Although I didn't have a chance to write something up for "Now Playing" on THE BOURNE ULTIMATUM this summer, since the show was on hiatus, the release of the film's DVD has inspired me to crank something out for my blog.
I often see critics describe summer action blockbusters as non-stop action thrill rides. Such statements always scream cliched, but I can honestly say that THE BOURNE ULTIMATUM is probably the first summer action blockbuster to earn the distinction of being a "non-stop thrill ride".
The film, just like the first two BOURNE films, races through multiple countries and various popular, international landscapes. I enjoyed the first two films, which provided fairly exhilarating action sequences and a decent plot to paste together Jason's running escapades. This third, and presumably final, installment in the BOURNE series is a notch above it's predecessors. It's concern is not as much with Jason revealing clues to reach his final destination, but rather to race him at hyper-speed, running him through everything and everyone like a buzz-saw, set on reaching his final dark and revealing conclusion.
Damon is on the mark again as Bourne, and Julia Stiles is given a greater role than window dressing (see past BOURNE roles, which amount to cameos). Albert Finney and Joan Allen turn in solid performances as Dr. Albert Hirsh and Pamela Lindy, but the real star of THE BOURNE ULTIMATUM is director Paul Greengrass. Greengrass took over the directorial duties of the BOURNE series with THE BOURNE SUPREMACY and seems much more comfortable with THE BOURNE ULTIMATUM. His signature hand-held camera action is still present as it was in SUPREMACY, but not to a nauseating extent. It's mixed in with other techniques which heighten the level of thrills, intensity and drama.
What's refreshing, particularly as an action film, and makes the film so rewarding is the fact that I was generally and legitimately thrilled. Almost every big Hollywood blockbuster is predictable, in the sense that we know that are hero will be standing from the first to the last frame, but what is not predictable is whether or not the director can divert and subvert our attention in an instant (or several instances) and make us lose our sensibility for that moment (or moments). All the great suspense and action directors perform this feat, whether it's Spielberg, Hitchcock or even M. Night Shymalan. With THE BOURNE ULTIMATUM, Greengrass steps into this league with an exhilarating, suspense-filled and nearly exhausting (in a good way) action spectacular.
Grade: B+
FYI, the film is being released on DVD today (Tuesday, December 11) and I'll be picking it up for someone for Christmas.
Saturday, December 08, 2007
Thursday, November 29, 2007
FRED CLAUS
Vince Vaughn takes a trip to the North Pole to visit his brother Nicholas in the holiday comedy, FRED CLAUS. Vaughn is the title character, the distant brother of Santa, or as Fred refers to him, Nick. The brothers had a falling out during their childhood, as Nick grabbed all of the spotlight and praise from his older brother Fred. Years later, the same song rings true, with Santa as popular as ever, while Fred lives in Chicago as a repo-man, with dreams of opening a downtown casino. Fred needs a loan in a hurry to make his casino dream come true, so he makes a wish to Santa, and Nick agrees with one stipulation: Fred must come to work for Nick at the North Pole.
FRED CLAUS plays much like the modernized materialistic celebration of Christmas: superficial, loud and mildly amusing. This latest Christmas comedy is attempting to be more ELF than BAD SANTA, featuring an odd-mix of sugar sweet sentimentalism with a touch of naughtiness. This is the result of having WEDDING CRASHERS director David Dobkin take the reins of an apparent family comedy. The general gist of FRED CLAUS is in line with family fun, with a Santa storyline, an orphan sub-plot and a North Pole that visually stacks up with any of its celluloid predecessors. Dobkin, and more importantly, screenwriters Dan Fogelman and Jessie Nelson, must not have been confident writing broad, family humor, because many scenes play strictly for adults, none of which work. Each ensuing scene targeted for adults falls flat, whether its Fred being beaten by a group of Salvation Army Santas, Santa being audited by an uneasy Kevin Spacey or a Siblings Anonymous group with some truly lame cameos. Vaughn’s rapid wit still lights up the screen a few times, and he and Giamatti make a fairly comedic odd-couple, but the burden of the screenplay weighs down both talents, and the rest of the high-profile cast.
Grade: C-
FRED CLAUS plays much like the modernized materialistic celebration of Christmas: superficial, loud and mildly amusing. This latest Christmas comedy is attempting to be more ELF than BAD SANTA, featuring an odd-mix of sugar sweet sentimentalism with a touch of naughtiness. This is the result of having WEDDING CRASHERS director David Dobkin take the reins of an apparent family comedy. The general gist of FRED CLAUS is in line with family fun, with a Santa storyline, an orphan sub-plot and a North Pole that visually stacks up with any of its celluloid predecessors. Dobkin, and more importantly, screenwriters Dan Fogelman and Jessie Nelson, must not have been confident writing broad, family humor, because many scenes play strictly for adults, none of which work. Each ensuing scene targeted for adults falls flat, whether its Fred being beaten by a group of Salvation Army Santas, Santa being audited by an uneasy Kevin Spacey or a Siblings Anonymous group with some truly lame cameos. Vaughn’s rapid wit still lights up the screen a few times, and he and Giamatti make a fairly comedic odd-couple, but the burden of the screenplay weighs down both talents, and the rest of the high-profile cast.
Grade: C-
MICHAEL CLAYTON
George Clooney begins to unravel the sordid details of a class-action lawsuit in the thriller MICHAEL CLAYTON. Clooney is Michael, a former attorney who is now a “fixer” for the law firm of Kenner, Bach and Ledeen. Michael’s value as a man who can fix problems and major obstacles for the firm is even greater than an attorney, according to the firm’s partner, Marty Bach, played by Sydney Pollack. Michael’s latest fix is Arthur Eden, one of the firm’s attorneys, who’s been getting to close to a plaintiff who’s seeking damages against U/North, the company Kenner, Bach and Ledeen are defending.
Despite the impressive, yet slowly developing screenplay from first-time director, but successful screenwriter Tony Gilroy, and with all due respect to his fine work here, MICHAEL CLAYTON is George Clooney’s movie. The film lives and breathes through the calculated, mannered, complicated and determined character that Clooney crafts. The screenplay allows Clooney to be seen in several different lights: as a manipulative attorney, a problem solver, a self-sacrificial brother, a flawed father and more than anything a deeply troubled individual. Although the film works as a somewhat conventional thriller, the depth and mystery which lurks beneath are a credit to Clooney’s portrayal. Each move Clayton makes is based on a number of variables from his standing with the firm, the debt that he owes, the relationships that he’s built and the ones which have fallen apart. As events unravel in MICHAEL CLAYTON it isn’t the plot’s outcome which peaks one’s interest, but rather the impact the outcome will have on one man’s decisions.
Grade: B
Despite the impressive, yet slowly developing screenplay from first-time director, but successful screenwriter Tony Gilroy, and with all due respect to his fine work here, MICHAEL CLAYTON is George Clooney’s movie. The film lives and breathes through the calculated, mannered, complicated and determined character that Clooney crafts. The screenplay allows Clooney to be seen in several different lights: as a manipulative attorney, a problem solver, a self-sacrificial brother, a flawed father and more than anything a deeply troubled individual. Although the film works as a somewhat conventional thriller, the depth and mystery which lurks beneath are a credit to Clooney’s portrayal. Each move Clayton makes is based on a number of variables from his standing with the firm, the debt that he owes, the relationships that he’s built and the ones which have fallen apart. As events unravel in MICHAEL CLAYTON it isn’t the plot’s outcome which peaks one’s interest, but rather the impact the outcome will have on one man’s decisions.
Grade: B
GONE BABY GONE
The Affleck brothers team up in the morality thriller, GONE BABY GONE. Ben Affleck steps behind the camera to direct his brother for the first-time in the story of a missing girl. Casey Affleck and Michelle Monaghan are Patrick Kenzie and Angie Gennaro, two young private investigators who are called on to find Amanda McCready, a missing child from downtown Boston. As Patrick and Angie dig deeper into the case, the more complex it becomes, with variables including Amanda’s doped-out mother, red-tape from the police and a media circus surrounding the girl’s disappearance.
The cleverness in GONE BABY GONE’s screenplay is matched only by its morally-complex and challenging conclusion, one which does not conform to convention, but is dead-set on creating conversation. Ben Affleck returns to his GOOD WILL HUNTING roots, penning a Boston-area screenplay that absorbs the bean town atmosphere into the characters and events, providing an authentic and realistic feel. Casey Affleck, who had yet to impress me on screen, delivers a powerful performance, with grit, fortitude and depth. Casey’s Patrick is no more complex than many of the other characters, but through his eyes we view the areas of gray that form in crime and punishment. The film is a tremendous work for Ben Affleck in his directorial debut. Outside of a fairly contrived latter fourth, GONE BABY GONE poses some serious questions, and several answers through its murky characters. Affleck and co-scribe Aaron Stockard have created several conflicted characters, willing to bend the law at certain times, and at other times willing to follow it by the book. There’s no easy ending for GONE BABY GONE, but a difficult and engaging finish that will leave you with plenty to talk about.
Grade: A-
The cleverness in GONE BABY GONE’s screenplay is matched only by its morally-complex and challenging conclusion, one which does not conform to convention, but is dead-set on creating conversation. Ben Affleck returns to his GOOD WILL HUNTING roots, penning a Boston-area screenplay that absorbs the bean town atmosphere into the characters and events, providing an authentic and realistic feel. Casey Affleck, who had yet to impress me on screen, delivers a powerful performance, with grit, fortitude and depth. Casey’s Patrick is no more complex than many of the other characters, but through his eyes we view the areas of gray that form in crime and punishment. The film is a tremendous work for Ben Affleck in his directorial debut. Outside of a fairly contrived latter fourth, GONE BABY GONE poses some serious questions, and several answers through its murky characters. Affleck and co-scribe Aaron Stockard have created several conflicted characters, willing to bend the law at certain times, and at other times willing to follow it by the book. There’s no easy ending for GONE BABY GONE, but a difficult and engaging finish that will leave you with plenty to talk about.
Grade: A-
Thursday, July 12, 2007
Summer Movie Drought
I thought I'd post a few thoughts about the summer movie season for several reasons, the main one being that "Now Playing", the film review program I co-host and co-produce, is on hiatus for the time being. WOCC-TV 3 is in the midst of a move, and until all of the wires, cameras, record decks, etc. are all set up in their new home, my blog is the only means of conveying my thoughts on current cinema.
The title for this post not only reflects my less than usual attendance at the theatre this summer, due as much to the birth of my beautiful daughter Grace as to the show's summer hiatus, but also the lack of much summer fare that really delivers.
The first three blockbusters for the summer were all third films of trilogies, and all disappointments, in SPIDERMAN 3 (B-), SHREK THE THIRD (C) and PIRATES OF THE CARIBBEAN: AT WORLD'S END (D+).
SPIDERMAN 3 (B-) is the only film worth seeing of the bunch, and it's worth a viewing more for its ambition, and the film's strong latter third, than anything else. SHREK THE THIRD and AT WORLD'S END seemed intent on merely mimicing their predecessors. SHREK THE THIRD had very few inspired moments, added only one (and very weak) character and felt more or less like it was spinning its wheels. If SHREK THE THIRD was spinning its wheels, AT WORLD'S END is like a car that's out of control. The film gets tangled in several storylines, double-crosses and mixed motivations, and it's difficult to distinguish the heroes from the villians. Verbinski and co-writers felt that adding a few more Johnny Depps, in the form of several Jack Sparrows, would liven up the bloated seafest, but instead feels contrived and obnoxious.
