TROPIC THUNDER

Photos courtesy of Dreamworks PicturesActor, writer and director Ben Stiller mocks Hollywood and its movie conventions in the comedy, TROPIC THUNDER. Stiller is Tugg Speedman, a legendary action star whose latest efforts have been less than stellar. Speedman, along with well-acclaimed Kirk Lazaraus, played by Robert Downey, Jr., and comedian Jeff Portnoy, played by Jack Black, star in the latest war adaptation TROPIC THUNDER. After several half-hearted shoots of the film, TROPIC THUNDER director Damien Cockburn decides these prima donnas need some tougher terrain. Damien flops the three, and two other actors, in the middle of a hostile region, hoping to toughen up the crew and land some quality footage for the film.

No one gets through TROPIC THUNDER unscathed which is good and bad, hilarious, but sometimes offensive and off-putting. Stiller throws everything he has at Hollywood, and several other assuming and unassuming groups, and finds much to laugh about. Some targets are easy, such as the big Hollywood action star, the gross-out comedian and the pretentious artist, while others seem less noteworthy such as studio executives and agents. Stiller and co-writers Justin Theroux and Etan Coen hit the bulls eye with opening trailer spoofs of Speedman, Lazaraus and Portnoy’s work, particularly THE FATTIES trailer which spoofs the most recent NUTTY PROFESSOR films, with twice the flatulence. Although TROPIC THUNDER is often times laugh-out-loud funny, it does stumble along the way. The film goes to the well too many times with the characters one-note jokes, and a satire targeting Hollywood actors who play the mentally disabled is insensitive at best. In spite of the missteps, TROPIC THUNDER provides plenty to laugh about.

Grade: B-

THE WACKNESS

Photos courtesy of Sony Pictures Classics

A recent high school graduate tries to work his way out of depression in the Big Apple in the mid 1990’s in the eccentric coming-of-age film, THE WACKNESS. Luke is not your average high school grad. Sure he struggles with finding a girlfriend, can’t deal with his parents and burns away endless hours on the Nintendo, but he also is a drug dealer, a depressed one, who finances his trips to the psychiatrist by peddling dime bags to the doctor. In addition to his psychiatric trips, Luke is also crushing on his doctor’s stepdaughter, Stephanie.

THE WACKNESS has all of the make-up of a vanity project, so when I looked up whether or not these were the real life experiences of the film’s writer-director Jonathan Levine, and the answer was “no”, it left me scratching my head. Levine claims the film is semi-autobiographical, in terms of the backdrop, details and perspective, and in these terms Levine gets it right. The soundtrack is chalk full of catchy and appropriate, if not important R & B and rap hits of the era, and the attitude of Luke, Stephanie and other young adults seems dead-on. Since this is a coming-of-age film, I guess I expected some of, if not all, of the characters to mature. Luke, his psychiatrist Dr. Squires, played by Ben Kingsley and Stephanie don’t grow up much, leaving THE WACKNESS feeling shallow. Levine is more concerned with providing an edge to the film, and in the process, it suffers in terms of substance. Levine has mixed his semi-autobiographical high school years, with an actual biographical essay, but the core of the story must have been lost in translation. It’s a shame because Josh Peck, as Luke, is good, and Olivia Thirlby as Stephanie, turns in a star-making performance. THE WACKNESS isn’t as dope as it thinks it is, despite Peck and Thirlby’s efforts.

Grade: C

THE MUMMY: TOMB OF THE DRAGON EMPEROR

Photos courtesy of Universal Pictures Brendan Fraser returns to battle ancient warriors in the third mummy movie, THE MUMMY: TOMB OF THE DRAGON EMPEROR. Fraser reprises his role as Rick O’Connell, but Maria Bello replaces Rachael Weisz in the role of Evelyn, Rick’s wife. The O’Connells are now retired, but not happily, as Rick struggles with hobbies and Evelyn with her latest action-adventure novel. The two become intrigued by a discovery made in the tombs of the Far East, regarding the statue of an ancient Chinese emperor. Little do the O’Connells know, that the Emeror Han is not dead, but merely resting due to a curse.

I’ve always felt that the MUMMY movies were second-rate INDIANA JONES adventures, with worse acting, special effects and storylines. With the latest MUMMY and JONES movies falling just months within each other, it’s obvious I was wrong, the MUMMY is a third or fourth rate version of the JONES series. Although the acting is more forced in TOMB OF THE DRAGON EMPEROR than its predecessors, and the special effects still an eyesore, the distinct problem with the film is in its storytelling. Although I didn’t care for either of the previous two MUMMY movies, the storylines were rather simple, to the point and were delivered with reasonable success. TOMB OF THE DRAGON EMPEROR belabors an idea that is suited for a swift 90-minute runtime. New rules involving the immortality of the Emperor Han seem to change at the film’s convenience, allowing director Rob Cohen several opportunities to engage our heroes and heroines with fireballs, tumbling rocks, hundreds of warriors and of course, a dragon-emperor. As with this summer’s JONES adventure, TOMB OF THE DRAGON EMPEROR makes the film a family affair by introducing the O’Connell’s son, Alex. A mere bit part in THE MUMMY RETURNS, Alex’s character intends to bring some tension to the mix between he and dear old dad, but the chemistry isn’t there, making the father-son moments flat. THE MUMMY: TOMB OF THE DRAGON EMPEROR is a JONES wannabe that should have remain buried, and would have, if it wasn’t for the treasure it would find at the box office.

