More than 10 000 people are smuggled into the United States for sexual exploitation per the nonprofit organization Free the Slaves. Inspired by a New York Times Magazine article Trade focuses on the attempts of traffickers to smuggle a group of women and children across the U.S.-Mexican border. Director Marco Kreuzpaintner wastes no time introducing us to the two victims he intends to follow from their kidnapping in Mexico to their auctioning off in the United States. Adriana (Paulina Gaitan) is snatched from the street as she rides the bicycle she just received from her brother Jorge (Cesar Ramos) for her 13th birthday. Single mother Veronica (Alicja Bachleda) arrives in Mexico City from Poland believing she’s there to meet with the people she’s paid to arrange her with safe and legal passage to the United States. Only she’s been duped by the traffickers. Adriana Veronica and a handful of other abductees then begin their terrifying journey to the United States under the watchful eye of trafficker Manuelo (Marco Perez). On their trail is Jorge who feels responsible for Adriana’s kidnapping. He risks life and limb to follow the abductees across the border. Once on U.S. soil Jorge crosses paths with Ray (Kevin Kline) a Texas cop who’s trying to break up the trafficking ring for personal reasons. Ray reluctantly pairs up with Jorge to track down Adriana before she and Veronica are sold off to the highest bidder via the Internet. More gentleman than action hero Kevin Kline’s not the obvious choice to portray a police officer hailing from the Lone Star State. Ray’s the kind of law-enforcement bloodhound Tommy Lee Jones can play in his sleep. Heck Kline only halfheartedly attempts a Texas drawl and even then he drops it minutes after his late entrance. This could be overlooked if Kline lent Ray some intensity. For someone on a crusade Kline strolls through Trade without a care in the world. As Trade reaches its inevitable showdown between the traffickers and their pursuers Ray’s faced with a life-or-death choice that would compromise all he stands for. Kline though looks about as conflicted as someone trying to decide what he wants for lunch. Luckily Kline’s presence doesn’t negate the fine work done by Ramos Gaitan and Bachleda. Ramos perfectly captures the guilt of a troubled young man—one embarking on a life of crime—whose ill-gotten gains has cost him dearly. If Ramos offers a study in redemption Bachleda goes to great pains to show the ease with which someone with so much grit and determination can bend and break under the most extreme of circumstances. Gaitan doesn’t endure as much abuse but she’s still one tough cookie. Perez refuses to allow Manuelo to be a mere profit-minded monster—he provides Manuelo with a conscience or what passes for one in his business. Trade is a tale of two countries. While in Mexico director Marco Kreuzpaintner examines the sex-slave trade in an incisive and uncompromising manner. He sheds light on how these trafficking rings acquire their slaves and smuggle them across the border. He puts us on edge the moment Adriana and Veronica fall in their captors’ hands. We’re never sure as to what will happen to them. We know they need to be kept alive. But in what condition? Many of the abductees are drugged beaten and raped. The violence isn’t exploitative—Kreuzpaintner just needs to show the cruelty inflicted upon these victims of the modern-day slave trade. And it only makes us fear more for Adrian and Veronica’s safety. Once Trade reaches the United States Kreuzpaintner and screenwriter Jose Rivera start pulling their punches. Yes there are some moments that make you sick to your stomach. But the moment Kline arrives on the scene Trade gets weak at the knees. There are too many coincidences for Trade’s own good. The sudden death of one character is forced and absurd. And Kreuzpaintner doesn’t know how to extricate Kline from the untenable situation he’s placed in during Trade’s climax. This all leads up to a pat ending one that even the Lifetime TV crowd would find unbelievably spineless.
