If you think Al Gore’s “An Inconvenient Truth” showed the danger of polluting the planet, you haven’t seen anything yet.
“The Day the Earth Stood Still,” the big-budget remake of the 1951 sci-fi classic, replaces the fear of nuclear apocalypse with the consequences of our effect on the environment.
The cheesy charm of the old version has been replaces with the typical nuances of a blockbuster: computer animation and product placements aplenty. Appropriately enough, the fate of humanity is decided under the golden arches.
The iconic Klaatu is played by (gulp) Keanu Reeves, who actually seems to be at home playing a creature that isn’t quite sure how to be human.
Jennifer Connelly plays Dr. Helen Benson, who for some reason is more qualified than anyone to deal with the incoming aliens. Perpetually glassy-eyed, she always looks on the edge of breaking down completely.
Jaden Smith, son of actor Will Smith, plays Connelly’s stepson, and the two are still dealing with the loss of Smith’s father. The trio of Reeves, Connelly and Smith form a Terminator-Sarah Connor-John Connor kind of relationship, where destruction and salvation walk hand in hand.
The first hour of the movie is a masterful exercise in building suspense. The viewer is a character in the movie, as we follow Connelly from a late night trip into a government headquarters, where we learn about an imminent threat to the earth.
The special effects are very well done. When a mysterious orb appears in Central Park, the audience is standing right next to the confused New Yorkers witnessing something that humankind has never experienced.
The supporting cast is star-studded, included Kathy Bates as the Secretary of Defense and John Cleese as an eccentric astrophysicist. While the movie is essentially a three-person show, the other actors hold up their part nicely.
The movie’s failing is that is digs itself too deep in the suspense, and doesn’t know quite how to get itself out. When it hits its peak after the first hour, it doesn’t know where to go, so it tries to back out with computer-generated effects.
The movie is almost worth seeing in the theater, because a large screen and digital sound heighten the atmosphere at the beginning of the film. But whether or not $10 is worth an hour or so of good special effects is up to you.
Rating - $6.00
Friday, December 19, 2008
Friday, November 7, 2008
Role Models
While Judd Apatow’s modus operandi of late is to bookend the summer with movies that gross over $100 million, that doesn’t stop his troupe of actors from acting in their own films. Paul Rudd (“The 40 Year Old Virgin”) and Seann William Scott (“American Pie”) are two of those actors, and they perform the typical roles in “Role Models.”
Rudd plays the typical sensitive guy who is so devastated by the end of his relationship that he loses control. Scott plays a typical hard partying, womanizing guy that he has cashed so many checks as. Rudd is clean shaven and wears collared shirts, while Scott is stubbled and wears MMA shirts.
While the casting offers nothing new for either actor, there is a reason that they continue to play these roles. They are very good at them. Maybe even more importantly, they have the timing down with each other that they can constantly produce laughs.
Add in the usual cast, such as Jane Lynch (“Best in Show”) and Christopher Mintz-Plasse (“Superbad”) and it’s hard not to chuckle as they riff off of each other.
The plot isn’t anything fancy, and it doesn’t have to be. Rudd, distraught over his break-up decides to play tug of war with his company’s vehicle and a tow truck, while a police officer looks on. This lands the duo in a predicament: go to jail for 30 days, or spend 150 hours mentoring troubled youth.
Rudd is assigned to Mintz-Plasse, who brings back his McLovin persona in all its awkward glory. Scott is assigned a rowdy child with a filthy mouth played by cinematic newcomer Bobb’e J. Thompson.
The story gets very trite from here on out, with both men initially dreading their service, before coming to enjoy their assigned punishment. There is the obligatory moment where it all comes crashing down (with a high-voiced, acoustic guitar playing singer singing a mournful tune on the background of course), and then the rest of the movie is spent rebuilding.
What keeps it fresh is the interaction between the characters. Whether it is a camping trip, or a weekend spent participating in a medieval role-playing game, the characters always find time to exchange snide remarks.
