Rating: 0 to 5 stars
© 2009 ALL RIGHTS RESERVED
artsalamode.com
Information from this site may not be reproduced in print or online without specific permission from artsalamode.com
| PUBLIC ENEMIES Rated R for gangster violence and some language. Drama/Crime/Gangster/ Adaptation 143 minutes
3 stars |
Style trumps substance. At almost two and a half hours, Public Enemies, a gangster movie about the infamous John Dillinger (Johnny Depp), is surprisingly lacking in any authentic feel for the 1933-34 time period when it takes place. It looks great. It sounds great. Johnny Depp is cool in any costume. Marion Cotillard, as Dillinger’s girlfriend Billie Frechette, is appealing and sexy. Christian Bale is appropriately grim as FBI man Melvin Purvis. But put it all together and somehow it’s bland and flat.
It doesn’t lack violence. Those scenes are well done. The machine gun fire, for once, sounds like actual guns firing. The wounded and dead are contorted, distorted, and grimace with real dedication.
The main problem is that the audience never gets a sense of who Dillinger is, or why he is the way he is. He’s difficult to identify with, even after all that screen time. The gang runs from here to there, meets up with folks who cover for them or take them to safe houses, get in gun fights then go on to the next episode. This may be Johnny Depp’s least compelling performance so far. There are points when he’s charming, but most of the time he’s just grim. The love affair with Billie is not involving, either. Why should I care about these two people? Their obsession with each other is not convincing.
Actors show up, seemingly at random: Giovanni Ribisi, Channing Tatum, Stephen Dorff, Leelee Sobieski, Diana Krall as a torch singer, and more. Then there’s Billy Crudup as J. Edgar Hoover, which I don’t buy for one minute. Stephen Graham plays Baby Face Nelson as an unrestrained psychopath and it’s almost a relief.
Screenwriters Ronan Bennett, Michael Mann, and Ann Biderman, may have been too reverential to the book by Bryan Burrough. It has the feel of: now we have to do this, now we move on to that, and though it flows the storytelling doesn’t feel easy or natural. Michael Mann’s direction lacks fire, and fails to make understandable or believable why the common folk liked Dillinger so much.
Public Enemies is not a bad movie, in fact, technically it’s interesting to watch, but in terms of any passion, angst of the times, feeling of history, or what turns people to crime, it’s more a whimper than a bang. Review by Ann Marie Oliva
DAWN OF THE DINOSAURS |
ICE AGE: DAWN OF THE DINOSAURS Rated PG for mild humor & peril. Comedy/Kids/Family Animation/Sequel 87 minutes
3½ stars |
This Ice Age is one that will do for the kids. It doesn’t break any new ground and is absolutely predictable, though. The voiceovers are all okay, even the whiny voice of Ray Romano.
Ellie (voice of Queen Latifah), and Manny (Ray Romano), are expecting their very own little mammoth. This changes the dynamics with the other animals in the “herd” making them feel left out. Diego (Denis Leary) decides to strike out on his own, but when Sid (John Leguizamo) finds himself in another world after he finds three eggs he thinks have been abandoned, only to learn later they are dinosaur eggs, he's in trouble. The dino-mom wants them back. His friends decide they must rescue him from the strange, more dangerous world where the dinosaurs and other prehistoric monsters live.
They find a guide in a weasel named Buck (Simon Pegg), who at least adds some energy to this rather tame story. Other voiceovers: Seann William Scott is the voice of Crash, Josh Peck is the voice of Eddie, Chris Wedge is the voice of Scrat, Karen Disher (II) is the voice of Scratte, among others.
There are the inevitable lessons about friendship, loyalty, honor, parenthood, and life/death though they are pretty well worn by now. The animation is well done.
At a quick 87 minutes it still feels slow, but the kids in the audience didn’t seem distracted. The test of a movie like this is, "Does it entertain the kids?" If it does, then it accomplishes what it's supposed to, regardless of how impatient adults feel about it. Review by Ann Marie Oliva
| AWAY WE GO Rated R for language and some sexual content. Comedy/Drama/Romance 98 minutes
3½ stars |
Do you ever feel like you’re the only normal person left in the world? If so, you will identify with Away We Go. A thirty-something couple has to finally grow up as they are expecting their first child and are serious about creating the perfect family situation. The problem? They are counting on his parents to help them, but are stunned to find the somewhat flaky parents (Jeff Daniels and Catherine O’Hara) are moving Belgium for two years.
John Krasinski plays Burt Farlander as a nerdy but charming child-man. It is Maya Rudolph, though, who is the revelation here as Verona, his pregnant and uncertain girlfriend who refuses to marry him. They have a nice, relaxed chemistry. Once his parents are out of the picture Burt and Verona realize they can live anywhere USA. This starts their trek to discover where and how they should live. Verona, always a realist, thinks they should settle near either family or close friends.
As they make their way to Phoenix, Tucson, Madison, Montreal, and Miami, the quirkiness kicks into high gear, especially when they visit Burt’s childhood friend LN (pronounced Ellen) played with biting sarcasm by Maggie Gyllenhaal, who works at a college. She is the quintessential earth mother who lectures everyone about the most natural and right way to do everything. You want to strangle her.
Along with the laughs are some serious issues, especially the death of Verona’s parents when she was 22. Most women will identify with the longing she feels to talk to/be nurtured by her own mother when confronting the most important role she will have in her life. Ms. Rudolph’s scenes when she speaks about her parents are touching, and when she visits her sister Grace (nicely played by Carmen Ejogo), the closeness between the sisters seems natural. There are other issues of abandonment that are also raised by Burt's brother's situation.
As the laid-back pace drags on you may wonder when something’s going to happen, but it allows the audience to consider their plight. This is decidedly not an action movie, but one where reflection is what’s called for by both the characters and the audience.
Of course, there is no perfect family or correct answer to what style family is best, or how to raise children. Life evolves on its own and answers are figured out eventually as Burt and Verona come to realize. Away We Go may be too slow for some viewers, but it is earnest and sweet. Review by Ann Marie Oliva
REVENGE OF THE FALLEN |
TRANSFORMERS: REVENGE OF THE FALLEN Rated PG-13 for intense sequences of sci-fi action violence, language, some crude and sexual material, and brief drug material. Action/Adventure 150 minutes
3½ stars |
As can happen with sequels, this one is a disappointment. The Autobots are present, the Decepticons remain evil, the military puts up a mostly feeble defense, and the human heroes spend a great deal of time running about. So, what else is new? Not much, or at least not enough, to justify another two and a half hours of this tale of boy and machine. But hey, those bots, good and bad, and their battles still look impressive.
Opening with Optimus Prime advising the viewer of a long history of bots on Earth (which information is integral to the long climax), we remeet Sam Witwicky (Shia LaBeouf, a believably natural actor) as he prepares to embark for college. Leaving behind his feisty girlfriend Mikaela (Megan Fox, the deserved new “It”girl) and his grieving mother, Judy, and relaxed father, Ron (Julie White and Kevin Dunn, both amusing and appealing), Sam is looking forward to college life. Unfortunately, the evil Decepticons are on the search for some doodad to activate some device which will destroy the sun and therefore the Earth and therefore all its inhabitants. In other words, it’s that old standby threat – the destruction of human life as we know it!
