Based on a graphic novel the violent tale revolves around Wes (James McAvoy) a meek 25 year-old office worker who hates his life. His boss berates him and he can’t even summon the balls to tell his slutty girlfriend to stop sleeping with his best buddy. But his world is suddenly rocked when Fox (Angelina Jolie)--a mysterious tattooed woman with a gun and a red sports car--takes him on the ride of his life. She takes him straight to The Fraternity a centuries old legendary group of hired assassins who live--and die--by their code: Kill one to save a thousand. Seems Wes’ long-lost father was a member who has just been whacked and he is now summoned to join up and unleash the inner killer in his genes. After a rigorous training regimen in which he is almost beaten to a pulp he emerges as the organization’s new golden boy and finds self-esteem in his new exciting alternative lifestyle. However the group’s enigmatic leader Sloan (Morgan Freeman) may have other plans in store for Wes that he isn’t quite sharing at the moment. McAvoy simply rocks as the most unexpected action star of the summer and that includes a season so far that has given us the quirky offbeat castings of Robert Downey Jr. and Edward Norton in Marvel comic book franchises. McAvoy (Atonement) has buffed up for the part but still looks like the average Joe exactly why the audience has a rooting interest as he becomes a fish-out-of-water in a group of hit men (and women). You’re with him all the way. This unusual choice is exactly what sets the film apart and makes it a complete original in an over-worn genre. Jolie on the other hand is absolutely who you would expect to play the heavily tatted Fox. Guns blazing feet slamming the pedal gorgeous and talented at taking guys out (of life) Jolie’s a card-carrying member of a club previously thought only open to men. She exudes cool and has never looked hotter. Freeman is at his best. He commands the screen adding his usual stoic presence to the proceedings with a nice twist that lets him show a creepier side than we usually get. Other members of the “club” are competently played by ever-reliable Terence Stamp German-born bad guy Thomas Kretschmann and rapper Common who shows he can keep up with the big boys--acting and other-wise. Hiring the Russian director Timur Bekmambetov for a summer action flick like this might have seemed an odd choice but anyone who’s seen his Hollywood-style homebaked hits Night Watch and Day Watch would know this is a visual stylist with no current equal in the action genre. His English-language debut is vibrant and pulsating alive in every way and thankfully more comprehensible story-wise than his previous work if no less fantastic. You still have to completely suspend belief for complete enjoyment but it’s all worth it. Bekmambetov seems incapable of staging anything in an ordinary way taking routine set-ups and turning them into violent bruising works-of-art. There’s not a single uninteresting shot in the entire movie which moves like the speeding train we see in one of the film’s most imposing sequences. Scene for scene this may be the most visually inventive trail blazing film of its kind in light years. Bring on the sequel.
Hostel: Part II picks up where the first Hostel left off—and then Paxton (Jay Hernandez) wakes up. It’s the last nightmare he’ll ever (be able to) have. Cut to Rome where three American girls—wealthy Beth (Lauren German) sex-craving Whitney (Bijou Phillips) and naïve awkward Lorna (Heather Matarazzo)—have completed their art class after painting a nude model (Vera Jordanova) and are off to Prague via train. While en route they bump into that same nude model who convinces them to change their plans and come with her to an exclusive hot-springs spa in Slovakia. And so their fates are sealed. Once they check in at their hostel with the bellboy who might as well be Satan’s little helper the bidding begins. All around the world the well-to-do-but-not-well-meaning vie for a chance at torturing and savagely murdering these fresh American college gals. And the winners are: Stuart (Roger Bart) and Todd (Richard Burgi) two Americans with WAY too much money on their hands. Thus begins the torturing—of the audience. There is an underrated skill in being able to act scared to death for your life—and in Hostel II’s case whatever prop cutlery was used to poke at the victims’ bodies probably made acting spontaneously easier. Most of the cast however tends to overdo it here. The lone exception is German (A Walk to Remember) making this by far her biggest acting splash to date as the heroine…type. She more so than the others is forced to emote rather than just shriek and she shows ability that reaches beyond horror movies. Phillips (Bully) and Matarazzo (Welcome to the Dollhouse) meanwhile though disparate character-wise both over-act: Matarazzo especially tries too hard