Grade: D+

THE DARK KNIGHT

Photos courtesy of Warner Bros. PicturesThe Cape Crusader returns following his dangerous dust with the Sandman to face a more ominous foe in THE DARK KNIGHT. Batman’s terrorizing combatant this time is the Joker, a menacing bank thief who has more tricks up his sleeve, including mob manipulation, random killings and a plot to turn Gotham on its head. Christian Bale returns as both Bruce Wayne and Batman, and if you haven’t heard, the late Heath Ledger dons white face as the Joker.

THE DARK KNIGHT is not your father’s Batman, and shouldn’t be your young son’s either. The film is a dark, unnerving and intense comic-book action film that wrestles with morally complex issues, and eerily mirrors the current state of our union. If BATMAN BEGINS was an intricate character study of a dark, but heroic man, THE DARK KNIGHT is an expertly weaved morality tale where the answers are just as complex as the questions posed. Director Christopher Nolan, an expert on dissecting personal conundrums, in addition to BATMAN BEGINS see INSOMNIA, THE PRESTIGE and MEMENTO, again ratchets up the drama with a surprisingly effective love triangle and supporting characters that assist in upping the emotional intensity. The tone and plot are particularly grim, but Nolan and his brother, co-scribe Jonathan Nolan, lace the film with several exhilarating action sequences that would curb any summer moviegoer’s appetite. Bale delivers another solid, yet distant performance, and Morgan Freeman and Michael Caine bring a sense of importance and levity to their moments, but THE DARK KNIGHT is really all about the Joker, and Heath Ledger lives up to all of the hype. Ledger’s Joker is disturbing, manic, and psychotic, delivering the ying to Batman’s yang. Each moment Ledger appears, a chilling and unsettling atmosphere washes over the brooding, and somewhat epic, superhero saga. THE DARK KNIGHT serves as a reminder that movies don’t need to be shackled by the confines of their genre, but can turn the tables on convention and deliver an exciting, emotionally rich fable that speaks to modern times, while also tackling timeless moral dilemmas.

Grade: A

HELLBOY II: THE GOLDEN ARMY

Photos courtesy of Universal PicturesRon Pearlman once again dons two horns and one gigantic claw as the wisecracking, ego-inflated superhero Hellboy in HELLBOY II: THE GOLDEN ARMY. Hellboy’s nonchalant, sarcastic ways may be appealing to television reporters, but its beginning to wear on the general public and his girlfriend Liz, another superhero at the United States Bureau for Paranormal Research. In spite of their relationship issues, Liz and Hellboy must put their differences aside to protect mankind from Prince Nuada and his band of warriors. Nuada has disregarded a truce between mankind and the world’s supernatural inhabitants. Now he’s back to reclaim dominance, and plans to do so with a dominant, but dormant golden army of warriors.

The original HELLBOY was a rather dull introduction to the series, focusing solely on the lead character, with little else to offer. HELLBOY II: THE GOLDEN ARMY again offers Pearlman a chance to shine in the lead role, which he does, but it also delivers some pretty exciting combat moments, and plenty of personal drama to make the act of saving the world well worth it. In the midst of two oddly effective love stories, HELLBOY II: THE GOLDEN ARMY conjures up four well-orchestrated and thrilling action scenes that crazed comic book fans should eat up. Although these moments don’t necessarily further the plot, they do serve as wonderful isolated battles where writer-director Guillermo del Toro has a field day with crazy creatures and plenty of destruction. Pearlman is again dead-on as Hellboy, but del Toro also has more fun this time around with the supporting cast. Abe Sapien, the odd-looking but warm-hearted sidekick of Hellboy, gets in on the romance, and Jeffery Tabor lends some comedic support with his constant clashing with Hellboy over government protocol. HELLBOY II: THE GOLDEN ARMY may not shatter preconceived notions of the genre like THE DARK KNIGHT, but it does live up to every expectation that a comic book fan should demand.

Grade: B

HANCOCK

Photos courtesty of Sony Pictures

Will Smith defies the standards of his superhero predecessors in HANCOCK. Smith is the title character, a heavy-drinking, often-cursing and nearly homeless superhero who finds little acclaim for his efforts. Oh Hancock saves lives and captures criminals, but in the process leaves the city and its residents with a lot of mess to clean-up. After saving Roy Embrey from a potential train crash, Embrey, a public relations professional, decides to return the favor. Embrey plans on revamping Hancock’s image, and believes making amends for his collateral damage is the first step in the process.

Hancock is not your average superhero, and HANCOCK is not your average superhero movie. Two things stand out about the film, one which I can divulge, and the other which I’ll leave up to the film itself. The first, and undoubtedly the reason to view HANCOCK is another star-turning performance by Smith. Smith is one of the most likable, maybe the most likable leading man, and Hancock both affirms and challenges his status as such. Hancock, as previously mentioned, is a boozing, inconsiderate, rude and slightly disgusting superhero. The fact that Smith maintains all of these attributes, and still finds a dose of charm in the flawed superman, is not only a tribute to his star power, but also to his unshakable good nature. The other portion of HANCOCK that stands out is its twist, which serves as both a detriment and as an intriguing factor in the film. The twist, in retrospect, isn’t quite as surprising as initially anticipated after adding up the variables, but needless to say, takes HANCOCK to another level. This next level is one where the writers have created more than can handle, especially within the confines of a 92-minute picture. Just like its protagonist, HANCOCK is flawed, but inevitability worth it.

