While the original 1950s sci-fi cult classic pointed to the Cold War and the threat of nuclear war in a timely manner this The Day the Earth Stood Still is just a rehash. Do we really need Keanu Reeves to tell us how we’ve messed up the planet? In any case he plays Klaatu an alien being inside a human body who comes to Earth in a giant sphere to “talk” to our world leaders about our destructive behavior. In fact he’s the deciding factor on whether to destroy the human race in order to preserve Earth OR give us another chance. Of course no one is going to let Klaatu speak to the U.N. which leaves the alien no other choice. Until that is he joins up with a pretty scientist (Jennifer Connelly) and her stepson (Jaden Smith) and sees just exactly how warm and fuzzy humans can be. Oy. It might be too late though since Klaatu’s giant robot friend (“Gort” in the original) is already gearing up for his mission to kill and destroy. At least casting Keanu Reeves was a smart move. Klaatu’s lack of emotion and few words is right up the actor’s alley; he makes it look soooo easy. Connelly on the other hand is making the same mistake she did when she starred in Hulk -- playing a brilliant scientist of some kind who is inevitably wasted onscreen. Jaden Smith is kind of an impertinent little snot through most of the movie who wants Klaatu dead but suddenly changes his mind just at the right moment. And then there’s Kathy Bates as the Secretary of Defense who stonewalls Klaatu’s request to meet the world leaders. She nearly ruins the whole thing! It’s not that The Day the Earth Stood Still is a poorly made film. Director Scott Derrickson sets the right tone and aptly applies the state-of-the-art special effects when it’s needed -- especially when the robot starts to work his particular destructive mojo by unleashing millions of tiny mechanical bugs who eat through everything. The main problem with this remake is bad timing. The original was creepy and quiet and menacing with its alien takeover theme in a way moviegoers had never experienced in 1951; it hit a chord which has carried it through its cult status. But to redo it now when we’ve seen the same kind of movie done in so many better ways doesn’t make any sense. In trying to keep to the original’s spirit this Day comes off as derivative unimaginative and tedious. Should have left it alone folks.
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.
Inspired by true events we are told Emily Rose's harrowing tale through her priest Father Moore (Tom Wilkinson). As sanctioned by the Catholic Church Father Moore tried to perform an exorcism on the girl but failed. On trial for what the prosecution calls Emily's "negligent murder " Father Moore isn't afraid to go to jail. He is just desperate to tell Emily's story--how this fresh-faced seemingly healthy 19-year-old farm girl (Jennifer Carpenter) goes off to college and comes back home speaking in tongues eating giant bugs and apparently inhabited by not just one but six separate demons who finally kill her. This is what Emily's family and Father Moore firmly believe happened to her. The medical community however claims Emily suffered from a combination of epilepsy and psychosis that without proper medication resulted in her death. In a case that will certainly further her career if she wins whip-smart defense lawyer Erin Bruner (Laura Linney) sets out to prove Father Moore only wanted to help. While the facts are laid out the underlying question as to whether supernatural and evil entities truly exist remains constant. Don't expect any answers.
The cast's riveting performances is the real reason why Emily Rose isn't an original TV movie. Through Linney (Kinsey) Wilkinson (In the Bedroom) and Campbell Scott (Roger Dodger) who plays the prosecuting attorney we get three varying views on the subject of demon possession. Erin represents those who just don't know what they believe and Linney does a convincing job portraying a woman who is trying to do her job but at the same time is bothered by how it's affecting her. As the prosecuting attorney Scott is the naysayer. He's a devout Methodist but he doesn't believe in the Catholic notion of possession and exorcism. And of course Father Moore is the true believer. Wilkinson doesn't play him as a crackpot; rather he gives the character a calm intelligence. He also shows us a man who has been deeply affected not only by his failure to help Emily but by his compulsion to tell her story to the rest of the world. Then there's Carpenter as the tortured Emily. Apparently after director Scott Derrickson saw what the young newcomer could do with her body and voice to make being invaded by demons believable (pay close attention to her hands) he knew he would need very little special effects. Carpenter does an amazing job--without ever spewing green goo.
