Pretty people just don’t understand—you’re not safe anywhere and all the sadists are after YOU! As the two geniuses in The Hitcher Grace (Sophia Bush) and her boyfriend Jim (Zachary Knighton) learn real quickly a cross-country trek to New Mexico in a beat-up car is especially risky. During their first night out on the open road it’s raining cats and dogs when they almost run over a man (Sean Bean) who’s standing aimlessly in the middle of the street his car apparently broken down. The young couple decides against lending him a helping hand with it pouring down rain and all. Bad move. When they stop for gas later Jim and Grace cross paths with the man who goes by the name of John Ryder. He asks the couple if he might hitch a short ride with them to a local motel. This time they oblige. Bad move. One aspect the studio must’ve loved about The Hitcher: Being shot primarily in a car the cast cannot feasibly be more than three deep—four tops. That also means that said cast must wear the tension well if the camera is to be on them throughout. Bush (TV’s One Tree Hill) the movie’s biggest asset as far as its target audience is concerned shrieks well and most importantly is smokin'. And when it comes time to fight back she doesn’t look so bad doing it even if there’s scant giggling in the theater at the now clichéd image of a weapon-wielding hot chick. As the hugely sadistic villain Bean (GoldenEye the LOTR movies et al) is more than adequately creepy. There’s something to be said with most of The Hitcher’s viewers’ inability to recognize him because an A-list movie star just wouldn’t work in this role. Obscurity aside Bean his face lurking around every corner will simply creep the crap out of the young audience. As for Knighton he seems and looks like the garden-variety up-and-comer and try as I might there’s nothing wrong with his biggest role to date—except a scene of um tug-of-war that is tough to watch or look away from. Veteran actor Neal McDonough also pops in with a brief role as a sheriff caught in the proverbial crosshairs. These days it’s tough to come up with anything new in a horror film—so directors just don’t bother. Save for neo-horror maestro Eli Roth there’s no originality to be seen especially when seemingly 99 percent of horror movies are remakes and when they’re not remakes they’re Primeval or Turistas. The Hitcher is much better than those two but director Dave Meyers truly eliminates most of the psychological aspect of the original 1986 Hitcher in exchange for a polished contemporary feel. Of course Meyers is one the most renowned music video directors of the past several years so it's no surprise when he mistakes volume for thrills; in fact the decibels will be the chief reason for almost all of the audience’s screaming. Not that there aren’t scary moments however. The writers Jake Wade Wall (When a Stranger Calls) and Eric Bernt (Romeo Must Die) actually get the film off to a brisk smooth start but they ultimately turn John Ryder into more of a Terminator-like character and ask for too many leaps of faith and suspensions of disbelief—again not that their intended audience won’t indulge them. At least the studio had the guts to retain the intended 'R' rating!
As a legendary Coast Guard Rescue Swimmer Ben Randall (Kevin Costner) was all heart and no regret. But it all comes undone in the span of one night when he goes out to the menacing seas with his crew to make a rescue and he is the sole survivor. Following that fateful night he’s ordered to teach at “A” School--a demotion for a man of his stature and seniority--an elite training program that helps turn the best recruits into the best Rescue Swimmers. Randall teaches the cocky students the only way he knows how and his tough tough love is initially met with skepticism by his fellow trainers who think of him as a has-been. But one student in particular Jake Fischer (Ashton Kutcher) catches his eye and draws his ire. Fischer is cocky hotheaded and highly skilled--just the right pedigree to make a great Rescue Swimmer and a lot like Randall was at his age. Randall rides him extra-hard while Fischer only hopes to one day be in the same boat as his mentor. Be careful what you wish for Jake! Costner's always been an acquired taste--sometimes a downright noxious one on first bite--but there's no denying he slides right in here. Roles that feature him as the aging provider of wisdom are now his true calling and the sooner he accepts it the better. And even still Costner gets to flex his action muscle a bit. As for Kutcher the only thing he shares in common with Costner is the last two letters of his last name--as actors these guys are each other’s antitheses! And in a weird way they strike a nice chemistry because of it one that is borderline exciting to watch. As a standalone actor in The Guardian Kutcher is a bit misplaced and seems to know it. He nails the physicality of the role but while the character's attitude and brashness befit Kutcher the peak dramatic scenes with Costner leave something to be desired. A pleasantly surprising turn from relative unknown Melissa Sagemiller (The Clearing) as Kutcher's girl toy and reliable supporting performances from Sela Ward and Neal McDonough round out the cast. Director Andrew Davis' proximity to his career peak The Fugitive cannot be measured in time: He's a lot further away from the mega-hit than a mere 13 years. But in Hollywood if you have a Fugitive under your belt you'll never run out of chances to replicate it. That's the current juncture for Davis--one last shot at Fugitive glory...till his next last shot. It's hard to say what The Guardian will do at the box office but Davis' stodgy direction doesn't necessarily help its chances. The movie can be boiled down to awful pacing: the first and last 15 minutes are high-octane action and everything in between is low-octane Top Gun (the non-action scenes!). That blame belongs to Davis and writer Ron L. Brinkerhoff. But only Davis can shoulder the other flaws such as a single scene of dubious camerawork--filmed to look like handheld-montage style completely deviating from the movie's context--and the special effects during the somewhat cheesy action sequences which may remind you of a theme-park tour during which you learn how they filmed a boat scene...in the '80s!
