By Dave Montalbano

AdventuresOfCinemaDave.com

Gran Torino was presented as Clint Eastwood’s swan song as an actor. After staying behind the scenes directing J. Edgar,” “Hereafter” and “Invictus, Eastwood must have felt the call of Thespis for Trouble with the Curve.

There are shades of the actor’s iconic past in this role, but Trouble with the Curve is Eastwood’s sweetest movie in 32 years, since the release of Bronco Billy.

As Gus, Eastwood portrays a veteran baseball scout who is suffering from either macular degeneration or glaucoma. He is too stubborn to get his eyes tested. Since he is unable to use a computer, Gus fears future unemployment.

Enter Mickey (the adorable Amy Adams), Gus’ estranged daughter who happens to be a hot shot lawyer on the verge of a partnership with a law firm. She is recruited by family friend Pete Klein (John Goodman) to help scout a hot shot recruit who cares more about future endorsement deals than improving his batting stance.

With all these character motivations in place, Trouble with the Curve takes its sweet time to reach a conclusion that will be satisfactory for these unsatisfied characters. Much like his character in Million Dollar Baby, Eastwood’s Gus dispenses Trouble with the Curve valuable life lessons about America’s Past Time.

While Eastwood is top billed, Trouble with the Curve is really Amy Adams’ motion picture. She is a tomboy without losing any femininity and holds her own on the big screen with the iconic movie star and veteran actors in small roles – Bob Gunton, Matthew Lillard, Robert Patrick and Justin Timberlake.

It is the fine ensemble cast that elevates this film. Without Eastwood and Adams, Trouble with the Curve would just be another made-for-television drama on the Hallmark Channel.

That said, this motion picture is unlike anything on the big screen these days. In contrast to the finale of Gran Torino, Clint Eastwood is given a more iconic exit for his screen image; and it is worth it to hear the soulful Ray Charles and the Raelettes sing “You are my Sunshine” during the closing credits.

By Dave Montalbano

AdventuresOfCinemaDave.com

The 27th Annual Ft. Lauderdale International Film Festival will present the “Star on The Horizon Award” to 12-year-old actress and Ft. Lauderdale native Bailee Madison, who has had featured roles in Bridge to Terabithia, Don’t Be Afraid of the Dark and will be seen in Parental Guidance to open this Christmas.

Madison will receive her award at the Oct. 21, 3 p.m. screening of Cowgirls N’ Angels at Sunrise Civic Center Theater (info: www.fliff.com). Madison stars as a rebellious girl who dreams of finding her father. Along the way, she makes friends with trick horse riders on the rodeo circuit.

This Sunday, Sept. 23, Madison will be selling lemonade to raise money for Breast Cancer Awareness at the In Synch Cut-A-Thon in Imperial Point Shopping Plaza, 5975 N. Federal Hwy., in Ft. Lauderdale from 11 a.m. to 4 p.m.

Between making movies and school work, Bailee has been devoting her free time to Alex’s Lemonade Stand, an organization that encourages children nationwide to raise money to find a cure for childhood cancer through running their own lemonade stands. For more details about this street party called Kiss Breast Cancer Goodbye, call In Synch Hair & Body Works at 954-491-4961.

Despite intense box office competition, Arbitrage held its own in limited release at the FAU Living Room Theater. It is a timely story that explains the business concept of “arbitrage” or practice of taking advantage of a price difference between two or more markets.

For many decades, Robert Miller (Richard Gere) has been a master of arbitrage on Wall Street, until his cash flow constricts. While presenting an impeccable façade to the public, Miller’s home life has become a den of iniquity.

Much praise has been given to Richard Gere’s performance, though it is a role he was born to play, given his previous three decades of work on the big screen.

As Miller’s personal fury, British actor Tim Roth steals the show as a New York cop who would love to bust a Manhattan Master of the Universe.

By Dave Montalbano

AdventuresOfCinemaDave.com

We are approaching the four-year anniversary of the September stock market crash. While the market has rebounded with a better rate of return than the 2009 Federal Job Stimulus Bill, Hollywood Producers have created several movies about this subject, most notably Wall Street: Money Never Sleeps.

While the Manhattan media has generated some buzz, Arbitrage opens this weekend locally. The film reteams Richard Gere and Susan Sarandon as successful robber barons from Wall Street who are nearing retirement. As we have learned from the Greek family tragedies, a simple character flaw can undermine the family dynasty.

Limping along at the box office is ParaNorman, a stop-motion animated film. This poorly-marketed movie is a gem of a monster movie that has generated much positive word of mouth. If you get a chance, see ParaNorman on the big screen before it is too late; it is the best animated film of the year.