Grade: B-

KITT KITTREDGE: AN AMERICAN GIRL

Pictures courtesy of Picturehouse

A young girl finds the Great Depression hits a little too close to home in the children’s period piece, KITT KITTREDGE: AN AMERICAN GIRL. Kitt Kittredge, played by LITTLE MISS SUNSHINE’s Abigail Breslin, is an aspiring journalist in the late 1920’s, even at the young age of ten. She attempts to latch on with the local paper, the Cincinnati Register, but to little avail. In the midst of her aspiring career as a journalist, Kit is also initiating new members into her secret club, fending off harassing schoolmates and most importantly, attempting to deal with the ill-effects of the Depression.

Just like its lead character, the aspirations of KITT KITTREDGE: AN AMERICAN GIRL are honorable, welcomed and often times far-reaching. There’s much to like about KITT KITTREDGE from Breslin’s starry-eyed performance to the well-intentioned script, but the mystery that encompasses the latter third of the film is an awkward and amateurish departure from the drama, tension and camaraderie that builds during the film’s first two acts. Kitt goes from budding reporter to private investigator, and the screenplay goes from tackling an important period in our country’s history and the individuals it affected to a clownish and tame mystery involving a robbery. The robbery is designed for two reasons: one, to entertain those children potentially put-off by the dramatic nature and tone of the film, and two, to further emphasize the film’s message of not judging others by their socio-economic lot in life. Breslin, and a talented supporting cast, nearly pull it off. Kitt is a cute, bright and understanding girl, and Breslin delivers a performance that is as confident as Olive was out-of-place in LITTLE MISS SUNSHINE. Stanley Tucci, Chris O’Donnell, Julia Ormond and Wallace Shawn all bring a sense of realism or originality to their roles. KITT KITTREDGE is an amiable attempt at reliving a harrowing time in our country’s history through the eyes of a child, but it ends up caving to a secondary story.

Grade: C+

GET SMART

Photos courtesy of Warner Bros. Pictures Steve Carrell goes from analyst to agent in order to stop Russian secret agents in the action comedy GET SMART. The film is based on the television series of the same title, with Carrell taking over the role of Maxwell Smart, a former US intelligence analyst turned agent. Smart, also known as Agent 86 is teamed with the beautiful Agent 99, played by Anne Hathaway, and their mission is to track down top Russian secret agents known as KAOS. Although Smart is anxious for his mission, Agent 99 is less than enthused about taking a rookie under her wing.

Although I wasn’t around for the television version of GET SMART, the film plays like a mix between James Bond and THE NAKED GUN. The film has its share of laughs, similar to THE NAKED GUN series, but much like the Bond franchise, it plays as rather bland in terms of plot. If the scales were balanced between these two factors, the action would tip the scales one way or the other, and GET SMART doesn’t quite deliver enough excitement. It’s a shame because Carrell and Hathaway almost make it worth the price of admission. Carrell’s gift, much like Will Ferrell or Steve Martin in his hey-day, is the ability to sincerely deliver ridiculous and asinine dialogue, and pull off even more outlandish actions. Carrell’s deadpan humor, which worked wonders on “The Daily Show”, and now on in “The Office”, does again. Hathaway is also very good. Despite her good looks and youth, she enables us to buy into the romance between her and Smart, and provides a good comic foil to Carrell’s funny man. The film is rated PG-13, but compared to YOU DON’T MESS WITH THE ZOHAN or THE LOVE GURU, GET SMART can pass as a family film. Inoffensive, often funny, but rarely engaging, this spy action comedy falls just short of the required intelligence.

Grade: C+

THE INCREDIBLE HULK

Photos courtesy of Universal Pictures

Edward Norton follows in the footsteps of Bill Bixby and Eric Bana in the role of Bruce Banner in the latest version of THE INCREDIBLE HULK. Plot-wise THE INCREDIBLE HULK picks up where the film version of HULK left off. Banner, now a fugitive from the United States military, has fled to a small town in Brazil, works at a local plant and constantly works on keeping his temper down as not to arouse the beast that lurks within. His love interest Betty, now played by Liv Tyler, is working as a college professor, while her father General Thaddeus Ross is still working to track down Banner and utilize his situation to the American military’s benefit. Here Hulk battles a combat fighter played by Tim Roth.

I suppose the thing that most people wanted in HULK, the film directed by Ang Lee, was more action. If that’s what you’re seeking, THE INCREDIBLE HULK delivers some big moments, but it doesn’t provide a consistent amount of action or adrenaline. Since THE INCREDIBLE HULK more or less picks up where HULK left off, I was seeking more dramatic and emotional tension between Bruce and Betty, and another one-on-one showdown between General Taylor and Bruce. Neither of these moments occur and despite infusing the cast with the talents of Norton, William Hurt and Tim Roth, THE INCREDIBLE HULK sees them more as scene combatants then characters. The plot is also more of a device than a story, serving as an excuse to move from one big Hulk battle to the next. Had the battles lived up to the billing, one might be able to overlook the film’s other flaws, but the CGI is a step backward technologically. Even the climatic battle between Hulk and Abomination, which provides plenty of bang for the buck, is visually lame, rendering a glorified version of rock’em, sock’em robots. THE INCREDIBLE HULK lacks the ambition and execution that Ang Lee’s HULK did.

