Catch That Kid (2004)
Grade: B
Starring: Kristen Stewart, Corbin Bleu, Max Theriot, Jennifer Beals, Sam Robards, John Carroll Lynch, James LeGros, Stark Sands, and Michael Des Barres
PREMISE: A teenage girl enlists her two best friends to help her rob a bank so she can fund a corrective surgery for her sick father.
RATED PG (contains some action, peril, and rude humor)
I actually liked Catch That Kid. Far more mature and realistic (and I do use that word lightly) than 2000's Spy Kids--which kicked off the kids/teenagers as spies/agents/superheroes craze that was mostly composed of three other Spy Kids movies--the film is largely forgotten now but for the fact that its two top-billed actors, Kristen Stewart and Corbin Bleu, have reached megastardom headlining some of Hollywood's recent teen phenomena (Stewart in Twilight and Bleu in High School Musical). It's an entertaining, uplifting little film that contains elements of a coming-of-age-story, a teen romance, an action/espionage flick (duh), and a farce. Like Hugo and Mirror Mirror, the other two PG-rated family films I've reviewed, part of Kid's appeal is its innocence, not to mention its lack of excess (at 91 minutes, it's not a moment too long). And it's a good movie, to boot.
Plot: Maddy (Stewart) loves to climb. Austin (Bleu) loves to shoot movies. Gus (Theriot) is a go-cart mechanic. Good friends (and, in the boys' case, romantic rivals) their lives are fun and carefree and mostly revolve around hanging out at Maddy's father's (Sam Robards) go-cart track. When he suddenly collapses of an old climbing injury--it's he who instilled in Maddy the love of climbing, as he once reached the summit of Mt. Everest--and ends up paralyzed from the neck down, the cost to fix him ($250K) is more than even Maddy's workaholic mother (Jennifer Beals) can afford. Devastated, Maddy turns to a last-resort option: rob the prominent bank for which her mother has been designing a state-of-the-art security system. There's an upcoming party that provides the perfect cover-lots of noise and distractions, no one hanging about-so Maddy decides to put her plan into action, seeking to swipe the money she needs from the top-security vault. But she needs help. Gus and his go-carts can provide a quick way in and out. Austin can use videos and other computer skills to override the complex security system. But to make it work, Gus and Austin have to stop quarrelling over Maddy and work together. And the trio is going to have to figure out passwords, dodge security cameras, escape packs of vicious Rotweilers, and outwit a deranged security guard (James LeGros) and a nasty bank manager (Michael Des Barres).
What Works?
The movie isn't really about the acting-more about the plot-but the three kids are appealling and effective in their roles. Stewart, the best-known of the three (even then, after roles in 2001's Panic Room and 2003's Cold Creek Manor), has taken a lot of heat for her dull, seemingly-bored portrayal of Bella Swan in the Twilight films. She's better than that here, though it's clear she's not a particularly expressive actress. If you're looking for animation, look elsewhere. But, importantly, she's appealing enough that it's believable that the Bleu and Theriot characters would both like her. Elsewhere, LeGros has some devilish fun as the tough but wacky guard, Des Barres is perfectly hateful, Beals is winning and earnest, and James Carroll Lynch (Crazy Stupid Love) adds a likeable portrait as a bank employee who really aspires to be an actor.
Also, as I said, the movie is quick and to the point. The action is engaging, the laughs are frequent, some of the twists are very clever, and the heart and emotion are palpable.
What Doesn't Work?
In a movie like this, there are always going to be happenings that cause the eyebrows to raise, and it remains true. Could kids-even smart kids-really do all this stuff? Are cops really that inept? Wouldn't go-carts racing on city streets raise more alarm and cause more of a ruckus? Would Maddy's mom really be that supportive once she finds out about their scheme? Those sorts of questions can be asked about any movie like this (like Spy Kids) and they're valid, but, in my opinion, Kid is entertaining enough that those questions don't hinder one's viewing.
Content:
Squeaky clean. Other than a few intense moments with barking Rotweilers and characters traversing great heights, there's nothing here kids can't see.
Bottom Line (I Promise):
Entertaining little romp with a big heart and a few tricks up its sleeve. Also a good chance to see teen icons Stewart and Bleu before they were icons.
Catch That Kid (2004)
Directed by Bart Freundlich
Written by Michael Brandt and Derek Haas
Rated PG
Length: 91 minutes
Friday, May 25, 2012
Tuesday, May 22, 2012
BATMAN
Batman (1989)
Grade: B-
Directed by TIM BURTON
Starring: Jack Nicholson, Kim Basinger, Michael Keaton, Robert Wuhl, Pat Hingle, Billy Dee Williams, Michael Gough, and Jack Palance
PREMISE: The Caped Crusader seeks to protect Gotham City from a psychopathic killer named The Joker.
RATED PG-13 for violence and action, menace and disturbing images
Whoa. So this was most people's first taste of a big screen Batman. Shocking as it may seem for an avid movie fan like me, I had never seen the original 1989, Tim Burton/Michael Keaton/Jack Nicholson Batman until the day before yesterday. No, this wasn't an attempt to whet my appetite for the much-anticipated Dark Knight Rises (due July 20), the finale of the epic Christopher Nolan Dark Knight series; this one had been on my to-watch list for a while. So there I was, stepping back into a cinematic world where Tim Burton had never worked with Johnny Depp (!!), Christian Bale was a mere teenager, Heath Ledger wasn't even making films, Michael Keaton, Kim Basinger, and Jack Nicholson were all flavor-of-the-week movie stars... Sixteen years before Nolan/Bale's Batman Begins (2005), this movie graced screens and thrilled and shocked audiences with its vision of a gritty, real-life Batman and Nicholson's dynamic performance as the ultimate deranged baddie.
