Do the Bourne movies make any sense? Enough. The first three films — The Bourne Identity Supremacy and Ultimatum — throw in just enough detail into the covert ops babble and high-speed action that by the end Jason Bourne comes out an emotional character with an evident mission. That's where Bourne Legacy drops the ball. A "sidequel" to the original trilogy Legacy follows super soldier Aaron Cross (Jeremy Renner) as he runs jumps and shoots his way out of the hands of his government captors. The film is identical to its predecessors; political intrigue chase scenes morally ambiguous CIA agents monitoring their man-on-the-run from a computer-filled HQ — a Bourne movie through and through. But Legacy has to dig deeper to find new ground to cover introducing elements of sci-fi into the equation. The result is surprisingly limp and even more incomprehensible.
Damon's Bourne spent three blockbusters uncovering his past erased by the assassin training program Treadstone. Renner's Alex Cross has a similar do-or-die mission: after Bourne's antics send Washington into a tizzy Cross' own training program Outcome is terminated. Unlike Bourne Cross is enhanced by "chems" (essentially steroid drugs) that keep him alive and kicking ass. When Outcome is ended Cross goes rogue to stay alive and find more pills.
Steeped heavily in the plot lines of the established mythology Bourne Legacy jumps back and forth between Cross and the clean up job of the movie's big bad (Edward Norton) and his elite squad of suits. The movie balances a lot of moving parts but the adventure never feels sprawling or all that exciting. Actress Rachel Weisz vibrant in nearly every role she takes on plays a chemist who is key to Cross' chemical woes. The two are forced into partnership Weisz limited to screaming cowering and sneaking past the occasional airport x-ray machine while her partner aggressively fistfights his way through any hurdle in his path. Renner is equally underserved. Cross is tailored to the actor's strengths — a darker more aggressive character than Damon's Bourne but with one out of every five of the character's lines being "CHEMS!" shouted at the top of his lungs Renner never has the time or the material to develop him.
Writer/director Tony Gilroy (Michael Clayton Duplicity and the screenwriter of the previous three movies) is a master of dense language but his style choices can't breath life into the 21st century epic speak. In the film's necessary car chase Gilroy mimics the loose camera style of Ultimatum director Paul Greengrass without fully embracing it. The wishy washy approach sucks the life out of large-scale set pieces. The final 30 minutes of Bourne Legacy is a shaky cam naysayer's worst nightmare.
The Bourne Legacy demonstrates potential without ever kicking into high gear. One scene when Gilroy finally slows down and unleashes absolute terror on screen is striking. Unfortunately the moment doesn't involve our hero and its implications never explained. That sums up Legacy; by the film's conclusion it only feels like the first hour has played out. The movie crawls — which would be much more forgivable if the intense banter between its large ensemble carried weight. Instead Legacy packs the thrills of an airport thriller: sporadically entertaining and instantly forgettable.
A “bedtime story” is a fairly succinct way to describe Lady. Of course a bedtime story being told by M. Night Shyamalan can go into any number of weird and wild directions. The writer/director says the idea for Lady was based on a story he’d told his kids which began with “Did you know that someone lives under our pool?” and revolves around Cleveland Heep (Paul Giamatti) a lowly superintendent for an apartment building who inadvertently finds Story (Bryce Dallas Howard) a mysterious nymph-like “narf ” living in the pool. She’s there to complete a task and now that it’s done she needs to go home back to the Blue World. But that’s easier said than done. She only has a small window of opportunity and apparently there’s a ferocious beast called a “scrunt” lurking in the grass around the pool waiting to kill her if she tries to leave. Now Cleveland and a few of the other tenants—who find themselves intricately tied to Story’s plight—must help her escape to freedom. Thank god for Sideways. Without it Giamatti would have gone on playing under the radar without the recognition—and juicier parts—he deserves. He is truly a wonder as Cleveland a sad little man with a stutter who is quietly trying to hide from a tragic past. It’s only when Story comes into his life does he face his personal tragedy and learn to live again. Howard on the other hand who wowed most of us with her stunning performance in The Village doesn’t have nearly as much to work with as the pale water nymph. The mystical character is fairly one note—befuddled and cheerless. But the rest of the apartment tenants shine: Jeffrey Wright (Syriana) as a single dad who has a penchant for crossword puzzles; Freddy Rodriguez (HBO’s Six Feet Under) as a weight builder who only lifts weights on one side of his body; Bob Balaban (A Mighty Wind) as a pompous film critic (and as a critic I’m not at all offended when he gets his comeuppances); Cindy Cheung as a Korean college student who is key in telling the epic bedtime story; Sarita Choudhury (She Hate Me) as a quippy young woman looking for her mission in life and Shyamalan himself as her brother the person Story is meant to inspire to write something extraordinary. There’s never a dull moment with this crew around. In a way M. Night Shyamalan has become his own worst enemy having to live up to this reputation as a master of suspense and surprise twists. His last effort The Village left many of his fans feeling unsatisfied—and unfortunately he may alienate more with Lady in the Water. But the fact of the matter is he is still one of Hollywood's more brilliant minds on par with screenwriter Charlie Kaufman for originality who has an innate talent for crafting ingenious stories filled with genuine human emotions. So maybe this time around he’s made a movie more for those most ardent of his fans who simply revel in the way his mind works no matter how incomprehensible and frivolous it may seem. So what? The diehards might feel compelled to defend Shyamalan’s choices with Lady—how he has come up with an entire universe where things like “scrunts” and the “Tartutic” (simian-like creatures who form an invincible force that maintains law and order in the Blue World) and “Madam Narfs” interact with humans in the real world. If the story actually took place in the Blue World then maybe it’d be easier to swallow. But that’s sort of the genius of Shyamalan. It’s as if with Lady in the Water he’s crafted a child-like movie for those adults who remember being told wildly creative bedtime stories who then in turn tell the stories to their kids.
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.