Anyhow, after two days on campus, Sam (occasionally afflicted with uncontrollable spasms and channeling ancient symbols) is attacked, along with Mikaela (recently arrived) and his dorm mate Leo (Ramon Rodriguez entertaining as geek and terrified accomplice) and this leads to Simmons (John Turturro, amusingly self-involved) whose butcher basement (literally) is filled with volumes of research and data on the bots. The plot, in the non-involving script by Ehren Kruger, Roberto Orci, and Alex Kurtzman is primarily an excuse for extended chases and lots of bot-fighting, which, by the way, is so convoluted in the editing as to be difficult to follow (no matter, just await the end of mayhem and look at the eyes, if red, the bad guys won). To be succinct (as the movie is not), the movie goes on way too long and increasingly loses interest and entertainment value.
Yeah, there’s still a kick in the cars, trucks, and other vehicles morphing into iron clad bots of all sorts, but by the time you’ve seen the process transpire what seems 40 or 50 times, the thrill is gone. And that goes, too, for endlessly repetitious, exploding, destructive battles. An unintended joke is the so-called military “Nest” unit allied with the Autobots (lead by the ever noble Optimus Prime) who, for all their incredible firepower, lose virtually every confrontation with the Decepticons until a bit of success at the end (Josh Duhamel and Tyrese Gibson deserve better than their time wasting roles). Overall, the trouble is director Michael Bay can’t get enough of his own movie, though the audience can, and does. If this sequel is any indication, let the Autobots rest in peace and spare we weary viewers any further restless seat squirming,
Transformers – Dandy the first time, but some movies do not bear repeating. Review by Charles Zio
| MY SISTER'S KEEPER Rated PG-13 for mature thematic content, some disturbing images, sensuality, language and brief teen drinking. Drama/Adaptation 109 minutes
3½ stars |
The moral dilemma of the Fitzgerald family is the true focus of My Sister’s Keeper. One daughter, Kate (Sofia Vassilieva, natural/appealing), develops acute leukemia as a young child. Dr. Chance (David Thornton), that’s right, suggests conceiving a test tube baby to closely match Kate’s DNA as a source of biological materials to give Kate more hope to live. Thus Anna (Abigail Breslin, always believable) is born to supply her sister first with cord blood, then blood and bone marrow, then presumably with a kidney.
Anna rebels against the kidney donation and hires attorney Campbell Alexander (Alec Baldwin, playing it straight), to help her get “medical emancipation” from her parents as she is tired of giving over body parts and having no control of her life.
Kate and Anna’s mother Sara (Cameron Diaz), a former lawyer is appalled since she has devoted her life, literally, to keeping Kate alive. She fights the lawsuit against the wishes of her husband Brian (Jason Patric), a fire fighter, and near saint. There is also a brother named Jesse (Evan Ellingson) with difficulties whose own personal problems sometimes detract from the main story.
The point is that when a family member has cancer, the entire family struggles with the disease, and each person deals with it in his/her own way. The movie is very good at showing the effects of chemo and other treatments. The doctors are compassionate, though reserved, as they have many patients who need them to be steady, but the family is pretty much left on their own. Cracks in relationships are magnified, facades of unity fall away, and stress overwhelms and overtakes moderation. In short, it’s hell.
The realism is both the strength and the weakness of the movie. It’s intense, and the mostly female audience was in tears throughout the film. It may be especially difficult for mothers to watch as a child is critically ill. It may be too much for some viewers, and there are those who will avoid the movie altogether for that reason. Another issue is that it seems very manipulative, wringing every last tear from the audience. It's only later that you may say to yourself, "now wait..."
Adapted from the novel by Jodi Picoult, the writers Jeremy Leven and Nick Cassavetes have done a pretty good job, it seems, bringing the moral and ethical problems to the forefront, though the movie often gets dangerously close to maudlin. I did hear some fans of the book complain that the ending was changed, but in a book you have much longer to develop the story/characters and I think they ultimately made the right choice here. Director Nick Cassavetes provides the narrators with emotional resonance so that the cuts back and forth in time are not too distracting. The more artsy effects can take one out of the movie, but it is generally cohesive and moving.
Jason Patric shows depth as the husband and father who watches as his wife’s life becomes about their daughter’s survival. I give Cameron Diaz credit for taking on such an extreme role; the character is not all that likeable, though understandable, as she becomes obsessive about keeping her daughter alive. This is very different for her, yet sometimes she comes across as shrill.
There is no real “happy” solution when cancer is involved. Everyone suffers even if he/she is a survivor. If you can handle it, bring plenty of tissues, no, bring a box of tissues, and make sure you are prepared to go along for this sad and heartrending journey. Review by Ann Marie Oliva
| YEAR ONE Rated PG-13 for crude and sexual content throughout, brief strong language and comic violence. Adventure/Comedy 100 minutes
2 stars |
It was no joke living in the early years of the human race. At best, and few and far between, there are a few weak chuckles in this movie. It’s a wonder the entire population didn’t expire from utter, sheer humorlessness. This movie should have more aptly been named The Year Without A Laugh.
Starting in prehistory, Jack Black plays, or rather mugs, as Zed, a failed hunter in his mud hut village. His only friend is the smartest man in the settlement (truly nothing to brag about in an uncivilized society) named Oh, portrayed by Michael Cera, some of whose asides are clever though they have no chance to amuse amid the flatness around them. Zed lusts after Maya (June Diane Raphael) while Oh yearns for Eema (Juno Temple). Both ladies are adequate, which is not a slam since they are only required to look pretty and display Acting 101 abilities. To propel the movie, Zed is exiled for breaking the one big no-no, eating of The Tree of Knowledge of Good and Evil. That’s right, it’s Bible time. In fact, time is not linear in this movie with the primitive, the Roman, and the Book of Genesis occurring simultaneously. No matter. Zed, having eaten of the apple and believing he is The Chosen One, and Oh, skeptically following, run into Abel (Paul Rudd, in a throwaway cameo) and Cain (David Cross, a suitable obnoxious villain). The familiar murder occurs (none too comically) and shortly the trio arrive in a town where Zed and Oh meet up with Maya and Eema who are being sold as slaves. Betrayed by Cain, Zed and Oh are sold two-for-one and end up in a caravan attacked by Romans and escape, then manage to rescue Issac (Christopher Mintz-Plasse) from being sacrificed by his father Abraham (Hank Azaria), two more talent-wasted bit parts.
Tedious, isn’t it? Cutting to the chase, Zed and Oh end up for the remainder, and drearily unexciting climax, of the film in Sodom, chosen, it seems, for the chance it offers for verbal and visual sexual jokes (straight and gay, neither of which are funny) and a surely-not-to-be-listed-in-his-future-film-credits turn by Oliver Platt as the High Priest. How bad is this film? Even the outtakes in the closing credits don’t elicit a smile. Maybe the film worked on the page for writers Harold Ramis, Gene Stupnitsky, and Lee Eisenberg or in the actual shooting under Ramis’ direction, but up on the screen, it’s an idea that flops big time.