Not trying to be a contrarian, I found EVAN ALMIGHTY (B) to be much better than Carrey's BRUCE. The first ALMIGHTY was a gimmick film, intent on watching Carrey play God with his newfound powers. Although not as deadset on being a straight comedy, EVAN ALMIGHTY works as solid family entertainment, with enough laughs for the kids, and a family friendly spiritual message that transcends the genre. I don't want to hold director Tom Shadyac to the level of legendary (and one of my all-time favorites) director Frank Capra, but at times EVAN ALMIGHTY provides a taste of Capra's corn. Steve Carrell overdoes it a few times in some of the childish, slapstick moments, but overall provides an everyman performance, which many films have strayed away from presenting. Morgan Freeman is also given more to work with in EVAN, as opposed to BRUCE. One of our best living actors, Freeman is given a couple of scenes to wave his air of wisdom over (with Evan and Evan's wife), and these scenes provide the ground work for the film's message.
Marking a stark contrast from the family film, are two thunderous blockbusters in LIVE FREE OR DIE HARD (C+) and TRANSFORMERS (B-). Although not a big difference grade-wise, TRANSFORMERS earns a recommendation almost entirely based on its eye-popping special effects. In spite of some well-placed humor, and a terrifically quirky performance from Shia LeBeouf, TRANSFORMERS is much like other Michael Bay overly-edited action films with robots instead of humans. In this case, watching robots instead of humans is exactly what makes TRANSFORMERS worth watching. I'm normally not one to give films a pass based on their special effects, but TRANSFORMERS is the first time in 14 years that my jaw has dropped from a mere visual aesthetic. TRANFORMERS executive producer (Steven Spielberg) provided the last one when T-Rex and velociraptors graced the silver screen.
LIVE FREE OR DIE HARD is amazingly more ridiculous than watching giant, alien robots wage war on earth. This fourth DIE HARD installment is a wreck of a script, but the ludicrous action and Willils' playful nature make LIVE FREE OR DIE HARD very watchable. The tech-infused script isn't nearly as engaging as either of the first three DIE HARDs, and the enemy's surveliance techniques make the TV series 24 seem grounded and down to earth. The film is designed to throw lavish action stunts, and they are actual stunts, not CGI, at us continuously. Some stunts don't make any sense, especially when using a sedan as a heat seeking missile, but one is fairly impressed how over-the-top LIVE FREE OR DIE HARD goes.
I'll try to catch up this weekend, but no promises. I'm looking forward to revealing my thoughts on the latest POTTER film, HAIRSPRAY and the much anticipated big screen blow-up of HOMER SIMPSON and crew.
See ya soon...
The title for this post not only reflects my less than usual attendance at the theatre this summer, due as much to the birth of my beautiful daughter Grace as to the show's summer hiatus, but also the lack of much summer fare that really delivers.
The first three blockbusters for the summer were all third films of trilogies, and all disappointments, in SPIDERMAN 3 (B-), SHREK THE THIRD (C) and PIRATES OF THE CARIBBEAN: AT WORLD'S END (D+).
SPIDERMAN 3 (B-) is the only film worth seeing of the bunch, and it's worth a viewing more for its ambition, and the film's strong latter third, than anything else. SHREK THE THIRD and AT WORLD'S END seemed intent on merely mimicing their predecessors. SHREK THE THIRD had very few inspired moments, added only one (and very weak) character and felt more or less like it was spinning its wheels. If SHREK THE THIRD was spinning its wheels, AT WORLD'S END is like a car that's out of control. The film gets tangled in several storylines, double-crosses and mixed motivations, and it's difficult to distinguish the heroes from the villians. Verbinski and co-writers felt that adding a few more Johnny Depps, in the form of several Jack Sparrows, would liven up the bloated seafest, but instead feels contrived and obnoxious.
Not trying to be a contrarian, I found EVAN ALMIGHTY (B) to be much better than Carrey's BRUCE. The first ALMIGHTY was a gimmick film, intent on watching Carrey play God with his newfound powers. Although not as deadset on being a straight comedy, EVAN ALMIGHTY works as solid family entertainment, with enough laughs for the kids, and a family friendly spiritual message that transcends the genre. I don't want to hold director Tom Shadyac to the level of legendary (and one of my all-time favorites) director Frank Capra, but at times EVAN ALMIGHTY provides a taste of Capra's corn. Steve Carrell overdoes it a few times in some of the childish, slapstick moments, but overall provides an everyman performance, which many films have strayed away from presenting. Morgan Freeman is also given more to work with in EVAN, as opposed to BRUCE. One of our best living actors, Freeman is given a couple of scenes to wave his air of wisdom over (with Evan and Evan's wife), and these scenes provide the ground work for the film's message.
Marking a stark contrast from the family film, are two thunderous blockbusters in LIVE FREE OR DIE HARD (C+) and TRANSFORMERS (B-). Although not a big difference grade-wise, TRANSFORMERS earns a recommendation almost entirely based on its eye-popping special effects. In spite of some well-placed humor, and a terrifically quirky performance from Shia LeBeouf, TRANSFORMERS is much like other Michael Bay overly-edited action films with robots instead of humans. In this case, watching robots instead of humans is exactly what makes TRANSFORMERS worth watching. I'm normally not one to give films a pass based on their special effects, but TRANSFORMERS is the first time in 14 years that my jaw has dropped from a mere visual aesthetic. TRANFORMERS executive producer (Steven Spielberg) provided the last one when T-Rex and velociraptors graced the silver screen.
LIVE FREE OR DIE HARD is amazingly more ridiculous than watching giant, alien robots wage war on earth. This fourth DIE HARD installment is a wreck of a script, but the ludicrous action and Willils' playful nature make LIVE FREE OR DIE HARD very watchable. The tech-infused script isn't nearly as engaging as either of the first three DIE HARDs, and the enemy's surveliance techniques make the TV series 24 seem grounded and down to earth. The film is designed to throw lavish action stunts, and they are actual stunts, not CGI, at us continuously. Some stunts don't make any sense, especially when using a sedan as a heat seeking missile, but one is fairly impressed how over-the-top LIVE FREE OR DIE HARD goes.
I'll try to catch up this weekend, but no promises. I'm looking forward to revealing my thoughts on the latest POTTER film, HAIRSPRAY and the much anticipated big screen blow-up of HOMER SIMPSON and crew.
See ya soon...
Friday, June 29, 2007
HOT FUZZ
The team that created SHAUN OF THE DEAD returns for some cop comedy with HOTT FUZZ. Writer/director Edgar Wright, and co-writer and star Simon Pegg, center their comedy on Nicholas Angel, a brilliant London police officer. After a successful stretch of patrolling London’s streets, Angel is reassigned to an outlying community where crime is nearly nonexistent. His by-the-book antics served him well in the big city, but seem out of place in the quiet, quaint town of Sandford. After a tragic traffic collision claims two Sanford residents’ lives, Angel believes that the collision wasn’t an accident, but murder. No one believes Angel, including his bumbling partner, Danny Butterman.
HOT FUZZ is everything that Quentin Tarantino and Robert Rodriguez had hoped GRINDHOUSE would be, and more. This satire and homage to cop action flicks provides plenty of oft-beat and silly British humor, thrilling and action-packed gunplay and hand-to-hand combat and several comic-book style deaths. With Wright as writer-director, and Pegg as writer-actor, the two have carved out quite a cinematic niche, by both mocking and honoring certain genres. They’ve essentially found a way to have their cake and eat it to. The comedic timing works in HOT FUZZ thanks to Wright’s patience and willingness to let the jokes and plot unravel, and Pegg is terrific in yet another dead-pan role, allowing the manic nature of the film to run its course. As in SHAUN OF THE DEAD, HOT FUZZ greatly benefits from a strong supporting cast. Whether its in a supporting role or a cameo, Timothy Dalton, Paddy Considine, Steve Coogan, Bill Nighly and Jim Broadbent leave their marks in wonderfully humorous ways. Whether your looking for a hysterical comedy, an exciting action movie or a silly mystery, HOT FUZZ delivers all three. It’s the most fun I’ve had in the movie theater this year.
Grade: A-
HOT FUZZ is everything that Quentin Tarantino and Robert Rodriguez had hoped GRINDHOUSE would be, and more. This satire and homage to cop action flicks provides plenty of oft-beat and silly British humor, thrilling and action-packed gunplay and hand-to-hand combat and several comic-book style deaths. With Wright as writer-director, and Pegg as writer-actor, the two have carved out quite a cinematic niche, by both mocking and honoring certain genres. They’ve essentially found a way to have their cake and eat it to. The comedic timing works in HOT FUZZ thanks to Wright’s patience and willingness to let the jokes and plot unravel, and Pegg is terrific in yet another dead-pan role, allowing the manic nature of the film to run its course. As in SHAUN OF THE DEAD, HOT FUZZ greatly benefits from a strong supporting cast. Whether its in a supporting role or a cameo, Timothy Dalton, Paddy Considine, Steve Coogan, Bill Nighly and Jim Broadbent leave their marks in wonderfully humorous ways. Whether your looking for a hysterical comedy, an exciting action movie or a silly mystery, HOT FUZZ delivers all three. It’s the most fun I’ve had in the movie theater this year.
Grade: A-
SHOOTER
Mark Wahlberg is a fugitive on the run in the action picture SHOOTER. Wahlberg is former marine marksman Bob Lee Swagger. Swagger lost his spotter, and best friend, during a failed mission overseas and has since retired away to the mountains in the western United States. Enter U.S. Colonel Isaac Johnson, played by Danny Glover. Johnson has discovered a plot to assassinate the president and asks Swagger to assist him in catching the would-be assassin. Swagger’s better judgment gives way to his sense of patriotism, but little does he know he’s being set up. Swagger becomes Johnson’s fall guy, in an apparent assassination attempt, leaving Swagger on the run with no where to hide.
If you’re a cynic of the United States government, and a believer that one man’s innocence is worth the lives of tens of innocent men, SHOOTER might just be the movie for you. This overly contemptuous action thriller views our country through tainted glasses and serves up a collection of preposterous, G.I. Joe moments. Director Antoine Fuqua, an adept action director, requires one to suspend their disbelief one to many times in order for SHOOTER to hit the mark. This extremely poor man’s THE FUGITIVE fails by not keeping the back story straightforward. The premise is simple, the performances standard, but the screenplay, written by Jonathan Lemkin and based on the novel by Stephen Hunter, feels compelled to provide puzzling explanations for the governments actions. These reasons are lame and detached, providing little depth or understanding. After a lengthy and incoherent explanation in the film’s final moments, SHOOTER ends with a bloody and unsatisfying taste of vengeance.
Grade: D+
If you’re a cynic of the United States government, and a believer that one man’s innocence is worth the lives of tens of innocent men, SHOOTER might just be the movie for you. This overly contemptuous action thriller views our country through tainted glasses and serves up a collection of preposterous, G.I. Joe moments. Director Antoine Fuqua, an adept action director, requires one to suspend their disbelief one to many times in order for SHOOTER to hit the mark. This extremely poor man’s THE FUGITIVE fails by not keeping the back story straightforward. The premise is simple, the performances standard, but the screenplay, written by Jonathan Lemkin and based on the novel by Stephen Hunter, feels compelled to provide puzzling explanations for the governments actions. These reasons are lame and detached, providing little depth or understanding. After a lengthy and incoherent explanation in the film’s final moments, SHOOTER ends with a bloody and unsatisfying taste of vengeance.
