On the surface Kevin Smith has crafted a clever concept a ragtag group attempts to make a porno film in order to get some quick cash. The underlying story is the platonic relationship between roommates Zack (Seth Rogen) and Miri (Elizabeth Banks) whose friendship goes to a whole new level once they find themselves out of cash and decide to cast themselves in their own triple XXX film. After meeting a gay adult film actor at a party Zack comes up with the get-rich quick idea to make a porn movie enlisting Miri’s help and convincing her that it will not affect their friendship. They set about casting the rest of the film with a disparate group of participants including the very self confident sex maniac Lester (Jason Mewes) superstud Barry (Ricky Mabe) gorgeous blonde bombshell Stacey (adult film icon Katie Morgan) and daring kinky Bubbles (legendary Traci Lords). What seemed like a simple proposition turns complicated when Zack and Miri in the heat of simulated lovemaking and in front of the whole crew discover they may be more than just friends. Even considering his great work in Knocked Up Zack is Rogen’s most accomplished character to date a lovable loser who uses last-ditch initiative to turn his life around and in the process discovers more than he ever bargained for. Chemistry is a tricky thing but Rogen certainly has it in spades with co-star Banks who takes what could have been a broadly sketched role and turns Miri into a three-dimensional woman who doesn’t even realize her true soul mate may be right under her nose --literally. You root for these two all the way. The wonderful supporting cast is unique to say the least including adult film star Katie Morgan making her mainstream debut as the ditzy Stacey. After some 200 “real” XXX films she graduates to the big leagues in style and shows she may have a future outside of her niche. Lords who made that leap some time ago niftily sends up her own former image and shows fine comic chops and a willingness to dress deliciously inappropriately. As for the guys Mabe is very funny but Jason Mewes (Jay of Jay and Silent Bob) lets loose with a hilarious and totally uninhibited portrayal of a sex addicted tattooed dude willing and able to do anything on camera. Also nearly stealing the show is The Office’s Craig Robinson a married crew member who is excited to help out buddy Zack because he wants to see “titties.” And in extended cameos Justin Long as a gay porn star and Superman Brandon Routh have a great time sending up their straight movie images playing bickering boyfriends. Kevin Smith has always gone for the jugular challenging the ratings boards and pushing the envelope in his films ever since the classic “dirty movie” Clerks made him famous. But not since his early films such as Chasing Amy has he showed such style and maturity as a filmmaker as he does in Zack and Miri his most outrageously hilarious and accomplished movie to date. Yes he does continue going for shock value (there’s a laugh-out-loud moment involving a certain bodily function natch) but his story is grounded in reality recognizably human and engaging. He milks this genius comic premise for all its worth but gives it an extra dimension that makes it different unexpected and finally memorable. Mostly though it’s just plain fun.
There are distinct echoes of Alan Alda’s The Four Seasons and Lawrence Kasdan’s The Big Chill here as the film focuses on four couples who have been friends since their college days. Periodically they get together and ask themselves the title question as they re-examine their relationships. There’s Janet Jackson as Patricia the college lecturer whose best-selling book is based on her friends’ relationships. Patricia and her husband Gavin (Malik Yoba) are trying to hold their marriage together after the loss of their young son in a tragic car accident. The cocky Mike (Richard T. Jones) flaunts an adulterous relationship in front of his insecure overweight wife Shelia (Jill Scott) who is completely oblivious to the deception. Terry (Perry himself) is a successful pediatrician trying to convince his wife Diane (Sharon Leal)--a successful attorney in her own right--to have more kids. Marcus (Michael Jai White) a former pro football player merely tries to get through the day without a tongue-lashing from his acerbic wife Angela (Tasha Smith) a woman not known for keeping her opinions to herself regardless of how appropriate the circumstances. All of them find themselves confronting career demands family demands infidelity incompatibility and mistrust--all while drinking far too much wine. Needless to say before their get-together is over a number of secrets will be divulged and each couple will find their relationships shaken to their respective cores. Forgoing the housedress of his cinematic alter-ego “Madea ” Perry proves an affable screen personality quite relaxed within the ensemble. Jones doesn’t go out of his way to make Mike in any way likable which makes his one of the more memorable and clearly defined characters in the entire cast. Although Smith gets all the sassy lines White easily steals their scenes together with a surprisingly appealing comic turn. Hunky Lamman Rucker plays a dreamboat sheriff who finds himself drawn into this ever-shifting circle of friends. The women have a tougher go of it with Jackson giving a tremulous performance that makes her character almost disappear into the background. Yoba is also low-key although more affectingly so as her onscreen spouse. Leal does what she can with the stock role of a career woman who takes her home life for granted but she fares better than Scott whose crying scenes--and there are more than one--ground the story to a halt. All told however the ensemble cast has an easy and relaxed chemistry together which keeps the film--as soapy as uneven as it often is--afloat throughout. Tyler Perry doesn’t open up his stage play to any major degree preferring to leave the emphasis on characters and dialogue--both of which incidentally he has created. Perry tends to approach these intricate topics with broad (but not irrelevant) strokes but he’s not about to tamper with a successful formula. Like most of Perry’s previous films (Diary of a Mad Black Woman Madea*s Family Reunion et. al.) Why Did I Get Married? runs on a bit and overstates its case but its heart’s in the right place.
