WHAT IT’S ABOUT?
At the age of 14 two Canadian buddies Steve “Lips” Kudlow and Robb Reiner (ironically no relation to the This Is Spinal Tap director) made a blood pact to rock together for the rest of their lives. And these guys really mean it. Finding early success in 1982 with their highly influential first album Metal On Metal they made an impact on such major names as Metallica Slayer and Anthrax who all went on to superstardom while these guys and their band Anvil sadly went nowhere fast. This documentary picks up their lives now two guys in their fifties who try for one last great shot at eternal fame as they take time off their menial day jobs to go on a disastrous and mis-managed European tour and try and regain the promise they once had in the heavy metal industry.
WHO’S IN IT?
Filmmaker Sacha Gervasi’s enormously entertaining account of the musical struggles of these two rock ‘n’roll dreamers is augmented with interviews with their wives mothers kids additional family members band mates and such “rivals” as Lars Ulrich Lemmy Scott Ian Slash and Tom Araya. Mainly it’s anchored by the energetic and ever-hopeful lead singer “Lips ” whose emotional outburst and undying enthusiasm drive the docu’s heart. The interviews with the women behind their men can be as humorous as they are heartbreaking and say a lot about just what makes these guys keep plugging away against all odds.
Gervasi sets out to show a couple of guys who just won’t give up even though time and the music business have clearly passed them by. What he gets on film is the spirit of some aging rockers who still hear the music and whose lives are still dictated by the desire to get on stage and let it rip. It’s funny sad and revealing — especially in a meeting they manage to wrangle with a major record label executive.
If you are not into metal you might not share the passion of Anvil — so be warned. But even if this kind of music isn’t in your iPod the universal story of a couple of old souls trying to recapture an elusive moment in the sun is irresistible.
A confrontation with the owners of a run-down European bar where Anvil was booked is raw painfully funny and a perfect demonstration of why this band never made it big.
BEST USE OF EXPLETIVES TO SUM UP A DREAM:
Lips: “Here we sit in our f--king fifties and man we’re gonna be f--king rock stars. It’s a f--king dream but I’m gonna make it come true!”
Even if you’re one of the 19 other people in a competitive internship at Dean Witter with Chris Gardner (Will Smith) you gotta root for the guy. Life’s beaten him up but not got him down. He lugs his computer-monitor-sized bone density scanner all over San Francisco hoping to sell just one to make ends meet for his family—but nobody’s buying. As his wife’s (Thandie Newton) discontentment nears a boiling point Chris accepts an internship at financial institution Dean Witter—six months without pay and only one of the 20 applicants will ultimately get a job out of it. This sends her packing. She leaves Chris and their son Christopher (Jaden Smith) to fend for themselves at which point they get evicted. It’s the tip of the iceberg because over the course of Chris’ penniless pursuit of the Dean Witter job (and “happyness”) he and Christopher will get by sleeping in homeless shelter--and even in train-station bathrooms. Chris had always vowed to never leave his son and he keeps his promise but there’s no guarantee that his perseverance will pay off. Except for the fact that Happyness is “INSPIRED BY A TRUE STORY”! Will Smith is getting all the awards buzz but it’s his real-life son Jaden who transcends all expectations in Happyness. Jaden’s never acted in a movie before and it’s safe to assume that because of his father's long-running movie stardom he could not have grown up in a more different environment than that of his character. Which makes it all the more amazing for this 8-year-old Hollywood tyke to grasp even if coincidentally the plight of a nomadic urban child. The best part about little Jaden is that his performance doesn’t seem robotic like so many child actors who are already too "seasoned" for their own good. Aside from the expected cutesy laughs there’s genuine spontaneity in Jaden’s performance obviously thanks to the fact that he’s acting opposite his dad. Papa Smith gives what’s probably his best performance to date although he's had a career of primarily action roles that weren't exactly conducive to a skills showcase. He delivers the goods here—as seen in the tear-rific trailer—as a man whose whole life is his child but frankly the tears evoked might be too few for Oscar’s liking. Newton (Crash) in a small role is terribly miscast but Mr. and Mr. Smith dominate the screen anyway. Even with the studio flaunting the movie’s "Inspired by a true story..." tagline like a badge of honor—as studios tend to do—and this being the holiday season and all Italian director Gabriele Muccino expends way too much effort into the crowd-pleasing/feel-good aspects of Happyness. The happy ending everyone already knows about should be saccharine enough. Granted this is why a studio loves true stories—one that begins on a low note ends on a really high note and fluctuates all over the radar in between—and it may make the film more pleasing to its targeted mainstream audiences but Muccino and writer Steve Conrad (The Weather Man) really take the gloss factor much too far. In this case they essentially try to tell us a mostly sad story but will not let us feel sad. For instance during what could be very dark reflective scenes potentially connecting with viewers who have struggled through similar problems music befitting a children’s tale overtakes the would-be drama so we don’t ever feel too badly for Chris. It’s nice that the director cares so much for us but oftentimes the best directors are the ones who show an audience tough love.