Grade: D+
IN THE LAND OF WOMEN
Adam Brody learns a thing or two from the opposite sex in IN THE LAND OF WOMEN. Brody is Carter Webb, a second-rate screenwriter from Los Angeles who leaves California after his gorgeous, actor girlfriend dumps him. He heads to Michigan to watch over his ailing grandmother, but more importantly, to leave the pains of the break-up behind him. While staying with his grandmother, Carter meets the mother and daughter tandem of Sarah and Lucy Hardwicke. Soon Carter finds himself in the middle of a family squabble between the two.
IN THE LAND OF WOMEN was written and directed by first-time director Jonathan Kasdan, the son of writer-director Lawrence Kasdan. I mention the relation, because Jonathan treads over some of the same emotional territory that his father has with his films. IN THE LAND OF WOMEN doesn’t have a conventional beginning or end but briefly ventures into three individuals’ tangled lives. Brody’s Webb is trying to rebound from a love lost, Sarah, played by Meg Ryan, is trying to rediscover life and a relationship with her eldest daughter, and Lucy is just beginning to learn life’s lessons. Kasdan’s calming touch behind the camera, and careful nature with his characters, enables us to feel for these troubled suburbanites in spite of the writer-director’s accelerated emotional connection between Carter, Sarah and Lucy. The three actors, Brody, Ryan and Kristen Stewart, provide compelling and unique individuals, ones easy to connect with. Their close interaction seems natural, despite the short duration of their relationships. IN THE LAND OF WOMEN is a slice of life drama that tackles emotional recovery from a different angle.
Grade: B-
IN THE LAND OF WOMEN was written and directed by first-time director Jonathan Kasdan, the son of writer-director Lawrence Kasdan. I mention the relation, because Jonathan treads over some of the same emotional territory that his father has with his films. IN THE LAND OF WOMEN doesn’t have a conventional beginning or end but briefly ventures into three individuals’ tangled lives. Brody’s Webb is trying to rebound from a love lost, Sarah, played by Meg Ryan, is trying to rediscover life and a relationship with her eldest daughter, and Lucy is just beginning to learn life’s lessons. Kasdan’s calming touch behind the camera, and careful nature with his characters, enables us to feel for these troubled suburbanites in spite of the writer-director’s accelerated emotional connection between Carter, Sarah and Lucy. The three actors, Brody, Ryan and Kristen Stewart, provide compelling and unique individuals, ones easy to connect with. Their close interaction seems natural, despite the short duration of their relationships. IN THE LAND OF WOMEN is a slice of life drama that tackles emotional recovery from a different angle.
Grade: B-
BLACK SNAKE MOAN
A former Southern blues-man tries to tame a wild-at-heart woman in director Craig Brewer’s BLACK SNAKE MOAN. The HUSTLE AND FLOW director pits Samuel Jackson as Lazarus, an Old Testament Christian, against Christina Ricci’s promiscuous vixen Rae. Rae’s army boyfriend Ronnie, played by Justin Timberlake, has just left for the war in Iraq, and Rae begins to fall into her old, wild ways. After Rae is beaten and dumped on the side of the road, Lazarus discovers her and decides some strict rehabilitation is in order.
Mixing both sexuality and spirituality, BLACK SNAKE MOAN is a strange film, one which may have a hard time appeasing audiences seeking the spiritual or the sexual content. Oddly enough, on its own terms, the film succeeds. The film’s blend of the Bible and bare-breasted Ricci, is in many ways the same trick and treat that THE LEGEND OF BETTIE PAGE pulled. Both baited in viewers with an alluring beauty, only to sell a religious tale of forgiveness and redemption. Ricci’s performance is good, but is upstaged by a terrific turn by Jackson. Jackson’s familiar intensity is on display again, but he also brings a rare peacefulness to Lazarus. His performance should be remembered come awards season. Just as he did with HUSTLE AND FLOW, Brewer establishes the community as a character. The Deep South blues gives BLACK SNAKE MOAN its personality, and the church folk give the film its soul. In spite of BLACK SNAKE MOAN’S peculiar nature, it works.
Grade: B
Mixing both sexuality and spirituality, BLACK SNAKE MOAN is a strange film, one which may have a hard time appeasing audiences seeking the spiritual or the sexual content. Oddly enough, on its own terms, the film succeeds. The film’s blend of the Bible and bare-breasted Ricci, is in many ways the same trick and treat that THE LEGEND OF BETTIE PAGE pulled. Both baited in viewers with an alluring beauty, only to sell a religious tale of forgiveness and redemption. Ricci’s performance is good, but is upstaged by a terrific turn by Jackson. Jackson’s familiar intensity is on display again, but he also brings a rare peacefulness to Lazarus. His performance should be remembered come awards season. Just as he did with HUSTLE AND FLOW, Brewer establishes the community as a character. The Deep South blues gives BLACK SNAKE MOAN its personality, and the church folk give the film its soul. In spite of BLACK SNAKE MOAN’S peculiar nature, it works.
Grade: B
Wednesday, March 07, 2007
BLOOD DIAMOND
A South African civil war centers on a shiny rock in the Edward Zwick thriller, BLOOD DIAMOND. Diamonds serve as a power source in the economically struggling country. South African rebels obtain the rocks, sell them to London jewelers, and use the profits to purchase semiautomatic weapons in which to overthrow their government. Leonardo DiCaprio is Danny Archer, a South African diamond dealer who serves as the middle man between buyer and seller. Archer learns of an extremely large diamond that was buried by Solomon, a captive of an extremist rebel group, and he’s determined to uncover the whereabouts of the valuable stone.
Director Edward Zwick is known for mixing politics and action, and does so again with BLOOD DIAMOND. THE LAST SAMURAI AND COURAGE UNDER FIRE director, mixes the profitability of the diamond trade with the economic and political turmoil of South Africa, and conjures up a fairly thrilling picture. Although the action scenes are well orchestrated, the real thrills come from the dealings between Archer, Solomon, and an American journalist played by Jennifer Connelly. Each character has their own agenda, and each must use the other as a means to their ends. Watching DiCaprio, Connelly and Djimon Honsou, as Solomon, work within the confines of the screenplay was a real treat. Working with their own character’s complications, restraints and leverage, the threesome create an interesting dynamic of calculation, compassion and courage. Zwick’s skill in directing action sometimes leads to an excess and BLOOD DIAMOND is no different. These scenes are well choreographed, but often run a hair too long. BLOOD DIAMOND offers an action thriller with some thought.
Grade: B-
Director Edward Zwick is known for mixing politics and action, and does so again with BLOOD DIAMOND. THE LAST SAMURAI AND COURAGE UNDER FIRE director, mixes the profitability of the diamond trade with the economic and political turmoil of South Africa, and conjures up a fairly thrilling picture. Although the action scenes are well orchestrated, the real thrills come from the dealings between Archer, Solomon, and an American journalist played by Jennifer Connelly. Each character has their own agenda, and each must use the other as a means to their ends. Watching DiCaprio, Connelly and Djimon Honsou, as Solomon, work within the confines of the screenplay was a real treat. Working with their own character’s complications, restraints and leverage, the threesome create an interesting dynamic of calculation, compassion and courage. Zwick’s skill in directing action sometimes leads to an excess and BLOOD DIAMOND is no different. These scenes are well choreographed, but often run a hair too long. BLOOD DIAMOND offers an action thriller with some thought.
Grade: B-
A GOOD YEAR
Russell Crowe comes to a crossroads in his life in Ridley Scott’s drama, A GOOD YEAR. Crowe is Max Skinner, a successful, but immoral London stock broker, who inherits his Uncle Henry’s vineyard in France. Max initially plans on selling the property to the highest bidder, but after returning to the vineyard and recollecting back to childhood memories, he begins to have second thoughts.
After watching Crowe as a gladiator, a big-tobacco snitch, a schizophrenic mathematician and a depression-era boxer, I didn’t feel there was a role the Aussie couldn’t handle. Ridley Scott has proved me wrong. Crowe’s Skinner is a tough character to get a handle on. Crowe plays Max as a successful, cocky and chauvinistic playboy who’s more worried about dollars than common sense. He plays this part just fine, but has a hard time with Max’s transformation. Despite the well-detailed flashbacks, Crowe isn’t able to win over our hearts. His charm-less Max pales in comparison to Tom Cruise’s Jerry Maguire, despite the two characters obvious similarities, and Scott isn’t able to recognize his star performer’s deficiency. Crowe and Scott aren’t the only ones to blame, as writers Marc Klein and Peter Mayle script a completely unlikable character, and even the costume design team struggles with Max. A GOOD YEAR is a character driven film, with little character.
Grade: C-
After watching Crowe as a gladiator, a big-tobacco snitch, a schizophrenic mathematician and a depression-era boxer, I didn’t feel there was a role the Aussie couldn’t handle. Ridley Scott has proved me wrong. Crowe’s Skinner is a tough character to get a handle on. Crowe plays Max as a successful, cocky and chauvinistic playboy who’s more worried about dollars than common sense. He plays this part just fine, but has a hard time with Max’s transformation. Despite the well-detailed flashbacks, Crowe isn’t able to win over our hearts. His charm-less Max pales in comparison to Tom Cruise’s Jerry Maguire, despite the two characters obvious similarities, and Scott isn’t able to recognize his star performer’s deficiency. Crowe and Scott aren’t the only ones to blame, as writers Marc Klein and Peter Mayle script a completely unlikable character, and even the costume design team struggles with Max. A GOOD YEAR is a character driven film, with little character.
Grade: C-
L'ENFANT
A young man struggles to come to terms with adulthood in the foreign language film, L’ENFANT. Translated as THE INFANT, the French film follows a couple who is prepared neither financially, mentally or emotionally for a child. That doesn’t stop Bruno and Sonia from conceiving, but does create a problem for them as parents. Their only source of income comes from Sonia’s welfare benefits, and Bruno’s petty theft earnings. Eager to earn more money, and rid himself of the burdens of parenthood, Bruno sells his child to a black market group that profits off orphans.
Co-writers and directors Jean-Pierre and Luc Dardenne’s resume is full of darker –themed pictures, and gritty documentaries. L’ENFANT follows in this same vein, effectively depicting a seedy and immature young man, and the sleazy streets that he inhabits. The Dardenne’s writing allows one to view a realistic, but rarely seen segment of France, and their docu-style camera work is affecting, without seeming pretentious. The key to the picture is the character of Bruno. Bruno is far from sympathetic or even emphatic, but is an engaging figure that lives for the moment, throwing all caution and care for tomorrow aside. Jeremie Renier, as Bruno, creates a young man who would seemingly be despicable, if it wasn’t for his immediate need and eagerness to please Sonia and himself. The Dardenne’s script allows us to dislike Bruno, yet not despise the man, and wisely enables us to forgive him after viewing his transformation.
Grade: B-
Co-writers and directors Jean-Pierre and Luc Dardenne’s resume is full of darker –themed pictures, and gritty documentaries. L’ENFANT follows in this same vein, effectively depicting a seedy and immature young man, and the sleazy streets that he inhabits. The Dardenne’s writing allows one to view a realistic, but rarely seen segment of France, and their docu-style camera work is affecting, without seeming pretentious. The key to the picture is the character of Bruno. Bruno is far from sympathetic or even emphatic, but is an engaging figure that lives for the moment, throwing all caution and care for tomorrow aside. Jeremie Renier, as Bruno, creates a young man who would seemingly be despicable, if it wasn’t for his immediate need and eagerness to please Sonia and himself. The Dardenne’s script allows us to dislike Bruno, yet not despise the man, and wisely enables us to forgive him after viewing his transformation.
