It seemed like animated films were mostly being relegated to one-joke exercises in banality based entirely off of cute animals doing unusual things. Dancing penguins, neurotic zoo animals, etc. The list seemingly goes on and on. For a while, it seemed like any animated film without the Pixar stamp were being churned out solely for the purpose of making money. But with KUNG FU PANDA, DreamWorks has found a perfect balance of cutesiness and genuine artistry. Developing a sharp and funny script alongside an extensive and detailed style, it is set apart from the lame one-joke nature that so many films have become victims of.
Portly panda Po (voiced by Jack Black) is a lowly assistant in his father’s noodle restaurant in a small Chinese village, dreaming of something more. Specifically, to be a kung fu master and be counted among the Furious Five – the masters and defenders of their world. When the ancient turtle Oogway declares that the Dragon Master (the one who will have limitless power and be able to restore peace to the land) will be unveiled soon, the entire village gathers for a demonstration of the Furious Five’s powers. But much to their surprise Oogway declares that Po is the destined warrior, and it is now up to Master Shifu (Dustin Hoffman) to train him. Meanwhile, crazed warrior Tai Lung (Ian McShane) learns of the events and breaks free to track down Po and claim the title that was denied him many years ago.
If the plot is just a slight variation on the hero’s journey, it more than makes up for it with its inventive and fresh humor. Lovingly paying tribute to countless martial arts films while remaining broad enough to attract a wide audience, KUNG FU PANDA is one of those films that have something to offer everyone. There are surprisingly little of the typical martial arts jokes; the quick camera zooms are few and far between and there isn’t any mismatched dialogue in sight. Instead, the most successful gags in the film come from Po’s exaggerated physical comedic style and lovably geeky personality. Po is perfectly brought to life by Black, who proves once again that he deserves to be at the front of the comedy film world, going the lengths and stretching himself in ways that most other comedy actors avoid.
If KUNG FU PANDA were to be seriously faulted, it would be the filmmaker’s reliance on Black to deliver all of the jokes. Every member of the Furious Five – which includes the voices of Angelina Jolie, Jackie Chan, Seth Rogen, Lucy Liu and David Cross – are tragically wasted. Chan in particular is left with only a few lines of throwaway dialogue. Hoffman and McShane make an impression, but mostly to provide a skeptical foil to Black’s excited enthusiasm. With the kind of voice cast that was assembled for the film (one that had the potential to be very funny), it’s a bit of a disappointment to see that it’s such a one-man show, no matter how hilarious that one man is.
But the film’s most important achievement is its impeccable design. Detailed to a point that put most other animated films to shame, KUNG FU PANDA is a pure joy to watch. Every image is beautifully rendered with a clear sense of style in mind. It’s been quite a while since the word “art” could be thrown at a non-Pixar, non-Ghibli film, but KUNG FU PANDA’s art is undeniable.
KUNG FU PANDA is a pure joy to watch for nearly every kind of viewer, children and adults alike. It accomplishes a rare feat in actually delivering on its amusing, if gimmicky premise. In a summer that’s relying on darker action epics, parents will be grateful for KUNG FU PANDA – something that will not only enthrall their children, but entertain themselves as well.
***/****
Monday, June 9, 2008
Thursday, May 22, 2008
Indiana Jones and the Kingdom of the Crystal Skull
After 19 long years, Indiana Jones is back and better than ever. Well, maybe not. But he’s in a much better shape than pretty much everyone expected in INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL. Creative forces George Lucas and Steven Spielberg reunite with star Harrison Ford and other familiar faces and images to bring Indy into the Cold War years and the 21st century world of filmmaking. While the adjustment is not an easy one to make, all the old-fashioned action and humor that made the old films so enduring is still mostly intact.
The year is 1957, and Indy finds himself caught up with the Soviets. They are led by ruthless Communist Irina Spalko (Cate Blanchett), who demands that Indiana help them locate an artifact known as a crystal skull- a mythic object that holds unknown powers. To say more about the plot would ruin the film’s many twist and turns. Suffice it to say has enough moments of humor, action and suspense to appease all of Indy’s loyal followers with a decidedly 1950s and early Spielberg mixed into the proceedings.