Plot: Just as public curiosity over the mysterious Batman is reaching its peak in Gotham City, ambitious photographer Vicki Vale (Basinger) comes to town and forms an alliance with a young-buck reporter (Robert Wuhl) to try and be the ones who discover the masked vigilante's identity. That vigilante--billionaire Bruce Wayne (Keaton) by day--soon has his hands full, though, after a chemical mishap unleashes the pent-up savagery of already aggressive mob hit man Jack Napier (Nicholson). With his new, scarred visage giving him the chance to embrace the sort of theatrics he seems to have been meant for, Napier becomes The Joker, a perpetually-smiling but gruesomely-inclined killer who takes out his mob boss (the late Jack Palance), cops, and random bystanders everywhere. He soon holds Gotham in a state of collective terror, with people dropping dead of poison gas and poisoned hygienic products, and he begins demanding the Batman reveal himself, or people will continue to die. By night and under disguise, Batman fights back against the Joker's schemes, while his alter ego struggles to balance his secretive lifestyle with his feelings for the plucky, attractive Vicki.
What Works?
Rumor has it, this film was originally planned to be called Joker, rather than Batman, and, watching it, you can see why. Its Nicholson's Joker, and not Keaton's Bruce Wayne/Batman, who dominates the film's running time and has all the best lines and makes the most memorable impression. Though Nicholson was celebrated for his performance at the time, later generations have decided "Jack Nicholson was playing Jack Nicholson", not only because mouthy, twisted geezers have always been part of the three-time-Oscar winner's repertoire, but also because the late Heath Ledger made such a tremendous impact with his interpretation of the character in 2008's The Dark Knight. Knight is one of my favorite films, and, while I'll still always think of Ledger as The Joker, Nicholson's performance is really something to see. His eyes shining with demonic glee, his mouth and face twisted in that grotesque smirk, Nicholson has a ball in a role that may not be completely original given his tendency to play similiarly off-kilter characters (1975's The Shining, 2006's The Departed), but still dominates this film.
Basinger, another Oscar winner who has only been in two films in the last decade that I can recall (2002's 8 Mile and 2005's Cellular), is great as Vale; though the role is a cliche type by now, Basinger is a more appealing and talented actress than many of the ingenues who've been tapped to play superhero love interests since. And, while Keaton is not the actor Bale is (nor does he have the amount of time/material in which to carve out the character that Bale does), he makes an amiable impression, particularly in later scenes when his character's tragic past is revealed.
Basically, what works are pretty much all of Nicholson's scenes, most of Basingers, and many of Keaton's. When they're playing their characters. When they're involved in action...
What Doesn't Work?
From Edward Scissorhands (1990) to The Nightmare Before Christmas (1993) to Alice in Wonderland (2010), Tim Burton has always proven brilliant when it comes to a film's look, feel, mood, and atmosphere. Action, though, isn't his strong suit. He made a thunderous bore out of the Willy Wonka remake in 2005, and the action here, particularly the 'big finale', is slow-burn stuff. Yes, a lot of that impression probably comes because this film was made well before CGI ruled the action roost, before you could do anything onscreen that you wanted, and because Burton cares less about action than atmosphere (and he hasn't proven to be the last superhero movie director so inclined). The characters work, the relationships work, the laughs work, but maybe this movie should have been called Joker, if only so the viewers expect less Batman.
Content:
Well, this was rated PG-13 in 1989. There's no cussing, little cleavage or sexual content, and, for the amount of action/death-inducing mayhem depicted, very little blood. It is, what with its combination of being about The Joker and being directed by Burton, an often sinister film that can and will give you the creeps (something Nicholson has always excelled at), but it's largely tame stuff compared to what we see in action movies today (and most likely weak sauce compared to what Dark Knight Rises is going to offer).
Bottom Line (I promise):
It's hard to say what I'd have thought if I was old enough to watch and appreciate this in 1989. Maybe Nicholson's Joker would have blown me away. Maybe the action would have kept me riveted. Maybe I'd be in love with Kim Basinger... Impressively strong on the character-development front, this dated Batman is effective, but it won't make modern moviegoers forget Batman Begins or The Dark Knight.
Batman (1989)
Directed by Tim Burton
Written by Sam Hamm and Warren Skaaren; based on Batman characters created by Bob Kane
Rated PG-13
Length: 126 minutes
Grade: B-
Directed by TIM BURTON
Starring: Jack Nicholson, Kim Basinger, Michael Keaton, Robert Wuhl, Pat Hingle, Billy Dee Williams, Michael Gough, and Jack Palance
PREMISE: The Caped Crusader seeks to protect Gotham City from a psychopathic killer named The Joker.
RATED PG-13 for violence and action, menace and disturbing images
Whoa. So this was most people's first taste of a big screen Batman. Shocking as it may seem for an avid movie fan like me, I had never seen the original 1989, Tim Burton/Michael Keaton/Jack Nicholson Batman until the day before yesterday. No, this wasn't an attempt to whet my appetite for the much-anticipated Dark Knight Rises (due July 20), the finale of the epic Christopher Nolan Dark Knight series; this one had been on my to-watch list for a while. So there I was, stepping back into a cinematic world where Tim Burton had never worked with Johnny Depp (!!), Christian Bale was a mere teenager, Heath Ledger wasn't even making films, Michael Keaton, Kim Basinger, and Jack Nicholson were all flavor-of-the-week movie stars... Sixteen years before Nolan/Bale's Batman Begins (2005), this movie graced screens and thrilled and shocked audiences with its vision of a gritty, real-life Batman and Nicholson's dynamic performance as the ultimate deranged baddie.
Plot: Just as public curiosity over the mysterious Batman is reaching its peak in Gotham City, ambitious photographer Vicki Vale (Basinger) comes to town and forms an alliance with a young-buck reporter (Robert Wuhl) to try and be the ones who discover the masked vigilante's identity. That vigilante--billionaire Bruce Wayne (Keaton) by day--soon has his hands full, though, after a chemical mishap unleashes the pent-up savagery of already aggressive mob hit man Jack Napier (Nicholson). With his new, scarred visage giving him the chance to embrace the sort of theatrics he seems to have been meant for, Napier becomes The Joker, a perpetually-smiling but gruesomely-inclined killer who takes out his mob boss (the late Jack Palance), cops, and random bystanders everywhere. He soon holds Gotham in a state of collective terror, with people dropping dead of poison gas and poisoned hygienic products, and he begins demanding the Batman reveal himself, or people will continue to die. By night and under disguise, Batman fights back against the Joker's schemes, while his alter ego struggles to balance his secretive lifestyle with his feelings for the plucky, attractive Vicki.