Year One – In just about every way it’s the worst of times. Review by Charles Zio
| THE PROPOSAL Rated PG-13 for sexual content, nudity and language. Comedy/Romance 107 minutes
2½ stars |
Though Sandra Bullock (Margaret) and Ryan Reynolds (Andrew) are appealing and have some chemistry, this movie lacks the makings of a good romantic comedy. The premise is tired and unoriginal, yet one can hope for the best given it also includes actors Mary Steenburgen as Andrew’s mother Grace, Craig T. Nelson as Andrew’s father Joe, and the ever feisty Betty White as the grandma, Annie. All wasted.
Ms. Bullock plays a boss-from-hell book editor with Reynolds as her whipped assistant. Right from the start the tone is off, and not funny. She’s Canadian and has been ignoring her immigration lawyer. Really? We’re supposed to believe she’s anal to a fault, but she ignores her status which threatens her job? When confronted with deportation she quickly decides that her assistant will marry her. He goes along because he wants a promotion and his book published. Yawn.
Then we have to have the fish-out-of-water scenes as the pair fly off to Alaska for the weekend. The weekend? Doesn’t it take like almost a day to fly to Alaska—half the weekend? Although you can’t take timelines too seriously, it strains credulity. There is some contrived father/son drama, the beautiful ex-girlfriend, the homey folks, the ever-present, all-purpose Ramone (Oscar Nuñez) who offers a bit of comic relief, but little genuine humor.
The writer, Pete Chiarelli, and especially the director, Anne Fletcher have given the audience great locations and a beautiful looking movie, but one missing any kind of real emotional authenticity. The actors do their best to underplay their characters to the point of blandness.
There are two points in the movie where déjà vu hits. One is where Bullock says, “You came back,” reminding one of her first big hit, Speed, although it certainly lacks the same impact. The second reminds me of another romantic comedy that worked much better called While You Were Sleeping, where she also played an outsider to a kooky but loving family, and it included a confession at the altar, too.
The audience was mildly amused at times; though quiet for the most part. There is a hunger for good romantic comedies, which is why with everything it had going for it; this movie is even more disappointing. Review by Ann Marie Oliva
| THE HANGOVER Rated R for pervasive language, sexual content including nudity, and some drug material. Comedy 100 minutes
4 stars |
The audience had a good time at this raunchy, crude, but funny movie, and so did I. Four guys decide to go to Las Vegas to have a bachelor party for one of them who is getting married. Doug Billings (Justin Bartha) is marrying the sister of Alan Garner (Zach Galifianakis), who is odd, and the odd man out. Doug’s two friends who come along are Stu Price (Ed Helms), a dentist who is brow beaten by his girlfriend, and Phil Wenneck (Bradley Cooper), a dissatisfied teacher.
The leave in a luxury car belonging to the future father-in-law, and this seemingly normal group of guys are fun to watch from the beginning. They have a toast on the rooftop of the hotel they are staying in, and the next thing you know it’s the next morning when they are really, really hung-over with no memory of what happened the night before. There’s a tiger in the bathroom, a chicken walking around the hotel room, a baby in the closet, and the future groom is missing.
The misadventures they have trying to find Doug and piece together their wild night is cleverly written by Jon Lucas and Scott Moore who actually understand how to put a funny script together. The audience is finding out clues the same time as the characters. The discoveries are quirky and humorous enough to keep you engaged.
This assortment of actors do much to make the premise pay off, especially Zach Galifianakis as Alan, who plays the soon-to-be brother-in-law from hell. He’s the kind who means well, thinks he’s helping, but messes up everything he touches. He is genuinely comical, and a pleasure to watch. Bradley Cooper, who seems to be everywhere, in every movie, is the good-looking one, but is married and has a kid. He is Alan’s hero. Oh yes, and takes off his shirt. Ed Helms from The Office adds nicely to the mix as the dentist who finds himself, for once, breaking out of his straight jacket.
Various characters show up including Mike Tyson, and it all mostly works except for Mr. Chow (Ken Jeong) who is funny, but in a very stereotypical way which may be offensive to some, but then there’s enough here to offend and amuse almost everyone. High powered stars are not needed as these guys do just fine and probably better as the audience can identify with them. Stay until the end credits because they are hilarious. Review by Ann Marie Oliva
| LAND OF THE LOST Rated PG-13 for crude and sexual content, and for language including a drug reference. Adventure/Comedy/Sci-Fi 93 minutes
2½ stars |
Every once in a while Land Of The Lost threatens it might get funny. It doesn’t. At best there are moments of amusement, but even those precious few are lukewarm. Matt Lauer (appearing as his Today Show self) and the special effects are both well done. Very little for the price of a ticket.
Will Ferrell plays the pretentious and earnestly serious Dr. Rick Marshall who has been disgraced for his theories on time warp. Exiled to teaching elementary school science, he is approached by Holly Cantrell (Anna Friel), a graduate student who believes in his theories. They trek off to a desert location and enter an amusement ride under the guidance of Will Stanton (Danny McBride), a blue collar hustler. Thanks to some sort of tape recorder device invented by Dr. Marshall (which plays the opening song from A Chorus Line) the time-space continuum is breached and the trio are catapulted to a parallel universe where past, present, and future coexist. Or something like that.
Shortly after arriving in the sands of a new world, a fourth member of the group is added in the person of Chaka (Jorma Taccone), a missing link in the evolutionary scale. Amid ruins (a Viking ship, a contemporary motel sign, and so on), and various creatures, in particular a vicious dinosaur they name Grumpy (ugh), the humans run into some alien beings (Sleestaks) one of whom informs them Marshall’s device can open the portal back to the present. Or is he really an evil being who is looking to conquer the universe? Oh, the suspense. As if the progress of the movie weren’t dull enough, the end of the movie brings a pile of momentous life lessons such as persevere, be brave, loyal, a friend, fall in love, and revenge is sweet (oops).
What’s a shame is that this movie could have succeeded. The script by Chris Henchy and Dennis McNicholas (based on the 1970s series created by Sid and Marty Kroft) promises wit, cleverness, and satiric touches that repeatedly fall flat, not to mention that bits seemed inserted to stretch the movie to an hour and a half which was already pushing the viewer’s patience button. As for the actors, Ferrell is playing a stock character he long ago mastered, Anna Friel is believable, Danny McBride though somewhat bland in his delivery is adequate, and Taccone is silly but his role demands it. Production-wise the film does not skimp and looks handsome (to be expected with a reported budget of 100 million). The fault, by default, falls on Brad Silberling. Too often he becomes enamoured with a scene and it’s played out slowly and predictably. What would have helped was hit and run pacing as the absurd cannot abide study. But then the source material had little to recommend it. When was the last time you heard the decades old and very dated television show nostalgically or warmly referenced? Expect the same fate to befall this movie.
Land Of The Lost – What’s really lost is the viewer’s time and money. Review by Charles Zio
| MY LIFE IN RUINS Rated PG-13 for sexual content. Comedy 98 minutes
1½ stars |
How do you say, “no way” in Greek? With Rita Wilson (who has a cameo) and Tom Hanks as two of the producers, you’d think this movie would have been funnier, or better, yet it is unoriginal, predictable, lame, and at times, difficult to watch.
