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Reviews
Couples Retreat (2009)
Couples Retreat: What Happens in the Bedroom, Stays on the Cutting Room Floor
It's no surprise that the concept of a "romance gone awry" is old. Not only is it old, it's tired, beaten, and worn down to the point that you can see through to the action and drama sections of your local movie store. So when picking up Couples Retreat, remember that it's a story that has already exhausted all possibilities. Director Peter Billingsley tried his best with what he had – a great cast of actors and an amazing location to work with – but that's only going to get you so far if the oil in the engine needs replacing.
Writers and stars in the picture John Favreau and Vince Vaughn depict a time where their friends' marriages are not so fantastic. Joey (Favreau) and his wife Lucy (Kristen Davis) are only staying together long enough to allow their daughter to go to college, while Dave (Vaughn) and Ronnie (Malin Akerman) are stuck in a rut full of kids, work, and home renovations. Their friend Shane (Fazion Love) is getting over a divorce and in need of support.
As you get acquainted with the groups, the last pair Jason (Jason Bateman) and Cynthia (Kristen Bell) recommends a supposed paradise for couples to help everyone reconnect (they themselves were considering a divorce after not being able to conceive a child). It's here that you begin to notice the generalities of each character and you can almost pick the scenarios in which they are going to get back together or fix their issues by the end of the movie - and therein lies the problem.
As you see their shortcomings, you know how they are going to fix it all up. Joey and Lucy are angry and spiteful at each other, but you can never figure out why. That's fine however, because it's doesn't mean anything (besides, it even looks like Vaughn and Favreau forgot to write it in the script anyway). Shane is divorced yet continually talks about his ex-wife, which entitles her to show up at the last 15 minutes of the movie without any preconceived explanation. It's all just following the exact same trends that have been passed down ever since "When Harry Met Sally," only sloppily done.
Once on the island, the tropical and magical atmosphere of Bora Bora (to them Eden West) doesn't make anything better. The movie begins to run on the cheesy one-liners, the over-the-top sexual antics, and extended jokes that go on for far too long. Even with help from respected French actor Jean Reno, they manage to turn him into a useless piece of plot manipulation.
Truthfully, it's a wonder that Billingsley didn't just throw caution to the wind and just give it the R-rating. More than likely with the extra jokes and added content included, it would have brought the plot at least to a bearable standing and they wouldn't have pushed so many seemingly outdated jokes. Yet that is what you are going to run into when you are making a movie with the premise of "trying to save the love."
To be honest, don't even bother. Unless you are really trying to see a specific actor or actress in the movie (and even then you have to work for it), it's not enough to try. You might be better off and just watch something on prime-time television instead if you're looking for the actor's route. After all, half of the cast was in something else before this and nothing is sweeter than starting out fresh.
Black Dynamite (2009)
Black Dynamite: He Threw That Before You Came in the Room
Blaxploitation: A popular 1970s genre for the African-American community utilizing funk and soul music (however, a few years after the popularity wore off, it became a dumping ground for bad stereotypes and bad acting). It was what made shows and movies like "Shaft" and "Jackie-Brown" amazing in their own way. Then they died out, just like all things do in their own time, until Michael Jai White and Scott Sanders got saw that The Man needed to get tousled with.
These two bring back what could potentially be one of the best blaxpolitation films done. It has all the elements from the eclectic hair and clothing (all bellbottoms and afro's) to the over-color exposure and groovy soundtrack (all of which was composed by Adrian Young). What's more, they do it in a fashion where they both poke fun at the genre while giving you the full experience. What you get in the end is a delicious and bubbly mixture of hilarious as well as a badly written story that you can't help but love.
The plot is all centered around Black Dynamite (White), a badass mutha that is a one-man army. His community has become hopelessly addicted to drugs (thanks to The Man) and only he can clean up the mess. He gathers a group to help all of the children in the community; people like Honey Bee, Chocolate Giddy Up, and Tasty Freeze to name a few. However, once you get midway through the movie the plot becomes less of a necessity, and more of a hindrance. You basically stop thinking about what's happening and start enjoying whatever is on screen.
"Black Dynamite" delivers that perfectly. You see the occasional boom mic just inside the frame, an actor reciting his stage directions along with his lines, seeing pointless body doubles for a frame. It's all done purposely and in the good fun to remind and bring back the feelings of a time where the money and the acting didn't matter as much as the entertainment value did. You can throw your cares of how well a director can incorporate a fade or CGI, how well the special effects work
and just have fun.
Needless to say, the acting in this is superb. It's over the top, campy and half of them can barely remember their lines. That takes true talent for several of these stars to be able to act so poorly and yet still deliver an amazing performance. White fits the perfect urban warrior; with his meticulous afro and mustache that even Shaft would have to shut his mouth to. Even Arsenio Hall playing a tough love pimp Tasty Freeze plays it up perfectly, fitting right in with all the plush purple and pump canes.
Even if this isn't a movie for you, it's something that you at least have to experience once just to get the full flavor of something that isn't around anymore. Not only that, but it's rare that you can see, hear and almost taste the heart and dedication that went into every single joke and shot in this movie. It's honestly one of the few movies I can say I enjoyed and watched without having to worry about anything other than when the next joke or punch was going to come in.