Basically the whole movie plays out like an Apatow-inspired remake of “Problem Child” which is an intriguing possibility. The movie is much funnier than the few cheap laughs played in the trailer, and while it won’t be making a dent this awards season, it is a great way to spend two hours.
Whether it is worth your ten dollars, well, that depends on your sense of humor.
Rating - $8.50
Rudd plays the typical sensitive guy who is so devastated by the end of his relationship that he loses control. Scott plays a typical hard partying, womanizing guy that he has cashed so many checks as. Rudd is clean shaven and wears collared shirts, while Scott is stubbled and wears MMA shirts.
While the casting offers nothing new for either actor, there is a reason that they continue to play these roles. They are very good at them. Maybe even more importantly, they have the timing down with each other that they can constantly produce laughs.
Add in the usual cast, such as Jane Lynch (“Best in Show”) and Christopher Mintz-Plasse (“Superbad”) and it’s hard not to chuckle as they riff off of each other.
The plot isn’t anything fancy, and it doesn’t have to be. Rudd, distraught over his break-up decides to play tug of war with his company’s vehicle and a tow truck, while a police officer looks on. This lands the duo in a predicament: go to jail for 30 days, or spend 150 hours mentoring troubled youth.
Rudd is assigned to Mintz-Plasse, who brings back his McLovin persona in all its awkward glory. Scott is assigned a rowdy child with a filthy mouth played by cinematic newcomer Bobb’e J. Thompson.
The story gets very trite from here on out, with both men initially dreading their service, before coming to enjoy their assigned punishment. There is the obligatory moment where it all comes crashing down (with a high-voiced, acoustic guitar playing singer singing a mournful tune on the background of course), and then the rest of the movie is spent rebuilding.
What keeps it fresh is the interaction between the characters. Whether it is a camping trip, or a weekend spent participating in a medieval role-playing game, the characters always find time to exchange snide remarks.
Basically the whole movie plays out like an Apatow-inspired remake of “Problem Child” which is an intriguing possibility. The movie is much funnier than the few cheap laughs played in the trailer, and while it won’t be making a dent this awards season, it is a great way to spend two hours.
Whether it is worth your ten dollars, well, that depends on your sense of humor.
Rating - $8.50
Friday, September 26, 2008
Ghost Town
Most Americans are unfamiliar with the name Ricky Gervais. Maybe you’ve seen his name as a producer under NBC’s “The Office,” even though he created the original version. Maybe you’ve seen the Simpsons where Marge and Homer swap spouses on a reality show, which was written by Gervais.
Now he is thrust into his first leading role in a film, and the result is a movie that doesn’t quote know what to do with him.
Weapons in Gervais’ arsenal include the best comic timing on the planet, as well as the ability to be both irritating yet charming. He plays Bertram Pincus, a dentist who cares little for people and less for their trivial natures.
After a colonoscopy that leads to seven minutes of death, Pincus finds himself with ability to see and hear the ghosts that populate lower Manhattan.
The film operates under the “Casper Rules” of ghosts, that is they are ghosts because they have unfinished business. When they look to the one person who can actually hear them, Pincus becomes inundated with requests from these ghosts to help them.
The pushiest of these specters is played by Greg Kinnear, an adulterer in life who is damned to do nothing but play Tetris on his ghostly BlackBerry and watch as the wife he cheated on plans to get remarried.
He offers Pincus an offer he can’t refuse, respite from the other ghosts, and the plot is set in motion. The plot works well because Gervais is at his best when trying to extract himself from awkward situations, often of his own making. Imagine a man carrying on conversations with people only he can see, and you’ll appreciate the situations he finds himself in.
Gervais could hold a dialogue with a brick wall and make it funny, so when he’s bouncing his zingers off of people like Kinnear, SNL’s Kristen Wiig and others, the conversation crackles.
The film starts out looking like a new spin on the standard romantic comedy, but as the plot progresses, it quickly falls back into the standard mold.