The premise is not bad. A professor is stuck in Greece after she is let go by a university. To make a living she decides to be a tour guide, where she gets all the “B” tourists, but she has lost her mojo or “kefi” (as in passion for life) as it’s known in Greece. Director Donald Petrie and writer Mike Reiss don’t do nearly as much with this movie as it needs. Nia Vardalos looks good, but she seems to have lost the natural charm she had as the overweight awkward girl looking for love in My Big Fat Greek Wedding. For one thing, what’s with the dark red lipstick and high wedge shoes? Is that really what guides wear to Greek ruins?
Another disappointment is Richard Dreyfuss as Irv the tourist. Irv is obnoxious at first, but then becomes endearing to the rest of the group with his corny sense of humor and inane jokes, yet of course, has a heart of gold. His performance is a puzzlement; at times over the top, like most of the performances, at times underplayed. Actually, there’s a lot of talk about humor, but it’s scarce. What’s worse is there is no sense of the Greek zest for life. What’s even worse is they show several short clips from Zorba the Greek. That’s an excellent movie that, though old, does have a heart and soul, unlike this one.
The love interest, named Poupi (are you as tired of stupid bathroom “humor” as I am?) is played by Alexis Georgoulis. He’s good looking, but it’s hard to say if he has more to show as an actor because they keep him mostly giving meaningful looks, yet he probably has more potential than is evidenced here. The characters keep commenting on how quiet he is, but he’s better off without the silly dialogue some of them have, or is it that there’s a language barrier?
The best thing about the movie is the actual ruins the audience gets to see. That’s the only time this movie feels authentic. Review by Ann Marie Oliva
| UP Rated PG for some peril and action. Animation/Action/Adventure Comedy/Family 96 minutes
4½ stars |
Disney and Pixar have done it again. Up is a movie that everyone in the family will get pleasure from and want to see over and over. The story is original; the animation is truly inspired. Co-directors Pete Docter and Bob Peterson (who wrote the script) have given audiences a great summer gift.
It begins long ago, but not far away when Carl Fredricksen (voiced by Ed Asner) is a boy in a more simple time in America. He’s caught up in tales of adventure when the most amazing feat was flying. He is taken by one Charles Muntz (voice of Christopher Plummer) who seems the epitome of a hero. He meets Ellie, the love of his life, when he interrupts her pretending to be a pilot. The love story between the two is moving as it shows the growth and depth of their love and her eventual death. Carl is heartbroken and is a holdout for a construction project with huge buildings all around his little house.
Carl makes a mistake and is about to be sent to the old folks home when thousands of balloons appear coming out from his chimney and pull the house off its foundation and into the city skyline. Carl is off on an adventure to a South America waterfall that he and Elie (voice of Ellie Docter) once dreamed of going to see. He’s determined to see the falls as a tribute to her.
What he doesn’t count on is that a young scout named Russell (voice of Jordan Nagai) is trapped on his porch when the house takes off. This character provides much of the comic relief and is quite endearing even as he seems to make every situation worse, yet he is earnest and lovable.
The adventures they have as they get to South America are only occasionally scary and though they are “up” very high in the sky, the audience is given many last minute rescues to enjoy—kind of like the old serials where the heroes always eventually escape. The voice actors all do an excellent job, especially Ed Asner, and it’s good to hear some other voices for a change, and not just trick casting used to draw people into a movie.
What is really charming is the idea that two people love each other so much that the love survives death, and endures and promotes a kindness that spreads. What a sweet idea in such a cynical world. It may not be real, but it’s something to aspire to. Review by Ann Marie Oliva
| DRAG ME TO HELL Rated PG-13 for sequences of horror violence, terror, disturbing images and language. Horror/Thriller 99 minutes
3½ stars |
You have to figure a movie with a title such as “Drag Me To Hell” doesn’t take itself too seriously. There’s a few early surprise chills, but eventually, and overall, it’s mostly over-the-top familiar and, therefore, a less threatening, though somewhat entertaining, entry in the horror genre.
The opening set up - decades ago, a boy cursed for stealing by a gypsy is haunted and hauled to the fires below, despite the efforts of the interestingly named medium Shaun San Dena (Adriana Barraza). Leap ahead to the present and loan officer Christine Brown (Alison Lohman, conveying belief when innocent or tough and no matter the absurdity facing her character), a young, sweet loan officer bucking for a promotion from her manipulative boss Mr. Jacks (David Paymer, oily) who seems to be leaning toward her coworker Stu Rubin (Reggie Lee, nicely sneaky). Trying to impress her supervisor, Christine denies a third mortgage extension to Mrs. Ganush (Lorna Raver, eating the scenery and savoring every grossly physical moment) as a decrepit, crazed, determined embodiment of evil. Following a rip snorting fight between the ladies, Mrs. Ganush issues a curse via a button off Christine’s coat sleeve.
Yes, that’s right, a curse via coat button. But then the title credits with an old time graphic comic book look and type slightly askew are obvious clues the horror to come will be stylized. And it is. The violence is cartoon-like in that, mostly, no matter the degree of harm, the victim shakes it off with little sign it occurred. This being so, the skepticism of Christine’s psychology professor boyfriend Clayton P. Dalton (Justin Long, good with a quip or caring words) is understandable as his timing for being absent during her incidents is uncanny, not to mention handy. Also present is the necessary fount of wisdom to explain the how and why of the malevolence that has been unleashed, in this case it’s spiritual advisor Rham Jas (Dileep Rao, suitably grave and ominous).
Turns out Christine’s curse involves three days of haunting by a demon referred to as Lamia (in shadow, a dead ringer for Lucifer) who thereupon yanks the victim’s soul down to an eternity of suffering and damnation. The screenplay by Sam and Ivan Raimi incorporates many standard horror devices (flies, winds, loud sounds, shadows, clawed hands, gushing blood, bursting windows, etc.). Everything is familiar and cozy, not scary.
As director, Sam Raimi has a sure hand in moving the action along at an entertaining clip. The picture looks good (clean photography by Peter Deming), is crisply edited (Bob Murawski), with effective production design (Steve Saklad). Of special note is the interior of San Dena’s home (take about a setting for a séance). And a nod to the actors, all of whom acquit themselves honorably (with nary a sense they’re less than earnest in their character portrayals). For those whose taste runs to the sadistic and bloody, this movie ain’t for you. For others, it might be a pleasant change of pace.
Drag Me To Hell – Not a scream. Not a guffaw. Horror light. Review by Charles Zio
SALVATION |
TERMINATOR SALVATION PG-13 for intense sequences Of sci-fi violence and action and language. Action/Adventure/Sci-Fi 114 minutes
3 stars |
One of the most intriguing aspects of the original Terminator was the time travel that a man used to send his father back to the past to conceive him so he could save future generations, all the while being hunted by that dastardly machine with an accent known as Arnold Schwarzenegger, yet knowing his father would never come back. Huh? Yes, it does sound wild though audiences accepted the premise and even liked it. Well anyway, the original Terminator was a very inspiring idea because this is the third sequel, prequel, whatever to that time-bending story.
The grown-up John Connor (Christian Bale), son of the brave, embattled Sarah Connor, the woman his father loved, is now a leader of the resistance fighters, a loose band of humans who survived “judgment” day. The earth is, well, it’s a total mess having been trashed quite thoroughly by bombs, explosions and who knows what else.
But wait, we have to go back to the past again to get a glimpse of a killer on death row. Marcus Wright (Sam Worthington), a scary dude, signs a release presented to him by a dying doctor named Serena Kogan (Helena Bonham Carter), who has plans for his body after death. The audience sees him get the fatal needles and then we’re in another time, and don’t learn, but can surely guess, what has happened to him in the lab.
