PRIDE AND GLORY

Photos courtesy of Warner Brothers A trio of brothers serving as New York City police officers find themselves in the middle of a messy police investigation in the thriller PRIDE AND GLORY. Ray Tierney, played by Edward Norton, is placed on a special investigation unit created by his father Francis, following the killing of four NYPD officers during an apparent drug bust. Ray’s brother, Francis, Jr. was in command of the four slain officers, while his brother-in-law Jimmy also serves on the force. The investigation threatens not only the future of the New York police department, but also the Tierney’s and their legacy.

PRIDE AND GLORY feels like an attempt to revive the popular 1970’s police corruption thrillers. The setting is New York City, the action involves both hand-to-hand combat and gunplay and the atmospheric tone created by director Gavin O’Connor feels both gritty and real. Somewhere between the realistic atmosphere and authentic family dynamics, O’Connor and NARC scribe Joe Carnahan let the script get overrun with testosterone-laced moments that turn a somewhat tense family thriller into a ludicrous and overblown morality tale. The performances are very compelling enabling the fairly standard script into feeling like something new. Norton, one of the finest actors of his generation, shows why, giving Ray a tough demeanor, but revealing a fractured individual underneath the exterior. Farrell is also terrific, creating a menacing officer who will do anything to protect his name and his family. Some of Jimmy’s interrogation techniques would make 24’s Jack Bauer cringe. Noah Emmerich and Jon Voigt are also good rounding out the family of officers. In spite of its acting, PRIDE AND GLORY implodes towards its conclusion. A preposterous final act left O’Connor and Carnahan with neither pride nor glory.

Grade: C

HIGH SCHOOL MUSICAL THREE : SENIOR YEAR

Photos courtesy of Walt Disney Pictures Cable television’s most successful movie franchise has now become one of Hollywood’s most successful big-screen musicals with HIGH SCHOOL MUSICAL THREE: SENIOR YEAR. Troy and Gabriella, played respectively by teen heartthrobs Zac Efron and Vanessa Ann Hudgins, are winding down their senior year and realize their lives are taking different paths. The two have enrolled at separate California universities with Gabriella focusing on a law degree, and Troy set to play college hoops. In addition to the two’s romantic challenge, they and the rest of their friends are putting on a spring musical about their final days as Wildcats.

Outside of the tabloids and the general pop culture phenomenon of HIGH SCHOOL MUSICAL I wasn’t too familiar with the previous two films, and ignorantly mocked them without having viewed them. Much to my surprise, and guilt fully so, I enjoyed HIGH SCHOOL MUSICAL THREE: SENIOR YEAR, due in large part to the film’s unabashedly juvenile, innocent and most of all, energetic approach to the mild-mannered, but high-spirited material. The plot is as generic as they come, but this SAVED BY THE BELL and GREASE mix serves the Disney franchise well, serving up a wholesome mix of family fun, with bright colors and lively tunes. Although the actors play rather cookie-cutter roles, they infuse their characters with charisma and liveliness. Efron and Hudgins are the stars, and its not surprising to hear that the two share an off-screen romance. Their chemistry on screen is the driving force in the film, and in spite of the hokey moments, provide the film with a bit of substance. HIGH SCHOOL MUSICAL THREE: SENIOR YEAR is a welcomed surprise, so much so, that I actually wouldn’t mind seeing what happens to these Wildcats after graduation.

Grade: B-

FLASH OF GENIUS

Photos courtesy of Universal Pictures A college professor creates a revolutionary invention that will change car windshields forever in the drama FLASH OF GENIUS. Dr. Bob Kearns, portrayed by Greg Kinnear, is a local university professor who dabbles in inventions from time to time. One Sunday, when riding home from church with his family, Bob becomes frustrated with the use of his windshield wipers, and formulates an idea to make the wipers better. Bob creates the intermittent windshield wiper, and pitches his idea to the higher-ups at the Ford Motor Company. After accepting his proposal, the Ford Motor Company reneges on their offer, but ends up manufacturing Bob’s idea anyways. Not one for accepting defeat, Bob sues the Ford Motor Company for patent infringement.