In the process of breaking up her marriage, Pincus falls for Kinnear’s wife, played by Tea Leoni. As the independent, yet feminine woman, she is quickly able to penetrate Pincus’ shell, and he begins to fall for her.
As their relationship progresses, the movie becomes more and more formulaic, which slowly strips it of its charm. Gervais’ jokes are tossed under the rug, the rug being the standard story about the guy falling for girl, the guy has a secret, the girl gets upset when he reveals it.
Just before the movie falls completely into generic oblivion, the ending twists in a way that brings back its originality. Aside from the 20 minutes of schlock, it maintains its freshness.
There are quite a few moments that set the film apart from the standard romantic comedy. No spoilers here, but to watch a ghost try to encourage the man who is giving his recently deceased body CPR is a funny moment at what could be an awkward scene.
Overall, the movie is well worth seeing. If you appreciate the subtle nuances of awkward comedy, Gervais is your man. While the movie flirts with a cookie-cutter comedy, it is Gervais and his co-stars that are able to return it from the brink.
Rating - $9.00
Now he is thrust into his first leading role in a film, and the result is a movie that doesn’t quote know what to do with him.
Weapons in Gervais’ arsenal include the best comic timing on the planet, as well as the ability to be both irritating yet charming. He plays Bertram Pincus, a dentist who cares little for people and less for their trivial natures.
After a colonoscopy that leads to seven minutes of death, Pincus finds himself with ability to see and hear the ghosts that populate lower Manhattan.
The film operates under the “Casper Rules” of ghosts, that is they are ghosts because they have unfinished business. When they look to the one person who can actually hear them, Pincus becomes inundated with requests from these ghosts to help them.
The pushiest of these specters is played by Greg Kinnear, an adulterer in life who is damned to do nothing but play Tetris on his ghostly BlackBerry and watch as the wife he cheated on plans to get remarried.
He offers Pincus an offer he can’t refuse, respite from the other ghosts, and the plot is set in motion. The plot works well because Gervais is at his best when trying to extract himself from awkward situations, often of his own making. Imagine a man carrying on conversations with people only he can see, and you’ll appreciate the situations he finds himself in.
Gervais could hold a dialogue with a brick wall and make it funny, so when he’s bouncing his zingers off of people like Kinnear, SNL’s Kristen Wiig and others, the conversation crackles.
The film starts out looking like a new spin on the standard romantic comedy, but as the plot progresses, it quickly falls back into the standard mold.
In the process of breaking up her marriage, Pincus falls for Kinnear’s wife, played by Tea Leoni. As the independent, yet feminine woman, she is quickly able to penetrate Pincus’ shell, and he begins to fall for her.
As their relationship progresses, the movie becomes more and more formulaic, which slowly strips it of its charm. Gervais’ jokes are tossed under the rug, the rug being the standard story about the guy falling for girl, the guy has a secret, the girl gets upset when he reveals it.
Just before the movie falls completely into generic oblivion, the ending twists in a way that brings back its originality. Aside from the 20 minutes of schlock, it maintains its freshness.
There are quite a few moments that set the film apart from the standard romantic comedy. No spoilers here, but to watch a ghost try to encourage the man who is giving his recently deceased body CPR is a funny moment at what could be an awkward scene.
Overall, the movie is well worth seeing. If you appreciate the subtle nuances of awkward comedy, Gervais is your man. While the movie flirts with a cookie-cutter comedy, it is Gervais and his co-stars that are able to return it from the brink.
Rating - $9.00
Friday, August 8, 2008
Pineapple Express
If this summer has taught us anything (besides the fact that comic-book movies are back for good), it’s that the name Judd Apatow practically guarantees a blockbuster.
“Pineapple Express” is no exception. Effortlessly combining the stoner genre with an action-packed thriller, the film manages to pay tribute to both while staying original.
The plot, while it won’t be putting Tarantino out of business any time soon, does what it needs to. That is, put Apatow’s usual cast of cronies is as many improv-inducing situations as possible.
