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The Films of Bill Condon

Sister, Sister

Murder 101

White Lie

Dead in the Water

Deadly Relations

The Man Who Wouldn't Die

Candyman: Farewell to the Flesh

Gods and Monsters

Kinsey (June 30/12)

A seriously by-the-numbers biopic, Kinsey details the life and times of noted human-sexuality researcher Alfred Kinsey (Liam Neeson) - with the film charting his rough childhood and marriage to Laura Linney's Clara through to his eventual success (and downfall) in his chosen field. There's little doubt that, for the most part, Kinsey feels as though it's emerged directly from a template for movies of this ilk, as writer/director Bill Condon has infused the proceedings with an excessively conventional feel that's reflected in its myriad of underwhelming elements (eg the emphasis on the love/hate relationship between Kinsey and his overbearing father, John Lithgow's Alfred). The movie's glossy sheen ensures that one's efforts at embracing either the material or the characters fall flat on an all-too-regular basis, with the hands-off atmosphere exacerbated by a deliberate pace that often borders on the oppressive (ie the whole thing is, by and large, simply lifeless). And while the film does improve slightly once Kinsey begins his research in earnest - ie anything's better than the initial emphasis on his work with gall wasps - Condon's meandering sensibilities result in a hopelessly repetitive midsection that inevitably cancels out the movie's positive attributes (eg the admittedly strong performances, for one). By the time the aggressively tedious Kinsey-experiences-his-downfall stretch rolls around, Kinsey has certainly established itself as a forgettable and egregiously routine drama that's rarely as entertaining or informative as Condon has clearly intended.

out of

Dreamgirls (May 20/07)

With its uniformly unmemorable songs and shockingly subpar performances (Jennifer Hudson won an Oscar for this?), Dreamgirls is undoubtedly one of the worst mainstream musicals ever to emerge out of Hollywood. There's little doubt that writer/director Bill Condon's overtly familiar screenplay - which follows the rise and fall of a '60s-era soul group - plays a significant role in the film's downfall, as even the most dunderheaded viewer will be left rolling their eyes at the storyline's increasingly predictable trajectory. The egregiously dark atmosphere only exacerbates the movie's various problems, as Condon - along with cinematographer Tobias Schliessler - places the emphasis on visuals that are relentlessly smoky and downright unpleasant (even Chicago wasn't quite this drab). Of course, such things would be fairly easy to overlook if Condon had managed to include at least one compelling character; the filmmaker instead offers up a series of one-dimensional cardboard cutouts, with Hudson's Effie White the most obvious example of this. That Hudson offers up a seriously underwhelming performance surely doesn't help matters, as the actress' incompetent work ensures that Effie remains an obnoxious and entirely unsympathetic figure during the film's disastrously overlong running time. And although the movie does improve slightly in its closing half hour, there's just no denying that Dreamgirls is primarily nothing less than an utterly interminable piece of work.

out of

Breaking Dawn: Parts 1 & 2

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The Fifth Estate (October 18/13)

An absolutely disastrous biopic, The Fifth Estate charts the rise of Julian Assange's (Benedict Cumberbatch) notorious whistle-blowing website WikiLeaks - with the bulk of the movie detailing Assange's often contentious relationship with his partner, Daniel Domscheit-Berg (Daniel Brühl). Filmmaker Bill Condon, working from Josh Singer's screenplay, makes virtually no effort to draw the viewer into the cumbersome proceedings, as the film, which unfolds very, very slowly over 125 long minutes, launches directly into the creation of WikiLeaks without bothering to develop either of the central characters - which ultimately ensures that one's efforts at working up any interest in the protagonists' exploits fall hopelessly flat. Singer's episodic script, for the most part, jumps from one touchstone to the next with little thought towards context or momentum, and the film does, as a result, primarily boast the feel of a reenactment that one might find on a cable news network. (This is despite the fine work from stars Cumberbatch and Brühl, with both actors consistently left floundering by Condon's less-than-competent sensibilities.) And although the narrative ramps up once it passes a certain point (ie the Bradley Manning controversy inevitably dominates the movie's latter half), The Fifth Estate remains hopelessly uninvolving and frustratingly underwhelming for the duration of its overlong running time - with the end result an aggressively misguided true-life endeavor that contains all the dramatic heft of a Wikipedia entry.

out of

© David Nusair