American Splendor
A breath of fresh air. Part documentary, part dramatization,
this examination of comic book legend Harvey Pekar hits all the
right, angry, downtrodden and realistic notes like the film equivalent
of a blues classic. Paul Giamatti and Hope Davis recreate the spirit
of the Pekars completely and when Harvey himself appears as occasional
narrator, the film is elevated to an even more respectful and wondrous
level. As well-known for his Late Night with David Letterman appearances
as for his comics work, Harvey becomes a working class cult hero.
Though the "down" tone of the picture might make it a
tough view for some, the integrity and the humor of the material
capture the essence of a man just wanting to survive and trying
to be heard.
***
American Wedding
Yet another fun summer sequel. It never quite reaches the
highs of the first two American Pie movies, but
it certainly had the market cornered on the gross-out guilty pleasure
market this season. We all love Jason Biggs and Alyson Hannigan
here, but Seann William Scott and Eddie Kaye Thomas pretty much
make this "The Stifler VS. Finch Movie" when you get right
down to it. Their battle over the heart and body of January Jones
is the real driving force of this chapter. Add some in-laws, a pair
of strippers and a big, burly gay male dancer and you have more
laughs per hour than any other film this summer.
***
Bad Boys 2
Sicker, longer, louder and funnier than the original. The genius
stroke in this screenplay is in having one of the macho-buddy cops
(Martin Lawrence) revert to a shouting, cowardly wreck whenever
there's a gunfight or car chase to be had. This reimagining of the
hyper-masculine action ethic breaths new life into a slight but
overdrawn story involving smuggling and drug lords. Michael Bay
returns to form here. He gives Joe Pantaliano more screen time,
yet wastes the great Henry Rollins. And yes, he steals from the
action film highs of Hong Kong (a chase lifted from the opening
of Jackie Chan's Police Story) and gallows humor
of Japan (not unlike a Takashi Miike flick). Still and all, somehow...
it works.
***
Freddie Vs. Jason
It's exactly what it looks like: some wacky and really
gory fights between the classic horror titans sprinked amongst 80
minutes or so of idiotic people doing idiotic things. With all the
self-reflexivity evident in the story there are a few laughs, but
it takes the movie nearly 45 minutes to really cut loose. If this
were being viewed at home you'd really be leaning on your remote's
"FF" button. I've never liked the Friday the 13th flicks
and really only enjoyed one or two Nightmare on Elm Streets, so
I'm far from the target audience on this thing, who screamed and
yelled so drunkenly and so often throughout the screening that it
actually lended to the sense of fear. But let's face it: it's not
like this is a real movie so it can't really be looked at like one.
As a freak show carnival attraction it's hit and miss, though the
Terminator 3 style superbrawls are all that stand out.
**
Lara Croft - Tomb Raider: The Cradle of Life
It's a shame that neither Charlie's Angels: Full
Throttle nor this next chapter in the saga of Lady Croft
seemed to catch on with audiences. Here, the stunning and convincing
Angelina Jolie is given an actioner that features a smarter storyline,
tighter action and more interesting characters than it's predecessor.
Director Jan De Bont brings laughs and stunts worthy of a Bond film.
Even in the more conceptual moments he keeps things moving full
speed ahead. Not perfect by any means, but much more fun than expected.
***
Lost In Translation
This is what a real movie is. Sweet, surprising, authentic and revelatory
in every way, this is the film serious cinema lovers need to seek
out and experience immediately. As two emotionally stranded Americans
yearning for emotional connections in a high rise Tokyo hotel, Bill
Murray gives us his finest performance as an actor and Scarlett
Johansson proves her classical star quality with every scene. Lesser
hands could've made an obvious, rote and slapsticky mess of the
same material, but writer/director Sofia Coppola fashions a textbook
example of everything that makes independent film intriguing, exciting
and valuable as entertainment and art.
