New Reviews: The Killer Inisde Me & 8: The Mormon Proposition

The Ladykiller

Oftentimes, when a film arrives in the shroud of controversy, it can influence the way you enjoy or, conversely, not enjoy a film. When all you want to see are the reasons why people retreat from it, it can be difficult to objectively judge the film. Remember what happened to Lars von Trier's Antichrist? In the case of this film, all anyone could talk about was the graphic and horrific depiction of violence against women. To me, violence against anyone should be abhorred, meaning that the chilled feelings I have against this film have less to do with the violence and more with the execution of the whole piece.

Based on the novel by Jim Thompson, who also provided the source material for The Getaway and The Grifters, the story centers on Lou Ford (Casey Affleck), a deputy sheriff in a small Texas town in the 1950s, the type of place where even the hobos wear jackets and fedora hats. When Ford is sent to run a prostitute (Jessica Alba) out of town, he instead indulges in a violent, sadomasochistic relationship. Ford sociopathic behavior gets amplified when he gets entrenched in a blackmail plot involving the town's most powerful businessman (Ned Beatty) all while trying to have somewhat of a normal life with his blissfully unaware fianceé (Kate Hudson).

I've often wondered if I'll ever see a movie where a single outstanding performance can make up for the rest of a movie's flaws. This is the closest I've seen, as Casey Affleck is astounding here, once again. His soft-spoken mannerisms and baby face charm creates a very chilling performance, and he is able to hide so many layers of subtle complexity right there in his face. It's very comforting to see that Affleck continues to deliver on the promise he showed in The Assassination of Jesse James..., and also that he's surly surpassed his older brother in the acting category.

Next to him, I'd actually say Hudson has the second most interesting role. Her character does fulfill a one-note status in most scenes, but her dynamic report with Affleck offers some of the film's few genuine surprises and emotions. Not to mention that watching her playful energy as she spends most of the film scantily clad is always a delight. The rest of the cast is numerous, but they don't pour as much in their roles to make them necessarily memorable, and almost all of them fade away into the barren background.

In fact, it seems that almost all the performances gets crushed by the film's plot, weighed down immensely by a labored and mechanical script that attempts to bluntly explain away every detail to a bore. Eventually, the plot becomes very muddled, quickly following a rusher of an opening. Michael Winterbottom, whose last film was the overlooked A Might Heart, works well with crafting an eerie and suspenseful mood for a good deal of the film, but most of the time he lets the tone shift pretty inconsistently, fill the air with a cluttered soundtrack, and a ridiculously confused and histrionic ending that begins at the moment Bill Pullman is introduced.

I could almost recommend this film for Affleck, and to a lesser extent, Hudson, alone. However, an interesting character study is drowned heavily by the plot, which leads all the other actors to dissolve in their unimportance and the story to fall apart in its convolution. It's a shame that Affleck and Hudson couldn't have been featured in a movie that lived up to their own talents, but sometimes that's the case. The violence is intense, but not as intense as the marvel you get when watching a great actor out-perform his own material.

B-

Wedding Crashers

In today's day and age, a political documentary is going to take a lot more meaning that just simply telling a story. We are living in very turbulent times, and talking about anything with a political tint is going to stir the pot. However, in the case of this film, there are those who would argue that this isn't a political issue, that this is more about human rights and civil liberties. In that case, the temptation to be really emotional and passionate seems like a real possibility. That's why it's a little sad to see a documentary fall apart in its messages just when it seemed like it could do some real good.

Unless you were hiding under a rock during the 2008 election (and I'm sure some people were), you're probably aware of that notorious piece of legislation in California called Proposition 8, the ballot measure to put into affect the state's constitutional amendment to legally define marriage as the union between a man and a woman, months after California's judicial system ruled in favor of gay marriage. The documentary sheds light on how the Mormon Church was the leading organizers of the proposition, funneling a huge amount of money into campaigning for a movement that goes with their political chord, but against others who protested dearly.

The first hour or so of the film, I thought, did a credible job of simply explaining the situation without necessarily being a hatchet job to the Mormon Church. Showing how the church executed a highly calculated plan of how they did it, as well as the matter-of-fact approach to why this issue is so important to them always feels like it's a bad action, but not one that is unjustified in the logic that the church uses. There's also a nice balance between the political and personal side, as the exploits with a young, gay couple, newly minted in marriage, is a nice play as well.

However, the film changes in tone about halfway through, and the attacks against the church do start to feel more hostile and without the balanced arguments. By the time the film gets into issues such as the high homeless and suicide rate for gay Mormon teens, they start to feel tangental to the thesis of the film and more like filler for a documentary barely filling out eighty minutes. Since the film does indulge on subplots, it was disheartening to see the film not explore the issue of the black vote during that election, and discussing how that was used as a smokescreen would have given the film a bit more bite and focus than it ultimately had in its final acts. Plus, all the way through, the narration by Dustin Lance Black, the Oscar-winning screenwriter of Milk and a gay Mormon himself, is quite bland and doesn't carry enough importance.