What Works?
Rumor has it, this film was originally planned to be called Joker, rather than Batman, and, watching it, you can see why. Its Nicholson's Joker, and not Keaton's Bruce Wayne/Batman, who dominates the film's running time and has all the best lines and makes the most memorable impression. Though Nicholson was celebrated for his performance at the time, later generations have decided "Jack Nicholson was playing Jack Nicholson", not only because mouthy, twisted geezers have always been part of the three-time-Oscar winner's repertoire, but also because the late Heath Ledger made such a tremendous impact with his interpretation of the character in 2008's The Dark Knight. Knight is one of my favorite films, and, while I'll still always think of Ledger as The Joker, Nicholson's performance is really something to see. His eyes shining with demonic glee, his mouth and face twisted in that grotesque smirk, Nicholson has a ball in a role that may not be completely original given his tendency to play similiarly off-kilter characters (1975's The Shining, 2006's The Departed), but still dominates this film.
Basinger, another Oscar winner who has only been in two films in the last decade that I can recall (2002's 8 Mile and 2005's Cellular), is great as Vale; though the role is a cliche type by now, Basinger is a more appealing and talented actress than many of the ingenues who've been tapped to play superhero love interests since. And, while Keaton is not the actor Bale is (nor does he have the amount of time/material in which to carve out the character that Bale does), he makes an amiable impression, particularly in later scenes when his character's tragic past is revealed.
Basically, what works are pretty much all of Nicholson's scenes, most of Basingers, and many of Keaton's. When they're playing their characters. When they're involved in action...
What Doesn't Work?
From Edward Scissorhands (1990) to The Nightmare Before Christmas (1993) to Alice in Wonderland (2010), Tim Burton has always proven brilliant when it comes to a film's look, feel, mood, and atmosphere. Action, though, isn't his strong suit. He made a thunderous bore out of the Willy Wonka remake in 2005, and the action here, particularly the 'big finale', is slow-burn stuff. Yes, a lot of that impression probably comes because this film was made well before CGI ruled the action roost, before you could do anything onscreen that you wanted, and because Burton cares less about action than atmosphere (and he hasn't proven to be the last superhero movie director so inclined). The characters work, the relationships work, the laughs work, but maybe this movie should have been called Joker, if only so the viewers expect less Batman.
Content:
Well, this was rated PG-13 in 1989. There's no cussing, little cleavage or sexual content, and, for the amount of action/death-inducing mayhem depicted, very little blood. It is, what with its combination of being about The Joker and being directed by Burton, an often sinister film that can and will give you the creeps (something Nicholson has always excelled at), but it's largely tame stuff compared to what we see in action movies today (and most likely weak sauce compared to what Dark Knight Rises is going to offer).
Bottom Line (I promise):
It's hard to say what I'd have thought if I was old enough to watch and appreciate this in 1989. Maybe Nicholson's Joker would have blown me away. Maybe the action would have kept me riveted. Maybe I'd be in love with Kim Basinger... Impressively strong on the character-development front, this dated Batman is effective, but it won't make modern moviegoers forget Batman Begins or The Dark Knight.
Batman (1989)
Directed by Tim Burton
Written by Sam Hamm and Warren Skaaren; based on Batman characters created by Bob Kane
Rated PG-13
Length: 126 minutes
Thursday, May 17, 2012
DARK SHADOWS
Dark Shadows (2012)
Grade: B-
Directed by TIM BURTON
Starring: Johnny Depp, Michelle Pfeiffer, Eva Green, Bella Heathcote, Helena Bonham Carter, Jackie Earle Haley, Chloe Grace Moretz, Johnny Lee Miller, Gulliver McGrath, and Christopher Lee
PREMISE: A vampire freed from imprisonment after 200 years must protect his distant relatives from a vengeful witch.
RATED PG-13 for violence and blood, strong sexual content, language, scary moments, and some drug use
I seriously wonder how it works. Does Johnny Depp find a script that intrigues him, call up his buddy Tim Burton, and ask if he'd like to put his own spin on it, or does Burton get a script or a story idea and decide he can't/won't/would rather not do it without his favorite star? It seems like every movie either icon makes features the services of the other. Since Depp became a truly hot item in Hollywood (after the mega-successful Pirates of the Caribbean series), all of his big non-Pirates films have come via the gothic horror/whimsy extraordinaire--2005's Willy Wonka and the Chocolate Factory, 2007's Sweeney Todd, 2010's Alice in Wonderland, and now this, Dark Shadows, a 21st century movie adaptation of a classic '60s/'70s TV show that combined elements of horror with those of a sitcom. In the tradition of Burton/Depp's first, and arguably best, collaboration, 1990's Edward Scissorhands, Shadows features an outcast with unique abilities/traits (in this case, he's a vampire) attempting to blend in with an ordinary family in a modern society. The result, as usual with Burton/Depp films, is a product that is not without a certain cheese factor, but is also by turns funny, creepy, clever, and feverishly entertaining.
Plot: In 1972, a crew of construction workers digging the foundations of a new site in rural Maine discovers an iron casket that's been chained and padlocked shut. When they cut the chains and open the casket, it unleashes an ancient evil: Barnabas Collins (Depp) was a first generation immigrant nobleman who became a vampire after the maid he spurned (a fabulously-seductive Eva Green) cursed him for withholding his love. He was imprisoned in 1752, but Barnabas remembers that the town of Collinsport was named for his family, and that there is an enormous old house that still belongs to him.
Of course, it now belongs to his descendants. The matriarch is Elizabeth (Michelle Pfeiffer), who lives there with her daughter (Chloe Grace Moretz), her brother (Johnny Lee Miller), his son (Gulliver McGrath), and a psychiatrist (frequent Burton/Depp collaborator Helena Bonham Carter) who was hired to cure the little boy, David, of his psychological 'abnormalities', like claiming to see ghosts. There is another person on the premises as well, whom Barnabas takes an immediate interest in once he arrives and convinces the family he really is a long-lost descendant: Victoria Winters (Bella Heathcote), a just-arrived nanny for David who is also a dead-ringer for the woman he chose over the witch. Oh, and that witch is still around, having taken it upon herself to rule the town of Collinsport, render the Collins family fishing business moot, and do whatever she can to stamp out every trace of their existence.
