Friday, January 30, 2009

New in Town

This movie made me: Indifferent


Wasn’t Fargo a great movie? Don’t you just love Minnesota, where the women have names like Trudy and Blanche, and where the men ice fish and drive pick-ups? Wouldn’t it be awesome if there were another movie like that? That’s what the makers of New in Town hope you’re thinking. But by pulling out every romantic-comedy joke in the book, this wintry flick is blander than casserole without green beans, dontcha know.

A Miami-based corporation is in the midst of restructuring several of its plants, including one in remote New Ulm, Minnesota. When no one volunteers to oversee the process, driven businesswoman Lucy Hill (Renee Zellweger) reluctantly accepts the job. In Minnesota, she finds herself fighting against over-friendly neighbors, skeptical co-workers and the bitter cold. As she begins to restructure the plant, she finds herself at odds (both personally and professionally) with the local union rep, Ted Mitchell (Harry Connick, Jr.) He’s a handsome widower who hates Lucy at first sight… so you all know what that means. And as Lucy spends more time in the snow-covered town, she discovers that the little people mean more to a company than figures and paychecks.

There is a certain romantic allure to snowy forests and small town Christmases, but we can only take so much. The film so drab, dark and sparse it recalls the snowy landscapes of last year’s X-Files movie – not the image you want while watching a romantic comedy. Jokes about the weather, scrapbooking and tapioca aren’t doing any favors either. There are tired, clichéd Midwestern jokes galore – so many that it transcends reality. I don’t know about you, but an entire town gathering around a giant Christmas tree and singing carols is more Whoville than Minnesota.

With her round face and pouty lips, Zellweger adds the same kind of spoiled humor she’s been doing for years. The shtick has lost its brilliance since her early ‘00s heyday. Here, she’s nothing more than a perpetually cold Bridget Jones. The cast has its share of genuinely funny character actors – including Siobhan Fallon Hogan, Frances Conroy and J.K. Simmons – but they don’t have much to do other than roll out the same old “Ya, you betcha” thing we’ve seen for years.

New in Town is Fargo without the wood chipper – and that’s not meant to be an endorsement for family-friendly audiences. Entirely inoffensive but completely riskless, the film is never anything more than “cute.” When a comedy exclusively relies on stereotypes that were used brilliantly years ago, it's clear the filmmakers were about a decade too late.

Sunday, January 25, 2009

Underworld: Rise of the Lycans

This movie made me: Mildly Disoriented


Regardless of its lack of originality (vampires vs. werewolves) or distinct style (a bluer riff on The Matrix), but Underworld and its 2006 sequel Underworld: Evolution managed to entertain in spades. Now it takes an unfortunate step towards bloated epicness with Underworld: Rise of the Lycans, an almost entirely unnecessary prequel.

A long time ago in a land that’s probably somewhere in central Europe, werewolves (or Lycans) were the daytime guardians of the vampires. They were treated as animals, and ruled over by the icy and imposing Viktor (Bill Nighy). The one Lycan who appears to have Viktor’s favor is Lucian (Michael Sheen), born and bred in captivity. Lucian has fallen in love with Viktor’s beloved daughter, the predictably feisty Sonja (Rhona Mitra). A love between the two species is forbidden, and as Lucian sees the injustices his kind suffers, he begins to realize his true calling.

Perhaps the biggest thing the filmmakers got wrong was something they did years ago – they already told the story. Lucian’s rise against the vampires was told (albeit in quick flashbacks and narratives) in the original Underworld. And other than adding some dialogue and a few fights, the film offers nothing new. Any battles between the main characters are totally devoid of suspense, as viewers familiar with the series already know their ultimate fates. Sheen, hot off his critical successes in prestige pics like The Queen and Frost/Nixon, makes for a slightly more dynamic hero than what’s usually seen in horror films. Nighy remains a genuinely frightening vampire, but Mitra seems there only for her resemblance to Kate Beckinsale.

The film’s saving grace could have been its action. But with its endless barrage of breakneck handheld shots and frenetic editing, it just becomes confusing. In some cases, literally nothing can be understood. We must wait until the action dies down to actually determine what happened. This is a dizzying task that teeters on the edge of headache-inducing.

So for fans of the Underworld series, this film is here for you in case you didn’t understand something about the history lesson in the first film. Prequels are a tricky thing. But when your prequel doesn’t say anything that hasn’t been said in the other films… you’ve probably done something wrong.