After Dark Films
It seems a bit odd to take on a movie review of Courtney Solomon's Getaway, as only in the loosest terms is Getaway actually a movie. We begin without questions — other than a vague and frustrating "What the hell is going on?" — and end without answers, watching Ethan Hawke drive his car into things (and people) for the hour and a half in between. We learn very little along the way, probed to engage in the mystery of the journey. But we don't, because there's no reason to.
There's not a single reason to wonder about any of the things that happen to Hawke's former racecar driver/reformed criminal — forced to carry out a series of felonious commands by a mysterious stranger who is holding his wife hostage — because there doesn't seem to be a single ounce of thought poured into him beyond what he see. We learn, via exposition delivered by him to gun-toting computer whiz Selena Gomez, that he "did some bad things" before meeting the love of his life and deciding to put that all behind him. Then, we stop learning. We stop thinking. We start crashing into police cars and Christmas trees and power plants.
Why is Selena Gomez along for the ride? Well, the beginnings of her involvement are defensible: Hawke is carrying out his slew of vehicular crimes in a stolen car. It's her car. And she's on a rampage to get it back. But unaware of what she's getting herself into, Gomez confronts an idling Hawke with a gun, is yanked into the automobile, and forced to sit shotgun while the rest of the driver's "assignments" are carried out. But her willingness to stick by Hawke after hearing his story is ludicrous. Their immediate bickering falls closer to catty sexual tension than it does to genuine derision and fear (you know, the sort of feelings you'd have for someone who held you up or forced you into accessorizing a buffet of life-threatening crimes).
After Dark Films
The "gradual" reversal of their relationship is treated like something we should root for. But with so little meat packed into either character, the interwoven scenes of Hawke and Gomez warming up to each other and becoming a team in the quest to save the former's wife serve more than anything else as a breather from all the grotesque, impatient, deliberately unappealing scenes of city wreckage.
And as far as consolidating the mystery, the film isn't interested in that either, as evidenced by its final moments. Instead of pressing focus on the answers to whatever questions we may have, the movie's ultimate reveal is so weak, unsubstantial, and entirely disconnected to the story entirely, that it seems almost offensive to whatever semblance of a film might exist here to go out on this note. Offensive to the idea of film and story in general, as a matter of fact. But Getaway isn't concerned with these notions. Not with story, character, logic, or humanity. It just wants to show us a bunch of car crashes and explosions. So you'd think it might have at least made those look a little better.
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It was the trickle of pee heard around the world. Cannes attendees were aghast and/or amused an infamous scene from The Paperboy that shows Nicole Kidman urinating on Zac Efron; this is apparently a great salve for jellyfish burns which were covering our Ken Doll-like protagonist. (In fact the term protagonist should be used very loosely for Efron's character Jack who is mostly acted upon than active throughout.)
Lurid! Sexy! Perverse! Trashy! Whether or not it's actually effective is overshadowed by all the hubbub that's attached itself to the movie for better or worse. In fact the movie is all of these things — but that's actually not a compliment. What could have become somethingmemorable is jaw-droppingly bad (when it's not hilarious). Director Lee Daniels uses a few different visual styles throughout from a stark black and white palette for a crime scene recreation at the beginning to a '70s porno aesthetic that oscillates between psychedelic and straight-up sweaty with an emphasis on Efron's tighty-whiteys. This only enhances the sloppiness of the script which uses lines like narrator/housekeeper/nanny Anita's (Macy Gray) "You ain't tired enough to be retired " to conjure up the down-home wisdom of the South. Despite Gray's musical talents she is not a good choice for a narrator or an actor for that matter. In a way — insofar as they're perhaps the only female characters given a chunk of screen time — her foil is Charlotte Bless Nicole Kidman's character. Anita is the mother figure who wears as we see in an early scene control-top pantyhose whereas Charlotte is all clam diggers and Barbie doll make-up. Or as Anita puts it "an oversexed Barbie doll."
The slapdash plot is that Jack's older brother Ward (Matthew McConaughey) comes back to town with his colleague Yardley (David Oyelowo) to investigate the case of a death row criminal named Hillary Van Wetter. Yardley is black and British which seems to confuse many of the people he meets in this backwoods town. Hillary (John Cusack) hidden under a mop of greasy black hair) is a slack-jawed yokel who could care less if he's going to be killed for a crime he might or might not have committed. He is way more interested in his bride-to-be Charlotte who has fallen in love with him through letters — this is her thing apparently writing letters and falling in love with inmates — and has rushed to help Ward and Yardley free her man. In the meantime we're subjected to at least one simulated sex scene that will haunt your dreams forever. Besides Hillary's shortcomings as a character that could rustle up any sort of empathy the case itself is so boring it begs the question why a respected journalist would be interested enough to pursue it.
