Take Me Home Tonight directed by Michael Dowse is a comedy about the ‘80s but its futility is timeless: In just about any decade it would be considered generic and unfunny. Set in 1988 it stars the likable and witty Topher Grace as Matt a recent MIT grad with a crippling case of post-college career-indecision. Working as a lowly clerk at a video store he has a chance encounter with his high-school crush Tori (Teresa Palmer) who to his (and our) surprise actually displays faint interest in him. But Matt fails to pull the trigger and so he resolves to make up for his lack of cojones when he sees her later that evening at a party hosted by the preppy douchebag boyfriend (Chris Pratt) of his twin sister Wendy (Anna Faris).
This sets the stage for an eventual romantic union between Matt and Tori; until then there is insecurity to overcome and wacky adventures to be had. Many of the latter stem from the increasingly unhinged behavior of Matt’s best friend Barry (Dan Fogler). The film turns on a bag of cocaine Barry finds in the glove compartment of a Mercedes stolen from the dealership that fired him earlier in the day. Cocaine is renowned for its ability to induce euphoria in even the most mundane of settings but it has arguably the opposite effect on Take Me Home Tonight. I consider Fogler to be a legitimately funny guy but he has the irritating tendency to compensate for underwritten material by wildly overacting. Throw in a bag of blow and that tendency is amplified ten-fold.
A happy standout in the film is Palmer who brings a liveliness and dignity to the stereotypical rom-com role of the Otherworldly Hottie Who Inexplicably Falls for the Stammering Schlub. (It also helps that she's the only member of the main cast who is young enough to realistically portray a recent college graduate.) She is one of the more talented young Australian exports to arrive on our shores in quite some time and has the potential to become a saucier version of fellow Aussie Nicole Kidman. That is if she finds material better than Take Me Home Tonight.
Within the whole sports genre we really haven’t seen a Ping-Pong movie before—especially one portayed in such a spectacularly goofy way. Former child Ping-Pong prodigy Randy Daytona (Dan Fogler) who was unceremoniously defeated decades ago is now reduced to performing ball tricks on stage at a local bar. But Randy’s luck changes when FBI Agent Rodriguez (George Lopez) recruits him for a secret mission: to ferret out FBI’s Most Wanted arch-villain and Ping-Pong connoisseur Feng (Christopher Walken) the man who killed Randy’s father. But times have changed since Randy choked and Ping-Pong is now played in an unsanctioned underground and extreme kind of way. Randy has to get into shape with the spiritual guidance of a blind Ping-Pong master named Wong (James Hong) and his kickass niece Maggie (Maggie Q) in order to make it to Feng’s mysterious jungle compound to play in the most unique Ping-Pong tournaments ever staged. Randy has his work cut out for him though if he’s going to wield his paddle and triumph over rampant wickedness. Who is this Dan Fogler guy and why haven’t we seen him before? Apparently he’s been on stage winning a Tony Award for his work in the Broadway play The 25th Annual Putnam County Spelling Bee among other things. Now Hollywood is beckoning—and it looks like Fogler has the chops to stick it out. Sort of a cross between Jack Black and Meatloaf the actor totally makes Balls of Fury’s campiness work. He also has lots of help from his fellow players: Lopez is hilarious as the FBI agent who has been working a desk job but fancies himself a James Bond; veteran Asian actor Hong gets to use chopsticks in some interesting ways as the sage but cantankerous Wong; the hard-bodied Maggie Q (wonder what the "Q" stands for) who up to this point has only kicked butt in action movies like Live Free or Die Hard and Mission: Impossible III plays it light in Balls; and of course Mr. Walken as the evil Feng doing his own impression of any Bond villian you can think of while still being Christopher Walken. That man has WAY too much fun in this film. Also look for loads of cameos by recognizable folks. Director/co-writer Robert Ben Garant and his screenwriting partner actor Thomas Lennon (who plays Randy’s hysterical uber-Nazi Ping-Pong rival Karl Wolfschtagg) certainly have a peculiar sense of humor something they created while working on MTV’s The State’s sketch comedy back in the ‘90s and then cultivated on their Comedy Central show Reno: 911!. They’ve gone PG with writing credits such as Night at the Museum and The Pacifier but have gotten R-rated especially with the Reno 911: Miami big-screen effort. Balls of Fury falls somewhere in between (that would be PG-13)--a mixture of James Bond bad martial-arts films Matrix-like slow-mo effects and just about any sports movie starring Will Ferrell. In other words for as many tiny balls that get batted around in any number of silly ways if you buy into their particular brand of comedy (like me) Balls of Fury will keep you in stitches. Oh and if you're a Def Lepperd fan you'll also be pleased with the soundtrack.
Dogtown centers on three teenagers in the 1970s--Jay Adams (Emile Hirsch) Stacy Peralta (John Robinson) and Tony Alva (Victor Rasuk)--who just want to ride. At first it's waves. Living in "Dogtown " a tough and gritty area in Venice Calif. these guys do everything they can to get in with the Zephyr surfers lead by the charismatic owner of the Zephyr surf shop Skip Engblom (Heath Ledger). But the boys are soon transferring their aggressive wave-riding moves to the concrete turning empty pools into arenas of wild beautiful athleticism and revolutionizing a new style of skateboarding. Skip recognizes great money-making potential when he sees it and takes these freestyle wizards on urethane wheels out on the road to show off their skills dubbing them the Z-Boys. The skating world goes nuts. Conventional competitors don't know what to make of their "extreme" ways. Girls are wild for them. And promoters see dollar signs wanting to grab a piece of the action. But what started out as fun way to blow off steam soon turns into big business. Can the friendship between this tightly knit trio survive inflating out of control egos and fast-paced famous lifestyles? Dude that's a tough one to call.
