With each outing in his evolving filmmaking career actor-turned-director Ben Affleck has amped up the scope. Gone Baby Gone was a character drama woven into a hard-boiled mystery. The Town saw Affleck dabble in action pulling off bank heists many compared to the expertise of Heat. In Argo the director pulls off his most daring effort melding one part caper comedy and two parts edge-of-your-seat political thriller into an exhilarating theatrical experience.
At the height of the Iranian Revolution in 1979 anti-Shah militants stormed the U.S. embassy and captured 52 American hostages. Six managed to escape the raid finding refuge in the Canadian ambassador's home. Within hours the militants began a search for the missing Americans sifting through shredded paperwork for even the smallest bit of evidence. Under pressure by the ticking clock the CIA worked quickly to formulate a plan to covertly rescue the six embassy workers. Despite a lengthy list of possibilities only Tony Mendez (Affleck) had a plan just enticing enough to unsuspecting Iranian officials to work: the CIA would fake a Hollywood movie shoot.
There's nothing in Argo or Affleck's portrayal of Mendez that would tell you the technical operations officer has the imagination to conjure his master plan — Affleck perhaps to differentiate himself from the past plays his character with so much restraint he looks dead in the eyes — but when the Hollywood hijinks swing into full motion so does Argo. Mendez hooks up with Planet of the Apes makeup artist John Chambers (John Goodman) and producer Lester Siegel (Alan Arkin) to convince all of Hollywood that their sci-fi blockbuster "Argo " is readying for production. With enough promotional material concept art and press coverage Mendez and his team can convince the Iranian government they're a legit operation. A location scout in Tehran will be their method of extracting the bunkered down escapees.
Without an interesting lead to draw us in Affleck lets his eclectic ensemble do the heavy lifting. For the most part it works. Argo is basically two movies — Goodman and Arkin lead the Ocean's 11-esque half and Affleck takes the reigns when its time to get the six — another who's who of character actors including Tate Donovan Clea Duvall Scoot McNairy and Rory Cochrane — through the terrifying security of the Iranian airport. Arkin steals the show as a fast talking Hollywood type complete with year-winning catchphrase ("ArGo f**k yourself!) while McNairy adds a little more humanity to the spy mission when his character butts heads with Mendez. The split lessens the impact of each section but the tension in the escape is so high so taut that there's never a moment to check out.
Reality is on Affleck's side his camera floating through crowds of protestors and the streets of Tehran — a warscape where anything can happen. Each angle he chooses heightens the terror which starts to close in on the covert escape as they drift further and further from their homebase. Argo is a complete package with the '70s production design knowing when to play goofy (the fake movie's wild sci-fi designs) and when to remind us that problems took eight more steps to fix then they do today. Alexandre Desplat's score finds balance in haunting melodies and energetic pulses.
Part of Argo's charm is just how unreal the entire operation really was. To see the men and women involved go through with a plan they know could result in death. It's a suspenseful adventure and while there's not much in the way of character to cling to the visceral experience tends to be enough.
Rexxx is a superstar dog in Hollywood with movies such as Jurassic Bark and The Fast and the Furrious on his plate. On the set of his latest movie he is being a diva refusing to come to the set because one of the spotted coats in his trailer reminds him of a snooty Dalmation who broke his heart. Eventually Rexxx’s people convince him he can outlive the Taco Bell Chihuahua dog's legacy if he performs this one great stunt. But while diving out of an airplane Rexxx forgets his parachute and lands in a truck full of tomatoes. He ends up running into a boy Shane (Josh Hutcherson) who’s really not into dogs. Shane’s dad is a fire captain (Bruce Greenwood) and the boy’s extended family is a group of well-meaning misfit firefighters at the Dogpatch Station. They're in constant competition with their rival fire station and the city manager (Steven Culp) is warning the Dogpatch Station that they will soon be closing down. On top of it all there are lots of mysterious fires breaking out around Dogpatch. Can Rexxx help save the day? Hutcherson is an amiable child star. After his recent dramatic role in Bridge to Terabithia and as the older brother in Zathura it's clear he's got a long career ahead of him. He comes across as clever and sensible while the world around him is often going haywire. And the young actor has a superb connection with Greenwood as his distant father. Also doing a fine job is Culp as the city manager and Greenwood’s best friend. The last time these two veteran character actors starred together was in Thirteen Days. Teddy Sears (TV’s Ugly Betty) is particularly funny and charming as the fireman who keeps sliding on top of his fellow firefighters when going down the pole. But of course this is a dog's movie and the four Irish setters used to play the lead pup do some pretty cool stunts and reaction shots. Rexxx comes across as delightfully personable even though he smells bad. Director Todd Holland certainly knows how to direct family stories after winning three Emmys for Malcolm in the Middle. This father-son story centers on a recent tragedy and neither of them deal well with it instead becoming more and more distant from each other. Of course the dog’s intrusion brings them together but the storyline cleverly dances a fine line between the stereotypical genres. Firehouse Dog has both laugh-out-loud moments as well as warm fuzzy teary-eyed moments that feel very real. Of course some of the absurd facial expressions and Matrix-like moves by the dog are computer generated but it's not distracting--and not too obvious. The movie is fun for kids and parents to see together especially if they have a dog at home.
