list http://www.spout.com/ Recent community activity around Erin Brockovich on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Erin_Brockovich/138123/default.aspx Title: Erin Brockovich
Year: 2000
Director: Steven Soderbergh
Plot: Julia Roberts stars in this legal drama based on the true story of a woman who helped win the largest settlement ever paid in a direct-action lawsuit. Erin Brockovich (Roberts) is a single mother of three who, after losing a personal injury lawsuit, asks her lawyer, Ed Masry (Albert Finney), if he can help her find a job. Ed gives her work as a file clerk in his office, and she runs across some information on a little-known case filed against Pacific Gas and Electric. Erin begins digging into the particulars of the case, convinced that the facts simply don't add up, and persuades Ed to allow her to do further research; in time, she discovers a systematic cover-up of the industrial poisoning of a city's water supply, which threatens the health of the entire community. Erin Brockovich was directed by Steven Soderbergh; Julia Roberts earned a $20 million payday for her work on the film, the highest salary paid to a female film star up to that time. ~ Mark Deming, All Movie Guide
Times Tagged: 25
Number of Lists: 30
Number of blog posts: 4
SpoutRating: 3
]]>Wed, 06 May 2009 20:05:56 GMTErin Brockovich2000Steven Soderbergh<a href="/players/P____60634/default.aspx" style='text-decoration:underline'>Julia Roberts</a> stars in this legal drama based on the true story of a woman who helped win the largest settlement ever paid in a direct-action lawsuit. Erin Brockovich (Roberts) is a single mother of three who, after losing a personal injury lawsuit, asks her lawyer, Ed Masry (<a href="/players/P____23545/default.aspx" style='text-decoration:underline'>Albert Finney</a>), if he can help her find a job. Ed gives her work as a file clerk in his office, and she runs across some information on a little-known case filed against Pacific Gas and Electric. Erin begins digging into the particulars of the case, convinced that the facts simply don't add up, and persuades Ed to allow her to do further research; in time, she discovers a systematic cover-up of the industrial poisoning of a city's water supply, which threatens the health of the entire community. Erin Brockovich was directed by <a href="/players/P___112040/default.aspx" style='text-decoration:underline'>Steven Soderbergh</a>; <a href="/players/P____60634/default.aspx" style='text-decoration:underline'>Julia Roberts</a> earned a $20 million payday for her work on the film, the highest salary paid to a female film star up to that time. ~ Mark Deming, All Movie Guide25Tag Target (>10)3043http://www.spout.com/ProductImages/u39617xkxia.jpghttp://www.spout.com/films/Erin_Brockovich/138123/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2008/12/2/37857.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 12/2/2008 3:00:54 PM
Body: When I first had the idea to assemble a dream cast for a movie about Somali pirates, I envisioned a typical actioner with a dash of tense international politics. The pirates would be played by unknown actors of African descent, with the exception of “the good one,” who would be played by either Djimon Hounsou or Chiwetel Ejiofor. He would realize his folly, then become an integral part of the hero’s harrowing siege of a captured vessel. The hero, of course, would be a white, male, American naval officer, rough around the edges, not afraid to cut the crap and do the right thing. As it turns out, the truth of what’s going on in the Gulf of Aden is much more fascinating. Enter Michele Ballerin: Virginia socialite, investment banker, weapons dealer. When she’s not breeding horses or fending off allegations of fraud in Austria, she’s running Select Armor, Inc. The company is not your typical private security firm competing for lucrative anti-terror contracts. It’s a small, nimble company, run by a woman, with small town roots, and plenty of murky dealings in places like Somalia. What does Ballerin have to due with the pirates? More importantly, who should play her in a movie? More after the jump. Not a lot of information is available on Ballerin, but one thing is clear: she would make a great movie character. She’s someone whose leaked e-mails make disparaging remarks about “the f*cks” from the UN who snoop around Select Armor’s dealings. After being put up for a few days Kampala, Uganda by the president of that country, she reportedly said that, “Kampala is a real