2009’s Sherlock Holmes found unexpected synergy in the pairing of Robert Downey Jr.’s impish charm and Guy Ritchie’s macho kinetic visual style reinventing Sir Arthur Conan Doyle’s master detective for a modern blockbuster audience. The follow-up Sherlock Holmes: A Game of Shadows employs the same winning formula while adhering judiciously to the Law of Sequels and its more-more-more dictates: more action bigger set pieces higher stakes and a darker more convoluted plot. But more as so many past sequels have taught us is rarely better.
Game of Shadows marks the emergence of Doyle’s most famous villain James Moriarty (Jared Harris). Glimpsed only in darkness in the first film Moriarty takes center stage in the sequel as Holmes’s foremost criminal foil a genius-level university professor whose extracurricular interests range from horticulture to homicide. Holmes has deduced him to be at the center of a wave of terrorist bombings as well as the seemingly unrelated deaths of various titans of industry but can’t quite discern just what the professor’s endgame might be. Composed and calculating to a menacing degree Harris makes for a promising counterweight to Downey’s manic verbosity. But as in the first film Game of Shadows’ best moments are found in the comic interplay between Holmes and his reluctant sidekick Dr. Watson (Jude Law) who is plucked from his honeymoon to accompany the detective on a trans-continental trip in search of clues to Moriarty’s machinations.
And it’s very much a boys-only trip. The female leads from the first film Rachel McAdams and Kelly Reilly are tossed aside – literally in the case of the latter – in Game of Shadows while the cast’s highest-profile new addition Swedish star Noomi Rapace (best known as the original non-emaciated Lisbeth Salander) is a curious non-factor in the role of a Gypsy (or Roma if you prefer) fortune-teller. The film maintains only the slimmest pretense of a romantic subplot between her and Downey. Rapace looking perhaps a bit lost in her first English-speaking role can’t hope to eclipse the Holmes-Watson traveling road show.
Ritchie’s technique with its signature blend of rapid cutting and slow-mo and super-high frame-rates – perfect for admiring the odd apple tossed in the air or a piece of bark shot off a tree – is once again evident in the film’s awe-inspiring (and occasionally coherence-defying) set pieces the most memorable of which is set in a munitions factory with Watson wielding a gatling gun like an early T-600 prototype. But some of the novelty of the stylistic juxtaposition has faded since the first film. Ritchie tries to compensate by ramping up the firepower to limited effect. Absent amid the hail of mortar blasts and automatic weapons fire is any real sense of intrigue or suspense which proves to be Game of Shadows’ most vexing mystery.
In Unknown a generic conspiracy thriller from director Jaume Collet-Serra (Orphan House of Wax) the protagonist played by Liam Neeson emerges from a four-day coma to find himself in the midst of a kind of reverse-identity crisis: He’s fairly certain who he is but everyone else around him seems to have forgotten as if they’ve contracted a kind of collective amnesia. The filmmakers hope dearly that this amnesia will extend to the audience that you won’t remember the Bourne trilogy The Fugitive or any number of other thrillers from which Unknown borrows heavily. Its main strategy for achieving this is to churn out action-thriller clichés at such a breathless pace that you won’t pause to ponder the film’s unoriginality.
Moments after arriving in Berlin for a biotech conference world-class botanist Martin Harris (Neeson) nearly dies in a traffic accident. Stranded in a foreign country without any form of identification he angrily asserts to everyone he encounters he is “Martin Harris Doctor Martin Harris ” to which he mainly receives puzzled looks from confused Teutons. Events take a more sinister turn when even his wife Elizabeth (Mad Men’s January Jones)* claims not to recognize him and another man purporting to be Martin Harris takes his place by her side.
Is this all some elaborate ruse or just the after-effects of the car accident? As Martin (Neeson’s version) probes the mystery of his lost identity he becomes enveloped in a grand conspiracy involving agribusiness conglomerates Arab sheiks a beautiful Bosnian immigrant (Diane Kruger) a sickly ex-Stasi member (Bruno Ganz) and a pair of stereotypically menacing German hitmen. The film’s setup is intriguing and its plot features a few clever twists but for the most part it's a predictable affair and one which gradually loses its grip on reality. As a piece of mindless entertainment Unknown has its moments – there are a handful of well-choreographed action sequences including the obligatory urban car chase – just don’t try to engage it on a logical level or you might end up in a coma yourself.
*I thought for sure Jones' character would at some point be revealed as an android but alas I was wrong.
WHAT’S IT ABOUT?