Grade: B-
SUPERMAN RETURNS
Nineteen years, several scripts and a handful of directors later, the Man of Steel has made is resurgence in Bryan Singer’s SUPERMAN RETURNS. The latest Superman installment picks up five years after SUPERMAN: THE QUEST FOR PEACE, as Superman, aka Clark Kent, has returned from a half-decade hiatus following his abrupt departure after learning of Krypton’s destruction. He returns to Metropolis, but much to his surprise and dismay finds Lois Lane with a child, a steady boyfriend and a Pulitzer prize from her editorial titled, “Why We Don’t Need Superman”. Oh yeah, and there’s the little matter of Lex Luthor and his latest diabolical scheme.
Superman has indeed returned, reviving, rehashing and reinventing comic book’s most storied hero. In spite of some questionable casting choices, and a half-baked replay of Superman’s childhood/self-discovery period, director Bryan Singer stirs up enough imaginative and gripping moments to make SUPERMAN RETURNS soar. An underdeveloped, but still slow start threatens to dismantle the newest installment, but Singer adds some nice touches, from Superman’s updated x-ray vision to his and Lois’ descent upon Metropolis, and benefits from an ideal performance from Christopher Reeves successor Brandon Routh. Routh, in his big screen debut, proves to be the ideal choice for the Man of Steel and the odd-ball reporter. His Kent, much like Reeves, is lovable, clumsy and wise, but apprehensive in his romantic interludes with Lois Lane. As Superman, it’s all image, and Routh delivers an iconic figure who’s confident, charismatic and comedic at just the right moments. Spacey is deliciously devilish as Luthor, while Kate Bosworth is surprisingly miscast as the head-strong Lane. SUPERMAN RETURNS takes off rather sluggishly, but surges with a uniformly strong cast, and well-written climatic moments.
Grade: B
Superman has indeed returned, reviving, rehashing and reinventing comic book’s most storied hero. In spite of some questionable casting choices, and a half-baked replay of Superman’s childhood/self-discovery period, director Bryan Singer stirs up enough imaginative and gripping moments to make SUPERMAN RETURNS soar. An underdeveloped, but still slow start threatens to dismantle the newest installment, but Singer adds some nice touches, from Superman’s updated x-ray vision to his and Lois’ descent upon Metropolis, and benefits from an ideal performance from Christopher Reeves successor Brandon Routh. Routh, in his big screen debut, proves to be the ideal choice for the Man of Steel and the odd-ball reporter. His Kent, much like Reeves, is lovable, clumsy and wise, but apprehensive in his romantic interludes with Lois Lane. As Superman, it’s all image, and Routh delivers an iconic figure who’s confident, charismatic and comedic at just the right moments. Spacey is deliciously devilish as Luthor, while Kate Bosworth is surprisingly miscast as the head-strong Lane. SUPERMAN RETURNS takes off rather sluggishly, but surges with a uniformly strong cast, and well-written climatic moments.
Grade: B
Sunday, March 04, 2007
AKEELAH AND THE BEE
A Los Angeles youth spells her way to success in AKEELAH AND THE BEE. Akeelah is an inner city Los Angeles middle school student who hasn’t been motivated since the passing of her father. After receiving another 100% on her spelling test, Akeelah’s teacher encourages her to compete in the school’s spelling bee. After initially declining, her principal makes Akeelah an offer she can’t refuse. She breezes through her school spelling bee, and then lands UCLA professor Dr. Larabee as a tutor in order for her preparations for the district bee, and hopefully more.
AKEELAH AND THE BEE appears to be a standard underdog story. The film is so much more, a wonderful demonstration of how a familiar storyline can be enriching by establishing unique characters, and stirring emotions. Akeelah, played wonderfully by newcomer Keke Palmer, and Dr. Larabee, are two emotionally fractured individuals who find the art of spelling to be both an escape from their problems, and part of their rehabilitation. The interaction between the two is not only heartwarming, but also intelligent and competitive, as each utilizes their intellect to verbally joust with one another. Doug Atkinson, who writes and directs, not only works magic between professor and pupil, but also creates a collection of colorful supporting characters that are original, realistic and endearing. AKEELAH AND THE BEE is much more than your standard underdog tale.
Grade: A-
AKEELAH AND THE BEE appears to be a standard underdog story. The film is so much more, a wonderful demonstration of how a familiar storyline can be enriching by establishing unique characters, and stirring emotions. Akeelah, played wonderfully by newcomer Keke Palmer, and Dr. Larabee, are two emotionally fractured individuals who find the art of spelling to be both an escape from their problems, and part of their rehabilitation. The interaction between the two is not only heartwarming, but also intelligent and competitive, as each utilizes their intellect to verbally joust with one another. Doug Atkinson, who writes and directs, not only works magic between professor and pupil, but also creates a collection of colorful supporting characters that are original, realistic and endearing. AKEELAH AND THE BEE is much more than your standard underdog tale.
Grade: A-
ACCEPTED
A high school senior creates a college of his own in the comedy ACCEPTED. Bartleby Gaines has applied to several colleges, but has been accepted by none, much to the dismay of his mother and father. Faced with parental denunciation and public embarrassment, Bartleby invents the South Hampton Institute of Technology, with his friend Sherman creating a website to fool Bartleby’s parents. The lie begins to spin out of control for Bartleby, as his dad begins to question where the college is and wants to view the campus for himself. One thing leads to another, and Bartleby ends up creating the pseudo-college, South Hampton Institute of Technology.
Bartleby Gaines is a poor man’s version of Ferris Bueller. The main difference between Matthew Broderick’s Ferris and Justin Long’s Bartleby is that Ferris never bit off more than he could chew. ACCEPTED is an occasionally fun and harmless college romp that loses all resemblance of reality once the pseudo-college is created. South Hampton Institute of Technology is a college students dream of with unlimited partying, unlimited eating and most importantly, unlimited slacking. I admired the spirit of ACCEPTED, and felt Long’s performance was on-key, funny and likable. The movie’s downfall lies in the fact that Bartleby has pulled off serious fraud, and that despite his ornery nature, we cannot root for him to succeed. A collection of screenwriters try to have it both ways, ending the film with a clichéd and completely unconvincing courtroom scene reminiscent of ANIMAL HOUSE. ACCEPTED doesn’t pass or fail, but resides in the school of mediocrity.
Grade: C
Bartleby Gaines is a poor man’s version of Ferris Bueller. The main difference between Matthew Broderick’s Ferris and Justin Long’s Bartleby is that Ferris never bit off more than he could chew. ACCEPTED is an occasionally fun and harmless college romp that loses all resemblance of reality once the pseudo-college is created. South Hampton Institute of Technology is a college students dream of with unlimited partying, unlimited eating and most importantly, unlimited slacking. I admired the spirit of ACCEPTED, and felt Long’s performance was on-key, funny and likable. The movie’s downfall lies in the fact that Bartleby has pulled off serious fraud, and that despite his ornery nature, we cannot root for him to succeed. A collection of screenwriters try to have it both ways, ending the film with a clichéd and completely unconvincing courtroom scene reminiscent of ANIMAL HOUSE. ACCEPTED doesn’t pass or fail, but resides in the school of mediocrity.
Grade: C
BABEL
A couple’s tragic vacation becomes an international incident in director Alejandro Gonzalez Inarritu’s latest, BABEL. Just like Inarritu’s last two pictures, 21 GRAMS and AMORES PEROS, BABEL’S tale is told in non-linear fashion with several storylines. The main storyline involves Richard and Susan, a married couple on vacation in Morroco. While traveling via bus, Susan is hit in the neck by a stray bullet, which comes from a young Morrocan boy who foolishly decides to use a commercial bus as target practice. Not only does the incident begin rumors of terrorism, but Richard and Susan’s predicament creates further complications back home with their children in San Diego.
BABEL plays like an internationally attuned version of CRASH. Both films involve issues of prejudice, miscommunication and mankind’s self-centered nature. Where CRASH spoke to these issues in the microcosm of Los Angeles, California, BABEL addresses these problems through multiple countries, cultures and languages. It twists conventional storylines, including teen angst, a family wedding and a couple’s vacation, into an emotionally gripping, riveting and unconventionally thrilling picture. The direction and performances are dead-on for the material. Inarritu expertly weaves three storylines in four different countries and three different languages, and Pitt, Blanchett and a cast of relative unknowns provide the necessary realism and intensity. Pitt’s Richard is the heart and soul of BABEL, providing us with a face and understanding of these issues. His good looks are hidden behind a rough beard and chiseled face, displaying a man distraught by his wife’s injury. BABEL is one of the best films of 2006.
Grade: B+
BABEL plays like an internationally attuned version of CRASH. Both films involve issues of prejudice, miscommunication and mankind’s self-centered nature. Where CRASH spoke to these issues in the microcosm of Los Angeles, California, BABEL addresses these problems through multiple countries, cultures and languages. It twists conventional storylines, including teen angst, a family wedding and a couple’s vacation, into an emotionally gripping, riveting and unconventionally thrilling picture. The direction and performances are dead-on for the material. Inarritu expertly weaves three storylines in four different countries and three different languages, and Pitt, Blanchett and a cast of relative unknowns provide the necessary realism and intensity. Pitt’s Richard is the heart and soul of BABEL, providing us with a face and understanding of these issues. His good looks are hidden behind a rough beard and chiseled face, displaying a man distraught by his wife’s injury. BABEL is one of the best films of 2006.
Grade: B+
THE QUEEN
Queen Elizabeth and Prime Minister Tony Blair deal with the loss of Princess Diana in the drama THE QUEEN. This fictional account follows the aftermath of Diana’s death in her home country of England, specifically from the perspectives of its two most powerful citizens, Queen Elizabeth II and recently elected Prime Minister Tony Blair. While the two confront their country’s mourning, both the queen and the prime minister must weigh England’s customs, politics and the emotional weight of the situation.
The tone and texture of THE QUEEN is much like it’s portrayal of Queen Elizabeth II, refined, intriguing and sympathetically distant and detached. The film’s greatest strength is also its greatest weakness, a calculated and mannered style which lends itself towards admiration rather than emotion. The core of this picture deals with the Queen’s internal struggle in deciding between England’s past and its future. Mirren is very good, providing a character rather than a mere impersonation, finding the complexity of the situation, without overreaching or dramatizing it. Sheen is just as good. With Blair just taking office, Sheen reveals the natural apprehensiveness anyone would feel in dealing with a British icon like Queen Elizabeth, but also a gentle fortitude that stems from a great leader. The interaction between the queen and the prime minister is a real treat, watching two refined individuals dance with their differing perspectives, while finding common ground.
Grade: B-
The tone and texture of THE QUEEN is much like it’s portrayal of Queen Elizabeth II, refined, intriguing and sympathetically distant and detached. The film’s greatest strength is also its greatest weakness, a calculated and mannered style which lends itself towards admiration rather than emotion. The core of this picture deals with the Queen’s internal struggle in deciding between England’s past and its future. Mirren is very good, providing a character rather than a mere impersonation, finding the complexity of the situation, without overreaching or dramatizing it. Sheen is just as good. With Blair just taking office, Sheen reveals the natural apprehensiveness anyone would feel in dealing with a British icon like Queen Elizabeth, but also a gentle fortitude that stems from a great leader. The interaction between the queen and the prime minister is a real treat, watching two refined individuals dance with their differing perspectives, while finding common ground.