Whether it is Seth Rogen and James Franco waxing about their newfound friendship, or Gary Cole and Rosie Perez alternating their desires for each other with murderous impulses, the film has enough give-and-take to make anyone crack up.
As a twenty-something process server with an 18-year-old girlfriend, Rogen requires massive amounts of cannabis to get through his day.
His dealer (Franco) is the closest thing he has to a friend, which is the reason Rogen hides at his place after witnessing a murder.
The addition of action allows Seth Rogen to flex his acting muscles, and he does a passable job of being furious, scared to death or overcome by emotion.
The comedy is also much more phycisal than previous Apatow films. There is plenty of witty back-and-forth, but there are slapstick scenes that are done with such reality that it makes the viewer laugh and cringe at the same time.
It seems that every Apatow move brings another potential comic superstar to the forefront. Last year it was McLovin, this year is Red. Played by the previously unknown Danny McBride, the invincible Red steals almost every scene he’s in.
When you consider he’s trading lines with as many established actors as there are in the film, his performance is even more impressive.
Almost every bit player in a Christopher Guest, Adam McKay or Apatow flick is given their zingers, and the result is a comedy that feels very familiar, but new at the same time.
There is plenty of gore, plenty of violence and more than enough f-words, but the film shows just how easy it is to make a funny movie when you cast funny people. The sense of comic timing between all the cast members is excellent, and the lines that are in the cutting room floor must be just as good.
It even resists the temptation to become a straight spoof of the action genre. It uses a few clichés, but only in carefully measured doses.
Quite simply, if you want to see a funny, obscene movie featuring funny, obscene people, then this movie hits the spot.
Rating - $10.00
“Pineapple Express” is no exception. Effortlessly combining the stoner genre with an action-packed thriller, the film manages to pay tribute to both while staying original.
The plot, while it won’t be putting Tarantino out of business any time soon, does what it needs to. That is, put Apatow’s usual cast of cronies is as many improv-inducing situations as possible.
Whether it is Seth Rogen and James Franco waxing about their newfound friendship, or Gary Cole and Rosie Perez alternating their desires for each other with murderous impulses, the film has enough give-and-take to make anyone crack up.
As a twenty-something process server with an 18-year-old girlfriend, Rogen requires massive amounts of cannabis to get through his day.
His dealer (Franco) is the closest thing he has to a friend, which is the reason Rogen hides at his place after witnessing a murder.
The addition of action allows Seth Rogen to flex his acting muscles, and he does a passable job of being furious, scared to death or overcome by emotion.
The comedy is also much more phycisal than previous Apatow films. There is plenty of witty back-and-forth, but there are slapstick scenes that are done with such reality that it makes the viewer laugh and cringe at the same time.
It seems that every Apatow move brings another potential comic superstar to the forefront. Last year it was McLovin, this year is Red. Played by the previously unknown Danny McBride, the invincible Red steals almost every scene he’s in.
When you consider he’s trading lines with as many established actors as there are in the film, his performance is even more impressive.
Almost every bit player in a Christopher Guest, Adam McKay or Apatow flick is given their zingers, and the result is a comedy that feels very familiar, but new at the same time.
There is plenty of gore, plenty of violence and more than enough f-words, but the film shows just how easy it is to make a funny movie when you cast funny people. The sense of comic timing between all the cast members is excellent, and the lines that are in the cutting room floor must be just as good.
It even resists the temptation to become a straight spoof of the action genre. It uses a few clichés, but only in carefully measured doses.
Quite simply, if you want to see a funny, obscene movie featuring funny, obscene people, then this movie hits the spot.
Rating - $10.00
Friday, August 1, 2008
X-Files: I Want to Believe
“The X-Files” remains one of the staples of ‘90s television. It was ahead of its time, existing in the decade before shows like “Arrested Development,” “Heroes” and “The Wire” were meant to be released on DVD, so crucial plot points wouldn’t be missed.
The show combined the police drama of “CSI,” the occult parts of “Lost” and the back and forth banter of “Bones” before such things even existed.