Set in 1985 in an alternate universe the U.S. is in bad shape. Nixon is running for his third term (!) war is about to break out with the Russians and superheroes have become outcasts in a world so complicated even THEY can’t get enthusiastic about saving it. When one of them a former member of the Watchmen named The Comedian is sent hurtling to his death by an unknown intruder in his apartment it brings his former associates forced into retirement back together (sort of) to help solve this geek-laden whodunit. Among them are Rorschach a sociopath whose face is concealed by a mask that changes patterns with his moods (hence the name); Dan a gadget nerd who used to soar as Nite Owl but now is rendered impotent in every way imaginable; Adrian who lives off merchandising his glory days as “genius” Oxymandias; Laurie aka Silk Spectre II still living in the shadow of her faded superhero mom the aging Sally aka the original Silk Spectre; and above all else Jon Osterman who as the result of a government accident has morphed into the physically imposing almost always naked and very blue demigod named Dr. Manhattan. He eventually leads a life in exile on Mars.
WHO’S IN IT?
Although the busy visual landscape and CGI nature of this sprawling comic book epic doesn’t usually lend itself to memorable acting turns this well-chosen cast acquits themselves nicely particularly Jackie Earle Haley (Little Children) who manages to embody Rorschach with a Bogart-like noirish flavor. Haley’s Little Children co-star Patrick Wilson gives a quirky turn as Dan Dreiberg who longs to relive his Nite Owl days but seems stuck in a life cycle that has him spiraling downward into mediocrity. Jeffrey Dean Morgan (Grey's Anatomy) also does a convincingly chilling job as The Comedian a man with very little morals and even less patience. Matthew Goode (Match Point) as the ego-driven Adrian doesn’t make much of an impression. Neither does Malin Akerman (The Heartbreak Kid) as Laurie who is pretty to look at but has some of the worst dialogue. As her mother however Carla Gugino succinctly portrays a woman who has seen better days. Billy Crudup has a few touching moments as Osterman but is mostly upstaged by his alter-ego Dr. Manhattan whose ripped physique and superhero powers steal the show. A lot of guys will want to sign up for this kind of CGI makeover.
Director Zack Snyder has taken Alan Moore’s revered “un-filmable” graphic novel and given it a movie life that crackles onscreen. Snyder is the real star of this show who first proved with 300 and now here that he is a cinematic visionary in a class by himself. Watchmen’s effects work is top of the line dazzling.
Snyder is almost too reverential to his source material. The movie is so loaded with plot and individual storylines that at 160 minutes it tends to put your senses on overload. A little less would have gone a long way but still Watchmen is like no comic book movie you have ever seen – and that’s a very good thing.
It has to be the opening sequence in which a fairly powerful intruder beats the whaley out of The Comedian and sends him flying through his high-rise apartment's plate glass window to his untimely demise on the New York pavement below. Gets the blood pumping right away.
After Rorschach has been arrested and thrown in jail he is confronted by all the villains he has put behind bars who all want a piece of him. But he tells them "You think I'm locked up with you but it's YOU who are locked up with ME!" Oh if they only knew.
Looney Tunes: Back in Action revisits an age-old Tunes question: Why does the affable Bugs reap all the fame and glory while the egocentric Daffy gets shafted again and again? Our duck friend quite frankly has had it up to his skinny neck playing second fiddle to the carrot muncher. All Daffy wants is a little recognition from the studio but the brothers Warner (actual twin brothers as we come to find out) decide instead to let Daffy out of his contract on the advice of their no-nonsense VP of comedy Kate Houghton (Jenna Elfman). Bugs however knows they're making a mistake. Even though Daff bears the brunt of the abuse Looney Tunes would fail without him and Bugs convinces the powers that be they need the nutty mallard. If the plot had only followed this thread--perhaps showing Daffy on the skids--then maybe the film wouldn't have spiraled into Looneyville. Unfortunately Daffy ends up hooking up with the hunky D.J. Drake (Brendan Fraser) a studio security guard who finds out that his famous movie star father Damian Drake (Timothy Dalton) is really a secret agent hunting for a mysterious diamond known as the Blue Monkey a supernatural gem that can turn the planet's population into monkeys. The evil head of the Acme Corporation Mr. Chairman (Steve Martin) wants the diamond for his own diabolical plans and he's kidnapped D.J.'s dad in an effort to get it. Now the gang has to get the diamond save D.J.'s dad and of course save the world.
