Attempting to delve into one of Tinseltown’s most curious scandals--the mysterious suicide (or was it?) of the original TV Superman actor George Reeves--the story begins after Reeves (Ben Affleck) is found dead of a seemingly self-inflicted gunshot wound during a late night party in his Benedict Canyon home. The case then unfolds through the eyes of Louis Simo (Adrien Brody) a street-smart publicity hungry private dick hired by Reeves’ grieving mother. As Simo slowly peels back the layers of Reeves’ seemingly glamorous life he discovers an actor of charm talent and sophistication whose every opportunity for a big break fizzled forcing him to lead a frustrated existence slumming in the superhero show he deemed beneath him. Gradually identifying with Reeves’ failed expectations for himself Simo discovers a host of candidates who may have actually pulled the trigger on the actor including his young party girl paramour (Robin Tunney) his longtime lover and patron (Diane Lane) and his lover’s husband a powerfully connected studio “fixer” (Bob Hoskins). It is Brody not Affleck who carries the bulk of the film on his shoulders and the Oscar winner delivers a finely etched turn as Simo who’s fractured potential mirrors Reeves’ but quite simply Simo’s story isn’t nearly as dark or engaging as Reeves’ life or the mystery surrounding his death. Affleck an actor who has had his share of ups downs duds and disappointments in Hollywood delivers one of his most charming and fully realized performances to date even if his spot-on recreation of Reeves’ speech pattern is a bit distracting. The luminous Lane’s acting talents remain in full blossom in a character she’s well-suited to play—the aging beauty fearing the road ahead—and she commands every scene she’s in. Unfortunately there should have been many many more of them. She’s almost criminally underused. Hoskins more menacing then ever and the reliable stable of supporting players like Joe Spano are all top-notch as well; only Tunney apparently trying to channel both Betty Boop and Bette Davis simultaneously seems a bit off her game as the wannabe femme fatale. Best known for his strong turns helming many of the best episodes of television series such as The Sopranos Sex and the City and Six Feet Under first time feature director Allen Coulter’s cool assured hand and meticulous recreation of Cold War Los Angeles are major bonuses here. Even when Simo’s story sags in comparison to Reeves’ Coulter keeps us interested particularly when staging the Rashomon-like sequences depicting the various theories behind Reeves’ demise. But by skimping on Reeves’ story in favor of a less compelling fictional framework built around a private detective investigating the case we never see one key suspect’s possible murder scenario enacted visually and it comes off as a glaring omission.
Based on H.G. "Buzz" Bissinger's bestselling book of the same name Friday Night Lights tells the true story of the dusty West Texas town of Odessa where nothing much happens until September rolls around. That's when the town's 20 000 or so denizens pour into Ratliff Stadium the country's biggest high school football field every Friday night to watch the Permian Panthers Odessa's "boys in black " take to the field. All the town's hope and dreams are pinned on the padded shoulders of these young gridiron heroes--including insecure quarterback Mike Winchell (Lucas Black); cocky self-assured running back Boobie Miles (Derek Luke); headstrong self-destructive tailback Don Billingsley (Garrett Hedlund) who must contend with an overbearing abusive dad (Tim McGraw--yes that Tim McGraw the country singer); and the team's spiritual leader middle linebacker Ivory Christian (newcomer Lee Jackson). The Panthers begin their season with one thing on their minds--winning their fifth straight championship for the first time in the team's 30-year history--but for their coach Gary Gaines (Billy Bob Thornton) it also means instilling a love and joy of the game in the boys' hearts amidst tremendous pressures and expectations. Easier said than done.