This is the type of film that's not going to change anybody's opinions. You know from the get-go whether or not you agree with the message on hand, and if you don't you're going to steer clear. As someone who does agree, I was onboard with the straight (forgive the pun) approach to focusing on the reasons why this happened and being as balanced as possible. I wasn't onboard with more hostile tone in the second half and meandering issues that got off point and left other, more meaningful, meandering issues out to dry. If you want a real comprehensive study on Prop 8, you'll come up short here. But if you're interested, it will give you at least some perspective.

B-

New Review: Knight and Day

Action Tide

For what it's worth, I like Tom Cruise, and it's not just because he and I share a birthday. I like him because he's a damned fine actor who's generally been able to balance the serious dramatic work with the action junkie that has made him famous. Today, it seems like the only good Cruise is an understated Cruise, and his best performances in the past few years have usually been roles where he puts aside that manic energy for more quiet tones. It seems like he's trying to balance both in has latest film, and the results are something that I do not share any strong opinion.

Cruise plays Roy Miller, a burnt government operative caught in a plot involving double-crossing agents and a newly created power supply. In his efforts to to elude the ones trying to bring him in, he catches a plane, which also happens to carry June, played by Cameron Diaz. The two of them begin they're unlikely match up and set against bullets, explosions and blood-splattered walls, these two kids might end up falling for each other.

Director James Mangold isn't someone which a huge pedigree for action, even though his last film, the remake of 3:10 to Yuma was a respectable piece of work. Here, there's a sense that he sets up every action scene quite well, and plays with the frame in an interesting way. However, the actual action sequences are very banal and bland. There's no wonder in this film, and everything just feels by the numbers and boring. Not to mention that Patrick O'Neill's first time script is lacking in both with and imagination. As the plot crawls along, there's very little to attract the much needed attention a film like this needs.

As I said, Cruise is attempting to balance the hyperactive persona with a more serious tone, but he seems to strike in the opposite end. To be fair, he has some likable moments in a few charming places, but most of the time his manic energy is not wanted, and it strikes the wrong chord. Diaz does have a lot of charm, and she scores some laughs when trying to work with some rather dead material. The rest of the cast sinks to the bottom: Peter Sarsgaard is a bland, generic villain, Paul Dano as genius in protective custody isn't eccentric enough to be memorable, and Viloa Davis continues to be wasted in another nothing role.

I wish I could say that I absolutely loved or hated this film. I wish I could have anything of passion to say about it, but I don't. This is a movie that was in one ear and out the other, and I could feel the film's rays not affecting me in the least bit. It feels incredibly mediocre, and there is nothing astonishing to marvel or mock. The action is bland, the plot is uninteresting, and the acting doesn't mine much territory. Tom Cruise has certainly done worst in the past, but if he was looking to jumpstart his action career again, I'd say it's time to team up with Michael Mann or Paul Thomas Anderson one more time.

C+

Oldies Spin: Phantom of the Paradise

Phantom of the Paradise (1974)

There are some specific stories out there that, for me personally, have continually interested me, and has gotten me to watch many movies of varying quality. For instance, I've had such a love affair with The Wizard of Oz that I've seen everything from the 1939 classic to low rent cartoon sequels. Another one that has suckered me in is The Phantom of the Opera, a story that has captured me even to the point of me writing my own loose adaptation. This is one of those films that takes that story as its inspiration, and it a mixed bag indeed.

As I've mentioned, this film is inspired by Gaston Leroux's classic story, though it's certainly not a strict adaptation. Still, the basic parts are there, with Paul Williams as the ringleader of The Paradise, a grand rock-and-roll music hall. He hears the music from Winslow Leech (William Finley) and steals it. Winslow becomes the disfigured phantom who haunts the Paradise as well as taking the young ingenue named Phoenix.

It might be a bit surprising to hear that this is an early film from well-known filmmaker Brian De Palma. De Palma has never really been a filmmaker that I liked in a great sense. I feel like he makes memorable films, but with a few exceptions, many of them do not really work as a film. This film embodies a similar spirit, as the production unfortunately suffers from the bounds of low-budget filmmaking and the story is a hodgepodge of not only the original Phantom, but also Faust, Psycho, Frankenstein, Dorian Grey and many others. De Palma does have some inventiveness with the camera, but it usually amounts to more style than substance.

The real reason why I harbor any sort of enthusiasm for the film is because of the music. In addition to starring, Williams also composed the score and songs for the film, and I love the soundtrack. There's a good mix of upbeat '70s rock numbers with somber sonnets, and all of them are really great. It's also good that most of the songs aren't hitting the story exactly on the nose, and because there's a varying degree of styles, it makes for good listening that doesn't become boring. Williams eventually took an Oscar for scoring a film, but he had to settle with only a nomination for this one.

