Super is compared far and wide to Kick-Ass its cousin-of-sorts and people have the right to do that. They’re both films about losers without super powers attempting to become super heroes but that’s where the comparisons can and should end. However I need one more to kick off my review. While they’re both great movies with similar concepts Kick-Ass takes a very stylized comic book approach to the material whereas Super is treated as if it takes place in the real world with real world consequences. Both methods serve their respective narratives well and since we can enjoy both of these movies at the same time without taking away anything from either we don’t have to say which one does the concept better.
The film comes from writer/director James Gunn previously responsible for of all things the awesome Slither and writing the better-than-expected live action Scooby Doo movies. The film follows Frank (Rainn Wilson) a down on his luck diner cook who decides to become a super hero after he watches his girlfriend (Liv Tyler) get taken by the town’s local bad guy (Kevin Bacon) and then is touched by God (literally). He gains the attention of the local comic book store employee (Ellen Page - delightfully dirty) and soon they team up as the Crimson Bolt and Bolty.
Gunn is considered a horror auteur and the film shows his roots. It’s incredibly violent (and I do mean VIOLENT) gory (lots o’blood) and profane (Ellen Page in Juno - eat your heart out!) but also incredibly funny. The potentially off-putting thing about Super is how Gunn manages to weave each aspect into the story seamlessly. But isn’t life like that? One minute you’re laughing while beating up an old lady the next you’re sad because your dog died (none of those things happen in the film but you feel those sentiments within minutes of each other). Some will detract the film for its tonal shifts but that was exactly what Gunn set out to do. And I think he succeeded quite masterfully.
The main thing about this film is that it works. Everything feels real every move feels correct and all the characters are dynamic. While Wilson is playing another sad sack like Dwight Shrute that’s about as similar as the two get. His violent outbursts create a character far removed from anything in Scranton. Page is the surprise ace-in-the-sleeve; she delves into the profanity and gore with glee. Everyone gets their own moment for a big laugh and a big action piece even Nathan Fillion who shows up in a religious subplot involving a Christian superhero. I can’t stress how violent and funny (emphasis on both) this film is and how well it works together.
My only problem is that towards the end it becomes a little too comic book-y (like Kick-Ass) but it is handled in such a realistic way that this is a very small complaint. To sum up I present the notes (as a poem) that I started to take before I gave up and just enjoyed the movie:
Opening sequence - amazing
Burnt burgers give you cancer
Tentacle Rape Porn
Shut up crime!
“Review Proof” is a phrase that gets tossed around from time to time when a film in question is clearly made to be enjoyed on a basic level. It implies that the filmmakers behind it knew they were making a less-than-stellar movie but it didn’t matter because they also knew that they had a built-in audience that wouldn’t care about all the problems that emerge along the way. Basically “Review Proof” is code for “If you didn’t like it it wasn’t made for you.”
I however do not think that any film is “Review Proof.” It doesn’t matter if you’re making a feature adaptation of a fake trailer about a Mexican day laborer (Danny Trejo) out for head-chopping revenge against the man who framed him for murder (Jeff Fahey) and the man who killed his family (Steven Seagal) or a film about the liberation of a concentration camp. All films even the silly ones need to deliver on a fundamental set of criteria of dynamic characters involved in an interesting storyline that’s edited together coherently. If any of those elements are too far out of line it cripples the entire thing.
With Robert Rodriguez and Ethan Maniquis' grindhouse throwback film Machete there’s nothing wrong with the characters. Trejo was born to play the eponymous all-that-is-man stoic hero but the glue that holds the often messy film together are all of the supporting players particularly Fahey Jessica Alba Don Johnson and Seagal each of whom is having a ton of fun chewing into their extreme characters (no one can be just a federal agent or just a racist sheriff or just a drug lord; they have to be the most outlandish these-colors-don’t-run version possible). The film’s story isn’t exactly original but the “framed for an assassination” plot is a tried and true staple of the action genre for a reason so it hardly holds the film back. That pinpoints the weakest link in this rather simple chain as the film’s editing.
Unless one is curious as to how long a certain scene was one should never be motivated to look at their watch during a movie. But during Machete I couldn’t help but find myself constantly reaching for it as though it were some kind of lifeline wondering when the minute hand would discover the magic number that could rescue me from the increasingly grating affair. It’s disappointing that a film with as many decapitations and naked Lindsay Lohans as Machete can be boring but sadly that is the case here. Much of the film slogs through a swamp of story arcs that were seen coming from miles away completely forgetting that a movie of this nature needs to sustain its high (which essentially comes whenever Machete picks up well any object) without any dragging
distractions to kill the buzz.
It’s easy to admire Robert Rodriguez’s intended goal with Machete - to make the kind of offensive politically incorrect film that played in grindhouse theaters in the ‘70s and ‘80s - but good intentions only go so far. In a strange way Machete is almost too faithful to its ancestry. Sure the violence is awe inspiring (at one point Machete repels down the side of a building using someone’s intestines for crying out loud) and its adamant refusal to keep things comfy and PC is more than welcome but its pacing gives the film too much slack rope with which to hang itself.