The film opens in a New England neighborhood that looks eerily similar to that of Haddonfield, Elm Street and Chrystal Lake. Young Norman is a freaky kid who sees dead people. Since Norman is basically a nice kid, he gets along with the ghosts that haunt his neighborhood.

Enter the scary and bloated Mr. Prenderghast, who warns Norman about the 300-yearold curse of the Old Witch. Like Norman, Mr. Prenderghast sees ghosts and has failed to warn the town of the Old Witch’s revenge.

With such a Gothic setup, ParaNorman succeeds by being contemporary fable. Frightening at first, zombies rising from their graves are less scary than mob rule inspired by reality television shows like Jersey Shore and Honey Boo Boo.

Besides telling an entertaining story for both children and adults, ParaNorman succeeds by presenting a fable worthy of Aesop. We learn that the cause of the Old Witch’s curse is a contemporary problem that has been the plague of all public schools. ParaNorman can provide a great resource for a lesson about bullying.

By Dave Montalbano

AdventuresOfCinemaDave.com

Eight years ago, Michael Moore’s Fahrenheit 911 earned $222 million, thus becoming the highest grossing documentary of all time. It should be noted that Moore received $666 million in free public relations from the major news networks, while American troops were fighting two wars against al-Qaeda in Iraq and Afghanistan.

With far less support from the mainstream media, 2016: Obama’s America is quietly filling theater seats across the nation.

Lacking Michael Moore’s artistic flair, directors John Sullivan and Dinesh D’Souza present their case in a no nonsense style. Not trying to press emotional buttons, Sullivan and D’Souza challenge the intelligence of the ticket buyers.

The first half of this film provides a good history lesson for people not familiar with the malaise of Jimmy Carter’s presidency. The second half of the film predicts what the world could be like if Obama wins a second term on Nov. 6. One premise seems certain – that Obama’s policies are not about helping the poor, but stripping the wealthy.

Michael Moore and his sycophants are not likely to watch 2016: Obama’s America, but those seeking an informed opinion may want to catch this flick at a matinee price. When the film concluded, people applauded. While the credits rolled, a man shouted “Vote Romney” and the Monday afternoon crowd applauded again.

Despite some amazing blockbuster performances from Marvel’s The Avengers and The Dark Knight Rises, the summer of 2012 will be remembered for the loss of many fine actors with connection to South Florida: Ben Gazzara, Ernest Borgnine, Celeste Holm and G-Star teacher Ron Palillo, best known for his work on Welcome Back, Kotter.

The latest loss is Michael Clarke Duncan. Best known for his Oscar-nominated performance in The Green Mile, Michael was a big man with a basso profundo voice utilized for many television commercials and animated features, most notably Brother Bear and both Kung Fu Panda movies.

Like a big kid, Michael loved being associated with action movies, especially comic book adaptations like Sin City and Daredevil. These roles made Michael more approachable to children. While receiving his award from the 2004 Palm Beach International Film Festival, Michael visited Palm Beach schools and encouraged students, “You can do anything.”

By Dave Montalbano

AdventuresOfCinemaDave.com

With slightly less momentum than the original flick, The Expendables 2 opened strong with a nearly $29 million opening weekend – more than double ParaNorman (which is an underrated motion picture for families). While all the leading men have seen better days, there is no denying the fun that percolates through the silver screen.

Barney Ross (Sylvester Stallone) and his team of mercenaries called the Expendables (Jason Statham, Dolph Lundgren, Terry Crews, Liam Hemsworth, Randy Couture) are recruited by Church (Bruce Willis) for a mission. When one of the Expendables is killed by master terrorist villain (Jean-Claude Van Damme), the Expendables plan payback.

Eventually, Chuck Norris and Arnold Schwarzenegger join the Expendables to root out the villainous villain. As the action commences, Director Simon West is wise enough to frame Stallone, Schwarzenegger, Willis and Norris in a single shot.

The action is loud, graphic and over-the-top; yet, it fulfills its entertaining purpose. Think of The Expendables 2 as a modern-day Gene Autry/Roy Rogers Saturday matinee cowboy flick, minus the singing around the campfire.

Lacking the automatic assault rifles of the modern era, Free Men is a World War II drama with quiet action. A French film with English subtitles, Free Men is based on real life incidents involving Muslims and Jews.

Younes is a young Muslim black-marketeer who becomes an informer for Nazi police. As Jewish immigrants are rounded up, Younes sees his income diminishing. When he consults with the head of his Mosque, Si Kaddour Ben Ghabrit (Michael Lonsdale), Younes learns that his mentor is harboring political criminals, Jewish refugees.

In direct contrast to The Expendables 2, Free Men is a simple film with complex character motives. It is a good movie that will be remembered for Lonsdale’s dignified performance as a humanitarian hero, which is ironic since he is best known for his role as a James Bond villain in Moonraker.

