It was only a matter of time before Philip Seymour Hoffman decided to direct. He’s gained enough cred in the business to warrant giving him a chance.  But it is slightly shocking that he chose to make his debut with a romantic comedy.  Did anyone else see that coming?  His film, Jack Goes Boating is a movie version of a play by the same name.  Hoffman actually played Jack in the off-Broadway production.  He brought along two of his stage co-stars as well, and got Amy Ryan to play his leading lady.  Not too shabby for his first cast.

The story, yes, is a romantic comedy, but not the kind you’re thinking.  It is, of course, centered around Jack.  He’s a quiet, mostly unremarkable man, with few friends, and even less family.  The two friends he does have are Clyde (John Ortiz), and Lucy (Deaphne Rubin-Vega).  They’re good friends to him, and seem to have it together.  They match him up with another slightly odd acquaintance of theirs, Connie (Amy Ryan).  The two start a strange romance that buds quiet nicely, while at the same time, Lucy and Clyde’s marriage is deteriorating as truths come out about infidelities and betrayals of trust.

The play is written by Bob Glaudini, and was adapted for the screen by him as well.  It’s full of witty and fresh dialog and fantastic scenes.  It’s an optimistic view on the joys of loving and being loved, despite all kinds of obstacles.  It should come as no surprise that something this sturdy comes from Hoffman, who literally gets lost in his character.  There’s not much Hoffman does that’s less than superb.  While it seems, in the beginning, that the film was going to take a turn closer to the tone of Welcome to the Dollhouse, Hoffman manages to keep this story hopeful, and bright.  His direction style is confidant, and well-toned.  The world was introduced to Ryan’s comedy during her short stint as Holly on The Office.  You’ll be pleased to know that she’s just as funny here, and makes personal manias endearing, and even sexy.  In one of the film’s most charming moments, she gently explains to Jack her humble requirements when they decide to make love for the first time.  It instantly reminds of a similar scene between Adam Sandler and Emily Watson in Punch-Drunk Love.  I don’t think it’s too high of praise to compare Jack to the P.T. Anderson film.  The optimism found here is refreshing, without sacrificing a charismatic, and intriguing plot.  This, I’m sure, will surface as one of the best that Sundance has to offer this year.

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Starring: Philip Seymour Hoffman, Amy Ryan, John Ortiz, Deaphne Rubin-Vega
Director: Philip Seymour Hoffman
Rated: R for language, drug use and some sexual content
Distributor: Overture Films

It was only a matter of time before Philip Seymour Hoffman decided to direct. He’s gained enough cred in the business to warrant giving him a chance.  But it is slightly shocking that he chose to make his debut with a romantic comedy.  Did anyone else see that coming?  His film, Jack Goes Boating is a movie version of a play by the same name.  Hoffman actually played Jack in the off-Broadway production.  He brought along two of his stage co-stars as well, and got Amy Ryan to play his leading lady.  Not too shabby for his first cast.

The story, yes, is a romantic comedy, but not the kind you’re thinking.  It is, of course, centered around Jack.  He’s a quiet, mostly unremarkable man, with few friends, and even less family.  The two friends he does have are Clyde (John Ortiz), and Lucy (Deaphne Rubin-Vega).  They’re good friends to him, and seem to have it together.  They match him up with another slightly odd acquaintance of theirs, Connie (Amy Ryan).  The two start a strange romance that buds quiet nicely, while at the same time, Lucy and Clyde’s marriage is deteriorating as truths come out about infidelities and betrayals of trust.

The play is written by Bob Glaudini, and was adapted for the screen by him as well.  It’s full of witty and fresh dialog and fantastic scenes.  It’s an optimistic view on the joys of loving and being loved, despite all kinds of obstacles.  It should come as no surprise that something this sturdy comes from Hoffman, who literally gets lost in his character.  There’s not much Hoffman does that’s less than superb.  While it seems, in the beginning, that the film was going to take a turn closer to the tone of Welcome to the Dollhouse, Hoffman manages to keep this story hopeful, and bright.  His direction style is confidant, and well-toned.  The world was introduced to Ryan’s comedy during her short stint as Holly on The Office.  You’ll be pleased to know that she’s just as funny here, and makes personal manias endearing, and even sexy.  In one of the film’s most charming moments, she gently explains to Jack her humble requirements when they decide to make love for the first time.  It instantly reminds of a similar scene between Adam Sandler and Emily Watson in Punch-Drunk Love.  I don’t think it’s too high of praise to compare Jack to the P.T. Anderson film.  The optimism found here is refreshing, without sacrificing a charismatic, and intriguing plot.  This, I’m sure, will surface as one of the best that Sundance has to offer this year.