Williams, who went on to voice the Penguin on the "Batman" animated series, is an actor that isn't mesmerizing, but he is one that is quite memorable in what he needs to accomplish. He captures enough of the charm and villainy to make his character feel credible within the universe. Finley is convincing in the beginning of his role, but as soon as he is hid behind the mask, his ability to relate to the audience goes down the tubes, and the humanity is lost. Since the shift of the original story moves away from the relationship between the Phantom and the young woman, Phoenix, played by Jessica Harper, feels like a very underdeveloped character, leaving us to feel cheated by a pedestrian love story that forces a hollow performance.

This film was a big flop in its initial run, and then became a cult film. Like most cult films, there's a reason why it wasn't successful in the first place, and it's generally a valid reason. The movie isn't really that successful because of its lapses in successful storytelling and shallow performances. But people can find some love in it because of its campy persona and a really great soundtrack. I've certainly seen worse adaptations of this story (I'm looking at you, Andrew Lloyd Webber), but there's plenty that are better. Still, I sing along to it every time, which has to count for something.

B-

Best of the Year...So Far

June is almost at a close, and now I feel is an appropriate time to look at what the year has offered so far. For me, this has generally been the year of disappointment. Many of the films I was looking forward to have failed to really impress me. Still, I'm happy to report that it hasn't been all bad. In fact, there's been a few surprises here and there. Here's my two cents.

Best So Far: Exit Through the Gift Shop

Whether it's all fact, all fabricated, or somewhere inbetween, this is a fascinating documentary, extremely well-crafted and probes some interesting territory. There's a great insight on the role of street art, what it means through its expression, and how the pop culture world can warp and erode an artist's sensibilities as well as the public's taste. There's a wonderful grey area the film inhabits, and the ideas and questions it puts forth are always interesting to examine. So far, there has yet to be another film this year that has engaged me quite on the level as this one.

Best of the Rest:

A Prophet

-I'm cheating a bit with this film because its technically a 2009 release. However, it's general wide release didn't come until March of this year, so I'm counting it anyway. This is a great film, excellent from beginning to end. The story is complicated and very compelling, the performances are extraordinary, and director Jacques Audiard has crafted a grandiose tale that will go down as one of the best cinematic presentations.

Toy Story 3

-It's not just because it's the only film this year that has moved me to tears. It's because this is a film that balances the well done humor and emotional impact. This series is fifteen years old, and it feels fresh as the day it first arrived. The story is smart, witty and mature, leaving nearly all who watch it continuing to marvel at the fantastic job that Pixar continues to provide.

Please Give

-It's not a perfect film, but I did rather enjoy this humorous look at a close knit group. I particularly loved the performances in the film, the highlight being Catherine Keener. She works magic in the most subtle ways, the supporting players around her add to the humorous insight the film provides.

No One Knows About Persian Cats

-The real reason why I love this film so much is that it embodies the reason why people are supposed to make movies. As long as you have a story to tell, then you should express it, no matter what the circumstances. Being shot in Iran, the laws there prevent much of what is discussed in the film to be seen, but these filmmakers pushed on, and that's inspiring. It's also great to see a film that isn't a hatchet job on the country; there's a level of respect and admiration that goes in hand with the critical statements, and it all resulted in a film that I thoroughly enjoyed.

Other Highlights:

How to Train Your Dragon, Kick-Ass, The Ghost Writer, Waking Sleeping Beauty, Green Zone, and The Good, The Bad, The Weird.

Worst So Far: The A-Team

Jonah Hex and The Wolfman were strong candidates as well, but this "adaptation" was truly awful. The plot is ridiculous and nonsensical. The humor is flat and without character. The acting ranges from the mediocre to the downright horrid. The action sequences are shoddily put together and horribly executed. Thank goodness Sharlto Copley is in it, otherwise there wouldn't be a single thing worth mentioning as somewhat of a positive. But he's nowhere near enough to save this downright terrible film.

There's some interesting new summer releases coming up, headlined by Inception and also including films like Knight and Day, The Last Airbender, Predators and Scott Pilgrim vs. The World. Then we get onto the prestige pictures later in the year. Hopefully the heat will actually turn onto this rather disappointing movie season.

New Review: Jonah Hex

Shoot 'Em Out

I've spoken to great lengths to talk about my love for the revisionist Western. I do like it when filmmakers take a rather dusty genre and infuse it with a bit of a modern sense, whether it be characters that don't define the traditional lines of right and wrong or using a showcase of technology that isn't particularly accurate to the time period. I enjoy it when the Western can get a facelift every now and again. However, there's a right way to do it, and a wrong way to do it. Jonah Hex represents the wrong way.

Based on one of the minor DC Comic characters, Jonah Hex, played by a stoic Josh Brolin, is a soldier in the Confederate Army during the Civil War. But his conscience leads him to betray his side and help the North. This leads his commanding officer Quentin Turnbull (John Malkovich) to kill his family, scar him and leave him for head. After a run-in with Indian medicine men, he is brought back to life with the ability to bring the dead back to life as well with a mere touch. He's recruited to help stop Turnbull from enacting a terrorist plot against the US as revenge for the South losing the war.