Zombieland (2009)
Zombieland: Enjoy the Little Things
Everyone loves zombies, and writer's Rhett Reese and Paul Wernick realized this early. If you look at this years upcoming releases, you're going to notice that zombie flicks almost double vampire slasher flicks because of how the new generation has learned to write for them=. People like Simon Pegg and his "Shaun of the Dead", giving a bloody and satirical look on a 40-year-old industry opened windows and doors. "Zombieland" takes a page or two from Pegg's script and put it to good use, bringing a deliciously quick, gory, and comical look at the end of the world.
Narrated by the lamest of heroes this side of "Archie", Columbus (jesse Eisenberg) dictates what has happened to the world, now considered "Zombieland." He explains how he has survived this desolate world, while trying to make it to his home in Ohio. Upon the way, he meets up with Tallahassee (Woody Harrelson), blood thirst maniac that "is in the business of ass-kicking." After meeting up with two con artists, Wichita (Emma Stone) and Little Rock (Abigale Brinson), the four take a turn to a part in the East where it's said to be zombie free; an amusement park entitled Pacific Playland.
On the one hand, the film follows every single premise that zombies flick has had since Romero put them down. Truthfully, there's little in the way of sidestepping gory deaths of characters or the undead, counting down who will die first, having the world completely overrun
you get the point. But where most try and make up for the same formula with cheap scares and pointless drama, "Zombieland" goes with its comedic acting and situations. The plot itself is loose enough to be right on the cusp of being pointless, with Columbus wanting his home, Tallahassee wanting his Twinkie, and the sisters getting to their painfully bad idea of Pacific Playland.
Speaking of cast, Harrelson and Eisenberg create an interesting blend of neurotic and irritating that make you just giggle. With Eisenberg's character, everything is planned out: nothing is left to chance. Living by his own set of meticulous rules (Rule #3: Double-tap), he is one of the few people that you can look at and see that OCD really can work out somehow. Then Harrelson, in all of his gun-toting, bloodletting, and simplistic one-liners make the perfect bridge. They prey off each other's weaknesses so well for their jokes that it's like they were meant to be together, especially when it truly looks like Harrelson is getting annoyed while Eisenberg is looking for the upcoming punch.
Yet a horror movie wouldn't be complete without a love interest. Wichita creates an interesting romance in the story, being the culmination of everything that Columbus could never have: sexy, preppy, overall "high-tier." Yet what makes this work is the gradual growth of Columbus. His adapting to the environment, and his quirky attitude makes it almost like a lost puppy finding a master that will give it scratch behind it's ears.
What really takes the cake for this movie is not its simplistic shooting style (in zombie, you can only do so much), or its complete disregard for suspense, but it's work on creation In most zombie movies, you see the absence of creation, the overall end of life and groups of society. Yet what the main character was really after was something that he could consider a family. Once you compare most of the older movies with the main characters trying to find a place to be safe even after their group has died out continually, this just focuses on being together. It's a rather nice change of pace than what's always been handed.
Overall, unless your man or woman enjoys visceral damage and violence, it doesn't work as a date movie. However, it does fit perfectly with a nice side humor movie that will get you through long enough and content enough till that episode of "Big Bang Theory" finishes downloading.
Whip It (2009)
Whip it: The same style doesn't disappoint every time.
The beauty of Ellen Page is that she has become an actress that's subtle. Since her 'claim-to-fame' movies like 'Hard Candy' and 'Juno,' viewers are expecting at least a little of a quirky, quick-witted character. 'Whip It' is no different, but that's alright. In fact, this whole movie from start to finish fits in the easy pattern of a woman finding her way. You can call out each upcoming scene and even some of the lines of you think about it hard enough, but still, it turns out to not to matter. By the end of the movie, you had an enjoyable experience and even got to see some women beat the hell out of each other.
The movie is about Bliss Cavendar (Page), who is a high school girl growing up in No-where, Texas being forced to go through the pageant circuit thanks to her mother (Marcia Gay Harden) in her attempt to impart "1950 ideals of womanhood." Obviously Bliss wants out, so she finds in Houston the Roller Derby, where she lies about only being seventeen to make it on the team, and thus starts a second, more fulfilling life.
That synopsis alone is enough to give your mind to fill in the blanks and plot gaps, and you would pretty much be right. Bliss begins lying to her parents, changing her schedule and continually coming in late every week, yet nobody seems to care or notice for far too long. She becomes a star in the rink, yet is envied by antagonist Iron Maven (Juliette Lewis). There's the rocker boy love interest, which by the end you can't tell where they stand just because that's how the character is – a woman that takes care of her own – but none of that will really bother or get tedious.
The reason is, the cast of characters and the action that is Roller Derby always draws you back in. The rules are simplified and explained once, then with refreshers as the games progress, just in case you didn't get it with the explanation in the beginning. After that you're watching girls circle a large rink, trying to knock the hell out of each other, block, bump, grind, and any other combination you can think of to score. The teammates on Bliss' team – the Hurl Scouts – add to the mix, bringing in humor and helping Bliss grow in this unique "coming of age" tale.