There isn't a false note in any of the performances and no one falls back on clichéd versions of their characters as is so easy to do in rah-rah sports movies. Thornton does a particularly good job as Gaines keeping you guessing whether he's going to be a hardass insensitive to his players' emotional needs (like so many movie football coaches before him) or if he truly means to coach his boys in a fair and decent way. Gaines too has to deal with his own pressures especially from the townsfolk who are likely to string him up if the team loses the championship. As for Gaines' players Black (the oh-so-serious kid from Thornton's Sling Blade) is all grown up and buffed out and still very serious. It works for the young actor though as the beleaguered Winchell struggles with the love-hate relationship he has with his chosen sport. Other standouts include Luke (Antwone Fisher) as the star player Boobie whose cocksureness leads him to an injury; Hedlund as the volatile Billingsley trying desperately to please his father; and McGraw making his film debut as the father a former Permian Panther champion who sure hasn't given up his competitive spirit basically beating it into his son. First Faith Hill (McGraw's real-life wife) in The Stepford Wives and now McGraw--who knew country singers could act?
From All the Right Moves to Varsity Blues to Remember the Titans Friday Night Lights unfortunately doesn't completely distinguish itself from the pack of football movies before it--like those this is all about how the young players--be they underdogs second-string nobodies or stars--rising above the mounting pressure and playing the best they can bless their hearts. Still there's no question the sports genre--particularly football--always gets the juices pumping with FNL being no exception. It might have something to do with our sick fascination with watching bone-crunching hits and body-punishing tackles. It's dangerous out there for these guys; no other sport (besides maybe hockey) can elicit such wince-inducing emotion and actor/director Peter Berg (The Rundown) exploits that. Obviously influenced by Oliver Stone's Any Given Sunday Berg effectively paints his own gritty documentary-style picture of the competitive sport without relying on too many trite gushy over-the-top moments. And to give it credit the film does not necessarily have a feel-good "let's win one for the Gipper" ending; it is based on a true story after all and as we know real life isn't all sunshine and roses especially in the bloodthirsty world of Texas high school football.
While passing through Cairo during a sabbatical from the priesthood following World War II Father Lankester Merrin (Stellan Skarsgard) receives an offer from Semelier Ben Cross) a collector of rare antiquities to join a British archeological excavation in the remote Turkana region of Kenya where a Christian Byzantine church has been unearthed. Although Merrin has lost his religion (he left the church after being forced by the Nazis to commit atrocities against people of his parish) the skilled archeologist accepts the mission out of curiosity: The pristinely preserved church dates back more than 1 000 years before Christianity even reached the East African plain. Once there Merrin anxiously heads to the excavation sight and enters the partially buried church to discover it has been vandalized--or so he thinks; a large wooden cross has been broken and hung upside down. He also encounters Dr. Sarah Novack (Izabella Scorupco) who runs a local hospital and informs the men that the last man in charge of the excavation had gone mad and was now in a sanitarium in Nairobi. The mystery thickens when a local boy Joseph (Remy Sweeney) shows signs of satanic possession. The Turkana blame the mysterious church for the unexplained supernatural activity including a woman's delivery of a Satan-like maggot-covered still born infant. Soon tension mounts between the Turkana and the British troops stationed there.
Poor Skarsgard. To his credit the veteran actor tries his best to add a dash of distinctiveness to his underdeveloped character Father Merrin. Skarsgard (King Arthur) supplies Merrin with an air of attitude a sort of aloofness that screams I don't owe anyone anything. Armed with brute strength and fearlessness (he moves a large concrete slab without breaking a sweat and crawls through unlit basements without ever flinching) Merrin is practically transformed into sexy religious superhero. But Skarsgard even can't escape the silly dialogue that explains what is self-explanatory. "If everyone died who buried them?" Merrin asks aloud outside a cemetery where a plague supposedly whiped out the village's population. Scorupco (Reign of Fire) meanwhile doesn't inject anything extra into her rather forgettable role as Sarah a rather sweet but boring physician. Her metamorphosis in an identical looking Regan MacNeil form the original 1973 Exorcist however pumps some much needed thrills into what's otherwise lackluster horror. One of the most memorable performances comes from Alan Ford (Brick Top Polford form Snatch) who plays a perpetually drunk archeologist with a putrid skin ailment. Ford's rendition of Jeffries is so alarmingly disgusting that it makes Lucifer look like a sweetie pie.
