life in Baltimore.
“He left such an incredible legacy and this city sort of owns it,” Evans said. “It’s a really special thing.”
Jeff Jerome, curator of the Poe House, said the museum has enough money to stay open until June but will need at least $ 85,000 a year to continue beyond then. The city has hired consultants to find a way to make the museum self-sustaining and perhaps transfer its ownership to a private group.
Few groups are looking to acquire a museum house, though, Jerome said.
Attention generated by the movie in the months ahead will be good for the Poe House, which continues to raise private funds on its own, he said.
“This movie hasn’t even opened yet, and it already has generated a lot of controversy” over its fictionalization of Poe’s final days, Jerome said. “You have to suspend your belief when you see a film like this. I’m very excited about it.”
___
Follow Brett Zongker at http://twitter.com/DCArtBeat
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