to be gawky even if it makes for a starker contrast when her character is well you know. And grossly—pun intended—miscast is Desperate Housewives actor Bart who--no matter the volume and amount of F-bombs he drops--isn’t game for the uber-depravity that writer-director Eli Roth was going for. In fact the foreign unknowns outperform their American counterparts quite a bit in this sequel. First thing’s first: If Hostel II managed to snag an R rating then hardcore porn should be rated G! Now on to writer-director Eli Roth. To his credit the horror god possesses a mind sicker than any other contemporary filmmaker including returning exec-producer/endorser Quentin Tarantino but that doesn’t mean he knows how to tell a story. There's not a whole that goes on between the jaw-dropping scenes of torture the audience has come to half-see which begs the question: Would Hostel II be anything at all if not for said sadism? In addition a lack of true story brings to light another potential flaw in the Roth system—he doesn’t frighten us so much as disturb. But therein lies the good as well. If you like to be disturbed in a strictly I’d-never-do-this-but-maybe-it-happens-somewhere kind of way Roth is most certainly your man. Of course if you like to be disturbed by a film in any way Roth is most certainly your man. He’s got a wild and prolific imagination and when he turns it on the resulting images are unlike anything you’ve ever seen or want to see again—impossible to look at or away from. If only he could expend it on the stuff surrounding the imagery.
Casino Royale starts at the beginning as James Bond (Craig) takes his first baby steps as a Double O agent. His first assignment is to track down a terrorist cell in Madagascar but he’s a bit of a loose cannon and things quickly go awry. Bond’s superior M (Judi Dench) is soon regretting giving the arrogant Bond the promotion. Nonetheless Agent 007 takes it upon himself to follow a lead to the Bahamas and discovers that all nefarious dealings point to Le Chiffre (Mads Mikkelsen) a nasty fellow who has money ties to terrorist organizations. Le Chiffre is planning to raise money in a high-stakes poker game at the Le Casino Royale in Montenegro—and Bond gets in to beat him at his own game. Along with a hefty bankroll M also sends the beguiling accountant Vesper Lynd (Eva Green) to keep Bond in check. They are skeptical of each other at first but as the danger escalates it becomes apparent there is a growing attraction—and affection—between them. Natch. Can these two crazy kids make it work immersed in the cutthroat world of international intrigue? Well this is Bond after all—and we know how he ends up. Craig absolutely gets it. Whatever doubts people may have had when Craig was first announced as the new Bond are washed away in the first few minutes of the film. Sure if Casino Royale was anything like the last few Bond movies then maybe the understated Craig wouldn’t have fit in as well. But this is a different Bond. The British actor plays him not as the icon we’ve come to know but as a flawed man warts and all who flies by the seat of his pants isn’t necessarily refined and yes can even fall in love. Craig also raises the acting bar. His brief scenes with the impeccable Dench for example simmer and pop unlike anything we’ve seen before in a Bond film. Danish film star Mikkelsen (Pusher) is quite effective as the main baddie with a particularly gruesome physical malady while the always good Jeffrey Wright (Syriana) shows up as CIA Agent Felix Leiter. The one weak link unfortunately is Green (The Dreamers). She certainly looks the part of a “Bond girl ” but her Vesper is supposed to be whip-smart able to engage in witty banter with 007 and the French actress can’t quite pull it off. Craig needs more of a challenge. Too bad Judi Dench isn’t 30 years younger; she would have been perfect. Casino Royale the first book in the Ian Fleming series is basic Bond 101. Director Martin Campbell--who helmed Goldeneye Pierce Brosnan’s first and probably best foray into the franchise--strips it of all the far-fetched gadgets (save for a few new-fangled PDAs) and over-the-top action sequences leaving just good clean action devoid of any invisible cars armored Russian tanks and the such. Oh wait Bond does use a bulldozer at one point but that comes briefly in the middle of a rather extensive and hair-raising foot chase. It just proves action can be just as riveting without having to completely suspend your disbelief. Casino Royale is also rare in that it shows how Bond became THE James Bond the one we’ve seen in countless movies over the years in the stylish tuxes drinking the martinis driving the Aston-Martins and bedding all the beautiful women. Casino Royale breathes new life into the franchise and one can only hope they can keep up the good work without once again lapsing into the ridiculous.