I admit that the beginning of the film kinda had me. When Hex unleashes his fury on a town attempting to catch his bounty, there's a fun, playful energy that go me excited to see what was to come. It was silly, but the best kind of silly. The action was engaging, and the whole thing saw its objective and took to it. Unfortunately, that's within the first ten minutes of the film, and it all goes down hill from there. Jimmy Hayward is the supposed director, but there's not much direction here. It's a mess of incoherent editing, harsh lighting that makes every scene hard to make out, and a script (by famed dou Neveldine and Taylor) that steals the exact same plot from Wild Wild West, and you know if I think this film is worse, then it must be bad.

Brolin is a capable actor, and he tries his best to work with the material. He does a able job, not one that elevates the material any but not one that overtly harms it. The ones that do harm it are Malkovich and Megan Fox, who plays the prostitute that Hex falls for. Malkovich is almost never very natural on-screen, and his stage persona comes across as overacting. Fox has zero chemistry with Brolin and he's a literal stick-figure of a character. Other supporting players ranging from Michael Fassbender to Wes Bentley to Will Arnett feel wasted in a film that gives these characters absolutely nothing to do.

At only eighty minutes, this film feels rushed. The scenes move frantically from one to another causing the film to be quite disorienting. At the same time, the pace also manages to slow down to a crawl in certain scenes, adding it up to a film that is quite unbearable. Despite a promise early on to deliver a silly yet fun action movie, the whole thing is a failure, crippled by a labored plot, subpar acting and breathless action. My praise for the revisionist Western might have reached Wild Wild West, but it can't reach one of the worst films of this year.

D+

New Review: Toy Story 3

Toy Wonder

About two months ago, I was honored with catching a special screening of this film with hundreds of other Chicago college students. We didn't get the whole film, but we did get a playful introduction from the director and two-thirds of the film. Out of everyone there, I probably needed those seventy minutes more than anyone. I love Pixar as much as the next guy, but I have to admit that even I was doubtful that the company would be able to pull it off for a third entry. That preview gave me an early promise of a movie that I was wrong to doubt. Indeed, even though it's pointless to say it, Pixar has done it yet again.

It's been over a decade since we last saw Woody, Buzz and the whole gang. This time, though, there are no excursions with owner Andy. He's seventeen and going off to college. The toys are fearing being thrown away, and a mixup leads them to the Sunnyside Daycare, where the place is being run by a retro teddy bear named Lotso. But this daycare isn't as cuddly as it appears to be, and the gang attempt an elaborate escape to get back to their owner.

People say it over and over again, but it can't be said enough. The reason why Pixar is able to stand above and beyond all the other animated films is because of their exquisite attention to story and characters. It's amazing that even though most of these characters are fifteen years old, they still have the ability to be funny, surprising and genuinely heartfelt. Director Lee Unkrich has been part of the Pixar family since its inception, and his dedication to the storytelling is very much felt. The humor goes well in hand with the more serious elements, particularly in the third act. There's a little bit more danger that arrives, and the last line will surely make anyone choke up. I surely did, and the script, which was co-written by Little Miss Sunshine Oscar-winner Michael Arndt, does a fantastic job to balance its emotions.

The familiar voice cast warms the audience back into these lovable settings, and it's like slipping on a well-tailored glove. Tom Hanks, Tim Allen, and the rest of them fulfill their roles as they have always needed. Of the new voices, there's some nice dramatic work from Ned Beatty, who gives Lotso the right amount of inviting and conversely intimidating tone. Michael Keaton gives the Ken doll a playful and wonderful comedic energy. Smaller cameos from the likes of Bonnie Hunt, Jeff Garlin and Timothy Dalton give that extra bit of flavor that helps the film achieve the greatness it possesses.

My favorite Pixar film, without a doubt, is The Incredibles. So far, everyone of their new films have been vying for second place. I think this film has usurped WALL-E for that position. It's extremely funny but also genuinely heartfelt in its emotions and storytelling. It's a no brainer that this will probably win the Best Animated Feature Oscar, but I think it's a viable contender for a Best Picture nomination as well. Many of us have fallen in love with these characters already, and it's fantastic to fall in love all over again.

A

New Review: No One Knows About Persian Cats

Arabian Nights

Every once in a while, you come across a film that manages to speak to you quite profoundly. It might not have all the best qualities that can make up a film, but there's an energy, a spirit that it possesses that inspires the whole thing to a level that seems greater than its humble status. Suffice it to say, it doesn't happen to every film. However, when watching this little indie, I couldn't help but get that feeling; that feeling of why movies are made in the first place. To gather around a story and tell it, despite whatever circumstances or roadblocks may be presented in your way.

Shot as a type of modern musical, the same way that a film like Once was made, this film follows a similar tale of struggling musicians trying to make it big. Negar and Ashkan are two youths looking to make it big with their indie rock band, even grabbing "manager" Nader who helps them get the other members, permits to play, and visas to leave the country so they can perform elsewhere. What makes this story more interesting is that it takes place in Iran, where strict laws against artistic expression make what this group is doing that much more dangerous.