shithole.” Nevertheless, she has a tremendous amount of traction in Africa, especially in Somalia. Enter the pirates: According to this ABC News story, Ballerin personally took over negotiations with the bandits aboard the Saudi oil tanker Sirius Star, when official talks broke down. A senior government official told ABC News, “It’s pretty sad when a horse country socialite has more sway in Somalia than the whole US government.” So, the real casting question is who could play Michele Ballerin, the potty-mouthed, middle-aged, Southern debutante who shoots from the hip? She needs to have loads of charm. According to a business contact, Ballerin is treated as royalty in Somalia, even having gained the nickname “Amira,” Arabic for princess. I’ve assembled three candidates, with speculation about how their films would differ. Got a better idea? Leave it in the comments. Julia Roberts As realized by Roberts, Ballerin would be a cross between Erin Brockovich and Joanne Herring, the Houston socialite and conservative political meddler she portrayed in Charlie Wilson’s War. When the contradiction between her patriotic mission and her crass business dealings are clearly juxtaposed, she would laugh them off with unparalleled grace. For the majority of the film, we would suspect that she was simply floating through her strange life, amused by the spectacle. But in the third act, an incident of piracy would strike a personal chord. She must exit her armored Cadillac, board the hi-jacked vessel, and put her charms to good use. Kate Winslet Winlset’s version of Ballerin would be considerably more naïve than Julia Roberts’, and younger. Instead of being an entrepreneuring arms dealer tooling around Africa on her charms and business savvy, Winslet’s Ballerin would begin as a bored heiress of a private military fortune. Towed along on business trips by her father, it seems his dream that she’ll one day take over the mercenary business will go unfulfilled, her sense of entitlement is matched only by her apathy. But then, something goes wrong in Somalia, daddy is killed by pirates. With a heavy heart, she takes up her father’s mantle and enters negotiations with the pirates, determined to halt the cycle of needless violence. Meryl Streep Streep’s Ballerin would be primarily compassionate, echoing her portrayal of another famous white woman in Africa, Karen Blixen in Out of Africa. Her warm smile and genuine personal dealings would deftly hide her shrewd business sense. For the first half of the film, her involvement in international arms dealing would seem like a complete non-sequitur, the movie would hold together only due to Streep’s tremendous talent. Once a business deal goes sour, the rage she so carefully masks is revealed. In the final sequence, she must harness both her gentle charms and her seething anger to negotiate the release of a captured cruise ship carrying not only innocent people, but a hidden arms shipment worth millions. Originally posted on:SpoutBlog
]]>Tue, 02 Dec 2008 20:00:54 GMTSpoutBlogSpoutBlog on spout.com12/2/2008 3:00:54 PM When I first had the idea to assemble a dream cast for a movie about Somali pirates, I envisioned a typical actioner with a dash of tense international politics. The pirates would be played by unknown actors of African descent, with the exception of “the good one,” who would be played by either Djimon Hounsou or Chiwetel Ejiofor. He would realize his folly, then become an integral part of the hero’s harrowing siege of a captured vessel. The hero, of course, would be a white, male, American naval officer, rough around the edges, not afraid to cut the crap and do the right thing. As it turns out, the truth of what’s going on in the Gulf of Aden is much more fascinating. Enter Michele Ballerin: Virginia socialite, investment banker, weapons dealer. When she’s not breeding horses or fending off allegations of fraud in Austria, she’s running Select Armor, Inc. The company is not your typical private security firm competing for lucrative anti-terror contracts. It’s a small, nimble company, run by a woman, with small town roots, and plenty of murky dealings in places like Somalia. What does Ballerin have to due with the pirates? More importantly, who should play her in a movie? More after the jump. Not a lot of information is available on Ballerin, but one thing is clear: she would make a great movie character. She’s someone whose leaked e-mails make disparaging remarks about “the f*cks” from the UN who snoop around Select Armor’s dealings. After being put up