Eighteen-year-old Nick Powell (Justin Chatwin) has been for reasons too convoluted to go into left for dead. But his body’s still alive and his spirit – stuck in limbo – continues to interact with those around him desperately trying to communicate his existential plight before his body – hidden in a storm drain - expires. Being caught between life and death is probably a scary place but it’s likely more compelling than depicted here. The cause of Nick’s current dilemma is Annie Newton (Margarita Levieva) a juvenile delinquent and classmate of Nick’s whose troubled upbringing turned her into such a teen terror. Nick must try and compel Annie to locate his body but it takes an inordinate amount of time to do it during which the story – and the film as a whole - falls apart. After awhile it’s difficult to work up much sympathy to say nothing of any interest for what happens to these characters. Chatwin (Tom Cruise’s son in War of the Worlds) scores his first big-screen lead here and does about as well as can be expected under the circumstances which are fairly dire. With better material this might have been a decent showcase for his leading-man qualities. Better luck next time. Not nearly as fortunate is Levieva playing the prettiest leader of a high-school crime ring in recent memory. One minute she’s playing it tough and thrashing Nick within an inch of his life. The next she’s tearfully admonishing her little brother (Alex Ferris) not to make the same mistakes she made. It’s a terrible role and worse an inconsistent one. The biggest name in the cast Oscar winner Marcia Gay Harden plays Nick’s domineering mother. Like many of the roles in the film it’s strictly one-note. Still it’s nice having a pro like Harden on hand – even if the film goes out of its way to squander her talents. Only Callum Keith Rennie as the obligatory detective on the case manages to bring a little credibility to the proceedings. So naturally the film ignores him for long stretches. David S. Goyer is better known – and rightly so – for the films he’s written (Dark City Batman Begins and the Blade films) than the ones he’s directed (Blade: Trinity anyone?). But the true blame here falls on screenwriters Mick Davis and Christine Roum whose attempt to combine a supernatural storyline doused with teen angst fails miserably. At times The Invisible feels like leftovers from The Sixth Sense Ghost Jacob's Ladder The Butterfly Effect (yikes!) any number of Twilight Zone episodes and even Groundhog Day. The Invisible is based on a Swedish novel and a previous film but like the many Asian chillers that undergo an “Americanized” remake something has been lost in the translation – starting with credibility even on its own terms. So many movies undergo reshoots these days but rarely has an entire movie felt like a reshoot. The Invisible has that dubious distinction.
Milwaukee Brewers' big swinger Stan Ross (Bernie Mac) is a baseball star--a man with big talent a bigger mouth and an even bigger ego. Nine years ago he achieved legendary status by getting 3 000 base hits and was revered by his fans but had burned most of the bridges with everyone else especially when he stuck it to his team by abruptly retiring from the game. No matter. Stan spent years capitalizing on his "Mr. 3000" persona and now is just waiting for his final honor--induction into the Hall of Fame. What he gets instead however is a slap in the face when it's discovered that three of his 3 000 hits aren't valid making him only "Mr. 2 997." To reclaim his record Stan is forced to return to the field and play once again for his former team and earn those three hits--and it ain't easy. The game has changed and so has he--pushing 50 Ross is faced with both physical and mental challenges. Not only must he measure up to the new kids on the block like the Brewers' cocky power hitter T-Rex Pennebaker (Brian White) he also has to contend with less-than-supportive sports journalists especially his former flame Mo Simmons (Angela Bassett) all of whom remember the lashings they took from invective-spoutin' Stan the Man back in the day. But this time around something happens to Stan. Now hungry to prove himself he finds his love for the sport and his team renewed realizing there is a difference between having a successful life and a meaningful one. See? I told you it was corny.