Grade: B-
UNACCOMPANIED MINORS
A group of kids are marooned at an airport on Christmas Eve in the children’s film UNACCOMPANIED MINORS. Charlie, Spencer, Grace, Timothy and Donna, kids from differing backgrounds and regions of the country, meet in an unaccompanied minors waiting area at Chicago’s Hoover International airport. After being stuck in the waiting facility longer than they’d like, the five kids elect to sneak out of the area, despite the airport’s stringent child care policy.
UNACCOMPANIED MINORS steals the playbook from another modern Holiday favorite, but doesn’t have either the sense of joy, or players to pull it off. This HOME ALONE at the airport, substitutes one child for five, and allows the kids to have an entire airport to wreak havoc on instead of one lonely house. This may sound like a good time, at least if you’re between the ages of eight and twelve, but UNACCOMPANIED MINORS never seizes the spirit of a rambunctious kid in the proverbial candy store. There’s little joy or fun to be had, and the young actors and actresses reflect this. Outside of Tyler James Williams, who played a young Chris Rock on EVERYBODY HATES CHRIS, none of the other adolescent thespians appeared to be enjoying themselves. The writing doesn’t allow for much fun, which includes two lame sub-plots involving a tormented little girl, and her environmentally-conscious father who is forced to drive a Hummer to reach his kids. UNACCOMPANIED MINORS could have used a little more writing supervision, and a little less acting supervision.
Grade: D+
UNACCOMPANIED MINORS steals the playbook from another modern Holiday favorite, but doesn’t have either the sense of joy, or players to pull it off. This HOME ALONE at the airport, substitutes one child for five, and allows the kids to have an entire airport to wreak havoc on instead of one lonely house. This may sound like a good time, at least if you’re between the ages of eight and twelve, but UNACCOMPANIED MINORS never seizes the spirit of a rambunctious kid in the proverbial candy store. There’s little joy or fun to be had, and the young actors and actresses reflect this. Outside of Tyler James Williams, who played a young Chris Rock on EVERYBODY HATES CHRIS, none of the other adolescent thespians appeared to be enjoying themselves. The writing doesn’t allow for much fun, which includes two lame sub-plots involving a tormented little girl, and her environmentally-conscious father who is forced to drive a Hummer to reach his kids. UNACCOMPANIED MINORS could have used a little more writing supervision, and a little less acting supervision.
Grade: D+
LITTLE CHILDREN
Suburbanites struggle to keep their childhood tendencies at bay in the drama LITTLE CHILDREN. Kate Winslet is full-time mom, and part-time writer, Sarah Pierce. Sarah and her daughter Lucy travel to the park regularly for lunch and play time, and are often joined by a group of other mothers and children. Brad, played by Patrick Wilson, is a stay-at-home dad who takes his son Aaron to the park on occasion, and has the group of women very interested. On a bet from the other mothers, Sarah approaches Brad for his phone number, and gets a whole lot more. In addition to Sarah and Brad’s relationship, the neighborhood remains unsteady upon the arrival of child predator Ronnie McGarvey, played by Jackie Earle Haley.
"Growing up is hard to do" is the mantra for this original, compelling and thoughtful picture from writer-director Todd Field. Field’s uncompromising, yet delicate filmmaking shines through with a script that understands that all adults retain certain childlike qualities, and not often the most admirable ones. LITTLE CHILDREN is framed like a storybook, initially outlining the characters in simple terms, before revealing a more complex and humanistic point of view. Fairytale narration aids in underlying the inherit adolescence that each character is challenged by. Despite the film’s strong direction and writing, LITTLE CHILDREN succeeds in large part due to the talented ensemble cast. Winslet and Wilson both provide likable, intelligent and flawed characters, who cast their inhibitions, and better judgment aside, for a relationship that appears to be more an escape than love. Haley and character-actor Noah Emmerich are also strong, as two distinctly objectionable men, turning in two emphatic performances. LITTLE CHILDREN proves that maturity is a lifelong struggle.
Grade: A
"Growing up is hard to do" is the mantra for this original, compelling and thoughtful picture from writer-director Todd Field. Field’s uncompromising, yet delicate filmmaking shines through with a script that understands that all adults retain certain childlike qualities, and not often the most admirable ones. LITTLE CHILDREN is framed like a storybook, initially outlining the characters in simple terms, before revealing a more complex and humanistic point of view. Fairytale narration aids in underlying the inherit adolescence that each character is challenged by. Despite the film’s strong direction and writing, LITTLE CHILDREN succeeds in large part due to the talented ensemble cast. Winslet and Wilson both provide likable, intelligent and flawed characters, who cast their inhibitions, and better judgment aside, for a relationship that appears to be more an escape than love. Haley and character-actor Noah Emmerich are also strong, as two distinctly objectionable men, turning in two emphatic performances. LITTLE CHILDREN proves that maturity is a lifelong struggle.
Grade: A
THE NATIVITY STORY
The real Christmas story is told in Catherine Hardwick’s THE NATIVITY STORY. The THIRTEEN director presents the story of Christ’s birth, detailing the events leading up to the coming of Christians’ savior. Although the main storyline details the events surrounding Mary and Joseph, a good deal of time is also focused on King Herrod’s fear of Christ’s birth and of the three wise men’s prognostication and discovery of Jesus.
To my knowledge, this is the first major Hollywood production completely focused on the actual Christmas story. It’s a shame that THE NATIVITY STORY doesn’t seem to have the soul and spirit that such a religious tale requires. All of the events are well-detailed, the locales are wonderfully captured, but the performances and crucial moments in THE NATIVITY STORY draws out little emotion and power. The performances by Keisha Castle-Hughes and Oscar Isaac, as Mary and Joseph, are workman-like in nature. This is quite a surprise for Hughes, who won many hearts over with her emotionally-stirring and inspirational performance as a young girl fighting pre-conceived notions in WHALE RIDER. In THE NATIVITY STORY, Mary has the greatest burden and most wonderful event occurring within her, but Hughes and Hardwick tackle the situation rather routinely. Ciaran Hinds, as Herrod, is the lone acting standout. His Herrod wrings of passion, albeit misguided, and elicits a strong and worthy response. The birth of Christ is a wonderful story, and one which deserves a wonderful presentation of it.
Grade: C
To my knowledge, this is the first major Hollywood production completely focused on the actual Christmas story. It’s a shame that THE NATIVITY STORY doesn’t seem to have the soul and spirit that such a religious tale requires. All of the events are well-detailed, the locales are wonderfully captured, but the performances and crucial moments in THE NATIVITY STORY draws out little emotion and power. The performances by Keisha Castle-Hughes and Oscar Isaac, as Mary and Joseph, are workman-like in nature. This is quite a surprise for Hughes, who won many hearts over with her emotionally-stirring and inspirational performance as a young girl fighting pre-conceived notions in WHALE RIDER. In THE NATIVITY STORY, Mary has the greatest burden and most wonderful event occurring within her, but Hughes and Hardwick tackle the situation rather routinely. Ciaran Hinds, as Herrod, is the lone acting standout. His Herrod wrings of passion, albeit misguided, and elicits a strong and worthy response. The birth of Christ is a wonderful story, and one which deserves a wonderful presentation of it.
Grade: C
TENACIOUS D IN THE PICK OF DESTINY
Jack Black and Kyle Gass bring their real-life success story to the big screen with TENACIOUS D IN THE PICK OF DESTINY. The dynamic duo, known for their mock-rock style on stage, has brought this same approach to the movies. Black stars as JB, a youthful rocker who flees an overbearing Christian upbringing for the sunny skies of California. In Cally, JB meets up with Kyle Gass, a free-spirited and money-mooching guitarist who plays on Venice Beach for change. The two begin to jam, and after discovering the secret to all great guitarists, the same pick, JB and Gass head for the Rock and Roll Museum for this pick of destiny.
Tenacious D has reached cult status in the musical world, and with TENACTIOUS D THE PICK OF DESTINY they are destined towards cult status in the movie world. This rock star version of DUMB AND DUMBER, hits just enough right notes to overcome it’s essentially plot-less and meaningless storyline. This is all thanks to the energetic and charismatic performance from Black, and the wonderfully deadpan work by Gass. As good as their quirky performances, Black and Gass also teamed up on the goofy and terrifically silly screenplay. The duo’s wordplay is dead-on and the crude humor has just the right touch. The dialogue had to be strong to overcome the detours the storyline takes. Potheads nationwide will hail TENACIOUS D THE PICK OF DESTINY as the next great “high” comedy, but I think anyone with a goofy streak and appreciation towards Black could enjoy this slapstick, rock-n-roll joke-fest.
Grade: B-
Tenacious D has reached cult status in the musical world, and with TENACTIOUS D THE PICK OF DESTINY they are destined towards cult status in the movie world. This rock star version of DUMB AND DUMBER, hits just enough right notes to overcome it’s essentially plot-less and meaningless storyline. This is all thanks to the energetic and charismatic performance from Black, and the wonderfully deadpan work by Gass. As good as their quirky performances, Black and Gass also teamed up on the goofy and terrifically silly screenplay. The duo’s wordplay is dead-on and the crude humor has just the right touch. The dialogue had to be strong to overcome the detours the storyline takes. Potheads nationwide will hail TENACIOUS D THE PICK OF DESTINY as the next great “high” comedy, but I think anyone with a goofy streak and appreciation towards Black could enjoy this slapstick, rock-n-roll joke-fest.
Grade: B-
THE ANY BULLY
A small boy gets to know what it’s like to really be small in the animated feature, THE ANT BULLY. Lucas, who’s always been picked on by the bullies because of his small size, takes his frustrations out on an ant hill in his front yard. He constantly dismantles the hill with his super-soaker, and the ants have had enough. Zoc, an aspiring ant innovator voiced by Nicolas Cage, has been working on a chemical breakthrough that will reduce the size of human beings. Lucas is Zoc’s first victim.
THE ANT BULLY treads over the same territory that its insect predecessor ANTZ did eight years ago, but lacks the charm, humor and well-integrated message that the Dreamworks picture did. This underground go-around does introduce a human into the equation, enabling the ants to depart from their dirt haven, but their trek into a human’s home is nothing more than a poor retread of HONEY, I SHRUNK THE KIDS! The talented voice cast has a hard time leaving their mark, due in large part to the lackluster personalities and make-up of the ants. A cast featuring Cage, Meryl Streep, Julia Roberts and Paul Giamatti bring little life to their voice work, while writer-director John A. Davis and a host of animators fail both visually and verbally with the characters. The dull characters are equally matched with a heavy-handed social message attempting to add weight to a lifeless picture.
Grade: C-
THE ANT BULLY treads over the same territory that its insect predecessor ANTZ did eight years ago, but lacks the charm, humor and well-integrated message that the Dreamworks picture did. This underground go-around does introduce a human into the equation, enabling the ants to depart from their dirt haven, but their trek into a human’s home is nothing more than a poor retread of HONEY, I SHRUNK THE KIDS! The talented voice cast has a hard time leaving their mark, due in large part to the lackluster personalities and make-up of the ants. A cast featuring Cage, Meryl Streep, Julia Roberts and Paul Giamatti bring little life to their voice work, while writer-director John A. Davis and a host of animators fail both visually and verbally with the characters. The dull characters are equally matched with a heavy-handed social message attempting to add weight to a lifeless picture.
Grade: C-
CASINO ROYALE
Daniel Craig takes over where Pierce Brosnan left off in the latest James Bond picture, CASINO ROYALE. The new OO7 finds himself in the high stakes game of poker, as James Bond poses as a wealthy gamesman, in order to receive an invite to a multi-million dollar poker tournament. The stakes are high, with the poker favorite having ties to a terrorist network, and the fear of the winnings being funneled to this organization.