The best thing about Exorcist: The Beginning is its deceptively promising opening set in Africa in the mid 400s. It's an eerie scene bound to make audiences' hair stand on end as a lone bedraggled priest slogs through a dry and dusty plain littered with millions of corpses nailed to upside-down crosses. But in its post-World War II setting the film suffers a setback both in storytelling and visuals. The film was originally directed by Paul Schrader who replaced helmer John Frankenheimer who died before filming began. But producers reportedly thought Schrader's version wasn't frightening enough and handed the reins over to Renny Harlin (Driven) in hopes he would turn out a more spine-chilling rendition. But sadly there is no chilling of the spine to be experienced here. Harlin uses horror film clichés to spook the audience like the faithful light-going-out-in-dark-settings scenario that the film feels more like an episode of Scare Tactics. Harlin's special effects are laugh-out-loud funny too including his inane man-eating CGI hyenas with beaming blue eyes. The beasts move about the screen as if they have no weight or substance to them. What makes those cartoony hyenas even sillier though is the fact that their presence is not needed (they're hardly scary) or even explained which pretty much sums up the film's biggest problem: The spotty story leaves too many questions unanswered. The script credited to Caleb Carr and William Wisher and later revised by Alexi Hawley is so vague it's irritating.
Now that word is out of Dr. Dolittle's ability to talk to animals his business is booming. Distraught pet owners ambush him outside his home and furry critters tap on his window during dinner all wanting some sort of advice. Joey the Raccoon has a special request: he has been sent by the God Beaver to solicit the doctor's help in saving their forest from developers. Dolittle reluctantly agrees to look for endangered species living in the forest so that the law can be invoked to protect it. He discovers Ava a lone Pacific Western Bear living in the soon-to-be-demolished forest and sets out to find her a mate. Enter Archie a performing circus bear. Dolittle convinces Archie that he would be happier living in the wild and to help the bear adjust to the wilderness the doc relocates his own city-dwelling family to the forest much to his teenage daughter Charisse's (Raven-Symoné) dismay. But the match between the two bears is not exactly made in heaven and when the plan backfires the animals organize and plot a worldwide strike.
Murphy seems lately to have traded in his adult-oriented comedy of the past (Beverly Hills Cop 48 Hours) for one that appeals to a younger audience (Dr. Dolittle Shrek). In Dr. Dolittle 2 Murphy is funny and comfortable enough in his role as the doc who can talk to creatures big and small but it is the animals that generate the biggest laughs. Smooth-talking Joey the Raccoon voiced by Michael Rapaport ( Men of Honor) positively steals the show with lines like "Mafia? We don't know anything about no Mafia do we boys?" The flighty voice of Lisa Kudrow who plays the endangered bear Ava is appropriate enough for the part but you can't help but wonder if it's Phoebe Buffay wrapped in a bear pelt. Norm Macdonald narrates the entire film as Lucky the Dog but the lines are surprisingly vacuous and Lucky spends most of his on-screen time peeing on things and making passes at wolves. A grown-up Raven-Simoné (The Cosby Show) returns to her role as Charisse Dolittle and is convincing enough as the brooding rebellious teenager fed up with animals clambering up her balcony and vying for her father's attention.
As with the acting the animals easily steal the show. The filmmakers use different methods to achieve realistic animal interaction including motion-control cameras that filmed the animals separately and later created a composite shot. Digital animation techniques animate some of the animal's mouths and facial features while others like Joey the Raccoon are completely animatronic and required several people to operate them during filming. These special effects must have burnt up most of the budget however because the outdoor sets with their moss-covered Styrofoam rocks look totally fabricated. The animals were amusing to watch and delivered good one-liners but they were mostly about defecating and bestial libido. Sadly not even the animal kingdom is able to transcend social stereotypes like Pepito the Mexican chameleon who gets excited at the mention of tacos or the French beret-clad monkey who is perpetually drunk. The film also portrays the life of a circus bear in a curiously positive light--unless they really do take bubble baths in swank accommodations--that clashes with the whole animal rights theme.