Anyone who thought Disturbia could be the name of a family bonding movie could get a false sense of security in the opening scene. Kale (Shia LaBeouf) has a sweet fishing trip with his supportive dad but an automobile accident on the way home costs Dad his life and turns Kale into a brooding moping mess. A fight with his teacher lands him under house arrest for the summer with nothing to do but watch the neighbors from his window. A pretty new girl (Sarah Roemer) provides good scenery but across the street something more disturbing is going on. Neighbor Mr. Turner (David Morse) seems to have a lot in common with a serial killer recently on the news but the ankle bracelet limits Kale's investigation. The ankle bracelet creates a false illusion of mobility but crossing the barrier only makes things harder. This may all sound familiar but Disturbia gives a fresh take on voyeurism. You might not expect a thriller like Disturbia to showcase great performances but it is a great vehicle for Shia LaBeouf to show his talent. He plays every moment against the standard conventions. His sullen kid is totally sympathetic. He's not just looking for attention but really trying to cope with a great loss. You actually want him to hit the asshole teacher for presuming to know what's up. Then while home his love struck voyeur is not just some horny kid. He seems moved by the vision not just the body. Then lastly as an action hero LaBeouf is truly desperate not just trying to be a badass. The others fill more traditional roles. Morse does his now familiar bad guy thing and is far more interesting as the friendly neighbor than when he's just going bonkers. Aaron Yoo as Kale’s goofy sidekick tries too hard to be wacky and clueless. Roemer on the other hand is a self-assured sexpot though a little too wise to her seductive wiles. Carrie-Anne Moss does the tough-love mom thing well. In fact she really hasn't repeated herself in her whole career. But ultimately it’s LaBeouf's show. With the whole movie seen through his perspective he creates a well-rounded guide through the sometimes far-fetched adventure. Director DJ Caruso (Two for the Money) knows all the classic tricks of suspense to keep audiences jumping and comes up with a few new ones of his own. The pacing is breakneck. To begin with the auto accident is staged beautifully. It is a realistic portrayal of the dangers caused by speed demon SUVs yet never gratuitous in communicating the horrific tragedy. Having the villain show up under innocuous pretenses also keeps the audience on their toes. But the house arrest hook is the best device of all. It can be a barrier as Kale stretches the limits of his mobility. Or it can be the edge of safety as Kale struggles to signal for help. Of course modern technology to spy on the neighbors is also employed to full effect. The film's tight storytelling packs it all into 95 minutes with no down time. Fans of this genre won't be disappointed
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!
On the one hand it’s a comedy. We meet Sarah Huttinger (Jennifer Aniston) a thirtysomething knee deep in a pre-midlife crisis with a way too patient fiancé (Mark Ruffalo) and a nowhere job. Her anxiety is only exacerbated when she visits her picture perfect family in Pasadena CA a place she’s never felt like she belonged especially after her mother died. But then it gets weirder when Sarah finds out her family was the inspiration for The Graduate. It seems Sarah’s grandmother (Shirley MacLaine) was the Mrs. Robinson and that her mother ran off with the same guy briefly right before she got married to Sarah’s dad. Sarah becomes obsessed with finding this “other” guy Beau Burroughs (Kevin Costner) believing he might be the key. He’s a key all right--to a night of drunken lust. But none of this is going to solve Sarah’s problems now is it? She’s got to find her own answers in her heart. Excuse me while I go throw up. Maybe Jennifer Aniston should just write this year off. Not only did she lose a husband to another woman she also hasn’t made very smart choices in her career. Derailed completely missed the track and now this comedy is no better suited to her talents. Aniston is much better playing sweet and quirky rather than messy and neurotic and honestly shines brighter when co-starring with strong comedic talents such as Ben Stiller (Along Came Polly) or Jim Carrey (Bruce Almighty). (That’s why we’re holding our breath for her next film The Break Up with [real-life boyfriend?] Vince Vaughn.) Shirley MacLaine making a habit out of being the best thing in an otherwise dull movie (In Her Shoes anyone?) is a hoot as grandma. Costner doesn’t look anything like Dustin Hoffman thank goodness but has zero chemistry with Aniston. And who knows what the hell Ruffalo is doing wasting his talents doing this romantic comedy crap. Just say no Mark. As a director Rob Reiner hasn’t had much luck lately either. This is the first movie he’s directed since 2003’s Alex & Emma--and we all remember what a success that was. To be fair Reiner apparently took over the reins from screenwriter Ted Griffin (Matchstick Men) who was making his feature film debut ten days into production and changed things quite a bit. That’s not surprising because Rumor quite simply lacks direction. It wants desperately to be a comedy with a hint of relationship drama but somehow misses the mark on both. Now the idea of a Graduate update is somewhat intriguing. Reminds me of Robert Altman’s The Player in which The Graduate’s original screenwriter Buck Henry pitches a sequel of sorts to a studio development exec. It’s meant to be a joke of course but somewhere in the spoof there might’ve been a sliver of mad brilliance. Too bad Rumor ruins it.