When Bond is asked by a bartender, “Shaken or stirred?”, and Bond quickly retorts, “Does it matter?” I knew we had a different James Bond on our hands. The tone and pathos is both darker and richer than the most recent OO7 installments, and Craig’s super agent is worthy to his predecessors, but much like other James Bond films, CASINO ROYALE’S Achilles heel is it’s excess. Typically packed with overblown action scenes, intense sexual encounters and clever wordplay, this film’s overindulgence comes in the form of its length. At nearly two and a half hours, CASINO ROYALE’s poker-centered plot can’t withstand its demanding run time. If not a poker player or fan, the repeated gambling scenes will wear thin on you, and they pale in comparison to either of the high adrenaline action scenes that precede it and the intense moments between Craig and co-star Eva Green. CASINO ROYALE has some interesting and compelling new elements for OO7, and I hope to see them exercised in a more invigorating picture.
Grade: C
When Bond is asked by a bartender, “Shaken or stirred?”, and Bond quickly retorts, “Does it matter?” I knew we had a different James Bond on our hands. The tone and pathos is both darker and richer than the most recent OO7 installments, and Craig’s super agent is worthy to his predecessors, but much like other James Bond films, CASINO ROYALE’S Achilles heel is it’s excess. Typically packed with overblown action scenes, intense sexual encounters and clever wordplay, this film’s overindulgence comes in the form of its length. At nearly two and a half hours, CASINO ROYALE’s poker-centered plot can’t withstand its demanding run time. If not a poker player or fan, the repeated gambling scenes will wear thin on you, and they pale in comparison to either of the high adrenaline action scenes that precede it and the intense moments between Craig and co-star Eva Green. CASINO ROYALE has some interesting and compelling new elements for OO7, and I hope to see them exercised in a more invigorating picture.
Grade: C
Saturday, March 03, 2007
THE PRESTIGE
Christian Bale and Hugh Jackman attempt to outdo one another in the craft of magic in Christopher Nolan’s turn-of-the-century thriller, THE PRESTIGE. Bale is Alfred, and Jackman Rupert, former partners, now competitors following a disastrous magic act the two men assisted in. Alfred and Rupert are both extremely devoted to their craft, but are just as driven with their disgust towards one another.
With a tagline reading, “Are you watching closely?” THE PRESTIGE challenges its audience to unravel a mystery. Despite the outward challenge, Nolan disguises this thrilling piece of magic as a character study of two dark and brooding men. The key to any successful magic trick lies in the ability of the magician to distract his audience, even if just for a moment, to what is actually occurring in front them. Nolan pulls this same trick on his audience. As much as I was trying to piece together the puzzle, I found myself engaged in the passion and angst that both Alfred and Rupert experience. Bale and Jackman are very convincing as determined and deranged magicians. In spite of their characters mad actions, both provide grounded, yet colorful performances. THE PRESTIGE is an interesting puzzler, but is just as rewarding as yet another dark and compelling study of human nature from Nolan.
Grade: B+
With a tagline reading, “Are you watching closely?” THE PRESTIGE challenges its audience to unravel a mystery. Despite the outward challenge, Nolan disguises this thrilling piece of magic as a character study of two dark and brooding men. The key to any successful magic trick lies in the ability of the magician to distract his audience, even if just for a moment, to what is actually occurring in front them. Nolan pulls this same trick on his audience. As much as I was trying to piece together the puzzle, I found myself engaged in the passion and angst that both Alfred and Rupert experience. Bale and Jackman are very convincing as determined and deranged magicians. In spite of their characters mad actions, both provide grounded, yet colorful performances. THE PRESTIGE is an interesting puzzler, but is just as rewarding as yet another dark and compelling study of human nature from Nolan.
Grade: B+
OPEN SEASON
A domesticated bear learns what life is like on the wild side in the animated feature OPEN SEASON. Boog, voiced by Martin Lawrence, has always had it made. His owner Beth has trained him as a show bear, with Boog entertaining children with tricks and acts on stage. He also enjoys many of the same comforts as a pet, with a cozy bed, treats and some occasional television. Boog’s world gets a serious shake-up when a wild dear named Elliot arrives. Elliot tests Boog’s temperament, and Beth believes its time for Boog to return to his natural habitat.
OPEN SEASON is a reversal of sorts from this summer’s OVER THE HEDGE. Where OVER THE HEDGE showed wild animals exploring domestication, OPEN SEASON takes a domesticated animal into the wild. Both films come to the same conclusion, but OVER THE HEDGE does so in a much more joyous, exciting, and most importantly, humorous way. OPEN SEASON mimics the antics of better films from OVER THE HEDGE to FINDING NEMO, but doesn’t know the beat quite as well. The sassy squirrels and dry-humored ducks fall flat, and seem like rip-offs of better, more thought out Disney characters. Surprisingly, OPEN SEASON does get some good voice work. Lawrence brings a warm nature to Boog, Ashton Kutcher’s goofy inflection works to perfection as Elliot and Debra Messing’s sweet and calming voice is ideal as Beth. OPEN SEASON isn’t a failure, just a poor copy of better animated fare.
Grade: C
OPEN SEASON is a reversal of sorts from this summer’s OVER THE HEDGE. Where OVER THE HEDGE showed wild animals exploring domestication, OPEN SEASON takes a domesticated animal into the wild. Both films come to the same conclusion, but OVER THE HEDGE does so in a much more joyous, exciting, and most importantly, humorous way. OPEN SEASON mimics the antics of better films from OVER THE HEDGE to FINDING NEMO, but doesn’t know the beat quite as well. The sassy squirrels and dry-humored ducks fall flat, and seem like rip-offs of better, more thought out Disney characters. Surprisingly, OPEN SEASON does get some good voice work. Lawrence brings a warm nature to Boog, Ashton Kutcher’s goofy inflection works to perfection as Elliot and Debra Messing’s sweet and calming voice is ideal as Beth. OPEN SEASON isn’t a failure, just a poor copy of better animated fare.
Grade: C
APOCALYPTO
Mel Gibson tackles the fall of the Mayan empire in the epic APOCALYPTO. Within the Mayans own civilization, unrest is underway. Fearing that the apocalypse is upon them, rulers of the Mayan kingdom determine that human sacrifice is necessary to appease the gods. Jaguar Paw, played by Rudy Youngblood, is one of many rural Mayan villagers ravaged, seized and marked for death. Unwilling, Jaguar Paw seeks to break-free from his oppressors and return home to save his expecting wife and son.
For all of the media exposure Gibson has been receiving for APOCALYPTO, one would think that a cinematic apocalypse is upon us. Despite all of the hype, APOCALYPTO is more or less a strikingly visceral, standard action picture. Thematically, the film has little, if nothing to offer, but the thrills of the non-stop adrenaline fueled action sequences make for exhilarating cinema. Youngblood may not have a future as an action star, but he embodies the role of Jaguar Paw with a stern, yet impassioned disposition. Gibson served as co-writer on the film, and his knack for wordplay leaves little to be desired. Many of the phrases the Mayans use seem more suited for Lethal Weapon, than an ancient civilization. What Gibson lacks in writing, he almost makes up for in directing. The jungles of Mexico create a frightening and mysterious locale, and the center of the Mayan Kingdom is majestic in spite of the barbaric scenarios occurring within its walls. APOCALYPTO is an often thrilling, good-looking picture that doesn’t amount to much.
Grade: C+
For all of the media exposure Gibson has been receiving for APOCALYPTO, one would think that a cinematic apocalypse is upon us. Despite all of the hype, APOCALYPTO is more or less a strikingly visceral, standard action picture. Thematically, the film has little, if nothing to offer, but the thrills of the non-stop adrenaline fueled action sequences make for exhilarating cinema. Youngblood may not have a future as an action star, but he embodies the role of Jaguar Paw with a stern, yet impassioned disposition. Gibson served as co-writer on the film, and his knack for wordplay leaves little to be desired. Many of the phrases the Mayans use seem more suited for Lethal Weapon, than an ancient civilization. What Gibson lacks in writing, he almost makes up for in directing. The jungles of Mexico create a frightening and mysterious locale, and the center of the Mayan Kingdom is majestic in spite of the barbaric scenarios occurring within its walls. APOCALYPTO is an often thrilling, good-looking picture that doesn’t amount to much.
Grade: C+
HALF NELSON
Ryan Gosling teaches youngsters by day, and smokes crack by night, in the drama HALF NELSON. Gosling is Dan Duanne, a junior high school history teacher whose methods in the classroom are questioned by his principal, despite his success with the students. His success in the classroom hasn’t translated to his personal life, as Dan can’t beat his drug addiction. His addiction begins to spill into his work, as Dre, a student of his, catches him in a nearly comatose state following a basketball game.
Dan Duane teaches history unconventionally, explaining that history is a series of changes that occur over a certain period of time. What spurs the change is the minority opinion, group or mindset eventually overtaking the majority. Dan explains this in mainly political terms, but this same struggle is being waged within Dan and his student Dre. The film was written by Ryan Fleck and Anna Boden, and the two expertly intertwine what Dan teaches into his and Dre’s lives. Gosling, who has shown a knack for playing a wide array of characters, does so again providing a unique individual who is hard to get a grasp on. Shareeka Epps, as Dre, is also terrific creating a character with as much depth as Dan. The two’s relationship is an odd-one, but proves to be mutually enriching, maybe more so for Dan than for Dre. HALF NELSON sounds more controversial than it is. In spite of the excessive drug use, it ends up being an oddly moralistic tale with two terrific performances.
Grade: B
Dan Duane teaches history unconventionally, explaining that history is a series of changes that occur over a certain period of time. What spurs the change is the minority opinion, group or mindset eventually overtaking the majority. Dan explains this in mainly political terms, but this same struggle is being waged within Dan and his student Dre. The film was written by Ryan Fleck and Anna Boden, and the two expertly intertwine what Dan teaches into his and Dre’s lives. Gosling, who has shown a knack for playing a wide array of characters, does so again providing a unique individual who is hard to get a grasp on. Shareeka Epps, as Dre, is also terrific creating a character with as much depth as Dan. The two’s relationship is an odd-one, but proves to be mutually enriching, maybe more so for Dan than for Dre. HALF NELSON sounds more controversial than it is. In spite of the excessive drug use, it ends up being an oddly moralistic tale with two terrific performances.
Grade: B
CARS
NASCAR meets Pixar in the latest animated feature CARS. Rookie racing sensation, Lightning McQueen, a blazing red stock car has been lightening up the racing circuit with success. After a three-way tie for first with competitors Chick Hicks and The King, Lightning must compete in a race-off with the two other cars in California. During Lightning’s trip from the east coast to the west coast, he veers off the freeway and into the small town of Radiator Springs. While in Radiator Springs, Lightning runs into some trouble with the law, and must perform community service on the town’s main road. Lightning will have to work fast if he plans on making the big race.
Although not as overtly clever, spectacular or funny as most of Pixar’s films, CARS does take us on a detour into a charming, lovable and welcoming world of automobiles. In this four wheels only world, humans do not exist, which presents an interesting and effective change of pace for TOY STORY, MONSTER INCORPORATED and FINDING NEMO director John Lasseter. Lasseter, along with co-director Joe Ranft, finds an appealing nature to this unique culture, and wrings some solid personalities out of the well-cast voice talent. Owen Wilson is on target as Lightening, reflecting an aura of cockiness, charisma and charm, while Paul Newman and Bonnie Hunt’s calming and rugged voices bring an air of wisdom and experience behind their automobiles. The biggest surprise and best voice work, comes from Dan Whitney, better known as Larry the Cable Guy. Whitney’s presence as tow-truck, Tow Mater is the key ingredient of CARS. His character is not only the funniest and most likable, but he becomes a vehicle through which Lightning learns his life lessons. CARS doesn’t rev up any animated breakthroughs like past Pixar works, but it does continue the company’s solid streak of formidable family entertainment.