Thanks to the change in setting, the film contains quite a bit more apparent CGI work than the earlier films. It examines multiple forms of American culture in the 1950s, most notably the Red Scare and the weapons being developed to fight it. But Spielberg wisely balances the fake stuff with exhilaratingly real action that reminds us of what good movies used to be. A chase sequence featuring Ford and co-star Shia LaBoeuf on motorcycle outrunning a car of KGB agents is a particular standout, as is a fencing match between LaBoeuf and Blanchett across two speeding cars in the jungle. Spielberg once again proves that he is the master of action set pieces, eschewing modern trends and returning to what worked so well for him in the 1970s and 80s. And surprise, surprise- it’s just as exciting now as it was back then. As expected, every inch of the film is expertly constructed. This is Spielberg’s brightest and purely exhilarating film in at least ten years. The final moments of the climax are particularly stunning – it’s an ending only Spielberg could pull off. It’s his entire career come full circle.
Returning as the titular hero, Harrison Ford gives a more invigorated performance than he has in years. It’s peculiar that Ford’s freshest performance this decade comes from a character he created over 25 years ago, but here he proves once again why he is who he is. Balancing the heroic action with a surprisingly sharp sense of humor and some good-natured ribbing at his age, Ford is just as capable if not more so than he was in the first film. Karen Allen makes a delightful return as Marion after a four-year absence from the screen, even if she is a bit more wishy-washy than we remember. The supporting cast, including John Hurt, Ray Winstone and Jim Broadbent, are all in fine form as well.
As with the technology, the film is just as much about the new as the old. This is most clearly shown with the presence of Shia LaBoeuf. From the moment he rolls on screen (literally) LaBoeuf’s infectiously likable performance as the greaser Mutt further solidifies his position as Hollywood’s new it actor. He proves himself as an able action star, pulling off the film’s most complex stunts and action sequences with charismatic goofiness. Spielberg and Lucas clearly wanted to shape Mutt into the next Indiana Jones – heroic but flawed. And they mostly succeeded.
There are only a few setbacks in the film; remarkable, considering how wrong things could have gone after nearly two decades of waiting. And aside from a CGI overload in the film’s finale, it superbly reconstructs the realistic, B-movie serial feeling that the original three films excelled at. In some cases, it even surpasses the other two sequels in its ability to create suspense through action and humor. In INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL, Spielberg, Lucas and Ford prove they haven’t lost any of their magic and could easily continue the series without ruining a thing. Let’s just hope is doesn’t take 19 years next time.
***1/2/****
The year is 1957, and Indy finds himself caught up with the Soviets. They are led by ruthless Communist Irina Spalko (Cate Blanchett), who demands that Indiana help them locate an artifact known as a crystal skull- a mythic object that holds unknown powers. To say more about the plot would ruin the film’s many twist and turns. Suffice it to say has enough moments of humor, action and suspense to appease all of Indy’s loyal followers with a decidedly 1950s and early Spielberg mixed into the proceedings.
Thanks to the change in setting, the film contains quite a bit more apparent CGI work than the earlier films. It examines multiple forms of American culture in the 1950s, most notably the Red Scare and the weapons being developed to fight it. But Spielberg wisely balances the fake stuff with exhilaratingly real action that reminds us of what good movies used to be. A chase sequence featuring Ford and co-star Shia LaBoeuf on motorcycle outrunning a car of KGB agents is a particular standout, as is a fencing match between LaBoeuf and Blanchett across two speeding cars in the jungle. Spielberg once again proves that he is the master of action set pieces, eschewing modern trends and returning to what worked so well for him in the 1970s and 80s. And surprise, surprise- it’s just as exciting now as it was back then. As expected, every inch of the film is expertly constructed. This is Spielberg’s brightest and purely exhilarating film in at least ten years. The final moments of the climax are particularly stunning – it’s an ending only Spielberg could pull off. It’s his entire career come full circle.
Returning as the titular hero, Harrison Ford gives a more invigorated performance than he has in years. It’s peculiar that Ford’s freshest performance this decade comes from a character he created over 25 years ago, but here he proves once again why he is who he is. Balancing the heroic action with a surprisingly sharp sense of humor and some good-natured ribbing at his age, Ford is just as capable if not more so than he was in the first film. Karen Allen makes a delightful return as Marion after a four-year absence from the screen, even if she is a bit more wishy-washy than we remember. The supporting cast, including John Hurt, Ray Winstone and Jim Broadbent, are all in fine form as well.
As with the technology, the film is just as much about the new as the old. This is most clearly shown with the presence of Shia LaBoeuf. From the moment he rolls on screen (literally) LaBoeuf’s infectiously likable performance as the greaser Mutt further solidifies his position as Hollywood’s new it actor. He proves himself as an able action star, pulling off the film’s most complex stunts and action sequences with charismatic goofiness. Spielberg and Lucas clearly wanted to shape Mutt into the next Indiana Jones – heroic but flawed. And they mostly succeeded.