Bio pictures are a dime dozen, but what differentiates FLASH OF GENIUS from the rest is its relatable nature. Most films in the genre are centered around a famous, tragic or tragically famous individual. The FLASH OF GENIUS protagonist certainly isn’t famous, at least in conventional circles, but his story is no less compelling depicting a family man reaching for the American dream. Kinnear, who was wonderfully egotistical and charming in GHOST TOWN, is equally convincing as Bob, a man who becomes so obsessed with personal justice, that his parental priorities become an afterthought. Although the film is a bio-picture, it isn’t as much concerned with Bob and his invention as it is in detailing the American dream and the difficulty achieving it. FLASH OF GENIUS is based on John Seabrook’s article of Kearns in “The New Yorker”, and was later released as a novel this year. Screenwriter Philip Railsback and director Marc Abraham skillfully balance the need for facts versus the spirit of the story and end up delivering a solid piece of family entertainment that doesn’t appear to meddle with the truth.

Grade: B

BODY OF LIES

Photos courtesy of Warner Bros.Leonardo DiCaprio and Russell Crowe attempt to cut off a terrorist cell in Jordan in Ridley Scott’s latest thriller, BODY OF LIES. DiCaprio is Roger Ferris, a CIA ground operative in the Middle East, with his mission to uproot potential terror networks. His domestic surveillance contact is Ed Hoffman, played by Crowe, a family man who never leaves his work behind, monitoring Middle East situations from his kitchen to his daughter’s elementary school. The terrorist the two are tracking down is Islamist Al-Saleem. Al-Saleem has been gradually building an underground infantry, and Roger and Ed plan to dismantle the network from the ground up.

BODY OF LIES is familiar turf for Scott, mixing fact with fiction and drama with thrills. The film is based on the 2007 novel by Washington Post columnist David Ignatius, and the screenplay, penned by Oscar winner William Monaham is as dry as an Associated Press news release. Much of the problem is the regurgitation of situations that Roger is wrapped up in. The repetitive nature of Roger working his way up the terrorists’ food chain is almost identical to watching a covert detective work his way up a drug cartel. Scott infuses these moments into well-orchestrated action sequences, and differing techniques with the camera, but not enough to overcome the predictability of events. DiCaprio holds his own for most of the picture, before succumbing to overwritten dialogue in the film’s finale. Crowe, on the other hand, feels drastically underutilized. The casting of Crowe as Ed is an interesting choice, downplaying the actor’s charisma and machismo, and electing to derive a wise and cunning nature from the Aussie. The result is a mixed bag, but ultimately a poor one, as Crowe ends up playing a much distant and less remarkable second fiddle to DiCaprio. BODY OF LIES is a missed opportunity for the talented pedigree.

Grade: C

EAGLE EYE

Photos courtesy of Dreamworks PicturesShia LeBeouf and Michelle Monahan’s every move is being watched, and every action may lead to their demise in the action-thriller EAGLE EYE. LeBeouf is Jerry Shaw, a twenty-something slacker whose main source of income is a toss-up between petty gambling and his work at a copy center. Monahan is Rachel Holloman, a single mother of one. Jerry and Rachel’s lives have nothing in common until someone calls each of them and demands certain actions. Jerry fears for his own life, while Rachel’s son Sam’s life hangs in the balance. Each of them must follow a series of instructions, while attempting to discover why and how a third party is dictating their every move. Here, Jerry and Rachel first meet, and immediately are thrust into a high speed chase.

Some films require a suspension of disbelief, but EAGLE EYE requires a complete cerebral shutdown. Even if you buy into the general conceit of the film, which is as ludicrous as they come, the details involved are preposterous and the untimely deaths are laughably bad. LeBeouf who has shown a surprisingly keen eye for scripts at a young age, erred in his decision to make this laugher. He and Monaghan are relatively unscathed, but the same can not be said of DISTURBIA director D.J. Caruso and a collection of screenwriters. It’s hard to imagine Caruso making much out of this mish-mash of a science fiction script, but less is more may have worked, leaving a little more imagination to the viewer and less foolish visuals. Even with a subtler touch from Caruso, the outlandish story invites far too many eye-rolls and unintended laughs regarding Jerry and Rachel’s contacts from the unknown. EAGLE EYE attempts to provide some overarching theme about big brother’s intrusion into out daily lives, but its wasted in a picture that could have used a lot more oversight.