By Dave Montalbano

AdventuresOfCinemaDave.com

It was 13 years ago this month that The Sixth Sense was released, becoming the biggest grossing horror movie of all time. While the following summers presented some fine ghost stories on the big screen (What Lies Beneath, The Others), no horror film has come close to The Sixth Sense’s nearly $300 million box office gross.

Released recently on DVD, The Haunting of Whaley House brings some fun back into the ghost story genre. Penny Abbott (Stephanie Greco) is a tour guide for the Whaley House in San Diego. Under the tutelage of Bethany Romero (Lynn Lowry), Penny is warned not to do three things that could disturb the spirits of Whaley House. Because of peer pressure, Penny relents and ends up doing the three things she was warned about.

Penny allows her amateur ghost-busting friends into the house under the cover of night. The Whaley ghosts are not amused and plot their passiveaggressive retribution.

It should be noted that this film is an Asylum production. Besides providing the Syfy Channel B-movie fare like Shark Week documentaries and Bigfoot (starring members The Partridge Family and The Brady Bunch, Danny Bonaduce and Barry Williams, respectfully), The Asylum produced fare with titles like Bikini Spring Break and Mega Python vs. Gatoroid.

The beauty of this film is that it acknowledges the B-movie expectations of cheesy special effects deaths, morbid humor and one scene of gratuitous nudity. Writer/Director Jose Prendes’ dialogue is snappy with humor.

Genre veteran Lowry (Cat People, The Crazies) bookends the tale, providing both menace and sincerity. As the central character Penny, Greco confidently leads an ensemble of character actors.

Halloween season begins early this year and The Haunting of Whaley House delivers the first chill of autumn.

By Dave Montalbano

AdventuresOfCinemaDave.com

This month marks the 13th year since I wrote my first review. To put these 13 years in perspective, if a parent read my review to their child, the child would be starting Kindergarten in 1999. That same child would now be packing for their freshman year for college.

My first review was a positive one, for the Steve Martin- Eddie Murphy comedy, “Bowfinger,” which still holds up as an entertaining yarn. During the summer of 1999, the competition for box office dollars included two Julia Roberts comedies (“Notting Hill,” “Runaway Bride”), “Star Wars Episode I The Phantom Menace” and the second “Austin Powers” movie. Feeling nostalgic?

While 2012 has presented some good blockbusters (“The Dark Knight Rises,” Marvel’s “The Avengers,” “Prometheus”), this summer has represented much disappointment. High priced celebrities like Julia Roberts, Tom Cruise and Alec Baldwin failed to attract ticket buyers. Besides “Rock of Ages,” Baldwin presides over another box office disappointment, Woody Allen’s “To Rome with Love.”

Last year’s “Midnight in Paris” was the first Woody Allen movie to make me forget about his scandal involving Mia Farrow from 20 years ago. So it was with high expectations that I viewed Allen’s new film “To Rome With Love.”

Alas, this newest film is a dull retread about Woody Allen’s usual neurosis and existential theories. The only saving grace to this motion picture is the postcard cinematography celebrating Italy’s Eternal City.

“To Rome with Love” takes its cues from Italian farce. We are introduced to a young couple in love, their future inlaws and outside characters who are more interesting than the leads. The set-up to the punchlines is forced and so are the payoffs.

The 2012 Olympics wraps up Sunday and, hopefully, will release some more interesting movies before football season begins.

By Dave Montalbano

AdventuresOfCinemaDave.com

Madoff and Scott Rothstein … three mega millionaires whose fall from power became a public spectacle. As history often reminds us, “Those who do not learn from history are doomed to repeat it.”

Two films, Farewell My Queen and Queen of Versailles, open tomorrow that explore that famous George Santa-yana’s historical quotation, but with a humane perspective.

Farewell My Queen is taken from the perspective of Sidonie Laborde (Léa Seydoux), the Lady-in- Waiting to Queen Marie Antoinette (Diane Kruger). The Queen and the maiden share a love of reading saucy books from the royal library. With an emphasis upon fantasy, these two overlook neighborhood poverty and that dead rats are floating up the river. After the storming of the Bastille, the Queen’s decadent reign starts to crumble.

A French movie with English subtitles, Farewell My Queen has a touch of Upstairs/Downstairs and Downtown Abbey. For history junkies, this film presents Castle Versailles with glorious cinematography. As the queen who suffers from attention deficit disorder, Diane Kruger provides a grand performance, mixing public generosity with acute selfishness. Farewell My Queen is a beautiful downer.