There are only a few setbacks in the film; remarkable, considering how wrong things could have gone after nearly two decades of waiting. And aside from a CGI overload in the film’s finale, it superbly reconstructs the realistic, B-movie serial feeling that the original three films excelled at. In some cases, it even surpasses the other two sequels in its ability to create suspense through action and humor. In INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL, Spielberg, Lucas and Ford prove they haven’t lost any of their magic and could easily continue the series without ruining a thing. Let’s just hope is doesn’t take 19 years next time.
***1/2/****
Friday, May 16, 2008
Prince Caspian
“You may find Narnia a more savage place than you remember.” Never have truer words been spoken. Fans of the 2005 blockbuster hit THE LION, THE WITCH AND THE WARDROBE will doubtlessly be surprised if they come into PRINCE CASPIAN expecting the same kind of fun and wonder that enchanted millions three years ago. Incessantly dark and serious, the film is a worthy successor even if it ultimately proves too downtrodden and frightening for its audiences.
Hundreds of years have passed since viewers last saw Narnia, and much has changed. The familiar Narnians have been pushed into the woods and the vicious Itali- er, the Telmarines- have taken control. When the self-proclaimed King Miraz (Sergio Castellito) discovers his wife has given birth to a son and heir, he realizes that the only thing that stands in the way of unending power is his young nephew Caspian (Ben Barnes). Caspian escapes into the vast woods with a magic horn in his possession. Suddenly, the four Pevensie children (Georgie Henley, Skandar Keynes, William Moseley and Anna Popplewell) find themselves transported back to Narnia. They soon realize that they must help Caspian rally the Narnians to fight for their very survival.
Where the first film was concerned mainly with the tight bonds the siblings felt for each other, PRINCE CASPIAN is concerned with battles. Much of the first film’s humor is gone; this sequel is a mostly serious affair. The lighter moments are only passing, quickly taken up by scenes of the oncoming enemy or questions about mortality that are surprisingly earnest for a family film. The sense of wonder has also been replaced by a large amount of violence. It is rather disconcerting to see the young stars of the film kill so many people without a second thought, especially when it is presented in such a straightforward manner. It is quite surprising that the film was only given a PG rating; it’s easily the most violent PG-rated film in decades.
There is also a lack of magic in the characters. While they are actually supporting characters, the Pevensie children are not nearly as compelling as they were before. While Peter (Moseley) and Susan (Popplewell) are given interesting subplots, Edmund (Keynes) and Lucy (Henley) are left to lurk more or less in the background. Lucy still is the series’ most likeable and innocent face, thanks to Henley’s easygoing charm; unfortunately, this means she is entirely absent for long portions of the film when the other characters go off to battle. As Caspian, newcomer Barnes makes a fitting and sympathetic hero. The film also suffers in its lack of a strong villain. Miraz is nothing more than a stereotypical evil warrior king – a far cry from the spellbinding figure Tilda Swinton crafted in the first film. When she appears midway through the film, it suddenly kicks into high-gear; her all too short appearance gives the film the edge it was trying to get at all the while.
Still, the film is more than a worthy successor. While lacking in magic, it reflects the maturation of its characters and audiences. It may have taken a step too far and become too serious and frightening to recapture moviegoers as the filmmakers did three years ago, but those that follow it adamantly will likely appreciate the higher stakes and wider scope. While solid, the film takes another step towards LORD OF THE RINGS rather than attempting to create its own style and voice.
**1/2/****
Hundreds of years have passed since viewers last saw Narnia, and much has changed. The familiar Narnians have been pushed into the woods and the vicious Itali- er, the Telmarines- have taken control. When the self-proclaimed King Miraz (Sergio Castellito) discovers his wife has given birth to a son and heir, he realizes that the only thing that stands in the way of unending power is his young nephew Caspian (Ben Barnes). Caspian escapes into the vast woods with a magic horn in his possession. Suddenly, the four Pevensie children (Georgie Henley, Skandar Keynes, William Moseley and Anna Popplewell) find themselves transported back to Narnia. They soon realize that they must help Caspian rally the Narnians to fight for their very survival.
Where the first film was concerned mainly with the tight bonds the siblings felt for each other, PRINCE CASPIAN is concerned with battles. Much of the first film’s humor is gone; this sequel is a mostly serious affair. The lighter moments are only passing, quickly taken up by scenes of the oncoming enemy or questions about mortality that are surprisingly earnest for a family film. The sense of wonder has also been replaced by a large amount of violence. It is rather disconcerting to see the young stars of the film kill so many people without a second thought, especially when it is presented in such a straightforward manner. It is quite surprising that the film was only given a PG rating; it’s easily the most violent PG-rated film in decades.