When he gets away in the future, 2018 (which doesn’t seem far enough away for all this catastrophe) he now wants a “second chance.” The question he asks is, “Do killers deserve a second chance?” He actually comes across a 17 year old Kyle Reese (Anton Yelchin), John Connor’s father who must be saved so John Connor can be born.
So there is the storyline, and almost all else is people dressed in tattered clothes trying to get away from Skynet, those killer machines who want to eradicate all humans. There’s lots of twisted metal, explosions, bombs, killing, and many menacing robotic machines out to destroy humans at will. Of course, they could save themselves and us much time by just squashing and choking them instead of throwing people against things so they can get up and run away all over again. So, how smart are these machines really?
The acting is notably super serious with Christian Bale suitably earnest. Sam Worthington who plays Marcus Wright, the risen, penitent killer is the most noteworthy character in the movie and adds yet another spin onto the franchise. Moon Bloodgood plays his tough girl romantic interest. Bryce Dallas Howard is John Connor’s pregnant wife. She’s alright, though bland.
If you are a Terminator fan, you may find yourself involved in all the goings on in this sequel/prequel. If not, it’s quite an explosive light show. Review by Ann Marie Oliva
| GOODBYE SOLO Advisory Content for Parents Comedy/Drama 91 minutes
4 stars |
Writer/director Ramin Bahrani (with co-writer Bahareh Azimi) has set this small gem of a movie in the city of Winston-Salem, North Carolina where he grew up. That should be of particular interest to North Carolinians as the obvious talent of Mr. Bahrani can be evidence of pride in our local filmmakers. Yet, the dark backstreets that taxi driver Solo (Souleymane Sy Savane) travels could be anywhere USA because this is primarily the story of two marginalized men who form a somewhat uneasy relationship.
Solo, the Senegalese driver trying to make the best of his own shaky situation, has almost unnatural good humor. He tries to take everything in stride and keep his mind on the goal of becoming an airline flight attendant. Even when his wife berates him, he has no hate in his heart. One night he picks up an older customer named William (Red West) who often goes to the local movie theatre alone. Solo tries to engage William in conversation, but the crusty old guy is not interested, yet does let Solo become his “driver.”
As Solo and William are friendly enough to be on a first name basis, he finds out that the depressed William’s ultimate plan is to end his life. This adds a measure of desperation to Solo’s attempt to find out more about William, and stop his course of action. For his part, the older man is resentful of the intrusion but allows Solo into his life as he likes spending time with Solo’s precocious daughter Alex (Diana Franco Galindo).
The interesting thing about Goodbye Solo is that some facts are obscured or never fully revealed. The audience has to come to its own conclusion. How much is Solo involved with the criminal element in Winston-Salem? Is he facing real discrimination in his attempt to get away from taxi driving to become a flight attendant? What happened in William’s life to make him feel so bitter, resentful, and hopeless? The pace seems at once leisurely, but moves along just right during its 91 minutes.
If you think it’s easy bringing an independent film with this depth to life, you need only look at all the failed independent movies in its wake. The casting helps tremendously. The two leads, Souleymane Sy Savane, and Red West are an excellent team. The roles couldn’t be more different but both always act in character, showing every pained, joyous, heartbreaking emotion on their faces. This is especially difficult for Mr. West as his character is much less expressive than Solo, but we feel his pain acutely and want him to come out of his funk. Goodbye Solo reminds us that in a cold, thoughtless world, connections do count, no matter where they lead. Review by Ann Marie Oliva
| ANGELS & DEMONS Rated PG-13 for sequences of violence, disturbing images and thematic material. Crime/Drama/Mystery/Thriller 138 minutes
3 stars |
If there’s a moment of suspense in Angels & Demons it’s buried deeper than a secret in the Vatican archives. Tom Hanks at least gets to race around Rome (real or generated) while the viewer can only shift from one side of his seat to the other with impatience. The only question that might generate interest is, “When will this movie be done?’ Not soon enough is the answer.
The aforementioned Tom Hanks is once again Professor Robert Langdon, a symbologist author who has written a book on a secret medieval society dedicated to science and scorned by the Catholic Church, called the Illuminati. A bit of antimatter is stolen at the start and identified as a time-sensitive destructive weapon. At the same time, church politics are in full swing following the death of the last pontiff and the machinations attendant on the enclave to choose his successor. Complications arise with the kidnapping of the four cardinals favored to be elected and a message that they will be branded (literally) and killed following which the antimatter will destroy the Vatican itself.
And the race is on. Langdon spouts the history and operating principals of the Illuminati while speeding from clue to clue with the blessing of Camerlengo, Patrick McKenna (Ewan McGregor), a priest managing the Vatican in the absence of a pope, the assistance of the lovely Dr. Vittoria Vetra (Ayelet Zurer) an Italian physicist on the antimatter project, under the eye of Vatican Commander Richter (Stellan Skarsgard) and Inspector Ernesto Olivetti (Pierfrancesco Favino), while avoiding a skilled assassin (Nikolaj Lie Kaes), and a difficult to read Cardinal Strauss (Armin Mueller-Stahl). These supporting actors are skilled and entertaining but even they, in unison, cannot salvage the movie.
The underlying problem is the viewer doesn’t connect with the main character. Hanks is an everyman but this is one everyman who it’s hard to identify with because he seems to be no more than his persona, which is a smart academic. Nor does the viewer get the vicarious enjoyment of solving any of the clues (or trying to) along with Langdon who deciphers a symbol, explains it, then leads the camera on a dash to the next tourist spot (some with crowds, some under renovation) or under floors, through tunnels, or down dank passageways. In effect, it’s like watching a historical lecture, and even PBS and the History Channel do it better.
The writers, David Koepp and Akiva Goldman, do their best (the movie is based on Dan Brown’s book) but a plot requiring a great deal of exposition, constantly revealing new points and facts, grows tedious and by the time any genuine action occurs the viewer is past caring. Nice photography by Salvatore Totino and editing by Dan Hanley and Mike Hill at least provide a bit (but just) of diversion. Ron Howard does a professional job (he’s reliable that way), yet the film passes by without making a lasting impression. It isn’t long into the movie that the tedium leads you to hope the antimatter really will blow up – as soon as possible.
Angels & Demons – Even a prayer won’t help. Review by Charles Zio
| STAR TREK PG-13 for sci-fi action and violence, and brief sexual content. Action/Adventure/Sci-Fi 126 minutes
4½ stars |
It all begins with a futuristic fable. If you were not a fan of the early Star Trek series that still plays on television somewhere after 40 years, you will be after you see this movie. It’s okay to be surprised. This is just the beginning of a new era of young “trekkers.” Much credit goes to the writers Alex Kutzman and Rob Orci for putting together a prequel that dares to go where no writers have gone before—back to the beginning before they were who they came to be.