It's graduation day for Scotty (Scott Mechlowicz) but the celebration comes to an abrupt end when his girlfriend Fiona (Kristin Kreuk) dumps him by blatantly announcing she has been unfaithful to him--over and over again. At a graduation party that night Fiona makes her point by jumping on stage during rockers Lustra's performance of "Scotty Doesn't Know " which goes something like this: "Scotty doesn't know that Fiona and me do it in my van every Sunday..." Dumbfounded Scotty gets drunk and goes home to confide in his Berlin-based computer pen pal Mieke (Jessica Boerhs) who suggests coming to America for a "rendezvous." Scott rudely rebuffs him (and that's putting it mildly) not aware that Mieke is not a guy but actually a really hot high school girl. He tries to make amends but Mieke won't read his e-mails so his pal Cooper (Jacob Pitts) convinces him to go to Berlin and meet her face-to-face. Short on cash they take a cheap courier flight to London where they meet up with twin pals Jenny (Michelle Trachtenberg) and Jamie (Travis Wester) before hopscotching to Amsterdam Bratislava Rome Vatican City and finally Berlin. Of course the chase is always better than the kill and Eurotrip is no different: Whether Scotty gets Mieke is beside the point; the amusement is all in the journey there. Who knew for example that you could spend the night in a five star hotel and partake in a night of clubbing in Eastern Europe on $1.87 U.S.-and still have 27 cents left over when it's all over?
Newcomer Mechlowicz is perfectly cast as the lead here playing a character that is simple-minded daring sympathetic and charming. But it's Mechlowicz's personal spin--his bewildered expressions--that really nails the role for him whether he is witnessing the twins accidentally making out on the dance floor in a drunken stupor or waking up to find a strange passenger cozying up to him on a train. As his buddy Cooper Pitts (K-19: The Widowmaker) plays the wisecracker of the bunch and although he doesn't go over the top with the crassness there is a little too much David Spade influence in his delivery (and the similar haircuts don't help the matter either). Like the rest of the cast Wester is careful not to typecast his character Jamie a meticulous planner who can't travel without Frommer's by loosening him up slightly. Jamie for example knows when it's time do drop the book and experiment even if it means nude sunbathing. Trachtenberg (Buffy: The Vampire Slayer) also infuses her twin character Jenny with the perfect blend of sexuality and innocence. The result is a cast of mishmash characters that are just so darn likeable. Look for a surprise cameo from Matt Damon as well as small but hilarious performances from Vinnie Jones as Mad Maynard a Manchester United soccer hooligan; Lucy Lawless as S&M mistress Madame Vandersexxx; and Saturday Night Live's Fred Armisen credited as "the creepy Italian guy."
Jeff Schaffer makes his directorial debut here from a screenplay co-written with his longtime partners scribes Alec Berg and David Mandel. And ads touting it as a comedy "from producers of Road Trip and Old School " may be exactly what Eurotrip a comedy starring relative unknowns needs to draw the coveted teen crowd. After all Ivan Reitman the producer responsible for catapulting low budget comedies into box-office gold territory has secured quite a following--and fans won't be let down with this latest offering. Unlike its predecessors Eurotrip isn't afraid to be crass and while the characters are sweet the storyline is anything but. In this Euro-centric tale writing trio Schaffer Berg and Mandel proudly embrace every stereotype imaginable but do so at the expense of the inexperienced foursome which makes the material funny rather than offensive. Nude beaches the young Americans discover aren't necessarily packed with hot gorgeous women and Amsterdam's sex industry isn't exactly the stuff young male fantasies are made of. With one hilarious gag after another as well as funky map graphics with dotted lines that transport viewers from city to city the film maintains its fast-moving pace throughout. Surprisingly the film was shot entirely on location in the Czech Republic with Prague doubling as London Paris Berlin Amsterdam Rome Vatican City Bratislava--and even Hudson Ohio with landmarks such as the Eiffel Tower the Coliseum and Big Ben added using CGI. Accompanied by an awesome soundtrack featuring Lutsra's "Scotty Doesn't Know " Chapeaumelon's "My Generation" and The Salads "Get Loose " this film succeeds on all levels.