There is also a lack of magic in the characters. While they are actually supporting characters, the Pevensie children are not nearly as compelling as they were before. While Peter (Moseley) and Susan (Popplewell) are given interesting subplots, Edmund (Keynes) and Lucy (Henley) are left to lurk more or less in the background. Lucy still is the series’ most likeable and innocent face, thanks to Henley’s easygoing charm; unfortunately, this means she is entirely absent for long portions of the film when the other characters go off to battle. As Caspian, newcomer Barnes makes a fitting and sympathetic hero. The film also suffers in its lack of a strong villain. Miraz is nothing more than a stereotypical evil warrior king – a far cry from the spellbinding figure Tilda Swinton crafted in the first film. When she appears midway through the film, it suddenly kicks into high-gear; her all too short appearance gives the film the edge it was trying to get at all the while.
Still, the film is more than a worthy successor. While lacking in magic, it reflects the maturation of its characters and audiences. It may have taken a step too far and become too serious and frightening to recapture moviegoers as the filmmakers did three years ago, but those that follow it adamantly will likely appreciate the higher stakes and wider scope. While solid, the film takes another step towards LORD OF THE RINGS rather than attempting to create its own style and voice.
**1/2/****
Friday, May 9, 2008
Speed Racer
Perennially popular anime SPEED RACER makes the jump from cartoon to live action, courtesy of the Wachowski Brothers. Unfortunately, these once-heralded directors showed signs of being a one-hit wonder with their preposterous MATRIX sequels, and this film pushes even further towards that description. Using a dizzying visual style that can only be compared to exploding paint cans, the film vainly tries to revolutionize “cool.” And in doing this, they forgot to add in the fun that would seem obvious when adapting a kid’s cartoon show.
Speed Racer (Emile Hirsch) is a young hot-rod making history on the racetrack. Driven to succeed by the memory of his dead brother Rex, Speed only knows how to race and he does it well. But when he refuses a deal from a monopolistic CEO (Roger Allam), he finds himself and his entire family (including father John Goodman and mother Susan Sarandon) in the mercy of the powerful company. Determined to destroy the corporations’ hold on the world of racing, Speed teams with the mysterious Racer X (Matthew Fox) and girlfriend Trixie (Christina Ricci) to defeat the corporate-sponsored drivers race by race, starting with the same treacherous rally that took the life of his brother.
There’s a lot of drama in a movie supposedly aimed toward children; hardly surprising, looking at who’s responsible for the film. The Wachowskis seem to forget they were making a fun action movie; most of the film is spent on long dramatic scenes surrounding each member of the Racer family that slows momentum to a complete standstill. There is so much time spent on studying the inner working of Mom and Pops Racer that Speed seems a mere afterthought until well into the film. As a result, the film is easily a half hour too long and the action sequences never quite rouse the viewer out of the distant stupor the rest of the film puts them into.
Not that any inkling of sense or understanding can be gotten from the action sequences. The film’s color scheme, obviously the filmmakers’ attempt to create a real-life anime is even more dizzying and headache-inducing than their 2D counterpart. The editing is so fast and the movement so mind-boggling (in the worst way possible) that we are forced to wait until the race ends to get a semblance of what happened. The only sequence that elicits any real excitement is one of the few hand-to-hand combat scenes in the film, and also one of the few that are devoid of extensive special effects. Even if that sequence does start off with an act that is either a strangely-placed homage to James Bond or evidence that the Wachowskis have simply run out of ideas.
The cast certainly doesn’t do any favors, though they aren’t given much to begin with. As Speed, Hirsch clearly looks the part but looks and sounds awkward when forced to deliver the stereotypical “let’s see what I can do” lines to his competing racers. Sarandon and Goodman invest into their characters far too much, with their teary-eyed performances out of place in the bright colors and flashing lights. And as Speed’s younger brother Spritle, Paul Litowsky finds himself stuck with some of the least funny comedic relief dialogue seen in quite some time and gives the worst child performance this side of Spencer Breslin. Only Ricci makes a positive impression, mostly due to the fact that she is the only element of the movie that looks like an anime convincingly brought to life.
If the Wachowskis wanted to make a serious action drama about racing, they shouldn’t have chosen SPEED RACER as their inspiration. Their heavy melodramatics conflict wildly with the Candyland/Japanese infused world they set the film in. While some will likely see this film as the next phase in the evolution of cool, thanks to its bloated script and completely incorrect sense of self importance, there’s only one thing to say: SPEED RACER drags.