The rest of the movie is filled with longing an attempt to place any the story in some sort of social context via class and race even more Zac Efron's underwear sexual violence alligator innards swamp people in comically ramshackle homes and a glimpse of one glistening McConaughey 'tock. Harmony Korine called and he wants his Gummo back.
It's probably tantalizing for this cast to take on "serious" "edgy" work by an Oscar-nominated director. Cusack ditched his boombox blasting "In Your Eyes" long ago and Efron's been trying to shed his squeaky clean image for so long that he finally dropped a condom on the red carpet for The Lorax so we'd know he's not smooth like a Ken doll despite how he was filmed by Daniels. On the other hand Nicole Kidman has been making interesting and varied career choices for years so it's confounding why she'd be interested in a one-dimensional character like Charlotte. McConaughey's on a roll and like the rest of the cast he's got plenty of interesting projects worth watching so this probably won't slow him down. Even Daniels is already shooting a new film The Butler as we can see from Oprah's dazzling Instagram feed. It's as if they all want to put The Paperboy behind them as soon as possible. It's hard to blame them.
A kids’ movie without the cheeky jokes for adults is like a big juicy BLT without the B… or the T. Madagascar 3: Europe’s Most Wanted may have a title that sounds like it was made up in a cartoon sequel laboratory but when it comes to serving up laughs just think of the film as a BLT with enough extra bacon to satisfy even the wildest of animals — or even a parent with a gaggle of tots in tow. Yes even with that whole "Afro Circus" nonsense.
It’s not often that we find exhaustively franchised films like the Madagascar set that still work after almost seven years. Despite being spun off into TV shows and Christmas specials in addition to its big screen adventures the series has not only maintained its momentum it has maintained the part we were pleasantly surprised by the first time around: great jokes.
In this third installment of the series – the trilogy-maker if you will – directing duo Eric Darnell and Tom McGrath add Conrad Vernon (director Monsters Vs. Aliens) to the helm as our trusty gang swings back into action. Alex the lion (Ben Stiller) Marty the zebra (Chris Rock) Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stuck in Africa after the hullaballoo of Madagascar 2 and they’ll do anything to get back to their beloved New York. Just a hop skip and a jump away in Monte Carlo the penguins are doing their usual greedy schtick but the zoo animals catch up with them just in time to catch the eye of the sinister animal control stickler Captain Dubois (Frances McDormand). And just like that the practically super human captain is chasing them through Monte Carlo and the rest of Europe in hopes of planting Alex’s perfectly coifed lion head on her wall of prized animals.
Luckily for pint-sized viewers Dubois’ terrifying presence is balanced out by her sheer inhuman strength uncanny guiles and Stretch Armstrong flexibility (ah the wonder of cartoons) as well as Alex’s escape plan: the New Yorkers run away with the European circus. While Dubois’ terrifying Doberman-like presence looms over the entire film a sense of levity (which is a word the kiddies might learn from Stiller’s eloquent lion) comes from the plan for salvation in which the circus animals and the zoo animals band together to revamp the circus and catch the eye of a big-time American agent. Sure the pacing throughout the first act is practically nonexistent running like a stampede through the jungle but by the time we're palling around under the big top the film finds its footing.
The visual splendor of the film (and man is there a champion size serving of it) the magnificent danger and suspense is enhanced to great effect by the addition of 3D technology – and not once is there a gratuitous beverage or desperate Crocodile Dundee knife waved in our faces to prove its worth. The caveat is that the soundtrack employs a certain infectious Katy Perry ditty at the height of the 3D spectacular so parents get ready to hear that on repeat until the leaves turn yellow.