Jagshemash! (Note: Excuse please any and all Borat-isms in this review. They've infiltrated our vernacular--just like they will yours! Chenquieh.) Borat Sagdiyev (Sacha Baron Cohen) a noted celebrity and TV talking head in his native Kazakhstan is set to travel to U.S. and A. for well make benefit glorious nation of Kazakhstan. With a camera crew and his show's director Azamat Bagatov (Ken Davitian) along for the ride Borat stops first in New York City. It is a nice! Like anyone from a faraway land he is amazed that his hotel room is larger than an elevator and by all the peoples on the subway and by Pamela Anderson. In fact he is so smitten after watching his first Baywatch episode that his mission has changed: He will go to California and marry Pamela and hopefully make a sexy time! Of course he and Azamat will still have to cross the country--in their ice cream truck--to get there stopping along the way in the biggest cities and smallest towns and seeing everything from "vanilla faces" and "chocolate faces" to women who get to choose their sexual partners. If Academy voters had any "khram" whatsoever they'd give Cohen an Oscars invite...which he'd promptly parlay into the opening scene for Borat 2. And who in their right mind wouldn't just kill to see that acceptance speech?! But I optimistically digress. Any breakdown of Cohen's inhabitance of his alter ego Borat--one of three from his beloved Da Ali G Show; he's reportedly set to immortalize Bruno his gay Austrian fashionista from the show next--reveals what is stealthily one of the best performance in years. Before you scoff consider the indisputable facts: In Borat Cohen is (a) pretending to be if not totally becoming someone else and (b) has positively just one take to nail each scene and nail each scene he does. If those don't comprise an amazing performance in the most fundamental sense then what's the criterion? And not to be forgotten in all that Cohen pulls off here is Borat's entire straight-faced diction--from the accent to the word usage--which audiences could appreciate more in earnest if their howls of laughter didn't overpower some of the dialogue but who can blame 'em? Lest we forget veteran actor Davitian (a California native!) has a hand in quite a bit of the madness as well. One of his scenes in particular will be burned into your memory for a long time to come. Oh you'll know it when you see it--it's the one that makes a Steve-O stunt look like PBS programming. Borat is admittedly not for everyone because some people just don't like to laugh! In all seriousness--and more so as an obligatory disclaimer--the movie is beyond offensive and some people will walk out. But the worst thing you can do is dismiss it even if you just skip it. Because underneath Cohen's mustache that puts Earl Hickey's to shame his soiled suit and his who's-gonna-know-it's-faux? Kazakh accent the British comedian is interested not in attacking America but rather in exposing its underbelly that is rarely vulnerable--in other words if he didn't want to wake people up with this film it would've been called Cultural Learnings of Switzerland (which still would've been pretty funny). Thus his intentions while not necessarily educational fall somewhere between hilarity and eye-opening satire--not vitriol. Director Larry Charles (Seinfeld Curb Your Enthusiasm Entourage) must have some stories to tell his grandchildren about the guerilla-style hit-and-run filmmaking that was executed but as co-writer star and character creator Cohen shoulders all the onus credit and death threats. His anonymity and privacy might take some hits too. Speaking of which he is indeed Jewish. Unfortunately for Cohen however he's not also black mentally or physically handicapped gay a female a gypsy a Kazakhstani or an animal. Which is to say loosen up people! Nobody goes untouched here least of all the man perpetrating the offenses.
Richard Riddick (Vin Diesel) has a really bad rep and with good reason: Five years ago convicted killer Riddick escaped the galaxy's law enforcement during a botched interplanetary prison transfer and has been on the lam ever since. As The Chronicles of Riddick picks up our antagonist finds his relative freedom has been compromised when mercenaries out for the $1 million bounty on his head discover his location and hunt him down. Riddick escapes their clutches steals their ship and sets off for Planet Helion to find Imam (Keith David) the Muslim cleric he rescued in Pitch Black and the only person who could have squealed his location to authorities. But while Riddick's hunch about Imam are correct the cleric has a reason for luring the mammoth murderer out of hiding: Helion is falling to unholy armies of Necromongers--warriors who conquer by force in the vein of Star Trek's Borg. Of course Riddick doesn't give a damn about the Helions or their plight--until he gets wind that the Necromogers want to kill him because of an old prophecy that foresees their end at Riddick's hands. Like it or not Riddick is left with no other choice but to battle the Necromongers.
The character of Riddick is unquestionably what made Pitch Black one of the most sequel-worthy sci-fi films in years. And Riddick would not have been one of sci-fi's most intoxicating characters if it weren't for Diesel. Like his Dominic Toretto in the 2001 actioner The Fast and the Furious Riddick is a villain of few words but when he speaks his carefully chosen words have impact--even if the dialogue is at times overly theatrical. Riddick is the perfect antihero; a cold-blooded and indifferent being who somehow evokes more compassion than the film's so-called good guys. Joining Riddick are some recurring characters including David as Imam but Riddick benefits the most from the addition of some new characters particularly Colm Feore as Lord Marshal the Necromonger leader whose goal is to rid the universe of all human life. Feore channeling nuggets of Julius Caesar into his role makes for one of Riddick's most thrilling foes. Another prominent addition to the cast is Judi Dench who has a surprisingly small role as Aereon an Elemental captured by the Necromongers and used for her special powers including ESP.
Writer/director David Twohy took his horror pic Pitch Black which gained a cult following since it was released four years ago and managed to successfully turn it into an sci-fi actioner of epic proportions. Everything is grander here which is almost a given considering Twohy shot Pitch Black on a dime in Australia using colored filters. In Riddick the director distinguishes the film's different environments--the Necros' mothership Crematoria's cavernous prison and Helion--using warm to cool tones that are dazzling yet more subtle than its predecessor. The CGI effects get a little gamey at times but production designer Holger Gross' gargantuan sets are impressive and help craft Twohy's otherworldly vision into a plausible one. And although Twohy jumps genres from Pitch Black to its sequel his storyline evolves logically from the original premise. But while moviegoers unfamiliar with Pitch Black will be able to follow the story easily enough they may have a difficult time grasping what makes Riddick such a big deal; the film explains the legend but never fully captures its quintessence. This could hurt Riddick's chances to broaden its Pitch Black fan base.