Like the depression-era brass-and-bass pop hits that its wiry protagonist covets Meet Monica Velour is a pleasant little ditty that plays smoothly and entertains from start to finish. Anchored by a refreshing turn from Kim Cattrall as the title character Keith Bearden’s feature debut is a firm freshman effort one that will undoubtedly grant the film journalist-turned-filmmaker a crack at something bigger.
A high-concept coming-of-age story with a significant social message the movie centers on seventeen-year-old Tobe Hulbert (Dustin Ingram) – an innocent and awkward recent high school graduate on the verge of a breakdown from boredom. The only solace he finds in his mundane existence comes from collecting assorted pop-culture items: vintage records from the 1930s comic books from the ‘40s and most interestingly pornography from the late ‘70s and ‘80s. When he hears about a rare appearance by his lifelong porn star crush at a sleazy strip club four states away Tobe leaves his drunken grandfather’s home and heads to Indiana to finally meet Monica Velour.
Of course after thirty years of professional wear and tear and marital and substance abuse Ms. Velour is nothing more than a decaying façade of the glimmering beauty she once was. Spiteful and world-weary Cattrall shines through the runny make-up and cheap outfits her character has become accustomed to and delivers an authentic portrayal of a woman who walked on the wild side and came through a marvelous mess. Her performance along with the nostalgic reminiscence of porno’s home-video heyday offers a loving nod to the skin-flick industry while poking fun at its ludicrous unnecessary plot lines and C-rate production values.
While Ms. Cattrall will help sell tickets young Dustin Ingram steals the show as the nebbish Tobe. Looking and acting like the bastard child of Napoleon Dynamite and Johnny Depp’s Willy Wonka the twenty-year-old actor taps into the misery of America’s disaffected youth and turns it into enjoyably wry comedy that shares its tone with the picture as a whole. Writer/director Bearden brightens his character’s bleak outlook on life with vibrant colors that convey the magic of Americana that fuels the film as well as his protagonist’s quest.
Though the movie may be likened to popular teen comedies like The Girl Next Door Porky’s or Fast Times at Ridgemont High underneath the crude humor and sex jokes is a poignant story of an unlikely friendship between a faded star and her number one fan. There is a great deal of emotional depth to both the characters and the narrative and though the relationship between Monica and Tobe is mostly comedic Bearden allows the mold to be broken at times to reveal a genuine connection between these two lost souls. Furthermore the picture attacks the hegemonic perspective of the aging woman in a society that worships youth and beauty and is quick to dispose of one who is past her prime. It has more in common with Juno and Little Miss Sunshine than the aforementioned mainstream studio movies and like both of those critical darlings deserves to be picked up for wide distribution where it will surely prosper.
Invincible is Rudy and The Rookie all rolled into one. Set in the mid-‘70s Mark Wahlberg stars as the real-life Vince Papale a blue-collar Philadelphian down on his luck after his wife leaves him. His only solace is playing football with his cronies and rooting for his beloved Philadelphia Eagles who are in a real rut. Newly hired head coach the legendary Dick Vermeil (Greg Kinnear) decides to infuse some new blood into the team by holding open tryouts. All of Vince’s friends think he’d be perfect and urge him to go for it. He does makes it and is soon playing with some of his idols much to their chagrin. I mean who is this punk anyway? Sure he’s got some excellent instincts but can he really be a NFL player with no experience? Yes in fact he can proving to all those regular Joes out there you can live the dream. Yeah yeah. Unfortunately none of the actors really add anything either. Wahlberg is definitely a natural to play this kind of role having already done so in Rock Star. At least in Invincible he gets to show off some of his athletic abilities rather than just his bare chest in black leather pants. But the performance is run of the mill. As is Kinnear who as Vermeil takes on the headaches of turning a losing team into winners all while his supportive wife sweetly reassures him he’s doing the very best he can. Seen it. To their credit some of the supporting actors—including Kirk Acevedo (The New World) Michael Kelly (Dawn of the Dead) and Michael Rispoli (Mr. 3000)—paint a convincing picture of genuine camaraderie between local Philadelphians. And Elizabeth Banks (The 40 Year-Old Virgin) rounds things out as Vince’s cute love interest (and eventual real-life wife) who knows a few things about football by golly. You’d think Invincible would be a no-brainer feel-good kind of sports flick. It’s based on a real-life person has that whole underdog thing going for it and it’s football. What could go wrong with that? Nothing really besides the fact it’s been done about a hundred times over—and has now been left in the hands of newbies. First-time director Ericson Core a former cinematographer and writer Brad Gann are clearly green doing things by the play book line for line. It’s scary helming a feature film for a big studio like Disney who had such sport hits like The Rookie and Remember the Titans. Perhaps Core wanted to go more out on a limb but was reigned in. Who knows? The football scenes are definitely the highlight and Core handles the action well. I mean you do want Papale to prove himself the natural athlete he truly is and make all his homies proud. But the rest of it is just blah.