for a few days Kampala, Uganda by the president of that country, she reportedly said that, “Kampala is a real shithole.” Nevertheless, she has a tremendous amount of traction in Africa, especially in Somalia. Enter the pirates: According to this ABC News story, Ballerin personally took over negotiations with the bandits aboard the Saudi oil tanker Sirius Star, when official talks broke down. A senior government official told ABC News, “It’s pretty sad when a horse country socialite has more sway in Somalia than the whole US government.” So, the real casting question is who could play Michele Ballerin, the potty-mouthed, middle-aged, Southern debutante who shoots from the hip? She needs to have loads of charm. According to a business contact, Ballerin is treated as royalty in Somalia, even having gained the nickname “Amira,” Arabic for princess. I’ve assembled three candidates, with speculation about how their films would differ. Got a better idea? Leave it in the comments. Julia Roberts As realized by Roberts, Ballerin would be a cross between Erin Brockovich and Joanne Herring, the Houston socialite and conservative political meddler she portrayed in Charlie Wilson’s War. When the contradiction between her patriotic mission and her crass business dealings are clearly juxtaposed, she would laugh them off with unparalleled grace. For the majority of the film, we would suspect that she was simply floating through her strange life, amused by the spectacle. But in the third act, an incident of piracy would strike a personal chord. She must exit her armored Cadillac, board the hi-jacked vessel, and put her charms to good use. Kate Winslet Winlset’s version of Ballerin would be considerably more naïve than Julia Roberts’, and younger. Instead of being an entrepreneuring arms dealer tooling around Africa on her charms and business savvy, Winslet’s Ballerin would begin as a bored heiress of a private military fortune. Towed along on business trips by her father, it seems his dream that she’ll one day take over the mercenary business will go unfulfilled, her sense of entitlement is matched only by her apathy. But then, something goes wrong in Somalia, daddy is killed by pirates. With a heavy heart, she takes up her father’s mantle and enters negotiations with the pirates, determined to halt the cycle of needless violence. Meryl Streep Streep’s Ballerin would be primarily compassionate, echoing her portrayal of another famous white woman in Africa, Karen Blixen in Out of Africa. Her warm smile and genuine personal dealings would deftly hide her shrewd business sense. For the first half of the film, her involvement in international arms dealing would seem like a complete non-sequitur, the movie would hold together only due to Streep’s tremendous talent. Once a business deal goes sour, the rage she so carefully masks is revealed. In the final sequence, she must harness both her gentle charms and her seething anger to negotiate the release of a captured cruise ship carrying not only innocent people, but a hidden arms shipment worth millions. Originally posted on:SpoutBlog http://www.spout.com/blogs/usesoap/archive/2008/9/2/34651.aspx Post By: usesoap
Post To: usesoap Blog
Post Date: 9/2/2008 2:33:55 PM
Body: I will take the slightly naughty energy of the climactic song “Rock Me Sexy Jesus” from the new film “Hamlet 2” over the shrill teen warblings of any “High School Musical” in a heartbeat. It's not the blasphemous blast some might expect from such a title, but it dances the line just enough to keep you riveted as to where it may go next. This is predominantly due to the exasperated efforts of the film's lead Steve Coogan, who throws his every last spastic muscle into his role of clueless high school drama teacher Dana Marschz. Coogan, who has yet to break big on this continent, is adored by many in his British home where his vain, tempestuous television character Alan Partridge could have easily passed for a sibling to Ricky Gervais' immortal David Brent in the original “The Office.” One wishes the film had as much manic manner as Coogan displays. “Hamlet 2” is filled with devious left-field non-sequiturs, send-ups to inspirational teach films, and broad physical comedy, but these parts never gel to a whole. Marschz's dream of acting resulted in but a few commercial gigs (which are played in the film's opening, echoing the same structure and eliciting the same laughs as “Tropic Thunder, which Coogan also stars). Alas, since his resume's peak was “Frustrated Juicer User” and “Happy