In short order, the family seems to revolve around Barnabas, as Elizabeth adores his ability to uncover valuable jewels in hidden corners of the estate, Victoria is enchanted by his sophisticated ways, the doctor is curious about his physical abnormalities, the little boy is intrigued by his strangeness, and the witch wants him...either dead or in her arms.
What Works?
Okay, so, we've all seen Johnny Depp play abnormally spunky/quirky characters before. In fact, ever since he hit it big playing the spunkiest and quirkiest character of them all (ever heard of Captain Jack Sparrow?), that's about all he does. Thankfully, despite another accent, quirky mannerisms and the typical Depp weirdness, Barnabas doesn't come off like a Jack Sparrow Lite. It's another solid, genuinely-engaging performance from a star who defines the phrase Character Actor.
Depp doesn't even give the film's most riveting performance, though. That honor belongs, without question, to Eva Green (best known for her role as James Bond's one true love in Casino Royale). With her platinum blonde locks, blinding smile and shapely figure, she's absolutely scorching; she'd make an impression even if she didn't chew the scenery like she does, with her alpha female bravado and razor-sharp line readings. In fact, men in the theater will squirm their way through many of her scenes, with her combination of enchanting nastiness and undeniable sexuality a sight to behold.
Elsewhere, Pfeiffer gives an engaging turn as a different sort of alpha female, the soundtrack is upbeat and joyous and much of the film is engaging--Burton has never lacked as a showman. The lines are funny, the images are bright and colorful, and many of the scary scenes are legitimately engrossing. Despite being undeniably cheesy, Shadows never drags.
What Doesn't Work?
Unfortunately, like a lot of fish-out-of-water-type movies, once the weird-character-in-the-normal-place central idea is established, there's not a lot of places for the film to go. The final act's battle royale is too long, too silly, and almost reaches sensory overload levels, as Burton heaves in a number of curveballs that strain credulity. And, regrettably, most of the cast isn't given that much to do. Bonham Carter, appearing in another Burton film, is essentially treading water. Moretz (one of my personal favorites) is stuck with the bland, surly teenager stereotype. Lee Miller is given nothing to do but make suggestive comments, and Heathcote, after a promising introduction, becomes little more than an occasionally-talking prop once the Depp and Green characters take over the film. I'm not sure what else they could have done with Dark Shadows, but it's a pretty package with an okay-what's-next inside.
Content:
Parents of young children will be alarmed at at least one scene-maybe more-of non-graphic but blatantly-obvious sexuality. There's also the requisite sudden changes in tone when a mostly-humorous protagonist suddenly kills people, even if it's mostly done offscreen. As will happen in any vampire movie not called Twilight, there is a lot of blood, several scary images, and a lot of violence. Kids under 13 should probably keep their distance.
Bottom Line (I Promise):
Burton and Depp have never made a bad film, and they still haven't after Dark Shadows. Cliche as it is, the fish-out-of-water scenario makes for a fun ride, especially when done by a director and star with a flair for both the dramatic and the whimsical. It's funny, it's engaging, it's creepy, but it's nothing you haven't seen before.
Dark Shadows (2012)
Directed by Tim Burton
Written by Seth Grahame-Smith and John August; based on the TV series created by Dan Curtis
Rated PG-13
Length: 113 minutes
Grade: B-
Directed by TIM BURTON
Starring: Johnny Depp, Michelle Pfeiffer, Eva Green, Bella Heathcote, Helena Bonham Carter, Jackie Earle Haley, Chloe Grace Moretz, Johnny Lee Miller, Gulliver McGrath, and Christopher Lee
PREMISE: A vampire freed from imprisonment after 200 years must protect his distant relatives from a vengeful witch.
RATED PG-13 for violence and blood, strong sexual content, language, scary moments, and some drug use
I seriously wonder how it works. Does Johnny Depp find a script that intrigues him, call up his buddy Tim Burton, and ask if he'd like to put his own spin on it, or does Burton get a script or a story idea and decide he can't/won't/would rather not do it without his favorite star? It seems like every movie either icon makes features the services of the other. Since Depp became a truly hot item in Hollywood (after the mega-successful Pirates of the Caribbean series), all of his big non-Pirates films have come via the gothic horror/whimsy extraordinaire--2005's Willy Wonka and the Chocolate Factory, 2007's Sweeney Todd, 2010's Alice in Wonderland, and now this, Dark Shadows, a 21st century movie adaptation of a classic '60s/'70s TV show that combined elements of horror with those of a sitcom. In the tradition of Burton/Depp's first, and arguably best, collaboration, 1990's Edward Scissorhands, Shadows features an outcast with unique abilities/traits (in this case, he's a vampire) attempting to blend in with an ordinary family in a modern society. The result, as usual with Burton/Depp films, is a product that is not without a certain cheese factor, but is also by turns funny, creepy, clever, and feverishly entertaining.
Plot: In 1972, a crew of construction workers digging the foundations of a new site in rural Maine discovers an iron casket that's been chained and padlocked shut. When they cut the chains and open the casket, it unleashes an ancient evil: Barnabas Collins (Depp) was a first generation immigrant nobleman who became a vampire after the maid he spurned (a fabulously-seductive Eva Green) cursed him for withholding his love. He was imprisoned in 1752, but Barnabas remembers that the town of Collinsport was named for his family, and that there is an enormous old house that still belongs to him.