And that's really what this movie is really about. Writer of the screenplay and book that the movie was based on, Shauna Cross, was a derby girl herself, and modeled both by the experiences she saw and felt. Director Drew Barrymore, who has a part in the movie as Smashly Simpson (all derby girls have a nickname, if you couldn't tell), keeps the focus on Bliss and her journey and not on the possible side characters.
"Whip It" keeps you entertained with its blend of situational humor, sass and a tiny bit of melodrama brings this movie together. And thankfully, this one also has plenty of humor and girl-on-girl fisticuffs to keep everyone happy and involved.
Legion (2010)
Legion: When Zombies Have Souls
When in the first five minutes you see a cross, blasted upon a building, you know what kind of movie you're in for. Legion brings you to that point and never fails to disappoint from letting you glimpse into the minds of moviegoers, knowing what's really important. Writer and Director Scott Stewart bring an overly zealous plot, with nothing to gain from it but a sagging idea of what just happened, and plausible religion.
The story falls on the days before the end of man
again. God has lost his patience with humanity, so has sent his legion of angels to wipe the slate clean again. However, two things can stop this devastation: "Fallen Angel" Michael, commander of the armies of God, and an unborn baby, who once born will be the new Messiah. Michael rushes to the defense of the helpless mother and other in an out of the way diner, to hold off the onslaught of angels until the child is born.
Collectively, all of the pieces are there to use if they can be placed in the right order. You have your cast of upright and respected actors like Denis Quaid, Charles S. Dutton, and Paul Bettany. In spite of that, you remove Bettany's humor and emotion, keeping him in one stoic face every frame. Better yet, Allow Dutton's character to have the majority of his lines in one monologue. Of course, bring in Lucas Black, and his deep southern accent just in like the plot does with this movie.
Speaking of plot, that was another that was right in their fingers, then let slip through like so much dry sand. The concept of the armies wiping out civilization instead of protecting and defending is something somewhat new and inviting. Forget the fact that in Christian and most major religions, that's horribly wrong and goes against major pedestals in their faith. In fact – just forgo all ideas of religion. It will make it that much easier for the migraine to set in. unfortunately, much is manhandled into the final project, that you don't what you just given.
For one, and really the largest issue logistically, is the simple fact that every one of the angels sent to attack, looked like the possessed from Constantine. While they begin to spring up, one could glance over to the handsome Michael (Bettany) that was the fallen one, and see which had the prettier looks. It makes you wonder, were only the high- ranking angels attractive, or just the cast down ones? Not only that, they acted more like conscious zombies, all working for a hive-goal, while ignoring guns that refused to run out of ammo (or was only shot twice before being thrown aside).
Though it's not like you will really see or understand any of what's truly on. Between the awkward pacing and cheesy plot expatiation, bad split cuts coupled with blurry tracking and darkened scenes, you'll have at time connecting A to B. Which is always a shame when you can pick apart the mess the filmmakers couldn't, especially when it just becomes another bad action flick.
The Invention of Lying (2009)
The Invention of Lying: A Little White One From Time to Time
Every man and woman out on a date or in that early-morning meeting has had that thought, wishing and praying that they could say the little white lie, and get away with it. A commonality with man, the lie is pivotal in everyday society from politicians to ensuring your wife that her cooking isn't that bad. So when you take away humanities security blanket, and the world just tells the truth, what would that be like? British actor and writer, Ricky Gervais, along with co-writer and director, Matthew Robinson, bring the theory to the forefront with The Invention of Lying, with an interesting outlook and underplayed humor.
The story centers on Mark (Gervais) as a bumbling and down-on-his- luck screenwriter. Because of a world that carries no lying, there is no creativity or imagination. Thus, Mark and his movies are lack- luster. To salt on the open wounds, Mark's love life is non-existent and his dear mother is stuck in "The Sad Place Where People Come To Die." So when things hit rock bottom, Mark makes a startling discovery in a desperate act to turn his life around and creates the first lie.
If the truth sets a man free, then each character in this movie should have had wings and tethers to their chairs. In truth, the concept behind telling nothing but the truth is quaint and works on paper. Yet, what becomes the issue after the first initial minutes is that each character in the movie is more-so saying everything that pops into their minds rather than truthful statements. It's one thing when asked if your hair looks good and you get a no. It's a completely different thing to ask the question then hear the eight different reasons why your existence on Earth is meaningless.
What helps keep this movie floating and not make it another failed romantic comedy is Ricky Gervais and his delivery. He subtly combined his lack of enthusiasm and simple stress over every little thing happening because of the lying just meshes together and works. Especially once you add in Anna, Jennifer Gardner's character, who was a failed date that Mark continually tries to be with. Their interaction and banter create a bond thanks to their difference of personality and needs (Mark wants love, Anna wants a genetic match).
However, a larger part of this movie becomes a satire on how we perceive religion and how we justify our right and wrong actions. When his mother is about to pass away, he tells her about "The Man in the Sky" and what a glorious place she will go to, full of mansions, to spare her the fear of death. After she passes, the word is spread, and soon Mark is left standing outside his house with two pizza boxes, to tell the world of this being and how to act towards everyone, in hopes of making people happier.
