In a mechanized world an imaginative young inventor Rodney Copperbottom (voiced by Ewan McGregor) wants to be as famous as his hero the greatest inventor of all time Mr. Bigweld (voiced by Mel Brooks). With his father's "follow your dreams and never give up" ringing in his ears Rodney leaves his small town and sets out to the big bad Robot City to meet his idol and show him his invention. Once there Rodney meets the Rusties a ragtag group of street-smart bots lead by the wacky Fender (voiced by Robin Williams) who know the ropes. Rodney finds out that Bigweld has gone into seclusion and Robot City is being taken over by an ambitious robot named Ratchet (voiced by Greg Kinnear) whose motto is "Why Be You When You Could Be New?" Ratchet soon halts production on parts for the older robots. If the bot folk can't afford the new stuff they are gathered up and sent to an underground chop shop where Rachet's hideous mother Madame Gasket (voiced by Jim Broadbent) melts them down and turns them into metal for new parts. But the evil duo's plan is soon spoiled when Rodney and the Rusties start fixing the older models and decide the must get the reclusive Bigweld back on track to fight back.
How can you go wrong with such a fabulous cast? They all do a great job including McGregor as the earnest Rodney Copperbottom; Brooks as the soft-hearted boss Big Weld; Kinnear as the vain and conniving Rachet; Broadbent as the repugnantly evil Gasket; Jennifer Coolidge as the hilarious and lovable big-booty bot Aunt Fanny; Halle Berry as the smart and seductive executive bot Cappy; and Amanda Bynes as the perky Piper determined to prove herself. But once again voice over veteran Robin Williams steals the show as the broke down and chaotic robot Fender. With his hundreds of voices and impersonations animated films fit the frenetic Williams to a tee making him the undisputed king.
Blue Sky Animation and Oscar-winning director Chris Wedge who brought us the delightful Ice Age are back turning in another stellar animated effort. Robots is rivet-ing transporting the audience into a world of mechanics electronics and robotics. The best scene is when Rodney gets to Robot City and goes on a roller coaster "cab" ride with Fender through a maze of whirligigs and gadgets. Good fun. Added into the mix is a groovin' soundtrack that makes you want to get up and dance with the characters while snickering at the songs' innuendos. Overall Robots incorporates vibrant colors above the ground with dark rusted images below to bring to life this lively world of metal folk.
Elderly Ptolemy (Anthony Hopkins) who once served under the great Alexander (Colin Farrell) narrates the life story of the man the myth the legend--the son of the ambitious King Philip (Val Kilmer) who surpassed his father at every level and charged into the farthest reaches of the world. From early childhood in Macedonia we see where Alexander gets his drive--mostly from his vengeful snake-lovin' mother Olympias (Angelina Jolie) who urges her son to take charge as well from his tutor Aristotle (Christopher Plummer). Even in the taming of his unbreakable horse Bucephalas at 10 years old Alexander's destiny is evident. The heart of the film lies in Persia which Alexander conquers in one of the most studied military battles of all time. Alexander spends a great deal of time there--taking in the culture claiming its riches and marrying a Bactrian princess Roxane (Rosario Dawson)--much to the chagrin of his Macedonian generals who are stuck in this foreign land with their king. Despite this success Alexander grows restless and turns his attention to the rest of the world including the unexplored regions of India. With his army stretched thin and his Macedonian troops longing for home Alexander presses them one campaign too far. Succumbing to a mysterious illness at age 33 Alexander dies never quite finding what he so desperately searched for.
Although some may scoff at casting the Irish actor in the lead Farrell does an admirable job playing the tortured hero blond wig and all. He exudes plenty of wide-eyed fury and intensity as Alexander the warrior balanced by the controlled calculation of a hyper-effective military commander although he isn't nearly as effective as the idealistic pre-world-conqueror Alexander as he is spiraling down into the haunted angst-ridden Alexander at the end of his obsessive crusade. Casting Jolie as Olympias is a stroke of genius. Sure Jolie can play a smart and beautiful woman in her sleep but her beauty is surpassed only by the power she imbues as Alexander's bitter yet loving mother; she's as hypnotic as the snakes she carries around. Kilmer relishes his role as Alexander's father Philip in all of his grotesque wine-soaked glory. Powerful driven and battle-scarred Kilmer's Philip knows precisely what he wants and matches Jolie's quiet intensity with the raw aggressive masculinity of a warrior king who is far more comfortable in his armor than a toga. In the supporting roles Hopkins is great as always this time in the thankless role of the narrator while Dawson plays Roxane with a ferocity that is as mesmerizing as it is terrifying. Standout Jared Leto also turns in a concentrated performance as Hephaestion Alexander's long-time companion boyhood friend and the person who loves Alexander the best. (And we do mean love.)
