DEATH WISH

Bruce Willis     Vincent D’Onofrio     Elisabeth Shue     Camila Morrone     Dean Norris     Kimberly Elise

     This is a film that will definitely appeal to gun enthusiasts.  It not only glorifies guns, but it drums in the message throughout about how important they are for protection.  Why, a gun can shoot an intruder in seconds, while it takes police minutes to reach you, exclaims the young, attractive gun dealer at the Jolly Roger.  The film opens up with numerous announcements of all the murders in Chicago, saying to the audience, “Be afraid.” 

     Then we get a picture of a golden family:  Father (Willis) a surgeon, mother (devoted and earning a Ph.D.), daughter (Morrone) just accepted by her first-choice university, and loyal uncle (D’Onofrio) who is needy, but clearly loves his brother and his family.  Heinous things then happen to the wife and daughter, leaving the father, Paul, in despair.  He is a successful surgeon used to solving medical problems, and when he learns from Detective Raines (Norris) how slowly his investigations are proceeding and how few murders are actually solved, this, coupled with his guilt about not protecting his family, spurs him into action.

     Paul begins to educate himself about guns and practices shooting.  But he also has time on his hands and starts wandering the streets and riding buses, hoping he will run into a white van with three men inside (his only clue about the intruders).  He doesn’t see that, but he does see crimes being committed and feels behooved to intervene, which he does in a car jacking and when a young boy is shot in the leg by the “Ice Cream Man.”

     His interventions earn him a reputation, which, with his determination in finding the perpetrators in his own case, serves to encourage him in vigilantism.  Now, keep in mind, this is Bruce Willis the actor; he will be imminently successful, will be a perfect shot, and will have the best and biggest guns at his disposal.  What follows is entertaining if you like that kind of story and if you can ignore all the blood and torture that follows. 

     It’s hard to see what the purpose is in movies like Death Wish, which glorify guns and vigilante heroism, beyond that of supporting the National Rifle Association (NRA), which probably helped finance this film.  While the deaths that Paul wreaks seem justified in the heat and emotion of the moment, it sets a bad precedent for execution without the benefit of trial by jury. 

     Films such as this are troubling to me, especially when I hear audience reactions (like chuckles and laughs) that clearly indicate so many do not comprehend the enormity of the gun issue.  This is not “light entertainment”, nor should it be.  The only redeemable aspect of this film is that the acting is very good. 

This is a bad model for anyone to follow, even if you think you can be as successful a vigilante as a Bruce Willis character.

Grade:  D                                    By Donna R. Copeland

BATTLE OF THE SEXES

Emma Stone     Steve Carell     Andrea Riseborough     Sarah Silverman     Bill Pullman     Alan Cumming     Elisabeth Shue

      This was a full-blown battle, made more public by the macho boasting of Bobby Riggs for weeks beforehand.  It was a contest with a winner-take-all prize of $100,000.  By the time the match between him and Billie Jean King took place, they had an audience of 50 million in the U.S. and 90 million worldwide, with 30,472 present in the Houston Astrodome.  King was passionate in proving that women’s tennis was just as important/entertaining/professional as men’s, and that they should be paid the same.  Male chauvinism was common in the 1970’s, so men were aghast that women should expect such a thing, saying men were stronger, faster, and better than women who were weaker and “couldn’t stand the pressure.” 

     All this seemed to spur King on even more; she was still stinging from Jack Kramer’s (a former tennis star and radio commentator, smoothly played by Bill Pullman) banning women from a major tournament when they demanded to be paid on the same scale as the men.  Later, when Riggs and ABC wanted Jack to be the commentator for the Riggs/King match, King protested, and threatened to withdraw from the contest unless they hired someone else, reasoning that Jack did not believe in women’s tennis.  “Either he goes—or I go.”  She got her way.

     The match is filmed extremely well by cinematographer Linus Sandgren, starting out slower so each lob is carefully shown, and gradually speeding it up to real time, and the music is well chosen by Nicholas Britell.  With a filmography that includes movies about Red Hot Chili Peppers, R.E.M., and Smashing Pumpkins, the directors Jonathan Dayton and Valerie Faris likely had some informed input for the music as well.  Although I enjoyed the music immensely, it was often too loud for my ears, overpowering the drama and dialog.

     Emma Stone and Steve Carell demonstrate their considerable talent in portraying two colorful characters.  Carell’s Bobby is as obnoxious and full of himself as he is supposed to be, which is in stark contrast to Carell as I’ve seen him in real life.  I was especially moved by King as she is shown in the film and beautifully exemplified by Stone; always dignified, magnanimous enough to initiate the arms-around-the-shoulders exit at the end of the match, and keeping her cool amidst rude taunts and tense negotiations. 

     There were a couple of scenes that made me shake my head (a last-minute hair fix just before the major event and Billie Jean King by herself at the end of the match), and sure enough, these seem to be Hollywood elaborations on the real story.  They are unnecessary veneers to a story that is already sufficient in itself.

Battle of the Sexes exemplifies the ongoing struggle between males and females, but in an entertaining manner.

Grade:  B                                    By Donna R. Copeland