This film perfectly embodies the spirit of the underdog. All through, these characters persist to create something they treasure despite the obstacles around them and the pressure to cease. It's an inspiring message that is joyful to watch unfold. However, it's also nice that the film is not an entire critique on Iran; these characters also love their country and do not want to disrespect it. It's a view of the culture that most western films tend to shy away from, and director Banham Ghobadi does this film a great service by not indulging in that critique. The cinematography captures the world well, allowing the visual intensity to work well with the humble indie spirit. His script is simple, but works its own magic. It stumbles at the end in a big way, though, allowing a histrionic ending to stunt the maturity of the story, but fortunately it coms at the end.

The performances for the most part hold the film together well. My favorite is probably Hamed Behdad, who plays Nader. His boastful energy and unflinching dedication to making the band get by manages to be quite humorous and touching at the same time. When he feels like he has failed, we feel the total amount of devastation that he feels as well. The weak link does feel like Negar, played by Negar Shaghaghi, in which she feels like a bit like an amateur that doesn't quite live up to the rest of the film. Being the center of the film doesn't help her case, but at least she works well with the rest of the cast.

The film does have a few faults in the storytelling, and it might indulge on one too many musical numbers that showcase Tehran in a frantic way, but in the end I found this to be a fascinating film. Not only is it a mostly well-told story with interesting characters and a showcase of nice music and songs, but most importantly, it gives a side that usually isn't seen in this part of the world, and balancing the critical with the respectful gives way to a universal feeling that is identifiable with any human being. It's the reason why movies are made, and it's the reason why I enjoyed this one so much.

B+

Oldies Spin: Alien 3

Alien 3 (1992)

There are some franchises out there that always manage to give back something with each new viewing. In terms of this one, I am continually amazed at how Ridley Scott manages a mysterious mood of suspense and tension with the first outing, James Cameron created a great standalone sequel filled with exciting action, and Jean-Pierre Jeunet's sensibilities were wasted on a needlessly violent and unnecessary film. However, when it comes to this outing, I tend to be at a loss. There's good elements and bad elements, and combined with some devastating background information, make this a somewhat indecisive film.

I guess I should offer apologies if you haven't seen the first or second film, but by the simple fact that there were three sequels, I'm guessing you've already figured out that Ripley makes it in the end of them. At the end of the second film, Ripley, her Marine friend Hicks, the little girl Newt and the robot Bishop escape the aliens and drift away once again in hyper-sleep. Too bad they didn't know facehuggers were on board, breaking into the pods, causing damage to the ship which leads it to crash on a prison colony. Hicks and Newt are killed, leaving Ripley to fend for herself among the male dominated prison. Matters only get worse when an alien is born from an animal on the planet that was met with another facehugger.

In order to fully understand this film, it is important to know some of the backstory behind the film. This was a movie that was born out of a release date even before a script, leaving the production to be pressured underneath scheduling, studio interference and creative differences. This was the feature film debut of the now legendary David Fincher, and when you watch the film, you definitely pick up his dark nihilism that has perpetuated his entire career. In his early stages, Fincher does find the right amount of beautiful bleakness, impressive art design and a sinister score from ace composer Elliot Goldenthal.

Unfortunately, you can't help but imagined a compromised vision here, leading the plot to veer on a meandering path, the tone become muddled and the action to be a chaotic mess with no motivation behind it. The alien this time doesn't have the same menacing premise and instead feels like a generic movie monster. The story sucks out any emotional impact that could have been had since all of Ripley's companions are dead. We are instead forced to make bonds with a group of men who all carry the same bald, grimy look with English accents. The only man who does have somewhat of a connection to Ripley is killed quite early on in the film. It's bad storytelling from top to bottom that squanders all good will that came before it.

It's also apparent that Weaver is phoning it in here. She looks bored in this movie and doesn't present any energy or fascination with this character. Even in the abominable fourth entry she tried something different to distinguish herself. Here, there's nothing of the sort, and the support players are just as bland. Everyone is playing a character type and none of them are memorable in the least. This could have been a beefy ensemble, but instead they're as dull as the film's color pallet.

I love the first two films and hate the fourth one. When it comes to this one, it's hard to say. That's because, in actuality, there is no Alien 3. The film that everyone initially set out to make does not exist. What does exist is a visual representation of all the high emotions, ill feelings, fatigue and studio pressure to hurriedly complete a film in order to turn a profit. Fincher has since disowned the film, and it's easy to imagine why. The making-of documentary on the "Alien Quadrilogy" offered a comprehensive look on this film that is much more interesting than anything that was filmed. It's a shame, considering that the potential for this film could have only been seen in hindsight.

C

New Review: The A-Team

B-Roll

This weekend, audiences finally get a bit of diversity in their summer movie going schedules. That is they will be able to choose between two different films based on property released in the 1980s. Audiences today will have the option of choosing between the remake of many childhood's classic The Karate Kid (though now relocated to China and practicing kung fu), and this film, the feature length adaptation of the, admittedly, campy television series. Depending on your childhood, you might find either one intriguing. Not being born in the '80s, neither one is greatly appealing to me. I choose this one, and immediately after it was done, I regretted it.