*1/2/****
Speed Racer (Emile Hirsch) is a young hot-rod making history on the racetrack. Driven to succeed by the memory of his dead brother Rex, Speed only knows how to race and he does it well. But when he refuses a deal from a monopolistic CEO (Roger Allam), he finds himself and his entire family (including father John Goodman and mother Susan Sarandon) in the mercy of the powerful company. Determined to destroy the corporations’ hold on the world of racing, Speed teams with the mysterious Racer X (Matthew Fox) and girlfriend Trixie (Christina Ricci) to defeat the corporate-sponsored drivers race by race, starting with the same treacherous rally that took the life of his brother.
There’s a lot of drama in a movie supposedly aimed toward children; hardly surprising, looking at who’s responsible for the film. The Wachowskis seem to forget they were making a fun action movie; most of the film is spent on long dramatic scenes surrounding each member of the Racer family that slows momentum to a complete standstill. There is so much time spent on studying the inner working of Mom and Pops Racer that Speed seems a mere afterthought until well into the film. As a result, the film is easily a half hour too long and the action sequences never quite rouse the viewer out of the distant stupor the rest of the film puts them into.
Not that any inkling of sense or understanding can be gotten from the action sequences. The film’s color scheme, obviously the filmmakers’ attempt to create a real-life anime is even more dizzying and headache-inducing than their 2D counterpart. The editing is so fast and the movement so mind-boggling (in the worst way possible) that we are forced to wait until the race ends to get a semblance of what happened. The only sequence that elicits any real excitement is one of the few hand-to-hand combat scenes in the film, and also one of the few that are devoid of extensive special effects. Even if that sequence does start off with an act that is either a strangely-placed homage to James Bond or evidence that the Wachowskis have simply run out of ideas.
The cast certainly doesn’t do any favors, though they aren’t given much to begin with. As Speed, Hirsch clearly looks the part but looks and sounds awkward when forced to deliver the stereotypical “let’s see what I can do” lines to his competing racers. Sarandon and Goodman invest into their characters far too much, with their teary-eyed performances out of place in the bright colors and flashing lights. And as Speed’s younger brother Spritle, Paul Litowsky finds himself stuck with some of the least funny comedic relief dialogue seen in quite some time and gives the worst child performance this side of Spencer Breslin. Only Ricci makes a positive impression, mostly due to the fact that she is the only element of the movie that looks like an anime convincingly brought to life.
If the Wachowskis wanted to make a serious action drama about racing, they shouldn’t have chosen SPEED RACER as their inspiration. Their heavy melodramatics conflict wildly with the Candyland/Japanese infused world they set the film in. While some will likely see this film as the next phase in the evolution of cool, thanks to its bloated script and completely incorrect sense of self importance, there’s only one thing to say: SPEED RACER drags.
*1/2/****
Saturday, May 3, 2008
Iron Man
The summer season starts off with a bang as IRON MAN explodes into theatres everywhere. Thanks in no small part to an invigorated and energetic leading man in Robert Downey, Jr., the film is fast, fun and smart – everything that a successful superhero film should be. Balancing Batman-style dramatics with the sense of humor that made the first Spider-Man films so popular, IRON MAN proves to be a film that comic book haters can enjoy.
Billionaire weapons manufacturer Tony Stark (Downey Jr.) is on a business trip to Afghanistan when he is attacked and kidnapped by a terrorist organization. After installing an arc reactor in his chest to keep shrapnel from entering his heart, the terrorists demand that Stark build them an all-powerful rocket that will wreck havoc all over the country. Stark uses the pretense of working on the rocket to build a seemingly indestructible suit to craft his escape. After witnessing the widespread damage his products are inflicting on both sides of war, Stark uses his newfound technology to transform him into an indestructible flying weapon on legs. All the while, he juggles intrusions from his business partner Obadiah Stone (Jeff Bridges) and the military, embodied by Air Force officer Jim Rhodes (Terrence Howard) and an increasingly personal relationship with his ever-capable assistant Pepper Potts (Gwyneth Paltrow).
Superhero movies have never been more grounded in real life than here. The film’s entire set-up, a weapons manufacturer captured by terrorists in the Middle East to build their weapons, seems like a situation that could easily be seen on the news. Combined with the military presence and the ever-popular “how corrupt are major businesses?” scenario and you’ve got one realistic comic book movie. But thanks to Jon Favreau’s tasteful direction and the smart script, the film is topical without seeming preachy or drawn-out; when a script has two co-writers of Alfonso Cuaron’s CHILDREN OF MEN, it’s a safe assumption that the film is going to be deftly topical. But this doesn’t mean there isn’t plenty of fun to be had. The action scenes, while rather small in number, are intense, exciting and spectacular. And thanks to the strength of Downey’s performance, there’s always fun to be had.