Nice guy Jerry (Matthew Lillard) is the same numbingly trite character we've seen in hundreds of other movies. He faces 30 with uncertainty. He doesn't know if he should propose to his beautiful girlfriend Denise (Bonnie Somerville). He just can't commit darn it! Oh life is so confusing! Meeting up with his best buds Tom "the rebel" (Dax Shepard) and Dan "the runt" (Seth Green) at the funeral of their dead friend Billy they reunite in the-what else?--tree house of their youth. There they discover a map of Billy's longtime obsession: The disappearance of hijacker D.B. Cooper with $200 000 cash. (Never mind that the real Cooper's flight took off in 1971 well before any of these characters would be born.) So these three friends set out on an expedition from the heart and learn a few valuable life lessons along the way. They embark on a canoe trip in the Pacific Northwest in search of Cooper's lost treasure with a very large bear and two even larger hillbillies in hot pursuit. Which is of course just a big excuse for some crazy hijinks in the woods the obligatory stoner sequence gorgeous but unshaven tree-huggers living atop a redwood a crazed mountain man the usual.
Lillard has an off-kilter charm that works in his supporting roles but not so much as the lead. One imagines the producers offering the role first to Adam Sandler and then to Vince Vaughn or Luke Wilson before finally settling on Lillard after they all refuse. His overbearing earnestness in the role recalls his work in SLC Punk straining for normalcy when something completely off-the-wall would work so much better. Shepard (from MTV's Punk'd) fares better he is amusingly annoying but at least he takes a side. Green is usually funnier than this but he doesn't usually have to lug an inhaler around with him as a prop or constantly stoop for laughs as the token scaredy cat. The three of them do have an easygoing chemistry that makes them good company. Burt Reynolds turns up with a foot-long beard as the mountain man who might know something about the treasure. It is certainly the most vanity free performance of Reynolds' career and while it doesn't amount to much it's a step in the right direction for a guy who could still be a great character actor if he could finally get over the fact that he is no longer Stroker Ace.
Steven Brill is best known as the director of the first Adam Sandler movie that didn't reach nine figures at the box office Little Nicky and he hasn't exactly advanced the art of screen comedy here. Nevertheless the pacing is brisk the timing is crisp and the repartee (credited to five writers) is snappy. Even the action comedy sequences mostly running away from the bear and the hillbillies are convincingly done. But make no mistake this is clearly the work of a man hell-bent on paying homage to The Goonies and for that miniscule target audience that not only saw The Goonies in the theater it can also differentiate the Coreys. Of course '80s music has been back in vogue for several years so it's inevitable that the '80s comedy embodied in this movie The Girl Next Door
Harold & Kumar Go to White Castle and others would return. But somebody had better make a good one soon or it will disappear faster than you can say Kajagoogoo.
When retired U.S. Special Forces Soldier Chris Vaughn (Johnson) returns to Kipsat County Wash. it's only to find his hometown overrun with crime drugs and violence. The old mill where Chris's father (John Beasley) worked for most of his life is closed and the town's only thriving industry is the Wild Cherry casino. Even Chris' high school sweetie Deni (Ashley Scott) couldn't resist the Wild Cherry's lure; she's become a peepshow dancer to "pay the bills." But Chris really loses it when he discovers the casino's dealers are using loaded dice--and he starts a brawl that ends with the security team carving up his chest and abdomen with a rusty Exacto knife. Chris also learns that that his old high school rival the casino's owner Jay Hamilton (Neal McDonough) has transformed the mill into a crystal meth lab and is using the casino's menacing security staff to sell the drugs to innocent kids. Chris strikes back by running for sheriff firing the entire police department on his first day and with the help of a cedar two-by-four and his deputy and buddy Ray Templeton (Johnny Knoxville) restores peace to the Pacific Northwest.