Alexander is Oliver Stone at his best. An Alexander nut for most of his life the director gives us a film that--even in its loooong three-hour form--continuously holds your attention especially its intense and bloody battle scenes. I mean honestly once you've fought against an elephant in armor the plain old sword-and-shield skirmishes pale in comparison. Alexander also possesses a great breadth of visuals: Alexandria's peace Pella's tension Babylon's opulence and India's richness. Yet as wonderful as the landscapes are it's personal interactions and internal politics that drive the story--and of course Stone's penchant for conspiracy theories as he more than insinuates Alexander was poisoned by his enemies rather than dying of an "unknown" illness. But a problem still remains: Alexander's life was so huge and he did so much that it's almost impossible to encapsulate it effectively into one film. Stone instead has to focus on what he thinks is the most important namely Alexander's renowned conquests while allowing the pressure cooker in which the young conqueror grew up--the triangle of mother father and son--come through in the decisions he makes later in life. For those few of us who have studied Alexander Stone has made this film especially for us. If you haven't spent any time reading Arrian and the other histories this excellent film might just inspire you to do so.
For a few years in the '60s and '70s producer Gerry Anderson made "supermarionation" all the rage in the world of British children's television. His stop-motion puppets starred in a number of sci-fi adventure series most memorably Thunderbirds which followed the exploits of International Rescue -- a team comprised of ex-astronaut Jeff Tracy and his sons. Based out of their secret fortress on Treasure Island the Tracys (aided by lovely secret agent Lady Penelope) used their amazing rocket-powered vehicles to prevent disasters and save lives around the world. Now 40 years after Thunderbirds' TV debut Star Trek vet Jonathan Frakes has brought Anderson's characters to life on the big screen. Front and center is youngest son Alan Tracy (Brady Corbet) who dreams of the day he too can pilot one of his family's fab ships and lead missions. But first he has to prove himself to his father Jeff (Bill Paxton). That opportunity comes sooner than either expects when mysterious villain The Hood (Ben Kingsley) strands Jeff and the older Tracy boys in space and attacks Treasure Island. With only his friends Tintin (Vanessa Anne Hudgens) and Fermat (Soren Fulton) to help him Alan has to grow up quickly if he wants to save his family ... and the world!
It would be easy to mock several of the performances in Thunderbirds-- to chide Paxton for his earnest seriousness as Tracy patriarch Jeff to dismiss Corbet's angst-tinged eagerness as Alan to roll your eyes at Kingsley's over-the-top mystical fierceness as The Hood and to wince at Fulton and Anthony Edwards' nerdy stuttering as science whizzes Fermat and his dad Brains. But actors are only as good as their script and the one Frakes has given his cast (courtesy of screenwriters William Osborne and Michael McCullers) is weak and clichéd at best filled with after-school-special-worthy lessons for Alan to learn. "You can't save everyone " Jeff tells his son somberly and even Tintin has a moral for her crush when he's feeling selfish and indulging in self-pity: "This is hard on all of us Alan." Talk about insight! What makes it even more frustrating is knowing that the actors are capable of much more even the kids: Both Corbet and Hudgens did well with supporting roles in Thirteen. Thunderbirds' only real bright spot is Sophia Myles as Lady Penelope. A cross between Reese Witherspoon's Elle in Legally Blonde and Jennifer Garner's Sydney on Alias Myles' Lady P doesn't let her pink couture wardrobe prevent her from coolly kicking ass when the situation demands it. Attended by her droll driver/man-of-all-trades Parker (Ron Cook) Lady Penelope is a fresh feisty heroine with all of the film's best lines -- and the coolest car to boot.