What better way to make a movie about three hot California skateboarders then by casting three hot young male leads to play them. As Tony Alva and Stacy Peralta--the two talented skateboarders on the opposite ends of the spectrum--newcomers Rasuk (Raising Victor Vargas) and Robinson (Elephant) aptly bring sincerity to their portrayals. As the fiery Alva the wild-haired Rasuk is full of bravado taking to the jet-setting life with ease and ultimately becoming the more well-known name. The soft-spoken Robinson plays the easy-going Peralta with quiet determination proving he doesn't have to showboat in order to show how good he is. But it's the more seasoned Hirsch (The Girl Next Door) playing the gifted but ultimately screwed-up Jay Adams who has the harder acting job. As the Z-Boy with probably the rawest talent but nevertheless gives up his chance for fame Hirsch handles Adams' conflicted emotions well. Ledger too does a nice job as Skip Engblom the boys' "mentor" who introduces them to a whole new world rides a great meal ticket for awhile--and then loses it all when the boys move on to bigger and better things. Sorry Skip.
Coming off the heels of his award-winning 2001 documentary Dogtown and Z-Boys writer Stacy Peralta decided he wasn't quite done telling his Z-Boy story trying his hand at dramatizing the whole experience. This time around he elicits the help of director Catherine Hardwicke whose disturbing indie Thirteen proved she can get underneath a teenager's skin. Smart move. Her documentary style of filmmaking with that grainy handheld feel fits the Lords of Dogtown milieu perfectly. The camera chases after the boys as they skate sneak onto private property to surf empty pools and rock like rock stars. Peralta also calls upon his old buddies to help out including the now world-renowned skating champion Tony Alva who choreographs many of the stunts and apparently teaches the actors not only to skate but skate in true Z-Boy fashion. Maybe hardcore skateboarders will notice the errors but for a novice like me it is a fun ride. The only real problem with Dogtown is Peralta's greenhorn attempts at fleshing out a drama. As a documentary the Z-Boys experience is exhilarating as it follows these real-life mavericks' efforts to take skateboarding to a whole new extreme. But as a full-blown feature film it's a little harder to perpetuate the momentum.
This is one of those Rocky-style films in which the climax is built-in. We know there's going to be a fight where the underdog goes up against the big bad champ. It's the rest of the movie that needs to keep our attention and luckily Undisputed does a decent job save a few scenes that could have been cut. When the world heavyweight boxing champ George "Iceman" Chambers (Ving Rhames) is sentenced to 6 to 8 years for rape he is sent to the newly built Sweetwater Maximum Security Prison in the Mojave Desert. Of course he vehemently denies the charges rages at his lawyers to find a way out of this mess and is generally in a pretty foul mood. In fact he bullies and pushes people around just about wherever he goes including Monroe Hutchens (Wesley Snipes) who as Chambers finds out is the reigning undisputed prison boxing champ--10 years running. Hutchens is a hero of sorts to the rest of the prisoners and this doesn't sit well with the Iceman. Seizing a glorious opportunity to make some serious cash longtime inmate and mob boss Mendy Ripstein (Peter Falk) sets up a boxing match between the two. He lures Hutchens into the ring on the promise of prize money to send home to his sister and three kids. For Iceman it's the chance to get out on special parole via mob ties to the parole board. For both it means a fight to the finish by London Prize Ring rules -- no referee lighter gloves and the last man standing wins. So who'll be king of the hill?
The fact that Rhames' Iceman is more than a little reminiscent of real-life boxing champ Mike Tyson and the legal woes he suffered a few years back is certainly not lost. Yet Rhames infuses his character with a certain intelligence and a lot of cocky bravado. When he is on the screen you can't take your eyes off him partly because he takes up half of it with his hulking mass. It's also kind of fun to see Rhames playing the baddie again although not quite as malevolent as Marsellus Wallace in Pulp Fiction. Snipes also puts in a compelling performance as Hutchens who was on his way to being a boxing champ himself before he lost his cool in a crime of passion and wound up in prison for murder. Hutchens doesn't say much but quietly waits out his sentence making Japanese temples out of toothpicks. His character however comes alive when he is in the ring and for a man of little words Snipes looks good dealing out the punches. The supporting characters are hit and miss. Falk seems sorely out of place among all the hoodlums and just a little too senile to be believable as a tough-nut gangster. Fisher Stevens (Short Circuit) however as Hutchens' crony Ratbag lives up to his character's name nicely. Other inmates Jon Seda (Selena) as companion to Ripstein and Wes Studi (Last of the Mohicans) as the Iceman's only ally are also both memorable in small parts.
Action director Walter Hill best known for his '80s hits 48 Hrs. and The Long Riders seems to be trying out some new techniques in his older years. Without going for the typical opening credits Undisputed launches the audience right into a boxing match. Hill alternates between black and white and color to make his points but the most unique technique is how he introduces the characters. As each new character comes on screen they are immediately freeze-framed with titles detailing who they are when they were convicted and what they were convicted of. Doing this isn't necessarily a key to the story but you get to the point where you want it just because you are actually curious in finding out what crimes they've all committed. The film only drags when Rhames and Snipes are not on the screen and of course all the fancy camerawork really only pays off for the big finale. Watching these two animals duke it out in a cage is as exciting as you'd expect. Maybe not quite as bloody as say the ring action in Martin Scorsese's Raging Bull but fun nonetheless.