For those who don't know, the A-Team is a renegade unit in the military that is used for out-of-the-box situations. The leader is the towering Hannibal Smith (Liam Neeson). The rest of the team includes the suave ladies man Faceman Peck (Bradley Cooper), the muscle man with a fear of flying B.A. Baracus (UFC's Quinton "Rampage" Jackson), and the flying expert with an apparent mental problem Murdock (District 9's Sharlto Copley). During one mission involving the retrieval of counterfeit money plates, the team is framed for incompetence and wrongfully sentenced to jail. They break out to seek justice for the wrongdoers.

Director Joe Carnahan is not particularly a name that attracts me in the first place. His last movie, Smokin' Aces, is a chaotic mess that was high on its own nonsense. This time, the style is toned down a bit, but most of the action sequences still retain such a frantic tone that the scenes are indiscernible. Not only that, but this film goes on and on and on; every action scene is endless in its depiction of mindless, head-numbing action. The credit sequence of the film is dedicated to the formation of the group, and it feels like the entire film. Then, after fast-forwarding eight years, you get endless scenes of their mission in which they're framed, their eventual escape, their plan to clear their names, their plan to get revenge, and so on. This is a never-ending movie, and all of it drags on the attention span. Adding to it, the horrible script indulges on bland humor, manufactured tension, wildly shifting paces and jumbled timelines that all add up to suspense-less, poor storytelling.

Of the four members of the team, only Copley manages to make it out of here somewhat intact. He's pretty much the only source of humor and fun in the entire film, and he scores enough laughs to make himself justified in this picture. Cooper has some charm here and there, but I certainly wouldn't call him a selling point. Neeson is at the point in his career where all he has to do is show up, and he can look like a badass (i.e. Taken). Jackson, though, is just downright terrible. He's a horrible actor, apparent from the get-go, and he poorly handles a character that is uninteresting when he's killing people and boring when he's spouting phony wisdom against non-violence, which then gets turn around when Gandhi is used as a motivation for violence (I'm not kidding). Patrick Wilson is one of the stupidest, annoying villains around, and I honestly do not know why Jessica Biel is in this movie. If it was for sex appeal, it failed because her character is not used for very sexy or appealing ways.

I suppose if you liked the show, you might like the movie. But as far as I'm concerned, this carries just as much cheese as the show did. The plot is ridiculous and poorly drawn, the acting for the most part is mediocre at best, and the endless action just feels too much like a hammer to the brain. I didn't set out to hate this movie, but by the end I had no choice. I contemplated leaving halfway through, but decide to stay like I always do. I stayed in my seat, unfortunately. Congratulations Wolfman, you are no longer the worst film of the year so far.

D+

New Review: Get Him to the Greek

Broken Record

I know that I must be getting a bit repetitive by now, but everywhere I turn I keep getting reminders about what a lackluster year 2010 has turned out to be, despite the strong promise it showed in the beginning. Still, I admit that there have been some quality entertainment now and again. As the summer gets into full swing, I've already said that I found the best film of the summer (Please Give). However, I'm quite happy to report that while this may not be the replacement for the best film of the summer so far, it is most certainly the funniest.

If you saw Forgetting Sarah Marshall, then you'll recognize the name of rock star Aldous Snow, played by Russell Brand. After celebrating his sobriety in the previous film, Snow has now taken a nosedive as the relationship with his pop-star wife (Rose Byrne) starts to go south. Snow enters into a mutually beneficial agreement where he will perform at the Greek Theatre as part of an anniversary concert for music mogul Sergio (Sean Combs). Jonah Hill plays Aaron, an up-and-commer at Sergio's record label who is charged with bringing Snow to the concert, and there is when the mishaps ensue.

If you compare this film with Forgetting Sarah Marshall, the first film is better. This film never really matches up to the sharp wit and engaging characters that Jason Segal managed to create, but this film still manages to provide enough on its own terms to be considered funny. Writer-director Nicholas Stoller (who directed Sarah Marshall) actually creates a film that's a lot smarter than the ads make it out to be. Some of the humor even aspires to be a witty indictment on the entertainment industry and entertainment journalism. Most of the film does also aspire for the low brow, broad comedy with the drug related material and the double-entendre songs that are just as funny as the first time.

I do have to say, though, that some of the drug humor stretches a little bit into the ridiculous territory. Most of it manages to be funny, but more than enough times it feels like the film is feeling a bit tired. That is combined with a plot that meanders wildly all over the place and features some pretty weird tonal shifts. By the time the film starts to get to the end, you can tell that it ran out of steam about fifteen minutes ago. Still, the majority of the film finds the right pace to strike, even though towards the end it isn't always consistent.