The characters, both good and bad, created by Gene Roddenberry represent the best and worst of our hopes and nightmares for an uncertain outlook, and this is what has made them so compelling. James Tiberius Kirk (Chris Pine) is the ultimate risk-taker, a fatherless son unsure of his purpose in life since there is no man to guide his undisciplined genius. The movie opens with a quick succession of scenes showing his rebellious stunts. As a parallel we see Spock (Zachary Quinto) during the same periods of time. He is the controlled, brilliant Vulcan, yet he too has an identity problem. He is half human, and his mother (Wynona Ryder, of all people) dotes on him. He fights against what Vulcans see as the weakness of human emotions, but he is also angry that he cannot fully express both sides of his nature.
The story moves in logical succession from Iowa where a father-like figure named Captain Christopher Pike (Bruce Greenwood) challenges Kirk to be his hero father’s equal, to Star Fleet Academy, to the Starship Enterprise, and finally to space adventures in a quest to stop a Romulan enemy named Nero (Eric Bana).
Great care is taken to introduce all the original characters: Uhura (Zoe Saladana), Dr. “Bones” McCoy (Karl Urban), Scotty (Simon Pegg), Chekov (Anton Yelchin), Sulu (John Cho), and Spock’s father Sarek (Ben Cross). Yet these are not mere imitations, the director J.J. Abrams has given the actors room to make some inspired choices and therefore the roles feel new and fresh while still being true to the original personas. As we watch who saves who, it is like a war where the soldiers who fight side by side develop a bond that is, in some cases, even stronger than family because of a unified, higher purpose.
The special effects and visual effects were better than I expected, and were stunning at times. Even though you know who will survive attacks, the sequences raise your pulse. Special mention should be made of the original music by Michael Giacchino, cinematography by Daniel Mindel, editing by Maryann Brandon and Mary Jo Markey, production design by Scott Chambliss, updated costumes by Michael Kaplan, and hair and makeup. In short, all the technical aspects are first rate.
The two leads are excellent with Zachary Quinto looking amazingly like Leonard Nimoy, who has a small, but important role, that provides a bridge between the old and the new. Yet he’s able to show the conflict within which is not easy when the character is supposed to show little emotion. But it is really Chris Pine in the William Shatner role who drives the movie and makes it work. He has all of Captain Kirk’s swagger, ego, smugness, skirt-chasing, but as the movie progresses, all the integrity, passion, and appreciation for his mission. He also has friends to care about and who care about him. There is one blossoming romance which I’m not quite sure about, but I’m guessing will become more prominent in movies to come. This franchise will be around for a long time.
Don’t miss the beginning. It’s first class all the way. Review by Ann Marie Oliva
| NEXT DAY AIR Rated R for pervasive language, drug content,some violence and brief sexuality. Action/Comedy/Crime 90 minutes
1½ stars |
Next Day Air has some real problems, not the least of which is an uneven tone. It’s supposed to be a comedy, yet the gun violence is not comical. In fact, it can make you cringe. How is killing people funny?
A package containing contraband is delivered to the wrong address by a bumbling delivery man. The real owners want it back. The delivery man, unaware of the chaos he’s causing continues on his merry way. Does this sound familiar? Why this idea needed to be made again, is a mystery. Yet here it is. Nothing new or original is added to the mix. It is almost instantly forgettable.
It’s not the actors fault. The cast includes: Donald Faison as the hapless delivery man Leo, who works for his mother Ms. Jackson (Debbie Allen, why?) and is ready to fire him. Mike Epps is Brody, Wood Harris is Guch, the two who take the package, Omari Hardwick as Shavoo, Emilio Rivera as Bodega, Darius McCrary as Buddy, Cisco Reyes as Jesus, and Yasmin Deliz, (a beauty) as Chita.
They try, but all is for naught as the writer, Blair Cobbs, and director Benny Boom (that’s right), have let them down. But even the performances seem to come from different movies at times. Some actors play it straight, while others are very broad. Mos Def, who is reliably good in any role he takes on, is good here when given the chance and adds something in his few short scenes, but far from enough to save this movie. Review by Ann Marie Oliva
WOLVERINE |
X-MEN ORIGINS: WOLVERINE Rated PG-13 for intense sequences of action and violence, and some partial nudity. Action/Sci-Fi 107 minutes
3½ stars |
If Wolverine’s story is an example, let’s skip any further mutant bio pics. There is family angst, true love, and a battle with one’s dual nature. Also, special effects laden fights, rampant destruction, and spectacular scenic shots. What’s missing is a hero to root for and an ultimate victory to cheer.
Who is Wolverine? He’s James Logan, a sickly boy in 1850s Canada who discovers that his friend, Victor Creed, is his brother, but then this is a tabloid dysfunctional family – real father killing stepfather, then step-son killing real father, and all this while Logan’s mother weeps on the side. Although this set of actions raises numerous questions, none of them will be answered. Instead the boys run from war to war, Civil to Vietnam, and it becomes clear Victor has a blood lust (as his vampire-like canines indicate). Eventually, the men fall under the sway of Colonel Stryker who is gathering mutants for some sort of military project. Repelled by the killing spree they are engaged in, Logan walks away and settles down as a lumberjack with his love, Kayla Silverfox, in the Canadian Rockies. What follows - murders, betrayals, nefarious plots, mutant one-upmanship – only avoids predictable tediousness by virtue of the distraction of quick pacing. You don’t even need to stay put for the little tag following the long, long credits at the end because it’s easy enough to guess exactly what it will show.
What went wrong? Not the acting. Hugh Jackman is suitably large and pumped as Wolverine and he growls with rage and authority. But since it’s evident from the beginning he is mighty and immortal and decent, there is no depth to his character (despite a feeble attempt to insert an inner battle with his dark side). How can you cheer for a character’s triumph (personal and with the forces of evil) when neither is ever in doubt? Liev Schreiber is a believable Victor savoring the murder and mayhem he creates. Danny Huston, as the scheming Stryker is less than convincing in his menace. Lynn Collins as Kayla is okay as the love interest. The cast of mutants, among then Will.i.am (John Wraith), Kevin Durand (Fred Dukes), Taylor Kitsch (Remy LeBeau), Daniel Henney (Agent Zero) are fine. Of special note are Dominic Monaghan (Bradley) and Ryan Reynolds (Wade Wilson) who make a genuine impression in their bit parts.
In short, X-Men Origins should have left well enough alone. That is, left it to viewers imaginations to fill in the missing gaps in the saga of Wolverine. The script has little originality and as a result is less than memorable. The same, unfortunately, can be said for the direction of Gavin Hood. Overall, while the movie is watchable, it won’t inspire cheers. If only it were as good as the trailers.
X-Men Origins: Wolverine – Shoulda, woulda, coulda been better. Review by Charles Zio
GIRLFRIENDS PAST |
GHOSTS OF GIRLFRIENDS PAST Rated PG-13 for sexual content throughout, some language and a drug reference. Romantic Comedy 100 minutes
1½ stars |
When you go to a Matthew McConaughey movie you know two things: he will play a self-involved playboy, and he will take off his shirt. Other than that it’s a mystery as to why people think that his playing the same character over and over—and not all that well, is interesting to an audience.
The premise might have seemed charming at one time, but trust me, that was long ago and far away like this fairy tale should be. Mr. McConaughey plays Connor Mead, a fashion photographer who sleeps around (big surprise), is obnoxious (very), and left his first love behind (yawn). That woman, Jenny Perotti, a doctor no less, is played by Jennifer Garner. Now one thing a romantic comedy must have is chemistry between the two potential lovers. Sorry to say, that is absolutely missing here. These two are like apples and lemons. Guess who’s the lemon?