Grade: C

KUNG FU PANDA

Photos provided by Dreamworks Animation An overweight, noodle cooking bear finds that fate has bigger plans for him in Dreamworks animated summer film, KUNG FU PANDA. Jack Black voices Po, a Chinese panda who works at his father’s restaurant serving homemade noodles, but dreams of one day becoming a Kung Fu warrior. His day may have finally come, as Po attends a festival where the Dragon Warrior will be chosen, an individual selected to defend the Valley of Peace where Po and his father reside.

Just when I thought that Jack Black’s shtick had run thin, an animated panda comes to the rescue. KUNG FU PANDA enables the wild man to unleash his silly and off-the-wall humor to perfect affect. Directors Mark Osborne and John Stevenson keep Black’s impromptu comedy in check, and the result is a rather funny, mildly amusing, but overall winning kid’s film. The general plot is as old as the genre itself; an underdog and outcast protagonist are thrust into a situation where he must overcome great odds and hardships to save the day. In spite of the familiar and predictable story, KUNG FU PANDA succeeds in large part to Black’s voice work, exciting and well-done kung-fu scenes and a screenplay filled with more than a few nods to the STAR WARS series. In addition to Black’s voice-work, the rest of the high profile voice talent is also good, but many go unnoticed. Seth Rogan, Dustin Hoffman and David Cross’s voices are well-suited and distinguishable for their characters, whereas Angelina Jolie, Jackie Chan and Lucy Liu are well cast, but undetected. KUNG FU PANDA recycles many a scene from similar pictures, but the originality of Po and Black’s unique touch make this animated tale kick.

Grade: B-

SEX AND THE CITY

Photos provided by New Line Cinema and Warner Bros. Pictures HBO’s fab four of fashion and flings receives the big screen treatment with the same title, SEX AND THE CITY. As far as I know, the movie picks up where the television program left off. Carrie, Sarah Jessica Parker, and Mr. Big decide to move in together in a ritzy Manhattan condo, Miranda and Steve are finding marriage to be a tough proposition, Charlotte and her husband are enjoying the riches of adoption and Samantha is finding her lavish Los Angeles lifestyle and boyfriend aren't all their cracked up to be. The four reunite for Carrie’s big day, after Carrie and Mr. Big decide marriage is what their relationship is missing.

To start with I should tell you that I’ve never seen the HBO version of SEX AND THE CITY, and my viewings of the program have been limited to reruns on TBS. That said, writer-director Michael Patrick King establishes the background of the characters and their situations succinctly during the film’s introduction, so well, that most of what follows is a disappointment. Outside of the fact that these ladies’ lifestyles are ones which most cannot related to, the relationships they’re entangled in seem nearly as implausible. The core of the film surrounds the on-again, off-again relationship between Carrier and Mr. Big. This may have worked, but the picture’s narrative only allows us to view the relationship through Carrie’s eyes, leaving Mr. Big’s emotions and motivations as an after-thought. Miranda’s marital woes are relatable, but uninteresting and Samantha’s issues are neither. Charlotte pops in from time to time, but King doesn’t seem too concerned with her story. Although the plot leaves little to be desired, the four actresses seem to be a match made in heaven. Whether it's dining at Carrie’s honeymoon destination, or bonding after a dramatic moment these four convey a strong chemistry and friendship. Their loyalty and honesty is refreshing, even if it's surrounded by superficial circumstances. SEX AND THE CITY doesn’t have much to say, and at nearly two and a half hours, it takes a long time to say it.

Grade: C

INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL

Pictures courtesty of Paramount Pictures and Lucasfilm Ltd. Cinema’s most famous archeologist is back, and finds himself caught between comrades, companions and communists in the action-adventure, INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL. Harrison Ford returns as Indy, and Steven Spielberg slips back into the director’s chair for the fourth installment of the INDIANA JONES series. In this adventure, following a shoot-up at the military’s infamous Area 51, Jones finds himself on the short list of communist assailant suspects, and at the same time catches wind of a rare artifact known as the crystal skull. With not only an excuse, but now a reason, to flee the states, Jones embarks on an overseas adventure with his artifact informant Mutt, played by Shia LeBeouf.

It’s hard to teach an old dog new trick, which not only seems to be a blessing, but a curse for Spielberg. INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL features nearly as many terrific high-octane, well-orchestrated and humorously driven action scenes as RAIDERS OF THE LOST ARK, even if the driving force behind CRYSTAL SKULL seems as dead as a skeleton. There isn’t much for Indy to hang his fedora on when it comes to plot, so Spielberg seems intent on devising a series of action sequences that deliver plenty of excitement, suspense and laughs. CRYSTAL SKULL gets off to an exhilarating start with Jones under assault at Area 51, followed by a trip to a dangerous, but unassuming village, but after this brilliant beginning the film drifts in and out of entertaining action moments and less than stellar relationship entanglements between Indy, Mutt and Indy’s old love interest Marion, reprised by RAIDERS Karen Allen. The final revelation is something less than the sum of the parts, a bit of a rehash from the climax of RAIDERS, but a combination that shouldn’t come as a surprise for Spielberg fans. With that said, the highly improbable, yet utterly believable action-adventure moments deliver anything and everything a JONES fan could want, and justifies the means to the end.

