The latest movie in the Step Up franchise aims for a politicized message behind all the flashy moves but it could do with a lot less plot and a lot more dancing. In Step Up Revolution the Miami dance group "The Mob" takes to the streets (and other random locations) to perform intricately choreographed routines with their own DJ a camera guy who uploads their videos to YouTube and a graffiti artist who leaves their signature behind. It takes at least that much effort just to get hipster New Yorkers to ride the subways without any pants on once a year; it's hard to believe that The Mob could pull off their elaborate schemes without getting caught but that's the magic of movies.
The Mob represents the more diverse working class side of Miami a young multiracial group of friends who create incredible works of art that disappear before they get shut down. One of the Mob's leaders Sean (Ryan Guzman) earnestly explains to newcomer Emily (Kathryn McCormick) that the group's reason is to give a voice to the voiceless or to be happy or to dance or something. It's not really clear but they have a lot of fun and look amazing doing it.
Once Sean and his friends find out that a greedy developer plans to raze their neighborhood to make way for another South Beach-style hotel monstrosity they have a reason to rally but until then they're just trying to win a cash prize by getting clicks on YouTube. The typical Step Up twist is that Emily is the developer's daughter. Mr. Anderson (Peter Gallagher) doesn't approve of Emily's love of dancing or other frippery and he certainly wouldn't approve of her hanging out with the people causing such mayhem in the streets of Miami.
Step Up Revolution biggest misstep is trying to give the movie more of a hook than the franchise's typical Romeo and Juliet-style love story and tap into "the Zeitgeist" (I swear that's from the studio-provided press notes) of flash mobs. The film could have cut out most of the plot and characters and still have a completely intact film insofar as the point of the film is its multimedia dance routines. The sort of productions The Mob pulls off are more akin to carefully planned art installations or music videos in terms of scope; it would have been better to at least make that somehow feasible in terms of the storyline. Yes we are here for a spectacle and we surely get a spectacle but it needs to have some roots in reality.
The dance scenes are fun sexy and occasionally a little sappy but overall quite enjoyable for people who enjoy "So You Think You Can Dance" type of shows. Kathryn McCormick and Stephen "tWitch" Boss both appeared on "SYTYCD" and their costar Misha Gabriel is a classically trained ballet dancer turned pro back-up dancer for folks like Beyoncé and Michael Jackson. Guzman doesn't have a dance background but he is an MMA fighter who obviously took his training very seriously. The entire outfit is pretty damn entertaining to be honest.
As far as the 3D goes it makes most of Miami look overcast and grey. The extra zings added in to make sure we get our money's worth like sand flicking out at us or a breakdancer whose foot seems to be aiming for our face only serves to distract from the real show at hand. There is also an awful lot of ramping and generally spazzy editing tricks that look cheap. The screenplay by Amanda Brody is definitely not its strong suit.
Step Up Revolution is the cinematic equivalent of a trashy beach novel. It's embarrassing to be caught actually enjoying it and you'll forget about it almost immediately but it's a decent way to spend a summer afternoon.
In true straightforward comic-book style TMNT starts with a brief backstory (without the laborious explanation on why four turtles and a rat become human-like in the first place) and then launches into the heart of the movie. After the defeat of their old arch nemesis The Shredder the Turtles—fun-lovin’ Michelangelo (Mikey Kelly) tech guru Donatello (Mitchell Whitfield) hotheaded Raphael (Nolan North) and pragmatic leader Leonardo (James Arnold Taylor)--have grown apart as a family. While Leo is off honing his craft the turtles no longer fight crime--except Raphael who still fights crime under the pseudonym Nightwatcher. Struggling to keep them together is their rat sensei Master Splinter (the late Mako). But strange things are brewing. Tech-industrialist Max Winters (Patrick Stewart) is amassing an army of ancient monsters to apparently take over the world. With the help of old allies April O'Neil (Sarah Michelle Gellar) and Casey Jones (Chris Evans) the Turtles finally come together as brothers to fight the good fight and once again face the mysterious Foot Clan who have put their own ninja skills behind Winters' endeavors. As opposed to hiring just A-list actors TMNT is a nice eclectic mix of veteran voice-over artists who give the Turtles their voices and regular actors such as Gellar Stewart and Evans. Crouching Tiger Hidden Dragon’s Ziyi Zhang also gets in on the action providing the voice of the Foot Clan leader Karai who was once an enemy of the Turtles but now sees the value in what they do. Of course there isn’t a Robin Williams or Ben Stiller to laugh with but Kelly is pretty funny as Michelangelo who has had to resort to entertaining kids at birthday parties as “Cowabunga Carl ” a clown-for-hire in a “fake” turtle suit. It will all depend on whether those ninja-fightin’ pizza-eatin’ giant turtles still have a monetary appeal but methinks a new TMNT movie franchise has been born. The comic book was created in 1984 by Peter Laird and Kevin Eastman as a spoof to the superhero stories and quickly took off into merchandising heaven with a toy license and then a television series. The original 1990 live-action movie used state-of-the-art animatronics but somehow felt static and fake. Since the last TMNT movie in 1993 the whole Turtle phenomenon has sort of fallen off the radar at least in the U.S. so the time was ripe for a renovation. Using the innovative CGI we know and love this new TMNT--created by a team of animators from California and Hong Kong under the watchful direction of Kevin Munroe--gives the Turtles not to mention all the otherworldly monsters they have to fight a realistic look and feel. With this kind of freedom the film can focus on the action which is the best part of the TMNT lore. Though the demographics may skew male ages 8-11 (as well as those 8-to-11-year-old boys who loved it back in the day and are now grown men) TMNT is just your basic supercharged animated fun.