Herpes Sufferer,” his reach for the stars was grounded and now toils away in a teaching gig in Tuscon, Arizona. His plays, which are based on popular films such as “Erin Brockovich,”(which would be much funnier had it not been done already in “Rushmore”) are hardly the stuff of theatrical inspiration. And when his school's budget ax swings, the drama department is the first on the block. Marschz meets the news with the typical “pick-yourself-up” pluck that serves as the source for so many a Hollywood drama. But Marschz is a far cry from Mr. Holland, or even a Dead Poet. So his stirring speech to save the program is less a rallying cry than it is a pitiful sob. And speaking of pitiful, Marschz's home life is in shambles as well, co-existing with a booze-soaked wife (Catherine Keenar) who stays pickled to purge thoughts of her sliver of a life with such a loser. His transportation needs have been reduced to roller skating to work, thanks to a prior DUI conviction, and his stage efforts are often panned by the school's freshman critic in the school paper. All of this seems pretty bleak, and were it not for the chipper (or oblivious) attitude of Coogan, it would appear as tragic as the film's eponymous namesake. But what is sorely missing in the film is any sort of development from any other character. The students are little more than stereotypes (the ultra-religious gal who falls for a bad boy, the closeted gay one, the mute chick who speaks only to deliver an inspirational monologue). The only time it dare plays with these is an amusing bit where Marschz marches to the home of one local ruffian whose parents pull him from the play. He expects them to be layabout drug addicts who don't want their macho son singing on stage, but when he meets them, they are actually literate, well-read PhD holders who object to plays sloppy writing and preposterous storyline (which involves Hamelt, a time machine and Jesus). Elizabeth Shue factors into the film as well, taking a good-natured shot at her own celebrity, but it hardly feels integral to the overall story. When it comes to the final performance, which somehow manages to receive backing from the entire student body that rejects his as a clown, Marschz pulls off a show that makes the grotesqueries of Cirque du Soliel look like community theater. But there is no emotional payoff for the students who have apparently been so transformed by this event. Sure, the music is shockingly funny (it was co-written by Pam Brady, who also co-wrote the “South Park” film), but for a film based in theater, it feels starkly un-theatrical and hollow, just a bunch of aping and mugging for the camera. To paraphrase the Bard himself from “Hamlet,”: “Though this be madness, there is no method in't.”
]]>Tue, 02 Sep 2008 18:33:55 GMTusesoapusesoap Blog9/2/2008 2:33:55 PMI will take the slightly naughty energy of the climactic song &ldquo;Rock Me Sexy Jesus&rdquo; from the new film &ldquo;Hamlet 2&rdquo; over the shrill teen warblings of any &ldquo;High School Musical&rdquo; in a heartbeat. It's not the blasphemous blast some might expect from such a title, but it dances the line just enough to keep you riveted as to where it may go next. This is predominantly due to the exasperated efforts of the film's lead Steve Coogan, who throws his every last spastic muscle into his role of clueless high school drama teacher Dana Marschz. Coogan, who has yet to break big on this continent, is adored by many in his British home where his vain, tempestuous television character Alan Partridge could have easily passed for a sibling to Ricky Gervais' immortal David Brent in the original &ldquo;The Office.&rdquo; One wishes the film had as much manic manner as Coogan displays. &ldquo;Hamlet 2&rdquo; is filled with devious left-field non-sequiturs, send-ups to inspirational teach films, and broad physical comedy, but these parts never gel to a whole. Marschz's dream of acting resulted in but a few commercial gigs (which are played in the film's opening, echoing the same structure and eliciting the same laughs as &ldquo;Tropic Thunder, which Coogan also stars). Alas, since his resume's peak was &ldquo;Frustrated Juicer User&rdquo; and &ldquo;Happy Herpes Sufferer,&rdquo; his reach for the stars was grounded and now toils away in a teaching gig in Tuscon, Arizona. His plays, which are based on popular films such as &ldquo;Erin Brockovich,&rdquo;(which would be much funnier had it not been done already in &ldquo;Rushmore&rdquo;) are hardly the stuff of theatrical inspiration. And