Grade: C-

CHOKE

Photots courtesy of Fox SearchlightSam Rockwell is a sex addict attempting to discover his father’s whereabouts in the dark comedy, CHOKE. Rockwell is Victor Mancini, a colonial theme park worker who is battling a sex addiction, while his mother is recovering at a long-term care facility for the mentally ill. During his most recent trips to the facility, Victor meets Paige, a doctor who is tending to his mother Ida, played by Angelica Huston. Victor takes a liking to Paige, but doesn’t want her to be another notch on his sexual conquest. Here Victor and his buddy Denny, are punished for not staying in character at work.

CHOKE fashions itself as a dark comedy, mixing explicit sexual encounters, touchy religious turf and graphic language in a tale of self-discovery. The picture is dark alright, but the lack of laughs made it a stretch to be considered a comedy, despite its blatant attempts. In spite of its obnoxious nature, Rockwell’s Victor is surprisingly endearing, no doubt a testament to the actor’s oddly charming ways. Rockwell, seen as a character actor in many mainstream films, has found a knack for playing off-beat individuals with extremely unique personalities. Victor is no different, and is certainly not one-dimensional. Despite his perversions and general contempt for mankind, Victor is an intelligent, crudely witty and often caring individual. Much of the credit should be given to writer-director Clark Gregg. His emphasis on Victor is a wise choice considering the ineptitude of the screenplay. Victor’s sexual addiction is never treated as anything more than a comedic device, and the relationship between he and Paige never amounts to much. CHOKE is an experimental, self-discovery picture that could have used a little less bite, and a lot more substance.

Grade: C

FROZEN RIVER

Photos courtesy of Sony Pictures Classics

A mother attempting to keep her family fed turns to smuggling illegal immigrants across the border in the drama FROZEN RIVER. Melissa Leo is Ray Eddy, a wife and mother of two, whose gambling addict husband has left his family with next to nothing. Ray is having a hard time making ends meet working at the local discount store, until she runs into Lila, played by Misty Upham. Lila knows of a route, a frozen river that stretches from upstate New York to Quebec where illegal immigrants can be transported with little hassle. Each trip Lila and Ray complete brings 24-hundred dollars into their pocket. Ray plans on spending her earnings on a new home for her family.

FROZEN RIVER is one of the more realistic, and more importantly, honest looks at economic hardship and the desperate steps taken to escape such a plight. Writer-director Courtney Hunt not only captures the day-to-day depression of Ray and her kids, but also glimpses into the life of a single, Native American mother who longs for the custody of her child. Both Ray and Lila are not your typical movie moms. Although sympathetic at times, both moms have undeniable flaws that lead to their lives of illegality. Ray may be a loving mother, but her hierarchy of needs requires some adjusting when renting a television ranks higher than a healthy dinner for the family. Lila is a strong-willed woman, one strong enough to steal a car and connive another desperate mother, but not forceful enough to reclaim her son from the clutches of her mother-in-law. These characteristics help to humanize these broken women into real people. At times maddening, but never so much to distance these women from the viewer. Hunt also does a wonderful job capturing the mystique and desolate nature of the cold Northeast. Her eye for atmosphere delivers an appropriate backdrop for the distant, solemn and cold fates that await both Ray and Lila. FROZEN RIVER delivers an authentic slice of Americana, both good and bad.

Grade: B

RIGHTEOUS KILL

Photos courtesy of Overture Pictures

Screen legends Al Pacino and Robert Deniro investigate a murder they believe is the work of a serial killer in the thriller RIGHTEOUS KILL. Deniro is Turk and Pacino Rooster, two New York City detectives attempting to unravel the most recent case in a long line of murders that appear to be vigilante slayings. Rooster believes the killings may be coming from a fellow officer, but the evidence is circumstantial.

Pacino and Deniro have starred in two movies twice before, and shared screen time only once, in HEAT, so the anticipation of seeing these two together again was pretty high. Whether the material drags down these two acting heavyweights, or the two lift RIGHTEOUS KILL into something more than it should be, depends on whether you are a glasses half-empty or glasses half-full moviegoer. I believe the latter is true, making a mediocre thriller into passable slice of entertainment. The film’s narrative is off from the start, cutting back and forth between Turk’s video taped declaration, past murders and the current investigation. This storytelling device has been utilized several times, but often to greater, and much less convoluted consequence. Eventually the jumbled narrative takes a back to seat to Pacino and Deniro, both of whom are good, but underutilized in rather standard detective roles. The film plays as a fairly typical killer thriller, with a late plot development that should not be revealed, but in the same sense, doesn’t add much to the overall picture. It’s nice to see Deniro and Pacino together again, I only wish it had been in a film worth their and your time.

