Columbia Pictures via Everett Collection
Treading water at the very surface of RoboCop, there is an idea. A dense concept, ready and willing to provide no dearth of dissection for any eager student of philosophy, psychology, political science, physics — hell, any of the Ps. To simplify the idea on hand: What separates man from machine? It's a question that is not just teased by the basic premise of José Padilha's remake of the 1987 sci-fi staple, but asked outright by many of its main characters. And then never really worried about again.
We have principal parties on both sides of the ethical quandary that would place the security of our crime-ridden cities in the hands of automatons. Samuel L. Jackson plays a spitfire Bill O'Reilly who wonders why America hasn't lined its streets with high-efficiency officer droids. Zach Grenier, as a moralistic senator, gobbles his way through an opposition to the Pro-boCop movement. We hear lecture after lecture from pundits, politicians, business moguls (a money-hungry Michael Keaton heads the nefarious OmniCorp...) and scientists (...while his top doc Gary Oldman questions the nature of his assignments while poking at patients' brains and spouting diatribes about "free will"), all working their hardest to lay thematic groundwork. Each character insists that we're watching a movie about the distinction between human and artificial intelligence. That even with an active brain, no robot can understand what it means to have a heart. But when Prof. Oldman tempers his hysterical squawking and Samuel L. Hannity rolls his closing credits, we don't see these ideas taking life.
In earnest, the struggle of rehabilitated police officer Alex Murphy (Joel Kinnaman) — nearly killed in the line of duty and turned thereafter into OmniCorp's prototype RoboCop — doesn't seem to enlist any of the questions that his aggravated peers have been asking. Murphy is transformed not just physically, but mentally — robbed of his decision-making ability and depleted of emotional brain chemicals — effectively losing himself in the process. But the journey we see take hold of Murphy is not one to reclaim his soul, although the movie touts it as such. It's really just one to become a better robot.
Columbia Pictures via Everett Collection
Meanwhile, RoboCop lays down its motives, and hard: Murphy's wife and son (Abbie Cornish and a puckish young John Paul Ruttan) lament the loss of Alex, condemning his dehumanization at the hands of Raymond Sellars' (Keaton) capitalistic experiments, and sobbing out some torrential pathos so you know just how deep this company is digging. Weaselly stooges (Jay Baruchel, Jennifer Ehle, and Jackie Earl Haley) line the OmniCorp roster with comical wickedness. Overseas, killer combat bots take down peaceful villages, unable to work empathetic judgment into their decision to destroy all deemed as "threats." And at the top, figures of power and money like Sellars and Pat Novak (Jackson) speak the loudest and harshest, literally justifying their agenda with a call for all naysayers to "stop whining." Clearly, RoboCop has something to say.
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And when it's devoted to its outrage, RoboCop is terrifically charming. The buzzing political world is just a tiny step closer to ridiculous than our own; the pitch meetings at OmniCorp are fun enough to provoke a ditching of all the material outside of the company walls. And one particular reference to The Wizard of Oz shows that the movie isn't above having fun with its admittedly silly premise. But it loses its magic when it steps away from goofy gimmicks and satirical monologues and heads back into the story. We don't see enough of Murphy grappling with the complicated balance between his conflicting organic and synthetic selves. In fact, we don't see enough "story" in Murphy at all. First, he's a dad and a cop. Then, he's a RoboCop. But can he also be a RoboDad? With all of its ranting and raving about the question, the film doesn't seem to concerned with actually figuring out the answer.
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Twilight’s contentious “Edward vs. Jacob” debate was finally settled at the close of 2009‘s New Moon the second episode of Stephenie Meyers’ supernatural teen harlequin saga when plaintive emo hottie Bella Swan (Kristen Stewart) definitively rejected the advances of Taylor Lautner’s musclebound man-wolf in favor of Robert Pattinson’s brooding vampire.
Or so we thought. Twilight’s fateful love triangle is revived in earnest by Eclipse part three of the series and this time the implications are serious -- relatively speaking of course. Taking over the helm from New Moon director Chris Weitz is David Slade (30 Days of Night Hard Candy) who adds a hefty dose of action to Twilight’s trademark mix of soaring romance and manic melodrama making Eclipse the first film in the saga in which -- get this -- something actually happens.
Indeed action is a primary theme of Eclipse. Like most high school seniors Bella wants some; her pasty paramour Edward Cullen however remains stubbornly chaste and not just because the briefest exposure to his unbridled vampire lust would almost certainly kill his all-too-human sweetheart. You see chivalrous Edward hails “from a different era ” one in which the institution of marriage meant everything and a man took care to mount a proper courtship before marrying a girl nearly a century his junior. (He’s 109 years old.) He asks her to marry him; she agrees but only if he’ll turn her into a vampire first; he hesitates pondering the unalterable consequences; the matter is tabled and heavy petting resumes. (This exchange is repeated ad nauseam throughout the remainder of the film.)
The constant fawning and unwavering devotion from impossibly beautiful Edward aren’t enough to sate Bella’s thirst -- she needs validation like a vampire needs blood -- and so she uses the flimsiest of pretexts to re-insert herself into the life of Jacob Black the sensitive werewolf she previously shunned who dutifully plies her with his own declarations of undying love. (Jacob to his credit has developed enough game since we last saw him to qualify as a serious contender for Bella’s affections and is no longer the devoted doormat we saw in New Moon. He’s still a tool though.) Game on.