when his school's budget ax swings, the drama department is the first on the block. Marschz meets the news with the typical &ldquo;pick-yourself-up&rdquo; pluck that serves as the source for so many a Hollywood drama. But Marschz is a far cry from Mr. Holland, or even a Dead Poet. So his stirring speech to save the program is less a rallying cry than it is a pitiful sob. And speaking of pitiful, Marschz's home life is in shambles as well, co-existing with a booze-soaked wife (Catherine Keenar) who stays pickled to purge thoughts of her sliver of a life with such a loser. His transportation needs have been reduced to roller skating to work, thanks to a prior DUI conviction, and his stage efforts are often panned by the school's freshman critic in the school paper. All of this seems pretty bleak, and were it not for the chipper (or oblivious) attitude of Coogan, it would appear as tragic as the film's eponymous namesake. But what is sorely missing in the film is any sort of development from any other character. The students are little more than stereotypes (the ultra-religious gal who falls for a bad boy, the closeted gay one, the mute chick who speaks only to deliver an inspirational monologue). The only time it dare plays with these is an amusing bit where Marschz marches to the home of one local ruffian whose parents pull him from the play. He expects them to be layabout drug addicts who don't want their macho son singing on stage, but when he meets them, they are actually literate, well-read PhD holders who object to plays sloppy writing and preposterous storyline (which involves Hamelt, a time machine and Jesus). Elizabeth Shue factors into the film as well, taking a good-natured shot at her own celebrity, but it hardly feels integral to the overall story. When it comes to the final performance, which somehow manages to receive backing from the entire student body that rejects his as a clown, Marschz pulls off a show that makes the grotesqueries of Cirque du Soliel look like community theater. But there is no emotional payoff for the students who have apparently been so transformed by this event. Sure, the music is shockingly funny (it was co-written by Pam Brady, who also co-wrote the &ldquo;South Park&rdquo; film), but for a film based in theater, it feels starkly un-theatrical and hollow, just a bunch of aping and mugging for the camera. To paraphrase the Bard himself from &ldquo;Hamlet,&rdquo;: &ldquo;Though this be madness, there is no method in't.&rdquo; http://www.spout.com/blogs/cinemarian/archive/2008/5/12/28654.aspx Post By: CinemaRian
Post To: CinemaRian Blog
Post Date: 5/12/2008 1:29:25 PM
Body: As a movie, Erin Brockovitch is not at all interesting, but it is fascinating to note the reception to it. I can think of few other films that were as popular as this in its time, both among critics and audiences, that have now plunged with both. Why was this completely generic movie so popular? I think it mostly had to do with the odd turn of the century personality cult of Julia Roberts, who was at the time at the apex of her popularity. Roberts is not a bad actress, and I've never seen a her give a poor performance, but she's not particularly versatile either, playing variations on the same character in each movie, which also happens to be her persona to the public (whether that sweet, down-to-earth image she projects is accurate I have no way of knowing). And for some reason, that character meant a lot to a lot of people. The cover of Time magazine in 2001 proclaimed her "America's best movie star", whatever that means, and I can fondly remember a conversation I had with my high school English teacher around the time of the 2000 Academy Awards. She told me that she hoped that Roberts would win for her performance in Erin Brockovitch. I asked if she really thought Roberts gave a better performance than the other nominees, which included Joan Allen, Julliette Binoche, Ellen Burstyn and Laura Linney. "No", she conceded, "but I want her to win. Sentimental favorite". She was too cute to lose. And it's that cuteness that's the final nail in the coffin that is Erin Brockovitch. This is a movie that is virtually a cliché from beginning to end-"based on a true story", the titles tell us, it follows Erin as she convinces Ed (Albert Finney) the head of a law firm, to give her a job in a spectacularly unconvincing way, and then investigates claims that a water plant deliberately put a harmful chemical in the water. Erin alienates almost everyone at the office except