It’s hard for me to judge a movie like Journey 2: The Mysterious Island too harshly because I am not representative of its intended audience. A pre-teen or fifth-grader may not be dissuaded as I was by the blindingly hurried pace plot discrepancies or absence of any character development while watching Brad Peyton’s (Cats and Dogs: The Revenge of Kitty Galore) attempt at reliving the success of Eric Brevig’s original Journey. And you know what? That’s okay because as a family film it adheres to a formula laid out by far superior fantasy adventures and runs its course quickly without ever leaving a moment to reflect on how ridiculous it is.
Essentially a series of set pieces tied together by a thinly drawn father-son story Journey 2 picks up a few years after the first film and finds Sean Anderson (Josh Hutcherson) searching for the titular location where he believes his long-absent grandfather has been stranded. Upon retrieving a coded message from a satellite tower just outside of town he enlists the help of his new ex-Navy stepfather Hank (Dwayne Johnson) to get to the bottom of the mystery. Together they travel to a tropical paradise and hitch a helicopter ride with Gabato (Luis Guzman) and Kailani (Vanessa Hudgens) before crash landing on the Mysterious Island where an action-packed escapade awaits them.
The above description reads like a standard adventure template and that’s exactly what Journey 2 is. With a bare bones script from the writers of Bring it On Again neither director nor actors had significant material to work with but they run jump duck and dive through sets that resemble the jungle-gym from Legends of the Hidden Temple and various theme-park attractions as if they were cast in Peter Jackson’s King Kong giving every scene everything they’ve got. It’s a good thing that the ensemble was so enthusiastic about the picture; though there isn’t much chemistry between them they collectively draw your attention from the gratuitous gimmicky 3D videogame-inspired digital environments and outdated creature design.
Every role has a designated responsibility in this by-the-numbers production: Hutcherson is the brains spitting out expository literary facts to keep the story going throughout while Johnson is clearly the brawn. Guzman with his incessant infantile comedy is the mouth while Hudgens – quite frankly – is the eye candy. Only as a unit can they come close to making Journey 2 entertaining but even when working in relative harmony it’s hard to find much qualitative value in the film. As previously stated Journey 2: The Mysterious Island wasn’t made for all audiences. It will provide a few moments of underage humor and three-dimensional thrills for the kids but everyone else will be wondering why they had to watch The Rock sing “What a Wonderful World” in an adaptation of a Jules Verne novel.
Based on Cornelia Funke’s best-selling children’s book Inkheart takes its literary inspirations literally. It revolves around a father Mortimer “Mo” Folchart (Brendan Fraser) and his 12-year-old daughter Meggie (Eliza Hope Bennett) who share a gift -- or curse -- of being able to make characters leap out of the pages just by reading aloud. Unfortunately whenever they do this a real person must then be transferred into the book as a replacement. It can get complicated especially when Mo accidentally sends his wife (Sienna Guillory) into a book called Inkheart only to bring out its villains to wreak havoc on the real world. He spends the next nine years trying to find another copy of the book and bring her back while one of the book’s main characters Dustfinger (Paul Bettany) follows Mo trying to get back into the book. An adventure waiting to happen! The entire cast is wonderfully in tune with the whimsical tone of this inventive and clever story. Fraser doesn’t stretch any acting muscles but serves the film well as its central father figure and hero. Bettany (Master and Commander) as the literary sidekick Dustfinger steals the whole show giving his character heaping amounts of irony warmth and humanity. Joining them is Helen Mirren who adds an element of elegance and uptightness as the great aunt swept along for the ride. Andy Serkis (LOTR’s Gollum) is properly villainous throughout while Brit Jim Broadbent (Iris) is daffy and hilarious as the author of Inkheart who keeps complicating matters for everyone. Inkheart uses sheer imaginative filmmaking prowess with an engaging story that feels as original and fresh as it does familiar. Director Iain Softley (Wings of the Dove) makes the most of the colorful European locations including the picturesque Italian Riviera transformed into storybook heaven. The film is well-paced carrying a great subtle message about the powers of reading and creative writing. Much like the Oscar-nominated The Reader -- a wildly different kind of movie to be sure -- this film shows the joys of getting lost and in this case found in the world of books.
Oh boy does it ever! From the opening sequence in which Mr. Smith (Clive Owen) inadvertently helps an ultimately doomed woman deliver her baby amid a hail of bullets and then severs the umbilical chord by shooting it you get a pretty clear picture of what you’re in for here. Smith may be the “angriest man in the world ” but he’s also a fairly chivalrous one. Once he has the little tyke in his possession he has no other choice but to protect it from an endless stream of assailants--led by the sadistic Hertz (Paul Giamatti)--engaging in every conceivable permutation of gunfight. Smith even teams up with a prostitute (Monica Bellucci) whose specialty is catering to those men with a fetish for suckling on lactating breasts. She proves very useful in this scenario. Question is why does everyone want this baby dead? Trust me the explanation is stupid and superfluous; it’s the 80-minute shooting gallery that makes this actioner fly. Even though Clive Owen is absolutely spot-on as the hardboiled antihero Mr. Smith the actor must be able to do it in his sleep by now having basically played the same role in films such as Inside Man and Children of Men. And along with Children of Men he’s now pretty good at assisting a woman in childbirth too. Still we love it when he shoots a gun. Giamatti is the one who goes out on a limb in Shoot ‘Em Up. When casting a cold-blooded vicious killer the sweet sad sack from Sideways isn’t your immediate image. Ah but that’s what makes Giamatti such a consummate actor. Flashing a Cheshire cat-like grin and armed with an arsenal of one-liners he doesn’t downplay his nerdy appearance but rather relishes it playing Hertz as far over the top as he can possibly get without looking completely ridiculous—which allows him to say things like “Well f**k me sideways ” with a straight face. Giamatti is a real treat. Bellucci on the other hand is fairly wasted. She’s obviously there to add a feminine touch--being able to feed the baby and all—as well as have raucous sex with our leading man. But her character doesn’t really add anything else to the proceedings. Writer/director Michael Davis really hasn’t had his shot (pun intended) yet. Moving up from the B-movies (anyone heard of Monster Man or Girl Fever?) Davis finally gets to show some of his stuff with Shoot ‘Em Up. Obviously influenced by the Robert Rodriguez and Quentin Tarantinos of the filmmaking world Davis crafts a thrilling action-packed film shot in that gritty style so popular these days. Besides all the gunplay Davis also incorporates a few other creative ways of offing people such as shoving a carrot (something Mr. Smith is fond of eating) into someone’s eye. And well a lactating prostitute is just pure genius. Still it's all about guns which rule supreme as well they should with such a titular title. The four or five gun battles get more spectacular culminating with an aerial shootout after jumping out of an airplane with parachutes. Shoot ‘Em Up however could have used a rewrite by Mr. Tarantino. Sure the purpose of this movie is to show as many guns being shot off in as many ways as possible but a plausible story would have been nice too. Oh well.