But Edward and Jacob aren’t the only ones with designs on Bella. (Seriously are there no other hot emo chicks in the greater Pacific Northwest?) A ginger-haired menace (Bryce Dallas Howard) has emerged one that will require Edward’s vampire clan and Jacob’s wolfpack tribe longtime enemies forever on the verge of a climactic battle (in which Bella will serve as the jeans-and-hoodie-clad Helen of Troy no doubt) to put aside their differences and unite against a common enemy. In order to ensure Bella’s safety Edward and Jacob must form an uneasy tag-team (no not that kind of tag team much as it would likely better serve to resolve matters) to keep Bella safe from harm.
With its amped-up action sharpened wit and darker horror flick-inspired atmospherics Eclipse boasts the broadest appeal of all the Twilight films thus far. But that doesn’t mean it’s good. Director Slade’s grasp of plot development borders on amateurish in this film; Eclipse often feels less like a movie than a weighty discourse on the pros and cons of vampiredom laid out in lengthy exhaustingly repetitive chunks of exposition and awkward campy flashbacks as just about every character in the film including Edward attempts to dissuade Bella from joining the ranks of the bloodsuckers.
But alas no force no matter how utterly rational its arguments will keep Bella from her destiny. Which obviously is Edward. Or is it? Eclipse goes to great pains to invent ways to perpetuate the film’s romantic rivalry inserting scenes like the one in which Bella on the verge of freezing to death in a tent high up in the mountains is saved when Jacob arrives to heroically spoon her body temperature back to its proper level. (Eclipse is being hyped as the first “guy-friendly” Twilight flick but no film which includes a climactic spooning scene can rightly claim such a distinction.) Edward meanwhile with his poor vampire circulation is powerless to help.
Who will win in the end? Will it be abs over eyes? Obviously it will take two more movies (at least!) to solve this kind of wrenching dilemma.
Built from comic book auteur Frank Miller’s (Sin City) rock solid foundations 300 is based on his vision on the 1962 film The 300 Spartans filtered through the same tough-as-nails pulp sensibility that populates most of his comics work. Leaving such leaden wannabe sword-and-sandal epics like Troy and Alexander in the historical dust 300 reworks the real-life legendary tale of the Battle of Thermopylae in which a battalion of 300 elite Spartan soldiers heroically hold the line to protect ancient Greece from the invading Persian hordes. The story focuses on the Spartan King Leonidas (Gerard Butler) who must not only lead his small cadre of troops--each one honored since childhood into a razor-sharp battle-relishing warrior—into a battle they are unlikely to survive but he must also fight for the fate of Greece and its democratic ideals. As the bizarre seemingly endless marauding legions of the tyrant Xerxes (Rodrigo Santoro) descend upon the Hot Gates—a narrow passageway into Greece that Leonidas’ miniscule band can most ably defend—the soldiers take up arms without the usual post-modern anti-war hand-wringing that most war epics indulge in. These soldiers are both bred for battle and fighting a good fight and the film focuses squarely on the highly charged action. Meanwhile in a new plotline created specifically for the movie his equally noble and faithful queen Gorgo (Lena Headey) takes up arms in a more symbolic way as she also tries to keep democracy alive by taking on the political warlords of Sparta to secure relief for her husband’s troops. Butler has become a familiar and welcome on-screen presence in such films as The Phantom of the Opera and Reign of Fire but there has been little on his mainstream movie resume to suggest the kind of bravura fire he brings to the role of Leonidas. This is the stuff of an actor announcing himself to the audience in a major way akin to Daniel Craig’s star-making turn as James Bond. In a big bold performance that could have gone awry in any number of ways Butler plays even the highest pitched notes like a concerto perfectly capturing the king’s bravado bombast cunning compassion and passion each step of the way. Headey is his ideal match imbuing the queen with more steel and nobility in a handful of scenes than most actresses can summon to carry entire films. Fans of Lost and Brazilian cinema will be hard-pressed to even recognize Santoro whose earnest pretty handsomeness is radically transformed into Xerxes’ exotic borderline freakish form personifying a terrifying yet seductive force of corruption and evil that spreads like a cancer across the earth. And don’t forget to add in the most impressive array of rock-hard abs on cinematic display since well ever (think Brad Pitt in Troy times 300). Even bolstered by canny casting choices and their washboard stomachs helmer Zack Snyder (Dawn of the Dead) is the true undisputable star of 300 establishing himself firmly as a director whose work demands to be watched. With a kinetic sensibility that’s akin to Quentin Tarantino and John Woo and using CGI technology to its utmost effects both subtle and dynamic Snyder creates a compelling fully formed world that the audience is eager to explore. Snyder doesn’t literally match Miller’s signature artwork as meticulously as director Robert Rodriguez did with Sin City. Instead Snyder captures Miller’s essence be it raw brutality majestic size and scope the exotic and otherworldly carnal physicality or hideous deformity--even seemingly antiquated and potentially off-putting techniques like the repeated use of slow-motion are put to fresh effect making every blow and cut seem crucial. Yet even in the visual glorification of some of the most bloody and violent conflicts ever put to film Snyder infuses the tale—which ultimately is one big glorious testosterone-soaked fight sequence—with the sense of honor and sacrifice which characterizes the most noble of war efforts. Yes war can be hell but this is a case where some like it hot.