Ed by dressing suggestively and acting rudely, but manages to make the water pollutions victims feel at ease. She also enters a relationship with a biker guy named George (Aaron Eckert) who is really good with kids and has a heart of gold. Roger Ebert once stated that if a movie makes a big deal about being based on a true story, it's usually a sign that the filmmakers are using to a cheap tactic to get away with implausible material, and that's certainly true here. I know that there is a real Erin Brockovitch who did indeed play a part in this case (although some have argued that her part was much smaller than she and the movie would want us to believe) and that she did dress suggestively. I haven't done much research into this, but I didn't believe the scene where Ed hires Erin, where Ed rehires Erin, or virtually any scene between Erin and the biker, or the endless scenes in the film where she gets her way and gets people to like her with an impassioned but cute speech laced with profanity. What is also hard to believe is that the film is directed by Stephen Soderbergh. There are few directors whose films I have such varying opinions on. He's made at least one masterpiece, Bubble, and he's also made on of the worst films I've ever seen by a major director (Full Frontal), and lots of shades in between. Although the experience of watching Erin Brockovitch is better than Full Frontal, in retrospect, it can be considered to be worse. Frontal was horrifically self-indulgent, yes, but it was at least an honest attempt. This movie is so by the numbers and average it seems like the director was merely cashing a paycheck and not even trying to make a good movie. And as I said earlier, Robert's performances sinks the last chance the movie had at being something different. Maybe if Soderbergh had cast someone who could play a character who might actually be a bitch or unlikable (such as Jennifer Tilly) the movie might have been made interesting in parts. But it's too easy for the audience to root for Roberts, because the meanness everyone shows her is either unmotived or over the top, even when she's been rude or irresponsible. Why this movie caught on in such a big way in 2000 is beyond me (not only did Roberts win an Oscar, it was unbelievably nominated for Best Picture, as well as making big bucks). But time has shown the movie to be the empty exercise in formula that it is. A few years ago, my mother bought this movie on VHS, and I watched the beginning, and uninterested, turned it off after a few minuets. Watching the film all the way though, I am sure I made the right choice the first time. Erin Brockovich (2000)
]]>Mon, 12 May 2008 17:29:25 GMTCinemaRianCinemaRian Blog5/12/2008 1:29:25 PMAs a movie, Erin Brockovitch is not at all interesting, but it is fascinating to note the reception to it. I can think of few other films that were as popular as this in its time, both among critics and audiences, that have now plunged with both. Why was this completely generic movie so popular? I think it mostly had to do with the odd turn of the century personality cult of Julia Roberts, who was at the time at the apex of her popularity. Roberts is not a bad actress, and I've never seen a her give a poor performance, but she's not particularly versatile either, playing variations on the same character in each movie, which also happens to be her persona to the public (whether that sweet, down-to-earth image she projects is accurate I have no way of knowing). And for some reason, that character meant a lot to a lot of people. The cover of Time magazine in 2001 proclaimed her "America's best movie star", whatever that means, and I can fondly remember a conversation I had with my high school English teacher around the time of the 2000 Academy Awards. She told me that she hoped that Roberts would win for her performance in Erin Brockovitch. I asked if she really thought Roberts gave a better performance than the other nominees, which included Joan Allen, Julliette Binoche, Ellen Burstyn and Laura Linney. "No", she conceded, "but I want her to win. Sentimental favorite". She was too cute to lose. And it's that cuteness that's the final nail in the coffin that is Erin Brockovitch. This is a movie that is virtually a clich&eacute; from beginning to end-"based on a true story", the titles tell us, it follows Erin as she convinces Ed (Albert Finney) the head of a law firm, to give her a job in a spectacularly unconvincing way, and then investigates claims that a water plant deliberately put a