Of course, it now belongs to his descendants. The matriarch is Elizabeth (Michelle Pfeiffer), who lives there with her daughter (Chloe Grace Moretz), her brother (Johnny Lee Miller), his son (Gulliver McGrath), and a psychiatrist (frequent Burton/Depp collaborator Helena Bonham Carter) who was hired to cure the little boy, David, of his psychological 'abnormalities', like claiming to see ghosts. There is another person on the premises as well, whom Barnabas takes an immediate interest in once he arrives and convinces the family he really is a long-lost descendant: Victoria Winters (Bella Heathcote), a just-arrived nanny for David who is also a dead-ringer for the woman he chose over the witch. Oh, and that witch is still around, having taken it upon herself to rule the town of Collinsport, render the Collins family fishing business moot, and do whatever she can to stamp out every trace of their existence.
In short order, the family seems to revolve around Barnabas, as Elizabeth adores his ability to uncover valuable jewels in hidden corners of the estate, Victoria is enchanted by his sophisticated ways, the doctor is curious about his physical abnormalities, the little boy is intrigued by his strangeness, and the witch wants him...either dead or in her arms.
What Works?
Okay, so, we've all seen Johnny Depp play abnormally spunky/quirky characters before. In fact, ever since he hit it big playing the spunkiest and quirkiest character of them all (ever heard of Captain Jack Sparrow?), that's about all he does. Thankfully, despite another accent, quirky mannerisms and the typical Depp weirdness, Barnabas doesn't come off like a Jack Sparrow Lite. It's another solid, genuinely-engaging performance from a star who defines the phrase Character Actor.
Depp doesn't even give the film's most riveting performance, though. That honor belongs, without question, to Eva Green (best known for her role as James Bond's one true love in Casino Royale). With her platinum blonde locks, blinding smile and shapely figure, she's absolutely scorching; she'd make an impression even if she didn't chew the scenery like she does, with her alpha female bravado and razor-sharp line readings. In fact, men in the theater will squirm their way through many of her scenes, with her combination of enchanting nastiness and undeniable sexuality a sight to behold.
Elsewhere, Pfeiffer gives an engaging turn as a different sort of alpha female, the soundtrack is upbeat and joyous and much of the film is engaging--Burton has never lacked as a showman. The lines are funny, the images are bright and colorful, and many of the scary scenes are legitimately engrossing. Despite being undeniably cheesy, Shadows never drags.
What Doesn't Work?
Unfortunately, like a lot of fish-out-of-water-type movies, once the weird-character-in-the-normal-place central idea is established, there's not a lot of places for the film to go. The final act's battle royale is too long, too silly, and almost reaches sensory overload levels, as Burton heaves in a number of curveballs that strain credulity. And, regrettably, most of the cast isn't given that much to do. Bonham Carter, appearing in another Burton film, is essentially treading water. Moretz (one of my personal favorites) is stuck with the bland, surly teenager stereotype. Lee Miller is given nothing to do but make suggestive comments, and Heathcote, after a promising introduction, becomes little more than an occasionally-talking prop once the Depp and Green characters take over the film. I'm not sure what else they could have done with Dark Shadows, but it's a pretty package with an okay-what's-next inside.
Content:
Parents of young children will be alarmed at at least one scene-maybe more-of non-graphic but blatantly-obvious sexuality. There's also the requisite sudden changes in tone when a mostly-humorous protagonist suddenly kills people, even if it's mostly done offscreen. As will happen in any vampire movie not called Twilight, there is a lot of blood, several scary images, and a lot of violence. Kids under 13 should probably keep their distance.
Bottom Line (I Promise):
Burton and Depp have never made a bad film, and they still haven't after Dark Shadows. Cliche as it is, the fish-out-of-water scenario makes for a fun ride, especially when done by a director and star with a flair for both the dramatic and the whimsical. It's funny, it's engaging, it's creepy, but it's nothing you haven't seen before.
Dark Shadows (2012)
Directed by Tim Burton
Written by Seth Grahame-Smith and John August; based on the TV series created by Dan Curtis
Rated PG-13
Length: 113 minutes
Saturday, May 5, 2012
THE AVENGERS
The Avengers (2012)
Grade: B
Starring: Robert Downey Jr., Chris Evans, Scarlett Johansson, Mark Ruffalo, Samuel L. Jackson, Tom Hiddleston, Chris Hemsworth, Jeremy Renner, Clark Gregg, Gwyneth Paltrow, Cobie Smulders, and Stellan Skarsgard
PREMISE: When an interstellar villain threatens Earth’s population with enslavement, underground government agency Shield assembles a group of eclectic individuals with special talents to stop him.
RATED PG-13 for intense sequences of action, violence and destruction, some scary moments, brief disturbing images, and some language
Since 2000's X-Men, there has been a virtual flood of comic book-based superhero movies, and movie audiences have been dive-bombed with the story of one supernatural being's fight against injustice after another. These have ranged from the cut-rate (2003's Daredevil) and the really cut-rate (2005's Elektra, 2011's The Green Hornet) to the sublime (2004's Spiderman 2, 2008's Iron Man) and the masterful (2008's The Dark Knight). And therein lies my biggest problem with The Avengers, the hotly-anticipated movie in which Iron Man (Robert Downey Jr.), Captain America (Chris Evans), Thor (Chris Hemsworth), The Hulk (Mark Ruffalo as the normal human alter-ego), Hawkeye (Jeremy Renner) and Black Widow (Scarlett Johansson) ally against the forces of evil in the same film--I feel like I've seen it before. It's becoming more and more obvious as more and more of these comic book movies (especially ones based on Marvel comics) come out: if you've seen one, you've seen 'em all, with few exceptions. The obligatory action definitely has its breathtaking moments, the constant puns, one-liners, and inside jokes do provide some real laughs, and there are a few genuine shocks and/or intimate moments, but it's all a re-tread, just the newest send-up of a popular and increasingly-common formula. And for someone like me, who's looking for well-crafted, original movies rather than simply serviceable comic book adaptations, that's a problem.