Grade: B

PRICELESS

Pictures courtesy of Samuel Goldwyn PicturesA naïve and mistaken bartender is seduced by a beautiful gold-digger in the French romantic-comedy PRICELESS. Jean, a bartender at a prestigious hotel, passes out on one of the hotel lounge’s loveseats and is awoken by Irene, a gorgeous gold digger whose sugar daddy is also passed out. Irene mistakes Jean for a wealthy visitor, and after sharing more than a few drinks, the two leave their inhibitions aside and share a one-night stand. Jean wakes up the next morning alone in bed, and it isn’t until exactly one-year later, that Irene returns with another wealthy and elderly boyfriend by her side. This doesn’t seem to sway Jean.

Complete with laughs, chemistry and genuine romantic tension and suspense PRICELESS delivers an old fashioned style romance, with a touch of naughtiness. The achievement by writer-director Pierre Salvadori isn’t as much the subtle humor, or sophisticated and mannered game that the players play with love and dollars, but the unorthodox screenplay that breaks from convention, and delivers because of it. Most of, if not all Hollywood scripts would have relied on the star power to deliver the goods, and would have dragged out the mistaken identity through the fifth or even sixth reel of the movie. PRICELESS dispenses, quite naturally, with this cliché early on and assuredly delivers a storyline that is just as rewarding and much more plausible. This isn’t to say that the star power isn’t there. Audrey Tautou not only resembles Audrey Hepburn, but her Irene is Holly Golightly incarnate, and Tautou gives a performance that can stand up to Hepburn’s. Gad Elmaleh has just as tricky a job as Jean, and walks a acting tight rope, keeping his character from veering into complete schmuck while still remaining likable. PRICELESS plays the cat and mouse contest between Jean and Irene just right, tackling matters of the heart with both intellect and emotion. Although it doesn’t live up to it’s far-reaching title, PRICELESS is definitely worth the price of admission.

Grade: B+

SPEED RACER

Pictures courtesy of Warner Bros. Pictures A young boy’s racing pedigree leads him to stardom on the track in the cartoon-based, live-action feature SPEED RACER. Emile Hirsch stars as Speed Racer, a young man torn between family pride and success when confronted by a major sponsor who seeks him as their new driver. Adding to Speed’s tough racing decision is the emotional baggage of losing a brother to the sport, his father’s approval and a childhood romance that has blossomed into something more with girlfriend Trixie.
In spite of all its brilliant colors, high speed racing and clever storytelling SPEED RACER ends up off track in terms of tone and nature. Regardless of the story’s origin, the theatrical version of SPEED RACER turns out to be far more schmaltzy than it should be, and not nearly silly enough, considering the film’s PG rating. The film was written and directed by the brotherly tandem of Andy and Larry Wachowski of Matrix fame. The two’s visual sense is second to none, but wrapping their genius around a cohesive and engaging tale is another story. Although not nearly as complex as the Matrix’s labyrinth, SPEED RACER is a bit complicated for its target audience. Couple the kid-challenged plot with several manic racing sequences, and the film’s ability to entertain is drastically reduced. The extremely talented cast, consisting of Hirsch, Chistina Ricci, John Goodman, Matthew Fox and Susan Sarandon, all go to waste with performances that are too sincere for the synthetic script. SPEED RACER has its engine all revved up, but never is running on all cylinders.

Grade: C-

REDBELT

Pictures courtesty of Sony Classics
Writer-director David Mamet examines the world of mixed martial arts in the dramatic thriller REDBELT. Chitel Ejiofor is Mike Terry, the central character of REDBELT, a highly skilled instructor of Jiu-jitsu, a rare form of mixed martial arts. Mike has held to the belief that martial arts are a wonderful means of self defense, patience and use of mind over matter. Following some bizarre circumstances one evening at Mike’s self defense studio and at a local bar, the Jiu-jitsu teacher may be forced to step into a mixed martial arts competition in order to recover from a few financial losses.

As with most Mamet films, not everything is as it appears. REDBELT features a wide array of strong character actors who serve as proverbial chameleons. These actors’ characters in REDBELT are constantly sliding up and down a slippery moral slope involving success, desire and most of all, money. Ejiofor’s Mike tries to avoid these sticky situations by adhering to a strict moral code, but despite his best efforts, Mike is drawn into difficult circumstances. Although operating effectively as a thriller thanks to Mamet’s often elaborate screenplay, REDBELT makes for a compelling character study of Mike, a man trying to operate on a samurai’s system in a fractured, violent and ruthless world. Ejiofor’s focused, patient and restrained performance makes REDBELT as good as it is. With his world slowly crumbling down around him, Mike remains true to himself and his belief that there isn’t any situation too great to overcome. Through Ejiofor’s internally intense, but determined portrayal, REDBELT is lifted from an engaging thriller to a thrilling critique on our current culture.

Grade: B+

BABY MAMA

Pictures courtesy of Universal Pictures Tina Fey hears her biological clock ticking in the comedy BABY MAMA. Fey plays successful businessman woman Kate Holbrook. Kate has always put her professional endeavors ahead of her personal ones, and now single and 37, she realizes that what she wants most out of life is a baby. After several failed pregnancy attempts through a sperm bank, Kate elects to have a surrogate carry the child. The surrogate is Angie, a working class woman whose common law husband leaves little to be desired.