Frakes cut his directorial teeth on episodes of Star Trek: The Next Generation and his first feature film was Star Trek: First Contact so he would seem like a natural choice to bring a cult sci-fi TV show to the big screen. Unfortunately while he does an admirable job re-creating (and improving on) the original Thunderbirds' mod sets cool ships and special effects (which are fine if a bit more TV-sized than summer blockbustery) Frakes can't seem to decide who his audience is. If he was aiming at grown-ups who remember the show fondly from their own childhood he should have embraced the source material's campiness (à la Starsky and Hutch) rather than restricting it to the Tracys' plastic Barbie-like furniture and Lady P's bouffant hairdo. If on the other hand Frakes was hoping to entertain today's kids he should have really reinvented the show for a 21st-century world (à la Stephen Hopkins'1998 Lost in Space) rather than clinging to the '60s references As it is he's stuck somewhere in the middle leaving adults bored during the kids-on-an-adventure bits and children mystified by the handful of jokes aimed at their parents.
After 20 years with the LAPD Det. Mitch Preston (Robert De Niro) just wants to catch the crooks finish the paperwork and retreat to his mundane life at home where he eats TV dinners and pursues his hobby of making bad pottery. Patrolman Trey Sellars (Eddie Murphy) really wants to be an actor--he's only a cop because he made a lousy waiter. When Sellars bungles Preston's undercover case and media hounds catch it all on tape the irate Preston shoots up a news camera that gets in his face. Over-caffeinated network exec Chase Renzi (Rene Russo) upon seeing the damning evidence that could have killed her cameraman is captivated by Preston's complete lack of charm and convinces her superior she can save his crappy network by pairing Preston and Sellars up on a reality show. As expected Preston is reluctant--and even more so when he's forced to take the mugging Sellars as his partner. The two take impromptu acting lessons from iconic actor/director William Shatner (playing himself) and set off to attract an audience boost the ratings become celebrities and get the bad guys in a televised reality christened Showtime. Meanwhile the evil Cesar Vargas (Pedro Damian)--whom we know is evil 'cause he hides in the shadows he's flashy and well groomed and he mumbles in an unfathomable Third World/ European accent--is stockpiling guns powerful enough to knock down houses and blow the doors off a Brinks truck.
The movie offers a few good yuks--a coke-sniffing dog an unprecedented cameo by jive-rhyming lawyer Johnnie Cochran and William Shatner satirizing William Shatner (who does this better than anybody else satirizing William Shatner). Unfortunately we've seen a lot of his funniest stuff like the scene in which he demonstrates how to roll over a car hood cop-style in the previews. Rene Russo gives an effective souped-up Lethal Weapon-type performance with her hyper pushy fast-talking network exec desperate to make her name in the industry. De Niro's straight-man comedy is in his facial expressions--or lack thereof--and Murphy is…well Murphy. It's their first outing together and they play off each other like a foul-mouthed version of Abbott and Costello (guess who plays who?). We've seen De Niro play grumpy (Midnight Run) and Murphy play obnoxious (almost everything) before. But as you may suspect it's their grade-A chemistry that holds this badly stitched predictable though occasionally funny flick together--especially in regards to the jokes on Hollywood and the current bounty of reality TV.
You can smell the gags and The Odd Couple-versus-Goldfinger plot unfolding a million miles away. You just know Preston is hiding a gun inside that Big Gulp when he goes undercover to investigate a pawn shop and you know Vargas will make bad-guy errors in judgment like staging a robbery in downtown L.A. the day after he's confronted by our star cops in a populated disco. But that may lead you to wonder why the police--who are likewise not presented as being particularly bright in this movie--weren't trailing him as Vargas is the prime suspect in the gun-trafficking subplot. Some of the comedy borders on satire but isn't played up enough for you to tell if it was meant that way or not. The action scenes are so badly edited it's hard to tell who's chasing whom until the camera cuts back to Murphy's toothy grin and a cement-faced De Niro shooting out his car window. And speaking of commercial-laden reality TV the product placement in this movie is shameless--we get a full-length commercial for Apple Computers played not once but twice.