Based on the best-selling novel by Ann Brashares the story centers on four best friends--Lena (Alexis Bledel) Tibby (Amber Tamblyn) Bridget (Blake Lively) and Carmen (America Ferrera)--who realize that they are about to spend their first summer away from each other. On one last shopping spree they find a pair of jeans that fits all of them odd considering their different body shapes. It must mean the pants are magical and will bring them good luck. So the girls make a pack that each of them will spend one week with the pants and then send them off to the next girl. Lena the shy self-conscious artist who is spending the summer in Greece with her grandparents takes the pants first--and meets the hunky Kostas (Michael Rady). Tibby a rebel "suckumentary" filmmaker who marches to the beat of her own drum gets them next. But as tough as Tibby thinks she is she learns some invaluable life lessons through her chance encounter with an extraordinary girl Bailey (Jenna Boyd). Then it's Bridget's turn a vivacious blonde who spends her summer playing soccer in Mexico and displays some reckless behavior with a hands-off camp coach (Mike Vogel). Finally there's Carmen a spit-fire writer who decides to spend some quality time with her wayward dad. Yet upon arrival she is greeted with a not-so-pleasant surprise when her father (Bradley Whitford) introduces her to his very white-bred fiancé (Nancy Travis) and her two teenage children. These four realize in the end whatever magic there is comes from their enduring friendship.
The ensemble cast of fresh faces makes Sisterhood entirely watchable. Tamblyn of TV's Joan of Arcadia's gives the strongest performance as Tibby. The talented actress really digs in executing perfectly Tibby's tough-on-the-outside-but-a-real-softie-underneath persona. Ferrera best known for her stellar performance in the indie hit Real Women Have Curves is another standout as Carmen a girl who wears her heart on her sleeve especially when she finally confronts her dad about never being there for her. Boyd (The Missing) too is quite affecting as Tibby's new rather outspoken friend harboring a tragic secret of her own.. Newcomer Lively does an adequate job playing Bridget who we think is pretty blonde and carefree but who has really been left with a void after the death of her mother. Had she put in a little more effort though she could have been the star of the show. Only Bledel fails to inspire. Watching her is just like an extended episode of her TV show Gilmore Girls both boring and lackluster. She doesn't seem to stretch herself in any way.
This is every teenage girls story being with the best of friends but also being "afraid of time and not having enough of it." At least this is what author Ann Brashares wanted to convey when she wrote the critically acclaimed hugely popular book. TV director Ken Kwapis understands this; Sisterhood bleeds heart and soul. While the pacing seems to drag a bit and the maudlin factor heighten in parts the movie nonetheless mixes the right amount of comedy tragedy and the difficulties of being 16 on the cusp of adulthood. Sisterhood is also beautifully shot especially the scenes in Greece. Kwapis shows the beauty and history of this magnificent country in a way that makes you want to grab your passport and take a trip there. But being that the movie is already a tad slow even the many picturesque Greek moments seem unnecessary. Sisterhood could have shaved a good half hour to make it a more concise movie.