harmful chemical in the water. Erin alienates almost everyone at the office except Ed by dressing suggestively and acting rudely, but manages to make the water pollutions victims feel at ease. She also enters a relationship with a biker guy named George (Aaron Eckert) who is really good with kids and has a heart of gold. Roger Ebert once stated that if a movie makes a big deal about being based on a true story, it's usually a sign that the filmmakers are using to a cheap tactic to get away with implausible material, and that's certainly true here. I know that there is a real Erin Brockovitch who did indeed play a part in this case (although some have argued that her part was much smaller than she and the movie would want us to believe) and that she did dress suggestively. I haven't done much research into this, but I didn't believe the scene where Ed hires Erin, where Ed rehires Erin, or virtually any scene between Erin and the biker, or the endless scenes in the film where she gets her way and gets people to like her with an impassioned but cute speech laced with profanity. What is also hard to believe is that the film is directed by Stephen Soderbergh. There are few directors whose films I have such varying opinions on. He's made at least one masterpiece, Bubble, and he's also made on of the worst films I've ever seen by a major director (Full Frontal), and lots of shades in between. Although the experience of watching Erin Brockovitch is better than Full Frontal, in retrospect, it can be considered to be worse. Frontal was horrifically self-indulgent, yes, but it was at least an honest attempt. This movie is so by the numbers and average it seems like the director was merely cashing a paycheck and not even trying to make a good movie. And as I said earlier, Robert's performances sinks the last chance the movie had at being something different. Maybe if Soderbergh had cast someone who could play a character who might actually be a bitch or unlikable (such as Jennifer Tilly) the movie might have been made interesting in parts. But it's too easy for the audience to root for Roberts, because the meanness everyone shows her is either unmotived or over the top, even when she's been rude or irresponsible. Why this movie caught on in such a big way in 2000 is beyond me (not only did Roberts win an Oscar, it was unbelievably nominated for Best Picture, as well as making big bucks). But time has shown the movie to be the empty exercise in formula that it is. A few years ago, my mother bought this movie on VHS, and I watched the beginning, and uninterested, turned it off after a few minuets. Watching the film all the way though, I am sure I made the right choice the first time. Erin Brockovich (2000) http://www.spout.com/blogs/jimbell/archive/2007/6/9/10527.aspx Post By: JimBell
Post To: JimBell Blog
Post Date: 6/9/2007 1:41:00 PM
Body: Erin Brockovich (2000) tells a compelling story and features some strong—and relatively weak—acting. As an “unskilled” single mother with three kids, Erin gets a job at a law firm and begins investigating a pro bono case about a utilities company poisoning citizens with hexavalent chromium. As Erin, Julia Roberts does a fabulous acting job. I don’t usually comment on acting, for it is one of the aspects of movie making that I know little about. But as a viewer, I’ve seen hundreds of plays and watched hundreds of movies, and have a sense when an actor “inhabits” a role. Roberts and the screenplay bring out the complexity of Ms Brockovich—crusading, looking out for number one, sexually confident, sexually manipulative, hardworking, bull-headed, personable, obnoxious—quite a character. Unfortunately—and maybe by comparison—some of the other actors have weak moments. Marg Helgenberger, now famous from CSI, initially plays the downtrodden victim of chemical poisoning with far too much excitement in her eyes, as if she’s enjoying playing opposite Julia Roberts. Albert Finney, who plays Erin’s lawyer boss, does a credible job but sometimes doesn’t bring his lines to life, as when he says, “I hate you sometimes”—he’s unsure exactly what tone he should say that in. I’d suggest “joking but conveying an underlying truth.” Fortunately, Aaron Eckhart, as Erin’s biker lover and babysitter, does hold his own with the incandescent Ms. Roberts. Scene after scene, he gets it just right—playful with the kids, wistful when the choppers roar by as he holds the baby, and necessarily resolute when he explains that he is leaving Erin because he is a nanny with no rewards.