Johnson looking buffer than ever is well cast in the role of Chris: He's a fearless and determined soldier with beyond-human fighting skills. But while the film takes advantage of Johnson's brawn it fails to take advantage of his brain. In last year's comedy The Rundown Johnson proved he was more than a muscle-bound action star; he oozed charm and was surprisingly witty. With Walking Tall he never gets a chance to flex his acting muscles; if anything they atrophy. The only skills Johnson gets to show off are his ability to swing a plank at someone's shins and his unique way of bashing skulls against slot machines. Johnson's sidekick Ray played by Knoxville of MTV's Jackass fame is an ex-junkie who after spending a couple of years in the slammer is content with living in a camper and doing odd jobs around town. With his scraggly appearance and klutzy demeanor Knoxville supplies the film with brief interludes of humor amid the slam fest including a scene in which he stabs a bad guy with a potato peeler. Johnson and Knoxville would have made a first-rate action team had they had more screen time together.
A WWE production with Vince McMahon serving as executive producer Walking Tall has none of the subtlety of director Kevin Bray's last film All About the Benjamins and all the elements of a wrestling match. As with wrestling the film begins by melodramatically establishing the story (Chris and his family's lives are devastated by the mill's closure) and just like rival pugilists who publicly taunt the favored wrestler Chris challenges Jay--not for the world title but at least for control of Kipsat County--in a never-ending battle between good and evil that mimics wrestling to a T. But what's entertaining in the ring doesn't translate to film especially when the good guy running the town is a maniacal meathead. Chris is supposed to be the protagonist who single-handedly saves the town but who's responding to the citizens' domestic violence calls for example when the sheriff fires the entire precinct and spends 24 hours a day casing the casino? Never mind the fact that he has sex with his girlfriend in his office while he's on the clock.
February 15, 2002 6:10am EST
Now a grown-up Wendy (voiced by Kath Soucie) has two children of her own Jane (voiced by Harriet Owen) and Danny (voiced by Andrew McDonough) who are in desperate need of the fantastic and magical world of Peter Pan (voiced by Blayne Weaver). As the small family deals with the tragedy and terror of World War II London Wendy tries to spread hope and cheer to her children by recounting her own childhood adventures with everlasting boy Peter Pan the fairy Tinker Bell and the unsuccessful-but-still-dangerous pirate Captain Hook (voiced by Corey Burton). While toddler Danny is captivated pre-teen Jane refuses to believe in "faith trust and pixie dust" until one night when Captain Hook's great pirate ship flies through her bedroom window and kidnaps her--thinking she is Wendy--in an effort to trap Peter Pan. The story unfolds as Jane must learn to believe in this whimsical world if she ever wants to return from Never Land.
The voices match their characters well: 25-year-old animation newbie Blayne Weaver makes Peter Pan "all boy" as he coyly tells Jane of Tinker Bell's jealousy "all girls get like that around me." He also leads the clan of six "lost boys" (dressed as twin raccoons a bear a skunk a rabbit and a fox) with great diligence. The boys offer silly childlike comic relief like when they make pacts to "stick" together by way of spitting in their hands and slapping them together. The real treat though is animation veteran Jeff Bennett who voices the small role of Smee Hook's "left"-hand man. His lack of faith in Hook's plots against Pan have him mumbling funny one-liners and singing songs that predict Hook will "bumble and fumble" every time.
Jane's trip from her bedroom window to Never Land includes a fly-by right past the clock face of Big Ben. Co-directors Robin Budd and Donovan Cook set the stage with this great London symbol as they remind us that time is of the essence. The harsh realities of war threaten to make Jane hard-edged and uncaring and she must truly believe in the world of Never Land before her childhood innocence is lost forever. Shadows play into the time theme as well. From the beginning credits and throughout the film whenever Peter Pan and company fly their shadows leave impressions in the clouds that remind us Never Land is not so far away; rather it lingers just beyond the shadows in our own world. The humor in the film is kid-friendly clean and often subtle; the only scene even coming close to "potty humor" is when an octopus rips the pants off Captain Hook. When Hook's white boxers are revealed dotted with big red hearts the kids are sure to laugh aloud. (It's also a nice touch considering the film sports a Valentine's Day opening.)