“The X-Files: I Want to Believe” brings Special Agents Fox Mulder and Dana Scully into the world of BlackBerrys and Google.
Six years after the series ended, we find the two agents have taken their lives in different directions, directions that don’t involve the FBI or the X-Files themselves.
Sure, Mulder is a little more jowly and Scully’s hair is blonder than the signature auburn bob that she wore during the show’s nine-year run. But the signature give-and-take between the two hasn’t lost a step, and the familiar roles of Mulder as the believer and Scully the skeptic return pretty quickly.
As soon as the five signature notes of the theme song are played and the familiar type crawls across the bottom-left corner of the screen, it won’t fail to bring nostalgia to any fan of the show.
The alien conspiracy is the 900-pound gorilla in the room, and it is dismissed quickly in the movie, allowing it to be a “monster-of-the-week” plot which can stand alone from the show.
In this day of trailers that show the ten best lines in the film, director Chris Carter kept the plot completely under wraps. This allows the viewer to go into the movie not knowing what to expect, which is a rarity in today’s cinema.
Fans of the suspense genre will enjoy the film, even if some references to the show will go unnoticed. The main plot moves along fairly quickly, but it is a little bogged down by a subplot involving Scully and her medical profession.
Gillian Anderson reprises her role very well, she is able to portray Scully’s delicate emotional state with a minimum of words, allowing her face to give a window to her mind.
David Duchovny, despite his wish to leave the series before it ended, seems like he is glad to be back to his signature role. He hasn’t lost a bit of the wry humor of Fox Mulder, and his dedication to his work that consumed him in the show comes back with a vengeance.
The supporting cast, which includes rapper Alvin “Xzibit” Joiner, Billy Connelly (“The Last Samurai”) and Amanda Peet (“Syriana”), lets Mudler and Scully take control, but they add to the film’s depth. Each one has at least one scene where they steal the focus, and this helps the film get beyond just a simple television remake.
Unfortunately, fans curious about the status of Mulder and Scully’s relationship won’t get any concrete resolution, as the film raises more questions than it answers on the subject.
At 105 minutes, the movie isn’t too long, but if the reintroductions and subplot were taken out, it would fill a normal episode of the show.
The big question with any silver screen adaptation of the television show is how it will play to both the show’s fans and the casual moviegoer.
Fans of the show should not miss the movie, even if they got tired of the alien conspiracy that dominated the later seasons. The prospect of Mulder and Scully working together on a case that defies explanation is too good to pass up.
Rating - $7.50
The show combined the police drama of “CSI,” the occult parts of “Lost” and the back and forth banter of “Bones” before such things even existed.
“The X-Files: I Want to Believe” brings Special Agents Fox Mulder and Dana Scully into the world of BlackBerrys and Google.
Six years after the series ended, we find the two agents have taken their lives in different directions, directions that don’t involve the FBI or the X-Files themselves.
Sure, Mulder is a little more jowly and Scully’s hair is blonder than the signature auburn bob that she wore during the show’s nine-year run. But the signature give-and-take between the two hasn’t lost a step, and the familiar roles of Mulder as the believer and Scully the skeptic return pretty quickly.
As soon as the five signature notes of the theme song are played and the familiar type crawls across the bottom-left corner of the screen, it won’t fail to bring nostalgia to any fan of the show.
The alien conspiracy is the 900-pound gorilla in the room, and it is dismissed quickly in the movie, allowing it to be a “monster-of-the-week” plot which can stand alone from the show.
In this day of trailers that show the ten best lines in the film, director Chris Carter kept the plot completely under wraps. This allows the viewer to go into the movie not knowing what to expect, which is a rarity in today’s cinema.
Fans of the suspense genre will enjoy the film, even if some references to the show will go unnoticed. The main plot moves along fairly quickly, but it is a little bogged down by a subplot involving Scully and her medical profession.
Gillian Anderson reprises her role very well, she is able to portray Scully’s delicate emotional state with a minimum of words, allowing her face to give a window to her mind.