Plot: After the events of Captain America, a cube of supernatural power called the Tesseract passed into the hands of Shield, a government agency run by Nick Fury (Samuel L. Jackson) and a board of directors. Shield scientists have found that the Tesseract has considerable power, which includes the ability to transport people to and from different planets. It isn't long before the axe-grinding would-be prince of the alien world Asgard, Loki (Tom Hiddleston), soon takes full advantage of that ability, wrecking Shield's fortress and bewitching several of their personnel and turning them into his minions, including the tough-as-nails Clint Barton (Hawkeye's real name) and the brilliant Dr. Selvig (Stellan Skarsgaard). Not only does he make a mean entrance, but he soon makes clear his ultimate goal: to enslave the world. It quickly becomes apparent that Loki's power is beyond the ability of even the U.S. Government to contain, so Shield quickly calls its 'special agents' to combat him. That's wicked-smart playboy Tony Stark (Roberty Downey, Jr.), dignified icon Steve Rogers (Chris Evans), enigmatic outcast Bruce Banner (Mark Ruffalo), and uber-assassin Natasha Romanoff (Scarlett Johansson). The final member, the heir to the throne of Loki's adopted home world of Asgard-a guy who's pretty handy with a hammer-comes on the scene shortly.
At first, they're at each other throats, questioning everyone else's motivations and abilities when they're not questioning Shield's. But all that changes when Loki attacks their high-tech aircraft and slays one of their friends, then sets an alien army loose on Manhattan via the Tesseract's portal. The police and even the National Guard are immediately outgunned and bewildered, so the primary team of heroes assembles at the city's heart to take on the baddies...and try to save the world.
What Works?
Okay, so, as much of a killjoy critic as I am (and after resisting the charms of a movie many are already hailing as Best Superhero Movie Ever, I'm feeling more like the Grinch than the Hulk), I cannot and will not deny that The Avengers delivers the goods when it comes to popcorn entertainment. As usual with action-jackson blockbusters like this (especially ones that star Robert Downey Jr.) there are plenty of witty asides, snarky comments, inside jokes, and laugh-out-loud ironies to keep the talky set-up scenes from becoming too talky. And all that is just child's play compared to the explosion-rocking, glass-shattering, pulse-pounding finale, a nearly hour-long sequence in which our titular heroes fight a pitched battle on the street, on top of surrounding buildings, and in the air. And yes, this being the conversion of several different superhero franchises, these scenes get an extra jolt of pleasure from the sight of our heroes working together. I mean, who doesn't want to see the Hulk punching, crushing and thrashing baddies in the same frame in which Thor knocks them into the stratosphere with his hammer. How about Captain America punching aliens-and leveling them with his shield-while Black Widow kicks, shoots, pummels and stabs them--anyone gonna turn their nose up at that? Then there's Iron Man shooting dozens of missiles at airborne minions while Hawkeye likewise fires arrows that explode on impact. Fun stuff, right?
And, in fact, there is enough (some might say too much) set-up so that the actors under the capes and cowls and suits don't disappear when the action starts (well, except for Mark Ruffalo, who plays the brainy Dr. Bruce Banner but not his big, green alter ego). Downey Jr. is always a hoot, Evans makes it super easy to root for Captain America with his soulful, old-fashioned nobility, and Johansson reminds us that she isn't just eye candy. Ruffalo, the third actor in nine years to play Banner, makes an impression, and Samuel L. Jackson, finally getting to actually play Nick Fury and not just plug The Avengers in other films, brings that Samuel L. Jackson umph. None of these actors are going to get nominated for Academy Awards, of course, but they're good company in this nearly two-and-a-half-hour epic.
What Doesn't Work?
On the other hand, Hemsworth suffers from the necessity of Thor's speaking in that Old World, quasi-Shakespearean prattle (and he also seems almost an afterthought in this ensemble, with Iron Man and Captain America possessing top billing), and I just can't take Hiddleston seriously as a chest-pounding super-villain, even if the actor does have a way with malicious dialogue.
Call me cynical, but The Avengers seems to already have been embraced and rejoiced over as a novelty--I believe I already mentioned how familiar we are with superhero movies in this day and age. Okay, so, like I said, you don't see Thor and Captain America in the same fight scene everyday, but Avengers has been in the works for so long, and obviously so, that it hardly seems like an original concept. After all, the plugs began with post-credit scenes in 2008's Iron Man and Incredible Hulk, continued with 2010's Iron Man 2 (which was practically The Avengers Lite, given Jackson and Johansson's constant presence), and culminated in last year's Captain America and Thor.
It's not necessarily The Avengers' fault, in a weird way: we're just so used to seeing supernatural beings fight either people or other supernatural beings while cities blow up around them and make funny comments whenever the action stops.
Content: Despite the amount of thrashing and smashing and shooting and otherwise mangling of people and aliens and half-person/half-aliens, there's very little blood or gory details. Despite all the havoc wreaked on downtown Manhattan, I'm pretty certain you're supposed to get the impression (I did, anyway) that not a single innocent bystander was hurt beyond mild cuts and scrapes. Thus, the violence, while heavy, is strictly of the family-friendly blockbuster action variety. Profanity is minimal. And despite the presence of the gorgeous Johansson--ever clad in tight leather get ups--there's nothing edgy or sensual or even mildly-suggestive to speak of. This is about as straight-laced as action flicks get. (To give you an idea, the three people sitting next to me were a young mother and her two young 6 or 7-year-olds, and they had no problem with it)
Bottom Line (I REALLY PROMISE, I know this has been long):
I'm not denying it's a big-screen-worthy summer entertainment. But despite the assembling of all these familiar faces in one film, Avengers feels less like an Event and more like just another superhero flick. For a lot of those, I've gotten amped up against my better judgment, hoping for something really special and walked out of the movie feeling underwhelmed and even-keeled. Despite some cool action and likeable characters, I just did it again.
The Avengers (2012)
Directed by Joss Whedon
Written by Joss Whedon and Zak Penn; based on the comics by Stan Lee and Jack Kirby
Length: 143 minutes
Rated PG-13
Friday, May 4, 2012
HAYWIRE
Haywire (2012)
Grade: C
Starring: Gina Carano, Ewan McGregor, Channing Tatum, Michael Angarano, Michael Fassbender, Bill Paxton, Michael Douglas, and Antonio Banderas
PREMISE: A special forces operative seeks justice after she is betrayed in the field and her family is endangered.