Even though not every movie Hill has been in is a winner, he still manages to bring that shy and nervous energy to score some hearty laughs. This film is no different, and as the film's anchor he's touching and hilarious in all the right places. Fortunately, the spotlight is shared with Brand, meaning we can get all the humorous and poignant moments from his character without having to suffer through all the annoying habits that would have made his character unbearable, and Brand does an able job of keeping up. The supporting work from Combs (surprisingly funny here), Byrne, Elizabeth Moss and Aaron's girlfriend, and Colm Meaney as Snow's surly father are also fun in their roles as well and bring another light of humor.

It's not the best thing to come out of the Apatow factory, as the plot slows down in some places, the humor tries too hard, the tones are not consistent. But in the end, the film finds enough laughs to keep the interest intact, and the great performances from most of the ensemble work with the rather smart wit. I'm always glad when a comedy can put a smile on my face, and this one is no different. If this film finds success, I suppose the countdown starts to see that McLovin' movie.

B

New Reviews: Splice & Please Give

Dicey Science

Every once in a while, there comes along a film that seems to gather admiration simply because it is very different from the rest of the films out in the marketplace. There's a lot of people who think that a film's attempt to go against the grain is something so rarely seen that it should be treasured. I do believe that when a filmmaker attempts to address some issue in a provocative and extraordinary way, he or she should be given that credit. However, I do not aspire to the belief that just because something is different, that automatically means it's good. This film sure is good, but is surely also far away from good.

Adrien Brody and Sarah Polley play a pair of couple scientists on the verge of a breakthrough in their field of genetic engineering. After making a purely animal hybrid, they want to go to the next step with human testing. But their funding gets cut so the current specimens can be analyzed. Instead of taking the sane approach, these two geniuses decide to go rouge and inject human DNA into the equation anyway. What is born is a mutated animal that starts looking like a girl and given the name Dren (Nerd spelled backward). And Dren is not all she seems to be.

Director and co-writer Vincenzo Natali has been praised for his personal style of filmmaking, and he does give a promise at the beginning of the film to create an eerie mood that also manages to get the audience invested into that atmosphere. However, that peaks at about five minutes in, and it's all downhill from there. There is blame to go for a meandering plot, manufactured tension, little attempt to even comprehend the ridiculous science and the plot's odd catalyst. But in actuality, it is these poorly sketched out characters that is the real downfall. It's not only that these characters make one idiotic decision after another, it's that they aren't even consistent in their stupidity. Halfway through the film, these characters start behaving like different people, betraying what had been built up before and still causing them to be dumb. Such character types make it extremely difficult to buy into the atmospheric elements that Natali creates. By the time we get to a ridiculous final act, that feels like it's somewhere out of Rosemary's Baby, we're ready to give up at the point when it all dissolves into standard horror movie fare.

The cast is minimal, and with that the performances aren't very outstanding. Because you can never understand why these characters would make such stupid decisions, it makes it even harder to buy into the performances. Brody is still on probation in my book, so his phoned-in performances neither impresses nor disappoints. Polley does her best to carry most of the film's emotional anchor, but even that is spoiled by a bad character and conflicting emotions that she has to juggle. The verdict is that this is not the finest hour for either of these actors. And Delphine Chanéac, who plays the more grown up Dren, does well in her mostly mute role, but it's not a role that becomes anywhere fascinating until near the end of the film; too little, too late.

The best thing I can say about this film is that it's an interesting failure. You can certainly see a good deal of craft and creativity that went into the film, but it all gets buried underneath a ridiculous plot, mediocre acting, a muddled pace and characters that epitomize stupid with a capital dumb. It's a noble effort that comes up short, though I will give them credit for thinking outside the box on this one. What I can't give them credit for is a film that's worth seeing despite itself.

C-

Courtesy Fall

As the summer stands right now, there hasn't really been anything noteworthy to recommend. Up until this point, the only thing I good halfway recommend was Prince of Persia, and that was still a non-outstanding film. It just feels like the summers lately don't start producing until we get over the May slump and into the full swing of things. This movie is certainly evident of that. Although I can't technically call it a summer film since it was released in many other parts of the country months ago. But hey, what the hell. This is the best film of the summer so far.

The film chronicles a close knit group of dysfunctional people in a small radius in New York City. First there's Kate (Catherine Keener), an entrepreneur whose practice of buying and reselling the furniture of the recently deceased has led her into a life of warped guilt. Her mid-life-crisis husband Alex (Oliver Platt) and teen-angsty daughter Abby (Sarah Steele) add to her frustration. The family also is hovering over the apartment of an elderly woman (Ann Morgan Guilbert) who gets visits from her bickering granddaughters: the doting Rebecca (Rebecca Hall) and the antagonistic Mary (Amanda Peet).

If you're familiar with the work of Nicole Holofcener, whose last film was Friends with Money, then you'll have an idea of what this film emphasizes. Mid-life crises are abound in everyone's life as the characters humorously deal with their own quiet self-destruction set against yuppie anti-social behavior. Not every element in Holofcener's screenplay works; I think the weakest elements would be the forced and conventional sister dynamic and an eventual affair between Alex and Mary that feels like a bit of tacked on fake tension. However, there are enough times when her screenplay bursts in sprints that give way to satisfying humor and revealing drama. Fortunately, these bursts add up throughout the film, and the off story elements and flat direction eventually get a past.