David Duchovny, despite his wish to leave the series before it ended, seems like he is glad to be back to his signature role. He hasn’t lost a bit of the wry humor of Fox Mulder, and his dedication to his work that consumed him in the show comes back with a vengeance.
The supporting cast, which includes rapper Alvin “Xzibit” Joiner, Billy Connelly (“The Last Samurai”) and Amanda Peet (“Syriana”), lets Mudler and Scully take control, but they add to the film’s depth. Each one has at least one scene where they steal the focus, and this helps the film get beyond just a simple television remake.
Unfortunately, fans curious about the status of Mulder and Scully’s relationship won’t get any concrete resolution, as the film raises more questions than it answers on the subject.
At 105 minutes, the movie isn’t too long, but if the reintroductions and subplot were taken out, it would fill a normal episode of the show.
The big question with any silver screen adaptation of the television show is how it will play to both the show’s fans and the casual moviegoer.
Fans of the show should not miss the movie, even if they got tired of the alien conspiracy that dominated the later seasons. The prospect of Mulder and Scully working together on a case that defies explanation is too good to pass up.
Rating - $7.50
Friday, July 25, 2008
Step Brothers
With the hype vacuum created by the release of “The Dark Knight”, Will Ferrell’s latest has slipped somewhat under the radar.
By the time award season rolls around, critics and audiences alike should have recognized the brilliance of this story of two grown men experiencing life, love and happiness while trying to be loved by a world that isn’t ready for them.
Okay, maybe that’s going a little too far. Rather, “Step Brothers” is a comedy in the vein of Ferrell’s other movies such as “Anchorman: The Legend of Ron Burgundy” and “Old School.”
His co-pilot on this magic carpet ride is John C. Reilly (“Walk Hard: The Dewey Cox Story,” “Chicago”), making this the duo’s second pairing after “Talladega Nights: The Ballad of Ricky Bobby.”
Both of them are six-year-old children (although ones that wear Pablo Cruise and “Star Wars” t-shirts) trapped in grown-up bodies.
Unlike “Talladega Nights,” this movie doesn’t operate under the guise of a family flick, it earns its ‘R’ rating. Any time the plot threatens to get serious on us, something ridiculous or obscene happens, which keeps the laughs coming.
The script was penned by Ferrell and Adam McKay, who teamed up for “Anchorman” and “Talladega Nights.” McKay also directed.
Ferrell and Reilly play two 40-year-old men (virgins?) who still live with their mother and father respectively. When the two parents get married, the bliss of their childish worlds suddenly changes.
Mary Steenburgen (“What’s Eating Gilbert Grape”) plays Ferrell’s mother, and Richard Jenkins (“Six Feet Under”) plays Reilly’s father. They create good screen chemistry with each other as well as Ferrell and Reilly.
Though the fact that they both have sons still living at home initially attracts them to one another, it soon becomes apparent that the arrangement won’t work.
The movie takes on the feel of an extended “Saturday Night Live” skit, which isn’t a bad thing. There is a reason why Ferrell was its highest paid cast member.
There are entire scenes which consist of nothing but traded insults between Reilly and Ferrell. It is clear that everyone involved in the movie had a great time filming it, and it becomes contagious.
Yes, it features Ferrell going to another level with his signature nudity. It also contains arguably the most awkward first kiss and brotherly hug in film history. Viewers will never be able to take the Guns ‘N’ Roses tune “Sweet Child o’ Mine” seriously again either.
It’s not ground-breaking, it’s not a cinematic tour-de-force, but it is a raunchy, funny movie, and it doesn’t try to be anything more than that.
If there is any lasting lesson to be taken, it’s that no matter how tough things get, there are always crossbows and Chewbacca masks to make it all better.
Rating - $10.00
By the time award season rolls around, critics and audiences alike should have recognized the brilliance of this story of two grown men experiencing life, love and happiness while trying to be loved by a world that isn’t ready for them.
