A massive hit never ends at its own conclusion for better or worse. Lost Tim Burton's Alice in Wonderland The Blair Witch Project and other pop culture milestones spawned plenty of imitators of wavering quality that trickled on to screens until the phenomena tapered off. Joyful Noise the new film starring Queen Latifah and Dolly Parton is one these auxiliary creative endeavors a direct descendant of the cheeky drama/comedy/musical hybrid Glee. But instead of teenage issues and pop covers Joyful Noise swaps in familial struggles gospel tunes and a sizable serving of Christian faith. The combination results in a movie that lacks the jazz hand energy of Glee but packs good-natured laughs to keep someone awake for its two hour duration. More "noise" than "joyful."
Mere minutes after the passing away of choir leader Bernie Vi Rose (Latifah) inherits the position—along with a serving of negative vibes from Bernie's wife G.G. (Parton) who was hoping to take the job herself. The new responsibility is only the beginning of Vi Rose's troubles as she attempts to balance her rebellious daughter Olivia's (Keke Palmer) raging hormones her son Walter's (Dexter Darden) Asperger's syndrome her husband's absence during a military stint and her own old school God-faring ways. Hardships are whipped into further chaos upon the arrival of Randy G.G.'s rambunctious horny grandson who shows up at rehearsal with an eye on Olivia and undeniable vocal skills. Randy's rock and roll edge is readily embraced by the group but even with the national gospel championship on the line Vi Rose isn't ready to toss tradition aside.
Joyful Noise is a mixed bag sporadically entertaining when director Todd Graff (Camp Bandslam) lets his two commanding stars flex their comedic muscles or belt soulful tunes. Latifah and Parton can do both with ease—Latifah has a natural charm while Parton essentially fills the "kooky Betty White" here—but instead of letting the two fly Graff breaks up the action with overwrought drama and bizarre side character stories. The script injects a lot of ideas into the picture—loss of faith modernizing ideologies coping with tragedy sexuality under the eye of God—but every tender moment is fumbled. A gut-wrenching conversation between Vi Rose and her autistic son should have weight and the actors do their best but the material doesn't service the emotional complexity of the scenario. Instead it opts to cut to a musical number. Another sequence involving the overnight demise of another character is even played for comedy even when it causes one woman to question her beliefs.
Thank God for the musical numbers which have enough energy to brush the flimsier moments under the rug. The Glee-inspired pop tune covers (Michael Jackson's "Man in the Mirror " Usher's "Yeah"—both tailored with religious modifications) aren't nearly as interesting or powerful as the straight-up gospel songs. But unlike the tunes Joyful Noise doesn't have rhyme or reason. A mishmash of played out character stereotypes narrative cliches and enjoyable but erratic music the movie feels more like a cash-in than it should. Latifah and Parton are a sizzling duo but the vehicle built for them is a clunker. As Vi Rose might say the only way to have a great time at Joyful Noise is to believe. Really really hard.
Real Steel – the new sci-fi sports flick from Night at the Museum director Shawn Levy – is set in the year 2020. Its vision of the future looks remarkably similar to the present save for the fact that the sport of boxing has been taken over by pugilistic robots. There are no robot butlers taxi drivers or senators – just boxers. Apparently technology in 2020 has advanced enough to allow for the creation of massive mechanized beings of astonishing dexterity but humanity has found no use for them beyond the boxing ring.
Hugh Jackman plays Charlie Kenton a has-been boxer turned small-time robot-fight promoter. A consummate hustler who’ll do anything for a buck Charlie’s fallen on hard times of late. Opportunity arrives in the diminutive guise of 11-year-old Max (Dakota Goyo) his estranged son who turns out to be something of an electronics wunderkind. Together they work to fashion Atom an obsolete ramshackle “sparring robot” left to rot in a junkyard into a contender.
Anyone who’s seen an underdog sports movie – or any movie for that matter – made in the last half-century can fairly easily ascertain how this one plays out. (The story borrows tropes from The Champ Rocky and Over the Top wholesale.) Atom proves surprisingly capable in the ring compensating for his inferior technology with grit perseverance and an ability to absorb massive amounts of punishment. Under the guidance of Charlie and Max he makes an improbable run through the ranks eventually earning a one-in-a-million shot at the World Robot Boxing championship.
Real Steel was executive-produced by Steven Spielberg; it bears his unmistakable imprint. Levy judiciously deploys Spielberg’s patented blockbuster mix of dazzling special effects and gooey sentiment wrapping it all in a highly polished if wholly synthetic package. Still Real Steel might have amounted to so much glossy hokum were it not for its champion Hugh Jackman. Other actors might eye such a project as an opportunity to coast for an easy paycheck but damned if Jackman isn’t completely invested. The film’s underdog storyline isn’t nearly as inspiring as watching its star so gamely devote himself to selling material that will strike anyone over the age of 12 as patently ludicrous. His efforts pay off handsomely: Real Steel is about as rousing and affecting as any film inspired by Rock’em Sock’em Robots can expect to be. (The filmmakers claim lineage to a short story-turned-Twilight Zone episode but who are they kidding?)
WHAT IT’S ABOUT?
When a strong-willed business woman is suddenly told she might lose her job and be deported to her native Canada she impulsively forces her ever-loyal executive assistant into a shotgun engagement in order to get a green card and stay in the country. The plan gets complicated when the mismatched twosome must go to meet his family in Alaska and convince everyone including a pesky government investigator that their impending marriage is the real thing.
WHO’S IN IT?
Sandra Bullock has never been more appealing in the kind of “tough boss” role normally associated with male actors. The Proposal turns the usual romantic comedy tables around giving Bullock lots to play with — and she certainly makes the most of it painting a hilarious picture of an attractive and surprisingly vulnerable business exec caught in a situation spiraling out of control. Ryan Reynolds’ sitcom expertise is put to good use in the role of her willingly unwilling assistant who must join her charade or risk losing his job. This is Reynolds’ best outing as a rom-com lead yet and he shows he could own the genre if provided the right material. Stealing the movie from both of them however is the irrepressible Betty White who plays Reynolds’ saucy Grammy. Once again the Golden Girls alum proves she has comic timing second to none.
Knowing the standard romantic comedy setup just isn’t going to cut it anymore director Anne Fletcher (Step Up 27 Dresses) turns The Proposal into more of a screwball farce letting the laughs fly without forcing them on us. She’s helped by two game lead players who really know their way around this well-worn genre and provide just the right balance to keep this merry soufflé from falling apart. The breathtaking remote locations (Massachusetts oddly enough substitutes for Alaska) don’t hurt.
No matter how inventive the script it’s pretty obvious where things are going to wind up in any romantic comedy. But The Proposal despite following the standard blueprint still manages to keep us guessing until the very end and that accounts for most of the fun.
A scene in which Bullock and Reynolds accidentally run into each other sans clothing is hilarious worthy of the best farceurs. A close second is a sequence involving a little dog a menacing eagle and a cell phone. Classic stuff.
BEST REASON TO PLOP DOWN 10 BUCKS?
After 60 — count ‘em 60 — years in show business with six Emmys and numerous TV series to show for it Betty White at age 87 still proves there can be second third and even fourth acts in life. She gives a movie star turn here that shows everyone how it’s done.
NETFLIX OR MULTIPLEX?
As an alternative to big summer action flicks and gross-out comedies The Proposal is definitely the date movie du jour.