Word: brockoviches
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Soderbergh also seems to relish his “arrival” (official since Erin Brockovich) and acceptance into the studio system. He’s able to craft compelling, intimate vignettes, masterfully array them into a coherent whole and continually experiment with his camera work, but Soderbergh also keeps in step with the film’s cheeky “why not?” spirit. Why not rob an impenetrable casino fortress? Why not detonate a bomb in downtown Vegas to wipe out all electricity? Why not have Wayne Newton, Siegfried & Roy and world heavyweight boxing champion...
...SIMPLE, “FEEL-GOOD” UPLIFTING STORY: ERIN BROCKOVICH...
...rarest (though unequivocally the most rewarding) brand of biographical film treats the truly unbelievable story, the preternatural case history, the real life epic that, without artistic interpretation or cinematic doctoring, reads like a full-blown Hollywood screenplay. Steven Soderberg’s 2000 Oscar-award-winning Erin Brockovich tells just such a story. To be sure, Soderberg’s nuanced cinematographic virtuoso played no small role in the movie’s success. His refreshingly honest, underproduced visual aesthetic won him a second Oscar at the 73rd annual Academy Awards for his harrowing portrayal of suburban American drug culture...
...story is one of a young, brazen and destitute Eric Brockovich (Julia Roberts) who takes the American legal system by the scruff of its neck, moralizes it, defeats a corrupt and malicious business conglomerate and makes no small fortune for herself and others. At the film’s start, Brockovich is combing the classifieds to no particular avail—an image that becomes an important visual trope. Then, after incurring debilitating injuries from a car accident, Brockovich seeks the legal expertise of small claims attorney Ed Masry (Albert Finny), who fails her outright. Holding Masry personally responsible...
Julia Roberts is America's Best movie star not because she is good in good movies--heck, Tom Hanks can do that--but because she is so popular in mediocre ones. Her every-award-winning role in Erin Brockovich was an aberration. Roberts typically fronts airy romantic comedies or treacly melodramas that might go direct to video if she weren't in them. And still they are hits. People go to see Roberts despite her films, happy to pay for the privilege of being in her virtual presence. They want what she's got--what, seemingly, she is. No matter...