Game 6 (2005)

Baseball Game and Life (or Something Like That): See for the Fine Acting from the Cast

The title "Game 6" refers to the sixth game of the 1986 World Series. Yes, you remember Boston Red Sox and first baseman Bill Buckner. But the film itself is not about him and his legs; it's about New York playwright Nicky Rogan played by Michael Keaton and a string of the events that happen on the day (also the day of the sixth World Series game) when his latest play opens. Some films are sometimes called "character study" and here is a film that perfectly describes its nature. It's less about the story surrounding him than his personal life and struggle.

I said we follow the events that take place on the day of the Game 6, but actually the film frequently takes us back to the past of Nicky by introducing some supporting characters on his way to the theater or somewhere else - his daughter Laurel (Ari Graynor), his wife Lilian (Catherine O'Hara) and so on - and thus we come to know Nicky Rogan as a person. It's the opening night for his new film and he looks very worried, especially when he is told by his old friend and playwright Elliott Litvak (Griffin Dunne) about the hated and vitriolic drama critic Steven Schwimmer (Robert Downey Jr.) whose harsh criticism, he says, virtually ruined his career. But of course, we and Nicky are to meet Elliott later, who turns out someone different.

Director Michael Hoffman ("One Fine Day" "The Emperor's Club") uses a cerebral approach in dealing with the characters' situations. You will notice the metaphors and patterns employed here: some things constantly stop; some things (or people) are not what they seem; and unexpected things happen when they shouldn't happen, just like the baseball game of the film's title. The film's screenplay is written by novelist/playwright Don Dolillo which may explain the slightly wordy nature of the film.

Ultimately this is a film made for actors and dialogues. Acting is all great. Michael Keaton plays the character with depth, something most of his recent films seldom allowed him to show. But for those who want the movie to further the story and move on - and I am one of them - watching "Game 6" would be a bit painful experience.
January 13, 2008

A+++ service, thanks. Got here immediately, it seemed.

Service was perfect, thanks. Item arrived quicker than I expected, and in great condition. December 2, 2007

If you've read Don DeLillo, you know what to expect

Although Ebert & Roeper give the film "Two Thumbs Way Up" and Roeper seems to think that Keaton turns in "the first nomination worthy performance of 2006", Game 6 is slow, and rather boring for the majority of the film. And that's saying a lot when the film is only around 80 minutes long, apparently 87 if you believe the box.

The acting is all solid. Keaton does turn in a solid performance, as does everyone else, most notably Robert Downey Jr. as an infamously negative and destructive theatre critic and Catherine O'Hara as Keaton's soon-to-be-ex-wife. The problem is the production value of the film... and the script. When you only have $500,000 to work with and you're filming in Manhattan, not much can be expected of your production value (though the director and cinematographer did opt for 16mm film instead of going for digital, good call). As for the script...

Don DeLillo's Game 6 has been sitting around Paramount going unmade for almost 15 years now. After seeing the movie, it's clear that there's a reason why. It seems loosely based on the book Cosmopolis, or maybe it's the other way around since Cosmopolis only came out a few years ago. Replace a high-powered executive with a high-profile playwright and you've got almost the same story: a man's world seems to be falling down around him as he rides in various unmoving taxi cabs all day, stopping to see his daughter, his mistress, his wife, and get a haircut. Game 6, however, is set in 1986 on the day of the sixth game of the World Series between the Red Sox and the Mets.

Many of the scenes in Game 6 are almost exactly the same dialogue as Cosmopolis, which is off-putting considering they're different stories and no mention of the novel is made anywhere. The dialogue is distinctly DeLillo with people often repeating a phrase several times, or giving a monologue out of left field as if it actually applies to the situation at hand.

What makes this movie bearable, and actually almost enjoyable, is watching Michael Keaton do his best to navigate the scenery and the script, and knowing that he's doing it out of passion for the story, and not for money, regardless of whether the story itself seems deserving of said pasion.

By the end, the film seems to get a firm grasp of where it's going and how it's getting there, and almost manages to pull the viewer along. It's up to you to decide whether or not you want to go. May 28, 2007

I can't shake images of Mr. Mom & Beetlejuice

Sorry Michael, I can't agree with Roeper's claim of "nomination worthy performance". Maybe it's the role, or maybe it's Keaton's past roles that hamper my total appreciation of him in Game 6.
The movie is decent, but I expected more. I love the city of Boston and the Red Sox mystique. I also enjoy tales of personal inner stuggles. The tie-in between the BoSox's infamous sixth game meltdown and the main character's own unraveling is clever. There is a nice message here of coping with harsh realities and keeping things in perspective.
Game 6 is also a good look at the fanatical fan base of the region. Still, this is a movie I'll probably forget about before too long...

January 29, 2007

Happenstance And Random Encounters--Bring On More Philosophical Ramblings

I'm actually a bit surprised by my reaction to "Game 6." It seemed to be a movie that had many ingredients that I would appreciate. I know it got some positive reviews, I liked the cast, I'm a fan of Don DeLillo's novels, I'm fascinated by the whole Red Sox "curse," and I have a love of theater (the lead is a successful playwright). That encompasses pretty much every element in the film, but for some inexplicable reason--this movie did not connect with me at all. So, I'm genuinely pleased that many people have embraced this small film--however, this was (for me) a slight character study in which I didn't beleive any of the characters were even remotely realistic.

The film is set in New York as Michael Keaton's new play is about to be unveiled, which also happens to coincide with a pivotal World Series game--one that might finally break the decades-old Red Sox "curse." Set largely as "scenes" or vignettes, Keaton wanders the city bumping into various characters for random discourse. He waxes philosophical and nostalgically with a half dozen cab drivers about his youth spent driving a cab. He runs into his daughter, he runs into an old friend played by Griffin Dunne, he has an assignation with his mistress, has a meeting with his wife. There is so much randomness in the timing of all these encounters that it gets to be a bit much--aside from purposefully seeing his mistress, the other events just happen by chance. It's a lot of activity for such an important day.

Worried about his play being reviewed negatively by the leading critic, who is notorious for his scathing reviews--somehow, he takes up a gun!?!? I found it all rather nonsensical, but maybe that's just me. He ends up skipping his premiere and watching the big game with a lady cab driver and her grandson (of course). Speaking with such eloquent platitudes, these conversations are so far removed from how people speak--and the grandson is a fountain of wisdom for such a young age. Somewhere along the way, Keaton decides to murder the critic (played interestingly by Robert Downey, Jr). I never took this leap of faith--but I'm glad it happened because the scenes between Keaton and Downey are the film's best. But it wasn't enough for me.

The performances are good. Downey is particularly in his element--although I'm not sure that if I were attending the theater incognito, I'd dress like a bandmate from A Flock of Seagulls. Bebe Neuwirth and Catherine O' Hara both do nice work (as mistress and wife, respectively) in rather oddly timed encounters. (After being told O'Hara doesn't want to see him by his daughter, she later tracks him down at a bar--not the theater--to have a divorce talk. That's convenient.) The scenes in the theater are interesting, this might have been a story I wanted to follow more closely. But, ultimately, I just didn't believe these people, this dialogue, and these situations. Played more as fantasy or comedy, maybe it would have worked better. But for a film that tried to be meaningful and insightful, I guess it ended up falling on deaf ears. I truly hope you'll enjoy it more than I did. KGHarris, 01/07. January 14, 2007

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