Okay, maybe that’s going a little too far. Rather, “Step Brothers” is a comedy in the vein of Ferrell’s other movies such as “Anchorman: The Legend of Ron Burgundy” and “Old School.”
His co-pilot on this magic carpet ride is John C. Reilly (“Walk Hard: The Dewey Cox Story,” “Chicago”), making this the duo’s second pairing after “Talladega Nights: The Ballad of Ricky Bobby.”
Both of them are six-year-old children (although ones that wear Pablo Cruise and “Star Wars” t-shirts) trapped in grown-up bodies.
Unlike “Talladega Nights,” this movie doesn’t operate under the guise of a family flick, it earns its ‘R’ rating. Any time the plot threatens to get serious on us, something ridiculous or obscene happens, which keeps the laughs coming.
The script was penned by Ferrell and Adam McKay, who teamed up for “Anchorman” and “Talladega Nights.” McKay also directed.
Ferrell and Reilly play two 40-year-old men (virgins?) who still live with their mother and father respectively. When the two parents get married, the bliss of their childish worlds suddenly changes.
Mary Steenburgen (“What’s Eating Gilbert Grape”) plays Ferrell’s mother, and Richard Jenkins (“Six Feet Under”) plays Reilly’s father. They create good screen chemistry with each other as well as Ferrell and Reilly.
Though the fact that they both have sons still living at home initially attracts them to one another, it soon becomes apparent that the arrangement won’t work.
The movie takes on the feel of an extended “Saturday Night Live” skit, which isn’t a bad thing. There is a reason why Ferrell was its highest paid cast member.
There are entire scenes which consist of nothing but traded insults between Reilly and Ferrell. It is clear that everyone involved in the movie had a great time filming it, and it becomes contagious.
Yes, it features Ferrell going to another level with his signature nudity. It also contains arguably the most awkward first kiss and brotherly hug in film history. Viewers will never be able to take the Guns ‘N’ Roses tune “Sweet Child o’ Mine” seriously again either.
It’s not ground-breaking, it’s not a cinematic tour-de-force, but it is a raunchy, funny movie, and it doesn’t try to be anything more than that.
If there is any lasting lesson to be taken, it’s that no matter how tough things get, there are always crossbows and Chewbacca masks to make it all better.
Rating - $10.00
Friday, June 13, 2008
The Incredible Hulk
The first thing prospective viewers of “The Incredible Hulk” will be asking themselves is what the film’s relation is to Ang Lee’s disaster, 2003’s “Hulk.”
Fortunately, the first film is never mentioned, and the Hulk’s origin is explained in the three-minute opening credit sequence. The events are not the same as in the first movie, indicating that this film is an entirely new reboot for the green-skinned hero.
Screenwriter Zak Penn (“PCU,” X-Men 2,” “X-Men: The Last Stand”), no stranger to the comic book movie, penned the script with help from Edward Norton. The result is a script that is closer to the comics and original television show than the previous film.
Norton fills the title role this time, and his acting chops lend a little more depth to Dr. Bruce Banner. Banner lives his life trying to control his heart rate, because anything over 200 beats per minute will unleash his monstrous alter ego.
Playing his love interest Betty Ross, is Liv Tyler. Best known for her glassy eyed stare and quivering lower lip, she was tailor made to play the torn, wounded love interest of Banner.
The film opens to find Banner working in a soda bottling plant in a third-world country, taking anger management in order to manage his ‘incidents.’
When he is eventually tracked down, the story uses the patented “Cloverfield” method of showing glimpses of the monster, in order to build the tension (previously known as the “Jaws” method).
In addition to “Cloverfield,” the film’s opening chase scene strongly resembles one from the blockbuster, “The Bourne Ultimatum.” While there is nothing wrong with films paying tribute to one another, when the references are to smash hits that have come out less than a year ago, it tends to make one cynical.
Many elements of nostalgia from the television show are present, including the famous piano theme from the closing credits, and a brief appearance by Lou Ferrigno.
The film also makes it clear that it is part of the Marvel comics universe. There are several references to Tonty Stark, the main character from “Iron Man.”