Last we heard in last year’s Diary of a Mad Black Woman Madea (Tyler Perry) was solving social cultural and familial problems. What a busy lady! Well she’s done gone and done it again after a whole new crop of problems pop up that need fixing. This time the conflicts revolve primarily around two sisters Vanessa (Lisa Arrindell Anderson) and Lisa (Rochelle Aytes) both of whom are wary of their financial-minded mother Victoria (Lynn Whitfield). Vanessa is deathly afraid to love again after her husband left her and two kids and fears she might’ve met Mr. Right in the form of a bus driver (Boris Kodjoe). Meanwhile Lisa is in a physically abusive relationship with Carlos (Blair Underwood) “Atlanta’s most eligible bachelor ” but is afraid to leave him. Madea the antithesis of gold-digging Victoria solves these and many more problems as the family reunion nears. After Mad Black Woman’s surprise box office take last year bigger names were less reluctant to sign on. Accordingly the new actors in Reunion are very solid—borderline stellar collectively. The lone exception is Perry as Madea (as well as a few other characters) whose over-the-topness although expected reduces the air of professionalism from the rest. Underwood is so damn good at being so damn bad as the abusive fiancée Carlos while Whitfield matches him chill for chill in a very icy performance. The relative unknowns/newcomers are the most pleasant surprises however. Aytes has breathtaking beauty that would normally overshadow acting but not here. Anderson whose last film was ‘95’s Clockers is equally beautiful and evocative as a single mother torn. And for the female eyes there’s Kodjoe whom girls will likely fall for even more when they learn he can actually act. Perry wears many hats in Family Reunion: writer director producer star--and oh yeah he also wrote the popular stage production from which the film is adapted. Perhaps Perry’s workaholic attitude contributes to the film’s thematic overkill. There are a number of kinks in the film’s completely uneven story and the way it is told but perhaps the biggest problem stems from the fact that it still feels like a stage play. Sometimes that’s a plus for a film but it’s hard to think it was intended. This feeling is elicited by the sum of the story’s parts. Perry will be in one scene telling the tale of a beleaguered battered woman amid a linear and conventional storyline and in the next scene become Madea in her cartoonish and campy getup dishing out her tough love techniques. No doubt Reunion is an enjoyable play--only if you agree with Perry’s comedic remedies for serious issues.
Luke (Steven Strait) and Brier (Pell James) first cross paths on a New York City subway before the doors shut on their instant attraction to one another. Of course it is immediately and abundantly clear that they will naturally meet up again before long but where and how? The answers: L.A. and well it's complicated. Each having forgotten about the other Brier a top model in NYC decides she needs a change of scenery and tells her agent (Carrie Fisher clearly in it for the paycheck) she's heading out to L.A. to pursue acting while Luke and his brother Euan (Kip Pardue) decide to move to the West Coast as well. Once there Brier befriends Clea (Ashlee Simpson) and on her first night in town takes Brier to a local dive bar where Luke works as a struggling "musician." Wow that's some coincidence. There is an instant re-connection between Luke and Brier but she refuses to get involved with musicians since her rock-star ex mistreated her. Instead she shifts her focus on generating buzz for Luke. Eventually Luke gets the big recording contract becomes the rock-star jerk he'd swore he'd never become and loses it all. But all is well when Brier decides she can no longer resist Luke's ballads and Metallica-guitarist-circa-'85 hair.