The movie then slowly becomes almost idealistic in trying to point out the best ways for each of us to live and act around each other. Instead of it getting preachy or overly symbolic, the movie just sticks with Mark and his life. Instead of getting into a political or social debate, you begin to feel sorry for the man that holds the world in his hand when all he wants is to kiss the woman he loves.
As far as romantic comedies go, this one is far from being a cut above the rest. In terms of story and its concept, it is something that is worth looking at, especially for the laughs along the way.
The Imaginarium of Doctor Parnassus (2009)
The Imaginarium of Doctor Parnassus: What Goes Around, Comes Around
Terry Gilliam, The mind behind the erratic and genius Fear and Loathing Las Vegas and Brazil, had his creative work cut out for him, when one of his stars and backbones passes away suddenly and quietly right in the middle of shooting of his latest film, The Imaginarium of Dr. Parnassus. Though with the passing of Heath Ledger, it gave Gilliam a chance to explore a different approach to explain the fanciful story that he had created, built entirely around a man and a bet.
Like most of Gilliam's stories, to find the complete plot, you must delve deep and find it within yourself. The basic outline is centered on Dr. Parnassus (Christopher Plummer), an immortal holy man that has been in conflict with Mr. Nick, the embodiment of Satan (Tom Waits) to both collect and redeem souls throughout the course of life. Where Ledger's character falls, is something of an oddity, for he's found dangling under a bridge by Dr. Parnassus' daughter ----- and their traveling troupe. With the arrival of Tony (Ledger), Mr. Nick Brings up an ancient bet that unless Dr. Parnassus can save five souls in his imaginarium, then his daughter belongs to him.
Spelling out the story is fanciful and tricky enough, yet to watch it unfold is a well-paced and lingering, allowing the viewer to slowly ponder over what is exactly going on and enjoy the overall well written comedy and spectacular sights that are in the imaginarium. But what is this magical place, full of color and CGI majesty? Simply it's the place where ones true self – the things you most covet and treasure but may not need – are shown, and you are given the choice to repent or live with your sin. Thankfully the movie never gets preachy, as easily as it could have gone in that direction.
By all rights, the story itself could have been tightened up, to tie up loose ends and remove unneeded material ("He's upstairs"), yet it's obvious that the cause of most of the hitches due to the demise of Ledger. It was almost as if parts of the movie were left in as a homage to the departed actor, which in most cases wouldn't be a bad thing. However, when you have a movie that is so warped and mystical, plunging you directly into your imagination, those types of errors cannot be left.
The same could be said for the three accompanying actors; Jude Law, Johnny Depp, and Colin Farrell. The trio was added into the script later, once changes needed to be made and shooting had to go on. To use them as other embodiments, "mirror-images" of Ledger in the Imaginarium. I have to say that as a whole, all three of them did a fantastic job of mimicking Ledger's mannerisms and patters, trying to truly be him without overshadowing. Though Law feel a little short – being bland and underwritten overall - while Farrell rose a little higher – almost perfectly mimicking Ledger from earlier scenes - all of them worked splendidly as a unit.
Still the movie worked, even with its downfalls. The comedy and delivery in the way it was handled (subtle and indirect undertone) flowed effortlessly, again helping the pacing of the overall story. Which also helps this movie, in the end, give it one of the staples of a "what do you think?" ending. Much like "Donnie Darko" or "Memento," by the credit roll, no two opinions of the message or meaning will be the same, and that's perfect. Because as we all have learned growing up, happy endings are not guaranteed.
Fame (2009)
Fame: What's in a Name
From this moment forward, I'm going to completely forget that the original Broadway production existed. That's not to say that this rendition of Fame was better or worse, but I do believe that comparing them is not fair. You have to remember that there is nearly a 30-year difference between the media, which grants a large difference between what can and what will change. With that being said, I feel as if this movie actually did a decent job in doing what it was should - bringing an entertaining moving and showing what recalling happens in an art school.
The plot as much goes in the same boat as sever that we have seen before. We watch the lives of several students as the go from bumbling and hopeful applicants in a prestigious arts school in New York City, to prospering and proud graduates. Yet it's not all fun and games, as each of the selected ten students have their own trials and tribulations in their friends of dance, music, and acting. Along the way, their teachers who add their own flavor and advice will guide them. These little gems by people like Kelsey Grammar and Charles S. Dunton layer on an impressive and applaud-worthy amount of attention and detail to what these kids should be learning. They fully immerse themselves into the role of molding their minds into what they need to be.
For delivering the story of each of the characters, director Kevin Tancharoen did an interesting and stuck it to the parts that were only worth telling. When I say that, He doesn't show you each of their love loves, or what their careers are - in fact he barely gives them enough face time to know who they are - but sticks to what's enough to give them their motivation and drive. The passion of each character is what makes this movie and that's what pushes this movie along past it's four "years." However when done in this fashion, you do run into the issue of what I mentioned just a moment ago; not knowing who is who. It wasn't until the end of them move where I could clearly recognize anyone, let alone remember anyone's name clearly.