The Queen of Versailles is closer to home, Orlando actually. The film opens with construction of 90,000 sq. ft. home, modeled after Castle Versailles. Westgate timeshare mogul David Siegel is building this palace for his trophy wife Jackie because he can afford to do so.

However, when the stock market collapses in 2008, Siegel can no longer do the things he wants to do. As David struggles to keep his empire afloat, Jackie is clueless about her financial peril.

As the modern Queen of Versailles, Jackie is presented as a loving mother with one adoptive child, many dogs and exotic pets. As David becomes more stressed over his financial woes, Jackie cannot grasp the concept of potential poverty.

Unlike the devious qualities of Helmsley, Madoff and Rothstein, the most scary aspect about The Queen of Versailles is how one can relate to the Siegels; they can be a family member or a neighbor. As Farewell My Queen and The Queen of Versailles remind us, pride before a fall is a human characteristic.

By Dave Montalbano

AdventuresOfCinemaDave.com

There was no denying the edgy anticipation for the first showing of The Dark Knight Rises at the Museum of Discovery IMAX Theater last Friday afternoon.

After the horrendous news from Aurora, Colorado, management and ushers were serious- but-happy to see everyone show up for their sold-out screening. They acknowledged the police officers and they also mentioned that there were undercover police officers in the audience. Audience safety was paramount.

Marketing & Communications Director Marlene Janetos then asked for a moment of silence before the film began. When the film began, the “eleephant was out of the auditorium” and the audience felt safe to enjoy the most anticipated film of the year, guilt-free.

Like Marvel’s The Avengers, Christopher Nolan’s The Dark Knight Rises managed to live up to unrealistic expectations. With new characters like Bane (Tom Hardy) and Selina Kyle (Anne Hathaway) added to the mix, this Dark Knight film stands on its own. But a review of Batman Begins, which broadens character motivations, will provide extra pleasure.

There is a human element that director Christopher Nolan has captured in this comic book mythology. It is also worth noting that in the end credits, actor Christian Bale is listed as Bruce Wayne, not Batman. Unlike the campy Adam West Batman from 46 years ago, this Bruce Wayne is closer to John Wayne realism.

A man seasoned by violence since childhood, Bruce Wayne is weary from his previous battles. Peace has come to Gotham City, but at the cost of the souls of Bruce Wayne and Police Commissioner Jim Gordon (Gary Oldman), who thought it was better to glorify a false legend than to face the truth.

Reality kicks back when master terrorist Bane arrives. A mastermind and first class monster, Bane organizes his army of criminals and unleashes inferno upon the citizens of Gotham. Unlike the mentally unbalanced adversaries of the previous movies, Bruce Wayne faces his most dangerous and disciplined challenge yet.

The themes about politics, violence and criminology are deep with well-balanced arguments. However, this is not a doctorate dissertation; this film is a human story behind the masks. Clocking in at 2¾ hours, The Dark Knight Rises is pure cinematic popcorn-eating escapism, best seen on the big screen.

By Dave Montalbano

AdventuresOfCinemaDave.com

With science fiction becoming a big thread in popular culture, San Diego’s Comic-Con, held July 12-15, is as much a summer pastime as baseball, hot dogs and pecan pie. While predicting next summer’s blockbuster hits, (Iron Man 3, Pacific Rim), Comic-Con acknowledges the universe of Star Trek and Star Wars, Marvel Comics with ancient myths and legends. Last year, Snow White was the woman in the Spotlight.

A German oral tradition that was put to paper by Brothers Grimm, the retelling of Snow White usually involves these elements – seven dwarfs, a forbidden forest, a talkative mirror and an evil queen who wants to harm an innocent adolescent girl.

While the most iconic film has been Disney’s Snow White and the Seven Dwarfs, this young lady has worked steadily for 65 years and met The Three Stooges. This year, two Snow White flicks have been released, but the evil queen stole both shows.

Julia Roberts looked into Mirror Mirror in her guise as the evil queen. Directed by Tarsem Singh (The Cell, The Fall), this rendition contains spellbinding visual composition and a vivid color palette. The emphasis is on humor and Roberts exudes broad comedic villainy. Mirror Mirror is over-the- top, but fun.

Snow White and the Huntsman features Charlize Theron as the evil queen. Seduced by her own beauty, this evil queen is more warrior than Robert’s evil queen. Therefore, she is more of a match for Snow White, portrayed by Kristen Stewart.

Given Stewart’s resume, Snow White and the Huntsman feels like an episode of Stephenie Meyer’s Twilight series. This time, Snow White is aided and abetted by Thor, oops, I mean actor Chris Hemsworth, as the Huntsman.

More grounded in “reality” than Mirror Mirror, Snow White and the Huntsman will satisfy the medieval crowd until The Hobbit: An Unexpected Journey is released in December.