It’s unusual that a big-budget summer action film these days would star Robert Downey, Jr. and Gwyneth Paltrow, but each prove more than able in their roles. While Pepper doesn’t do much more than the standard superhero love interest, Paltrow successfully sheds the alienating snootiness that’s affected her in the past. And as Stark, Downey may have found his signature role. Tony Stark isn’t merely a character Downey is playing; it’s an extension of the man himself. Imbuing every line with his trademark humor, Downey channels his public perception into Stark’s womanizing and careless lifestyle, making the transformation into Iron Man an examination of what the public doesn’t see. Downey completely embodies the role, finally giving the world a superhero that can truly balance the lightness and darkness of his personality with superb skill.
IRON MAN is a rip-roaring start to the summer. It doesn’t rely on in-jokes that would only be understood by fans, nor is it too broad in a vain attempt to appeal to everyone. Instead, it tells a solid story with a surprising injection of real-world drama and finely-tuned comedy. The film is a thrill ride from beginning to end, never letting up or losing steam. In a day where only bleak action films can be called smart and only dumb action films can be called fun, it’s a breath of fresh air to see something that excels so easily at combining the two.
***/****
Billionaire weapons manufacturer Tony Stark (Downey Jr.) is on a business trip to Afghanistan when he is attacked and kidnapped by a terrorist organization. After installing an arc reactor in his chest to keep shrapnel from entering his heart, the terrorists demand that Stark build them an all-powerful rocket that will wreck havoc all over the country. Stark uses the pretense of working on the rocket to build a seemingly indestructible suit to craft his escape. After witnessing the widespread damage his products are inflicting on both sides of war, Stark uses his newfound technology to transform him into an indestructible flying weapon on legs. All the while, he juggles intrusions from his business partner Obadiah Stone (Jeff Bridges) and the military, embodied by Air Force officer Jim Rhodes (Terrence Howard) and an increasingly personal relationship with his ever-capable assistant Pepper Potts (Gwyneth Paltrow).
Superhero movies have never been more grounded in real life than here. The film’s entire set-up, a weapons manufacturer captured by terrorists in the Middle East to build their weapons, seems like a situation that could easily be seen on the news. Combined with the military presence and the ever-popular “how corrupt are major businesses?” scenario and you’ve got one realistic comic book movie. But thanks to Jon Favreau’s tasteful direction and the smart script, the film is topical without seeming preachy or drawn-out; when a script has two co-writers of Alfonso Cuaron’s CHILDREN OF MEN, it’s a safe assumption that the film is going to be deftly topical. But this doesn’t mean there isn’t plenty of fun to be had. The action scenes, while rather small in number, are intense, exciting and spectacular. And thanks to the strength of Downey’s performance, there’s always fun to be had.
It’s unusual that a big-budget summer action film these days would star Robert Downey, Jr. and Gwyneth Paltrow, but each prove more than able in their roles. While Pepper doesn’t do much more than the standard superhero love interest, Paltrow successfully sheds the alienating snootiness that’s affected her in the past. And as Stark, Downey may have found his signature role. Tony Stark isn’t merely a character Downey is playing; it’s an extension of the man himself. Imbuing every line with his trademark humor, Downey channels his public perception into Stark’s womanizing and careless lifestyle, making the transformation into Iron Man an examination of what the public doesn’t see. Downey completely embodies the role, finally giving the world a superhero that can truly balance the lightness and darkness of his personality with superb skill.
IRON MAN is a rip-roaring start to the summer. It doesn’t rely on in-jokes that would only be understood by fans, nor is it too broad in a vain attempt to appeal to everyone. Instead, it tells a solid story with a surprising injection of real-world drama and finely-tuned comedy. The film is a thrill ride from beginning to end, never letting up or losing steam. In a day where only bleak action films can be called smart and only dumb action films can be called fun, it’s a breath of fresh air to see something that excels so easily at combining the two.
***/****
Saturday, April 19, 2008
Forgetting Sarah Marshall
It’s a familiar story: someone spurned by their ex-lover goes abroad to escape, only to find their ex everywhere they go. Yet in FORGETTING SARAH MARSHALL, actor/writer Jason Segel uses the type of R-rated humor that made producer Judd Apatow’s films so popular to amusing effect, even if the film struggles to reach the genuine emotion that made the producer’s works so critically acclaimed.