****
Matchstick Men
The problem with confidence-man movies is that one goes
into them expecting a little dramatic slight-of-hand, expecting
to be "taken" by the narrative. While this little schemer
from Ridley Scott might not go the way you think it will at first,
the astute viewer can easily guess where it will end up. That being
said, we get a few laughs from Nicolas Cage as a conman with a few
emotional tics that seem both endearing and overly formulaic. The
less known about the film going in the more you might enjoy it,
but those who know the "tells" can see Scott's cards hiding
in his sleeve.
**1/2
The Medallion
Well, for those of you out there keeping score this makes three
crappy Jackie Chan movies in a row. We fans of Chinese and Hong
Kong action movies had hopes for this baby; it's directed by proven
filmmaker Gordon Chan (Beast Cops and 2000
A.D.) , co-stars the lovely Claire Forlani and Christie
Chung and had a screenplay featuring work by HK film expert Bey
Logan. Alas. This film, formerly known as Highbinders, is yet another
major misfire in storytelling, special effects, and acting, though
Chan remains watchable whenever he's just being himself. It's been
reported that the film released in US theaters was cut by nearly
30 minutes at the behest of Sony Pictures, so to be honest we really
haven't seen it yet, in a way. Here's hoping that the alternate
version has more wit and intelligence and a lot less of second-banana
Lee Evans, who is undoubtedly be the worst screen presence of the
summer.
* 1/2
Once Upon A Time In Mexico
Completing his "Mariachi" trilogy, Robert Rodriguez expends
a lot of sound and fury here. It's technically well crafted and
colorfully photographed but features little of the inventiveness
of El Mariachi and none of the fun of Desperado. Primarily a story
of revenge and patriotism, this chapter both over-reaches with its
plotlines and skimps with its character work despite decent performances
by Antonio Banderas and Johnny Depp. In fact, Depp seems to be in
a lighter and more fun action movie altogether. Both he and Ruben
Blades steal the entire film with their second-tier storyline and
one comes away hoping Rodriguez has the awareness to spin them off
into their own movie series someday. Decent, could've been better.
**1/2
On_Line
This little seen shot-on-video independent feature is hysterical
in its emotional honesty while still movie-fakey in its dramatic
conventions. Dealing with four "young, hip NYC types"
who frequent internet sex chat rooms and weave in-and-out of each
other's lives and beds, the film offers an in-depth study of human
interaction but delivers little more than the usual observations.
What it has going for it are generally good performances, likable
characters and the sporadic narrative lines all come together nicely
at the end.
**1/2
Open Range
Somewhere between the lyrical beauty of Dances
With Wolves and the violent justice of Unforgiven
sits this latest offering from Kevin Costner, though in trying for
each level it falls just short of both. Robert Duvall turns in his
usual great work as an aging cattle driver just trying to live out
the rest of his years. And as his right hand man with a shady past,
Costner brings some tangible and solemn menace to his scenes. But
once the romance storyline (featuring Annette Bening) creeps in,
the film tries too hard to play every angle. In the end, we're most
moved by the occasional threats of violence and the well-staged
if over-long shootout finale. While it's great to see Costner working
again at an impressive level, this is a prime example of the kind
of film that manages to just overstay its welcome.
**1/2
Spy Kids 3: Game Over
The assumed final chapter in Robert Rodriguez's familial
action saga is a ton of fun with a positive message, great design
and impressive 3D digital video effects. The slighter story focuses
more on the Juni/Grandfather relationship within the realm of videogaming
(think Tron), while many of the other series regulars
have little more than glorified cameos. The rush of this film, though,
is in the hyperactive game sequences. They looked great if you had
the luck to see the film digitally-projected and the upcoming DVD
should look spectacular. Combining next-generation thrills and a
sweet subtext, this Spy Kids movie ends the series on a high note.
***
S.W.A.T.
This big budget update of the 70's TV drama starts off promisingly
The sense of camaraderie is thick and welcome as the police unit
is formed and goes about its first few missions. Samuel L. Jackson
and Michelle Rodriguez shine, in particular. The strong and gritty
first half is then washed away by an ocean of cop-movie cliches
as it turns into just another overblown action epic. The closing
theme (a similarly overblown tune actually called "Samuel L.
Jackson") earns the dopey conclusion an extra half-star out
of sheer and ridiculous chutzpah.
** 1/2 |
