In the near-future a portal to Mars is discovered and the remains of a civilization are discovered. The UAC corporation sets up shop with an archaeological dig and find all sorts of cool artifacts. Then things go horribly horribly wrong in a very bloody and violent way. So a squad of bad-ass soldiers led by The Rock are sent in to clean things up. The mission is complicated by Dr. Samantha Grimm (Rosamund Pike) a scientist who is trying to salvage as much research data as she can without getting killed. The mutant zombies--or whatever they are--give the guys a run for their money. But with a seemingly unending supply of ammo the mutant-zombies are ultimately defeated. Big surprise. First this isn't a film that requires much acting. With guns being fired every time someone turns a corner there isn't much call for character revelations and tender moments. At least that's how it must have been pitched to The Rock because he only covers two emotions in this film: gruff or screaming rage. He pulls it off but the screaming gets a bit tedious. Karl Urban (The Lord of the Rings and The Bourne Supremacy) who plays John Grimm aka Reaper is serviceable in a role that requires him to have at least a little depth more than any of the soldiers. As plucky Samantha Grimm John’s sister (yeah nice twist there) Pike (Die Another Day) runs frets and figures things out pretty quickly thank goodness. She and Urban have a nice chemistry as well. Too bad they played brother and sister. Andrzej Bartkowiak (Romeo Must Die Exit Wounds) has given the fans of the popular game an action-packed film--but it just isn't enough for those of us who really love Doom. The world of the game and the world of the movie are slightly different and that's OK--up to a point. There's always a problem when you want to have it both ways. But unlike its cousin Resident Evil Doom is monster deficient compared to the game--until that is the final sequence. Shot mostly in a first-person perspective like the game it unfortunately feels tacked on. The story’s logic is ignored for the sake of trailer footage. There is a slight twist at the end which helps but it just isn’t as satisfying as it could have been.
Nolan Walsh (Bruce Greenwood) once a champion thoroughbred trainer and now a mild-mannered Kentucky farmer rescues an abandoned baby zebra and takes him home to his young daughter Channing (Hayden Panettiere). Stripes (voiced by Frankie Muniz) as the adoring Channing calls him grows up on the farm with its misfit troupe of barnyard residents. They include the cantankerous but wise Tucker (voiced by Dustin Hoffman) a Shetland pony; Franny (voiced by Whoopi Goldberg) a motherly old goat who keeps the farm in line; Goose (voiced by Joe Pantoliano) a skittish hit pelican who's hiding out from Jersey thugs after taking out the wrong bird; and Buzz (voiced by Steve Harvey) and Scuzz (voiced by David Spade) two horseflies with attitude--and an affinity for poop. But Stripes isn't cut out for farm life. Instead he has his sights set on the neighboring racetrack with hopes of running in the race himself--even if he isn't exactly a horse. With a little help from his human and farm animal friends he finally gets his chance. And loses! Oh I'm just kidding.
Although the human actors do an adequate job maintaining the core emotional element of the film especially the sweet-cheeked Panettiere (Raising Helen) it's the animal characters that keep Racing Stripes entertaining. Muniz is earnest enough as the enthusiastic Stripes while the sugary Mandy Moore voices his love interest Sandy a local show jumper horse. Veterans Hoffman who finds his inner horse as the crabby Tucker and Goldberg who does the maternal goat thing very well both handle their animal chores with aplomb. The ever-country hick Jeff Foxworthy and the lackadaisical Snoop Dogg also make vocal appearances as a none-too-bright rooster (are there any other kind?) and lazy bloodhound respectively. But it's Joey Pants as Goose the incompetent gangster pelican on the lam and Spade and Harvey as the quippy espresso-lovin' dung-wallowing horseflies who steal the show.
They always say its hardest to work with animals and children so director Frederik Du Chau (Quest for Camelot) really had his work cut out for him working with real zebras something which has never really been attempted before because of the animal's flighty temperament. Apparently a zebra's nature is rooted in a fight-or-flight response stemming from the fact they are chased by predators in the wild. Makes sense but training them to race around a track? Sounds like a nightmare shoot. Plus Stripes was played by no less than eight different "adolescent" zebras. Yikes. Du Chau pulls it off however. You're sitting there with the best of them cheering our hero on as he runs his big race oblivious to how they made it all happen. Overall it's just too bad that unlike its cousin Babe Racing Stripes has to go for the same tired and cheesy formula of an underdog proving himself rather than creating a tender story of a zebra making his way on a Kentucky horse farm.
The tragic opera tells the story of a disfigured musical genius (Gerald Butler) who haunts the catacombs beneath the Paris Opera waging a reign of terror over its occupants [cue the organ music]. Think The Elephant Man meets The Hunchback of Notre Dame--except this particular "monster" has some serious sex appeal. I mean honestly his only "disfigurement" is some scarring on one side of his face which he covers with a rather classy mask. No big whoop. But I digress. When he falls desperately in love with the lovely ingénue Christine (Emmy Rossum) who has lived in the opera house for most of her life the Phantom devotes himself to molding the young soprano into a star exerting a strange sense of control over her as he nurtures her extraordinary talents. But when Christine falls for the dashing Raoul (Patrick Wilson) all hell breaks loose as the Phantom's growing jealousies threatens to tear everyone apart [OK now it's really time to cue the organ music].