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Starring: Philip Seymour Hoffman, Amy Ryan, John Ortiz, Deaphne Rubin-Vega
Director: Philip Seymour Hoffman
Rated: R for language, drug use and some sexual content
Distributor: Overture Films

Night Catches Us is a mildly interesting first attempt at directing by Tanya Hamilton, an alum of the Sundance Lab. The story (which Hamilton also wrote) takes place in Philadelphia in 1978. It focuses on two former Black Panthers, Marcus (Anthony Mackie) and Pat (Kerry Washington). Marcus returns to Philadelphia, after several years in exile, to attend the funeral of his brother. His reasons for avoiding his hometown aren’t immediately clear. What is clear, is that he’s not welcomed there by many. His former comrades make it abundantly clear that he is no longer welcome, and should leave if he wants to avoid trouble. Pat is the only friendly face in town. But their budding relationship is difficult for friends, and especially for Pat’s daughter Iris (Jamara Griffin).

While there aren’t any glaring problems with Hamilton’s direction, there are some issues with her writing, particularly creating her characters. Marcus is overly distant, and despite finally learning his past, it never really explains why he’s just so grim. Washington’s performance manages to overcome the handicaps dealt to her by the script. She, along with Griffin, steal the show. On the positive, the racial tension that Hamilton built was quite august.

Hamilton has explained that she very much wanted to show the Black Panther movement as one with much more humanity than the media at the time would admit. When the plot deals directly with the history of the BPs, the film becomes quite intriguing. Particularly concerning federal propaganda meant to destroy the organization from the inside out. If the director had spent more time exploring the effects of this movement on the lives of her characters, I would have been much more pleased. Unfortunately, the film focuses so much on one tiny, mostly insignificant encounter between our two protagonists, that I fear the point of it all will be missed, and no one will even care.  There’s not much more to this film than what meets the eye, and that’s not much.

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Starring: Anthony Mackie, Kerry Washington, Wendell Pierce
Director: Tanya Hamilton
Running Time: 90 min
MPAA Rating: NR 

Night Catches Us is a mildly interesting first attempt at directing by Tanya Hamilton, an alum of the Sundance Lab. The story (which Hamilton also wrote) takes place in Philadelphia in 1978. It focuses on two former Black Panthers, Marcus (Anthony Mackie) and Pat (Kerry Washington). Marcus returns to Philadelphia, after several years in exile, to attend the funeral of his brother. His reasons for avoiding his hometown aren’t immediately clear. What is clear, is that he’s not welcomed there by many. His former comrades make it abundantly clear that he is no longer welcome, and should leave if he wants to avoid trouble. Pat is the only friendly face in town. But their budding relationship is difficult for friends, and especially for Pat’s daughter Iris (Jamara Griffin).

While there aren’t any glaring problems with Hamilton’s direction, there are some issues with her writing, particularly creating her characters. Marcus is overly distant, and despite finally learning his past, it never really explains why he’s just so grim. Washington’s performance manages to overcome the handicaps dealt to her by the script. She, along with Griffin, steal the show. On the positive, the racial tension that Hamilton built was quite august.

Hamilton has explained that she very much wanted to show the Black Panther movement as one with much more humanity than the media at the time would admit. When the plot deals directly with the history of the BPs, the film becomes quite intriguing. Particularly concerning federal propaganda meant to destroy the organization from the inside out. If the director had spent more time exploring the effects of this movement on the lives of her characters, I would have been much more pleased. Unfortunately, the film focuses so much on one tiny, mostly insignificant encounter between our two protagonists, that I fear the point of it all will be missed, and no one will even care.  There’s not much more to this film than what meets the eye, and that’s not much.

- – -

Starring: Anthony Mackie, Kerry Washington, Wendell Pierce
Director: Tanya Hamilton
Running Time: 90 min
MPAA Rating: NR