Although treading over familiar turf as last summer’s KNOCKED UP, BABY MAMA still feels fresh due to its feminine point of view and two spot-on performances by Fey and co-star Amy Poehler. Unlike Apatow’s comedy, the couple is the same sex, but each is struggling with similar issues. Fey’s Kate has been so focused on her work that she’s allotted little time for herself, and Poehler’s Angie has been enjoying life’s small pleasures but doesn't get the full picture. The plot is second to the humor which mixes Fey’s dry, but clever wordplay with Poehler’s outlandish, yet devilishly deadpan antics. Writer Michael McCullers, of AUSTIN POWERS fame, has a knack with Saturday Night Live alums, and works wonderfully with the Weekend Update anchors. Fey and Poehler are a great comedic tandem, possessing the type of chemistry severely lacking in today’s comedies. Quality supporting performances provide further comedic aid, with Greg Kinnear as a lovable small business owner, and Steve Martin and Sigourney Weaver adding a nice touch to their eccentric characters. Thanks to these performances, and a solidly silly screenplay, BABY MAMA avoids feeling like an Apatow re-run.

Grade: B

HAROLD AND KUMAR ESCAPE FROM GUANTANAMO BAY

Pictures courtesty of New Line Cinema

Two bright, but mismatched friends find their trip to Amsterdam rerouted to a terrorist imprisonment camp in the comedy HAROLD AND KUMAR ESCAPE FROM GUANTANAMO BAY. Just after their wild evening to the fast-food joint WHITE CASTLE, Harold and Kumar decide to travel to Amsterdam, where Harold can reunite with his dream girl, and Kumar can enjoy some marijuana legally. The trip goes sour when Kumar decides to inhale some weed during their flight to Europe, and the authorities mistake Kumar’s bong for a bomb. This leads to Harold and Kumar being suspected of terrorism, and being thrown into a high security cell at Guantanamo Bay.

More of the same would summarize HAROLD AND KUMAR ESCAPE FROM GUANTANAMO BAY in relation to their trip to White Castle. This red-state lambasting, blue state ideological comedy severely lacks both clever social and political commentary and basic comedic elements. In between the first and second HAROLD AND KUMAR flicks a similarly themed, equally offensive, but more often than not hilarious comedy was released, BORAT. Where BORAT allowed its subjects to paint their own derogatory self-portrait, HAROLD AND KUMAR takes familiar, easy and crude potshots at their victims. Southern Americans are in-breeders, racists or hors, and those of a conservative mindset are portrayed as small-minded, racist hypocrites. There’s no joke to low brow for HAROLD AND KUMAR, and no body fluid, function or orifice that escapes writer-directors Jon Hurwitz and Hayden Schlossberg. Even the appearance of Neil Patrick Harris as Neil Patrick Harris can’t salvage this mess, as his role turns out to be a tired repeat, as opposed to his invigorating and hilarious turn in the original. If you enjoyed HAROLD AND KUMAR GO TO WHITE CASTLE than their trip to and from Guantanamo Bay should be right up your alley, if not, like me it will be a painful exercise in raunchiness.

Grade: D

UNDER THE SAME MOON

Pictures courtesty of Fox Searchlight A young boy travels across the border in search of his birth mother in the Mexican film, UNDER THE SAME MOON. Carlitos, a nine-year old Mexican boy, lives with his elderly grandmother and dreams of someday reuniting with his mother Rosario, who is residing in the United States. Rosario sends money weekly to support Carlitos, and calls him every Sunday morning, but the distance is still much more than either mother or son can handle. After Carlitos’s grandmother passes away in her sleep, the young boy sets out on a journey across the Mexico-United States border in search of his mother, a Los Angeles, California resident.

An intimate emotional tale is wrapped around the controversial issue of illegal immigration in UNDER THE SAME MOON. The Mexican made picture isn’t balanced in its view on the hotbed issue, but it is a seemingly fair and honest portrayal of what hundreds, if not thousands of Mexicans strive for in an attempt to better the lives of themselves and their families. Politics aside, UNDER THE SAME MOON is an easy film to embrace with a storyline centered on the reunion of a loving mother and ambitious son. When analyzing the steps young Carlitos must make to find his mother, the script sounds contrived, but director Patricia Riggen allows time for the events to unfold in a realistic manner. Riggen’s careful touch is aided by two terrific central performances from young Adrian Alonso, and Kate del Castillo. Alonso’s Carlitos is a cute kid, but he doesn’t play the role as such, instead focusing on the drive, determination and passion of reuniting with his mother. Del Castillo is equally effective, conveying an adult torn by the distance between her youngster and the benefits she can provide her son by earning a living thousands of miles away. UNDER THE SAME MOON presents this tale of perseverance effectively around the argumentative issue of illegal immigration, and punctuates it with a clever and riveting final shot.

Grade: B

SMART PEOPLE

Pictures c ourtesy of Miramax
An intellectual father and daughter are academic successes, but failures in the social scene in the comedy-drama SMART PEOPLE. Dennis Quaid is widowed professor Lawrence Wetherhold, an English professor who is attempting to get his book publicized, and is having as much trouble getting his car out of the impound lot. In the midst of scaling the impound lot’s fence, Lawrence has a minor seizure that lands him in the emergency room. Dr. Janet Hartigan, played by Sarah Jessica Parker, is Lawrence’s physician in the ER, and also an old student of his. He begins seeing Janet, which makes his daughter Vanessa, played by Ellen Page, very agitated.