The story of Lust Caution begins in the midst of WWII in Asia as the Japanese have a stranglehold on key areas of China including Shanghai and Hong Kong. The iron-fisted Chinese who are collaborating with the invaders are led by Mr. Yee (Tony Leung) a cruel and ruthless man who delights in the torture and murder of his fellow countrymen who are fighting against the Japanese occupation. When a patriotic band of college students (made up of four men and two women all part of the drama school) decide to strike a blow for Chinese freedom by assassinating Mr. Yee it falls to Wang (the mesmerizingly beautiful Wei Tang) to infiltrate his home and heart to pave the way for the killing. But as her compatriots--including handsome Kuang played by American-born Chinese rock star Lee-Hom Wang who loves her from afar--bid their time waiting for the moment to strike Mr. Yee and Wang enter into a torrid affair that begins to consume them both. Think of the Hitchcock classic Suspicion shift from Europe to Asia add in intensely explicit sex scenes and a completely unexpected ending and you have Lust Caution--a film that is soon to be considered a classic as well. Veteran actors Tony Leung and Joan Chen lead a fine cast of actors who together create this completely believable glimpse into Chinese culture during the dark days of Japanese occupation. Both give intense performances--he as the powerful emotionless Mr. Yee and she as his vapid shopping and Mah Jong-obsessed wife. But the most amazing performance is that of newcomer Wei Tang the Miss Universe finalist who makes her film debut in Lust Caution. Her fantastic face slim body and almost ethereal presence seem to blot out everyone else when she is on the screen; you can’t help but look at only her. Her transformation in the four-year span of the story is masterful. As she goes from a naïve young student to a mature woman whose physical obsession with a man she despises begins to overwhelm her. The ingénue proves that she is much more than just a pretty face. In fact she deserves an Academy Award nomination for her often subtle always fearless performance that is at the heart of the film. Ang Lee has a unique cinematic ability to begin a story very specific to a time a place and a culture and end with a universal tale that resonates across all societies and peoples. He did it beautifully with Sense and Sensibility Crouching Tiger Hidden Dragon as well as Brokeback Mountain and he’s done it again masterfully with Lust Caution. This newest film is an intense look at how war often causes an individual to make the ultimate sacrifice for the common good yet it also explores another underlying theme: the idea that there is a never-ending battle between the sexes for emotional dominance within a sexual relationship. Ang Lee’s deft hand is evident in every frame including the incredibly explicit (and often violent) sex scenes that have given the film its NC-17 rating. But this is not pornography; every scene is necessary to the story showing us that using sex as a means to an end (no matter how noble that end) is a very dangerous game to play especially during wartime. Look for Ang Lee’s name to come up on the Academy’s list again this year as awards season kicks into high gear. He deserves every honor for this emotionally disturbing masterpiece.
For a few years in the '60s and '70s producer Gerry Anderson made "supermarionation" all the rage in the world of British children's television. His stop-motion puppets starred in a number of sci-fi adventure series most memorably Thunderbirds which followed the exploits of International Rescue -- a team comprised of ex-astronaut Jeff Tracy and his sons. Based out of their secret fortress on Treasure Island the Tracys (aided by lovely secret agent Lady Penelope) used their amazing rocket-powered vehicles to prevent disasters and save lives around the world. Now 40 years after Thunderbirds' TV debut Star Trek vet Jonathan Frakes has brought Anderson's characters to life on the big screen. Front and center is youngest son Alan Tracy (Brady Corbet) who dreams of the day he too can pilot one of his family's fab ships and lead missions. But first he has to prove himself to his father Jeff (Bill Paxton). That opportunity comes sooner than either expects when mysterious villain The Hood (Ben Kingsley) strands Jeff and the older Tracy boys in space and attacks Treasure Island. With only his friends Tintin (Vanessa Anne Hudgens) and Fermat (Soren Fulton) to help him Alan has to grow up quickly if he wants to save his family ... and the world!
It would be easy to mock several of the performances in Thunderbirds-- to chide Paxton for his earnest seriousness as Tracy patriarch Jeff to dismiss Corbet's angst-tinged eagerness as Alan to roll your eyes at Kingsley's over-the-top mystical fierceness as The Hood and to wince at Fulton and Anthony Edwards' nerdy stuttering as science whizzes Fermat and his dad Brains. But actors are only as good as their script and the one Frakes has given his cast (courtesy of screenwriters William Osborne and Michael McCullers) is weak and clichéd at best filled with after-school-special-worthy lessons for Alan to learn. "You can't save everyone " Jeff tells his son somberly and even Tintin has a moral for her crush when he's feeling selfish and indulging in self-pity: "This is hard on all of us Alan." Talk about insight! What makes it even more frustrating is knowing that the actors are capable of much more even the kids: Both Corbet and Hudgens did well with supporting roles in Thirteen. Thunderbirds' only real bright spot is Sophia Myles as Lady Penelope. A cross between Reese Witherspoon's Elle in Legally Blonde and Jennifer Garner's Sydney on Alias Myles' Lady P doesn't let her pink couture wardrobe prevent her from coolly kicking ass when the situation demands it. Attended by her droll driver/man-of-all-trades Parker (Ron Cook) Lady Penelope is a fresh feisty heroine with all of the film's best lines -- and the coolest car to boot.
Frakes cut his directorial teeth on episodes of Star Trek: The Next Generation and his first feature film was Star Trek: First Contact so he would seem like a natural choice to bring a cult sci-fi TV show to the big screen. Unfortunately while he does an admirable job re-creating (and improving on) the original Thunderbirds' mod sets cool ships and special effects (which are fine if a bit more TV-sized than summer blockbustery) Frakes can't seem to decide who his audience is. If he was aiming at grown-ups who remember the show fondly from their own childhood he should have embraced the source material's campiness (à la Starsky and Hutch) rather than restricting it to the Tracys' plastic Barbie-like furniture and Lady P's bouffant hairdo. If on the other hand Frakes was hoping to entertain today's kids he should have really reinvented the show for a 21st-century world (à la Stephen Hopkins'1998 Lost in Space) rather than clinging to the '60s references As it is he's stuck somewhere in the middle leaving adults bored during the kids-on-an-adventure bits and children mystified by the handful of jokes aimed at their parents.
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.