I did say that I wouldn't compare this to the Broadway original, but considering that this was on Broadway, it's safe to assume that the music was left as well. One has to realize that you are watching a movie about NYC preps in arts school. Yet most of the musical numbers were not spontaneous or over-excessive (though the first main number did nearly break that second one). The majority had a purpose and flowed with the plot, which is always a plus, in the aftermath of the High School Musical trilogy.
Yet the highlight of this little aural romp was the fact that overall, there was no true happy ending. Sure, people got what they needed, but not in the way that they expected it. It was true in the way that real life would finish out for kids. It's a little bit of reality wedged into a lot of fantastical imagery and melody.
The movie overall is good. Could things have been done better? Yes, yet that can be said with almost any movie. This is, however, a movie that you have to want to watch, much like Rent or West Side Story. If you walk into those and you are either not prepared or they are not what you enjoy, then you are going to be disappointed and will not experience the full potential you were meant to get.
Daybreakers (2009)
Daybreakers: Everything is a Little Better With Some Sunscreen
I'm going to be honest here; I cannot wait for the vampire fad to die out. Not that I don't enjoy a good vampire movie now and again, but when it becomes a commodity and a staple in society and entertainment, I can't do it. It's all because the imagination has but so much to work with and it's all confined within a certain frame of vision. Thus is the issue with the latest addition to the collection, Daybreakers, (starring Ethan Hawke, Sam Neill and Willem Dafoe). It took the normal elements we know about "vampirism," utilized all of the components, but then fell short in the attempt.
This story is one that has been rehashed over and over again: a virus infects the wide majority of humans and turns them into vampires, leaving the rest as simple "V-8 juice boxes." The catch is that humanity has run out, which means the blood supply has as well. It's Edward Dalton's (Hawke) job to try and find a viable substitute to both keep the vampire population from dying out and for company mogul Charles (Neill) to distribute. Yet Ed is an oddity in the vampire world, as he is a human-lover, and wants to find a standing cure. This is where Elvis (Dafoe) steps in with an alternative.
The writers and directors of this little piece were the brothers Michael and Peter Spierig. They kept the story pretty basic by following the most fundamental vampire truths; no sunlight, no reflection; a stake to the heart will eradicate a blood-sucker, and of course immorality. They kept away from less commonly-known stuff, like the extended strength and senses, which adds to the idea that these are people who are trying to live and be as humane as possible -They just happen to have an addiction to an endangered species. So, they have to forgo humanity in the process. This works splendidly, particularly when you add in the subversive context of how we ourselves have become so dependent on non-renewable resources.
With that being said, Neill does a fantastic job of portraying the big- business tycoon who's only worried about the dollar signs. He personifies greed and insolence, which, just by a simple glance, is perfect. Dafoe and Hawke also settle into their roles, giving their characters substance and backing. Hawke, the whole movie, seems plagued by the fact that he has never wanted to be a vampire, and refuses to hurt a human. Dafoe, on the other hand, is the simple mechanic that has the concept form point A to B. He's ready to get the job done and, being from the other side of the tracks as it were (he was once a vampire, now holds the cure), is ready to face whatever may come.
With a simplistic yet stylized story and controlled cast, where does it go wrong? It's all in the execution. The Spierig Brothers begin to rely on shock scares throughout the movie, to give the audience some unneeded anticipation and fear while still telling this dramatic and dark story. They could have gotten away with making this a fantasy-horror piece, a film noir for vampires, but they just chucked in ridiculous spurts of gore that would even make most of the most die-hard blanch. What's more, the last fifteen minutes of the movie seemed so rushed and disconnected that you find yourself thinking that none of it was necessary. can smell the potential here, permeating through the gore and begging to shine through the shaded and grisly world that is 2019. If only the Brothers Spierig had taken a second glance and truly nurtured the concept. However, it got sloppy and in a world where there's nothing left to snack on, you can't go back and get seconds
Cloudy with a Chance of Meatballs (2009)
Cloudy With a Chance of Meatballs: Gonna Need an Anti-acid Too
I remember when I was five-years-old, going down to my local library with all of the other little children on a class field-trip to get the average gander of what exactly happen in a library. To start off the trip, a stooped and arthritic little figure read us this magical book, where food and drink fell from the sky every day. The idea was glorious, and for all of the little kids around, we were mesmerized. Little did I know that this one story would help spur my way into writing (and being slightly overweight as a child), but it would also help create an interesting little movie some thirty years after it was published
The movie, directed by Phil Lord and Chris Miller, takes the simple concept of food falling from the sky and pushes it to the next level with Flint Lockwood (Bill Hader). Flint is an amateur inventor whose projects just don't seem to work out right in their dying town. Yet when his invention that turns water into food is propelled into the upper atmosphere, Flint becomes the hero of the town and starts filling out orders for everyone's favorite treat. However, there is always a price to these simplistic and harmless looking miracles, and weather girl/love interest Sam Sparks (Anna Faris) has to help Flint before he inadvertently causes the end to his little town, and the rest of the world.