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!
It’s Halloween Eve in suburbia and while most of the neighborhood kids are gearing up for a candy extravaganza two young‘uns--DJ (voiced by Mitchell Musso) and Chowder (voiced by Sam Lerner)--are fretting and dreading. They’re convinced that the decrepit house across the street is in fact a monster house inhabited by an old hermit named Nebbercracker (voiced by Steve Buscemi) that will lure kids in on Halloween night. But just as DJ’s parents who naturally don’t believe him to begin with leave for a vacation DJ inadvertently sends Nebbercracker to his death--or so he fears. Now DJ believes Nebbercracker’s monster house will seek revenge on him specifically and to make matters worse his negligent babysitter (voiced by Maggie Gyllenhaal) won’t hear of his yapping. After DJ and Chowder are forced to take action they along with a girl peddling candy (voiced by Spencer Locke) discover how the monster came to be and just how unforgiving she is. When it comes to animation acting the main goal is to make audiences forget that the actors are giving their performances in a studio possibly dressed in their PJs and sans makeup. That goal’s usually achieved but Monster House takes a gamble in supposing that child actors comprising the lead characters will be able to wrap their still-expanding brains around the concept. Somehow Lerner and Musso grasp this despite sounding like they haven’t even been in this world very long! The two are surrounded by a fail-proof supporting cast: it takes a while to recognize Buscemi’s voice as Nebbercracker but once it hits it fits and Gyllenhaal as the babysitter is great if unpredictable casting. Quasi-cameos from Jason Lee as Gyllenhaal’s punk boyfriend Jon Heder as a video-game god and Kevin James and Nick Cannon as slow-moving and -thinking cops garner the most laughs. Not only does it help a film’s box office performance to have Steven Spielberg and Robert Zemeckis onboard as executive producers it helps a film’s director--in this case a rookie director named Gil Kenan. (Zemeckis directed ‘04’s somewhat similar-looking The Polar Express.) While the animation doesn’t quite stand up to say Pixar’s earth-shattering visuals Kenan makes up for it with a fun-filled story (from scripters Dan Harmon Rob Schrab and Pamela Pettler) and an overall lively involved effort--and it’s not like the movie doesn’t still look gorgeous. Besides sometimes it’s refreshing to not be so entranced by the CGI that you lose sight of the actual movie at hand. Kenan’s film is one of the scarier animated movies in a while but that still doesn’t exclude many age groups. What the first-time director thrives on is stopping just shy of true horror moments at which point he reverts to feel-good mode without ever being sappy.
Date Movie doesn’t have a story as much as it does a series of miss-or-really-miss spoofs of date movies and cultural hodgepodge; the thin “story” is just enough to keep the film from being a series of vignettes. Julia (Alyson Hannigan) who makes Big Momma look little is determined to find her Prince Charming instead of wasting away in her lonely apartment. She briefly finds him in Grant Fonckyerdoder (Adam Campbell) before losing him (so ends any originality). So she visits a date doctor named Hitch (Tony Cox)—yes that movie—who takes her to get barbaric liposuction. Then she meets Grant again they fall in love and she meets his parents Mr. and Mrs. Fonckyerdoder (Fred Willard and Jennifer Coolidge) making for a Meet the Fockers spoof (the biggest spoof-ee). Julia has competition from Grant’s ex (Sophie Monk) allowing for more film references but ultimately they live clumsily ever after.