Truly, this cast is terrific, and since it is vast enough, many are able to make up for some of the lack in character. The best is obviously Keener, who continues to impress me with her subtle magic that continues to make her an underrated actress. And she's able to work well with the entire cast, creating a mutual beneficial relationship. The same is said for Platt who sustains a good report with his co-stars. I admit that some of the other supporting players embody flat or one-note emotions, but these actors manage to embody them so well that I didn't even care. In fact, if you watch carefully enough, the caricature outlines around Hall, Stelle and Guilbert eventually fill out and offer a bit more to exercise.

The film does suffer from some slow spots, some ramblings in the last act, and some characters that fall flat. However, the great performances and smart writing help to elevate the film beyond the shortcomings that it offers. I was starting to write off the year as one disappointment after another, but this film gives me promise. Hopefully the rest of the year can live up to the promise.

B+

Behind the Scenes: Sean Penn

SEAN PENN

Born: August 17, 1960

Occupation: Actor

Best Work: Dead Man Walking

Other Highlights: Milk, Mystic River, The Assassination of Richard Nixon, Sweet and

Lowdown, 21 Grams

Upcoming Films: Fair Game, The Tree of Life

It’s very easy to quickly reserve a hyperbole when referring to someone with a gifted talent. Particularly if we admire them, then we can frequently give the highest of praises to their work without really meaning all that we say. However, in the case of Sean Penn, this statement I believe is undoubtedly accurate: he is perhaps the greatest actor of his generation. Penn possess a talent that so many actors try to obtain, and even the most gifted ones still can’t manage to grasp it. He is able to completely disappear into role, an act that is can be taken for granted at face value.

You can find evidence of this even in his first breakout role in Fast Times at Ridgemont High. I don’t think Fast Times is necessarily a good movie, and even in terms of the genre, Dazed and Confused did it much better. But one look at Spicoli, and you immediately buy this guy as the stoned, surfer dude with the laid back attitude that gave a strong prelude to the career of Matthew McConaughey. Looking back on it now, it’s almost a comic caricature, particularly because we know that this young man will go on to win much more acclaim for much more serious performances, but it’s still amusing to believe that even in such a broadly drawn character at such a young age, Penn was still able to convincingly inhabit this character that defined a particular generation.

From then on, Penn seemed fixated on the rebellious, young anti-hero role, almost like Spicoli grew up, learned that the oceans would be affected by global warming, and stopped smoking pot. Roles in films like Colors and Casualties of War have helped to fuel Penn’s bad boy image, but given these films were transitional pieces leaving Fast Times behind him, he still manages to keep his integrity. His nearly unrecognizable supporting role in Carlito’s Way gave a stepping stone to the role that really let you know Penn was going to be a force was in Dead Man Walking, considered by many to be his second breakout role. Penn has a tricky role to pull off here: he has to make this convicted death row inmate seem sympathetic all while the character doesn’t want sympathy. In every scene, he makes it work, delivering depths of complexity to a character that usually defies it. His outstanding work brought Penn his first Oscar nomination, and if it were up to me, he would have won.

Almost like a response to all the attention, Penn didn’t seem to take such notable, worthy roles for a while. To be sure, he got to show off, but nothing seemed to approach the power he able convey in such restraint. Then came Mystic River featuring a great performance. Though I will admit Penn swaggers close to histrionics, the pain and torture of his character is sincerely felt. Many agreed, and it earned Penn his first Academy Award.

Following that, he gave another great performance in The Assassination of Richard Nixon, an internet favorite that showcases his quiet mannerisms that lead to a slow and softly spoken self-destruction. And And Penn of course topped off the decade with a big highnote with Milk, the biopic of gay politician Harvey Milk. After decades of carrying that somber frown, it was just nice to see Penn be joyful in a role. But he also makes Milk a real person, believing every second of this man’s ideals and passionate support. Penn doesn’t give an impersonation of Milk, and within ten minutes of watching the film, you immediately believe that you’re watching a ghost come alive on screen.

Like any other actor, Penn is not immune to the occasional bad film. However, even the films that aren’t necessarily good are aided by his abilities as an actor. I Am Sam is horrible in its sentimental manipulation, but Penn is able to ground as much as he can, though Dakota Fanning feels more real than his character. While everyone in the remake to All the King’s Men is so dreary and dull, Penn, in an over-the-top Southern accent and a poorly made fat suit, injects some passion and energy into a film that desperately needed it. He even has some fun in his bit role in Before Night Falls. No matter what the role, I never see Sean Penn; I only see the character. That is a statement that many take for granted. It’s hard to see beyond the actor and completely buy into the magic of the movies. But time and time again, Penn manages to make it work. Every performance, no matter how small or insignificant, feel genuine and sincere. He’s a very talented actor, and his directorial career feels just as developed, which is another commentary itself. Wherever Sean Penn goes, I’ll be anticipating another astounding performance from one of the greatest actors to have ever been seen.