Many of the characters in SMART PEOPLE operate on their own island. That is to say, they function well on their own, but when it comes to relations with others they become withdrawn, awkward and often angered. Lawrence, Vanessa and Lawrence’s adopted brother Chuck, played by Thomas Haden Church, all provide compelling and intriguing individuals, but when they are called upon to interact with one another, the reality of SMART PEOPLE falls short. Part of the problem comes from the screenplay, penned by Mark Poirer. Poirer’s carefully constructed examination of these individuals only goes so far, establishing their own strengths and deficiencies, but fails when it comes to the quintessential portion of the picture, their relationships. Most of, if not all of these encounters are a tough sell. An attractive and successful doctor falling for an old, overweight, unattractive curmudgeon like Lawrence is quite a stretch, and the storyline between Vanessa and her adoptive uncle attempts to play as dark and edgy, but ends up far closer to awkwardness. SMART PEOPLE is a fairly focused study of fractured individuals, but is as seemingly clueless about social interaction as the characters its attempting to bring together.

Grade: C

21

Pictures courtesty of Sony Pictures
A group of MIT students utilize their means of deduction on the blackjack tables in Sin City in the movie 21. Ben Campbell is a brilliant MIT student hoping to land a scholarship to Harvard’s medical school, because money is the only thing standing between Ben and the Ivy League school. His chance at landing the scholarship is slim, and Ben isn’t making nearly enough working at a fine men’s clothing store. Luck may have just turned Ben’s way, when he is recruited to join a secret blackjack club at MIT, composed of fellow students and run by a professor. The group develops a system of counting cards, and codes, and with their team system in place, they’re able to make tens of thousands of dollars at Vegas’s finest casinos.


This wild fantasy of MIT students going from honor students to high stakes hustlers is the kind of story built for Hollywood. 21 is based on the real-life story of Ben Campbell, a 20-something MIT student, who finds the art of counting cards to be a lucrative enterprise. Although based on actual events, 21 wisely, or should I say fairly, never eludes to the fact that it is based on a true story. This a calculated and rational decision by director Robert Luketic, since I presume several liberties were taken with characters and events involved. By skirting the factual aspects, 21 can simply serve as escapist fun, a sometimes thrilling, often engaging romp where fair-minded college students turn into major Vegas players. The performances are standard, but deliver enough realism to overcome the inadequacies in the screenplay. One of these inadequacies has the brilliant Ben stashing hundreds of thousands of dollars in his dorm room’s drop ceiling, instead of several other safe spots. A wizard with mathematics, odds and probability, one would think Ben could have deducted the probability of these riches being stolen from his ceiling as opposed to a high security bank. This qualm aside, 21 delivers a fairly entertaining, and mainly forgettable thriller.

Grade: B-

STOP-LOSS

Pictures courtesy of MTV Films
Iraq war veterans receive their marching orders just after returning home from a tour of duty in the war zone in the drama, STOP-LOSS. STOP-LOSS refers to the practice the United States military utilizes requiring certain soldiers to continue serving their country in battle. As defined by Wikipedia, stop-loss is an “involuntary extension of a service member's enlistment contract in order to retain them beyond the normal end term of service or the ceasing of a permanent change of station move for a member still in military service”. In STOP LOSS, Ryan Phillippe’s Brandon King, purple-heart, bronze-star wearing Iraq War veteran, is stop-lossed and ordered back to Iraq. Not agreeing to the terms of service, Brandon flees his hometown and becomes a fugitive of the United States military.

The practice of stop-loss is a controversial one, one which director Kimberly Pierce is dead against. There’s a reasonable and rational argument against the use of stop-loss, but Pierce does not deliver it. Her passionate criticism against the procedure has blinded her sense of realism and ability in storytelling. The characters in the film, excluding Brandon, are poorly drawn caricatures of what many anti-war activists view as the American military. Brandon’s pals are short-tempered, muscle-bound idiots who’s machoism supercedes their intellect. By painting those willing to serve their country in a derogatory light, Pierce undermines her legitmacy and those she is seemingly seeking to protect. Her general tackling of the issue is heavy-handed and poorly presented, but the intimate moments between Brandon and his fellow soldiers work. Despite his transparent Texas accent, Phillipe delivers some nice emotional scenes surrounding the sacrifices made by those that serve. Not only is Phillipe good, but Pierce demonstrates a wonderful touch allowing the drama of the scenes to unfold. In spite of these moments, the highly contentious and highly charged issue of stop-loss is more than Pierce can handle.

Grade: C-

HORTON HEARS A WHO

Pictures courtesy of 20th Century Fox

An elephant believes he hears voices coming from a speck of dust in the big-screen version of HORTON HEARS A WHO. The film is based on the popular Dr Seuss short story of the same title. Dead-set on protecting the speck, Horton, a large, but lovable elephant, plans on delivering the speck, carrying an entire community of individuals known as “Whos” to the highest peak in the jungle. Unfortunately for Norton, other jungle wildlife would like to prove him wrong and will try to stop him and his speck from reaching their destination.

Silly, smart and sweet are words I often associate with Dr Seuss’s works, and each of these attributes is wonderfully abundant in the big-screen adaptation of HORTON HEARS A WHO. The central character in each of Dr. Seuss’s works is the driving force, and HORTON is no different. The enormous pachyderm is one of the most likable children’s characters to hit the screen in quite some time, and is also incredibly goofy, honest and determined. Jim Carrey voices Horton, and despite some ad libbing at times, restrains from going overboard, and brings life and a lovable nature to the big guy. The rest of the high profile voice talent is also good. Steve Carrell’s unique voice is appropriately quirky as the Mayor of Whoville, and Carol Burnett provides a terrifically twisted voice performance as an overly skeptical Kangaroo mom. Not only is HORTON HEARS A WHO true to Seuss’s characters, it also remains true to its verse. In its own poetic way, such lines as “A meant what I said, and I said what I meant, an elephant’s faithful one-hundred percent” and “A person’s a person no matter how small”, are refreshing from a literally standpoint, but also lend this charming picture even more assistance. HORTON HEARS A WHO is a wonderful example of Seuss on-screen.