Connor comes home to the family mansion (the wealth is never explained so who cares), to attend his brother Paul’s (Breckin Meyer) wedding. His fiancée Sandra (Lacey Chabert) is stressed out and various members of her family, and others, float around and interact with Connor which is supposed to be amusing, but falls flat every time.
Connor gets a visit while in the bathroom from his dead uncle, and idol, Uncle Wayne (Michael Douglas, the only bright spot in this movie), who says Connor’s wasting his life being a ladies man and he’s going to send three ghosts to prove it, à la A Christmas Carol. Now I understand why Charles Dickens was a genius. This lame imitation of that convention is a dud from start to finish, and it could have been so much better, but no, it doesn’t do anything exciting or original with the idea of a man looking back over his pathetic love life.
We always know who’s going to end up with whom. Aside from Michael Douglas, Ms. Garner makes an effort, but the rest of the cast seems strangely lethargic or shrill. The production values are good, but it can’t hide all of the problems that truly ail this movie. Review by Ann Marie Oliva
| THE SOLOIST Rated PG-13 for thematic elements some drug use and language. Drama/Music/Bio/Adaptation 117 minutes
4 stars |
Mental illness is not a subject many people are eager to spend time exploring, but it would be a shame if that’s what keeps audiences from seeing this movie. The Soloist has its share of frightening, disorienting moments, but ultimately it’s about living positively, even with severe limitations. Director Joe Wright has drawn very good performances from his two leading men. The screenplay, melodramatic at times, was adapted by Susannah Grant from the non-fiction book by journalist Steve Lopez, “The Soloist: A Lost Dream, An Unlikely Friendship, and The Redemptive Power of Music”. Mr. Lopez’ columns for the Los Angeles Times about his relationship with schizophrenic, homeless, musical genius Nathaniel Ayers is the basis for the book.
Although specific facts have apparently been altered (Hollywood style), the heart of the book remains intact. Steve Lopez (Robert Downey, Jr.), a scruffy, experienced, though somewhat rebellious news guy, is out looking for human interest topics for his column. He wanders around LA and sees Nathaniel by a statue of Beethoven playing a violin with only two strings. After he draws out information from Nathaniel, he confirms the pathetic story of this once musical prodigy who years ago attended the prestigious Julliard School of Music but now lives as a street person. As he writes his columns, his readers respond to the homeless man’s plight, one even sending him her used cello which was Nathaniel’s actual chosen instrument.
As Steve becomes more and more involved with Nathaniel his boss, and ex-wife (Catherine Keener), feels him pulling away from her. He visits The Lamp, a shelter that provides a kind of day care for the many homeless poor, sick, drug-addicted, mentally ill, or other unfortunate people who have no where to go. Steve’s frustration mounts as he tries to help Nathaniel be more “normal” but who rejects living in a room of his own, medication, and other extras that Steve, through his connections, can help provide. Or is it that he wants to “fix” Nathaniel rather than accept he will always have limitations because of his illness?
It is difficult to watch the flashback scenes of the sickness overtaking a young teenager with such musical gifts and bright future, and especially the pain of a working class single mother seeing her son deteriorate before her eyes. Also tough are the scenes at The Lamp of the many marginalized people who live on the edge of obliteration and struggle to survive from one day to the next.
Jamie Foxx does excellent work as Nathaniel. He’s able to convey the humor that allows us to laugh with, but not at him. He’s also powerful in the scenes where the man is perilously close, then loses control. He never goes over the top with the character which would be very easy to do.
But the story is really about Steve Lopez’ journey, and it’s Robert Downey, Jr.’s movie. He’s such a good actor, and is so natural and believable that you find yourself totally absorbed in his plight. It’s not because he makes the character likable, though he can be, it’s because he makes him so human.
The Soloist is worth seeing. Review by Ann Marie Oliva
| THE INFORMERS Rated R for strong sexual content, nudity, drug use, pervasive language and some disturbing images. Drama/Adaptation 98 minutes
1 star |
Like the characters that inhabit it, this movie is thoroughly repugnant. Adapted by Bret Easton Ellis from his own short stories about early 1980s Los Angeles, it is as meaningless as these lives of the beautiful, super rich and famous we stare at in disgust. I’ve liked the novels of his that I’ve read, so what happened? Novels are not movies, and the richness and layers that can be mined in print are not always evident on film.
Part of their sin? They have no imagination! I mean, how many times (on screen) can you watch entangled young bodies, drug-taking, dissolute, dissipated, narcissistic, nihilistic, obnoxious wealthy people act out before it gets tedious? We’ve seen this all before. It’s been done; it’s not shocking anymore like it was when Mr. Ellis wrote his first book while still in college.
There are too many interconnected story lines to get any depth or meaning out of any one of them in particular. The adults are lousy examples of anything except making money and bad parenting. The kids are all the too much/too soon types who waste every bit of talent and humanity on total self-involvement. I don’t have to like a character to be intrigued, but there has to be some shred of connectivity to make it worthwhile.
The movie has quite a cast list including: Billy Bob Thornton, Kim Basinger, Mickey Rourke, Winona Rhyder, Jon Foster, Amber Heard (naked much of the time, Chris Isaak, Austin Nichols, Lou Taylor Pucci, Mel Raido, Rhys Ifans, and Brad Renfro in his last performance, who try, maybe too hard because there is no humor, except inadvertently. Coupling too freely in the time of AIDS may be the most sensible point of the film (maybe), yet by the time it gets to that scene on the beach, I really didn’t care what happens to any of these characters. Review by Ann Marie Oliva
| FIGHTING Rated PG-13 for intense fight sequences, some sexuality and brief strong ,br> language. Crime/Ganster/sports 105 minutes
4 stars |
Like the main character, this movie is down-to-earth, gritty, and determined. Though it doesn’t transcend the boxing genre, it’s a solid effort with its own rewards. And if you might be looking for future talent, you’ve come to the right place.
Shawn MacArthur, the fighter-to-be, is an openly friendly and sincerely courteous young man without a swagger but quick and ready with his fists if need be. What could have been the clichéd dim but determined boxer is instead rendered believeable and sympathetic by the promising young actor Channing Tatum who conveys an unforced naturalness that never hits a false note. A drifter in New York, selling bogus items on the sidewalk, he is “discovered” by Harvey Boarden (Terrence Howard, who invests his every role with dignity) a small time hustler who, himself, was betrayed in the past by former associates, and now low life operators, Martinez and Jack (Luis Guzman and Roger Guenveur Smith, fine work by both). The requisite love is present in the person of Zulay (Zulay Henao, top notch) a down on her luck waitress and single mother. Humor is supplied by her grandmother Alba (Altagracia Guzman, delightful) with her nonstop judgmental prattling. Menace comes courtesy of Evan Hailey (Brian White, excellent), Shawn’s high school nemesis from Birmingham, Alabama. (It’s curious that neither Shawn nor Evan have a trace of accent to indicate their southern roots.)
The plot, as the movie title indicates, revolves around Shawn’s success in his bare fisted fights. His opponents are more toned, skilled, experienced. He is single-mindedly determined and relentless. Between bouts, the past is revealed, secrets exposed, antagonisms let loose, threats made, culminating in whether Shawn will throw the big fight.