More than just a head-spinning pea-soup-vomiting horror flick Emily Rose roots its terror in reality which in a way makes it creepier. Now I'm not saying The Exorcist isn't one of the most frightening movies ever made but Derrickson who also co-wrote Emily Rose takes the horrifying idea of demon possession and turns it into something less graphic and more thought provoking. To begin with it's a little unnerving to know the Catholic Church is taking exorcisms pretty seriously. You might scratch your head on this one wondering if angels and demons really do exist. If at 3 a.m. the witching hour does indeed begin then the smell of something burning (sulfur perhaps?) means the demons have come out to play. Still in analyzing Emily's case through a courtroom the movie leans toward those soapbox Perry Mason-style speeches about fact vs. faith. Some of them work and are executed with full effect especially Erin's closing argument. But you know that if the same film starred Melissa Gilbert and Richard Chamberlain it'd be on the USA Network.
Hardened by years of brutal but loyal military service special ops officer Robert Scott (Val Kilmer) is assigned to find the president's apparently kidnapped daughter Laura Newton (Kristen Bell). Pairing up with his protégé Curtis (Derek Luke) Scott works diligently with a task force of presidential advisors the Secret Service the FBI and the CIA to find her and through their investigation they stumble upon a white slavery ring in the Middle East which may--or may not--have some connection to Laura's disappearance. The straightforward search-and-rescue mission is soon bogged down in political machinations and the girl's abduction starts to look even more suspicious than it did at first. In fact the mission comes to an abrupt halt altogether when the girl is supposedly found drowned from a boating accident. Scott returns to his quiet life until Curtis shows up and proves that Laura is still alive and most likely trapped in the white slavery ring. In a race against time Scott and Curtis embark on their own unofficial rescue mission--and put themselves at the center of a dangerous conspiracy that goes all the way to the top of the U.S. government.
Val Kilmer probably won't be joining Mamet's dedicated circle of players--which includes Joe Mantegna William H. Macy and Mamet's wife actress Rebecca Pidgeon--any time soon. While it's clear Kilmer took the role to work with the talented writer/director he isn't well suited to deliver "Mamet-speak"--the rapid fire delivery of terse dialogue the writer is known for--and Kilmer looks uncomfortable trying to do it. The gifted actor who can't help but bring in his own quirky sensibilities to the part still hits the nail on the head as steely resolute Scott. But the minute he starts dispensing sage advice--Mamet-style--Kilmer sticks out like a sore thumb. Same goes for Luke (Antwone Fisher) who is entirely miscast as Scott's sidekick. Others in the ensemble however handle the Mamet chores more adeptly including Macy and Ed O'Neill (yes the guy from TV's Married ... With Children) as presidential aides.
Spartan's real problem however is that it's a thriller without much thrill. Mamet's expertise is in creating scenarios within a microcosm whether it's a world of con artists (House of Games; The Spanish Prisoner) salesmen (Glengarry Glen Ross) or even showbiz (State and Main). These Mamet films are even-keeled--almost devoid of emotion. He sets up characters and actions relevant to that particular world so when characters spout lines in Mamet's distinctive style it comes off as perfectly natural. Yet with Spartan Mamet is tackling a bigger grander picture and when his style is applied to the world as a whole it doesn't work. Plus in the thriller genre the audience needs to feel invested in the characters and Mamet's distant unemotional style doesn't lend itself to sending the audience's collective hearts racing. The only poignant moment in the film belongs to Bell as the wounded daughter who just wants a little attention from Daddy and the only truly exciting moments are during her rescue. That said however Spartan proves Mamet still knows how to craft a story. Although the script is at times vague and convoluted it thankfully never falls into any of the genre's usual patterns and it throws in enough twists to keep you on your toes.