Grade: B+

FUNNY GAMES (U.S.)

Pictures courtesy of Warner Independent Pictures

Writer-director Michael Haneke remakes his own European horror film for the states with FUNNY GAMES. Billed as FUNNY GAMES (US), the film is a supposedly shot-by-shot remake of Haneke’s horror film from 1997. FUNNY GAMES follows two privileged young men who find pleasure in torturing well-to-do, vacationing families. The two men, Paul and Peter, find their next victims with Ann, George and their son George, Junior.

FUNNY GAMES is not an easy film to watch, but it’s also not a film that’s easy to turn away from. I have a strong feeling this is exactly what Haneke was shooting for. The film has been tagged as the latest torture porn film, but by my standards, it’s a cut above the genre. I’m not sure any pleasure is to be derived from FUNNY GAMES violent acts, but a sense of terror, intrigue and suspense is existent for much of the film. Its not until the film’s latter third, that Haneke’s directorial choices seem as if he’s playing “funny games” with his audience. A few techniques Haneke utilizes seem intent on manipulating our emotions and reactions simply for the sake of manipulation. While I can appreciate toying with the conventions of the genre, it seems as if something more substantial should come from it. It’s a shame that Haneke’s experimental, but childish choices are manifested in a film with much skill. As the two antagonists, the performances by Michael Pitt and Brady Corbet are effectively eerie, and Naomi Watts is once again on the mark as the damsel in distress. FUNNY GAMES is an often uncomfortable and skillful film that is often too clever for its own good.

Grade: C+

IN BRUGES

Pictures courtesty of Focus Features

Colin Farrell and Brendan Gleeson flee their hometown of London following a messy assignment in the crime caper, IN BRUGES. Farrell is Ray, and Gleeson Ken, two hit men who are assigned to take a vacation in Bruges after Ray botches a killing in London. During their stay in Bruges, Ken seems intent on enjoying the scenery, while Ray just wants to return home. Their boss Harry has other ideas, but has kept the two in the dark for the time being.

Mixing elements of humor, intrigue and drama, IN BRUGES attempts to define itself outside of the ordinary expectations for a crime caper. First time writer-director Martin McDonagh crafts a well-thought out script with well-rounded leads, and in spite of a grisly finish, is ultimately rewarding. Coming on the heels of his performance in Woody Allen’s CASSANDRA’S DREAM, Farrell is again terrific. Both Allen and McDonagh allow Farrell’s characters to evolve throughout their pictures. At the beginning of IN BRUGES, Farrell reveals a brash, cocky and funny Ray, but as the screenplay exposes more and more about Ray, Farrell is allowed to dig deeper and deeper into the dark confines of his character. Gleeson is also very good, illustrating a man resigned to the fate that his profession has led him to. In addition to these performances, the city of Bruges becomes a character of its own. Whether it’s the quaint, charming and atmospheric Bruges that Ken sees, or the dull, old fashioned surroundings that Ray is tired of, we get a wonderful sense of Bruges and its citizens. IN BRUGES is a different type of crime caper, anchored with rich characters and originality.

Grade: B-

SEMI-PRO

Pictures courtesty of New Line Cinema

Will Ferrell riffs another sport in the comedy SEMI-PRO. Following up on the success of TALLADEGA NIGHTS and BLADES OF GLORY, Ferrell teams up with director Kent Altman and writer Scot Armstrong to seek laughs at the expense of the ABA, a 1970’s professional basketball league. Ferrell is Jackie Moon, a one-hit wonder on the pop charts, who turns his singing success into basketball stardom. He buys the Flynt Tropics, and enlists himself as the head coach and starting power forward. The ABA is going through a financial crisis, and its competitor, the National Basketball Association has offered a buyout of the league, with the top four teams merging with the NBA. The Tropics are near the bottom of the ABA standings, but that won’t stop Moon and crew from reaching for the top.

In spite of the pulled-up tube socks, groovy 70’s soundtrack and funniest hairdos since KINGPIN, SEMI-PRO fails because it relies too heavily on its star player to deliver all of the comedic scoring. The opening moments of SEMI-PRO are its best, serving up Moon’s catchy, hilarious and vulgar number one hit, “Love Me Sexy”. If the rest of the film were written as silly and on the mark as “Love Me Sexy”, SEMI-PRO would have been a laugh-fest. Ferrell can perform in these roles in his sleep, and that appears to be what Altman and Armstrong were relying on. Although not as painfully bad as KICKING AND SCREAMING, the writing in SEMI-PRO leaves little to be desired. A certain nostalgia for the 70’s may be warranted, but many of the jokes are derived from lame references and outlandish fashions. Additional lazy scripting comes in the form of an underdeveloped and unnecessary love story between mid-season Tropic acquisition Monix, played by Woody Harrelson, and his ex-girlfriend played by Maura Tierney. SEMI-PRO doesn’t even live up to its title, attempting amateurish jokes which often miss the mark.

Grade: C-