Notice, however, that the film is not called “Fighter” but “Fighting” and with good reason. The script by Dito Montiel and Robert Minic looks at the world of small timers striving to get by and angling for the big score as well as casting an eye on the well-heeled who exploit them for further fun and profit. While the sociological angles are interesting, they sometimes lead to stretches of observation that slow the pace of the picture.
Dito Montiel, in his role as director, has an original and sure touch. He often surprises by upending expectation. For instance, the well-staged fight scenes (skillfully edited by Jake Pushinsky) are frequently shot in close up imparting an immediacy and intimate involvement for the viewer. And his feel for the city of New York is unmistakable. Aided by the able director of photography, Stefan Czapsky, the visuals alternate between aerial views of the city (indicating both a view toward the mean lives below and the heights to which the characters aspire) and shots of the streets of the city (the location shots capture the highs and lows, mostly of Manhattan but also Brooklyn and the Bronx). What is captured is a true sense and feel of the reality and variety of the city. For the interiors, production designer Therese Deprez accurately captures the chaos of crowded shops (some fronting for illegal activities), cluttered apartments (Harvey and Zulay’s are spot on), and marbled elegance of the wealthy. Here’s looking forward to future knockouts from all those involved here.
Fighting – Satisfying for those welcoming breaks/variations on the old boxing genre. Review by Charles Zio
| EARTH Rated G Documentary 99 minutes
4 stars |
The photography in Earth is spectacular. Writer/directors Alastair Fothergill and Mark Linfield make sure there is enough to keep your eyes focused on the screen. You won’t want to miss a moment. The film is narrated by James Earl Jones, which is a treat for the ears, so you really can’t miss with this one. It’s interesting for the whole family as DisneyNature intended.
The stories vary and switch from a mother polar bear and two cubs with the father "out there" on very thin ice, to under the sea with huge whales heading from warmer waters to colder ones on a perilous journey, to a herd of elephants traveling for days to find water. I kept wondering how they got the unbelievable shots they did; for instance, going over a waterfall. You feel like you’re there, and that you are looking down as the water cascades over the side. It’s great, except for those who may have a fear of heights.
The kids will be amazed. Though there is no attempt to hide some of the more intense death scenes, there is no killing on screen. The most you will see is an animal grabbing the throat of another, but there is no tearing apart of animal flesh. Very young children might be a bit frightened when a great white shark leaps out of the water with a seal in its mouth, or when a pride of lions attack an elephant at night, but these scenes are tastefully edited.
The father polar bear finds himself out to sea and finally finds land with a bunch of walruses, but he’s starving and doesn’t have the strength to attack and kill one. The point is made about global warming and the consequences for the bears, and by extension, all of us, though it’s not a hard sell. The scene of melting ice speaks for itself.
This is one of those movies that really should be seen on a large screen for full effect though you may want to rent it to make sure you don't miss a thing. Review by Ann Marie Oliva
THE MOVIE |
HANNAH MONTANA: THE MOVIE Rated G Comedy/Family/Musicals 98 minutes
3½ stars |
It’s wholesome, typical Disney, but then the audience for this comedy/family/musical is preteen girls. (Never underestimate the star-making power of preteen girls when they really like something.) There was some screaming, but generally not so loud and not so much that it wasn’t enjoyable for adults.
It seems Miley Stewart AKA Hannah Montana is tired of trying to live two lives. One is the sweet, regular school girl. The other is a singing kid star in a blond wig. Her father, Robby Ray Stewart (Billy Ray Cyrus, whose acting needs work) thinks she should come down off her pedestal after she ruins her best friend’s birthday party by showing up as Hannah Montana and nearly causing a riot. He tricks her into going home to Tennessee to see her Grandma Ruby (Margo Martindale) and all the, just plain folk who sit around the porch on lovely summer nights singing and playing their guitars.
At first Miley is rebellious, well, not like a normal teen--this is Disney after all, but enough so kids can identify with her. Yet, the family unit is shown as strong and the rebellion against her father and the rules doesn’t last long. The rapport between father and daughter is good, and it’s heartening to see a close, respectful parent/child relationship. She meets a young cowboy working the farm named Travis Brody played by the blonde, smiling Lucas Till who sort of becomes her boyfriend in a very chaste way. There’s not even a kiss for Miley here.
The strength of the movie is not in the story, though, because it’s pretty much standard. The attempts at humor can be surprisingly flat and corny. The movie really comes together in the final scenes when Miley is doing a benefit concert at an amusement park to help save the surrounding land from developers. This is where Miley Cyrus shines. She can sing and has real appeal on stage. Her confidence makes her seem older than she is, but she never loses the youthful girlishness that has made her so popular.
The production values are excellent with the photography of the farm especially lovely as Miley and Travis ride their horses.
The audience of mostly young girls had fun and clapped at the end. There is no telling if Miley Cyrus will outgrow her popularity as she gets older as so many other teen pop divas have done, but if she does, she can move right over to country music where she is obviously very comfortable and loves singing. This is a movie parents won’t have to question for appropriateness. Review by Ann Marie Oliva
| MONSTERS VS. ALIENS Rated PG for sci-fi action, some crude humor and mild language. Animation/Sci-Fi 94 minutes
4 stars |
This is a delightful sweet sci-fi kid’s movie, if there is such a thing. It’s delightful because the animation is excellent, the characters are loveable, and there is actually a story that can be followed. Having seen it in 3-D, I would highly recommend trying to take the kids to a theater where it is showing in that format, but it would be enjoyable in 2-D as well.
The dialogue is voiced by well known actors. They are more than adequate, but really, they are not the main attraction here. Susan (Reese Witherspoon), a naïve young woman, is getting ready for her wedding day. In a mishap, she is hit by a small meteor outside the church. All seems well, but while saying her vows she has an odd green glow and begins to grow to gigantic proportions, thus getting her the name Ginormica later on. When her husband-to-be, the self-absorbed television personality Derek (Paul Rudd), sees her size, he calls off the wedding. Broken-hearted, Susan is whisked off to a secret military facility run by General Monger (Kiefer Sutherland) where other “monsters” are held in captivity.
These monsters are not at all scary except for maybe Insectasauras, at the beginning, who just makes noises. Along with the big fuzzy flea are: the Missing Link (Will Arnett), Dr. Cockroach Ph.D., (Hugh Laurie), a brilliant scientist, and his opposite, the goofy and happily oblivious B.O.B. (Seth Rogan), made of blue gelatin. He has one of the funny lines when he says, “I have no brain. It turns out, you don’t need one.” (Don't we all know people like that?) It’s that kind of dialogue that makes the movie enjoyable for adults, too.
Of course, there has to be a villain so we know right from wrong. This is the alien Gallaxhar (Rainn Wilson) and his minions. He’s after the "quantonium" material that made Susan so big, and so has to extract it from her body.
There are some nice touches and visuals that are amusing when not outright laugh-worthy. Also, chases, space ships, rockets, and plenty of action to keep the audience’s attention. And the movie’s not so long that you start squirming in your seat. The children around me liked the movie and applauded when it was finished. That’s always a tip-off because they will give an honest reaction. I had fun, too. Review by Ann Marie Oliva