Playing second fiddle to a more famous sibling can be rough. Just ask Fred Claus (Vaughn) a regular guy who has had to grow up under the shadow of his little brother Nicholas Claus (Paul Giamatti) aka Santa. That’s a big shadow to say the least both figuratively and literally. As an adult Fred has pretty much steered clear of his family but when he finds himself in dire need of some fast cash he calls his brother. Pleased as punch to hear from him Nicholas nonetheless makes him a deal: If he comes up to the North Pole for a visit and to help out the few days before Christmas then Fred can have the money. Fred reluctantly agrees and soon he’s being whisked off in Santa’s sleigh by head elf Willie (John Michael Higgins). But once Fred gets to the North Pole nothing seems to go right and soon he is the cause of much chaos--which unbeknownst to Fred causes Nicholas even more stress since his North Pole operation is one step away from being shut down by a cold-hearted efficiency expert (Kevin Spacey). Can Fred quit being bitter in time to save his brother’s livelihood? Of course he can. Hmmm Vince Vaughn minus the R-rated Wedding Crashers/Old School irreverence? It’s a stretch. Seeing the comic actor playing it PG is a little weird but you might enjoy how Vaughn infuses his unique energy into Fred Claus. From getting all the elves to boogie down in Santa’s workshop to going on one rant after another (on his brother: “He’s a clown a megalomaniac a fame junkie!”) to pilfering money on the street and then being chased by Salvation Army Santas it’s all good. Giamatti too seems a little out of his comfort zone as the saintly St. Nick. The actor who usually plays such endearing sad sacks has already played against type to great effect this year as the maniacal bad guy in Shoot ‘Em Up but he isn't nearly as successful in doing the flipside of that in Fred Claus. And what the hell is Kevin Spacey doing in this? As the villain of the film he fills the shoes nicely but he is almost too good at it (natch) for such a feel-good family film. Even Higgins--a character actor who is usually so hilarious in films such as The Break Up and all of Christopher Guest’s movies—has to shed the cheekiness and sugar himself up for Fred Claus. There’s also Rachel Weisz as Fred’s beleaguered girlfriend (you heard right) and Kathy Bates as the Claus boys’ mother who always sees Fred as inferior to her other son to fill out a cast of big names doing family fare. Director David Dobkin is a Vince Vaughn favorite having directed him in Wedding Crashers and Clay Pigeons but like his muse Dobkin seems a little out of place guiding this material. Granted Dobkin creates a pretty magical North Pole complete with an entire city of little dwellings a Frosty Tavern and a huge domed Santa’s Workshop. The montage of Fred delivering presents on Christmas Eve—falling down chimneys stuffing cookies in his face zooming around in the sleigh—is also well done. But overall Fred Claus is a Vaughn vehicle—even as sugary sweet and family-friendly as it is--and all Dobkin really does is turn the camera on and let the man do his stuff. Dan Fogelman's script is also so very bland full of any number of holes and only picks up once Vaughn starts to improvise. Bottom line: If you’re looking to take the kids to a sweet Christmas movie and are a Vince Vaughn fan then Fred Claus is for you.
September 07, 2004 12:11pm EST
In Paparazzi celebrity photographers are an affliction that torment tens if not dozens of residents of Brentwood the Hollywood Hills and Malibu. Bo Laramie (Cole Hauser) is one such denizen. As Hollywood's brightest new action star Laramie along with his wife Abby (Robin Tunney) is set to enjoy the sweet ride of success until paparazzo Rex Harper (Tom Sizemore) and his marauding band of slimy shutterbugs turn his life into a living hell. Or at least a fairly large inconvenience. With a blatant nod to Princess Di the pesky paparazzi cause a high-speed car wreck which sends Bo's son Zach (Blake Bryan) into a coma of convenient duration and results in the loss of Abby's spleen. Which is fitting as the movie has no discernible spleen of its own. And so our hero who has obviously not received the standard studio briefing on the joys of contract killers takes matters (and a baseball bat) into his own hands. The model for Paparazzi is the vigilante movie: Death Wish Billy Jack Walking Tall and the like. But whereas Bronson's Paul Kersey devolved from architect to cold-blooded killer only when faced with impossibly high stakes (the murder of his wife and rape of his daughter) Laramie by contrast turns into a serial killer and a sloppy one at that over a little retinal glare. And doing it all by himself? One imagines the Anthony Pellicanos of the world dispatching guys like Harper during a Pilates break.