Grade: B
Although not as overtly clever, spectacular or funny as most of Pixar’s films, CARS does take us on a detour into a charming, lovable and welcoming world of automobiles. In this four wheels only world, humans do not exist, which presents an interesting and effective change of pace for TOY STORY, MONSTER INCORPORATED and FINDING NEMO director John Lasseter. Lasseter, along with co-director Joe Ranft, finds an appealing nature to this unique culture, and wrings some solid personalities out of the well-cast voice talent. Owen Wilson is on target as Lightening, reflecting an aura of cockiness, charisma and charm, while Paul Newman and Bonnie Hunt’s calming and rugged voices bring an air of wisdom and experience behind their automobiles. The biggest surprise and best voice work, comes from Dan Whitney, better known as Larry the Cable Guy. Whitney’s presence as tow-truck, Tow Mater is the key ingredient of CARS. His character is not only the funniest and most likable, but he becomes a vehicle through which Lightning learns his life lessons. CARS doesn’t rev up any animated breakthroughs like past Pixar works, but it does continue the company’s solid streak of formidable family entertainment.
Grade: B
MY SUPER EX-GIRLFRIEND
Luke Wilson dumps the wrong woman, one with a mean streak and super powers in Ivan Reitman’s MY SUPER EX-GIRLFRIEND. Wilson is architect Matt Saunders, an apprehensive guy, who lands a date with Jenny Johnson, played by Uma Thurman, a mysterious and odd woman he meets on the subway. Johnson is an art dealer by day, and superhero “G” girl by night. Matt and Jenny begin to date, but Jenny is moving faster emotionally than Matt, so Matt calls things off, a poor decision considering “G” Girl’s brute strength, lightning speed and raging hormones.
Ivan Reitman’s choice in scripts and tack with direction are beginning to show his age. The humor in MY SUPER EX-GIRLFRIEND is obvious, tame and about a decade or so past its time. As with all things, comedy changes throughout the years, and Reitman has failed to adapt. Not only are the jokes old, but Thurman’s Jenny/”G” Girl comes off as a raging psychotic, making The Bride character from the KILL BILL series look emotionally stable by comparison. Her actions provide sympathy for Matt, but turn a light-hearted comedy into a pain-staking revenge picture where our rooting interest is decidedly lopsided. Wilson and his other love interest, Hannah Lewis, played by Anna Farris provide MY SUPER EX-GIRLFRIEND with some fairly charming romantic moments to lighten the mood. Farris is surprisingly lovable, alluring and cute, attributes typically reserved for her female co-stars, while Wilson is welcoming with his average, nice-guy persona. MY SUPER EX-GIRLFRIEND is an off-kilter romantic comedy that isn’t super at all.
Grade: C
Ivan Reitman’s choice in scripts and tack with direction are beginning to show his age. The humor in MY SUPER EX-GIRLFRIEND is obvious, tame and about a decade or so past its time. As with all things, comedy changes throughout the years, and Reitman has failed to adapt. Not only are the jokes old, but Thurman’s Jenny/”G” Girl comes off as a raging psychotic, making The Bride character from the KILL BILL series look emotionally stable by comparison. Her actions provide sympathy for Matt, but turn a light-hearted comedy into a pain-staking revenge picture where our rooting interest is decidedly lopsided. Wilson and his other love interest, Hannah Lewis, played by Anna Farris provide MY SUPER EX-GIRLFRIEND with some fairly charming romantic moments to lighten the mood. Farris is surprisingly lovable, alluring and cute, attributes typically reserved for her female co-stars, while Wilson is welcoming with his average, nice-guy persona. MY SUPER EX-GIRLFRIEND is an off-kilter romantic comedy that isn’t super at all.
Grade: C
LASSIE
America’s favorite collie becomes Britain’s favorite canine in the family drama LASSIE. This version of LASSIE is set in pre World War II England, with Lassie being owned by the lower class Carraclough family. Struggling financially, Sarah and Sam Carraclough are compelled to sell the border collie to The Duke, a wealthy Brit who pays a handsome sum for the dog, in order to bring joy to his granddaughter Cilla. In spite of Lassie’s new ownership, the pooch continues to return to his owner Joe Carraclough, the young son of Sarah and Sam.
Animal movies are a dime a dozen, be it animated or live action, but rare are the animal movies which can authentically convey the love that many of us have for our pets. This latest version of LASSIE is just that kind of film. Writer-director Charles Sturridge transfers Eric Knight’s American dog to England, adds quite a bit of dramatic weight to the human character’s lives, and in the process accentuates Lassie’s importance to the Carraclough family. Sturridge’s England is reminiscent of many film, pre WWII landscapes, but still formulates an authentic and dreary atmosphere for Lassie’s owners to inhabit. LASSIE appeals rather simplistically at times, on an emotional level, with abuse to the dogs, but more often than not earns our sympathy through terrific performances by Samantha Morton, Peter O’Toole and young Jonathan Mason. LASSIE is a genuinely heartfelt family picture.
Grade: B+
Animal movies are a dime a dozen, be it animated or live action, but rare are the animal movies which can authentically convey the love that many of us have for our pets. This latest version of LASSIE is just that kind of film. Writer-director Charles Sturridge transfers Eric Knight’s American dog to England, adds quite a bit of dramatic weight to the human character’s lives, and in the process accentuates Lassie’s importance to the Carraclough family. Sturridge’s England is reminiscent of many film, pre WWII landscapes, but still formulates an authentic and dreary atmosphere for Lassie’s owners to inhabit. LASSIE appeals rather simplistically at times, on an emotional level, with abuse to the dogs, but more often than not earns our sympathy through terrific performances by Samantha Morton, Peter O’Toole and young Jonathan Mason. LASSIE is a genuinely heartfelt family picture.
Grade: B+
LASSIE
America’s favorite collie becomes Britain’s favorite canine in the family drama LASSIE. This version of LASSIE is set in pre World War II England, with Lassie being owned by the lower class Carraclough family. Struggling financially, Sarah and Sam Carraclough are compelled to sell the border collie to The Duke, a wealthy Brit who pays a handsome sum for the dog, in order to bring joy to his granddaughter Cilla. In spite of Lassie’s new ownership, the pooch continues to return to his owner Joe Carraclough, the young son of Sarah and Sam.
Animal movies are a dime a dozen, be it animated or live action, but rare are the animal movies which can authentically convey the love that many of us have for our pets. This latest version of LASSIE is just that kind of film. Writer-director Charles Sturridge transfers Eric Knight’s American dog to England, adds quite a bit of dramatic weight to the human character’s lives, and in the process accentuates Lassie’s importance to the Carraclough family. Sturridge’s England is reminiscent of many film, pre WWII landscapes, but still formulates an authentic and dreary atmosphere for Lassie’s owners to inhabit. LASSIE appeals rather simplistically at times, on an emotional level, with abuse to the dogs, but more often than not earns our sympathy through terrific performances by Samantha Morton, Peter O’Toole and young Jonathan Mason. LASSIE is a genuinely heartfelt family picture.
Grade: B+
Animal movies are a dime a dozen, be it animated or live action, but rare are the animal movies which can authentically convey the love that many of us have for our pets. This latest version of LASSIE is just that kind of film. Writer-director Charles Sturridge transfers Eric Knight’s American dog to England, adds quite a bit of dramatic weight to the human character’s lives, and in the process accentuates Lassie’s importance to the Carraclough family. Sturridge’s England is reminiscent of many film, pre WWII landscapes, but still formulates an authentic and dreary atmosphere for Lassie’s owners to inhabit. LASSIE appeals rather simplistically at times, on an emotional level, with abuse to the dogs, but more often than not earns our sympathy through terrific performances by Samantha Morton, Peter O’Toole and young Jonathan Mason. LASSIE is a genuinely heartfelt family picture.
Grade: B+
DREAMGIRLS
A supreme trio tries to turn their small nightclub act into a household name in the musical DREAMGIRLS. Effie, Deena and Lorrell make up the trio known as the Dreamettes. Following a performance in a local nightclub competition, the girls are spotted by Curtis Taylor, Jr., an aspiring music producer played by Jamie Foxx, who needs to land back-up singers for R & B favorite, James “Thunder” Early, played by Eddie Murphy. The Dreamettes agree to tour with Early, and their work as background vocalists eventually leads to bigger and brighter things.
Filled with wonderfully written Motown-style music, beautiful costumes, sets and actresses, and terrifically choreographed dance sequences, DREAMGIRLS provides one of the most entertaining and feel-good pictures of the year. The film, written and directed by CHICAGO scribe Billy Condon, adapts Tom Ewyen’s Broadway production into a nostalgic and upbeat musical in the spirit of some of the genre’s finest. Although light on substance, this lively production boasts some wonderful, and dramatic performances. Jamie Foxx is on the mark conveying a slightly cold, always calculating, producer who makes several personal sacrifices for professional success. Murphy is also good, displaying a rare knack for drama and conveying a charismatic individual who hasn’t quite mastered his craft, or personal life. If Foxx is calculating, and Murphy somewhat clueless, former American Idol contestant Jennifer Hudson is uncompromising in her role as Effie. Not only does she bring the best pipes to the table, but Hudson is the heart and soul of DREAMGIRLS, providing an unflinching, flawed and stubborn woman who lets her emotions get the best of her. I don’t applaud films, but if I did, DREAMGIRLS would make me stand up and cheer.
Grade: A-
Filled with wonderfully written Motown-style music, beautiful costumes, sets and actresses, and terrifically choreographed dance sequences, DREAMGIRLS provides one of the most entertaining and feel-good pictures of the year. The film, written and directed by CHICAGO scribe Billy Condon, adapts Tom Ewyen’s Broadway production into a nostalgic and upbeat musical in the spirit of some of the genre’s finest. Although light on substance, this lively production boasts some wonderful, and dramatic performances. Jamie Foxx is on the mark conveying a slightly cold, always calculating, producer who makes several personal sacrifices for professional success. Murphy is also good, displaying a rare knack for drama and conveying a charismatic individual who hasn’t quite mastered his craft, or personal life. If Foxx is calculating, and Murphy somewhat clueless, former American Idol contestant Jennifer Hudson is uncompromising in her role as Effie. Not only does she bring the best pipes to the table, but Hudson is the heart and soul of DREAMGIRLS, providing an unflinching, flawed and stubborn woman who lets her emotions get the best of her. I don’t applaud films, but if I did, DREAMGIRLS would make me stand up and cheer.
Grade: A-
ALL THE KING'S MEN
A small town politician rises to the governorship by railing against government corruption in the drama ALL THE KINGS MEN. The movie, based on the Robert Penn novel and the 1946 film of the same name, is a political drama detailing the rise and fall of fictious Louisiana governor Willie Stark. Stark modeled after former Louisiana governor and senator Huey Long, is played by Sean Penn. Stark rises to the top of the political scene by outing corrupt politicians, and yet succumbs to the same corruption that he so reviled.