]]>Sat, 09 Jun 2007 17:41:00 GMTJimBellJimBell Blog6/9/2007 1:41:00 PMErin Brockovich (2000) tells a compelling story and features some strong&mdash;and relatively weak&mdash;acting. As an &ldquo;unskilled&rdquo; single mother with three kids, Erin gets a job at a law firm and begins investigating a pro bono case about a utilities company poisoning citizens with hexavalent chromium. As Erin, Julia Roberts does a fabulous acting job. I don&rsquo;t usually comment on acting, for it is one of the aspects of movie making that I know little about. But as a viewer, I&rsquo;ve seen hundreds of plays and watched hundreds of movies, and have a sense when an actor &ldquo;inhabits&rdquo; a role. Roberts and the screenplay bring out the complexity of Ms Brockovich&mdash;crusading, looking out for number one, sexually confident, sexually manipulative, hardworking, bull-headed, personable, obnoxious&mdash;quite a character. Unfortunately&mdash;and maybe by comparison&mdash;some of the other actors have weak moments. Marg Helgenberger, now famous from CSI, initially plays the downtrodden victim of chemical poisoning with far too much excitement in her eyes, as if she&rsquo;s enjoying playing opposite Julia Roberts. Albert Finney, who plays Erin&rsquo;s lawyer boss, does a credible job but sometimes doesn&rsquo;t bring his lines to life, as when he says, &ldquo;I hate you sometimes&rdquo;&mdash;he&rsquo;s unsure exactly what tone he should say that in. I&rsquo;d suggest &ldquo;joking but conveying an underlying truth.&rdquo; Fortunately, Aaron Eckhart, as Erin&rsquo;s biker lover and babysitter, does hold his own with the incandescent Ms. Roberts. Scene after scene, he gets it just right&mdash;playful with the kids, wistful when the choppers roar by as he holds the baby, and necessarily resolute when he explains that he is leaving Erin because he is a nanny with no rewards. http://www.spout.com/members/0/tags/family/MemberTagFilms.aspxfamily
Number of films tagged: 6289

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]]>Wed, 23 Dec 2009 05:51:34 GMT62892271140Tag http://www.spout.com/members/0/tags/lawyer/MemberTagFilms.aspxlawyer
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Number of people who tagged: 35

Number of times used: 82

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]]>Fri, 19 Jun 2009 05:09:54 GMT821199Tag http://www.spout.com/members/0/tags/lawsuit/MemberTagFilms.aspxlawsuit
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]]>Tue, 29 Apr 2008 13:07:50 GMT11966Tag http://www.spout.com/members/0/tags/defying-odds/MemberTagFilms.aspxdefying-odds
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]]>Mon, 02 Oct 2006 16:34:13 GMT133Tag http://www.spout.com/members/0/tags/oneagainstodds/MemberTagFilms.aspxoneagainstodds
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]]>Mon, 06 Oct 2008 13:02:00 GMT63437Tag http://www.spout.com/members/0/tags/based-on-true-story/MemberTagFilms.aspxbased-on-true-story
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]]>Thu, 10 Dec 2009 02:52:09 GMT424Tag http://www.spout.com/members/0/tags/Wonder-Bra/MemberTagFilms.aspxWonder-Bra
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]]>Mon, 02 Oct 2006 16:34:13 GMT122Tag http://www.spout.com/members/0/tags/everygirlmustsee/MemberTagFilms.aspxeverygirlmustsee
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]]>Mon, 29 May 2006 02:43:04 GMT10110Tag http://www.spout.com/members/0/tags/independent-woman/MemberTagFilms.aspxindependent-woman
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]]>Sun, 04 Nov 2007 15:37:52 GMT212Tag http://www.spout.com/members/0/tags/neosocialistic/MemberTagFilms.aspxneosocialistic
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]]>Thu, 25 May 2006 22:35:41 GMT818Tag