The theme of Undiscovered could apply to its cast. Each of the four leads are on the cusp of being on the cusp and certainly they hope this movie will take them one step closer. For James that might happen. She is a natural on screen and gives a breakthrough performance as the comely Brier. Strait is also a relative newcomer. After turning his debut performance in this summer's Sky High he holds his own in Undiscovered but seems to be relegated to taking his shirt off to make the teenyboppers swoon. Finally there's Simpson who is also making her major-role debut. It's awkward to see her on-screen and yes subconsciously you wait for her to make a noticeable mistake (or butcher a voice-over due to acid reflux). Of course it doesn't happen; she moves along pretty smoothly but is at times subjected to dialogue that seems beyond her especially when she has to words big words such as "banter." And certainly it's not her fault when she describes Luke--a musician best left struggling--as "a cross between Jeff Buckley and Elvis Costello." That's just someone else's words she reciting.
Prolific music-video director Meiert Avis is making his feature film directorial debut with Undiscovered--and his obvious greenness shows. At times the film is more like a music video surrounded by a weak storyline than a cohesive film. His expertise in the rather linear realm of music videos doesn't exactly qualify him for the complexities of a 90-minute film contrived and straightforward as his debut may be. Avis tries to employ every possible clichéd obstacle for the characters to overcome--which reeks of inexperience but could also be the screenwriter's fault. No doubt Avis feels at home with newcomers such as Strait and Simpson who--for all intents and purposes--sing and act but the plethora of singing scenes feel forced. That is forced into the script to showcase the soundtrack when the movie goes undiscovered at the box office.
At least Bewitched has the smarts to reinvent itself contemporizing rather than going for a straight remake. First we meet Isabel (Nicole Kidman) a naïve good-natured witch who wants to give up her supernatural powers to lead a "normal" life--much to the chagrin of her warlock father Nigel (Michael Caine). He doesn't believe she can do it. Neither do we. Then on the other side of town we meet Jack Wyatt (Will Ferrell) a nearly washed-up actor who's done one too many bad films. To get back on track he decides to do an updated version of the beloved 1960s sitcom Bewitched. As the mere-mortal Darrin Wyatt would be the star of the show not the actress cast as Samantha. In order for that to happen a nobody must play the witch. Lo and behold Jack runs into Isabel who can manipulate her dainty nose in just the right wriggle. He persuades her to take the part while she sees Jack as the quintessential mortal man with whom she can settle down and lead the normal life she so desires. Think it'll work out? (Cue the Bewitched theme song).
We all know Kidman can play complicated and romantic and Ferrell can do comedy. But in Bewitched they each try to do something beyond those skill sets. Unfortunately they can't quite pull it off. Kidman of course is a consummate actress. She can take on just about any character and make it her own including the slightly ditzy eternally cute Isabel. And so she taps into her inner witch once again (like she did in Practical Magic). But trying to remake comedies (like The Stepford Wives) especially something as balls-out as Bewitched doesn't really suit the Oscar winner all that well. And in Ferrell's case he hilariously handles all of Bewitched's improvisational comedic moments as expected. But watching him try to be a romantic leading man is a bit cringe-worthy. I mean if you can make smooching on Nicole Kidman look uncomfortable you certainly aren't doing the job. As far as the rest of the cast everyone is pretty much wasted in one form or another. Caine as Isabel's debonair roué of a father and Shirley MacLaine as the diva-esque actress who plays Bewitched's wonderful Endora have a couple of bright moments but don't get nearly enough to do. The same goes for Jason Schwartzman (Rushmore) as Jack's unctuous agent and Kristin Chenoweth (from the Broadway musical Wicked) as Isabel's spirited neighbor. Even Steve Carrell (TV's The Office) as the irascible Uncle Arthur can't offer the right spontaneity. What a shame.
One of Bewitched's saving graces however is writer-director Nora Ephron. She knows romantic comedies having helmed such hits as Sleepless in Seattle and You've Got Mail as well as writing the quintessential romantic comedy When Harry Met Sally…. Bewitched is right up her alley and she fluffs it up like a pro. Yet overall the film is just too darn silly for its own good. Maybe Bewitched suffers from the whole TV-turned-film phenomena in general. The idea of taking such classic TV favorites and adapting them into feature films continues to prove there isn't a shred of originality left in the studio system. But sometimes the concept works (Starsky & Hutch is one that comes to mind). Fans like me are curious as to how filmmakers will rework the material and are especially interested in who they decide to cast to play those beloved icons. We end up giving each one of these big-screen treatment iterations a chance--and are usually disappointed. Bewitched is no exception. Besides being only mildly entertaining to diehard fans Bewitched's inside jokes will most likely go over the heads of those who can't tell Samantha Darrin Endora Aunt Clara Uncle Arthur or Mrs. Kravitz from the characters on I Dream of Jeannie. Probably best just to own the sitcom's DVD collection instead.