Visually, it isn't anything spectacular. It does have its moments of sparkle; a glass shattering here or water splashing there, but that's all that she wrote. Yet what this movie lacks in jaw-dropping finesse, it brings back in marvelous color. The town of Chewandswallow begins stark and grey, since it's an obvious dying and boring town. Yet once Flint turns on his machine, the hues of red, gold, blue, and everything in between shine through. It's truly a movie to play with if you have a Blu-Ray player and have been desperate to test it out with something with the kids.
And speaking of kids, this is a well-done kids movie that keep anyone entertained. Jokes come fast and come in a manner that leaves you laughing for a minute or two, only to catch your breath and the have another joke thrown in your face. Although half of it is slapstick for the younger audience, it is done tastefully enough that you can at least appreciate the majority of the jokes. They respectfully forgo any and all of the body humor jokes, keeping it upscale (or as much as you can in a movie where the characters gorge themselves), leaving you simply happy by the end of it.
The voice actors did a great job bringing their characters to life. Hader and Faris together create a cornucopia of awkwardness that propels the story and love interest. Hader himself did an amazing job with bringing his character to life, making you almost believe that someone as eccentric as Flint could live right behind you. Faris could have potentially toned down her peppy honestly, yet with the help of the supporting cast like Mr. T (who did an amazing job being himself, small wonder) it was hardly noticeable.
All in all, this is just a nice and respectable movie to watch with the family or with a big group of friends after a long day. I could see myself enjoying this over and over really, without having any problems against it. Unfortunately, the issues of getting hungry as you watch this movie, that doesn't go away
in fact it just gets worse as it goes on. By the time the credits roll, you better be planning something for a midnight snack, or you will be kicking yourself for it later.
Paranormal Activity (2007)
Paranormal Activity: It's Like I Can Touch You
When it comes to watching a horror movie in this decade, the average moviegoer has two things to worry about: cheap thrills or senseless gore. If you're lucky you can possibly get both, sinking you right in the middle of a subdued snuff film with a pacified plot. Yet, every once and a while a few films come out that give pause and at least try. Paranormal Activity, written and directed by newcomer Oren Peli, takes what humans find in the deep recesses of our subconscious and use it against us: the fear of the unknown.
The ploy, which is in no means original or unique in any form, goes like that; take an overpriced camera, two twenty-something's that live together, and have them try and solve "the mystery of their haunted house," in dilapidated Scooby-Doo antics. With the help of a "The Psychic" and blind stumbling, they go through documenting everything from each bump and creak, to their aggravation and paranoia.
Again, this concept is nothing new. Go back into the crevices of your mind and think back to 1999, when The Blair Witch Project first flashed onto the silver screen. The irrational cuts, blurry and unfocused camera-work, to help ram home the idea that this truly happened to these pitiful kids. Now, fast-forward ten years and you have this movie with, more or less, the same M.O. However the differences are noticeable. Peli graciously and appropriately forgoes those troublesome camera antics, sticking to keeping that camera stable for around half of the film, while the rest is moving around in an amount that even your Uncle Charlie at family reunions wouldn't get sick over (something that people from Cloverfield and Blair Witch had serious issues with). What's more, since the main character Micah (Micah Sloats) is reviewing and editing all of the footage as he goes, it is cut and styled in a suitable manner so it doesn't look produced, having that "do-it-yourself" feel.
As far as the cheap thrills and bumps in the night go, you are going to have those regardless of how you feel. The anticipation walking into a horror movie is going to amplify every breath and every creak, even if they weren't supposed to be there originally. Now I will say that when then first of the haunting starts, you can tell that Peli is purely trying to mess with your mind. Yet as the movie progresses, the psychological aspects begin to get to you, leaving you wading in tension a forearm thick.
Which would leave would superb movie, if it weren't for the leads. Micah comes off as a narcissistic buffoon, only in this hunt to amplify his own bravado and to prove to himself and to his fiancé Katie (Katie Featherston) in a "Me Tarzan, you Jane" approach that says he can take care of anything. While Katie starts off on the right foot, only to flip- flops before spiraling down for obvious reasons that I will not mention (no spoilers here folks). The baseline is that their actions and motives throughout were so horrendous that you get lost in their idiocy. Even if that doesn't stop you, their actions will.
Thus, it makes it hard to remember that this is a movie set three years in the past, making their ignorance of the unknown almost passable. Paranormal activity was just sparking interest, and hence the setting of the movie, and whatever they did, they were truly making up as they went. However some things, common sense can gently prod you in the back of the mind, and say, "Get the hell out, you moron!"
Again, this movie was watched and reviewed on the DVD release, and with that, I was able to see two of the three alternate endings of the movie, showing some of the better ways the characters ended. Supposedly, these two were picked because they were the best received out of the group, yet I cannot help but feel that the third that is missing was one of the better ones to see. I will say that for anyone watch the DVD, that the alternate ending is a much better end in terms of a subtler, and fitting end.