But visual delights and adventurous zoo animals aside Madagascar 3’s real strength is in its script. With the addition of Noah Baumbach (Greenberg The Squid and the Whale) to the screenwriting team the script is infused with a heightened level of almost sarcastic gravitas – a welcome addition to the characteristically adult-friendly reference-heavy humor of the other Madagascar films. To bring the script to life Paramount enlisted three more than able actors: Vitaly the Siberian tiger (Bryan Cranston) Gia the Leopard (Jessica Chastain) and Stefano the Italian Sealion (Martin Short). With all three actors draped in European accents it might take viewers a minute to realize that the cantankerous tiger is one and the same as the man who plays an Albuquerque drug lord on Breaking Bad but that makes it that much sweeter to hear him utter slant-curse words like “Bolshevik” with his usual gusto.
Between the laughs the terror of McDormand’s Captain Dubois and the breathtaking virtual European tour the Zoosters’ accidental vacation is one worth taking. Madagascar 3 is by no means an insta-classic but it’s a perfectly suited for your Summer-at-the-movies oasis.
Director Alexander Payne's (Election Sideways) new film opens over sprawling landscape shots of Hawaii's scenic suburbia accompanied by George Clooney's character Matt King summing up his current predicament: "Paradise can go fuck itself." The reaction unfortunately is reasonable.
We pick up with King an ancestor of Hawaiian royalty in the middle of deliberations over a plot of land handed down through his family over generations. With every uncle aunt and cosign whispering opinions into his ear King is suddenly presented with an even greater problem: taking care of his two daughters. A boating accident leaves his wife in a coma forcing Matt to take a true parenting role with his young socially-troubled daughter Scottie (Amara Miller) and his rebellious teen Alexandra (Shailene Woodley) who was previously shipped off to boarding school. Matt awkwardly hunts for the emotional glue necessary for the mismatched bunch to become "a family " but matters are made even more complicated when Alex reveals that her mother was cheating on him before the accident. Murphy's Law is in full effect.
With The Descendants Payne continues to explore and discover the inherent humor in life's melancholic situations unfolding Matt's quest for understanding like a road movie across Hawaii's many islands. Simultaneously preparing for the end of his wife's death and searching for the identity of her lover Matt crosses paths with a number of perfectly cast side characters who act as mirrors to his best and worst qualities: his father-in-law Scott (Robert Foster) who belittles Matt for never taking care of his daughter; Hugh (Beau Bridges) an opportunistic cousin who pressures Matt to sell the land; Alexandra's dunce of a boyfriend Sid (Nick Krause) who always has the wrong thing to say; and Julie (Judy Greer) the wife of the adulterer in question. Colorful yet real Matt experiences a definitive moment with each of them yet the picture never feels sporadic or episodic.
Clooney and Woodley help gel these sequences together as they observe experience and butt heads as equals. Clooney's own magnetism stands in the way of making Matt a fully dimensional character but he shines when playing off his quick-witted daughter. His reactions are heartbreaking—but it's the moments when he has to put himself out there that never quite ring true. But the script by Nat Faxon Jim Rash and Payne gives Clooney plenty of opportunities to work his magic visualizing his struggle as opposed to vomiting it out like so many of today's talky dramas.
The Descendants is a tender cinematic experience an introspective and heartwarming film unafraid to convey its story with pleasing simplicity. Clooney stands out with a solid performance but like many of Payne's films it's the eclectic ensemble and muted backdrop that give the movie its real texture. The paradise of Descendants isn't all its cracked up to be but for movie-goers it's bliss.
The God of Legion secular Hollywood’s latest Biblically-inspired action flick is old-school an angry spiteful Almighty with a penchant for Old Testament theatrics. Fed up with humanity’s decadent warmongering ways He’s decided to pull the plug on the whole crazy experiment and start over from scratch.
Fortunately for us the God of Legion is also a rather lazy fellow. Instead of doing the apocalyptic work himself and wiping us out with a giant flood which worked perfectly well last time He opts to delegate the task to His army of angels — a questionable strategy that starts to fall apart when the archangel charged with leading the planned extermination Michael (Paul Bettany) refuses to comply.
Michael who unlike his boss still harbors affection for our sorry species abandons his post and descends to earth where inside the swollen belly of Charlie (Adrianne Palicki) an unwed mother-to-be working as a waitress in an out-of-the-way diner sits humanity’s lone hope for survival. Why is this particular baby so important? Is it the one destined to lead us to victory over Skynet? Heaven knows — Legion reveals little details its script devoid of actual scripture. What is clear is that God’s celestial hitmen want the kid whacked before it’s born.