Composer Peter Bretter (Segel) was just dumped by his longtime girlfriend, television star Sarah Marshall (Kristen Bell). Unable to forget his past girlfriend and unable to attempt a physical relationship without bursting into tears, Bretter goes to a luxury hotel in Hawaii, a place he remembered Sarah talking about. Sure enough, the first people he runs into are his ex-girlfriend and her new beau, British rock star Aldous Snow (Russell Brand). He tries to avoid them, but finds himself near them all the time. The only way he manages to escape from them is to turn to his burgeoning relationship with hotel employee Rachel (Mila Kunis). As he spends more time in the hotel, he begins to know more about himself and about the value of living.
As has been common with recent comedies, Segel and director Nicholas Stoller strive to create a film that’s not just about the laughs. And although it does contain a level of sweetness and sincerity that is still surprising in such a raunchy comedy, it is no more genuine or sweet than an average romantic comedy. Peter is a flawed character, but the negative effect his behavior has on people is touched on all too briefly. And aside from the always affirming “stop worrying and just live life” sentiment, the film is primarily successful in making jokes.
And the film is funny. Very funny. Segel already has gotten notices for his daring full-frontal nudity (which begins mere minutes into the film), but as a leading man he’s a bit on the bland side. He handles the jokes extremely well, but is nothing more than serviceable when trying to be dramatic. He is lucky that the amount of real drama required is rather small, and clearly knows where he excels. Bell and Kunis are pleasant as the women in Peter’s life; they inject their characters with mounds of personality but obviously got the short end of the stick when it comes to the jokes. Cameos from Apatow regulars give the film some of its lightest moments. However, the film truly belongs to Russell Brand. As the philandering and ridiculously spiritual rock star, every line he speaks packs a punch. He steps just across the line of being over-the-top, but does it with enough confidence to keep attention on him at all times.
FORGETTING SARAH MARSHALL will never be the juggernaut that films like KNOCKED UP and SUPERBAD turned into, but that shouldn’t speak for its quality. It is still a tremendously enjoyable film that keeps you laughing throughout. It moves past the shock laughs of the frank nudity and sex jokes typical in a film like this to demonstrate a great deal of thought and wit. Slim but fast-paced, the film is a perfect exercise into escapism.
***/****
Composer Peter Bretter (Segel) was just dumped by his longtime girlfriend, television star Sarah Marshall (Kristen Bell). Unable to forget his past girlfriend and unable to attempt a physical relationship without bursting into tears, Bretter goes to a luxury hotel in Hawaii, a place he remembered Sarah talking about. Sure enough, the first people he runs into are his ex-girlfriend and her new beau, British rock star Aldous Snow (Russell Brand). He tries to avoid them, but finds himself near them all the time. The only way he manages to escape from them is to turn to his burgeoning relationship with hotel employee Rachel (Mila Kunis). As he spends more time in the hotel, he begins to know more about himself and about the value of living.
As has been common with recent comedies, Segel and director Nicholas Stoller strive to create a film that’s not just about the laughs. And although it does contain a level of sweetness and sincerity that is still surprising in such a raunchy comedy, it is no more genuine or sweet than an average romantic comedy. Peter is a flawed character, but the negative effect his behavior has on people is touched on all too briefly. And aside from the always affirming “stop worrying and just live life” sentiment, the film is primarily successful in making jokes.
And the film is funny. Very funny. Segel already has gotten notices for his daring full-frontal nudity (which begins mere minutes into the film), but as a leading man he’s a bit on the bland side. He handles the jokes extremely well, but is nothing more than serviceable when trying to be dramatic. He is lucky that the amount of real drama required is rather small, and clearly knows where he excels. Bell and Kunis are pleasant as the women in Peter’s life; they inject their characters with mounds of personality but obviously got the short end of the stick when it comes to the jokes. Cameos from Apatow regulars give the film some of its lightest moments. However, the film truly belongs to Russell Brand. As the philandering and ridiculously spiritual rock star, every line he speaks packs a punch. He steps just across the line of being over-the-top, but does it with enough confidence to keep attention on him at all times.
FORGETTING SARAH MARSHALL will never be the juggernaut that films like KNOCKED UP and SUPERBAD turned into, but that shouldn’t speak for its quality. It is still a tremendously enjoyable film that keeps you laughing throughout. It moves past the shock laughs of the frank nudity and sex jokes typical in a film like this to demonstrate a great deal of thought and wit. Slim but fast-paced, the film is a perfect exercise into escapism.
***/****
Friday, April 4, 2008
Leatherheads
George Clooney has often been called the Cary Grant of our generation, a comparison he clearly hopes to capitalize on in LEATHERHEADS, a true sports story via screwball comedy that makes one long for the cleverness of the old days rather than fondly recall them, as a good homage should do. While the filmmakers mean well, the script is not snappy enough and the stars not as charismatic as their 1930s counterparts to be consistently funny.