Rated R for violence and language
Back in January, I was faced with a choice. With my love for movies rejuvenated by the wonderful surprise of Mission Impossible: Ghost Protocol, I was eager to see something else, so I set my eyes on a pair of ensemble spy thrillers that were gracing screens at the same time. There was 2011 holdover Tinker Tailor Soldier Spy, and one of 2012's first films: this one, Haywire. Both were intriguing, what with twist-and-turn spy/assassin/espionage plotlines, and some of the best and most interesting actors of the modern era. I chose Tinker Tailor because of its classier actors and seeming greater sophistication. Well, that movie, while well-made, turned out to be a merciless two hour bore, with no action, no humor, and nothing that raised the pulse at all. Not to mention it wasted great actors like Colin Firth, Mark Strong, Ciaran Hinds, Toby Jones, Tom Hardy and Gary Oldman (really, how often can you get an ensemble like that in one movie). So, that mistake made, I set my eyes on seeing Haywire, which seemed a little more garden variety but seemed to promise more verve and balls-to-the-wall action. Well, I finally watched it four months later, and I was disappointed.
Plot: When a pale-skinned, dark-haired woman named Mallory (Gina Carano) is joined at her diner booth by a hulking jock (Channing Tatum), it seems fairly routine. But as soon as he gets a chance, he flings his coffee in her face, slams her head against the booth table, and pistol-whips her out onto the floor. His onslaught is stopped by the brave efforts of a bystander (Michael Angarano), whom the woman promptly commandeers for a ride. While she speeds down the road and methodically instructs him on how to patch up her wounds, she explains herself, and the situation. Not long ago, she was hired by a group of shadowy feds (Ewan McGregor, Michael Douglas, Antonio Banderas) to join a team in Barcelona that was attempting to rescue a journalist being held hostage by terrorists. Tatum's hired gun was also on that team. The mission went well enough, with Mallory disposing of any real threats with her ruthless fighting skills, but a follow-up mission did not. Halfway through, Mallory finds the journalist dead, then she's unexpectedly set upon by her partner (Michael Fassbender), a fellow agent with whom she'd been feigning a happy marriage. She uses his phone to track his most recent calls, and they lead directly back to at least one of the feds (McGregor's Kenneth).
So, being hunted by at least two parties (of course, these feds have denied their affiliation with her and have all police units in her area looking for her), Mallory seeks ways to contact-and negotiate with-the ringleader of the trio (Douglas), while also trying to outmanuever her old ally (Tatum) and get protectively-close to her doting, author father (Bill Paxton). But, naturally, anyone now affiliated with her is a target, and it's not exactly easy being her, either.
What Works?
In a movie like this, only two things really matter: the magneticism of the lead, and the umph of the fight scenes. For the lead, take Matt Damon's Jason Bourne and trade Damon for a surly, tight-lipped, lethal brunette, and you've got Mallory (minus the amnesia, that is). Carano's performance doesn't have a particularly-great range, but it isn't supposed to. She has a businesslike approach-she's never going for overly-emotional or breathtakingly sexy-but she has a genuinely imposing presence; she looks like she can take care of business (even before she does). Which leads me to what Haywire does particularly well: Director Steven Soderbergh ought to get a metal, as he's got to be the first large-scale action director in nearly a decade who doesn't so much as hint at shaky-cam for presenting his fight scenes. Not a twitch. Not a wiggle. Hardly even a cut (most of the key fights, if I remember correctly, are filmed with lengthy, wide-angle tracking shots). And it's ingenious. I don't know if it's because Carano is a real-life MMA fighter and can actually fight like her character (thus, quick cuts aren't necessary to try and disguise the use of a stunt double), but the fights are all well-choreographed, easy to follow, and impressively gritty. This isn't Bourne Supremacy, with the camera rattling and swirling and diving and fast-cutting: Mallory's fights with armed thugs, outfitted SWAT officers and, especially, with Fassbender's Paul, are borderline spectacular in all their bone-crunching finesse. Haywire isn't as pulse-raising as some might expect from a chase movie, but all the fights are memorable, and the way they're filmed is the reason why.
What Doesn't Work?
Unfortunately, the plot is both by-the-numbers and hard to follow. The names of the agents (Kenneth, Coblenz, Stephen, Rodrigo) blend together, the facts of Mallory's missions are quickly-uttered and unclear, and the framing device involving the Angarano character (his name is Scott, and he's a nice guy) is both awkward and cumbersome, and then quickly and utterly disposed of. And, once again, here's a movie with a dream cast that almost criminally underuses said ensemble. Basically, you know your actors underperformed when the most memorable actor in a movie featuring two freshly-minted superstars (Tatum and Fassbender), three proven veterans (McGregor, Paxton, and Banderas) and one of the most recognizable faces of the past three decades (Douglas), is an MMA-fighter-turned-actress. Other than Douglas and Banderas (the unnecessary third and fourth wheels latched onto the main Mallory/Kenneth conflict), all of them have their moments, but their moments are usually over too quickly (Tatum's 'moment' ends along with his character's life late in the running). Flesh the film out a little, and you could have done a lot with this group.
Content: Most of the fighting is bloodless while it's happening-given Mallory's penchant for punching, kicking, and jabbing her opponents rather than goring them with knives or shooting them up-but there are some bloody bodies shown, including dead ones. And there is a decent amount of profanity but since most of the dialogue is mumbled, they're not all immediately intelligible. It basically follows what I've said: this is such a by-the-numbers action flick that, despite the rock-em/sock-em fights, it's pretty even-keeled, verging on boring.
Bottom Line (I Promise): It feels blah and overlong (a really lousy accomplishment for a 93-minute chase-oriented action movie), and, despite some really cool fight scenes, is largely unengaging and unmemorable. Haywire was made on a surprisingly-light $20 million budget, and yet it didn't even earn that back at the box office. There's a reason.
Haywire (2012)
Directed by Steven Soderbergh
Written by Lem Dobbs
Rated R
Length: 93 minutes
Grade: C
Starring: Gina Carano, Ewan McGregor, Channing Tatum, Michael Angarano, Michael Fassbender, Bill Paxton, Michael Douglas, and Antonio Banderas
PREMISE: A special forces operative seeks justice after she is betrayed in the field and her family is endangered.
