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About Mark Sanchez
Oregon based media and communications consultant Mark Sanchez is on the fifth or sixth step of his recovery program from his career as a television news reporter. And that’s the way it is. Mark has been an Oregonian since the Reagan administration and shows no signs of leaving. He lives in Portland — a city that is famous for its transit system, its rain, its independent film community and, lately, for the TV series Portlandia, which Mark notes is about half-true, but to protect confidential sources he won’t say which half.

Larry Crowne (2011) -vs- The Company Men (2010)

July 2, 2011 Mark Sanchez 4

With unemployment staring down more than 14 million Americans, it’s natural to want to address the issue on screen. Hollywood has helped define hard times before, through a range of classic films from The Grapes of Wrath to It’s a Wonderful Life. But making an uplifting film about surviving the loss of a job is tough. The best movies — like the best people — transform that disappointment into something different, and that’s the challenge our two competitors each tackle in their own way.

Tom Hanks mines the vein with a lighter touch in Larry Crowne, which he directed, starred in and co-wrote with Nia Vardalos (My Big Fat Greek Wedding). Despite the uncomfortable subject matter, his Academy Awards, box office history and talent made this an easy project to green light. With Julia Roberts on board, the studio is clearly hoping this comedy about being on the wrong side of downsizing will be too big to fail.

The Company Men, released at Christmastime for Oscar consideration and expanded wide last January, shows us more realistically what it’s like to be squeezed out of the office: Longtime friends carry out their boxes of possessions and, like a re-enactment of Dead Man Walking in the workplace, those left behind wonder who’s next. We learn both who’s next and what they must endure in this film by writer and first-time movie director John Wells, featuring Ben Affleck, Tommy Lee Jones, Chris Cooper and Kevin Costner looking for traction and self-respect in a bad economy. […]

Brokedown Palace (1999) -vs- Return to Paradise (1998)

June 29, 2011 Mark Sanchez 1

Oh, to be young, independent, sexy… and rotting in some hellhole of a foreign prison.

Young Americans take a lot of things for granted. The right to party, to be spontaneous, to make quick friends, to stiff a rental service or skate on some free drinks, that kind of thing. Mostly they get away with it, and when things go bad, they can usually talk their way out of the consequences or get a lawyer to talk for them.

Around the time Bill Clinton was getting impeached for breaking the rules himself, Hollywood got in a game of chicken on two films about young American travelers who make some mistakes in judgment, run afoul of very strict drug laws and end up in nightmares they can’t wake up from. […]

Midnight in Paris (2011) -vs- Adaptation (2002)

June 6, 2011 Mark Sanchez 7

If there’s anything that sounds less appealing than watching the mental anguish of a blocked writer, we can’t imagine what it is. In fact, we can’t even begin to visualize… hold on a second… getting my thoughts straight… just have to play some Spider Solitaire while I, um… trying to focus… Huh — I didn’t know we had Cheetos….

Fifteen hours later:

Right, where were we? Oh yeah, writer’s block — it’s not pretty. Not cinematic either, until Charlie Kaufman came along and sweated blood for three years, cracking the code of how to translate to film his own innermost creative struggle in a deeply personal, throw-out-the-rulebook kind of way. His resulting screenplay for Adaptation became the Holy Grail of screenwriter movies, and under the brilliant direction of Spike Jonze (Being John Malkovich, Where the Wild Things Are), earned a slew of Academy Award nominations, including one for Best Adapted Screenplay. […]

Incendies (2011) -vs- The Year of Living Dangerously (1982)

June 1, 2011 Mark Sanchez 0

Years ago, I reported and field-produced stories during a month-long trip into Saudi Arabia, Syria and Egypt. Well-armed authority ruled each country; I met guards with machine guns as I stepped from the plane in Riyadh, and private armies patrolled Damascus and other parts of Syria. Egypt was an active military state. This uniformed muscle enforced the appearance of order at the cost of personal freedom. This is the atmospheric real estate where the essential drama of Incendies plays out.

It now steps into the ring against a proven winner, The Year of Living Dangerously from 1982. This film combines a love story with armed revolution in Indonesia. It pushed Mel Gibson’s star even higher, and won Linda Hunt a well-deserved Oscar. Peter Weir directed and shares screenwriting credits with David Williamson and Christopher Koch in adapting Koch’s novel.

Here’s a Smackdown where lives collide with life-threatening situations. Which film survives the firepower to deliver the stronger human story? Duck and cover! […]

Priest (2011) -vs- The Book of Eli (2010)

May 15, 2011 Mark Sanchez 2

A Western is a Western, even if there are no trusty horses, Native Americans, brave pioneers, land barons or cowboy hats (or even cowboys).

These days we regularly construct our western mythology out of the apocalypse, looking to the dismal future and not the hardscrabble past.

Both our combatants today share a common set up: Catastrophe strikes. Society falls apart. The fight begins for the remaining pieces. This formula usually includes A Brooding Outsider and Someone in Distress. When you add monsters / mutants you have the rough outline of recent popular movies like I Am Legend, The Road, even The Road Warrior from 1982. The list is longer, but you see where I’m going.