Why Peli thought to only put two of the three, I can only speculate. Perhaps he figured he could do whatever he wanted, since truthfully when a movie with a $15,000 production budget makes over $200 million, you can. And it is easy to see why. After you place aside the awkward characters and other minor issues, you have a movie that people have not seen in years; a movie that scares you for being there. You don't see what is there, but you assume something is. There is no green screen or CGI, just well placed camera-work.
It's a re-installment of something a decade past, but when done with a little work and forethought, it can be handled with fear and shivers. I myself can say I was a little tense after, wondering what would happen next, and knowing that the other nine people in the room felt the same. Some may scoff or throw it aside, but even if that feeling is there for an instant, then the movie did its job.
Sherlock Holmes (2009)
Sherlock Holmes: A Mystery to Solved
As the Christmas festivities come to a close, other opportunities open up in the world of theatrical entertainment, with the release of Sherlock Homes starring Robert Downy Jr., Jude Law, and Rachel McAdams. Yet with this installment of Holmes, after so many before have been a delightful and true immersion into the pages of creator Arthur Conan Doyle, has become like so many movies of this generation; an action thriller full of explosions and special effects.
The plot takes us out of the original stories, and into a time where Holmes (Downy) has become despondent from a lack of cases, after solving his latest one in the opening of the movie. Watson (Law) is preparing to move out of 221B Baker Street to consider marriage. Although this is obviously putting strain on the dynamic duo's relationship, they come back together for come more time to finish a case. It seems that there last assignment as risen from the grave and has promised death and a new regime for both Britain and the world.
While the plot has its moments in the terms of a Sherlock Holms adventure, it seems too stretched, mainly due to the undue amount of action. The eclectic Holmes, a man wrapped in intrigue, deduction and mental prowess, has been transformed into a fist fighting, running and gunning hero. Holmes has left behind what made him unique and has created this early 19th century Batman that everyone knows about. The only redeeming quality of this new installment of Holmes is how Downy was about to bring the right personality to the character. His quick and subtle reactions to any situation in combination with how Downey brings to the table an intellect that the movie can't contain.
Still, the biggest issues that come into play are all of the action sequences and explosions. Director Guy Ritchie, who has directed other movies like Snatch and Lock, Stock, and Two Smoking Barrels, doesn't create this world out of a malicious intent to ruin the view of Doyle, rather just make everything he touches fun. This is a holiday movie and with this type of cast, he makes it fun. Top his credit, he does in fact do that and well, once you forget the fact that this is supposed to be a man sleuthing and not breaking ribs and running through balls of fire.
I will have to give it to Ritchie, in his choice of actors for their respected parts. They fit into their characters exceptionally well and easily, though I will say that the constant undertone of homoeroticism between the characters was not needed in the least. Even bringing in McAdams, who is an amazing and beautiful actress in her part as Irene Adler (the only one to get away from Holmes and win his love) to bring in a female attraction, it still does not dampen it enough. We get it; there is something possibly between the duo. You don't need to make it blatantly obvious in every scene.
The movie overall is something you watch to have a nice little action movie, something of a smarter Die Hard, only with less grunge Americanism and a heightened sense of courtesy. Just keep in mind that if you are walking in for a true detective movie, you will be slightly disappointed by cavalcade of destruction that follows Holmes
District 9 (2009)
District 9: A Walk in Someone Else's Shoes
There is one singular event that makes watching the same movie from the release in the theater and then again at the DVD release enjoyable, and that's simply still enjoying it. District 9 is one of those movies that will be talked about for years based on the technical merit, it's writing, and it political undertone of what really happened in Johannesburg. Writer and Director Neill Blomkamp did a superb job of blending his real-life events with realistic and fanciful science fiction to bring a story that will both bring into the light of what humans are capable of, and how we are capable of doing it.
The story itself is fairly straight forward, even with its small subplots that are meshed in seamlessly. Especially when you include that the movie is portrayed in a "fly-on-the-wall," cinema-verite style, while pushing documentary and hand-held, and general third-person, it gives the whole plot and main character an intense feeling of being a fish in a fishbowl: They have nowhere to run and are insubstantial to stop the rising tide that is about to come at them. Winkus, the protagonist of the story (Sharlto Copley) is working for an international company MNU, which bears a striking resemblance to NATO to help relocate an alien race known to humans as Prawns.
The Prawns have been stuck in Johannesburg for twenty years for reasons unknown, and in that time have lost their ability to get home. While they have been stranded on Earth, MNU has set up camps for them to live in which has become a cesspool for drugs, prostitution and violence. With humans getting fed up with Prawn occupancy in Johannesburg, MNU begins to move them out to another location outside the city limits. As a result, Winuks becomes contaminated an alien device, which causes him to turn into a Prawn as the movie progresses.
Now, as far as the rest of the plot goes, it flows well and seamlessly for the most part. I will say that for sections of where they take emphasis on the worse of Winkus' transformations, Blomkamp would break up the intensity with a sappy conversation to Winkus' wife, delaying the story with a feeble attempt to add another layer of sympathy for the man. Although it is nice to see he has some other goal to work for rather than just himself, truthfully it seems thrown in, especially once you notice how quickly his wife changes his mind.