The bread and butter of superhero movies, the fight scenes, are incredible. While the Hulk fighting his human pursuers is somewhat entertaining, it’s the fight with The Abomination at the end
Despite its cast improvement over its predecessor, the movie seems unsure of its own worth. Three of the biggest movies in the last nine months are referenced, and the result is a movie that seems unsure of itself.
The film’s strength lies in its narrative. Since the first half of the movie isn’t wasted with an origin story, a full story can develop. As successful as superhero movies become, the first half of the first movie in series can be taken up by the origin, and it strains the narrative when the stories must be juggled.
The film’s conclusion just seems to taper off into nothing, and while ground is laid for the sequel; the viewer is left unsure of the fate of several key characters.
While not quote the savior to the genre that “Iron Man” was (and maybe it’s unfair to compare the two, but Marvel chose to release them within a month of each other), the film is another step in the right direction.
It takes another step towards creating The Avengers, a superhero group that consists of the Hulk and Iron Man, as well as Captain America, Thor and others. But rather than phone in the film in anticipation of an epic Avengers film, “The Incredible Hulk” lays a good foundation for both sequels and crossovers.
Rating - $8.00
Fortunately, the first film is never mentioned, and the Hulk’s origin is explained in the three-minute opening credit sequence. The events are not the same as in the first movie, indicating that this film is an entirely new reboot for the green-skinned hero.
Screenwriter Zak Penn (“PCU,” X-Men 2,” “X-Men: The Last Stand”), no stranger to the comic book movie, penned the script with help from Edward Norton. The result is a script that is closer to the comics and original television show than the previous film.
Norton fills the title role this time, and his acting chops lend a little more depth to Dr. Bruce Banner. Banner lives his life trying to control his heart rate, because anything over 200 beats per minute will unleash his monstrous alter ego.
Playing his love interest Betty Ross, is Liv Tyler. Best known for her glassy eyed stare and quivering lower lip, she was tailor made to play the torn, wounded love interest of Banner.
The film opens to find Banner working in a soda bottling plant in a third-world country, taking anger management in order to manage his ‘incidents.’
When he is eventually tracked down, the story uses the patented “Cloverfield” method of showing glimpses of the monster, in order to build the tension (previously known as the “Jaws” method).
In addition to “Cloverfield,” the film’s opening chase scene strongly resembles one from the blockbuster, “The Bourne Ultimatum.” While there is nothing wrong with films paying tribute to one another, when the references are to smash hits that have come out less than a year ago, it tends to make one cynical.
Many elements of nostalgia from the television show are present, including the famous piano theme from the closing credits, and a brief appearance by Lou Ferrigno.
The film also makes it clear that it is part of the Marvel comics universe. There are several references to Tonty Stark, the main character from “Iron Man.”
The bread and butter of superhero movies, the fight scenes, are incredible. While the Hulk fighting his human pursuers is somewhat entertaining, it’s the fight with The Abomination at the end
Despite its cast improvement over its predecessor, the movie seems unsure of its own worth. Three of the biggest movies in the last nine months are referenced, and the result is a movie that seems unsure of itself.
The film’s strength lies in its narrative. Since the first half of the movie isn’t wasted with an origin story, a full story can develop. As successful as superhero movies become, the first half of the first movie in series can be taken up by the origin, and it strains the narrative when the stories must be juggled.
The film’s conclusion just seems to taper off into nothing, and while ground is laid for the sequel; the viewer is left unsure of the fate of several key characters.
While not quote the savior to the genre that “Iron Man” was (and maybe it’s unfair to compare the two, but Marvel chose to release them within a month of each other), the film is another step in the right direction.
It takes another step towards creating The Avengers, a superhero group that consists of the Hulk and Iron Man, as well as Captain America, Thor and others. But rather than phone in the film in anticipation of an epic Avengers film, “The Incredible Hulk” lays a good foundation for both sequels and crossovers.
Rating - $8.00
Subscribe to:
Posts (Atom)