Bernie Mac is a smart man. Having played smaller but memorable roles in films such as Ocean's Eleven and Bad Santa Mac has made a wise choice picking Mr. 3000 as his first foray into leading man territory. First of all Mac actually used to play the game pretty seriously so you can definitely feel the love but the character also really suits this king of comedy emphasizing his gruff sense of humor (the scene in which he tells a group of school children their favorite story character has died just to shut them up is classic Mac) while also showing off some genuine acting chops as the self-centered Stan tries to change his life. Mac can pull off the romantic stuff too if you can believe it. He clicks immediately with the always-good Bassett as the two put on a rather refreshing display of affection tinged with some obvious history from their shared past. Stan also has a quirky but genuine relationship with his former teammate Boca (as in Boca Raton Fla. because of his trademark velour jogging suits) played by character actor Michael Rispoli (Death to Smoochy). Boca is Stan's only real and honest friend'; his cryptic refrain "That's why I love you man " becomes a running gag throughout the film. Other supporting standouts include White (who is actually a former pro-football player) as Stan's arrogant protégé and Paul Sorvino as the Brewers' stoic team manager who says next to nothing--until it really counts.
Baseball movies always seem to work. There's just something about that all-American pastime that gets moviegoers' emotions stirring--the underdogs; the camaraderie; the jaded ball player; the crack of the bat; the magical home run; the peanut-chomping fans; and of course the pure love of the game. Director Charles Stone III (Drumline) captures a good deal of that in Mr. 3000 as well as adding some funkiness to the proceedings with his savvy cast and a cool old time R&B soundtrack (Earth Wind and Fire gets you grooving every time). Still there's an inherent problem: We've seen this baseball formula done so many times before in better movies such as Bull Durham and The Natural. It's also highly predictable that Stan is going not only learn some lessons about life but will also impart that wisdom and inspiration to his younger teammates. Yeah yeah. Even Stan ends the movie saying "Was that corny enough for you?" It is--but that's why we love it man.
October 19, 2001 5:57am EST
The film opens with prison warden Colonel Winter (Robert Redford) greeting the highly respected General Irwin (James Gandolfini) at the start of his 10-year sentence for disobeying a presidential order. When they meet Irwin makes a snide remark about Winter--a non combatant--proudly showcasing military trinkets and memorabilia in his office. The comment instantly touches off a power war between the two which ends with Irwin threatening to take over the prison and flying the American flag upside down--a symbol that the castle has fallen. Winter rises to the challenge and the two begin their strategic plotting. Irwin wins the respect of his fellow inmates in an overly drawn scene where he is forced to carry large stones from one pile to another in the prison courtyard and forms an army of inmates using clichéd chess tactics to demonstrate his assault plans. Winter meanwhile watches from his cozy office overlooking the courtyard as if he was watching a reality series on a big-screen TV.
The highly regarded General Irwin is a simple solemn type which unfortunately is what is fundamentally wrong with the film. While Redford does the brooding thing quite well the script never calls for him to do anything more than that. James Gandolfini takes on the role of prison warden Colonel Winter with fitting simplicity. He accentuates Winter's dumb-thug persona by over-enunciating his words and speaking in an unnaturally slow manner. Redford and Gandolfini both churn out great performances but it would have been more rewarding had the script called for their characters to be more well-rounded. Steve Burton plays Winter's right hand man Captain Peretz convincingly considering what few lines he has. His body language facial expressions and dialogue manage to convey his character's thoughts even when his lines don't.
Directed by Rod Lurie (The Contender) The Last Castle is a well-paced story without a dull moment. It concludes with a dramatic and exciting climax but the problem is it's just too simple. While it's easy to get caught up in the story it's hard to buy how easily the inmates are able to take control of such a heavily guarded maximum-security prison. Using cafeteria trays as shields is one thing but hurling stones using a giant catapult that somehow went unnoticed by prison security is hard to swallow. So is the fact that these inmates a group of hardened criminals cooperate so easily with hardly any friction. While it could have been a very emotional story it fails because the characters are one-dimensional and never really explored including the two main characters played by Redford and Gandolfini. One is a great strategist and the other draconian but viewers are left to guess why and how they got that way.