Other than the slight plot hiccups, the rest of the movie works with surgeon-like precision. The greatest achievement in this movie was how the Prawns (who were all computer engineered) were able to interact and seemed to fit perfectly into the surroundings. The quality of the aliens blending so well into the foreground and background was ideal, and something that up till now, hasn't really been pulled off as perfectly. While it would have been nice to see during aerial shots of D- 9, to see more of the supposed two million Prawns, instead of shanty houses and burning rubbish.
The acting throughout the picture was justly topnotch. To interact and work with each of the imaginary Prawns, each actor did a remarkable job of making one believe it was there. Copley himself did a fantastic job, having to essentially spend the majority of his time with a Prawn and interacting with him like it was an everyday occurrence. In fact, Copley and the majority of the cast did a splendid job of playing into their roles, be it the interviewees for the supposed documentary of what really happened, the typecast role of military officer, or Copley who make you feel like he was Jeff Goldbloom reincarnate in The Fly.
Yet still the most stunning is how powerful the movie really is without people really comprehending. Blomkamp first got the inspiration for this movie with his original short Alive in Joburg. While that was more of a political piece as it was a short on how the government was handling the apartheid and the blatant racism for the people living in District 6 (otherwise known as Cape Town). This movie helped bring the issue to a broader light, along with expanding the issues of racism, which has plagued South America for years. Thankfully, Blomkamp also does the appropriate thing of keeping it low-key, letting the audience either realize his creative intent, or respectfully ignore it.
Even with its slight bumps, they are not enough to knock the coffee out of the holder. District 9 is not a movie you will watch every day, but it will be one that you can put in and appreciate for what it brings to the table, the story it tells, and the creative and imaginative intelligence behind it's creator.
Avatar (2009)
Avatar: Where Can I Get One of Those?
For any person living in the eastern part of the United States, taking that long trek to the local movie theater probably was the last thing on your mind, while the thoughts of hot chocolate, and watching the snow was a higher priority. Yet even with the weather arduously not helping, Avatar starring Sam Worthington, Zoe Saldana, and Sigourney Weaver, still flashed onto to silver screen with something to prove.
For anyone walking into this movie without any prior knowledge other than prime-time trailers, they will be dazed and thrilled with the kaleidoscopic world brought from the reaches of the universe. Which is why it becomes no surprise to hear that Director James Cameron had been waiting to produce this movie for over fifteen years, only being stopped by CGI and limitations. However, once a $500 million budget was procured and graphics were to his visionary standard, everything was golden.
And golden it was. Right from first ten minutes you get the essential story: Worthington was a Jarhead that was hurt, had a brother that died and got the chance to take his place on a science expedition on Pandora, a Earth-type moon with natural inhabitants, the Na'vi that are not happy with what humans are doing. From there the stage is set to meet the rest of the cast, and learn that Worthington job is to run an Avatar, a human-made version of the Na'vi to help learn their culture and get to know them better.
However there is a hitch in the scientific plans in the form of Stephen Lang's character, the officer in charge of the defense and mining of an important ore on Pandora. Lang's only goal is to remove the Na'vi so that they can mine the hell out of the planet. Thus it is the fate of Worthington's character to be stuck in the middle, battling with his conscious.
The plot flows effortlessly between a steady dose of character development, action, and humor, which guarantees that most will be enthralled with the world presented. Worthington's character Jake Sully, who has always been a solider, keeps the motto of speak only when it really counts. This makes him a good pair along Weaver's character Grace, who is the lead scientist for the Avatar program. Cameron takes a lot of what made Weaver's character amazing from Aliens and brought it back here, keeping her snarky and to the point.
Yet the large selling point for the mammoth was it's CGI and how they incorporated it. I'm not going to try and sugarcoat it here; there's a lot. About 80% of this movie is based purely on the computer renditions of the actors while they are scurrying around out in the dense tropical forests of Pandora. And while the concept of it caused a bit of a ruckus before opening, they pulled it off flawlessly. Everything from the luminescent trees to the exotic creatures in this Utopian world looked and fit perfectly into place.
What's more is that the facial and body structures of each character really made you feel like they were meant to exist. Especially watching Saldana's character Neytiri and how each movement in her face looked perfectly natural is an accomplishment. In fact, in most of the Na'vi, you could see almost the exact actor or actress behind their character's eyes, and know that they in fact were doing those exact movements.
Cameron does an amazing job bringing you a masterful story, yet at times he almost loses both himself and the viewer in what he was talking about. The fanciful plants and pictures everywhere, the almost Bay-ish humor that would spring up on occasion, (which I feel is at no fault to Cameron, rather a ploy to get younger viewers more involved) you could have the potential to forget what Cameron is trying to get across in this episodic fantasy; and that's everyone and everything has a life. You observe as the Na'vi savor every twig, every leaf, pray to every kill they hunt for food, never enjoying what they do.
It is a concept that stems from the 90s, yet has followed Cameron and has become a bigger part of today's world, with the threats of global warming and movies like The Inconvenient Truth. While Cameron's intent was not to preach and to bring about the age of Utopian society with nature, he walk back to the screen with a carpet of glowing moss under his feet, and nobody heard him coming.