Dogtown centers on three teenagers in the 1970s--Jay Adams (Emile Hirsch) Stacy Peralta (John Robinson) and Tony Alva (Victor Rasuk)--who just want to ride. At first it's waves. Living in "Dogtown " a tough and gritty area in Venice Calif. these guys do everything they can to get in with the Zephyr surfers lead by the charismatic owner of the Zephyr surf shop Skip Engblom (Heath Ledger). But the boys are soon transferring their aggressive wave-riding moves to the concrete turning empty pools into arenas of wild beautiful athleticism and revolutionizing a new style of skateboarding. Skip recognizes great money-making potential when he sees it and takes these freestyle wizards on urethane wheels out on the road to show off their skills dubbing them the Z-Boys. The skating world goes nuts. Conventional competitors don't know what to make of their "extreme" ways. Girls are wild for them. And promoters see dollar signs wanting to grab a piece of the action. But what started out as fun way to blow off steam soon turns into big business. Can the friendship between this tightly knit trio survive inflating out of control egos and fast-paced famous lifestyles? Dude that's a tough one to call.
What better way to make a movie about three hot California skateboarders then by casting three hot young male leads to play them. As Tony Alva and Stacy Peralta--the two talented skateboarders on the opposite ends of the spectrum--newcomers Rasuk (Raising Victor Vargas) and Robinson (Elephant) aptly bring sincerity to their portrayals. As the fiery Alva the wild-haired Rasuk is full of bravado taking to the jet-setting life with ease and ultimately becoming the more well-known name. The soft-spoken Robinson plays the easy-going Peralta with quiet determination proving he doesn't have to showboat in order to show how good he is. But it's the more seasoned Hirsch (The Girl Next Door) playing the gifted but ultimately screwed-up Jay Adams who has the harder acting job. As the Z-Boy with probably the rawest talent but nevertheless gives up his chance for fame Hirsch handles Adams' conflicted emotions well. Ledger too does a nice job as Skip Engblom the boys' "mentor" who introduces them to a whole new world rides a great meal ticket for awhile--and then loses it all when the boys move on to bigger and better things. Sorry Skip.
Coming off the heels of his award-winning 2001 documentary Dogtown and Z-Boys writer Stacy Peralta decided he wasn't quite done telling his Z-Boy story trying his hand at dramatizing the whole experience. This time around he elicits the help of director Catherine Hardwicke whose disturbing indie Thirteen proved she can get underneath a teenager's skin. Smart move. Her documentary style of filmmaking with that grainy handheld feel fits the Lords of Dogtown milieu perfectly. The camera chases after the boys as they skate sneak onto private property to surf empty pools and rock like rock stars. Peralta also calls upon his old buddies to help out including the now world-renowned skating champion Tony Alva who choreographs many of the stunts and apparently teaches the actors not only to skate but skate in true Z-Boy fashion. Maybe hardcore skateboarders will notice the errors but for a novice like me it is a fun ride. The only real problem with Dogtown is Peralta's greenhorn attempts at fleshing out a drama. As a documentary the Z-Boys experience is exhilarating as it follows these real-life mavericks' efforts to take skateboarding to a whole new extreme. But as a full-blown feature film it's a little harder to perpetuate the momentum.
Looney Tunes: Back in Action revisits an age-old Tunes question: Why does the affable Bugs reap all the fame and glory while the egocentric Daffy gets shafted again and again? Our duck friend quite frankly has had it up to his skinny neck playing second fiddle to the carrot muncher. All Daffy wants is a little recognition from the studio but the brothers Warner (actual twin brothers as we come to find out) decide instead to let Daffy out of his contract on the advice of their no-nonsense VP of comedy Kate Houghton (Jenna Elfman). Bugs however knows they're making a mistake. Even though Daff bears the brunt of the abuse Looney Tunes would fail without him and Bugs convinces the powers that be they need the nutty mallard. If the plot had only followed this thread--perhaps showing Daffy on the skids--then maybe the film wouldn't have spiraled into Looneyville. Unfortunately Daffy ends up hooking up with the hunky D.J. Drake (Brendan Fraser) a studio security guard who finds out that his famous movie star father Damian Drake (Timothy Dalton) is really a secret agent hunting for a mysterious diamond known as the Blue Monkey a supernatural gem that can turn the planet's population into monkeys. The evil head of the Acme Corporation Mr. Chairman (Steve Martin) wants the diamond for his own diabolical plans and he's kidnapped D.J.'s dad in an effort to get it. Now the gang has to get the diamond save D.J.'s dad and of course save the world.
It might be a little hard to act subtly around cartoon characters but these aren't your ordinary cutesy Mickey Mouse types. Bugs Daffy Porky Yosemite Sam and Foghorn Leghorn are pros at comic timing able to spar with the best of them throw out zingers without a second thought and slay you with a droll glance at the camera. It isn't really necessary for the human actors to match their madcap-ness; just reacting would have sufficed. Fraser comes off the best of the human bunch; since he's had practice (Monkeybone) he easily interacts with his animated co-stars and deftly handles the doubletakes and jabs at pop culture. Elfman on the other hand sputters and goes bug-eyed every time she encounters silliness. She looks uncomfortable doing the green screen thing especially when she's trying to look natural when peeling a distraught duck from around her waist. Martin's highly anticipated turn as Mr. Chairman turns out to be the biggest disappointment. The over-the-top character is reminiscent of Martin's hysterically funny Rupert the Monkeyboy in 1988's Dirty Rotten Scoundrels but Martin turns Mr. Chairman--an angry schoolboy with knee socks and matted-down hair who never grew up--into a caricature of ridiculous proportions and unlike Rupert who came in small hilarious doses Mr. Chairman gets very tiresome very quickly.
Back in Action's animation is well done more engaging and ambitious than its 1996 predecessor Space Jam in which the action mostly took place in Looney Tunes land; here animated characters go the Who Framed Roger Rabbit? route and Bugs Daffy and the rest coexist harmoniously with humans in the real world. But despite its aspirations Back in Action leaves out vital elements that made Space Jam appealing. While the earlier film stuck to a simple plot Back in Action guided by director Joe Dante (Small Soldiers The 'Burbs) tries too hard to keep things wild and wacky while incorporating elements of '60s heist pics and action-adventure scenes and in the process loses sight of the most important ingredient in any kids movie: the story. Tykes may have limited attention spans but if the story's good they will watch. Granted some individual bits are laugh-out-loud funny particularly the scene in the Warner Bros. commissary where a stuttering Porky Pig complains about being politically incorrect with Speedy Gonzales while an animated Shaggy and Scooby-Doo berate actor Matthew Lillard for playing Shaggy as such a bonehead in the live-action Scooby-Doo. These scenes prove that if any cartoon characters could pass themselves off as real celebrities in the entertainment industry the gang from Looney Tunes could but moments like these simply can't overcome a contrived plot and juvenile antics.