What we have now is the hybrid genre of the Apoca-Western. This sturdy form is identifiable with or without those horses and a strong silent hero because it still showcases the sense of honor, justice and redemption that motivated John Wayne as the Ringo Kid in Stagecoach (1939) and Clint Eastwood’s Bill Munny in The Unforgiven (1992). Those characters could just as easily lived in the world of the Undead as the actual living.

While there are no OK Corrals in The Priest or the Book of Eli, good still stands up to evil in every incarnation. Let’s see how they stand up to each other. […]

Something Borrowed (2011) -vs- He’s Just Not That Into You (2009)

May 8, 2011 Mark Sanchez 2

Given that most single guys would be thrilled to have Ginnifer Goodwin as their girlfriend, you have to wonder why Hollywood keeps casting her as the woman who has a hard time finding a decent relationship. She got famous as the immature “sister-wife” Margene in the creepy HBO polygamy series, Big Love. Then she played the girl who can’t find love no matter how desperately she dates around in 2009’s He’s Just Not That Into You. And now she’s back in Something Borrowed as the third corner in a romantic triangle. I have no idea what her personal life is like but we can only hope it’s better than the parts she plays.

Both our films are ensemble rom-coms, chock-full of familiar character traits: earnest, self-absorbed, scoundrel, ironic, clueless, and so on. Some of these are main characters and some are the obligatory wacky friends. There are enough people running around in both films coupling and uncoupling that there seems to be a lot going on even when there isn’t. The idea is to cut from one storyline to another, keep the pace up, get some laughs, find some sympathetic moments, get a few more laughs, and tie up things more or less neatly before they run the credits. Everybody seems to have jobs that don’t really interfere with their pursuit of love and sex. Ah, paradise… […]

Fast Five (2011) -vs- The Fast and the Furious (2001)

April 30, 2011 Mark Sanchez 4

More than a few film franchises seem like a trip to the drive-up burger joints: the payoff is predictable, not always very nourishing, but the experience can be fun, and you won’t leave hungry.

That recipe worked perfectly for The Fast and the Furious in 2001. The film didn’t promise steak, just a lot of sizzle, which clearly satisfied a broad segment of moviegoers. This motorized morality play (of a sort) mixes brooding, inarticulate characters tied to a supremely implausible story sprinkled with lots of attractive women and fast cars.

This menu spawned a series of films that grossed nearly a billion dollars worldwide. So, of course, Fast Five just opened. It expects to do large business because it does not stray far from the basic formula. […]

True Grit (2010) -vs- True Grit (1969)

December 27, 2010 Mark Sanchez 9

Apparently, if you need to track down a bad guy in the wild west, your absolute best shot at doing it is to hire a misogynistic one-eyed alcoholic. Whether you watch the old or the new True Grit, that much seems clear.

I’ll admit that something uneasy crept into my life upon learning Rooster Cogburn would live again in a remake of this 1969 crowd pleaser. Drawing from core material about murder and revenge, the film version gave us a smart, spunky girl who recruits John Wayne to the rescue. It won the Duke the Best Actor Oscar (as much for career recognition as his performance). It remains a pleasure to watch. Doesn’t need re-making, right?

Two words. Coen Brothers. Two more words. Jeff Bridges.

The vivid characters and language in the novel written by Charles Portis seem tailor-made for the Coen’s quirky sensibilities. The truth is that this film would never have been re-made except for their passion to do it. And now that they have, honestly, this one is a shoot-out for the ages. […]

Hereafter (2010) -vs- The Sixth Sense (1999)

October 23, 2010 Mark Sanchez 3

I don’t think about dying as often as, say, Woody Allen, but I think about it often enough. Mostly I think I am not in favor of it. On the other hand, considering the differences of opinion about what happens after this part of life is over, maybe the Big Black Void would be okay.

Our two films both have considerably different takes on the afterlife. To say the least. But, like all films in this genre, it’s not what they’re saying about what comes next that’s the big deal, it’s what they’re saying about the here and now.

Clint Eastwood’s new movie, Hereafter, ventures through that thin membrane separating the living from the dead. Director M. Night Shyamalan staked out a notable career in this territory, most notably with 1999’s well regarded The Sixth Sense. That’s our Smackdown: If dead people can communicate with us, what are they saying about these movies? […]

The Town (2010) -vs- Gone Baby Gone (2007)

September 17, 2010 Mark Sanchez 1

It rained this week in my hometown, Portland. Cooler now, leaves reddening, a change in the air. And a change in the movie-house. Summer’s over: The kids are back in school, the screen parade of teenagers with attitude and those tedious comedies about losers outta control have let up, for now. Good. As adults our fantasies are different, perhaps more character-driven. Mine are. That’s why it’s great seeing The Town arrive. It marks the follow up to Ben Affleck’s remarkable directorial debut in “Gone Baby Gone.” Flawed people, extreme actions and Boston seen with an eye for the small, telling details. Here we have vivid stories, similiar in texture if not in details, and the writing / directing touch of Ben Affleck. That’s our Smack. Is it enough to forgive and forget Gigli? […]

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