Walt Disney animation’s first foray into 3D ‘toon making isn’t just a technical triumph it thankfully also tells the clever story of Bolt (John Travolta). He’s a superstar TV canine who believes the superpowers he displays weekly on his series are for real --especially when it comes to the protection of his master and co-star Penny (Miley Cyrus). One day however the dog is accidentally shipped from his Hollywood soundstage to New York City. Lost alone and confused on the streets of the Big Apple Bolt is still living the show vowing to get to Penny who he believes has been kidnapped by the “green-eyed man.” And so he embarks on a cross-country journey to L.A. to save Penny. Along the way he is joined by an abandoned wily housecat Mittens (Susie Essman) and a TV-loving hamster Rhino (Mark Walton) who believes everything he sees on the tube is ALSO real. Of course Bolt is in for rude awakening when he finds out he is just a regular dog but he still needs to get to Penny -- even if it means she might not be there for him when he returns. Disney is not a studio that generally depends on superstar voices for their animated films but in casting Travolta and tween queen Cyrus they have scored a bullseye. Travolta’s Bolt is a delightful cross between the self-assured superstar and a pooch in denial. The actor doesn’t phone it in but instead creates an original and loveable dog that stands proudly in Disney’s large canon of canine greats. The action scenes created for Bolt’s TV series are lots of fun and the interactions with his traveling companions are choice. As Penny Cyrus is sympathetic sincere and she even gets to sing a duet with Travolta “I Thought I Lost You ” which she co-wrote. The show is nearly stolen though by comedian Susie Essman (Curb Your Enthusiasm) as Mittens -- a smart determined and emotionally wounded pet cat abandoned by her owners and forced to wander the streets alone. And by Mark Walton as the hilarious Rhino the obsessive fanboy hamster who rolls around in his ball. Walton is actually an animator in real life who happened to be so good at voicing Rhino during tests they just gave him the job. Disney vets Chris Williams and Byron Howard capably usher the venerable Disney label into the brave new world of 3D animation and the results are promising -- putting the audience right in the center of Bolt’s universe. The TV series action set pieces are particularly effective in using the technology. It’s not even necessary to see the film in 3D because the whole CG process has come a long way in a few short years and Bolt is one of the best looking most accomplished animated films in memory -- glasses or no glasses. Williams and Howard expertly blend humor pathos and blockbuster-style action scenes effortlessly giving “Bolt” an appeal beyond just the target kid demo.
Meeting the Crazy Eights cast we have: Brent (Frank Whaley) an obnoxious self-obsessed nerd; Beth (Gabrielle Anwar) a troubled freakish girl; Gina (Traci Lords) a sexy carefree bimbo; Jennifer (Dina Meyer) a smart sensible girl; and Wayne (Dan DeLuca) the cool handsome guy who all get together when they receive an invitation to the funeral of an old friend. They were brought together for more nefarious reasons however which are revealed when they unearth a trunk that contains a time capsule of items buried two decades ago. The trunk also contains the body of a girl and it's that girl's spirit that ends up haunting them all. A kind of treasure map in the trunk leads them to a barn which in turn guides them to a tunnel to a creepy abandoned hospital. It's there at the hospital where their collective memories recreate what happened to the little girl and why they were really brought together for this funeral-and future funerals to come. The bottom line to this story is: The past never leaves you. In the 8 Films to Die For series of this year's Horrorfest 2007 Crazy Eights definitely contains the most recognizable cast—and it’s hard to remember a low-budget B horror film with a more noteworthy cast including Whaley (Pulp Fiction) Meyer (the Saw series) Gabrielle Anwar (Body Snatchers) DeLuca (HBO’s The Wire) and former porn star Lords. Sure some of the characters are cookie-cutter stereotypes from a typical horror ensemble piece but Whaley plays the jerk well and Lords is practically good at being typecast. DeLuca is also Crazy Eights producer and co-writer and most likely gave himself as the juicier part. He could become a credible leading man in his own right. DeLuca co-wrote the film with horror veteran James Koya Jones and additional rewrites by Ji-un Kown and Patrick Moses and they may have added a few of the twists and turns in the plot but nothing is outstandingly different. The special effects aren't too elaborate and thankfully most of the goriest death scenes are done just off screen and left more to the imagination. The looming abandoned hospital is used to a great extent and allows for some of the best surprise shocks. It's big creepy and haunting and is practically one of the scariest things in the film. And of course any time there's a ghostly little girl you’ve got some chills. Crazy Eights is a keeper.
Justine Last (Jennifer Aniston) lives the kind of life that rarely makes the big screen. She spends her days giving makeovers at the Retail Rodeo and her nights watching her house painter husband of seven years Phil (John C. Reilly) and his best friend Bubba (Tim Blake Nelson) sit on her couch and get high. All of that changes though when she meets Holden (Jake Gyllenhaal) the new cashier. The eager yet troubled young poet/screenwriter/novelist-to-be captures her imagination and eventually becomes her lover. In classic moments of small-Southern-town trysting he takes her to his room in his parents' house and arranges meetings outside the Chuck E. Cheese's. They shack up in a motel at the edge of town; they rendezvous at a lake in the country. Throughout the affair though Justine is torn and guilty wanting to be a "good girl " but finding herself a hateful woman--a self-proclaimed adulteress and a liar. This is no whitewashed fantasy of a romantic affair between an older woman and a younger man. This affair is your sister's your brother's your husband's your wife's. It's real it's gritty and it's painful. Ultimately Holden's love for Justine becomes morbid and obsessive causing her to realize that the man she thought would change her life was in fact "at best a child and at worst--a demon." Justine is then forced to choose: this obsessive love and the excitement it brings or a stable--if boring--life with her husband.
Aniston proves her mettle at last in a role that finally allows her to do so; no one who sees this film will ever again accidentally call her "Rachel" (her character on the ubiquitous sitcom Friends). Her performance perfectly captures the tension of wanting to be a "good girl" yet secretly yearning to be selfish. You know she's dueling with herself as she makes decision after decision that leads inexorably to the film's tragic ending and you feel her pain. Justine is flawed like all the rest of us and Aniston brings this humanity to the forefront creating one of the most realistic heroines in recent history. Gyllenhaal too is perfectly cast as the brooding intense Holden. He captures the duality screenwriter Mike White writes into nearly all the characters in this movie: You want to snuggle Holden one minute; the next you wish he'd just go away. Reilly and Nelson also demonstrate a not inconsiderable subtlety in roles that could easily have become caricatures; instead the tension between what these guys wanted from life and what they ultimately ended up with accentuates Justine's turmoil and deepens the film's theme. On the film's lighter side White puts in a hilariously dark turn as Corny the Bible-thumping security guard at Retail Rodeo and Zooey Deschanel is excellent as the classic employee with an attitude hurling insults at Retail Rodeo customers over the loudspeaker as she announces the latest bargain on aisle eight.
The Good Girl doesn't look like much. Darkness and shadows invade every corner of the screen at one point or another the sets are fairly commonplace and the costumes are simple: Lee jeans smocks plaid shirts and painter's pants. Even Aniston's pink bathrobe is dull and washed out. The Good Girl is a smart delicately ironic and insightful partnership between a brilliant screenwriter (White) and a director (Miguel Arteta) who know exactly how to bring words to life on the screen. And The Good Girl does come to life in a well-paced funny quirky package that leaves you thinking that above all what you have seen is a slice of truth in a mixed-up crazy world.