Rated R for violence and language
Back in January, I was faced with a choice. With my love for movies rejuvenated by the wonderful surprise of Mission Impossible: Ghost Protocol, I was eager to see something else, so I set my eyes on a pair of ensemble spy thrillers that were gracing screens at the same time. There was 2011 holdover Tinker Tailor Soldier Spy, and one of 2012's first films: this one, Haywire. Both were intriguing, what with twist-and-turn spy/assassin/espionage plotlines, and some of the best and most interesting actors of the modern era. I chose Tinker Tailor because of its classier actors and seeming greater sophistication. Well, that movie, while well-made, turned out to be a merciless two hour bore, with no action, no humor, and nothing that raised the pulse at all. Not to mention it wasted great actors like Colin Firth, Mark Strong, Ciaran Hinds, Toby Jones, Tom Hardy and Gary Oldman (really, how often can you get an ensemble like that in one movie). So, that mistake made, I set my eyes on seeing Haywire, which seemed a little more garden variety but seemed to promise more verve and balls-to-the-wall action. Well, I finally watched it four months later, and I was disappointed.
Plot: When a pale-skinned, dark-haired woman named Mallory (Gina Carano) is joined at her diner booth by a hulking jock (Channing Tatum), it seems fairly routine. But as soon as he gets a chance, he flings his coffee in her face, slams her head against the booth table, and pistol-whips her out onto the floor. His onslaught is stopped by the brave efforts of a bystander (Michael Angarano), whom the woman promptly commandeers for a ride. While she speeds down the road and methodically instructs him on how to patch up her wounds, she explains herself, and the situation. Not long ago, she was hired by a group of shadowy feds (Ewan McGregor, Michael Douglas, Antonio Banderas) to join a team in Barcelona that was attempting to rescue a journalist being held hostage by terrorists. Tatum's hired gun was also on that team. The mission went well enough, with Mallory disposing of any real threats with her ruthless fighting skills, but a follow-up mission did not. Halfway through, Mallory finds the journalist dead, then she's unexpectedly set upon by her partner (Michael Fassbender), a fellow agent with whom she'd been feigning a happy marriage. She uses his phone to track his most recent calls, and they lead directly back to at least one of the feds (McGregor's Kenneth).
So, being hunted by at least two parties (of course, these feds have denied their affiliation with her and have all police units in her area looking for her), Mallory seeks ways to contact-and negotiate with-the ringleader of the trio (Douglas), while also trying to outmanuever her old ally (Tatum) and get protectively-close to her doting, author father (Bill Paxton). But, naturally, anyone now affiliated with her is a target, and it's not exactly easy being her, either.
What Works?
In a movie like this, only two things really matter: the magneticism of the lead, and the umph of the fight scenes. For the lead, take Matt Damon's Jason Bourne and trade Damon for a surly, tight-lipped, lethal brunette, and you've got Mallory (minus the amnesia, that is). Carano's performance doesn't have a particularly-great range, but it isn't supposed to. She has a businesslike approach-she's never going for overly-emotional or breathtakingly sexy-but she has a genuinely imposing presence; she looks like she can take care of business (even before she does). Which leads me to what Haywire does particularly well: Director Steven Soderbergh ought to get a metal, as he's got to be the first large-scale action director in nearly a decade who doesn't so much as hint at shaky-cam for presenting his fight scenes. Not a twitch. Not a wiggle. Hardly even a cut (most of the key fights, if I remember correctly, are filmed with lengthy, wide-angle tracking shots). And it's ingenious. I don't know if it's because Carano is a real-life MMA fighter and can actually fight like her character (thus, quick cuts aren't necessary to try and disguise the use of a stunt double), but the fights are all well-choreographed, easy to follow, and impressively gritty. This isn't Bourne Supremacy, with the camera rattling and swirling and diving and fast-cutting: Mallory's fights with armed thugs, outfitted SWAT officers and, especially, with Fassbender's Paul, are borderline spectacular in all their bone-crunching finesse. Haywire isn't as pulse-raising as some might expect from a chase movie, but all the fights are memorable, and the way they're filmed is the reason why.
What Doesn't Work?
Unfortunately, the plot is both by-the-numbers and hard to follow. The names of the agents (Kenneth, Coblenz, Stephen, Rodrigo) blend together, the facts of Mallory's missions are quickly-uttered and unclear, and the framing device involving the Angarano character (his name is Scott, and he's a nice guy) is both awkward and cumbersome, and then quickly and utterly disposed of. And, once again, here's a movie with a dream cast that almost criminally underuses said ensemble. Basically, you know your actors underperformed when the most memorable actor in a movie featuring two freshly-minted superstars (Tatum and Fassbender), three proven veterans (McGregor, Paxton, and Banderas) and one of the most recognizable faces of the past three decades (Douglas), is an MMA-fighter-turned-actress. Other than Douglas and Banderas (the unnecessary third and fourth wheels latched onto the main Mallory/Kenneth conflict), all of them have their moments, but their moments are usually over too quickly (Tatum's 'moment' ends along with his character's life late in the running). Flesh the film out a little, and you could have done a lot with this group.
Content: Most of the fighting is bloodless while it's happening-given Mallory's penchant for punching, kicking, and jabbing her opponents rather than goring them with knives or shooting them up-but there are some bloody bodies shown, including dead ones. And there is a decent amount of profanity but since most of the dialogue is mumbled, they're not all immediately intelligible. It basically follows what I've said: this is such a by-the-numbers action flick that, despite the rock-em/sock-em fights, it's pretty even-keeled, verging on boring.
Bottom Line (I Promise): It feels blah and overlong (a really lousy accomplishment for a 93-minute chase-oriented action movie), and, despite some really cool fight scenes, is largely unengaging and unmemorable. Haywire was made on a surprisingly-light $20 million budget, and yet it didn't even earn that back at the box office. There's a reason.
Haywire (2012)
Directed by Steven Soderbergh
Written by Lem Dobbs
Rated R
Length: 93 minutes
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