Mark Sanchez, Author at Movie SmackdownÂ®

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 thatâ€™s the way it is. Mark has been an Oregonian since the Reagan administration and shows no signs of leaving. He lives in Portland â€” 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 wonâ€™t say which half.

The Blind Side (2009) -vs- Hoosiers (1986)

November 21, 2009 Mark Sanchez 4

We cheer as Eliza Doolittle becomes My Fair Lady and when The Soloist Nathaniel Ayers recovers himself through music. Along the way the facts blur that one movie is based on a true story, the other is fiction since both say something meaningful about beating the odds and personal redemption. Sometimes the distinctions don’t matter and sometimes they do.
Few people beat longer odds than Michael Oher, whose life story (the biggest parts) is the heart of The Blind Side. The marketing promos emphasize Sandra Bullock as a comedic southern fried Pollyanna, but not the throwaway kid whose real life – off the football field, and on – gives this material its backbone. It’s a story where the distinctions matter.
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2012 (2009) -vs- Independence Day (1996)

November 13, 2009 Mark Sanchez 5

The Smackdown “Speak less.. say more” describes my consultant work, but not the efforts of German writer/producer/director Roland Emmerich. He creates entertainment and the bigger, the better. Here’s the RE formula: A few people battling […]

The Invention of Lying (2009) -vs- Liar Liar (1997)

October 15, 2009 Mark Sanchez 4

Things are rarely what they seem — and why not, people don’t always see the truth and sometimes they lie. The British humorist Jerome Jerome put it perfectly: It is always the best policy to speak the truth — unless, of course, you are an exceptionally good liar. Especially if you’re lying for laughs.
Jim Carrey did exactly that in 1997’s well-regarded Liar Liar. He trotted out the contortions and character tics that routinely punctuate his comedies. Clearly, Liar Liar succeeded on one level: It earned more than $300 million, but does this movie exhaust the topic of deception onscreen?
You’ll see a different approach in the just-released The Invention of Lying, written and directed by Ricky Gervais. He created the original version of The Office, as well cable’s Extras and starred in Ghost Town. Gervais knows how to get a laugh.
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Funny People (2009) -vs- Punchline (1988)

August 2, 2009 Mark Sanchez 3

Both make you laugh, and one lets you feel better about it. “Funny People” connects aspects of Judd Apatow’s life with his one time roommate, Sandler. For his part, Sandler gives another of his hybrid performances, not exactly funny or convincingly serious. Rogan and Hill play roles just like the ones performed in their recent movies. They offer no surprises. Leslie Mann is affecting as the old flame who is uncertain — for a time — about what she wants. The film showcases nice cameos of working comics, real Funny People: Paul Reiser, Charlie Fleischer, Sarah Silverman, Norm MacDonald, George Wallace (he even appeared in Punchline). There are some great moments with James Taylor, and inside the office of George’s Swedish doctor. At 146 minutes, I won’t be the first person to suggest “Funny People” may be a half-hour too long. There’s also the humor: After awhile I wasn’t laughing so much at the sex jokes. As for Sandler’s character, there’s no personal growth. He remains the same schmuck throughout.
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Mad Men (2009-2007) -vs- Revolutionary Road (2008)

June 13, 2009 Mark Sanchez 1

In the age of instant communication, instant gratification looking back 50 years seems like a trip in the way-back machine. Many of us remember this as the time our parents scrambled to attain a level of security described by the catchall American Dream.
We tie this period before the Cuban Missile Crisis to hula hoops, fallout shelters, drive-in movies, TV dinners and American Bandstand. This was a time when people in the background –mostly men– worked overtime branding these cultural signposts as passports to the good life. This period matters. It directed the shape of many of our lives.
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Terminator Salvation (2009) -vs- The Terminator (1984)

May 22, 2009 Mark Sanchez 11

The basic idea of mechanized death traveling through time to alter the future carried three feature films and a now-canceled TV series. All rework the storyline to emphasize different aspects of a familiar fable. They succeed to varying degrees and set a high bar for whatever follows.
“Terminator Salvation” faces tall tasks in this Smackdown!: Does it succeed as a film on its own merits, while advancing the memorable elements set forth in “The Terminator?” Will you hear “I’ll be back” and wonder why?
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Angels & Demons (2009) -vs- The Da Vinci Code (2006)

May 16, 2009 Mark Sanchez 6

Both films serve up clues in much the same way those police procedural shows unpeel that onion on TV: One piece exposing another and another. This imposes a certain predictability to the storytelling structure, if not the outcome.
That convention doesn’t help “The Da Vinci Code” very much, although it tries very hard. The story plunges into arcane church history, obscure alliances, shady characters and wide ranging speculation. This movie desperately needed to ratchet back the mystery because it hampered the storytelling pace. Director Howard handles this gamely, even creatively, but his bench lets him down. Tom Hanks and Audrey Tautou have their moments, but too often they are wooden together. So is the dialog. In spots the lifeless speechifying makes Hanks, a two time Academy Award winner, sound like he’s in “Plan 9 from Outer Space.”
Winning performances by McKellen, Bettany and Jean Reno as an obsessed police captain raise the interest level. So does the buzz surrounding “The Da Vinci Code” outside the theater.
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Galaxy Quest (1999) -vs- Spaceballs (1987)

May 6, 2009 Mark Sanchez 5

Repackaging grows new legs for a movie and, for many viewers, improves the experience with better sound, cleaner prints and those behind the scenes features. In “Galaxy Quest” you hear the affection Director Dean Parisot and writers David Howard and Robert Gordon clearly have for the material. The question: Does all that backstage chatter ramp up YOUR affection?
There’s also the matter of another movie already patrolling the universe for laughs. Mel Brooks called outer space “the last genre I can destroy” and worked over “Star Wars” in 1987’s “Spaceballs.” He came out with related features on a 2000 DVD. Mel couldn’t leave well enough alone, and released a 2005 Collector’s Edition with even more goofiness.
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The Soloist (2009) -vs- Shine (1996)

April 26, 2009 Mark Sanchez 1

“The Soloist” tells a story about extraordinary gifts connected to a very compromised life. If this sounds like something straight from the headlines, it should. LA Times columnist Steve Lopez wrote about a man who changed his life, first encountered in a skid row plaza near a statue of Beethoven.
What follows is complicated like any messy life, and it will have you wondering: Haven’t I seen something like this already?
Yes. You have. Director Scott Hicks brought us “Shine” in 1996, earning Geoffrey Rush a Best Actor Oscar in a well-made, well-regarded film that touched many of the elements now reworked by “The Soloist.”
Both stories tell us about real people who inspire and piss off their friends in roughly equal measure. Both will open the eyes and heart. Does one create a more indelible portrait of dignity among people who are only too human? That’s our Smackdown.
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Changeling (2008) -vs- L.A. Confidential (1997)

January 16, 2009 Mark Sanchez 2

The Smackdown Cops in Los Angeles were using integrity for target practice long before they started beating on Rodney King in the ’90s. In ChangelingÂ — set 80 years ago — director Clint EastwoodÂ combines a shocking […]

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