It’s hard to see through the utter mess that is Date Movie enough to evaluate its acting but Hannigan seems to be at least serviceable. Although it seems like “acting” here means merely nauseating the audience enough so they can taste the vomit but manage to hold it in. Like when she licks Tony Cox’s face for 15 or so seconds—in slow motion… It’s more Fear Factor than Inside the Actor’s Studio. As for Campbell Date Movie is his first. There’s no frame of reference whatsoever and yet it’s still clear that he’s above this. He almost seems like a classically trained actor who’s forced to stretch his comfort zone by performing horrendous impressions such as the orgasm scene from When Harry Met Sally. The lone semblance of a bright spot comes from Coolidge impersonating Barbra Streisand’s Roz Focker. Again way too classy for this Movie.
Date Movie's trailer brags “From two of the six writers of Scary Movie...” After seeing it you can’t help but muse “It took two writers for that movie?!” The writers in question are Jason Friedberg and Aaron Seltzer who also co-directed. The film should at the very least be an appetizer for Scary Movie 4’s upcoming entrée (to which they did not contribute) but with no hint of continuity or a passable storyline it even fails that menial task—and where the Scary Movies have succeeded is in the satisfactory stories that surround the film references. The biggest problem though lies in the spoofs: While the rules mandate that only chick flicks/date movies can be parodied the writer/directors abandon their target audience by referencing movies like When Harry Met Sally. Luckily there’s always an audience member who feels the need to solve the conundrum aloud.
In a mechanized world an imaginative young inventor Rodney Copperbottom (voiced by Ewan McGregor) wants to be as famous as his hero the greatest inventor of all time Mr. Bigweld (voiced by Mel Brooks). With his father's "follow your dreams and never give up" ringing in his ears Rodney leaves his small town and sets out to the big bad Robot City to meet his idol and show him his invention. Once there Rodney meets the Rusties a ragtag group of street-smart bots lead by the wacky Fender (voiced by Robin Williams) who know the ropes. Rodney finds out that Bigweld has gone into seclusion and Robot City is being taken over by an ambitious robot named Ratchet (voiced by Greg Kinnear) whose motto is "Why Be You When You Could Be New?" Ratchet soon halts production on parts for the older robots. If the bot folk can't afford the new stuff they are gathered up and sent to an underground chop shop where Rachet's hideous mother Madame Gasket (voiced by Jim Broadbent) melts them down and turns them into metal for new parts. But the evil duo's plan is soon spoiled when Rodney and the Rusties start fixing the older models and decide the must get the reclusive Bigweld back on track to fight back.
How can you go wrong with such a fabulous cast? They all do a great job including McGregor as the earnest Rodney Copperbottom; Brooks as the soft-hearted boss Big Weld; Kinnear as the vain and conniving Rachet; Broadbent as the repugnantly evil Gasket; Jennifer Coolidge as the hilarious and lovable big-booty bot Aunt Fanny; Halle Berry as the smart and seductive executive bot Cappy; and Amanda Bynes as the perky Piper determined to prove herself. But once again voice over veteran Robin Williams steals the show as the broke down and chaotic robot Fender. With his hundreds of voices and impersonations animated films fit the frenetic Williams to a tee making him the undisputed king.
Blue Sky Animation and Oscar-winning director Chris Wedge who brought us the delightful Ice Age are back turning in another stellar animated effort. Robots is rivet-ing transporting the audience into a world of mechanics electronics and robotics. The best scene is when Rodney gets to Robot City and goes on a roller coaster "cab" ride with Fender through a maze of whirligigs and gadgets. Good fun. Added into the mix is a groovin' soundtrack that makes you want to get up and dance with the characters while snickering at the songs' innuendos. Overall Robots incorporates vibrant colors above the ground with dark rusted images below to bring to life this lively world of metal folk.