Grade: C+

THE HOUSE BUNNY

Photos courtesy of Sony Pictures

Anna Farris goes from hanging with the hotties to hanging with the notties in the comedy THE HOUSE BUNNY. Farris is Shelly, a Playboy bunny, who is evicted out of Hugh Hefner’s Playboy mansion, after she becomes over-the-hill at the staggering age of 29. With nowhere to go, Shelly stumbles aimlessly around town until she comes to the Zeta Alpha Zeta sorority house. The sorority is on the verge of being disbanded by the university due to lack of pledges, but Shelly may be just what the Zetas ordered. Shelly is hired as the house mom for the Zetas, as the sorority plans on utilizing Shelly’s assets as a Playboy bunny to earn their clan the required amount of pledges to remain an active sorority.

THE HOUSE BUNNY is the Paris Hilton or Britney Spears of comedies. It’s not naughty enough for adults and not pristine enough for young girls, and in the process turns out to be something that teenage girls and boys may enjoy, but probably shouldn't be viewing. I presume THE HOUSE BUNNY fashions itself as the next LEGALLY BLONDE, but unlike BLONDE, BUNNY is more concerned with crudity and less concerned with cleverness. Make know mistake, LEGALLY BLONDE is not ANNIE HALL when it comes to comedy, but it knew its audience and did a wonderfully playful and funny job in its fish-out-of-water comedy. THE HOUSE BUNNY can’t decide on its audience, and despite some funny moments, it can’t find any consistency in its characterization of Shelly. Is Shelly really as stupid as she appears? Is she street smart, or at least boy smart? Is she naughty or nice? The film never answers these questions. THE HOUSE BUNNY leaves Farris with a mess of a character, and remarkably she makes something out of nothing. Although its hard to place a finger on the true nature of Shelly, Farris still enables the former Bunny to be endearing, cute and sometimes even wise, in her own way. THE HOUSE BUNNY isn't as bad as it appears, and isn’t as good as it could be, its simply a tease for high school boys, and something that feels edgy for teenage girls.

Grade: C

TELL NO ONE

Photos courtesy of Music Box FilmsA doctor finds his deceased wife on-line in the foreign-language thriller, TELL NO ONE. Eight years ago, Dr. Alex Beck and his wife Margot, went skinny-dipping at an old watering hole where the two grew up. After their swim, Margot swam back to shore, only to be brutally beaten and murdered, while Alex was knocked unconscious during his attempt to save her. Now modern day, Alex is sent an email which links him to a video feed that appears to show Margot alive and well. Whether a cruel trick or a link to his lost love, Alex is determined to get to the bottom of it.

Mixing old-time suspense with timeless music, TELL NO ONE conjures up a thriller that defies my sniff test of the genre, one worthy of a viewing in spite of a lackluster finish. The film sets the tone and attitude of several scenes wonderfully by incorporating catchy and classical music to the proceedings. “For Your Precious Love” by Otis Redding beautifully sets the mood for Alex and Margot’s nostalgic swim, and U2’s “With or Without You” pulsates through an emotional discovery Alex makes about the potential whereabouts of Margot. The music and context of each of these scenes is brilliantly orchestrated milking mystery, suspense and emotionality out of each moment. Director Guillaume Canet puts his stamp on the film in these instances, but also in the script, along with co-writer Phillipe Lefebre. The movie flows well for the most part, but drags on too long during a sluggish climax. Just when the film should be hitting full stride, an overly long and unforeseen explanation taps a bit of energy out of an otherwise solid thriller. The film does benefit from some effective performances. Francois Cluzet as Alex and Marie-Josee Croze as Margot headline a uniformly good cast, one that sells the labyrinth of a story that encompasses the film. TELL NO ONE may be imported, but outside of its subtitles, its accessibility and execution are a nice fit for American audiences.

Grade: B

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+