Fans will no doubt be happy their favorite musical has finally made it to the big screen but the musical's original stars Michael Crawford and Sarah Brightman have been replaced in the movie version by hot young actors. This is a very wise decision considering the film's rather longwinded nature. In other words even though the Phantom performers keep singing and singing and then sing some more at least they are appealing to watch (and they did do all their own singing). Butler (Lara Croft Tomb Raider: The Cradle of Life) is particularly effective as the Phantom all brooding mysterious and far more intriguing a suitor than pretty boy Raoul played blandly by Wilson (HBO's Angels in America). With her alabaster skin and long luscious locks Rossum (The Day After Tomorrow) also does a nice job as Christine. But she is unfortunately limited to only a few range of emotions--either all doe-eyed and somber over her Phantom doe-eyed and gushy over Raoul or just plain doe-eyed. As for the supporting players Minnie Driver nearly steals the show as the Italian soprano diva La Carlotta. As the only breath of fresh air in the musty opera house you definitely crave more of her.
It's taken about 15 years to bring Webber's smash hit to the big screen. Apparently after winning every known theater award for Phantom the legendary producer-composer approached director Joel Schumacher in 1988 to do the movie after being impressed by Schumacher's work on The Lost Boys. Hmmm The Lost Boys to Phantom of the Opera--I'm still trying to tie that one together. Anyway Webber had to postpone production for personal reasons and then Schumacher was busy doing such films as Tigerland and Phone Booth. Finally the time was ripe to make Phantom coming on the heels of the musical movie boom started by Moulin Rouge and Chicago. Schumacher certainly incorporates all the right elements from the young and talented cast to the opulent sets and magnificent costumes. The problem is the material: Phantom really isn't all that compelling of a story. Sure the stage production was and still is a theatrical event especially as the Phantom moves on catwalks all over the theater and the impressive chandelier comes crashing down on the stage. But for the film adaptation there needs to be something more than just grand posturing set pieces and operatic music. Maybe a little more dialogue? A sex scene? Anything?
Don't expect too many happy moments in Beyond Borders. Even though it follows a rather tepid romance the movie is more a travelogue of third-world horrors than anything else. Separated into three time periods the film begins in 1984 when newly married socialite Sarah Jordan (Angelina Jolie) first sees renegade doctor Nick Callahan (Clive Owen) at a London event delivering a fiery plea on behalf of starving children in Ethiopia. His intense commitment stirs Sarah's soul--so much so that she drops everything to take food and supplies to the dusty drought-ridden area herself. In Ethiopia she meets the unorthodox doctor face to face and witnesses the determination that he and his non-governmental organization (NGO) in saving lives. Sarah and Nick make a connection but Nick is too involved in his work to act on it and she is married after all (sigh). Four years later Sarah's marriage has turned sour but she now has a son and a life's passion working for the United Nations refugee agency. When the opportunity arises to see Nick again Sarah travels to Cambodia at the height of country's bloody civil war with a shipment of medical supplies. Amidst life-threatening situations she and Nick consummate their feelings for one another at last. But alas Nick is aware his devotion to his work hampers his capacity for love and he leaves her again (heavy sigh). The final segment takes place five years later when Sarah sets out on a quest to rescue Nick who has been captured in war-torn Chechnya. Will Sarah be able to save him so they can finally be reunited? Remember there are no happy moments in this film.
After reading the script for Beyond Borders which was filmed in 2001 Angelina Jolie began her real-life UN efforts so in a way Jolie's fictional alter ego reflects the Oscar-winning actress' real life. As Sarah learns about third-world strife she decides to dedicate her life to helping others through the United Nations as did Jolie who became a Goodwill Ambassador to the United Nations High Commissioner for Refugees in 2001 a role she has extended for two more years. In Beyond Borders whether Sarah is nursing a child near death from starvation or standing up to a corrupt Cambodian general it's empowering to see Jolie the humanitarian pouring out her true feelings on screen. Owen (Gosford Park) does a more than believable job as the hard-bitten Nick who plays the character full of fury and grace as he is willing even to sell his soul to the devil--in this case a CIA operative who uses Nick to transport anything from secret documents to guns to the troubled areas in exchange for money to fund the NGO's efforts. Yet the film's main flaw lies in the lack of chemistry between Nick and Sarah. Nick is the smarter of the two--he knows his one true love is his work. Sarah is just too besotted to realize their affair--and her character arc--is doomed from the start.
Director Martin Campbell knows how to create spectacular vistas having directed such scenery-heavy films such as Vertical Limit and GoldenEye. From London's gray skies to Ethiopia's orange desert Cambodia's lush greenery to Chechnya's stark white winter Campbell's film is a visually stimulating treat. By far the most moving and alarming scenes take place in Ethiopia which was filmed on location in Africa's Namib desert. Seeing the emaciated (albeit mostly CGI) bodies of the dead and dying in the choking desert is enough to move anyone into humanitarian action. Be that as it may Borders should stop for a moment and give more history on the conflicts brewing in each beautiful yet troubled region--particularly by the time we get to Chechnya (actually Quebec). Rather than give any background on the region's raging civil war it simply shows bombed-out buildings and shooting in the streets and follows Sarah into the snowy woods on the search for Nick. While the other parts of Beyond Borders inspire your spirit this last part focuses solely on the love story and frankly it's just not as interesting