It's problematic asking non-movie stars to play huge movie stars for obvious reasons. Bo Laramie is supposed to be the biggest thing since Ah-nuld held his day job but as Hauser plays him he comes off more like Michael Dudikoff. Even as he's beating paparazzi to death with his own hands there is no sense of a human being or even a movie star being pushed to his limits. Tunney who was terrific in Niagara Niagara has nothing to do and neither does Dennis Farina as the cop conflicted by the A-list avenger. Sizemore of course steals every scene he's in effortlessly and ruthlessly. In spite of his recent legal troubles (or perhaps because of them) he brings just the right dosage of dangerous persona and edgy charisma to his growing roster of manic miscreants. Ultimately though even his involvement is disappointing: When he's on screen he fools you into thinking a real movie is about to start.
First-time director Paul Abascal is but a pawn in Mel Gibson's dogmatic production slate. Screenwriter Forrest Smith had a small role with Gibson in We Were Soldiers and reportedly leveraged the moment to pitch Paparazzi to the actor/producer/Catholic poster boy. Gibson has had issues with his privacy before and has already proved himself shameless in using the movies to promote an agenda. So as with The Passion of the Christ a movie that wouldn't have gotten so much as a sniff at any other studio found itself with a green light. And Bo Laramie became family man/action hero Gibson's violent alter ego. Or maybe just ego. (Gibson also has a brief cameo and the one sheet for Laramie's "movie" Adrenaline Force 2 is a dead ringer for the poster art for Lethal Weapon 2). With Gibson's personal profits alone surpassing the $400 million mark with this week's Passion DVD sales and Paparazzi's budget listed at $20 million Gibson could make 20 sequels to Paparazzi. Or he could use the producer's pulpit to speak out against other vexations in his life. Somewhere at Icon world headquarters Leaf Blower: The Movie just went into pre-production.
January 30, 2004 2:33pm EST
Best friends David (Omarion) and Elgin (Marques Houston) earn a living dancing in competitions against rival dance crews in a local warehouse owned by Mr. Rad (Steve Harvey) who keeps the challenges clean and organized. Basking in their recurring success David and Elgin are approached by an Orange County crew for a dance-off with a bigger payday than they are accustomed to: $10 000. The only catch is that they would have to put up half that money in advance which they scrape up at the last minute thanks to Elgin's grandmother. But the OC crew plays dirty steals their moves and wins the competition leaving David and Elgin with a huge debt to repay. To come up with the dough they become runners for a local drug dealer--a job that doesn't pay off when Elgin gets robbed and beaten while transporting a large sum of money. He blames David for the attack since his buddy was too busy cozying up to his Princeton-bound sister Liyah (Jennifer Freeman) to have his back. Now the only way Elgin can repay his grandmother and the dealer is to win "The Big Bounce " an MTV-sponsored dance competition with a $50 000 purse. But Elgin and David's falling-out threatens their shot at the big time.
The majority of the cast in You Got Served are onetime members of the boy band B2K (an acronym for Boys For 2000) an R&B quartet that includes Lil' Fizz J-Boog Raz-B and Omarion. Houston a solo artist whose single "Smile" is included on the film's soundtrack is Omarion's older brother and with recurring role on UPN's Sister Sister is probably their only castmate with any real acting experience. That seems to have helped Houston however whose character Elgin has the most emotional range of the bunch: Sweet funny bitter angry and at times apologetic. His co-star Omarion goes over the top with the puppy-dog-face thing but let's face it teenage girls across America will swoon over just that. But despite some amateurish performances it is apparent that these heartthrobs did not take themselves or their roles too seriously and their lighthearted performances make their characters so darn likeable. More to the point the performances in this film depend more heavily on the dancing than the acting and in that department both Houston and Omarion thrive. The film also features Harvey in a demure role that doesn't do anything for the comic actor and cameo appearances from Lil' Kim and hottie Wade Robson. But the prize for the most irritating performance of all goes to MTV VJ LaLa who plays herself as "The Big Bounce" host and whose shrieky voice will have you scrounging in your pockets for aspirin.
Chris Stokes makes his directing and screenwriting debut with You Got Served and giving members of the B2K hip-hop ensemble starring roles makes sense; after all he was the band's manager. While this casting choice was weak in terms of acting it was a solid pick in terms of the film's dance theme not to mention fan fare. Although B2K split up last month the group still has a stranglehold over the young ladies. Besides it's a given that moviegoers aren't expecting great performances or a gripping tale from You Got Served just some awesome dancing which is where this film really delivers. Sure some scenes belong on the editing room floor especially one in which David and Elgin practice their latest moves shirtless in an alley at night during a rainstorm. But with dance sequences making up more than three-quarters of the film it still moves along at a fast pace and is surprisingly entertaining. The film's amateurism however rears its bopping head when scenes stray from these awe-inspiring dancing sequences. In these instances the dire acting skills of its young cast and the sappy dialogue become more obvious not to mention the director's overuse of fade-outs from scene to scene; you'll half be expecting a commercial break.