But Michael won’t let humanity fall without a fight. Armed with a Waco-sized arsenal of assault weapons he hunkers down with the diner’s patrons a largely superfluous collection of thinly-sketched caricatures from various demographic groups led by Dennis Quaid as the diner’s grizzled owner Tyrese Gibson as a hip-hop hustler and Lucas Black as a simple-minded country boy.
Together they mount a heroic final stand against hordes of angels who’ve taken possession of “weak-willed” humans turning kindly old grandmas and mild-mannered ice cream vendors into snarling ravenous foul-mouthed beasts. They descend upon the ramshackle diner in a series of full-frontal assaults commanded by the archangel Gabriel (Kevin Durand) the George Pickett of End of Days generals.
Beneath its superficial religious facade Legion is really just a run-of-the-mill zombie flick a Biblical I Am Legend. Bettany an actor accustomed to smaller dramatic roles in films like A Beautiful Mind and The Da Vinci Code looks perfectly at ease in his first major action role wielding machine guns and bowie knives with equal aplomb. Conversely first-time director Scott Stewart a former visual effects artist does little to prove himself worthy of such a promotion serving up some impressive CGI work but not much else worthy of note.
Innocent Voices depicts the brutal reality of El Salvador’s 1980 civil war as seen through eyes of an 11 year-old boy who may soon get drafted by the army despite not understanding what the war is about. Though both sides were soldiered with young boys it was the government that actively recruited all 12-year-olds and forced them to fight. Eleven year-old Chava (Carlos Padilla) is about to turn but that doesn’t stop him from trying to enjoy life. Since he’s the man of the house--his father left to earn money in America and never returned--Chava wants a job so he can help his overworked mom (Leonor Varela) who quit her restaurant job to stay home and shield her three children from stray bullets. His first job comes when he stumbles upon an old bus owned by a jovial but careless bus driver (Jesus Ochoa). The two become instant friends as Chava rides the railing and calls out the stops. Meanwhile he discovers love after summoning the courage to ask the teacher’s daughter to fly paper fireflies with his friends. All the while the moment he has dreaded--his 12th birthday--looms large over his days. His Uncle Beto (José María Yazpik) a guerilla fighter on the run tries to convince his mother to let Chava live with him in the hills where it’s safe but she can’t let him go. Once he turns Chava must hide with the other boys when the soldiers come around to recruit. But he grows tired of hiding and takes matters into his own hands running off to join the guerillas where he discovers a fate worse than fighting--that of never seeing his family again. Perhaps the strongest element in the film is the surprisingly mature Padilla. Getting a child actor to perform on any level can sometimes be an exercise in futility but director Luis Mandoki manages to get Padilla able to run the gamut of emotions--joy fear the awkwardness of new love--in a very real and convincing way. While most directors would shy away from placing so young an actor into difficult situations particularly the climactic scene where Chava faces execution and watches his two best friends get shot in the back of the head Mandoki defies conventional wisdom and challenges Padilla who is most worthy of the call. As Kella Varela exudes strength despite her constant worry over her children particularly Chava whose arrival home after curfew causes her to feel rage worry forgiveness and joy in a matter of seconds. Legendary Mexican actress Ofelia Medina has a small but important supporting role as Kella’s mother--she provides her daughter’s family with their last peaceful refuge before their lives are destroyed by the army. Minor characters such as Uncle Beto the Bus Driver and Chava’s classmates all serve their purpose though Xuna Primus the classmate Chava falls in love with handles emotional scenes with Padilla with similar maturity. Innocent Voices marks the first Spanish-language film for Mandoki since the international success of Gaby-A True Story--and he’s back true to form. With Innocent Voices he has crafted a powerful and emotionally gripping film that never shies from the ugly realities of how war destroys families and makes men of boys well before their time. Sharing screenwriting credit with actor Oscar Torres on whom the story is based Mandoki benefits from his strong cast particularly Padilla; a wrong choice in casting Chava could have sunk the film. Mandoki masterfully lulls us into thinking that Chava might have some hope of living a normal life in El Salvador--he plays with friends just like any other kid. But every time it looks as though Chava is experiencing life as he should bombs explode machine guns erupt and soldiers come storming in to remind us that he’s living in the middle of a civil war. Ultimately Chava’s only escape is to America but he must leave behind his family much like his father in the beginning. It’s a nice bookend to Chava’s development: Despite the chaos around him his position as head of the family and the specter of being recruited into the army his real transformation into manhood comes when he finds the courage to strike out on his own.