The year is 1925, and the Duluth Bulldogs are struggling to survive in the failing world of professional football. Coach Dodge Connelly (Clooney) sticks as many dirty tricks into plays as he can to ensure his team’s success, but they are nearing the end of their rope. Suddenly, Dodge has an idea; recruit a major figure onto the team to get publicity. He sets his sights on Carter Rutherford (John Krasinski) a college football star and decorated war hero. He lures him to the team with a large contract, but finds a snag accompanies it. Newspaper reporter Lexie Littleton (Renee Zellweger) has been sent by her editor to interview Rutherford and expose the truth behind his supposed heroics. Soon, Dodge and Rutherford are fighting for Lexie’s affections as national football, led by the Bulldogs, begins to gain momentum.
Most sports movies deal almost exclusively with the bond between the players, but this film has almost none of that. In fact, Rutherford is rarely seen speaking to the other players, since most of his scenes are either tender interviews with Lexie or jealous bantering with Dodge. This is one of the film’s main faults; the story is set around a very significant time in the world of sports, but it is rarely touched upon. Aside from a few montages and the obligatory Big Game climax, actual scenes of playing are rare. Instead, Clooney focuses on the romantic triangle of the film and the screwball nature of their relationships. Here again is another one of its faults. The lines are meant to be delivered fast, a la HIS GIRL FRIDAY, but they have little of the zip or wit of its inspiration.
The cast is likable enough, even if they are underserved by their roles. Clooney puts himself in full Cary Grant comedy mode, all extorted facial expressions and one-step-ahead delivery. Krasinski charms throughout, even if his actual comic abilities are only allowed to show in a few scenes; a drunken argument between the three main characters is the highlight of the film, thanks to Krainski. Zellweger proves a decent match for both men, though she is far too sweet and demure to convincingly fill the Rosalind Russell-esque role of ruthless newspaper gal.
Clooney seems far less adept at directing comedy than performing it. While the production values are spectacular and the film is beautifully shot, there is little excitement in the comedic sequences. Any laughs gotten from the film come exclusively from the actors, and while Clooney does inspire humor from his co-stars as an actor, he does them no favors stylistically. So while the film offers fantastic production values and a rousing score from Randy Newman, it never manages to be anything more than cute. And considering the talent involved, cute is a major disappointment.
*1/2/****
The year is 1925, and the Duluth Bulldogs are struggling to survive in the failing world of professional football. Coach Dodge Connelly (Clooney) sticks as many dirty tricks into plays as he can to ensure his team’s success, but they are nearing the end of their rope. Suddenly, Dodge has an idea; recruit a major figure onto the team to get publicity. He sets his sights on Carter Rutherford (John Krasinski) a college football star and decorated war hero. He lures him to the team with a large contract, but finds a snag accompanies it. Newspaper reporter Lexie Littleton (Renee Zellweger) has been sent by her editor to interview Rutherford and expose the truth behind his supposed heroics. Soon, Dodge and Rutherford are fighting for Lexie’s affections as national football, led by the Bulldogs, begins to gain momentum.
Most sports movies deal almost exclusively with the bond between the players, but this film has almost none of that. In fact, Rutherford is rarely seen speaking to the other players, since most of his scenes are either tender interviews with Lexie or jealous bantering with Dodge. This is one of the film’s main faults; the story is set around a very significant time in the world of sports, but it is rarely touched upon. Aside from a few montages and the obligatory Big Game climax, actual scenes of playing are rare. Instead, Clooney focuses on the romantic triangle of the film and the screwball nature of their relationships. Here again is another one of its faults. The lines are meant to be delivered fast, a la HIS GIRL FRIDAY, but they have little of the zip or wit of its inspiration.
The cast is likable enough, even if they are underserved by their roles. Clooney puts himself in full Cary Grant comedy mode, all extorted facial expressions and one-step-ahead delivery. Krasinski charms throughout, even if his actual comic abilities are only allowed to show in a few scenes; a drunken argument between the three main characters is the highlight of the film, thanks to Krainski. Zellweger proves a decent match for both men, though she is far too sweet and demure to convincingly fill the Rosalind Russell-esque role of ruthless newspaper gal.
Clooney seems far less adept at directing comedy than performing it. While the production values are spectacular and the film is beautifully shot, there is little excitement in the comedic sequences. Any laughs gotten from the film come exclusively from the actors, and while Clooney does inspire humor from his co-stars as an actor, he does them no favors stylistically. So while the film offers fantastic production values and a rousing score from Randy Newman, it never manages to be anything more than cute. And considering the talent involved, cute is a major disappointment.
*1/2/****
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