It might be a little hard to act subtly around cartoon characters but these aren't your ordinary cutesy Mickey Mouse types. Bugs Daffy Porky Yosemite Sam and Foghorn Leghorn are pros at comic timing able to spar with the best of them throw out zingers without a second thought and slay you with a droll glance at the camera. It isn't really necessary for the human actors to match their madcap-ness; just reacting would have sufficed. Fraser comes off the best of the human bunch; since he's had practice (Monkeybone) he easily interacts with his animated co-stars and deftly handles the doubletakes and jabs at pop culture. Elfman on the other hand sputters and goes bug-eyed every time she encounters silliness. She looks uncomfortable doing the green screen thing especially when she's trying to look natural when peeling a distraught duck from around her waist. Martin's highly anticipated turn as Mr. Chairman turns out to be the biggest disappointment. The over-the-top character is reminiscent of Martin's hysterically funny Rupert the Monkeyboy in 1988's Dirty Rotten Scoundrels but Martin turns Mr. Chairman--an angry schoolboy with knee socks and matted-down hair who never grew up--into a caricature of ridiculous proportions and unlike Rupert who came in small hilarious doses Mr. Chairman gets very tiresome very quickly.
Back in Action's animation is well done more engaging and ambitious than its 1996 predecessor Space Jam in which the action mostly took place in Looney Tunes land; here animated characters go the Who Framed Roger Rabbit? route and Bugs Daffy and the rest coexist harmoniously with humans in the real world. But despite its aspirations Back in Action leaves out vital elements that made Space Jam appealing. While the earlier film stuck to a simple plot Back in Action guided by director Joe Dante (Small Soldiers The 'Burbs) tries too hard to keep things wild and wacky while incorporating elements of '60s heist pics and action-adventure scenes and in the process loses sight of the most important ingredient in any kids movie: the story. Tykes may have limited attention spans but if the story's good they will watch. Granted some individual bits are laugh-out-loud funny particularly the scene in the Warner Bros. commissary where a stuttering Porky Pig complains about being politically incorrect with Speedy Gonzales while an animated Shaggy and Scooby-Doo berate actor Matthew Lillard for playing Shaggy as such a bonehead in the live-action Scooby-Doo. These scenes prove that if any cartoon characters could pass themselves off as real celebrities in the entertainment industry the gang from Looney Tunes could but moments like these simply can't overcome a contrived plot and juvenile antics.
As Love Actually begins we are told that perhaps the world isn't such a dire and hateful place that "love actually is all around." Around London anyway. The film explores no less than seven different romantic scenarios within the bustling British capital--all of which interconnect and eventually resolve on Christmas Eve. There's the newly elected dashing Prime Minister (Hugh Grant) who is smitten with his secretary the earthy Natalie (Martine McCutcheon); Karen (Emma Thompson) whose husband Harry (Alan Rickman) has strayed with his seductive secretary Mia (Heike Makatsch); Sarah (Laura Linney) the American wallflower who has a crush on her colleague Carl (Rodrigo Santoro); Jamie (Colin Firth) who falls for his pretty Portuguese housekeeper Aurelia (Lucia Moniz)…there are lots more but you get the gist. As love goes things may not get tied up neatly in brightly colored packages for everyone but there's still enough good cheer to spread around.
Showcasing some of Britain's finest actors Love Actually doesn't have a bad banana in the bunch. Floppy-haired Hugh Grant turns in an endearing performance and proves there isn't a romantic comedy he can't handle. He has an uncanny knack for connecting with any actress he happens to be romancing; in this case it's the adorable McCutcheon best known for the hit British TV drama EastEnders. Rickman and Thompson are quite good as the couple whose long-term marriage is beginning to crack; Thompson especially does a nice job trying to hide her pain while being a happy mom. Linney too shines as Sarah who glows with excitement when she finally gets what she so ardently wished for. Veteran stage and film actor Bill Nighy (Underworld) however steals the show as a carefree aging rock star desperate for a comeback. His Billy Mack smacks of Mick Jagger Keith Richards and Rod Stewart all rolled into one.
"I'm worried that we don't have the word 'massacre' in the title " writer/director Richard Curtis fretted to Entertainment Weekly referring to how horror-loving American audiences might not take to his new romantic comedy that is already a huge hit in Britain. True perhaps a romantic comedy starring a multitude of A-list British actors might not bring in the required masses. But who cares about the money (did I just say that)? Curtis who has written some of the best romantic comedies of the last decade including Four Weddings and a Funeral Notting Hill and Bridget Jones' Diary steps behind the camera for the first time here and is able to give each story a unique point of view from the lovesick to the wacky. There actually may be too many stories in Love Actually but it's a small gaffe. Love Actually is a refreshing good old fashioned warm and gushy movie that takes your mind off the bad things for the holiday season and Curtis should feel confident about his directing debut.