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ANTWONE
FISHER Rating:   Director: Denzel Washington Producers: Todd Black, Randa Haines, Denzel Washington Writer: Antwone Fisher Director of Photography: Philippe Rousselot Cast: Derek Luke, Denzel Washington, Joy Bryant Visit the IMDB page for full cast and crew |
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Review by: Dan
Tester
1/10/03
In Warren Curry's review of The Hours, he proclaimed it "one of those films made seemingly with the expressed purpose of winning year-end awards." It must be that time of year, because Antwone Fisher is another Hollywood creation with its sights on year- end statuettes, and is none too subtle about it.
The film is the "real-life" tale (real-life in quotes because real life doesn't have the benefit of plot manipulation and rousing background music to get through the day) of Antwone Fisher, a young African-American sailor prone to violent outbursts. Why does he have these violent outbursts? Denzel Washington's naval psychiatrist is brought in to find out, and with Washington's "movie" kind of devotion to young Antwone, we spend two hours of discovery.
I don't mean to be flippant in my condensing of the films events, but this ain't new territory being explored here, and it is my opinion that, regardless of the fact it is based on the actual events of a man's life, if it is such standard fare when formulated into a movie, that I can most sincerely ask, what is the point? I have seen Antwone Fisher's tale told countless times before (most notably Good Will Hunting, at least in basic structure) and found no reason or ability at all to get caught up in its events. It is paint-by-numbers time by 2002, and it is only the final 10 minutes or so that are different -- not in content necessarily, but in subtlety and earned emotion.
It is strange, I suppose, that I feel a movie full of such typical Hollywood convention can earn its stripes at the conclusion, but it does so, as mentioned before, in subtlety. Regardless of its standard nature, Antwone Fisher explores a person's demons, and a society's inadequacies; the ramifications of abuse and neglect suffered by those who share Antwone Fisher's lot in life. But the ending is an appropriate conclusion to this tale, not a tacked on, over the top, "everything is rosy" kind of finale designed to make the girls cry. I was surprised at how moved I was at the ending, especially when reflecting upon how unmoved I was during the first 90 minutes or so. Although I must admit to laughing out loud at one point during the big finale; when that old lady rather over-dramatically extends her index finger to beckon Antwone to the table, it reminded me of the alien from Close Encounters too much, and I was given a respite from my quivering lower lip. Thanks Denzel. My manhood is still intact. This isn't much of a review of Antwone Fisher, but it just isn't necessary to expound upon it. You know exactly what you are getting into from the trailers, and if you find this kind of story to still be appealing to you, by all means check it out.
Just one note to the Academy: Antwone Fisher was specifically designed as a radar beacon to your pencils as you fill out your Oscar ballots. But please keep this in mind: Martin Scorsese has TWICE lost the Best Director Oscar to two first time "actors turned directors" -- Robert Redford for Ordinary People (Scorsese lost for Raging Bull) and, most laughably, Kevin Costner for Dances With Wolves (Scorsese lost for Goodfellas). Regardless of the fact that Scorsese should not be considered a "shoo-in" this year for Gangs Of New York, in my opinion, if you allow him to lose once again to another actor turned director for standard fare like Antwone Fisher, you may well kill the poor man. Scorsese should win this year for Gangs, if for no other reason than he hasn't won in the past. That would be appropriate in the wake of the political agenda the Oscars has held for years. Get the monkey off your back and give it to Marty. Although you DID give Denzel the award last year for Training Day, one of the most ludicrous Best Actor awards ever handed out, so I have no idea what is going on anymore. But I am still going to circle Marty for my Oscar pool, and will leave it in your unpredictable and inexplicable hands.
(A Fox Searchlight release. Opened
in New York and Los Angeles on December 19. Has expanded to a
wide release.)
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