ALL THE KING’S MEN attempts to serve as a political commentary on the supposed flawed, failed and crooked institution of government in our country. Not only does the film fail in its argument, but clearly is inept at showing the unethical nature of the individuals involved. The film was written and directed by Steve Zaillian, who dealt wonderfully with themes of greed and corruption in his 1998 picture A CIVIL ACTION. A CIVIL ACTION was a plot-driven work with wonderful performances. ALL OF THE KING’S MEN has a grocery-list worth of talent in its cast, maybe too much, because Zaillian’s screenplay has a hard time devoting any time to any of them. Each of the subplots is touched on, but not enough to add any clarity or depth to the film’s main storyline. The performances are uniformly good, with the exception of one of today’s finest actors, Penn. Penn’s portrayal of Stark is much like Stark himself: loud, obnoxious and embarrassingly smug. Considering its pedigree, ALL THE KING’S MEN is a grand letdown.
Grade: D
ALL THE KING’S MEN attempts to serve as a political commentary on the supposed flawed, failed and crooked institution of government in our country. Not only does the film fail in its argument, but clearly is inept at showing the unethical nature of the individuals involved. The film was written and directed by Steve Zaillian, who dealt wonderfully with themes of greed and corruption in his 1998 picture A CIVIL ACTION. A CIVIL ACTION was a plot-driven work with wonderful performances. ALL OF THE KING’S MEN has a grocery-list worth of talent in its cast, maybe too much, because Zaillian’s screenplay has a hard time devoting any time to any of them. Each of the subplots is touched on, but not enough to add any clarity or depth to the film’s main storyline. The performances are uniformly good, with the exception of one of today’s finest actors, Penn. Penn’s portrayal of Stark is much like Stark himself: loud, obnoxious and embarrassingly smug. Considering its pedigree, ALL THE KING’S MEN is a grand letdown.
Grade: D
FLUSHED AWAY
A sewer rat comes up the pipes, and an aristocratic rat goes down them in the latest Aardman animated feature FLUSHED AWAY. Roddy, a high-class pet rat voiced by Hugh Jackman, is enjoying a wonderful vacation in his owner’s posh London estate, when a sewer rat name Sid crashes his party. After Roddy attempts to dismiss Sid via the toilet, which Roddy sells as a Jacuzzi, Sid turns the tables on him and flushes him down to the sewer system. Roddy is introduced to a whole new world down below as he embarks on a journey home.
There’s no place like home, seems to be the most popular animated theme this year, and FLUSHED AWAY follows this trend. Leave it to Aardman, the creators of WALLACE AND GROMMIT, to present the best spin on this message. Not only does FLUSHED AWAY bring the Brits wry sense of humor, but it turns the tables on several animated clichés with a wonderful assortment of oft beat characters, including a host of slugs that steal the show. The slugs are as funny as they are strange, and infuse the film with humor, especially when you don’t see it coming. Ian McKellan, voicing bad-guy ring leader Toad, and Jean Reno as Le Frog, create memorable bad guys. Although tight at only 84 minutes, FLUSHED AWAY never feels rushed. A collection of screenwriters move Roddy and Rita from one sewer stop to the next in quick, but not forced scenarios. FLUSHED AWAY is a real treat, for kids and adults.
Grade: B+
There’s no place like home, seems to be the most popular animated theme this year, and FLUSHED AWAY follows this trend. Leave it to Aardman, the creators of WALLACE AND GROMMIT, to present the best spin on this message. Not only does FLUSHED AWAY bring the Brits wry sense of humor, but it turns the tables on several animated clichés with a wonderful assortment of oft beat characters, including a host of slugs that steal the show. The slugs are as funny as they are strange, and infuse the film with humor, especially when you don’t see it coming. Ian McKellan, voicing bad-guy ring leader Toad, and Jean Reno as Le Frog, create memorable bad guys. Although tight at only 84 minutes, FLUSHED AWAY never feels rushed. A collection of screenwriters move Roddy and Rita from one sewer stop to the next in quick, but not forced scenarios. FLUSHED AWAY is a real treat, for kids and adults.
Grade: B+
JOHN TUCKER MUST DIE
Three girls seek revenge on the school’s most popular boy in the teen film, JOHN TUCKER MUST DIE. John Tucker, played by Desperate Housewives’ Jesse Metcalfe, is the most popular boy in school thanks to his good looks, wicked charm and athletic prowess, and he’s parlayed his popularity into dating several classmates, three in particular, at the same time. Heather, Beth and Carrie all discover that John is playing the field with their hearts, and each of them wants him to pay. Kate, a new student and observer of John’s cheating scheme, provides Tucker’s trio with the necessary know-how to kill John’s ego and social standing.
JOHN TUCKER MUST DIE isn’t nearly as dark or dangerous as its title dictates, and the lack of edge in this slightly satirical high-school comedy limits both its comedic and dramatic impact. Instead, the movie is a mildly entertaining revenge picture, with a couple of cleverly risqué comments and a collection of sub-par sub-plots. The main storyline is MEAN GIRLS light, with three popular and fairly twisted girls, pulling the lead, Kate, an unassuming and relatively innocent girl into their wicked web. The general storyline, and jokes that ensue, work relatively well. The attempted revenge on John, and his attempts at diffusing the situations, are often humorous albeit far-fetched. The film loses its way when the sub-plots create an un-welcomed diversion from the playful payback. Kate’s chemistry with John’s brother, a Heath Ledger/Johnny Depp look-a-like played by Penn Badgley, and her tense relationship with her mother Lori, played by Jenny McCarthy, are both underdeveloped and unwarranted. JOHN TUCKER MUST DIE never goes for the kill, and falls short.
Grade: C+
JOHN TUCKER MUST DIE isn’t nearly as dark or dangerous as its title dictates, and the lack of edge in this slightly satirical high-school comedy limits both its comedic and dramatic impact. Instead, the movie is a mildly entertaining revenge picture, with a couple of cleverly risqué comments and a collection of sub-par sub-plots. The main storyline is MEAN GIRLS light, with three popular and fairly twisted girls, pulling the lead, Kate, an unassuming and relatively innocent girl into their wicked web. The general storyline, and jokes that ensue, work relatively well. The attempted revenge on John, and his attempts at diffusing the situations, are often humorous albeit far-fetched. The film loses its way when the sub-plots create an un-welcomed diversion from the playful payback. Kate’s chemistry with John’s brother, a Heath Ledger/Johnny Depp look-a-like played by Penn Badgley, and her tense relationship with her mother Lori, played by Jenny McCarthy, are both underdeveloped and unwarranted. JOHN TUCKER MUST DIE never goes for the kill, and falls short.
Grade: C+
LITTLE MISS SUNSHINE
A family of misfits trek across the country to a beauty pageant in the dark comedy, LITTLE MISS SUNSHINE. Olive, the youngest member of the Hoover household, has qualified for the Little Miss Sunshine pageant thanks to another contestant’s disqualification. With little time or money to spare, the entire Hoover clan climbs aboard their VW van en route to the pageant. The Hoover family’s trip may be a little more stressful than your average vacation considering its members include a cocaine sniffing Grandpa, a suicidal uncle and a by-choice mute.
LITTLE MISS SUNSHINE is one of the best family movies to come around in years, unfortunately it shouldn’t be viewed by the entire family, only ones 17 years of age and older. The plot may seem all too familiar, an odd-ball family’s trip across country, but the characters, humor and comic timing make this film one-of-a-kind. The husband and wife directing tandem of Jonathan Dayton and Valerie Ferris are pitch perfect with the tone and attitude of the wonderful script from screenwriter Michael Arndt, and the performances are dead-on. Carell and Kinear reveal fear and frustration both seriously and humorously, Paul Dane’s intensity is on-key as Dwayne, Alan Arkin’s Grandpa is hilarious and Toni Collette is a calming presence in a dysfunctional clan. The key performance though comes from 10-year old Abigail Breslin. Breslin’s Olive is cute and charming, but most importantly brings some semblance of sanity to the craziness that revolves around her. LITTLE MISS SUNSHINE is an odd and dark comedy that finds a ray of hope between sadness and despair.
Grade: A
LITTLE MISS SUNSHINE is one of the best family movies to come around in years, unfortunately it shouldn’t be viewed by the entire family, only ones 17 years of age and older. The plot may seem all too familiar, an odd-ball family’s trip across country, but the characters, humor and comic timing make this film one-of-a-kind. The husband and wife directing tandem of Jonathan Dayton and Valerie Ferris are pitch perfect with the tone and attitude of the wonderful script from screenwriter Michael Arndt, and the performances are dead-on. Carell and Kinear reveal fear and frustration both seriously and humorously, Paul Dane’s intensity is on-key as Dwayne, Alan Arkin’s Grandpa is hilarious and Toni Collette is a calming presence in a dysfunctional clan. The key performance though comes from 10-year old Abigail Breslin. Breslin’s Olive is cute and charming, but most importantly brings some semblance of sanity to the craziness that revolves around her. LITTLE MISS SUNSHINE is an odd and dark comedy that finds a ray of hope between sadness and despair.
Grade: A
NOTES ON A SCANDAL
Judi Dench knows Cate Blanchett’s dirty little secret in the dramatic thriller, NOTES ON A SCANDAL. Dench is Barbara Covett, a cynical and downbeat teacher who feels her best days, and the school’s, are years ago. Barbara gets a breath of fresh air when Sheba Hart, the school’s new art teacher arrives. Sheba, played by Blanchett, invites Barbara over to a family dinner, and it looks like the beginning of a beautiful friendship. Barbara soon learns of an extra-marital affair that Sheba is having with one of her students, and instead of outing Sheba to the school, or helping her to rehabilitate herself, Barbara utilizes Sheba’s secret for leverage.
What sounds to be a Lifetime Movie of the Week on paper, turns out to be a wonderfully sadistic thriller from director Richard Eyre and writer Patrick Marber. The screenplay, based on the novel by Zoe Heller, takes a simplistic scenario and twists it into one woman’s vicious playground. Much of the credit goes to Dench, playing off type. She delivers a deliciously twisted character whose desperation for friendship is equaled only by her manipulative nature. Eyre’s choice for Dench’s narration pays off greatly, showing the internal chess match Barbara is playing. Dench is more than capable of taking care of the rest, with devilish grins, icy stares and a few scenes which allow her to demonstrate Barbara’s pent-up anger. Barbara is so obviously repulsive, that one almost sees Sheba as a helpless victim. Eyre and Marber seem intent on posing the question whose worse, Barbara or Sheba. Sheba’s is a crime of passion, albeit as a child predator, where Barbara’s is of a calculating and malicious nature. For one to even raise the question is a testament to how effective Dench is as Barbara. NOTES ON A SCANDAL is a riveting thriller that Dench carries.
Grade: B
What sounds to be a Lifetime Movie of the Week on paper, turns out to be a wonderfully sadistic thriller from director Richard Eyre and writer Patrick Marber. The screenplay, based on the novel by Zoe Heller, takes a simplistic scenario and twists it into one woman’s vicious playground. Much of the credit goes to Dench, playing off type. She delivers a deliciously twisted character whose desperation for friendship is equaled only by her manipulative nature. Eyre’s choice for Dench’s narration pays off greatly, showing the internal chess match Barbara is playing. Dench is more than capable of taking care of the rest, with devilish grins, icy stares and a few scenes which allow her to demonstrate Barbara’s pent-up anger. Barbara is so obviously repulsive, that one almost sees Sheba as a helpless victim. Eyre and Marber seem intent on posing the question whose worse, Barbara or Sheba. Sheba’s is a crime of passion, albeit as a child predator, where Barbara’s is of a calculating and malicious nature. For one to even raise the question is a testament to how effective Dench is as Barbara. NOTES ON A SCANDAL is a riveting thriller that Dench carries.
Grade: B
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